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VERONICA VOICEOVER: Previously on Veronica Mars Veronica watching Duncan's table at school. VERONICA VOICEOVER: I used to sit there. The only reason I was allowed past the velvet ropes was Duncan Kane. He used to be my boyfriend. Flashback to a long haired Veronica and Duncan walking down the school hallway. Flashback to car wash. LILLY: I've got a secret, a good one. Flashback to the Kane residence the night of Lilly's m*rder. VERONICA: [Kneeling before Duncan] Duncan, what happened? Duncan is completely unresponsive. Veronica looks around and then back at Duncan. VERONICA: Where's Lilly? Veronica runs out to the pool and sees Lilly's body. Keith is there too. VERONICA VOICEOVER: But you already know how this part of the story ends. The m*rder of Lilly Kane. And that bungling local sheriff you heard about, was my dad. Cut to Veronica entering Mars Investigations. LAWYER VOICEOVER: Your dad's out tracking down bail jumpers half the time Cut to Veronica and the lawyer in the office. LAWYER: and yet somehow all the cases that come in here still get handled. How is that? Quick flashes of: Veronica on the phone, Veronica working the camcorder in her car, Veronica with a long lens camera in her car. Cut back to Veronica at the office. VERONICA: We're efficient. End Previously. Scene opens with a sh*t of the outside of the school, students fast forwarding, then settles inside where Veronica is opening her locker. WALLACE: Another big Friday night. You got plans? VERONICA: I don't know. I might take Backup for a run or rent a movie maybe. WALLACE: Congratulations. You're officially Neptune High's most boring person. VERONICA: Did I mention the movie might be PG-13? WALLACE: Ow! Jump back wild child. VERONICA: What about you Wallace? Your life still a non-stop Nelly video? WALLACE: Hey, at least I want my life to be a non-stop Nelly video. VERONICA: What do you propose? WALLACE: This. As Veronica finishes up at her locker, Wallace produces a pink sheet of paper with the word "Blowout" on it and a number of symbols. They carry on down the hall and outside. WALLACE: I found this on the floor in gym. VERONICA: You want to crash an 09er party? WALLACE: Maybe. I don't know what an 09er is. VERONICA: It's someone who lives in the prestigious 90909 zip code. WALLACE: Look. You can't even tell who's put on it. You don't know when it starts, where it is or nothing. VERONICA: That's 'cause it's all in code. The moon tells you it starts when it gets dark WALLACE: Ah. VERONICA: the hourglass indicates sand which means it's the beach, the Ks and the 9s tell you it's more specifically Dog Beach. WALLACE: And the little eggs? VERONICA: Friday. It's in code so undesirables, which by the way is you and me, don't show up. WALLACE: How do you know all this? VERONICA: 'Cause I used to be one of them. Cut to a night time beach party. Korn's cover of "Word Up" plays, drink flows and a bonfire burns. Duncan is in a car, surveying the party in the company of another boy. DUNCAN'S FRIEND: What do you say, dog? You ready to get this party started? You ready to burn this mother down. Up, jump the boogie. DUNCAN: [laughs] My plan? And I haven't worked this out entirely yet so bear with me, was to raise the roof. DUNCAN'S FRIEND: See that is so you man, Mr Old School. DUNCAN: Me Old School? You're the one who wanted to come down and get jiggy wid' it. DUNCAN'S FRIEND: Yeah. DUNCAN: So, uh, wanna go meet the locals or what? DUNCAN'S FRIEND: As long as they're humble, god-fearing, salt of the earth types. DUNCAN: Every last one. They head out of the car to h*t the party. SONG: Everybody say When you hear the call you got to get it under way Word up (ahh ahh) It's the call, word No matter where you say it You know that you'll be heard Logan is already there with a vacuous blonde. LOGAN: Nah, I think you look great in pink. He spots them as they get to the bonfire. LOGAN: Yo, DK. SONG: Now while you suck DJs Who think you're blind Duncan joins Logan and the girl and he and Logan slap hands. LOGAN: Hey, who's your date, man. DUNCAN: Oh LOGAN'S GIRL: It's Troy Vandergraff. His father's the architect who built the County Museum. LOGAN: Oh. Well aren't you the little social columnist. DUNCAN: Troy, this is Logan. [Troy and Logan shake hands] I guess you already know Caitlin. TROY: Yeah, from the marina, right? CAITLIN: So aren't you supposed to be going back east for school? TROY: Change of plans. The parents decided they were going to be staying in So Cal so I am enrolling here on Monday. CAITLIN: Yay. LOGAN: Well, lucky us, huh? DUNCAN: So how's the party doing, man? A commotion starts up behind them and they turn to see Weevil, Felix and a couple of other bikes heading through the party towards the f*re. Felix starts messing with some of the girls who are dancing. FELIX: Whoa, huh. Like this? Just like this. [As the girls push him away] What? Time for S'Mores? WEEVIL: [Drinking the party beer] This is the good stuff. Ymmm. [To Logan on his approach] Is this imported? LOGAN: This is a private party, man. WEEVIL: Oh, oh, is it? I-I-I'm sorry. I must have been confused. Hey, l-let me ask you something. Have I ever asked if you if I could come play through at Torrey Pines? Have you ever run into me surfing down at Cape Crescent? Bro'? Huh? Have you ever even once come home to find us throwing the kegger in your backyard? No? Then what the hell do you think you are doing on our beach? LOGAN: Am I supposed to apologise? Am I supposed to shake in my boots? WEEVIL: Maybe. LOGAN: Look around you, man. It ain't 15 on four tonight. [Turns] Hey Caitlin. Baby you've been to my house a bunch, right? CAITLIN: Yep LOGAN: It's nice, right? It's clean, well kept CAITLIN: Very LOGAN: Yeah. Do you wanna know why? It's because Weevil's grandma keeps it that way. [Party crowd woo-hoos] She-she is a good little worker, your grandma, yeah, spick and span. WEEVIL: Ummm. WEEVIL'S TALLER COMPANION: [Hard laugh] Yeah. It's a tough job, you know. Grandma says you go through a box of tissue a day. Your room alone. LOGAN: [Laughing] Well, what can I say? She's a very sexy lady. Thank you. The face-off is interrupted by the sound of the siren from the Sheriff's car. He broadcasts. SHERIFF LAMB: This is the Sheriff's Department. I want your ID's out. Everyone remain where you are. Everyone scatters. Lamb puts down the microphone. DEPUTY SACKS: We gonna go after them? SHERIFF LAMB: No. Let's get out, get the kegs. Tell the guys cook-out at my place tomorrow night. Cut to Weevil's. He and his relative (same grandmother) are playing an American football video game on the TV and two smaller children are running about. The little boy blocks Weevil's view, giving his cousin an advantage. WEEVIL'S RELATIVE: Yeah, uh-huh, yeah. [To one of the children blocking Weevil's view of the screen] Stay right there, stay right there. WEEVIL: Move your ass little man, come on. I'm losing. There's banging at the front door. SHERIFF LAMB: Sheriff's Department. Open up. WEEVIL'S GRANDMOTHER: What did you boys do? WEEVIL'S RELATIVE: Don't worry about it Grandma, we'll handle it, all right? WEEVIL'S GRANDMOTHER: Oh dear! She stands back as Weevil and his relative get the door. Sheriff Lamb is there with his deputy. WEEVIL: I guess you busted all those rich kids already, huh? SHERIFF LAMB: [To Deputy Sacks] Go in. [To Weevil and his relative] Boys. [Holding up the warrant so they and Mrs Navarro can see it] Letitia Navarro, I got a warrant for your arrest. You need to come with us. WEEVIL: Oh, come on. What's you problem, officer. If you want me, be a man about it, bro. WEEVIL'S RELATIVE: [Simultaneously with Weevil] You're crazy. Where you gonna take her, huh? [On his own] What are the charges? SHERIFF LAMB: Credit card fraud. Lamb walks out leaving the deputy to escort a stunned Mrs Navarro. MRS NAVARRO: [Breathlessly] Well, I Weevil follows Lamb outside. The others follow behind. WEEVIL: Credit ca-? She doesn't even have any credit cards, man! SHERIFF LAMB: Not in her own name, no. [Getting in Weevil's face] But somebody took credit card offers out of the Echolls family trash. They opened up accounts. They rang up charges. You heard anything about that? [To get Weevil's attention as he turned to look at his relative] Hey! Nah, I didn't think so. 'Cause it would take a major league loser to let a sweet old lady like that do his time for him. Lamb slaps the warrant onto Weevil's chest and turns to get into his vehicle. Weevil looks back at the children, watching from the top of the steps. WEEVIL: [To his relative] Get them inside, man. Cut to Veronica at her desk in the main office. The door to Keith's office is open and the lawyer is in with him. Veronica is listening. LAWYER: Listen to this list of charges to the card - half dozen video games, limo rides, Magic Mountain tickets, motorcycle gear. It goes on like that. I sincerely doubt my client, Mrs Navarro, suddenly decides to steal from the Echolls after ten years of loyal service just so she can get herself a new piercing from 'Puddy Tats'. KEITH: It's gotta be the kid, Eli Navarro. [To Veronica who has moved herself to the door jamb] What do they call him? VERONICA: Weevil. LAWYER: Oh, clearly it's Weevil. Lamb doesn't even believe it's Mrs Navarro but the PO Box where the merchandise was sent was in her name plus she was wearing a diamond pendant purchased with one of the phoney cards. VERONICA: Lamb could have set Weevil up, he hates him you know. KEITH: Honey, I started picking up Eli Navarro when he was 12. VERONICA: He just helped me out of a jam recently, that's all. LAWYER: Look, I'm sure he's a real mensch but I've got a grandma in jail and I'd really like to get her out. KEITH: We'll dive in, thanks Cliff [shaking hands as Cliff leaves] [To Veronica] Honey, he goes to your school. You mind taking point on this for a few days at least. I'm working on something. VERONICA: I'll see what I can find. Cut to Veronica pulling up at Weevil's house. It's night. As she voiceovers, she gets out of the car and walks over to examine Weevil's bike. VERONICA VOICEOVER: The trouble with befriending the leader of a motorcycle g*ng is that at the end of the day, he's still the leader of a motorcycle g*ng. And as much as I'd like to believe differently, I doubt it's his grandmother who's buying video games and paying for new motorcycle paint jobs. WEEVIL: [From offscreen as he exits the house] I've hospitalised people for less than what you're doing right now. VERONICA: What? Admiring your paint job? WEEVIL: No, what you're doing and admiring my paint job isn't it. VERONICA: I'm just following up on a few things for the lawyer who's representing your grandma. WEEVIL: Yeah, I met the guy. He says I should confess. VERONICA: Do you think you will? WEEVIL: I've got nothing to say to you, man. VERONICA: Weevil, your Grandma's in jail. WEEVIL: Oh, ar-are you reminding me 'cause I almost forgot. VERONICA: I'm just saying with your reputation, you can't blame McCormack for thinking that- WEEVIL: My reputation? Oh well then I guess what everybody says about you is true too, huh? That you, you like it a little freaky, don't you. That you spy on Duncan Kane. That you send him pictures of yourself. Be honest Veronica. You think you're this big outsider but, push comes to shove, you're still one of them. You still think like one of them. Take off. I don't want you around here. [Turns his back on her and walks back to the house.] Opening credits. Scene opens at a diner. Keith and Veronica are sitting in a booth. The counter is behind them and the entrance beyond that. Veronica has a cap on and is writing in a notebook. Keith is eating breakfast and looking at the paper. KEITH: Are you gonna wear that cap inside? At the table? VERONICA: Do you think I'm offending someone? [Looks around] In here? KEITH: Simple etiquette, that's all. Veronica ruefully removes her cap. Sheriff Lamb and Deputy Sacks enter the diner. Lamb spots and heads for the Mars' for some sport while the deputy stays up at the counter. SHERIFF LAMB: Well look who's here. Ahhhh, [sitting at their booth] if it isn't my predecessor and mentor. How's the dirty picture biz, boss? KEITH: [Looking at his newspaper] Looks like it's better than being Sheriff, actually. Yeah, you got a k*ller on the loose, Lamb. [Reads] In a daring daylight escape, Ray Lee Hampstead, denied bail earlier this week after his arrest for manslaughter, broke out the back windshield of a Balboa County's Sheriff's Department cruiser and fled on foot. SHERIFF LAMB: Meeks and Johnson lost him. I think those are two guys you hired. KEITH: [To Veronica] You hear that, honey? That's leadership. [To Lamb] Way to stand up on your own two feet, Lamb and say, hey, the buck stoooops there. SHERIFF LAMB: You know what's coming up October 3rd. Are you doing anything special to mark the one year anniversary of Lilly Kane's m*rder? Got it. Dress like a Sheriff and crucify some poor, grieving father, just for old time's sake, you know? KEITH: Tell me again how you solved the crime of the century. Now wait a minute, I remember, I remember. An anonymous tip leads you to the supposed k*ller's houseboat. Did anybody show up to collect the $100,000 reward for that information? Do'ya find that strange? SHERIFF LAMB: No. What about your theory? Jake Kane m*rder his own daughter. We've got an eyewitness and phone records that have him nowhere near the house. And all the Kanes in fact were accounted for at the time of the m*rder. [Keith smiles] Hmm, [bending his ear forward] what's that? Nothing to say to that, right? [To the deputy at the counter] Sacks, we got our order ready? [Leaves the table] KEITH: Good luck with that fugitive Don. VERONICA: Smell ya, later. KEITH: Smell ya later? VERONICA: [Packing up her books and recapping] I gotta run. The counsellor wants to see me before class. KEITH: About what? VERONICA: [Standing] Uh, my schedule and my attitude, not necessarily in that order. Her words. Veronica kisses her father and leaves. Cut to the school office as Veronica leaves the Counsellor's office and heads for the main counter. Troy Vandergraff is also waiting at the counter and checks her out. TROY: [In fake British accent] Giv'us a smile, luv. COUNSELLOR: [Offscreen] Troy Vandegraff. Troy smiles at a responsive Veronica and heads for the Counsellor's Office. Veronica collects a slip from the counter and turns to leave, running into Wallace on his way in. VERONICA: What are you doing in here? WALLACE: Oh hey. I signed up for diving but there were only like four people in class so they cancelled it, stuck me in here. So don't you mess with me, all right? I'm an Office Aide. VERONICA: That's great! WALLACE: Yeah, for who? VERONICA: For me. I need you to copy all of Weevil's attendance records from this past month and get them to me. WALLACE: Do I look like James Bond to you? VERONICA: Am I asking you to retrieve a nuclear warhead? No. Just copy the attendance records. It's cake. Facile. Wallace smiles as Veronica leaves. Cut to Veronica entering a classroom. There is a notice on the door: "Student Publications - Ms Dent". MS DENT: [To a student] why don't you bring the caption down. See how it works. STUDENT: OK MS DENT: [Seeing Veronica] Can I help you with something? VERONICA: Ah, yeah. The counsellor stuck me in here. [Hands a sheet to Ms Dent] She says I'm disconnected and passionless. CAITLIN: Miss Dent? MS DENT: Caitlin? CAITLIN: I'm gonna go down to the gym to talk to people for the student poll. MS DENT: Be back by the end of the period. And remember that we are a multicultural school with a diverse population of students from a wide range of socio-economic backgrounds. CAITLIN: Meaning? MS DENT: Meaning don't just interview your friends. Caitlin rolls her eyes before departing. MS DENT: So Veronica, welcome to newspaper class. VERONICA: I was thinking maybe I could just take pictures? MS DENT: Well I'm not sure if you can just do that but we can start you there. Do you have any experience with a camera? VERONICA: Yeah. Some. MS DENT: This is a 35mm camera. Now my suggestion is you're starting out is just to set it on auto and that way you- VERONICA: I'd really be more comfortable if I could just use my own camera [pulling out a serious camera] Um, the swivel LCD really comes in handy when you're doing overhead sh**ting or ground level macro- sh**ting. MS DENT: [Bemused] Right. VERONICA: The optical zoom actually goes up to 71.2mm and it's good to have the raw file option because you can mess with the images post-exposure without nearly the loss of image quality you'd get with a JPEG file. MS DENT: And when it's dark outside, you should-you should use a flash. [Both laugh] I have your first assignment. Are you free after school tomorrow? VERONICA: I guess. MS DENT: We're doing a feature on Bodie Chang, you know him? VERONICA: Surfer. Up until 20 minutes ago, I was in study hall with him. MS DENT: That's the guy. So he's winning all these competitions. He's got another one up at Gold Coast. Let me introduce you to the guy who's doing the story. [Leaning over partition] Duncan Kane, this is Veronica. [Oblivious to the discomfort of both] Veronica's going to be taking pictures tomorrow and I arranged for you to ride with Bodie's parents. DUNCAN: I'll drive. MS DENT: Great, maybe Veronica can- VERONICA: I can drive too. MS DENT: OK. Oil crisis be damned. Veronica sees Wallace in the doorway. He has the attendance records. Cut to them at the table outside. Veronica is going through the records. VERONICA: Look at this. Half of these credit card purchases are online orders and the ones that were made on school days were made between 11am and 12pm. That's 4th period. WALLACE: Yeah, you realise don't you that this guy you're trying to help out, duct taped me butt naked to a flagpole just last week. VERONICA: Man, you really hold a grudge. WALLACE: Yeah, I'm funny that way. [Tetchy] Hey you're welcome for those records. VERONICA: Wallace, King Kong ain't got nothin' on you. WALLACE: How you know [laughing]. VERONICA: But think about this. How can a guy who according to these records was in autoshop seven of the eight days these purchases were made manage to make on-line orders. WALLACE: Aren't you supposed to be trying to prove he did it? So you can get his grandma out of jail. VERONICA: But it's impossible. There's no internet connection in autoshop. WALLACE: It can't be hard for him to just slip out of there. VERONICA: Seven times? Wallace sees the point. Cut to Veronica entering Mars Investigations. She can hear her father talking. KEITH: Yeah but his arraignment isn't until Monday. VERONICA: I don't think he did it. Keith and Cliff McCormack are standing by the main office desk as Veronica joins them. KEITH: Who didn't do what? VERONICA: Weevil. Listen, I was looking through the attendance records at school and I just don't think it's possible- KEITH: Veronica. VERONICA: Yeah? KEITH: Cliff's just got back from the courthouse. CLIFF (WAS LAWYER): They released Letty Navarro a couple of hours ago. VERONICA: That's great. CLIFF: They released her because Eli 'Weevil' Navarro came in and confessed to the crime. Cut to the school newspaper classroom. Veronica is sitting at a computer screen. Beyond her Logan is lounging back in his chair, talking to Caitlin. LOGAN: No seriously, how difficult is it to find good help these days. CAITLIN: What are you going to do about your housekeeper situation? LOGAN: We had to let her go. If you can't trust your domestics, you don't feel safe in your own home. CAITLIN: I won't miss her. She was totally rude to me every time I was over there. VERONICA: Did you guys know that 90% of all identity theft is committed by relatives of the victim? That's an interesting fact. At least I think so. CAITLIN: But you know what? No one cares what you think Veronica Mars. Not any more. Not since you s*ab all your friends in the back. VERONICA: You seem to care a bit what I think. LOGAN: Tell the truth Veronica. Did you just sign up for newspaper so you could be around Duncan. VERONICA: No. I'm here so I can be closer to you. In fact they're thinking of putting me in your 4th period government class. CAITLIN: We've got computer lab 4th period. VERONICA: Oh sh**t. My loss. [She smiles to herself] Cut to the school lunch area. Veronica is looking through papers as Wallace comes to join her. WALLACE: What'cha got there, V? VERONICA: I printed out the entire browser history from Logan Echolls' computer in his 4th period computer lab class. WALLACE: So, is he guilty? VERONICA: Well of wanting desperately to see pictures of Alyssa Milano naked, yes. But of making bogus credit card charges, I don't think so. Wait, the Neptune Grand. Logan visited the Neptune Grand Hotel website. He didn't make reservations online but WALLACE: But VERONICA: But there's a charge on the credit card for the honeymoon suite. Cut to the school parking lot. The music is "Hi Lo" by Hometown Hero. Veronica notices a flat tyre. Logan rolls his apple on the boot lid and pauses before walking on. LOGAN: Bummer. SONG: Aren't I looking good Don't you think it's funny This is how You'll make all your money [Not dechipherd] Come on dear, yeah, come on dear [Not dechipherd] Veronica watches him go join the snobby crowd. Later, Veronica is changing the tyre. Troy approaches. TROY: Flat? VERONICA: Just as God made me. TROY: Are you always this persnickity? VERONICA: Sometimes I'm even persnickity-er. I'm supposed to be taking surf competition photos in Gold Coast in 30 minutes and this is my second mysterious flat since school started. TROY: Well here, I mean, let me help you. I'm Troy, by the way. VERONICA: I'm Veronica. TROY: Really. Veronica. OK, yeah, that-that does make a lot more sense. VERONICA: M-makes more sense how? TROY: Aaa, it's nothing. I just, uh, should never listen to those guys. I mean really, who names a daughter Trampy McBitch. They laugh and get on with the tyre. Caitlin motors over to Logan on a pink scooter. CAITLIN: Hey ONE OF THE 09ERS: Nice ride. Logan and Caitlin kiss. LOGAN: Hey munch, how ya' doin'? CAITLIN: Good. LOGAN: Two miles on there. CAITLIN: I know. It's new. [Sees Veronica and Troy] LOGAN: It's cool. Been round school all day? CAITLIN: What's Troy doing talking to Veronica? LOGAN: What do you care? CAITLIN: I don't, I just Has anyone told him? Duncan looks over and sees Veronica and Troy. He approaches. DUNCAN: Hey Veronica, you need a ride? If we don't go now, we'll miss it. VERONICA: Umm TROY: Go ahead. I'll finish this up and throw the tools in the trunk. DUNCAN: Chivalry not d*ad. Good to know. I'm right over here. Veronica grabs her stuff from the boot, smiles at Troy and heads for Duncan's car. Cut to Duncan and Veronica in his car heading for Gold Coast. Fountain of Wayne's "Troubled Times" is playing. VERONICA VOICEOVER: I should have walked to Gold Coast. It's only 30 miles but with the awkward silence, it feels like 300. SONG: When you think you've found something worth holding onto... VERONICA VOICEOVER: In five seconds, I'm just going to do the Charlie's Angel roll right out of the moving car. SONG: ...Were you reaching for attention, hoping she would notice you VERONICA VOICEOVER: Five four three- DUNCAN: Lilly loved this song. SONG: ...Collecting bottles and thrown-away cans... VERONICA: Yeah Cut to flashback of Lilly and Veronica in the same car, Lilly driving. LILLY: Why'd you join Pep Squad, Veronica? VERONICA: Umm, the PE credit. You? LILLY: Veronica, I suffer from too much pep. I needed a pep outlet. Plus Sassy says girls who join a club really get the fellas. VERONICA: 'Cause you really need a lot of help on that front. LILLY: Well, you know what my mom says. You have to kiss a few toads That's it. That's her entire philosophy. VERONICA: All your mom ever says to me is: "Veronica, shouldn't you be getting home soon?" LILLY: That sounds like her. VERONICA: Why does she hate me? LILLY: Um, it's not your fault. She would hate anyone she thought that Duncan might love as much as her. Friendly advice. Watch her. She'll break the two of you up if she can. SONG: Pining away every hour in your room Rolling with the motion... Cut back to present. SONG: waiting til it's opportune... Veronica sees something out of the window. VERONICA: Slow down. SONG: Sitting there watching time fly past you... It's Weevil on a work crew, cleaning up the side of the road. They stare at each other. SONG: ...Why do tomorrow what you could never do. Abrupt change in tempo as Longwave's "Here It Comes" blasts an accompaniment to the action at the beach. Surf's up, Veronica takes pictures, Duncan takes notes and they confer before heading out. SONG: Something's coming over me I'm so tired I can't see The face is all the same when you're wasted Everything is like the last That you're always moving fast The colours in the end are amazing. Cut to them on the road again, now dark. The awkward silence is back. A siren sounds and lights flash behind them. DUNCAN: Wonderful. Duncan pulls up at the side of the road. Deputy Sacks approaches Duncan's side of the car and shines his flashlight into the car. DEPUTY SACKS: Licence and registration. [On Duncan handing them over] Can I have the two of you step out of the car. DUNCAN: Is there a problem? DEPUTY SACKS: Got an impound notice on this vehicle. Bunch of parking tickets and a moving violation dated October 3rd. Duncan and Veronica look at each other in some consternation. Cut to Duncan, now out of the car on the driver's side, speaking into a mobile. DUNCAN: They want to impound the car. Guess there were a bunch of tickets. [Listening, then] No. Not mine. Lilly's. Veronica doing the same on the other side of the car. VERONICA: Just outside of town on the PCH. About a mile from the Real Inn. [Pausing for response] It's a long story. I'll tell you when you get here. Both pocket their mobiles. Cut to a little later. The impound vehicle has arrived as has Jake Kane who heads for the deputy. DEPUTY SACKS: Pull it round the front. IMPOUND DRIVER: Ready to go. DEPUTY SACKS: Yeah. I've already got it in neutral. JAKE KANE: [Calling] Officer! Officer, ah, have you called this into the Sheriff? DEPUTY SACKS: Aah, no sir. We generally don't call in routine traffic violations. JAKE KANE: Well, all right, why don't you give him a shout. [Heading for his son] Duncan? Did you get everything out of- [Sees Veronica] Hello, Veronica. VERONICA: Mr Kane. Keith has pulled up behind the police car and walks towards Veronica. He puts his arm around his daughter. VERONICA VOICEOVER: The last time my dad and Jake Kane were in the same place at the same time, [Kane and Keith look uncomfortably at each other across the top of the car] was in a Sheriff's Department interrogation room. [Flashback to the interrogations] When Jake finished his story, Dad told the most powerful man in town that he was sure he was somehow involved in his own daughter's death. Flashback to the steps of the Sheriff's Department. Jake and Duncan are surrounded by reporters and cameramen. VERONICA VOICEOVER: Jake went to the press, the adoring press, tears in his eyes and told the world how much he missed his baby and how he was wrongfully accused. Cut to the inside the Sheriff's Department as Keith collects his things together. VERONICA VOICEOVER: The fine people of Neptune gathered their pitchforks and torches, stormed the County Commissioner's Office and ran Dad out of office. [Flashback to party] My friends got on the bandwagon as well. [Flashback to the school outdoor seating area where a bag is strategically moved to deny access] They gave me a choice. I could stand by my dad [Flash of Caitlin on her pink scooter, Logan with the tire iron, Duncan with another girl at the party] or stand by Duncan and my d*ad best friend's family. [Cut to Veronica doing a lonely school hall walk as Duncan ignores her as she passes] I chose Dad. It's a decision I live with every day. [Cut back to the scene by the side of the road] And you want to know the kicker? [Veronica and Keith head back to Keith's car as Kane has words with his son] I don't even know what's true anymore. Maybe everyone else is right. Maybe Dad screwed up the investigation. Maybe I gave up my circle of friends, my life over an error in Dad's judgement. DEPUTY SACKS: [To impound driver] Hold on, we're not going to move the car, okay. [To Kane, apologetic] So sorry Mr Kane, I had no idea. JAKE KANE: Thank you. Cut to Keith and Veronica in the car. KEITH: So? What's up? You and Duncan starting to hang out again? VERONICA VOICEOVER: Yeah, I'll tell you the details of my personal life if you tell me why you went after Jake Kane when to everyone else he was a heart-broken father. KEITH: Honey? Are you and Duncan star- VERONICA: No. School assignment, that's all. Can we stop by the Neptune Grand? KEITH: What for? VERONICA: The Navarro case. I need a little help. KEITH: Isn't that already solved? I thought that they had the confessed criminal in jail. [Off Veronica's look] Oh, all right. Fine. What do you need me to do? Veronica smiles. Cut to the Neptune Grand. Keith is leading Veronica through the foyer by the wrist. Keith plays agitated as he makes his way to reception. KEITH: Excuse me. [They reach reception.] We need to talk to somebody in security right now. [Impatiently and loudly] Right now! The receptionist is intimidated. VERONICA: [Whispering loudly to Keith] Dad! Will you just back off and let me handle it? KEITH: [Angrily] You handle it or I handle it but we're gonna get to the bottom of this, right now. VERONICA: [To Keith] No! You just stand over there. You're scaring people. [To the receptionist] Hi. I'm really hoping you can help me with this. RECEPTIONIST: What seems to be the problem? VERONICA: I came in here about a month ago with a guy Long story short, I'm pregnant. KEITH: Gee. RECEPTIONIST: O-kay? VERONICA: Um, here's the thing. The next part's a little embarrassing. I don't remember the guy's name. [Keith growls] Or what he looks like. Tequilla? Never again [chuckles] My dad's wondering if there's any sort of surveillance video we could take a look at or Here's the credit card bill. He had me pay for the room. RECEPTIONIST: Let me go talk to my manager. The receptionist leaves and Keith and Veronica pass a congratulatory look. KEITH: That was good. [They move back from the desk] What? VERONICA: You were a [gestures] little bit over the top. KEITH: You think it worked? A little bit. I can bring it down. [Veronica repeats her gesture] You try it. You try being bad cop. VERONICA: Don't make me laugh [laughing] KEITH: It's easier being good cop than it is bad cop. The receptionist returns with a bill which she lays on the counter. RECEPTIONIST: I'm sorry but we only keep video surveillance for two weeks [Off Veronica's distraught hands to face] but I did get your detailed bill summary. VERONICA: [Chirpy] Oh, thanks. [To Keith] Guess who signed for room service in a room charged to the Echolls family credit card? KEITH: Who? VERONICA: Logan's girlfriend, Caitlin Ford. Cut to the school newspaper office. Veronica arrives from one direction just as Logan is coming in from another. VERONICA: [As Logan passes] I know it was you. LOGAN: Ha, ha. What was me? VERONICA: You stole your mom's credit cards but you made a mistake when you went to the Hotel Neptune Grand 'cause you let Caitlin sign for the room service tab. LOGAN: Well that's great. Prove it. As Logan walks away from her, his face loses its bravado. MS DENT: Veronica! I want to show you something. What do you think? It is the cover of the Neptune High School Navigator. Veronica's picture of Chang surfing covers the front page with the caption "Chang Ten" and "story by Duncan Kane, photos by Veronica Mars". VERONICA: Wow! MS DENT: Pretty cool, huh? VERONICA: Yeah. Ms Dent smiles. Veronica stares proudly back at her by-line. Cut to the Sheriff's Department. Lamb stands with one of his deputies. KEITH: [Offscreen] Wanted man, coming through. Lamb turns to see Keith leading the burly escaped prisoner whose photo was shown in the newspaper in the diner. KEITH: [To Lamb] I believe you misplaced this. SHERIFF LAMB: [To the deputy] Tommy, go on, get him to holding. DEPUTY TOMMY: [Taking the escapee away] Right, let's go. KEITH: You don't think we should alert the media, I mean take some pictures. I thought that was standard operating procedure here now. [On Lamb's failure to rise to the bait, turning to Inga] Hi, Inga. How are Trixie and Bud? INGA: Trixie just had puppies. There's still one left. SHERIFF LAMB: [Interrupting] That's all. KEITH: Now do you plan on cutting the reward cheque personally or should I talk to Cathy down in accounts payable? [Lamb silently turns and walks back to his office] Shall I follow you? Lamb looks back but doesn't respond. Keith heads out. Cut to the schoolyard lunch area. Veronica and Wallace are sitting at their table as Troy comes up behind them and sits down next to Veronica. VERONICA: That's so typical. WALLACE: Yeah, yeah. TROY: How's that spare tire holding out? VERONICA: Aah. There it is, the quid pro quo. TROY: Hey, this great nation of ours was built on quid pro quo. I am having a party on Saturday and you should come. Well, both of you. WALLACE: Cool. TROY: But, especially you. VERONICA: Haven't you heard? I'm not allowed in the first class cabin. TROY: Look. Uh, I don't believe in much but I do believe in this. When sexy, sassy girls can't come to a shindig of mine, it's time for all parties involved to stand up and just admit that, hey, maybe I was a little bit wrong or sorry. I mean let bygones be bygones, screw pride. Let's dance [grooves] baby, let's dance. WALLACE: That was beautiful, man. VERONICA: We'll see. TROY: An open mind. That's all I ask. [Troy leaves] VERONICA VOICEOVER: Is it that easy? Saying maybe I was wrong and get my old life back? Logan passes and gives Veronica a gesture. She packs her bag. WALLACE: Where you off to, superfly? VERONICA: I'm gonna nail that sucker. Logan joins Duncan in another area. They handslap and he sits on a low wall. He sees Caitlin talking to Troy. LOGAN: And this kid Troy, how long have you known him? DUNCAN: Oh, a few years. His family has the slip next to ours down at the marina. They usually come in August. Stay the month. They move around a lot. You know, wherever his dad has a project. Hey, I'm going to get a burrito. Want something? LOGAN: [Staring at Troy and Caitlin, shakes his head] Nothing. DUNCAN: Well you are in charge of your girlfriend's purse. Duncan hands Logan a pink handbag as he leaves. Cut to Veronica in the newspaper office. She is examining the credit card charge list which includes seven telephone numbers. She pulls out her own mobile and dials the first number. TELEPHONE: Hello! And thank you for calling Movieline. She rings off and crosses through the number. Meanwhile, Logan spots Caitlin's mobile in her bag. He palms it and look at the 'Call Records' while keeping a wary eye on Caitlin and Troy. He runs down a list of numbers. Back to Veronica. TELEPHONE: [Female voice] Hello? VERONICA: Yeah, hi. Uh, this number appeared on my cell phone bill and I don't recognise it. Can you tell me who this is? TELEPHONE: It's Jesse Ford. And who's this? Veronica cuts off the call. She crosses off this latest number and is down to the last one. It's 619-555-0136. This is the same number that Logan has now highlighted on Caitlin's phone. LOGAN: [To himself] Who's she calling at one in the morning? Veronica punches in the number, Logan hits the return button. He gets through as Veronica gets a busy signal. Logan continues to observe Troy and Caitlin as he waits for an answer. TELEPHONE: [Male voice] Ah, hey baby. Calling me during the school day, that's-that's daring. Logan holds the phone to his ear, says nothing but stands to look round to spot the speaker. Veronica makes another call. VERONICA: Dad, hey. Can you run a cell phone number for me? Logan is still looking around. A lot of students are using their phones. TELEPHONE: Baby? Hello? Baby? Ah, you want to play the silent game. [Laughs] Alright, baby, later we'll play a tickle game if you want. Logan finally spots him. It is Weevil's relative. WEEVIL'S RELATIVE: That's cool baby, I'll just talk. I know you like it. I miss you mama. I can't wait to see you. Logan cuts off the call. He expels breath in a rueful grin, quickly replaced by an evil look. Cut to the school hallway where Logan and some 09er lackeys are purposefully heading for Weevil's relative who is walking ahead of them. Veronica intercepts him and pushes him into the girl's bathroom. WEEVIL'S RELATIVE: Best watch it little girl. VERONICA: Confess, it's good for the soul. WEEVIL'S RELATIVE: What? VERONICA: Moron says what. WEEVIL'S RELATIVE: What? VERONICA: You're busted, Chardo, do I have to spell it out for you? CHARDO: Yeah, why don't you? VERONICA: All right. So one day, you go to pick up your grandma at the Echolls house and she asks you to take out a bag of trash and there they are in front of you, virgin, high-limit, pre-approved credit card applications. Just phone in the confirmation code and start spending. Then you use Logan Echolls' family's credit cards to take out Caitlin Ford in the manner to which she's accustomed. Gourmet meals, five star hotels, limo rides. But the best part about it is that your cousin Weevil takes the fall for you. So you're promoted. CHARDO: I didn't want that to happen. Weevil's like my brother. VERONICA: Your brother's out picking up trash on the highway. CHARDO: You know what? It's k*lling me, okay? But you see, I got a plan. VERONICA: I'm all ears. CHARDO: Caitlin and me. We're gonna run away. [On Veronica's laugh, with feeling] We are and once we're gone, then I'll write a confession, I'll send it back. They gotta let Weevil go then. VERONICA: Chardo? Caitlin Ford is never gonna run away with you. CHARDO: You don't know her. VERONICA: Oh, I know her. She's a thrill seeker. Doing you was like doing the do and that's all it was. [As Chardo heads for the door] You can't go out there because Logan knows and he wants your head on a stick. CHARDO: I ain't hiding, am I? VERONICA: What are you going to do when Weevil finds out? CHARDO: How's Weevil gonna find out. VERONICA: [Quietly] You should turn yourself in. CHARDO: I ain't going nowhere without her. [Sniffs] Caitlin and me, we love each other. VERONICA: So tell me why every time I see her, Logan Echolls has his hands all over her. Chardo pauses with his back to Veronica before wrenching the door open and exiting the bathroom. Cut to Mrs Navarro's house where Veronica sits with her at a table. VERONICA: I don't understand why you're doing it. You know that Chardo gave you that pendant but you're letting Weevil do the time for him? MRS NAVARRO: Eli is still 17. Chardo is 18 and he's got a record. They'd send him to prison. Weevil can do four months of juvie. VERONICA: Weevil thinks he's taking the fall for you. MRS NAVARRO: [Dismissively] I have dinner to fix. VERONICA: Do you know what he was doing with those credit cards? [Pulling out the list of credit card charges] He spent all that money, thousands of dollars, taking out a spoiled, rich, white girl. Logan Echolls' girlfriend. You must have met her. Caitlin Ford? MRS NAVARRO: Iee no, not her. Huh! She doesn't like her ice cubes made with tap water. VERONICA: You lost your job and now Weevil's doing time so that Chardo can take this girl out in style. MRS NAVARRO: Let me see those receipts. Veronica hands them over. Cut to Weevil being dropped off home by a police car. His grandmother, who has been sitting on the porch with Veronica, races down the steps to meet him. MRS NAVARRO: Eho. [They hug] Oh, it's so good to have you home. WEEVIL: Veronica Mars, I hear you're to thank for this Kodak moment. Didn't you get the memo? The bad guy was already in jail. Gimme some love. [Hugs her] MRS NAVARRO: Eho, I wanna make you something to eat. WEEVIL: [As she goes into the house] Okay. VERONICA: You should know. The judge issued a warrant for Chardo after authorising your release. They're out looking for him. WEEVIL: Yeah, well. They won't be the only ones. VERONICA: Logan and the 09er's are after Chardo too. You should find him before they do. WEEVIL: We'll find them. Cut to Chado, getting off his bike in front of the Ford residence. He is talking into his phone. CHARDO: Baby, it's me. I'm outside. This is it. It's time to go, it's what we talked about. Caitlin! Look outside your window. I'm here. [Caitlin appears at the window and stares down at him] What's wrong, baby? Some 09ers have gathered behind Chardo. CHARDO: Is everything okay? Some more 09ers step out from behind trees in front of him. Caitlin watches impassively from her window. He's surrounded. A car pulls up. Logan gets out. LOGAN: [Addressing Chardo but looking up at Caitlin] Well. If it isn't the bad apple thinking he can steal my girl. CHARDO: I already stole your girlfriend. You're just too dumb to know it. Logan punches him in the face and he goes down. Logan places his foot on Chardo's chest. Bikes can be heard coming closer and Weevil's g*ng come round the corner and stop. Logan increases the pressure of his foot on Chardo. ONE OF THE 09ERS: Check it out man [indistinguishable]. CHARDO: Sweet music, huh? [Leers] LOGAN: [To the 09ers] Hold him. BLONDE 09ER: Don't move. LOGAN: Well, I guess this is what they call inevitable, huh? Hey look, you even got home court advantage. WEEVIL: Let's talk. ONE OF THE 09ERS: What's up with that, man. The 09ers chatter as Weevil and Logan move off to talk privately and briefly. LOGAN: [To the Blonde 09er holding Chardo down] Let him go. BLONDE 09ER: Logan! LOGAN: I said let him go. The 09ers are disappointed and grumble. Logan drives off as Chardo climbs back onto his bike. He looks back up at Caitlin who disappears back behind the curtains. Cut to the beach. Chardo is in the middle of the group, tapping fists as Weevil stands a little apart from them. CHARDO: You're the man, you know what I'm saying. You were there for me. I like that. I appreciate it, you know what I'm saying. [To Weevil] Most of all to you man. I'm sorry you had to take the fall. I was gonna get you out. You and me, we're brothers. Chardo holds his hand up to grab Weevil's but Weevil ignores it and looks down at the ground. WEEVIL: You're out. Out of the club. Out of my life. And you know what that means. Weevil turns his back and walks away from him as the g*ng move closer around Chardo. CHARDO: Weevil, come on! Cous! Hey, let me make it up to you. Eli! Eli! The bikers start beating on him. WEEVIL: Pull them off before they go too far. FELIX: You got it boss. Felix joins the beating as Weevil rides off alone. Cut to the offices of Mars Investigations. VERONICA: Dad? KEITH: Yeah, honey. VERONICA: What made you go after Jake Kane? KEITH: What makes you ask? VERONICA: Other than that question defines our very existence? I think if I knew more about the case and the evidence KEITH: Honey, it's ugly. I want thoughts of Lilly's death out of your head. I don't wanna pour more into it. VERONICA: I can handle it. KEITH: Let's look at it this way. If I knew what would happen to us, that your mom would leave, that school would get tougher for you, I never would have pursued Jake Kane the way I did. VERONICA: I still wanna know. KEITH: I know you do. Let's go home. Cut to Veronica walking into the Sheriff's Department. VERONICA VOICEOVER: A couple of weeks before Lilly was m*rder and Dad was still Sheriff, she and I snuck into the backroom and made ourselves fake IDs so we could get into clubs. I had them sent to my house. The arrived days after her body was discovered. I stuck them in a drawer and forgot about them until the deputy mentioned Lilly's October 3rd ticket. The good thing about visiting the Sheriff's Department on a Sunday, is that most of the people who work on weekends don't remember me. They're new. NOT INGA: Is there something I can help you with? VERONICA: Yeah, the insurance company called my dad and said we had an outstanding ticket. Um, there's the licence number. NOT INGA: OK and can I see your ID? Veronica pulls out an ID and hands it over just as Lamb comes up behind her. Not Inga gestures 'just a minute' and walks away from the counter. SHERIFF LAMB: What are you doing here? VERONICA: I'm just paying off a ticket. [As he walks away] Hey, any luck finding Chardo Navarro? No? You should talk to my dad, he's really good at that sort of thing. SHERIFF LAMB: You got a smart mouth, kid. Veronica smiles sweetly and shrugs. Lamb heads into his office just as Not Inga returns. NOT INGA: Yeah, I don't think there's any wiggle room on this one. VERONICA: Thanks. I'll mail in the payment. NOT INGA: All right, Miss Kane. Sorry 'bout the bad news. Lamb pops his head out of the office, unsure of what he heard (or not). Cut to a close up of the information Veronica has collected. It is a copy of both a ticket and photos of the licence plate of Lilly's car and one of her driving. She is smiling broadly. Veronica is sitting at one of the school outdoor tables. VERONICA VOICEOVER: I haven't gone more than 30 minutes without glancing at the ticket. One of those automated intersection cameras caught Lilly running a red light at 6:02PM, almost two hours after her supposed time of death. I don't know if it's the photo of Lilly, singing and smiling on the final day of her life that's been haunting me or the fact that suddenly none of the Kanes have alibis that hold up - Jake, Celeste, even Duncan. Dad was right. The case doesn't add up. I made a choice a long time ago. Stand by Dad or stand by the people tearing him down. Troy sits down next to her. She folds the ticket away. TROY: You didn't make it Saturday night. VERONICA: I guess I didn't feel I was even a little bit wrong or sorry. TROY: Well a wise man once said that a 'No' is like a 'Yes' except with different letters and arranged in a different order and spoken out loud but, you know, it disappears on the wind. Veronica is amused and smiles as Wallace joins them at the table. WALLACE: There goes the neighbourhood. They just put Golden Tee in at Sac-n-Pac. You need to go there 'cause your not going to get your free game- VERONICA: Guys. Look. Behind Wallace the 09ersare gathered. Caitlin goes to sit next to Logan when one of the girls deliberately moves to block her. Caitlin tries to move in further down but she is again blocked. Veronica watches with pained familiarity. Caitlin is well and truly ostracised and walks away. WALLACE: Hate to be her. VERONICA: Yeah, that would suck. [Shaking it off] I've never played Golden Tee but I'm pretty sure I can kick both your asses. Veronica leads them out to head for the Sac-n-Pac. TROY: Ooh. WALLACE: Wo-ho. TROY: Lead the way. VERONICA: I'm just saying TROY: I think we got a competition

{"type": "series", "show": "Veronica Mars", "episode": "01x02 - Credit Where Credit is Due"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars ... Duncan Kane. His billionaire software, Jake Kane. He used to be my boyfriend. Then one day ... Accompanied by various scenes: Duncan Kane walks towards camera; Veronica watches from her table; flashback to Duncan and Veronica kissing as they walk; Lilly and Veronica washing a car. LILLY: I've got a secret. A good one. The Kane residence the night of Lilly's m*rder. VERONICA: Duncan, what happened! Where's Lilly? Veronica sees the body; school. LOGAN: Does your dad still think that Lilly's father did this? That's Duncan's sister, your friend? VERONICA VOICEOVER: My dad's belief that Jake Kane was the m*rder became a moot point. An emergency recall election removed him from office. A month after Dad lost his job, Mom split for good. It's been eight months since I've seen my mother. Accompanied by various scenes: interrogation room with Keith and Jake Kane; Keith's carrying his stuff out of the Sheriff's Department; Lianne and Keith arguing; Veronica overhearing; Lianne's letter to Veronica. End Previously. The scene opens with the head of the busy school. BOY # 1: [Offscreen] Sarah Kramer. Camera reveals three boys watching her from one of the tables. BOY # 2: You are gay. The girl's a model. BOY # 1: She's in my class BOY # 3: Yeah, she's cute in a Hilary Duff meet with the gallery of Teen People kind of way. She's not hot. Boy # 2 spots Veronica and gestures in her direction. BOY # 2: Her. BOY # 1: Who, Veronica Mars? BOY # 2: Yeah. She comes into the video store. BOY # 3: Do you know her dad's a private detective? BOY # 2: Seriously? BOY # 3: No, in a movie. Yes, seriously and she works with him. Eight and a half, that's my final offer. BOY # 2: Dude. S-she's that smokin 'and a private eye? That's gotta make her at least a nine. Troy runs to catch up to Veronica as she continues along. TROY: Guess what I'm doing this weekend. VERONICA: I'm guessing it involves autoeroticism. TROY: Close. I will be cruising the marina in my dad's Saber 386. That's a luxury sailboat. You know, wind through my hair, Strokes blasting through the speakers and, with any luck, a wide-eyed impressionable vixen by my side. VERONICA: Printable, me? Ha. TROY: Wo-wo-wo-whoa. I said 'impressionable'. Not-not you. You know, you might want to check your ego at the door there, missy. Troy walks on leaving Veronica standing. She looks after him, smiling, until a student collides into her, knocking her files out of her arms and rushing on. VERONICA: Thanks, man. As Veronica picks up her stuff, Duncan bends down to help. He is dark and says nothing as he stands up and walks on with Logan. VERONICA VOICEOVER: The weird thing about going to school with your ex is they're inescapable. Everywhere you turn, there they are. New scene: Duncan floats in a pool, sunglasses and iPod equipped. He gently paddles to "No Blue Sky" by the Thorns SONG: Cold outside But I do not blame the weather No one's calling No one's at the door But I can not stay inside all day Blinds pulled to the floor ... JAKE KANE: [Blocking Duncan's sun from the side of the pool] It's a beautiful day, huh? A beautiful lazy day. Are you gonna get off that raft anytime soon? Duncan languidly removes his iPod earpiece and stares impassively up at his father. DUNCAN: What? JAKE: [Pacing the edge of the pool] Listen, I was, uh, I was thinking about next summer. And my friend, Ron Curtis, he's an advisor for Senator Rake in Washington. Now, he's got an internship that is opening in his office. I think you should write him a letter and you should express your interest in politics. You could, uh, you could tell him about it, you can tell him about it, you know what you mean, you know what you did for Schwarzenegger ... Jake's words drift away Duncan disinterestedly replaces his earpiece. SONG: ... But the sun never looked so pretty down ... Cut to the exterior of the Mars' apartment block. It's late. KEITH: [Offscreen] So I got a call from your Guidance Counselor today ... Cut to inside. Keith and Veronica are eating supper. KEITH: ... and she wants to see me. Any idea what for? VERONICA: Nope. KEITH: Have you been playing nice with the other children? VERONICA: You know, Dad, I'm Old School. An eye for an eye. KEITH: I think that's actually Old Testament. VERONICA: Hm. KEITH: Come on. No help? You're not gonna give me any idea of ​​what to expect? VERONICA: Honestly I have not a clue. Can I ask you a question? Keith nods. VERONICA: What do you think Mom was doing the Camelot motel with Jake Kane two weeks ago. He sags. KEITH: I told you to stay away from that case. VERONICA: I just do not understand. She's only in Arizona. Why-have not you been looking for hermetically KEITH: Veronica. Please. Veronica stares at her father upset. She gives up and attempts to lighten the mood. VERONICA: How 'bout those Padres? It does not work. Keith wordlessly collects his plate and leaves a thoughtful Veronica at the table. Kane residence at the table. JAKE: You know, I just want to see him passionate about something. CELESTE: As long as it's something you're passionate about. JAKE: No. Anything. You know, he's not going to get a good deal. CELESTE: I think we could be a little more patient, Jake. JAKE: We all lost Lilly and we all miss her. But that does not mean we stop living our lives. Throughout, Duncan takes no interest in the conversation, stares dumbly down to his plate and plays aimlessly with his food. Cut back to Keith and Veronica in their modest kitchen. Things are still a little strained. KEITH: Got any more liquid soap? VERONICA: Check underneath the sink. I'm gonna go to the library, okay? Do not wait up. Veronica kisses her father on the cheek and leaves. Back at the Kane's, Duncan rises from the table. CELESTE: Where are you going, sweetie? DUNCAN: Just over to Shelley's. CELESTE: OK. Well please be back before 11. It's school tomorrow. Duncan acknowledges with a brief nod and leaves. Cut to the blue screen of a flashback. Veronica and Duncan are going hot and heavy in the back of a car. However, Veronica does not have long hair and both are wearing the same clothes as in the above scenes. Cut to Veronica abruptly sitting up in bed, panting heavily from her dream. Opening credits. Scene opens on the inside of a video store A brunette woman approaches with a video and is served by Boy # 2 from the teaser. She hands him a DVD. WOMAN: Excellent recommendation as always. Thank you. BOY # 2: Oh yeah. Kevin Spacey is so amazing in this. And you should check out "Body Heat". An older assistant boy slaps # 2 on the chest with a couple of DVDs. ASSISTANT: These are late. WOMAN: Buh-bye. BOY # 2: See ya. VERONICA: [Offscreen] Rent it if you want to rent it. I'm just saying, I'm not gonna watch it. Veronica comes into view, following Keith and pauses at the counter as Keith moves on. VERONICA: [To Boy # 2] There's only a lot of things going on in this girl. "Slapshot", you know what? I'm saying? BOY # 2: So, um, is it true? VERONICA: That's what it says on the sign. BOY # 2: And you work with him? VERONICA: Sometimes. BOY # 2: Can I talk to you about something? VERONICA: Sure. BOY # 2: It's kinda private. VERONICA: [Looking around the store] Find me at school tomorrow. BOY # 2: OK. KEITH: [Coming to the counter] I got "The Cowboys" too, just in case we need a backup. Veronica gestures behind Keith to Boy # 2 Keith has checked out this movie. Cut to the Kane kitchen. Duncan takes a container of milk from the fridge and drinks from it. CELESTE: Duncan? This is me reminding you to take your pill. Darling, there's absolutely no shame in taking anti-depressants. I do not know anyone who has not used them at some point in their lives. I know it's been rough since your sister died. More you've only been on them for what? Six months. Just give them a little more time. Duncan juggles the tablet standing over the sink. Unseen by Celeste, the tablet drops down the plug hole. CELESTE: Oh, will you be home for dinner? DUNCAN: Yeah, sure thing, Mom. CELESTE: Good. Celeste leaves as Duncan stares down into the sink. Cut to the busy school hallway. Veronica stops as someone cuts in front of her and looks around. She sees Duncan at his locker with Logan. Everyone speeds past her as she pauses in reverie. Eventually, Troy bumps into her. TROY: Oh hey. What's going on? VERONICA: Let's go out. TROY: Finally! The girl comes to her senses. They move on Duncan and Logan come up from behind them. LOGAN: Hey, did you hook up with Shelley last night? DUNCAN: Uh, she's a talker. She's a talker, you know. Turns out she has conflicted feelings towards her new step-mom and the color scheme the woman's chosen for the family rec LOGAN: I hate it when they talk. DUNCAN: Yeah, I know it. LOGAN: [Tronic and Veronica spotting talking by the lockers] Hey, have you noticed that the new kid in town has, uh, been all over your ex-trailer-park? DUNCAN: Let it be, Logan. LOGAN: OK, nowhere man, you're the fool on the hill. See if I care. [On Duncan's sudden pale sweatiness] Dude, you do not look so hot. Duncan does a hang on gesture and rushes away. Logan looks back over at Veronica. Cut to the bathroom. Duncan splashes water on his face. He looks at himself and seems to find an unbidden clarity. Logan is smirking over one of Duncan's notebooks as he waits and puts back Duncan's bag as Duncan comes out of the bathroom and joins him. LOGAN: You okay? DUNCAN: Never better. LOGAN: OK. [On Veronica dragging Boy # 2 in the girls' restroom] That girl is seriously whack. Duncan shakes his head in bemusement and the scene shifts to Veronica and the boy. Veronica checks to make sure they are alone. BOY # 2: I do not think VERONICA: You wanna talk? BOY # 2: Uh, yeah. Do you think you could find someone for me? VERONICA: Who? BOY # 2: M-my father. He ran out about ten years ago and has not heard from him since. VERONICA: Sounds like a winner. Are you sure you wanna find him? BOY # 2: Well, yeah ... Veronica races to the door to a couple of girls trying to enter. She shuts the door on them and shoves a wedge under the door with her foot. BOY # 2: ... but mainly I just gotta know what happened to him, you know? VERONICA: Why now? Why did not you look for him before? BOY # 2: Well ... um ... my mom got laid off a couple months ago aa-and she's working these two really crappy jobs and I'm working too. And we barely get by. VERONICA: What can you tell me about him? BOY # 2: Well I have not seen him since I was about six or so. VERONICA: OK, can you get me a picture? BOY # 2: Mom destroyed them all. VERONICA: Last known address. BOY # 2: I was born in LA so we lived there 'til I was about two. VERONICA: Can you get your hands on your social security number? BOY # 2: Ummm, no. VERONICA: Date of birth? BOY # 2: Nuh-uh. VERONICA: All right, the name. Can we manage that? BOY # 2: It's John. Smith. Cut to the school office area. A woman approaches Keith. COUNSELOR: [Shaking hands] Mr Mars, hi. Thank you for coming in. KEITH: Miss James, yeah. I was a little surprised by your call. MISS JAMES: Oh, I do not want you to worry. Veronica's an excellent student. [Leading him into her office] I think she's amazing. She's got a great mind. KEITH: So what exactly am I here? MISS JAMES: Um ... [closing the door] ... well we've noticed a dramatic change over the last year. She's late, she's late, a lot, she had attitude with some teachers, she falls asleep in class and socially, she seems to be a bit isolated. KEITH: Yeah. Yeah, she's gone through a rough year. MISS JAMES: I know. I know how close she was with Lilly Kane. KEITH: I'd say Veronica's doing pretty well given the circumstances. Where are you going with all this? MISS JAMES: Look, if you find this difficult and many single fathers of daughters do, I would be more than happy to KEITH: [Prickly] No, no. I can handle it, thank you for the heads up. MISS JAMES: Anytime. Keith leaves. Cut to the Kane's dinner table. This time, Duncan follows his parents bickering as if it were a tennis match. JAKE: A life coach? [Laughs mockingly] CELESTE: Did not we just have a discussion about our lack of focus? JAKE: Oh no, you're-you're right. Let's get him an astrologist, too. Maybe aa past life consultant. [Amusing himself no end] Throw in a Pilates coach. If yours can free up some time. DUNCAN: [Reason for your glasses everyone, I'd like to make a toast. [His parents are surprised by this sudden show of animation] To Molly. JAKE: Molly? W-who's Molly? CELESTE: Our old dog, the lab. DUNCAN: Yes, sweet old Molly, God rest her soul, but boy could that dog catch a frisbee. Huh! If only she had the good sense in our flower beds, she'd still be with us. CELESTE: Duncan! Honey, it's been six years. When are you going to let this go? I'm sure she was in a very happy home. DUNCAN: To Molly! The best friend has a boy could have. Duncan drinks, slams his glass down on the table and walks out. BOY # 3: [Offscreen] Are you going to study group later? Cut to Nepturne High School. The boy from the video store and one of the others from the teaser walk across the grounds. BOY # 2: Owen, dude, I can not. I'm gonna hook up with Veronica Mars. OWEN: Yeah, and I'm going parasailing with Halle Berry. BOY # 2: No, I'm serious. She's working this case for me. She's gonna help me find my missing dad. OWEN: Correct me if I'm wrong, did not you like it, like, seven years ago? BOY # 2: Well, then, I guess it's gonna take her long time to find him. Oh yeah. He smiles back at an impressed Owen as he moves on. Cut to Mars Investigations. Veronica is at the desk in the office and Wallace is stuffing envelopes on the other side of the desk. Veronica is recording a message as Keith enters the office. VERONICA: [Into the phone] Hello. You've reached the administration office of the Stamford summer program. [Sign in to leave a comment] Wallace stands and turns to face Keith who looks for a moment and holds his hand. KEITH: Keith Mars. WALLACE: [Shaking hands manfully] Hi, Sir. Wallace Fennel. VERONICA: [Boastfully] Wallace is a friend of mine. [Performs a martial arts finishing gesture with her hands] Take that, High School Guidance Counselor. KEITH: Well, hello Wallace. Now what's going on here? VERONICA: Helping a kid at school in his deadbeat dad, the somewhat inconveniently named John Smith. But I have narrowed the field down to 440 John Smiths. So I'm sending each of them a letter addressed to his congratulating him on his scholarship and I figure it out to John Smith. got the wrong address. KEITH: Part of me is proud ... and let's just leave it at that. VERONICA: Oh, I used one of the dedicated phone lines. I hope that's all right. We're gonna trace all the calls that come in. KEITH: [To Wallace] So how did she rope you into this? WALLACE: She promised me all the keys to- [off Veronica's warning look] She's promised to be my friend. KEITH: I'd've held out for a better offer. [Veronica grins] I'll be in my office. [Disappears Into His office and shuts the door] VERONICA: [Quietly] Hey would you do me a favor? WALLACE: Why did not all the hair on the back of my neck just stick up? VERONICA: It's not that big of a deal, just ... the next time you're in the Administration Office, could you borrow my permanent file? I want to see what counsellor is telling Dad. WALLACE: Oh yeah, no big deal. I can get expelled for that. Veronica sweaters face and Wallace nods resignedly. CELESTE: [Offscreen] Morning, darling. Cut to the family kitchen. Celeste Duncan kisses. CELESTE: The pill's on the counter. N'oubliez pas. DUNCAN: Great. Thanks. CELESTE: [Heading out of the kitchen] Sophia? Duncan takes the tablet and the glass of water and the mother talks to the maid, Duncan deliberately drops the tablet into the sink. CELESTE: [To Sophia] I'll be out for a few hours. While I'm gone, I'd like to take out- Cut to Neptune High. WALLACE: Did you call your geometry teacher a jackass? VERONICA: That's totally taken out of context. Let me see it. WALLACE: [Holding it away] Ah-ah-ah-ah. Hold up, grabby. I'm discovering a whole new side of you. Damn, Miss Applebaum loved her some Veronica Mars. [Reading] "Veronica Mars is a complete angel and a joy in class every day". VERONICA: [As they sit on a low wall] Mrs Applebaum? That file goes to the second grade? In the background, Boy # 2, sitting at a table, turns and sees them and heads towards them. WALLACE: Kindergarten. [Looking at the file again] Awww, sweet. You wrote your teacher a poem. VERONICA: OK, yes, I was a kiss-ass. You've gone out now I can not see it? As Boy # 2 on them, hides the file under his jacket. BOY # 2: So, uh, any leads yet? VERONICA: We should know something by next week. BOY # 2: Oh, h-hey, I've got something for you. [Digging into his bag] I just b*rned a few songs for you. [Handing over a CD] It has the new 311 on there. VERONICA: Thanks. BOY # 2: Wel-, you know, I just thought you were a stakeout or something, yeah, okay, later. Justin leaves, Wallace laughs and Veronica casts him a doleful look. WALLACE: He brought you a mixed tape. VERONICA: Shut up. Hey, do me a favor. WALLACE: Please be kidding. VERONICA: Get me his file. Cut to Troy and Veronica at a restaurant. TROY: So we get the idea to make it onto America's Funniest Home Videos with this fake shark plan. VERONICA: Oh my god, I remember that. That was you? TROY: The plan was to cut off the dorsal fin, nail it to a board, strap the board to my back and have me swim around the public beach. And Duncan's gonna stand on the shore and videotape the mob scene. But it never happens. I'm swimming out there for like, 15 minutes. No one even notices. VERONICA: [Laughing] You guys were idiots. TROY: Yes. Yes, we were. Finally, lifeguard, he spots me. The clod pulls out a r*fle. OK, lucky for me Duncan spots him. He goes sprinting towards the lifeguard tower. He was bawling his eyes out, I might add. So, h-he's running, he's shouting, he's saying 'no, no-no, do not sh**t, that's my friend, that's my friend'. [Pause] Saved my life. VERONICA: [Wryly] That's one way of looking at it. TROY: [Of the muzak playing in the background] I'm kinda-I'm kind of tired of this song. [Bangs his fist on the mini-jukebox on the table to no effect] I would have expected sex had that worked. VERONICA: Had that worked, you would have gotten it. Try it again. TROY: [Looking around] Check! Veronica giggles. Cut to them walking along a walk. TROY: Let me see your phone. Veronica hands it over. Troy keys. VERONICA: What are you doing? TROY: It is now booty call enabled. VERONICA: In case I need a little late night action? TROY: Action. Investment advice. Whatever. He hands her back her phone as they reach her car. TROY: So ... [Moving in] VERONICA: I should really get home. I'd invite you to go to school and go to school. He says he can look into a guy's eyes and tell his true intentions which I know sounds like a myth, but I- As Louque's "Art" starts up, Troy bends down to cut her off with a kiss. Veronica flinches back. TROY: Aah, o-kay then. Troy gently takes her hand for a soft handshake. TROY: [Doing a flourished bow] And good night to you, ma'am. Troy opens the door for Veronica and closes it behind her. He nods his head and walks back to his own car. Veronica watches regretfully. SONG: Heading down and I'd run. Taking all with soul Life Delay, thesis vacancies Eee-ooo ... Cut to Veronica sneaking into the apartment, unsuccessfully as Keith HAS Waited up for her. KEITH: How was your date? VERONICA: Aah, you know. Lousy conversation but the sex was fantastic. KEITH: That's not funny. SONG: I'm drowning ... VERONICA: I do not know. I'm pretty sure it was. SONG: ... Keep running, keep running Your time's coming- The music cuts with Veronica closing the door as she walks into her bedroom. VERONICA VOICEOVER: Brain? Check. d*ad sexy? Check. Devilish charm? Check. Great scrabble opponent? Who cares? [Falling onto her bed] What's wrong with you, Veronica? What are you waiting for? Cut to another scene of present-day Veronica and Duncan making out in a car. They sink below the bottom of the screen. DUNCAN: Veronica. The girl jerks the couple back into view. It is still Duncan, but the girl is not Veronica. SHELLEY: [Offended] What did you just call me? DUNCAN: [Thinking hard] Uhhh ... Duncan does not hide that he finds the situation hilarious. Cut to Neptune High. Wallace approaches with a file as Veronica closes her locker. WALLACE: Justin's permanent file. [Handing it over] You might want to take a look at that. VERONICA: Why, is it going to self-destruct in five seconds? Veronica reads and looks at Wallace in disbelief. Cut to outside. Justin, Owen and the other boy are at one of the tables. Veronica steps up to them. VERONICA: I need to talk to Justin. [Off the looks of the other two] Alone. They slink away. JUSTIN: See'ya guys. VERONICA: [Placing a sheet of paper in front of him] Explain this. JUSTIN: My evaluation from the first grade? VERONICA: Yeah. Read it to me. JUSTIN: "Justin shows talent in his finger-painting and other arts and crafts projects." VERONICA: Further down. JUSTIN: "This behavior is not surprising in the light of his ... father's recent death." [Sheepishly] Whoops. VERONICA: [Pissed off] Everything you told me was a lie, Justin. You wereted my time. That drives me crazy. And you owe me $ 150 in postage. SCHOOL OFFICE WORKER: [Offscreen] Excuse me. [Coming into view] Are you Justin Smith? JUSTIN: [Standing] Yeah? SCHOOL OFFICE WORKER: [Handling over an envelope] This came for you. JUSTIN: Thanks. [Opening it] It's the, uh, scholarship letter that you feel out. And there's a note. [Handling it to Veronica and sinking down into his seat] I-it's from my father. They stare at each other. SONG: I should not have to ... Keith knocks and enters. KEITH: Someone to see you. VERONICA: Describe this someone. KEITH: White male, pint-sized, desperate and not having a good day. SONG: ... All I need is ... Veronica rolls her eyes but gets up. Cut to Justin, outside the front door of the Mars' apartment. JUSTIN: Hey. So ... II bicycled all over here. I just wanted to say I'm sorry. VERONICA: You could have saved it 'til tomorrow. JUSTIN: So, aah, I showed my mom his letter. She got all mad. Made me promise to try and find my dad. Veronica is leaning against the edge of the open door of the apartment. Keith can be seen inside, within earshot. VERONICA: So he really is alive. JUSTIN: My mom said I was actually better off this way. Thinking he was d*ad. VERONICA: Maybe you were. Keith raises his head in concern at this. JUSTIN: I mean, I have a dad somewhere out there in the world. How can I not find and find out what happened to him? It would k*ll me. VERONICA: [Relenting] Let me see the letter again. Veronica takes the letter. Cut to a computer screen bearing the title "The Invisible Eye.Net Worldwide Investigation Services". The name 'John Smith' is being entered into a Multi-Database Search. VERONICA VOICEOVER: The letter Justin received from his long-lost dad bore in San Diego postmark. Of the 440 John Smiths out there, only three were in San Diego. Veronica is in her room, on the laptop. There is a soft knock at the door. VERONICA: Come in. KEITH: [Quietly] Hey. Could not help but overhear. VERONICA: Yeah, sorry. KEITH: No, it's not that. It's just that I never want you to think your mom's the villain in all this. VERONICA: Is not she? KEITH: No, it's not that simple. VERONICA: Yeah it is. The hero is the one who stays and the villain is the one that splits. KEITH: I do not think that's a healthy prospect. VERONICA: It's healthier than me pining away every day praying she'll come home. Keith can not think of what to say and leaves. VERONICA VOICEOVER: The truth was I'd figured out exactly where my mother was staying. [On the laptop, Veronica matches the plate to an address] But I was not sure about that. She writes it down on a post-it and pins it to her board. It reads: "304 Paraket Lane, Phoenix Az 85207". VERONICA: [Offscreen] Wait up. Cut to Neptune High. Veronica runs to catch up with Troy. TROY: Do not run Veronica, people might think that you're desperate. VERONICA: That would be a step up, reputation wise. TROY: I guess you're asking. They head off in the same direction as a couple of rushing lacrosse players. Cut to the lacrosse field where a driving game is in play, then to the bleachers where Duncan, Logan and six other 09ers are watching and whooping. DUNCAN: Go Padres. There are more shouts and much laughing and clapping. LOGAN: [To Duncan] Hey, uh, I thought your boy toy was going to join us for Happy Hour this afternoon. [Opening the flask] You do not suppose that, uh, he got waylaid by Veronica, do you? Duncan whips round abruptly and grabs the flask. Logan sh**t up and for a moment, it looks like it could get nasty as Duncan squares up to a wary Logan. Then Duncan raises his eyebrows, waves his head and adopts a Hollywood Chinese accent. DUNCAN: Ooooh, Grasshopper too slow for Kung-Fu Master. If you can take the flask out of my hand then you will be ... [as Logan lunges for him] ... new master. They wrestle. BLONDE 09ER: Let's do it, man. Meanwhile, the Blonde 09er and another get up and move offscreen. Duncan frees himself from Logan and holds short on a higher step. DUNCAN: Wait, wait, wait. Guys! Check it out guys. Six guys. Bleachers. Jump in when you're feeling this, okay? [Singing, badly] Summer loving had me blast. LOGAN: [Amongst the laughter] What has gotten into you man? BLONDE 09ER: Hey, check it out. The others look over to see the non-blonde 09er climb onto the side of the bleachers, with the help of Blonde 09er, and backwards flip off. They race to the railings. The boy has fallen on the floor and is unhurt. Various impressed comments of congratulations are made. The others head back to where they were sitting for Duncan, who spots Troy and Veronica walking along the side of the stand. He watches. VERONICA: I think I might have given you the wrong impression. I had a really great time. I just ... LOGAN: It's just that you need more, a) time, b) space- Veronica cuts with a kiss. Duncan turns away and heads back to Logan, waiting for him on the bleachers. He hands Logan back his flask then spins round and with a w*r-cry, he races for the edge. He hand-stands on the rail and falls. He falls more than the other 09er and he he hits the mats, he bounces off and rolls hard across the ground. Veronica breaks off her kiss and races over. Troy follows. Logan races to the edge to look down just as Veronica gets to Duncan who, in a bad continuity moment, is now just under the matting. The 09ers join Logan and keep up their good spirits. LOGAN: [Laughing] You okay man? What was that, a triple klutz? Veronica is on her knees, Duncan's head holding, Troy stands by them. DUNCAN: [Cheerily to Veronica, who looks at the blood on his hand from his head] Hey. [Laughs] VERONICA: He needs to go to the hospital. LOGAN: Hey Duncan, open your mouth. This will help. Logan opens the hip flash and sprinkles out its contents. They splash Veronica who is unimpressed. She and Troy get Duncan up and carry him to the shouts of the drunken 09ers. Cut to the car park. Duncan is now pressing a white towel to the back of his head. TROY: Death defying stunts. Gushing head wound. [Duncan laughs] You're the man, brother. DUNCAN: [As Troy gets into Veronica's car] And, I almost stuck the landing. Veronica gets into the driver's seat as Troy leans over into the car. "Edge of the Ocean" by Ivy starts up. TROY: You sure do not want some help? VERONICA: No. Thanks. I got it. [To Duncan, impatiently] Put your seatbelt on. And hold the towel tighter. Troy accepts that he is no match for Veronica's attention and steps back as she pulls out. They drive out. SONG: There's a place I dream about where the sun goes and the sky is deep and blue Will they drive, Veronica steals a glance at Duncan. He looks up at the sky, removes the bloody towel and turns his head to gaze at her. DUNCAN: Remember how things used to be. VERONICA VOICEOVER: You mean between us? Or before Lilly died? Or two weeks ago before your friend took an interest in me? DUNCAN: Veronica? VERONICA: [Snapping] Not really no. He looks at her a little surprised. He puts the towel back on his head again and they drive on in silence. SONG: ... Ohhh, we can begin again. Shed our skin, let the sun shine in. At the edge of the ocean We can start over again ... Cut to an examination room. NURSE: Do you want your girlfriend to stay in here with you? VERONICA: Oh, I'm not his girlfriend- DUNCAN: Yeah, yeah that's cool. They share a tender look. JAKE: [Offscreen] Why, here you are. As the nurse walks out, Jake walks in, pleased to see his son. He is not so pleased to see Veronica. JAKE: [Sighs] Veronica. We meet again. VERONICA: What are the odds? DUNCAN: Veronica brought me in. JAKE: Thank you Veronica. [Dismissively] I think I can handle it from here. VERONICA: OK, II have ... stuff to do anyway, so ... Jake looks at the head wound, Duncan nods and Veronica heads for the door. She looks back and they share another comradely look before she goes. JAKE: Jeez. Off to bleach. Cut to x-ray pictures being put on a wall light box by a doctor. DOCTOR: Well, everything is fine. There's no fractures. Nothing that, uh, a few stitches will not fix. JAKE: II still do not understand how this happened, Duncan. What possessed you to jump off a set of bleachers? DUNCAN: Dad? Can I talk with Dr. Levine for a minute? By myself? JAKE: All right. Jake exits. Cut to Veronica driving. VERONICA VOICEOVER: Of the 440 John Smiths out there, only three were in San Diego. My mission: find and photograph them. Of course, Justin had not seen his father since he was six. There was no guarantee he could ID him. VERONICA: [On the phone] Hey, are you sure you do not have any pictures of your dad? Cut to Justin at the video store. JUSTIN: III do not think so. My mom cut him out of all of them. The brunette woman Justin served before the counter. JUSTIN: Aim, um, I could take a look. WOMAN: Excuse me? JUSTIN: Um, can I call you back? VERONICA: Yeah, just bring me back whatever you have. JUSTIN: Bye. WOMAN: Last time I was in you mentioned "Body Heat". Do you have that on DVD? JUSTIN: [Checking a computer] Looks like I'd have to special order it. WOMAN: All right. Sounds good. Cut back to Duncan and Dr Levine. DR LEVINE: Ultimately, it's your decision. And you should do what's right for you. But, uh, I have to warn you. Going cold turkey off anti-depressants can have some serious side-effects. I mean you're likely to feel nauseous ... DUNCAN: Yeah. Plenty of that. DR. LEVINE: It's also possible that you're getting hallucinations and, uh, particularly vivid dreams. And this can go on for weeks. Some people find that unnerving. DUNCAN: It's worth it. Cut to Neptune High. Miss James opens her office door to Keith Mars. KEITH: Hey. MISS JAMES: Hi! KEITH: Hey, thanks for making time to see me. Keith fully enters and closes the door. KEITH: I owe you an apology. I ... was ... abrupt and, uh, defensive the other day ... MISS JAMES: Well, we have a defensive parent scale of one to ten, I'd say three so, do not worry about it. KEITH: And you were right. I think-I think Veronica does not know who I am. MISS JAMES: I would be happy to talk to her. KEITH: Thank you. MISS JAMES: Yeah. [On her phone ringing and Keith just starting to say something else] I'm sorry, I'm so sorry, would you-would you mind? KEITH: Sure, yeah. MISS JAMES: Can you hang on? I'm gonna take this. As she picks up the handset, the coffee on her desks tips on the floor spilling its contents. MISS JAMES: Ooh, aah, hi, yeah, okay, can I call you right back? Fine. Keith has moved to his side of the desk having some tissue to clear the mess. He notes the logo on the cup as he hands it back to her. KEITH: I got it, I got it. MISS JAMES: Oh, thank you, thank you so much. I'm a coffee addict. KEITH: Thanks again. MISS JAMES: Sure. Keith goes to leave. She stops at the door. MISS JAMES: Sheriff Mars? You always had my vote. They smile. Veronica, Wallace and Justin sitting on a wall. VERONICA: ... picked up the John Smiths at their home addresses and followed them I got decent sh*ts. Here's the first one. [Cut to the three of them] He's a veterinarian and married. [Passes Justin a photo] And there's a swingset in the back so I'm guessing he's got kids. JUSTIN: [Passing it back] No, that's definitely not him. VERONICA: OK. John Smith number two. Single and High School Basketball coaches. [Hands photos to Justin] JUSTIN: No it's not him. Mom always turns off the radio when they play "Brown Eyed Handsome Man" because it reminds her of Dad. And these guy's eyes are green. [Giving them back] It's not him. VERONICA: Finally, John Smith number three. Veronica puts the photographs in his hands. The first shows a tall, close shaven man. The next is a closer side profile, still with sunglasses. JUSTIN: Yeah, th-that could be him. Do you have any pictures with-without the sunglasses? VERONICA: [Shaking her head] He had them on the whole time. JUSTIN: So, what does this guy do? VERONICA: I follow him from the junkyard to the pawnshop to the racetrack. WALLACE: Sweet. VERONICA: My best guess would be petty criminal. JUSTIN: Well ... can we go back there? I mean, I know if I could see him up close, I could ID him. VERONICA: I do not think so. JUSTIN: Come on. One way or the other I'd know. WALLACE: Give the kid a break. VERONICA: All right, fine. Meet me at my after school But remember. I'm the one in charge and you'll do it. WALLACE: You should have seen her before charming school. JUSTIN: I promised. Wait, hey, III brought you the best pictures I have of Dad. In this one you can actually see his hand. Cut to two photos, one of a couple in the same couple. In each, the head of the man has been cut out. VERONICA: [Offscreen] Wow. Your mom really hated him, did not she. JUSTIN: Yeah. VERONICA: Cool cars. JUSTIN: Mom says he was obsessed with them. Hey, what did John Smith three drive? VERONICA: A convertible Sebring. JUSTIN: [Disappointed] Oh. All right, I'll see you guys after school. Cut to John Smith Three in his car, stopped at traffic lights. Veronica and Justin are in the car but one behind him. VERONICA: That's right, right in front of the Honda. JUSTIN: There he goes. You're gonna lose him. VERONICA: I'm not gonna lose him. John Smith Three pulls up in the parking Lot of an Adult Arcade. Veronica pulls up on the opposite side of the road. VERONICA: Lay low and try to look too conspicuous. Veronica takes a long look at the camera and starts to take pictures of the world. Justin can not wait and bolts out of the car. VERONICA: Hey! Justin breeds towards John Smith Three. Veronica, John Smith Three's car. JUSTIN: Excuse me, excuse me. Hey! The man turns, moves his sunglasses down his nose, exposes his eyes and looks down on Justin. JOHN SMITH THREE: You need something, bro? JUSTIN: No. I'm sorry. I just thought you were somebody else. The man stares hard at Justin, then at Veronica. He turns and goes on his way. JUSTIN: It's not him. Dang. Veronica spots a shopping list on a post-it on the dashboard of the man's car. She grabs it. JUSTIN: Wh-what are you doing? VERONICA: Let me see the letter again. Justin pulls out of his pocket, unfolds it and gives it to Veronica. She places the post-it on top of the letter and compares the writing. VERONICA: It's the exact same handwriting. Justin looks and they stare wordlessly at each other. Cut to the Kane home. Duncan is sprawled on a sofa in a den, watching a large screen television. LILLY: [Offscreen] Yo, bro. How can you watch this crap. It could not be more boring. Lilly appears, blood on her head. LILLY: [Touching the blood] Oh, what the hell. DUNCAN: [Disbelieving] Lilly? LILLY: Yeah, what, you forgot about me already? DUNCAN: W-wh-what are you- Lilly falls on Duncan's shoulder. LILLY: Hey, you know what makes absolutely no sense. My disappearance. m*rder. Whatever. How it supposedly went down. So bogus, right? [Sitting up] And here's the thing. The truth is gonna come out. DUNCAN: What are you talking about? LILLY: Clue in, donut. It does not add up. You know that deep down inside. I wish you'd just admit it to yourself. Break out of your stupor. Wake up. The camera spins from Lilly to a napping Duncan who jerks himself awake. He stands and looks around, somewhat panicked. Cut to John Smith Three exiting his car and entering the gate of a small house. Veronica and Justin pull up to the opposite side of the road. Justin explores the glove compartment. JUSTIN: What's this? VERONICA: It's a taser ... and it's dangerous. Put it back. JUSTIN: I'm coming with you. VERONICA: No, I need you to stay in the car. Cut to Veronica checking out the gate, going through and breaking into the garage where a car is undercover. VERONICA: Hmmm. A classic car perhaps? [On removing the cover] A Hyundai Sonata? I do not think it qualifies as a classic. The door from the house is open and Veronica is busted by John Smith Three, carrying a baseball bat. JOHN SMITH THREE: What the hell are you doing? Stay right there. I'm calling the police. VERONICA: You're not gonna do that. I followed you and I know what you do. JOHN SMITH THREE: What I do? I'm a word officer. VERONICA: What? JOHN SMITH THREE: Why would you be following me? VERONICA: I'm a friend of your son's. He just wants to see you. JOHN SMITH THREE: I do not have a sound. Do not move. VERONICA: Are you trying to tell me you're not John Smith? He whips round and stares at Veronica. Cut to Justin waiting impatiently in the car. He sees a green convertible pull up next to John Smith. He runs towards the house. Back in the garage, Veronica and the man at the turn of the automated garage door opening. They see the green because just as Justin runs reaches it. It's the brunette woman from the video store. WOMAN: Justin. Justin looks from the woman to Veronica and back to the woman. JUSTIN: Dad? The woman nods. Veronica and John Smith Three slowly walk towards them. The woman is now out of the car and the scene has changed from day to day. JUSTIN: [Upset] Oh my god. You're a woman. I do not believe this, WOMAN: This is hard, I know. I wish I could have found a way to tell you. JUSTIN: And did you also know that I was e-eleven? WOMAN: No. I'm not surprised. Your mother is thinking she would say that. JUSTIN: And your little visits to the video store? What's that all about, huh? WOMAN: I went to see you. Can you understand that? I wanted to see for myself that you were all right. JUSTIN: Well, I'm not actually, okay? [Her face crumples at her son's distress] I'm not. Turns out my mom's a liar and my father i-is a circus freak. VERONICA: Justin. Maybe we should go. WOMAN: Oh this is something I had to do. This ... is who I am. JUSTIN: [Crying] Come on Veronica. Let's get out of here. [He runs off] VERONICA: [Awkwardly] It was nice meeting everyone. Veronica follows Justin and the woman seeks the comfort of John Smith Three. Cut to Veronica's heading to Neptune. Justin is still crying. VERONICA: Ninety miles. JUSTIN: What's ninety miles? VERONICA: It's the distance you've been to every few seconds. [Long pause] Look, my mom has been missing too much and honestly, I would give you something to do that. Cut to Lianne 's address on Veronica' s board. VERONICA VOICEOVER: She was not going to find me. I was gonna have to find her. I've decided to drive to Arizona after school. If the roads are clear I can make it there in four hours. [Collecting her things together] Tragedy blows through your life like a tornado, uprooting everything, creating chaos. You wait for the dust to settle and then you thing. Over the instrumental parts of Supreme Beings of Leisure's "Rock and a Hard Place," cut to Duncan who ponders his tablet before swallowing it. VERONICA VOICEOVER: You can live in the wreckage and pretend it's still the mansion you remember. Cut to Veronica in the school hallway. She smiles fondly at the Duncan approaching. VERONICA: [Softly] Hey, how's your head? Duncan stares at her unsmilingly for a moment. DUNCAN: [Lifelessly] It's better. He walks on. His answer disappoints both Veronica and Logan who is walking behind him. Cut to Keith in the coffee shop that provided Miss James' coffee. VERONICA VOICEOVER: Or you can crawl from the rubble and slowly rebuild. KEITH: Hi. MISS JAMES: Hey, I did not know you came here. KEITH: Yeah, I just discovered this place. MISS JAMES: Yeah, me too. KEITH: Oh, how did we miss each other? They laugh together. Cut to Jason at the video store. ASSISTANT: Hey Justin, did you special order "Body Heat" for someone? Here it is. VERONICA VOICEOVER: Because after disaster, the important thing is that you move on. JUSTIN: Right. [Cut to him on the phone] Hello? ... Julia? ... It's Justin. Hey, listen. That copy of "Body Heat" you wanted to come in ... No it's fine ... Yeah, I work here every Saturday ... That's great. OK ... I'll see you then. Bye. [He hangs up] Cut to Veronica in her car. VERONICA VOICEOVER: But if you're like me, you just keep chasing the storm. She sees Lianne's car parked in the car of a small house. She turns the corner and sees the back of a blond woman, gardening. VERONICA: Mom? Mom? [Racing out of the car] Mom! She turns. It's not Lianne. Veronica stops short. BLONDE WOMAN: Can I help you? VERONICA: I'm looking for Lianne Mars. BLONDE WOMAN: Veronica? I'm Adrianna, a college friend of your mom's. I feel like I know you. Your mother talks about you all the time. VERONICA: Where is she? ADRIANNA: She left a couple of weeks ago. VERONICA: Well, did she say where she was going? ADRIANNA: No. VERONICA: Do not lie to me. [Getting very distressed] I need to know, where is she? ADRIANNA: She's thinking about your father, I'm not good at keeping secrets. VERONICA: Does not she care about me? ADRIANNA: You're all she cares about. VERONICA: Mark me down as skeptical. Veronica leaves. The music is "What Are You Afraid Of?" by West Indian Girl. VERONICA VOICEOVER: The problem with chasing the storm. Even the experts agree. A girl needs closure. Veronica is on the hat of her mobile phone. SONG: I lost myself ... VERONICA: Hi. I'm outside your house. A light goes on Veronica laughs. SONG: ... inside someone else I could not see the lines between her and me We 've got darker road, the fear I've seen With eyes of stone, he walks alone. Troy comes out of the house and stands before her. TROY: It's about time. Veronica, crying, holds for dear life. SONG: What are you? What are you made of? End.

{"type": "series", "show": "Veronica Mars", "episode": "01x03 - Meet John Smith"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars ... Flashback scene of Veronica's Lilly driving (from 102 "Credit Where Credit's Due"). VERONICA: Why does she hate me? LILLY: She'd hate anyone she thought that Cut to present-day scene of Celeste and Duncan in the Kitchen Kane (from 103 "Meet John Smith"). LILLY: [Offscreen] Friendly advice. Watch her. Cut back to them in the car. LILLY: She'll break the two of you up if she can. Various sh*ts of Duncan (from 101 "The Pilot"). VERONICA VOICEOVER: Ducan Kane. He used to be my boyfriend. Cut to Veronica racing to the m*rder scene (from 101 "The Pilot"). VERONICA VOICEOVER: It's been a year since my best friend Lilly Kane was m*rder. LOGAN: [Offscreen] That's my girlfriend. Cut to Logan (from 101 "The Pilot"). LOGAN: Your friend. Cut back to Lilly's body. LOGAN: [Offscreen] Duncan's sister. Cut to Kane Dining Table (from 103 "Meet John Smith"). CELESTE: I think we could be a little more patient, Jake. JAKE: We all lost Lilly and we all miss her. But that does not mean we stop living our lives. Cut to hallucinated Lilly and a shocked Duncan (from 103 "Meet John Smith"). LILLY: The truth is gonna come out. It does not add up. You know that deep down inside. Cut to school car park (from 102 "Credit Where Credit" VERONICA: Just as God made me TROY: [Looped in] Do you need some help? [From original scene] I'm Troy. VERONICA: I'm Veronica. End previously. Open on Veronica and Troy kissing outside the door to the Mars' apartment. TROY: [Softly] OK. I'm uh, I'm really leaving now. VERONICA: OK. She leans up and kisses him. TROY: Seriously. VERONICA: [Whispers] See you. She kisses him again. TROY: OK. Good night, all right, no more. [Plants a final kiss] Good night. You know, uh, if we were the type of people who were going to school, this would probably be the time that I'd ask you to Homecoming Dance. Veronica smiles and lets herself into the apartment. TROY: [Softly, shaking his head] Oh boy. Cut to inside. Veronica is still smiling in her father's room, sitting on the couch. VERONICA: So, what did you think of him? KEITH: [Innocently] Oh, hey, you're home early. VERONICA: Oh hey, did you run his license plate? Or did you get fingerprints? KEITH: Sorry, honey, what? VERONICA: You know you're not fooling me. KEITH: OK. [Pause] Veronica, I have no idea what you're talking about. Veronica lets out a puff of disbelief and heads for her room. KEITH: Oh, hey, I forgot to tell ya. If he's gonna be kissing my daughter on my porch for eight and a half minutes, I'll need to meet him. Sweet dreams, honey. VERONICA: Is that really necessary? KEITH: He's taking up a lot of daddy-daughter time. I hardly get to see you. VERONICA: I see you constantly. KEITH Oh, sure. You see me but we do not do anything. Veronica huffs and goes to her room. The broad smile is back as she sits, then lies back on her bed, enjoying the moment. LILLY: [Offscreen] You buy Homecoming dress without me? Cut to Veronica flashback, standing before an open wardrobe, holding a pink dress. VERONICA: What? LILLY: [Offscreen] Why do you insist on [camera pans round to her] suppressing your hotness? The world is ready for you Veronica Mars. You do not have to blend in. VERONICA: I'm not trying to blend in. LILLY: [Reaching into the wardrobe] I mean, wha-, none of this reflects your personality at all. I'm- [pulling out a dress] why, why do you have this? You are not a yellow cotton dress. VERONICA: What am I? LILLY: You're like-you're [reaching in again] you're red satin. [Pushing her to the mirror] You are strapless red satin. [Putting a piece of red fabric against Veronica's chest from behind as Veronica looks in the mirror] Look at this. VERONICA: But there's no time for red, Lilly, the dance is tomorrow. LILLY: Oh, god, you, wait a minute. [Laughs] You know we're not really going to dance, right? VERONICA: Wait, what are you talking about? LILLY: The dance is just a lame excuse for a limo party. Logan has got all the refreshments taken care of so it's going to be amazing. VERONICA: No, I can not do that. You know my dad, he will find out and I'll get crushed. LILLY: [Dismissive puff] You'll get grounded. VERONICA: Severely. LILLY: Oh, whoop-of-frigging-doo, Veronica, I mean, grounding lasts what, a week? You are gonna remember this fun we have for the rest of your life. Trust me. Lilly leaps onto Veronica's bed. Cut back to Veronica. Cut to Neptune High. Wallace is sitting on the floor in front of a load of files, looking at a large stack of files behind him. We will learn her name is Georgia WALLACE: [Jumping up] Let me help you with that GEORGIA: You have to let me do something, Wallace. Oo-oo Just as Wallace reaches out, the files slide out of her arms. Wallace rescues some of the pile but the rest drop all over the floor. GEORGIA: OK, that was the pile you just got finished alphabetizing, was not it? WALLACE: Actually, it was two batteries. GEORGIA: Who could be bigger spaz, seriously? WALLACE: Yes, you could have knocked over three piles. GEORGIA: I'm so sorry. You would have been here if it was not for me. WALLACE: Really not a problem. GEORGIA: OK, you can stop being nice. I know I ruined your whole night. WALLACE: Georgia! Trust me. You have it. Georgia still looks really upset. She reaches out and hugs Wallace. GEORGIA: I think I was something really stupid. Wallace is grinning ear to ear. Georgia lets go of Wallace 's neck and stands back. GEORGIA: See, I got this email ... Cut to Veronica's second office, the girls room at Neptune High. Georgia is telling her story to Veronica while Wallace watches. GEORGIA: This guy Karl is super-rich. A trust fund kid. And I guess he has a gambling problem and he gets into trouble . Wallace races to the door and pushes the girl coming back out the door. WALLACE: Overflowing toilets. Use the faculty restroom. Wallace maintains a watch, listening at a distance. Georgia hands Veronica a copy of the email. She looks at it. VERONICA: Well, okay, first of all, a trust fund kid does not send a message from a grantastic tech dot com domain. That's pure nerd. [Reading] Hey buddy, I know you've been in contact for a while but I'm hoping you can help. GEORGIA: He was offering over 200% interest. And I only had to pay for the money for two weeks. Until his 21st birthday when he gets his trust fund. VERONICA: So you called and told him you'd like to face the cash. GEORGIA: Yeah, and everything would've been fine if he would've paid me two weeks ago, like he said. Veronica is looking for words that do not involve calling Georgia an idiot. WALLACE: Everything's gonna be fine, okay Georgia. [Winking at her] We'll get him. VERONICA: Will we now? Wallace grins and rolls his eyes to indicate that he wants to impress Georgia. Veronica already has her cell and has punched in a number. VERONICA: [Into phone, very bouncy] Hi Karl, it's Amber. Um, I got an email from you, I guess by mistake but I think I can help you. Give me a call. 555-0196. Veronica closes the cell just as the school bell rings. VERONICA: And I'm late for bio, again. [To Georgia] Ten percent of whatever I recover. Georgia, bemused, nods. Veronica starts to walk out of the world, she uses the cell again. VERONICA: [Bouncy and dumb, into the phone] Hi! You've reached Amber. Leave me a message. Wallace grins and mouths "Thank you" as Veronica passes to the door to leave the restroom. He looks back at Georgia and points at the Veronica departed. WALLACE: Did I tell you? Georgia, not totally sure of what is going on, smiles nervously. Opening credits. Scene opens in the journalism classroom. The students are watching the school television service, broadcast of which is underway. TV: ... last day to buy homecoming tickets. No homecoming tickets for the dance will be sold after that time. Veronica is not watching the broadcast, she is looking at a computer screen at the back. Logan comes into the classroom and sets his bag on the large central desk. TV: Kicking off the homecoming festivities, the dedication of the Lilly Kane Memorial Fountain. Veronica and Logan both look up at that. TV: The Kane family would like to invite all students and faculty to attend the tribute and celebrate the memory of Neptune High's most beloved students. Veronica has walked forward to this part of the broadcast and Logan notices her. Veronica looks at him and he will not sustain it, dropping his head down. TV: And in other news ... Cut to Veronica in the school hallway. She looks preoccupied. Troy sidles up beside her, full of the joys of spring, and walks with her. TROY: You and me, Thursday night, I'm thinking mini-golf. It's what all the kids are doing. [Off her skeptical look] But you do not golf. VERONICA: My dad wants to meet you. TROY: That's cool. Veronica has reached her locker and is dialling the combination. TROY: I'll pick you up at the door. I mean I can not do it and wipe but that's no problem. VERONICA: My dad's a little intense. She opens her locker. TROY: Do not worry. I give good parent. Troy leans down to kiss her. She smiles tenderly at her as she gets her books. TROY: And just so I can make the appropriate arrangements. Homecoming is a go, right? VERONICA VOICEOVER: This should make me happy. VERONICA: [To Troy, trying to hide her uncertainty] Yeah, yeah, it'll be fun. Troy strokes her arm and backs off and away. Veronica drops the face and is more ponderous. VERONICA VOICEOVER: The big dance being a staple of every high school girl's fantasy. Flashback to the Kane residence. Celeste is carrying a camera through the house. VERONICA VOICEOVER: I've already lived the dream. Everything else seems like a cheap reminder. CELESTE: Lilly! Long-haired Veronica comes into view. She is dressed in a long pink dress with spaghetti straps. She is pointing to a camcorder at Logan, who is posing in her tux and fancy waistcoat. CELESTE: Lilly! Dear! Everyone is waiting. Duncan is also in tux. Jake is sitting in a chair, watching Veronica and Logan fooling around. DUNCAN: What the hell is she doing? How long does it take to put on a dress? CELESTE: Honey, you know your sister. It's not an entrance if she's on time. Duncan huffs and groans. He walks back to Veronica who laughing at Logan, now dodging the camcorder. DUNCAN: Maybe you should go and help her. Lilly makes her entrance. VERONICA: Ah-umm, I think she's got it covered. Lilly is voluptuous and fabulous in a gold sequined backless dress. She does a slow-mo walk forward towards her audience, twirling as she goes. The front is a low cut, draped, halter held together at the breasts by a thin chain. The dress is split up at least one side. Jake stands at her approach and Logan walks up to meet her. LOGAN: I believe Keanu Reeves said it best, when he said, Whoa! Lilly laughs and proffers her cheek which Logan kisses. LILLY: All right, let's, ah, [taking Logan's hand] Let's make the pictures before, um, glitter rubs off. LOGAN: [Laughing] OK. They dance they're way over to Veronica and Duncan. VERONICA: [Holding out the camcorder to Jake] Could you ... Mr. K- Jake: Oh yeah, of course. The four friends get the boys behind their respective girlfriends. Jake with the camera and Celeste with the camera face them. CELESTE: [Without feeling] You look very nice. [Indicating Lilly's exposed cleavage] Lilly, could you ... Lilly is having none of it and it is becoming more of a cleavage. Duncan rolls his eyes to heaven in an amused, Veronica does a 'Oh my god but I'm impressed' and Logan grins. LILLY: Hey, I'm only young once. How many years ago do I have left. Celeste raises the camera and they start at different angles. The camera flashes, Jake keeps rolling and they have fun until Duncan spots the limo. DUNCAN: All right. Let's go. CELESTE: Be careful JAKE: Be safe out there. The party heads for the limo. Cut to present day. Veronica is still standing at her open locker, a look of loss on her face. Wallace comes up behind her as she closes her locker. WALLACE: [In very chirpy mood] Ladies and gentlemen, Veronica Mars [Bopping] I've talked about that girl more than I did in the past four months combined. Wallace has blown her blues and Veronica is smiling broadly. VERONICA: Her bread is your pleasure? WALLACE: Hey, hey, I'm the cavalry. I get to save the day. [Off Veronica's look] Are we going to save the day? Right? Veronica reaches for its ringing cell phone. VERONICA: Hello? On hearing the response, Veronica puts it on Wallace's arm. VERONICA: [Adopting Amber's simper] Oh yeah, this is Amber. Wallace gets his fingers excited and excited as he listens. VERONICA: Oh my god, hi! [Breaks] Of course I can meet you today, Veronica and Wallace walk ahead of sh*t just as Logan is passing behind them. He heads for Duncan, standing at his open locker. He has videos in his hand. LOGAN: What are you doing? DUNCAN: Ah. My mother thought it would be nice to have a video of Lilly for the dedication ceremony. LOGAN: What, she wanted you to do it? DUNCAN: No my dad did. He wanted someone who knew her. LOGAN: Do you want me to do it, man? You know I'm awesome at this stuff. Come on, let me do it. I wanna do it. Duncan nods his head and hands over the videos. DUNCAN: Thanks man. LOGAN: Yeah. Cut to Veronica, hair curly, skirt and cleavage exposed in a tight red sweater is the epitome of the blond bimbo. She has a flower in her hair. She is sitting on a bench in front of water. A man, who is going to be Karl, gets out of a car, carrying a backpack. Wallace and Georgia are watching from behind a Land Rover. WALLACE: Is that him? GEORGIA: I do not think so. Veronica sees her coming and pulling her shirt a little more. KARL: Amber? VERONICA: Karl? KARL: That's me! Veronica stands to greet him. KARL: You must think I'm the biggest loser, [shaking hands] sending my friends emails, begging for money. I really do not know when this became my life. VERONICA: Well, gambling is an addiction. KARL: You know? It is, Amber. Thank you for understanding. You're saving my life. Literally. Karl drops his backpack and sits down on the bench. Veronica follows suit. Wallace and Georgia continues to observe. GEORGIA: That's not him. But I think Karl had the same outfit. He even had the same ugly backpack. WALLACE: Stay right here. GEORGIA: Be careful, Wallace. Wallace beams at her and then walks around the Land Rover to the car Karl arrived in. He nonchalantly plants a tracking device on the rear bumper and then heads back to Georgia. Cut to the bench. VERONICA: So, just so we're clear, the deal is I give you $ 3000 this week and you give me $ 6000 next week? KARL: On my 21st birthday. That's the day my trust fund is unlocked. VERONICA: [Grabbing her purse] So who do I make the check out? KARL: I'm sorry. Did not I tell you that it had to be in cash? VERONICA: Did you? KARL: Remember? I can not find anything at the bank because they are frozen ... until my birthday. VERONICA: Okay, I'll- ... it must be the hair. [Simpers] Blonde. Should we meet back here tomorrow? KARL: Tomorrow. Same time? VERONICA: [Nodding her head] Perfect. Karl nods and bends down to retrieve his backpack. VERONICA: Karl? I can trust you, right? KARL: You can trust me, Amber. [Raises his right hand] Hand to God. Veronica simpers and smiles as Karl gets up and walks away. As soon as she is back, she drops the Amber persona, giving him a hard look. Cut to later. Karl exits his car, having parked in a street. He crosses the road, heading for a ramshackle looking building covered in graffiti. Veronica, tracker in hand, spots his car. Cut to her approaching the building, which is closer to the community, Circle Theater Company. The graffiti are posters. "Endgame" is on the bill. There is a small, glass-fronted display of the five players featuring Kevin Hand as Clove and Jimmy Spain aka Karl as Hamm. The three female cast members are not named. VERONICA VOICEOVER: And where do you go when they're done conning for the day? Veronica spots Jimmy Spain's photo. VERONICA VOICEOVER: To a funky Bohemian theater for an avant-garde staging of a Beckett play, naturally. Veronica tries to open the display but it is locked. She turns to the sound of a police siren as it goes past, then pulls the flower out of her hair. With the pin, she efficiently picks the lock. She opens the unit Jimmy's picture. Some of Jimmy's credits are typed on the back: "Lost In the Midst", Role of David (lead) - Summerland Theater Group, Neptune CA; "Aquarrena Commercial", Role of Salesman - 5 Mike Dam Productions, Neptune CA; "Twelfth Night", Chorus - Shakespeare Group, Neptune CA and "On Air", In - sl*ve Rat Productions Stand, Neptune, CA. Jimmy's details head the sheet (1536 Circle Heights, Neptune, CA 900800, 615-555-1078). Handwritten at the top of the list of roles is "Duped! Role of Karl - Recurring". VERONICA VOICEOVER: You ' Veronica smiles. Cut to outside the theater. It is night. Jimmy comes out of the theater to a few admiring fans, indulge in some love-ness and then spots Veronica sitting on the hat of her car. JIMMY: Hey, listen, I'll catch you guys later, okay? Hey, thanks man. He reaches Veronica who has slipped off the car. She is holding his picture. JIMMY: What are you doing here? VERONICA: I'm a huge Beckett fan. [Jimmy looks back at the theater] Hand to God! Veronica mimic's raised right hand Jimmy used as Karl from the bench. JIMMY: Wait a minute. This is part of the show, right? Naw, you're not gonna get me like that. [Looking around and shouting] T! Liam! You guys can come out, I'm not buying it. Veronica looks around. JIMMY: So ... is this part of the same episode or am I getting paid again? VERONICA: What are you talking about? JIMMY: "Duped!" VERONICA: [Looking at Jimmy's credits on the picture] What, you're telling me that "Duped!" is a show? JIMMY: Oh, I thought you were part of this. Yeah, it's one of those reality shows where people get duped into doing stupid things like giving some stranger their car or a bunch of money. VERONICA: There were no cameras! JIMMY: You're not supposed to see them, that ' s the whole point. Right? VERONICA: There's no show, Jimmy! JIMMY: Wh-wh-what are you talking about there's no show. I auditioned, I got cast! VERONICA: It's a scam. My friend, Georgia was duped about two weeks ago out of $ 6000 by some other trust fund Karl. JIMMY: N-no, no. VERONICA: How did you find out about this? JIMMY: [Gropes for his words] There was an ad in "Back Stage West". Open call but, you know, I'm between agents right now. They just called me today to tell me I got the job. VERONICA: Do you still have the number on your cell phone? JIMMY: Now wait. You're telling me there's no show? For real? This is not a dupe? Veronica shakes her head. Jimmy gets his cell out of the different, backpack he is carrying. JIMMY: [Handling the phone to Veronica] There it is. Veronica takes the phone, glances at the number and punches redial. JIMMY: Hey, what about my SAG points? Cut to day. Veronica and Wallace are at school, walking down the corridor. VERONICA: A pay phone that does not accept incoming calls. Shocker. From a place called Gameland. I guess it's a cybercafe but I'll check it out. WALLACE: Naw, it's not a cybercafe, it's a gaming club. It's like a bunch of computer nerds trying to blow each other up. Only girls they see in there are japanimated. So, you're not going to really blend. VERONICA: So I will not blend. Cut to the gaming club. Liamator, Snake_Bite, Coppertop, Grrrantula, Tedster, Psyris, Kon_Artist, Kelly and k*ll_Zone. Veronica arrives wearing a boy wig and dressed like Sailor Moon (schoolgirl k*ller) from "k*ll Bill". She draws a lot of attention. Veronica approaches the guy in charge and swaps her ID for an ear piece. VERONICA: Thanks. He watches her as she moves into the depths of the club. Various gaming cat is going on and a lot of the nerds are still watching her. She spots two guys sitting on a couch facing a screen, playing the game. She strikes out for them, plonking herself down on the couch between them. The one on her left, who will be revealed as Liam, is irritated her company but the lad on her right, who IMBd quotes as named Ted, is more impressed. They go with their game. LIAM: I have one word. Ownage. TED: I care LIAM: Aaaand, I just fried you again. Veronica watches on the screen. Screen names for the characters come up when they are targeted. (Possible continuity problem) - Tedster seems to be Jezebel on screen and Liam is not Liamator but Coppertop. TED: Ooohh. She smiles then turns to Ted. VERONICA: Can you watch my stuff? TED: Yeah. Veronica pulls a piece of paper from her bag then leaves it on the couch as she gets up. She walks behind the couch to where the names of people are listed on the screen. She looks at the paper. It is a copy of Georgia's email for the scammer, whose email address is [email protected]. She compares it with the screen. VERONICA VOICEOVER: Grrrantula, a gamer. Email from grrrantastic-tech. Coincidentally, I think not. Veronica types "Gamegirl" into the new player login. VERONICA: Gamegirl. The screen admits her character and tells her to enter the game. She places the earpiece and walks back to the couch. She picks up a controller, takes a sweet offer by Ted and starts to play. VERONICA VOICEOVER: Now lets see if I can not get Grrrantula's attention. She fires at various characters until she finds Grrrantula. The boy in question, who is called Grant, looks around the room on being h*t. LIAM: Stop k*lling your own team. Veronica keeps sh**ting at Grrrantula. GRANT: [Looking around again] Hey, cut the crap. Veronica has heard the voice but has not She keeps sh**ting. VERONICA VOICEOVER: Come on, loser. Show yourself. GRANT: Hey! I'm on your team, lamer! Veronica looks around but still has not identified him. VERONICA: [To Ted] Wow! I'm really bad at this. She keeps sh**ting Grrrantula. She gets him. VERONICA: [Jumping to her feet] Ownage! GRANT: [Getting to his feet, angry] Hey, it's not owned, I'm on your team! Veronica gets a good look at Grant. She plops herself back down again with a satisfied smile. Cut to a little later, Veronica going up to the counter. She hands back the earpiece. VERONICA: Devlin. The guy looks in the card index for an ID in the name of Devlin and can not find it. GUY: What was the first name? VERONICA: Here [grabbing the box], it'll be faster. She rummages through the guy is distracted by another customer. She finds the ID she used and Grant's and takes them both. VERONICA: It was hiding under the Q's. She leaves. Cut to a narrow college corridor. VERONICA VOICEOVER: Grrrant's ID shown in Lannigan Hall at San Diego State. A university known for its liberal arts, its picturesque campus and its parts. Veronica has picked a flyer for "Beer in Bremen Around the World Tonight Party" from off a notice board. Cut to Veronica's room. Her hair is plaited around her head and she is trying a pair of glasses on Wallace. WALLACE: It's not going to work. You can not take the cool out of me. [Poses] Look, pocket protector and I'm still full of pimp juice. VERONICA: [Taking the glasses off] Should not you be a little more dark for your poor scammed girlfriend? WALLACE: Now you know she's not my girlfriend so why are you trying to play it like that? VERONICA: Like what? Veronica places a different pair of glasses on Wallace. WALLACE: I like her or whatever. [Veronica is not satisfied and takes off again] Like we just got out of cheerleading practice. Guys do not do that. VERONICA: [Trying another pair on him] Okay. [Satisfied] Yeah. WALLACE: If a guy likes someone, he just likes her. He does not need to have a conversation about it VERONICA: [At the mirror] So you like her, but we ' WALLACE: Yes. VERONICA: [Smiles] Do you like her a lot? WALLACE: [Laughs] Yes, I like her a lot. Yes, I go two floors out of my way between classes so I can see her. Yes. I volunteer to reorganize the entire filing system of attendance, just so I can be in the same room with her. You happy? VERONICA: I still think you're a badass. WALLACE: And I am. And nobody's gonna buy me a nerd. VERONICA: You've already been bought. I called the resident advisor and I told him you were a prospective freshman. WALLACE: And they believe you because? VERONICA: Because I have a surprisingly convincing admissions assistant. Aim, tonight, you lucky boy, I'm all nerd hag. WALLACE: [Rubbing his hands together] Okay, let's get this party started because I am hungry for gratitude. Veronica goes to follow Wallace as he exits the room but turns back to get her cell. As she picks up from the table, she sees a picture of Lilly, hidden behind some other pictures. She picks it up to reveal that it includes Logan, Duncan and herself, and was taken to the Kane's the night of the limo party. She reminisces. Flashback to the limo. The music is Thievery Corporation's "All That We Perceive". At the end of the road, Logan and Veronica are sitting in the back set. Duncan sits on the seat of the limo, Lilly is just settling next to him with her champagne. The sunroof is open at the stars. LILLY: Okay, it's my turn? Logan. LOGAN: Truth. LILLY: What did you think of Veronica the first time you saw her. LOGAN: [Mumbling with embarrassment] I do not know, I thought she was hot. VERONICA: [Gasps] I was 12 when you moved here! LOGAN: Oh, and, like you were not working in your shorts and your kneesocks. VERONICA: That was my [punching him in the shoulder] soccer uniform! LOGAN: So, whatever! It totally worked! SONG: We feel endlessly Duncan and Lilly laugh. LOGAN: Okay, Lilly. LILLY: Dare. DUNCAN: [Snorts] Shocker. SONG: Beyond all gravity LOGAN: Okay, kiss someone in this limo. He spreads his hands. DUNCAN: [Snorts again] Come on, dude. SONG: Who are we, what we see ? LOGAN: Come on. As she rises to the end of the limo, Logan readies himself to be kissed. DUNCAN: Here we go. SONG: I can not understand Lilly heads for him as he throws himself against Veronica to give Lilly lots of room. Veronica puts a hand on her eye Lilly goes to kiss Logan and he opens his mouth wide to receive. At the last minute, she swings over and kisses Veronica. Logan screams in delight. Veronica pushes her away, laughing. SONG: Who are we, what we see DUNCAN: Oh no! LOGAN: [Clapping] A little girl on a girl action in the limo. DUNCAN: Oh, man! Dude! That's my sister and my girlfriend. SONG: I can not understand LOGAN: Yeah, dude, like that's not in the rotation. Duncan reacts by shaking the bottle of champagne and spraying Logan. Lilly screams and scrunches close to Veronica to avoid the spray. LOGAN: Dude, this is my dad's tux. DUNCAN: Did not know man. [He shakes the bottle harder and sprays him some more] Here. LOGAN: [As he lunges for Duncan] I'm soaked! Logan chases Duncan out of the limo, which is parked at the beach. The chase continues, Duncan throws off his jacket Logan tries to tackle him. They wrestle in the sand. Veronica and Lilly, enjoying the show and laughing, sit back in the limo. VERONICA: Our boyfriends are all class. Lilly pats Veronica's hand as she regains her breath. LILLY: Yeah. Cut back to Veronica staring at the photograph. WALLACE: [From the door] Tick-tock! Very cute girl in need of our help right now. Veronica hurries to join Wallace. Cut to the party. Music: "Diverse City" by Toby Mac. People are dressed in various 'around the world' costumes and the party is spread through several rooms. The resident advisor, wearing sombrero, comes around the corner, Veronica and Wallace trailing after him. SONG: They call us Diverse City, we're colorful good It's like a freak show in your neighborhood So, if you wanna pray you can come on down Cause this freak show's leaving the ground RA: Yeah so, we're pretty chill around here. I mean, it's mostly, like, do not light stuff on f*re, do not you get caught with drugs, you know? WALLACE: Cool. VERONICA: [Pointing to Grant] Hey, I think I know that guy. SONG: Up, up and away, baby we do not play, maybe you thought it was done for the day He said, she said, I said this, that you can not get away from your moment of bliss Stirring, we ' You shorts, tall ones, skinny ones, bigger, love is the g*n and we pullin 'that trigger RA: Grant. Yeah, he's pretty famous around here. He's like a genius or something. Seeking over here [pointing at Liam]. They call them the Silicon Mafia. Basically, Cut to later at the party. MALE STUDENT: [Offscreen] This dude. Camera pans round to a small knot of people talking. It's Veronica and Wallace talking to a couple of students. MALE STUDENT: Got caught looking at Grant's laptop screen. FEMALE STUDENT: The next day in the history of probation ... Cut to Veronica and Wallace listening and then to Grant and Liam across the room talking quietly. FEMALE STUDENT: [Offscreen] ... because of his GPA dropped from a 3.8 to a 1.5. MALE STUDENT: [Offscreen] Overnight on the university computer system. FEMALE STUDENT: [Offscreen] And they have a security system ... Cut to the students. FEMALE STUDENT: ... like with laser beams. The other student laughs and takes a swig of his beer. Cut to Wallace listening. MALE STUDENT: [Offscreen] I think they're building robots or something. FEMALE STUDENT: [Offscreen] I felt the wall in the bed next to them and it was way hot. [Cut to her] Do you know how many grill lights? MALE STUDENT: The walls are so hot, it's because they have a million dollar bag of super computers. FEMALE STUDENT: That they bought with their weed money. The students wander off, leaving Veronica and Wallace. Cut to later, the RA's office. Veronica runs in. VERONICA: Um, it is okay for people to be sh**ting Roman Candles down the stairways. RA: Oohh, man. You know? The RA grabs something out of his desk, pushing it closed as he exits. Veronica slips her purse into the drawer to stop it. She lifts her leg behind her to stop the door closing as she finds the right keys. She runs out to the room. Cut to Wallace. He is seated in a chair, including Grant. GRANT: So, what do you plan in majoring in? WALLACE: [Uncertainly] Math. GRANT: Math, wow. So, what are you into? Accounts theory, PDEs, joint methods. What's your thing? WALLACE: I'm pretty interested in, ah, joint methods. GRANT: Hmm WALLACE: Right now. GRANT: For error estimation or neutrality? WALLACE: I know this is gonna sound kinda weird but ... I'm interested in both. There are grunts of approval from his audience. Cut to Veronica. She has a group of party-goers and a door to a quieter part of the hall. The music can be heard - Radio 4's "Party Crashers." SONG: The DJ is in from overseas He's breaking hearts, he's making beats Jimmy on the board SONG: Your hands are shaking as you h*t the pavement Can not catch a break on 13th street She opens the door, on which are various warnings, with the keys she took from the RA's desk. The room is dark and immediately upon entry is an alarm keypad on the wall. The alarm is beeping. Veronica examines it. Cut to Grant's interrogation of Wallace. SONG: These days things seems strange GRANT: 'One can conjecture' or 'Fermat's last theorem'. Which better defines geometry in three dimensional space? SONG: These days things seems strange These days things seem strange Wallace looks uncomfortably out of his depth. Back in the dorm room, Veronica has failed to stop the alarm going off. SONG: They're taking over we think it over Grant abruptly checks his cell, as it sounds. Veronica goes further into the dorm room. Liam enters. LIAM: What the hell are you doing? Liam gets up close to Veronica. In the meantime, Adam races out of the party. Cut to Liam escorting Veronica by her arm out of the room, into the hall. VERONICA: [Playing drunk and dumb] They told me this was Sri Lanka. I wanted a coconut toddy. GRANT: Entering the hallway of the party What's hell going on? LIAM: We had an intruder. GRANT: How did you open the door? VERONICA: [Shrugs] I do not know, I just opened it. GRANT: It's impossible, it's always locked. Veronica shrugs again as Liam spots and takes down Jimmy's picture from the book board. LIAM: Grant. Liam holds the picture out for Grant to see. VERONICA VOICEOVER: And the real way the Silicon Mafia finances their empire comes clear. Veronica sees Wallace enter the hallway. She groans and slides along the wall towards him. WALLACE: Hey! VERONICA: I do not feel so good, Papa bear. Wallace supports her as she pretends to heave and they exit, leaving Grant and Liam staring after them. Wallace and Veronica Stumble and Almost Falling One Another, Veronica still leaning on him. Once clear, she drops the act. WALLACE: Papa bear. VERONICA: Never happened. Cut to day. Veronica and Wallace enter the school. WALLACE: My first college party. Drinking Pina Cola with a dude and talking about math. VERONICA: They're gotta be hiding something. I mean, an-an alarm that sends a message to your cell phone? What's wrong with a deadbolt? Wallace falls back to gaze lovingly at Georgia who is at her locker. VERONICA: Wow! You've got it bad. WALLACE: Nothing bad about this my friend. Wallace heads over to Georgia. Veronica watches fondly for a moment and then goes on her way. Cut to the journalism classroom, empty except for Logan who is sitting at the central table, looking at a PC screen. He has a video in his hand. There is a movie playing on the screen with some music. Veronica is passing by in the hall. A voice drifts out of the movie Logan is constructing. LILLY: [Offscreen] Mom, if you do not put the camera down, I will not go out there. Veronica recognizes Lilly's voice, stops and goes into the classroom. Logan is watching the screen and making notes. He glances over and sees Veronica and returns to his notes. Veronica slowly walks closer, eyes fixed on the screen. Lilly, maybe two, with her arm on a couch which is a year old, flipping the page of a book in her bed, her doll next to her. Logan glances back and sees Veronica is still there. He returns to his notes. LOGAN: What part of my ignorance do you think you're welcome? VERONICA: What are you doing? LOGAN: Assembling the world's most memorial video boring. He snorts in derision then picks up the videos. LOGAN: Ballet, ... Cut to the computer screen. Lilly, now about six, is riding a horse or pony. She has a cowboy hat on her head. LOGAN: [Offscreen] ... choir recital, beginner crap ... Cut back to Logan and Veronica. LOGAN: ... girl scouts. [Sighs heavily] Memories both misty and water-colored. Logan makes to set the videos down but jerks his wrist to fling them down instead. On the screen, Lilly aged about six drives to Lego because, then Lilly aged about eight sings against a sparkling and colorful backdrop. VERONICA: It's Lilly as a long-distance commercial. LOGAN: Well, it's not really about Lilly, is it. [Watches, then with a laugh] God, this would piss her off. As Veronica watches, she remembers. LILLY: [Offscreen] Come on, Veronica, it's your turn. Do not blade out. Flashback to the beach of the limo party. Duncan who has the bottle. Logan is carrying the camcorder. VERONICA: Okay, okay, okay, okay, okay. I've never ... As Veronica thinks, holding up her glass, Logan takes a swig of champagne and spits it into the water. He turns and walks backwards to watch. VERONICA: ... gone skinny dipping. The others express their surprise all at once. LOGAN: Oh, I ... LILLY: Oooo ... DUNCAN: [Laughs] What? Logan and Lilly take swigs. Duncan raises the bottle to his lips. LILLY: That's just unacceptable. We're having something to do, Veronica Mars. LOGAN: Oh, oh okay. [Holding up the camcorder to record the reaction] I've never taken matters into my own hands in the boys' locker room after watching the cheerleader tryouts. Duncan and Veronica both freeze at this and the party comes to a stop. Veronica gasps as Duncan stares at his best friend. DUNCAN: Dude, you are so d*ad. Logan and Lilly laugh as Veronica is open-mouthed. LILLY: How pervy, Duncan! I am a little impressed though. LOGAN: You must drink, comrade. Duncan signs heavily then raises the bottle to his lips. Logan is giggling. Veronica puts a hand on his arm as he does. VERONICA: Wait! Please tell me that we were before we started dating. Logan's giggle turns into laughter. DUNCAN: Of course. [Desperately getting on to something else] I've never, um, I've-I've never seen my parents my parents having sex. Lilly drinks. Everyone gasps. DUNCAN: No way. Duncan is horrified, Logan laughs and Lilly nods. LILLY: Yeah. DUNCAN: No way. LILLY: I Went Into Their room ... DUNCAN: No ... LILLY: ... to borrow Mom's black sweater, DUNCAN: ... Shhh, LILLY: Mom Was on top of Dad ... DUNCAN: I want you to shut up ... Duncan goes to put a hand over Lilly's mouth. LILLY: ... Hold on a second [something] ... Instead he puts his hands over his eyes. DUNCAN: Oh my god, I do not want to see this. Lilly: Laughing, Veronica says that Logan ought to be a movie Duncan by pointing at Duncan. Logan's laughing too much to keep steady. DUNCAN: Oh my god. LILLY: ... she was like this ... Duncan is peeping out through his fingers. LILLY: [Mimicking her mother, passionless] Oh, oh, [raising a hand to her moth to stifle to yawn] oh. DUNCAN: Lilly, that's so wrong. LILLY: I promised, but I think Dad probably thought so too. I've got one. I, um, have never had sex. LOGAN: Ooh. DUNCAN: Huh? VERONICA: [Confused] Wait, what does that mean? LOGAN: This is a drink, if you are a virgin. Veronica stands still, giggles and drinks. Logan laughs evilly. Duncan shakes his head. DUNCAN: What the hell. He raises the bottle and drinks to the whoops of his sister and Logan. LILLY: Whoa, Duncan! I'm shocked. VERONICA: You are so cool. Veronica leans up, puts her arms around her neck and kisses Duncan. LOGAN: Oh, so cool, man ... Logan and Lilly laugh then join in a group as Veronica and Duncan continue to kiss, Logan filming throughout. LOGAN: [Mockingly] I love you, I love you, I ... The kiss breaks off and they all laugh. LILLY: Oh yeah ... LOGAN: Yeah. Logan stretches his arm up to capture an overhead of the four of them. DUNCAN: [In Veronica's ear] ... you're my girlfriend. Happy time. Veronica is back in the classroom. She turns and walks away, leaving Logan at the screen. She looks back at her and the screen. She seems to have and idea and goes. Cut to Keith and Veronica. KEITH: I do not think this really is a good quality time. VERONICA: I've never loved you more. Keith puts on the jacket he is carrying. It is a DEA jacket. VERONICA: It's a good cause. These guys are ripped off a friend at school. And there's a World's Great Dad trophy in your future. Keith grabs Backup's lead. He carries on as Veronica halts outside. Keith gives his backwards wave as he heads to the campus. Cut to Keith and Backup being escorted to Grant and Liam's room by the RA. KEITH: We were flying with the heat seeking cameras. Came across some high intensity discharge lamps. Looks like someone's cultivating a little MaryJ. Keith bangs on the door. Liam answers. Keith shows a badge. KEITH: Mind if I come in? Keith does not wait for a response. He walks in with Backup. Grant gets up from his desk in the room. GRANT: What's going on? KEITH: What's your name, his? GRANT: Grant. [Off Keith waiting for more] Winters. KEITH: [Looking around] Any drugs on the premises, Mr Winters? GRANT: Caffeine. Keith sighs heavily and stares at him. GRANT: No sir. KEITH: Are you sure about that [grabs a flesh], seedlings, seeds, any cannabis seedlings of any kind? As he talks, he stands on the chair to inspect a high shelf above a bed. LIAM: [Firmly] No. Keith continues his inspection in plants. GRANT: [Offscreen] Look, we do not have any drugs, okay? LIAM: [Offscreen] And do not you need a warrant? KEITH: [Getting down] What do I need a warrant for? There's nothing here. [As he leaves the room, quietly to Backup] Come on. He walks out of the room without a glance back. Cut to Veronica in the outside area of ​​the campus. She is listening to Grant and Liam via the bug. LIAM: [Offscreen] Why did you let him in? GRANT: [Offscreen] You're the one who let him in. And why was not the alarm on? It's supposed to be even when we're here. Some time passes and Veronica continues to listen. LIAM: [Offscreen] I'm heading to the snack bar. GRANT: [Offscreen] Set the alarm. Veronica hears the tones as the alarm is set. She picks up her cell and duplicates the sound, writing down the number: 0227. Cut to later, same location. Veronica is now the only person in the area. Her cell rings. She sees who it is and answers. VERONICA: [Flirty] Yeah? [Pause] Oh my god! [She looks at her watch] I'll be right there. She hurriedly packs up her things. Cut to the Mars' apartment. Troy is sat bolt upright on the edge of the couch as Keith takes his seat in the armchair. KEITH: So. Veronica tells me, um ... well, she did not tell me anything about you. TROY: Well, I do not know if that's a good thing or a bad thing. KEITH: Neither do I. Keith stares for a moment then laughs. Troy follows. TROY: Well, if you have any questions, you know, you want a list of references or anything ... KEITH: So you're going to the homecoming dance. TROY: Oh yes, sir, if that's okay with you. KEITH: Of course. And after the dance? TROY: Why-I think that, uh, Veronica said right now, so ... KEITH: Yeah, good. And you're gonna stay for the whole dance, I mean, you're not going to go to a party? TROY: No, you-ah, I mean ... the whole point of going to the dance [laughs] is to go to the dance. KEITH: Good. So you will not mind that I canceled your reservation at the Four Seasons? Troy is stunned. Keith smiles benignly with steel in his eyes. Veronica arrives. VERONICA: [Closing the door] I'm here, I'm here. So. Who's ready for mini-golf? Troy and Keith look at each other. Keith grabs Troy on the shoulder and pats him. Troy is not comfortable. Veronica is starting to pick up the vibe when we cut to Grant and Liam's room. The phone rings. LIAM: Hello. VOICE ON TELEPHONE: Hi, Winters Winters, this is admission calling. Liam takes the phone from his ear and holds it to his chest. LIAM: Grant. Someone from admissions wants to talk to you. Grant takes the phone. GRANT: Grant Winters. VOICE ON TELEPHONE: Bill Smith, Admissions. Are you free Thursday night? GRANT: Sorry, we're really interested in showing some provo around campus. Cut to Keith in his office. KEITH: Oh, that's a shame. We wanted to land this student before MIT snatched him up. Veronica is in the office and makes a note on the post-it and passes it along the desk. KEITH: And he asked for you and your crew specifically. VERONICA: [Whispers, appalled] Crew? Keith gives her his 'I'm cool' gesture. Cut back to Grant. GRANT: Yeah, I'm sure he did not. Sorry, but- Cut back to Keith. KEITH: We're providing you with a new game, you're heard of it. [Taking his cue from Veronica who's mouths at him] It's the Matrix online game. Cut to Grant, who is impressed. GRANT: Really? Cut to Keith and Veronica, satisfied that the bait is taken. Cut to Logan, in front of the computer screen again. Lilly a 6-7 year old is frozen on the screen. VERONICA: [Offscreen] How's it going? Veronica comes into the room. LOGAN: It's very "Wonder Years". Cut to the picture of Lilly. She has a rimmed crown and cloak on. LOGAN: [Offscreen] Celeste will love it. Back on Veronica, she comes into her bag. VERONICA: So ... [sits next to Logan], I was going through some of my stuff and I found this. She pulls out a small mini-cassette. It is marked "Fun With Lilly". LOGAN: What is it? VERONICA: It's not a violin recital. Logan looks at it and then at Veronica. There is, perhaps, a moment of understanding. He considers it for a moment then looks back at the screen. LOGAN: I've got a lot of work to do. VERONICA: Yeah. No, me too. Logan nods and Veronica leaves. Cut to Wallace walking along with Grant and Liam. Wallace is texting on his phone as he walks. GRANT: Dude, we're gonna see the new Matrix online game, we're finally gonna see it. LIAM: Did you see the video with their effects, man, Visi-tinjun is k*ller. Grant Wallace records using his phone. GRANT: What are you doing? WALLACE: Just text messaging my girlfriend, tell her how psyched I am. Cut to Veronica, sitting on a low wall. Her cell rings and she gets Wallace's "All clear" message. Cut to Veronica entering Grant and Liam's room. She uses the code to turn off the alarm. She shuts the door. VERONICA VOICEOVER: In the past 24 hours of surveillance, this is what I've learned. The so-called Silicon Mafia has made a game that will make "Quake" look like "Asteroids". They've raised their start-up capital by swindling needy and greedy college and high school students using a variation of the Nigerian scam. With no investors, they stand to make millions. Unless, somehow, somebody rides them up the way. During the voiceover, Veronica has found that the processors are in locked cages. Veronica ends her voiceover getting out of bolt cutters. Cut to Veronica taking apart the processors and taking the hard drives. Wallace texts to find out how she's doing. She is back that she is almost done. She affixes an envelope to Grant's computer screen, picks up her bag and heads for the door. She remembers the bug and comes back into the room to collect it. She grabs a flesh, reaches up and feels for it. While there, she is still moving along the wall at the confluence with the ceiling. As she comes down from the flesh, her eyes follow the wires to a closet. On the closet, she finds another computer. VERONICA: Wow. It is enclosed in a much more secure, in a safe, than the ones she has already dealt with. It is also padlocked. VERONICA: I really hate these guys. Cut to Veronica opening a small fridge in the room. It is full of cans of drink. She grabs one and goes back to the computer backup, sitting before it and pondering. Cut to Grant, Liam, and Wallace arriving at Gameland. The place is deserted, with only a person sweeping up. LIAM: What the hell? WALLACE: Wow. I can not believe there's no party. I feel so duped. Grant and Liam 's phone alarms go off. They grab their phones from their pockets. GRANT: What the hell? LIAM: It's the alarm on the backup drives. They look at each other and then race out of the club, ignoring Wallace. Wallace is taking off his specs and smiles. Cut to Grant and Liam hurrying back to their room. LIAM: I set the room alarm. GRANT: Then why did not it go off? You can not get to the backups without getting into the room. LIAM: Oh, the backups are fine. Nobody's getting into that safe. Cut to them arriving at the room. Liam comes in behind him. LIAM: What the hell? The camera pulls back into the room to reveal the sabotaged computers on the desk. GRANT: Oh my god. LIAM: The backup drives. Liam runs back to the closet to check. He opens the sliding door. Grant spots the envelope and grabs it. He looks back at Liam to ascertain the fate of the backups and walks to where Liam is crouched down, opening the safe. It is full of a drink and a funnel has been fitted to an opening. Liam lets his eyes trail down. There is a drink leaking out of the bottom of the computer. Grant opens the envelope. GRANT: [Reading] Hey buddy, I was hoping you could ... help me. Cut to the park where Veronica / Amber puts Jimmy / Karl. It's night. Veronica, Georgia and Wallace are waiting. GRANT: [Offscreen, continuing to read] I'm coming into my trust fund next week and if you give me $ 7600 tomorrow night, I'll give you your hard drives back. As he reads, he and Liam are heading towards the group. VERONICA: Hello boys, let me guess what you're thinking. Paybacks are a bitch. GRANT: [As Liam hands the money to Veronica] Yeah, something like that. Veronica starts to count the money. VERONICA: Well, [handing the money to Wallace] here, you're the math whiz. GRANT: It's all there. GEORGIA: Like we trust you. WALLACE: Yeah, I think that's all of it. VERONICA: Our commission's included? WALLACE: Yeope. VERONICA: Ownage. GRANT: Can we have our backup drives now? VERONICA: You need to lay off the caffeine, Grrrant. 'Cause you're downright testy. Your backups are in the garbage can, next to the bench. GEORGIA: Yeah, you might have to dig a little. Liam and Grant turn and head for the garbage can. Wallace, Georgia and Veronica head back towards her car. GEORGIA: This just does not seem fair. I keep thinking about all the people who have been scammed and how they do not have kickass friends. [She laughs] VERONICA: Did you know there's an anti-fraud agency in the FBI? I guess it's a big deal. And I was shocked to see how interested they were in the information I had on Liam and Grant. WALLACE: Game over. Veronica Walks on a Wallace stops to give Georgia her money. Liam and Grant can be seen in the background, still searching the garbage can. Wallace turns to Veronica when Georgia grabs his face and kisses him. Veronica looks back and smiles. LIAM: I got one, I got one. GRANT: You got one? Veronica gets to her car. As she pulls out her keys to a flyer comes with them. Veronica looks at it. It says: The Kane Family invites you to the dedication of the Lilly Kane Memorial Fountain. This sends Veronica into a flashback. The limo pulls up at the Kane residence. It is daylight. Keith's Sheriff's Department is Keith, Jake and Celeste can be seen in the distance. Inside the limo, Lilly is running on the side. Logan is lying with his head in her lap. She is pouring drink into her open mouth. He chokes and laughs as she laughs. On the back seat, Duncan is cradling Veronica in his lap. Her eyes are closed. Duncan looks out the window. DUNCAN: Oh my god. They called the cops. Veronica raises her head, then her body to look through the window. The Kanes and Keith head towards the limo. VERONICA: They called my dad. Lilly has made her way through the window. LILLY: This is like, [with conviction] the best dance ever. Logan laughs. The limo pulls to a stop and Duncan gets out first followed by Lilly. Lilly has one shoe in her hand, giving her a limp. She is beaming. She heads for Keith. LILLY: What seems to be the problem, officer? CELESTE: Lilly. Celeste does a 'come to me' with her index finger. She goes. Duncan and Veronica exchange a look. CELESTE: Are you drunk? LILLY: Not so much anymore. Lilly laughs, Veronica looks sheepishly at Keith. CELESTE: [Furious] You are absolutely unbelievable. Why do you insist on humiliating me? LILLY: Um, two kids, both out and getting screamed at? CELESTE: 'Cause I know you, Lilly. Anything has changed, you've been at the root of it. DUNCAN: Mom! It's my fault, it was my idea. JAKE: You listen, both of you. Inside the house. Come on. Lilly throws her father to defiant and turns back to where Logan, is bending over. He rises as she reaches him. She grabs his head and gives him a hard, long kiss. Logan glances at the Kanes. Celeste spins rounds and heads for the house, Jake waits for her to finish. Lilly then heads for the house and Jake gives a sigh. VERONICA: Sorry, Dad. KEITH: We'll talk at home. [Calling out behind him] Jake, Celeste. Thanks for the coffee. Jake half turns and acknowledges. Duncan turns and gives Veronica a smile and a wave. She smiles back as Keith and Logan head for Keith's car. Jake stands to watch his goal Jake pulls him into the house. Present day Veronica, stares a little longer at the flyer then puts it down. Cut to the dedication service. An octet is playing "Wind Beneath My Wings". A number of people are gathered, holding candles. We have a small section, the Kanes are sitting with a few others and there is a large photo of Lilly above them. The Lilly Kane, Always Remembered. Veronica is among the crowd, taking photographs. Logan is also in the crowd, head down but he looks up when he spots her. The music ends. Celeste takes the stage. CELESTE: Thank you to the Neptune High Orchestra. I know if Lilly were here, she would have been moved by that rendition. Lilly really loved this place. [Cut to Logan Who returns to looking at His Feet] So it's only fitting [Duncan looks shellshocked on the stage] That as long as this fountain remains here, [Jake Even More so] a share of Lilly will always be here. And you, her peers will always be Reminded what a generous, kind, [Wallace is in the crowd With His arm around Georgia] sweet girl She Was and how she embodied [Veronica Sees Troy And They smile] Pirate pride and the school motto, service, loyalty, honor. Celeste looks behind her at Duncan. He rises from his seat, as does his father. Duncan walks over a rope. It drops to reveal a fountain. Celeste triggers a remote control and the water trickles down. The crowd claps politely. Veronica takes another picture and Duncan heads back to his parents. Logan point the remote to start the video. A classical-like guitar piece accompanies pictures of young Lilly Logan had earlier - standing by the couch, in bed with her book and doll, one not seen from her nodding to the camera aged about six. Celeste is more than happy with this representation of her daughter. Lilly on the pony or horse in her red cowboy hat. Duncan swallows hard. Lilly in the Lego because, Lilly singing. Veronica watches with a smile. Logan watches then looks down again. Now there is some more recent footage. Lilly running up close to the lens, looking at 14-15. Jake and Duncan are affected, Celeste just looks proud of the impression being made. Unexpectedly, the electric guitar gives way to the hammering of an electric guitar. Jake looks at Celeste and Logan looks up impishly. Celeste is not happy as the video moves onto Veronica's footage for the night of the limo party. The camcorder has caught Lilly close up in the back seat. LILLY: Hello America! You wanted Lilly. You got her. Veronica's eyes are well with unshed tears. LILLY: Now sit back and enjoy the ride. As the music kicks in, the video moves to predominantly Lilly 's, but also Veronica' s chests as they dance in the back seat. The crowd starts to react positively and some laugh Logan. Lilly pops the champagne and goes into a glass held out. Wallace and Georgia raise their own glasses to her. Celeste is really unhappy. Duncan can not suppress a grin. Back to the video, Lilly sticks as Logan claps. Veronica, at the dedication, laughs at the memory. Troy lets out an appreciative "Yeah". Lilly dancing, Lilly dancing, then Lilly dancing, on the back seat. The next sh*t is of Lilly swigging from a champagne bottle. Jake lets out a laugh and grins. There is a couple sh*ts of the 12-15 year old showing her biceps and jumping out of a tree. Celeste now looks deeply embarrassed. Lilly kisses has a Logan supine. The crowd roar Logan all but blushes. Celeste is clearly angry. On the video, Lilly is on the beach, a bottle in one hand, a glass in the other, running towards the camera. This is a cut with a head of the open sunroof of the moving limo. Jake is laughing freely now Duncan smiling. Jake puts a hand to his mouth. The video ends with Lilly 's hair flying as he looks down on the limo and addresses the camcorder. Celeste is clearly angry. On the video, Lilly is on the beach, a bottle in one hand, a glass in the other, running towards the camera. This is a cut with a head of the open sunroof of the moving limo. Jake is laughing freely now Duncan smiling. Jake puts a hand to his mouth. The video ends with Lilly 's hair flying as he looks down on the limo and addresses the camcorder. Celeste is clearly angry. On the video, Lilly is on the beach, a bottle in one hand, a glass in the other, running towards the camera. This is a cut with a head of the open sunroof of the moving limo. Jake is laughing freely now Duncan smiling. Jake puts a hand to his mouth. The video ends with Lilly 's hair flying as he looks down on the limo and addresses the camcorder. LILLY: You love me do not you? Jake starts to sob and Duncan comforts him. The crowd cheers. The screen goes black. Logan looks over at Veronica. She smiles at him and he smiles back at her. The crowd starts to disperse. Amongst the crowd are Weevil and, behind him, Felix. FELIX: [To Weevil's back] Hey, weev, let's h*t it. [We're getting no response] Weevil! Weevil turns and looks up at Felix. His face is wet. WEEVIL: Yeah, yeah. [Wiping his face with his hands] Let's ride man, Let's go, the night's young. Weevil pushes Felix on and, after one look back, follows him. Cut to a Wallace and Georgia sitting in the back seat of a limo. Wallace puts his arms around Georgia and she smiles. Along the side seat Veronica, in a strapless red dress, and Troy. Veronica spots something outside. VERONICA: Do you mind if we make a stop? Veronica looks round at the others. VERONICA: There's something I need to do. TROY: Well, I do not think that's a good idea, we should probably go right to the dance, right. I told you your dad ... Veronica just smiles and takes off her shoes. The limo stops at the beach. Veronica jumps out then turns back to Troy, who is just moving to join her. VERONICA: You have to stay here. Troy falls back in his seat, confused. Veronica turns and heads for the water. Wallace joins Troy on his seat. Troy looks at Wallace. Wallace holds up a hand. WALLACE: Do not ask me, man. Stopped trying to figure her out day one. Veronica gets to the water. She reaches back to unzip the dress. She drops the dress and walks then does a standing dive into the water. She comes up for air, turns towards the shore and laughs. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x04 - The Wrath of Con"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars LILLY: [At the carwash] I've got a secret. Cut to Veronica Running to Lilly's Body. LILLY: [Offscreen] A good one. VERONICA VOICEOVER: It's been a year since my best friend Lilly Kane was m*rder. Cut to Neptune High. LOGAN: That's my girlfriend. Your friend. Duncan's sister. Cut to the car wash, then to Veronica and Troy in the school hall. VERONICA: My dad wants to meet you. TROY: Do not worry, I give good parent. KEITH: [Offscreen] Actually ... Veronica and Troy kiss. Cut to the Mars' apartment. Troy is sitting on the couch. Keith is on the flesh next to it. KEITH: ... she has not told me anything about you. TROY: Well I do not know if that's a good thing or a bad thing. KEITH: Neither do I. Cut to Keith and Veronica having dinner at the apartment. KEITH: So I got a call from your counseling counsellor today. Any idea what for? VERONICA: Nope. MISS JAMES: [Offscreen] She's been late ... Cut to Miss James' office with Keith standing in front of the desk. MISS JAMES: She has attitude with some teachers. Cut to Veronica standing in the school hallway and other students fast forward around her. MISS JAMES: [Offscreen] and socially she seems to be a bit isolated. Cut to Keith poking his head round the door of Veronica's room. KEITH: I never want you to think of your mother in this. VERONICA: The hero is the one that stays and the villain is the one that splits. End previously. Scene opens in Tijuana, Mexico. It is night. A boy, who will be called Luke, is carrying a piece and is creeping about a dumpster. He exchanges an envelope hidden inside the room for something from a dumpster and looks about nervously. He walks away from the dumpster to a parked car, knocks on the window and laughs at the sound of a groan coming from inside. He climbs into the back seat and joins driver Troy and a badly hung-over Logan, sitting in the front. LUKE: Wake up! TROY: I've spent the last forty minutes listening to Logan dry-heave so you could buy a deformed pi ata? LUKE: [Laughing] Dude, everything was closed. It was the cheapest souvenir I could find. LOGAN: [Struggling] I'll say it one more time. [Pause] Juanita from the Hot Tamale? Aye-yi-yi-yi. [Laughs then gags] TROY: Whoa! What'd I tell you about drool on the leather. Dad's very strict about the car. [As the boy in the backseat laughs Logan and groans] He's the only one allowed to dry-heave in it. [Sniggers] All right. Have we had our fill of Tijuana? LOGAN: No LUKE: [Simultaneously] Yes. Troy starts up the car. Cut to the Border Inspection Station where cars queue to pass through. Vendors sell souvenir flags and goods. TROY: No, no, thank you. They pull forward. LUKE: These border checkpoints, man, they always freak me out. LOGAN: Maybe we should not volunteer for the full cavity search. They reach the checkpoint. Luke is very nervous. A customs officer leans into the driver's side window with a torch. OFFICER: Morning. TROY: Morning, sir. Troy and Logan are grinning at the Officer. OFFICER: You, uh, fellas have a good time in Mexico. TROY / LOGAN: [Simultaneously] Yes, Sir. OFFICER: Wanna go ahead and hand over your contraband. Long b*at. Troys eyes widen as he looks at Logan then back at the officer. OFFICER: [Smiles] It works sometimes. Pop the trunk. Luke breathes a sigh of relief as the officer checks the boot. TROY: Anybody else hungry? LUKE: Sure. TROY: Yeah. Cut to a dinner. Logan and Luke are seated at the counter. The remains of a meal are before them. LUKE: I can not believe you're calling me a wuss. LOGAN: Mmm LUKE: I'm serious. You're the guy That can not close the deals TROY: Dude, what are you talking about? LUKE: I'm talking about that girl, that g-girl. Esmerelda? Troy returns to the counter. LOGAN: The deal was closed back VIP, my brother, make no mistake. Troy puts some money on the counter. LUKE: No way. LOGAN: [To Troy] Did you wash your hands? Troy smiles and wipes his hands on Logan's shoulder. LOGAN: Thank you. TROY: I got this boys, let's roll. Troy punches Logan on the arm. Logan groans. Border Grid & Diner - Troy leads while Logan and Luke continues their debate. LOGAN: [To Troy] All right, settle something for us, partner. Did not Luke look kind of scared when he started working on his milkshakes on him. LUKE: That's great. That's adorable. You're a good man, you're a good man. Thank you. I was not, uh, I was not scared, I was concerned. Troy, looking forward, looks concerned himself. LOGAN: Oh yeah. You've never seen a girl pick up a glass like before. The boys are standing in front of an empty car parking space. TROY: Is not this where we parked? Tell me that this is not where we parked. Please, who knows me that you can see my father's heart and that heart att*ck that I'm having right now is for nothing. LOGAN: Well maybe it's like Brigadoon. If you come back in a hundred years, it will be right back in this spot. LUKE: [Panicked] Troy, did you lock it? TROY: Did I lock it? Logan lies down in the space. Cut to Luke with his head buried beneath his hands as they wait outside the dinner. TROY: [To Luke] What's your problem? It's not even your ass on the line. LUKE: Yeah, I know. This just really sucks, man. LOGAN: Wow man, that's profound. TROY: My parents come home in five days. If the car is not back before my dad is, I'm going to be singing hymns and doing rosary beads before you say 'The Passion'. Veronica pulls up. VERONICA: Dude, where's your car? Troy frowns and shakes his head. VERONICA: Sorry. Troy heads for the car. VERONICA: Ah, [indicating Logan] your monkey's gonna have a ride in the back. LOGAN: Ha-ha. Nice car. [Climbing into the back seat] God, it must have been a huge cereal box. Veronica is ready to get f*cked at Logan as Luke gets in the back. TROY: Now let's let that go. Cherish these moments. Because they will probably be the last ones we spend together. [Gets in the front seat] VERONICA: Hey, I do not mind dating a guy that rides a bike. TROY: How do you feel about a guy who's being sent to Catholic school in Albuquerque? Veronica's face indicates that it would not be so cool. Opening credits. Cut to the pulling up outside a large house. Luke and Logan climb out. LOGAN: Thanks for the ride. Does this mean you're gonna play nice now? VERONICA: Walk in front of the car, we'll see. Luke laughs. As he and Logan cross the front of the car, Veronica revs the engine. Logan smiling, slaps the hat with the jacket he's carrying. LUKE: [To Logan] Can I stay in your guest house. [Pointing back to the house] I just do not want to wake my parents up this early. Logan and Luke get into Logan ' VERONICA: I have a brilliant idea. TROY: Does it involve a time machine? VERONICA: Why do not I make some phone calls and see if I can track down the car. TROY: I appreciate it but I think this is even beyond your super powers. VERONICA: Have not you heard? I've got friends in low places. TROY: Look, I can not report the stolen car 'cause my dad thinks it's still safely tucked in the garage. Which means I can not get the anti-theft homing device activated. It's-it's probably on a cargo ship to Jamaica. You know, my dad is going to send me away, he's going to track me down and he's going to k*ll me. VERONICA: Not if he does not find out. Let's go back to your house. TROY: And take my mind off my problems? [Giving a lecherous grin] VERONICA: And get the details on the car. Model. License number. WINE. TROY: How do you make VIN sound so hot? Veronica laughs. Cut to the front office of Mars Investigations. Wallace is heading for the desk at which Veronica is seated, carrying refreshments. WALLACE: Are you going to find Troy's stolen because over the internet? VERONICA: You'd be surprised what one can find with a few nimble keystrokes. WALLACE: All right, then, Velma. Why do not you see what you can find on, say, me. VERONICA: It's Daphne, thank you very much. Prying Eyez Dotcom, with login and password, Veronica's laptop screen fills. WALLACE: [Looking over her shoulder] What's that? VERONICA: If you're a PI with a password, this is the gateway to many a skeleton filled closet. Arrests, divorces, bankruptcies. [Gasps, then in Scooby voice] Rut-roh! Somebody got their license suspended last year. WALLACE: I got it back. Bet you do not say that. Wallace heads back around the desk. VERONICA: Wait, if I'm Daphne, what does that make you? Fred? WALLACE: [Sitting] Oh no. If I gotta be any of those white boys, I gotta be shaggy all the way baby. Shaggy's got mad flavor. VERONICA: Awwww, you still have a subscription to Mad Magazine. You're all about the flavor. Veronica closes her laptop as Keith comes from her office heading for the kitchen area. KEITH: Hey guys. VERONICA: Hi. [In a whisper to Wallace] Hey, help me out. So, for my dad's birthday, I'm thinking? Rock climbing? WALLACE: Because he loves heights? KEITH: [From the kitchen area] Not so much but keep thinking outside the box, I like it. And do not wait for me for dinner, I'll probably get out of the Italian place. VERONICA: Luigi's? Will you get some lasagna? KEITH: Some lasagna? I'm just saying last time we went to Luigi's you ate your weight in manicotti. VERONICA: And now your birthday will be spent sky-diving. [Keith laughs aloud] Alone. Cut to the Mars' apartment. Veronica comes in and greets the dog (note that this is not the same dog as in 1.01 Pilot). VERONICA: Hi buddy, hi. We'll go out in a minute. Veronica drops her keys and hits the play button. FEMALE VOICE: Hi Keith, it's me. I could be a little late to dinner since I came into work- Oh, wait a minute. Um, I'm sorry. I'm just going to call your cell. Veronica looks suspiciously at the phone as she gets herself a drink. She heads back to the phone and punches in the code to ring the last caller. FEMALE VOICE: Hi, you've reached Rebecca James in the Counseling Office at Neptune High School. I'm away- Veronica cuts off the call. VERONICA VOICEOVER: You know those people who can predict their life? I'm not one of them. Change has a way of just going up and punching me in the face. Cut to Luke's face. He is straining with something. HANK: [Offscreen] I love the effort. I mean, look at this guy, he's really working. You're pushing through the bread, man. The camera sweaters back to show a gym. Luke is lying on his back to a heavy barbell just clear of his chest. A blond man, Hank, is standing at his head. HANK: Nobody's kicking sand in your face. But, uh, you look a little tired there, tiger, so I'll tell you what. Tell me where my package is and I'll help you lighten that load. LUKE: [With effort] It's a friend's car. I'll have it for you tomorrow. HANK: [Kneeling down] OK, I'll tell you what. You got until 9am otherwise I'm gonna hunt you down and the closest thing you're gonna come to playing baseball is me shoving a b*at right up your ass. Hank pats Luke on the cheek and then removes the barbell. Cut to the Mars' apartment. Keith is putting some things in a box Veronica enters from her bedroom. KEITH: Morning honey. VERONICA: What'cha doing? KEITH: Nyah, I figured I'd put the rest of your mom's stuff in storage. I do not think we need the reminders anymore, you know? VERONICA: [Getting cereal] Yeah. KEITH: You wanna take a look? VERONICA: Not so much, no. KEITH: Well, I'm gonna leave it here for now. I've got an eight o'clock. VERONICA: So, you and Miss James, huh? I would not have pegged that one. KEITH: Yeah, well, we only went out a couple of times. I did not want to make a big deal out of it. VERONICA: So do not. I get it. Companionship, needs, yada, yada, yada. It's fine. KEITH: I'm sorry you did not hear about it from me first. VERONICA: Do not sweat it. You know how many things I do not tell you? [Off Keith's look] I'm kidding. It's cool. Just next time, could you sh**t for an actual teacher? Because this has no potential benefit to my grade point average. KEITH: You sure you feel okay about this? VERONICA: Yes. KEITH: Good. I like her. VERONICA: Cool. KEITH: Have a nice day. VERONICA: Keith leaves. Veronica puts down her cereal bowl and walks slowly over the box. She picks up a picture of Keith, Lianne and herself. VERONICA VOICEOVER: The best way to dull the bread of your best friend's m*rder is as soon as possible. It's like having a hammer, then when it's throbbing so badly you do not think you'll survive, you cut the damn thing off. [Picking up a small pile of unframed pictures] When my dad implicated the beloved Kane family in Lilly's death, I was willing to stand by him and lose everything else. Mom? Was not. There is a small envelope in the jewelery box. Veronica opens it. VERONICA VOICEOVER: A safety deposit box key? Lianne Mars' death certificate. Veronica is working on one of the screens in the school publications room. It looks like the class is wrapping up. MS DENT: Thanks everybody. Do not forget, interviewing exercise tomorrow. As Ms Dent leaves the room, Luke rushes in and over to Veronica. LUKE: [Out of breath] Hey. You're helping Troy find his dad's car, right? VERONICA: You're sweating on me. LUKE: [Taking a breath] Look, I need your help. There's something more than that. [Veronica looks at him] There was a lot of steroids in the back seat. II did a run for Hank Zigmund. He owns the Zig-Zag Sports Club. I wanted to get pumped for Varsity baseball. I was pretty much down for whatever. VERONICA: Including shrunken testicles and acne scars. Well, speaking for the women of America - Good plan! Wait. What did Troy and Logan know about this? LUKE: Nothing. I swear. [Off Veronica's disbelieving look] Yeah, all right, Logan knew but he wasn't-he was not in on anything. VERONICA: It does not matter anyway. I do not help dealers find their lost products. LUKE: [Desperately] Look, do not think of it like that, all right? Think of it like you're saving my life, I mean the guy's built like a truck. He will-he will break one of my limbs. VERONICA: [Sighs] If I were to help you, you would have to return the steroids and get your money back and then return the cash, not the drugs. LUKE: Yeah, I'll do whatever. VERONICA: I'll figure something out. Until then just lay low. Veronica grabs the death certificate as it rolls off the printer. Cut to the bank. Veronica approaches a booth. BANK TELLER: Hi. May I help you? VERONICA: Hi. My mom died last year and I just found this. Veronica sweaters out the safety deposit key. Cut to her in the vault then at the safety deposit box. She pulls out some files and some photographs. VERONICA VOICEOVER: All this time, I've been thinking Mom bolted because she could not handle everything. Maybe she could not handle me. The photographs are candid sh*ts of Veronica against which the crosshairs of a target are drawn on each. Veronica is shocked. The scene shifts but is still on the pictures. VERONICA VOICEOVER: Looks like they used to 300mm on this one. The camera pulls back to reveal Veronica sitting at her desk at Mars Investigations. VERONICA VOICEOVER: Not bad. Definitely the work of a pro. A pro who knew my schedule quite well last year. Judging by my lack of an eight man, 24 hour security detail, I'm guessing Dad has not had the pleasure of viewing this little slideshow. Someone bangs on the door to Mars Investigations. REBECCA: Hi! VERONICA: [Closing the file] Hello. Keith comes out of his office. KEITH: [Nervously] Hey REBECCA: Hi. KEITH: I thought, uh- REBECCA: I'm guessing I'm early, right? KEITH: No, no, it's fine. It's fine. REBECCA: I'm sorry. I'm just-I was anxious. Hi. KEITH: Hi. REBECCA: Hi. KEITH: Hi. They kiss briefly as Veronica looks on bemusedly. KEITH: Uh, Veronica, Rebecca wanted to stop by and uh? REBECCA: And, uh, just say hello. Outside of school. Veronica : Well, this is a little weird, but you are not dating. Um, I'm fine. No worries. KEITH: Well, I thought, um REBECCA: And-and I agree. KEITH: that if you had the chance to talk things would seem a little less awkward. VERONICA: And are you starting to see the wrestling-22 inherent in the plan? REBECCA: As to matter of fact, I am. [Laughs] OK, well, um, is there anything I can do that would make things easier for you? VERONICA: Can you get me out of the fifth organic period? Cut to Veronica and Troy in her car. The music for "Such Great Heights" by Postal Service starts up. VERONICA: So far, it's been talking about my buddy, Earl yesterday, at the impound yard. TROY: What do I love more? Do you have a buddy named Earl that he works at the impound yard? VERONICA: I'm guessing both. No sign of the Beemer. But he can get you a great deal on a good times van. TROY: I'll get that on my dad when he gets back. Maybe he'll take a look at his g*n. The lyrics kick in and will play beneath the rest of their conversation. SONG: I'm thinking it's a sign that the freckles We're perfectly aligned. And I have to speculate that God Himself Did not like to make a mistake. death. When you're out there on the road for the radio, I hope you'll be able to do that. They will see you here! Come on now! They'll see you again . VERONICA: Yeah, me too. VERONICA: Here's a thought. If Tijuana was Logan 's idea then stealing the car could have been the master plan. TROY: It was more of a meeting of the minds, if you will. VERONICA: Ah, so what was the menu for this big debauchery? TROY: Let's see. From, uh, eight to nine, we brainstormed on how to overthrow Kim Jong Il. From nine to ten, we have the record of the black voters of Florida. After that it was, uh, yeah it was all donkey shows. VERONICA: So the usual? TROY: Pretty much, VERONICA: Anything else? TROY: If you wanna ask something, you just ask. VERONICA: OK. Did you meet anyone or were you followed? Did you see any suspicious activity? TROY: How about Tijuana? VERONICA: I'm not looking for DNA samples. It's just more information, the better chances of you finding it. TROY: I know. Sorry. Cut to Veronica and Troy entering the Beacon Corporation, providers of tracking recovery. Veronica approaches reception. TROY: [Quietly] So you think they're going to turn the Beacon system on just 'cause we ask sweetly? VERONICA: Well, we've tried everything else. Just watch a master at work, all right? This is what I do. Veronica walks behind you towards the office cubicles. She steps into one staffed by a young man, Roger. VERONICA: Hi, um, I'm the personal assistant to Lawrence Vandergraff. He's freaking out. He thinks his device is broken and he wants to run a diagnosis on his BMW. Here's the VIN number. Please tell me you can do this. Pretty please? Cherry on top? ROGER: [Apologetically] I-It's not really procedure. VERONICA: Well? Can it be our little secret? I've worked for the guy for two weeks and he already thinks I'm saying. ROGER: Uh, okay then. [Pointing to himself] Super Roger to the rescue [ then to the computer]. Veronica smiles thankfully then turns and winks at Troy. As she turns back into Roger's cubicle, an older official woman enters. BEACON WOMAN: Roger, what are you doing? ROGER: Um, ahh, aa simple diagnosis. Uh, BEACON WOMAN: Has the car been reported stolen? VERONICA: Wel-not exactly. BEACON WOMAN: We never activate Beacon unless the car is reported stolen. VERONICA: [Silently] Right. Veronica nods her head and heads back to Troy. He drops his head. TROY: [Silently and with a hand gesture] Smooth, Veronica. Cut to Logan's as he pulls up outside Luke's. Luke exits the car. LUKE: Ok. LOGAN: All right. LUKE: Hey uh, that-that's great. Hey! Can you pick me up tomorrow? LOGAN: Yeah. LUKE: Good, good. Logan drives off as Luke heads up the stairs towards the house. On his left an orange Hummer screeches to a halt. HANK Hey! As Hank breeds out, Luke bolts. Hank chases him for a while and then gives up a fence before a long drop. HANK: You better run you punk bitch! Cut to the High School. Logan is bent down at his locker, one of the lower ones. Veronica can be seen in the distance heading straight for him. VERONICA: Time for a cat? LOGAN: [Standing] Well. Think if hell froze over, maybe it's on the news. VERONICA: I just wanna hear more about the steroids you bought last weekend. LOGAN: You mean the steroids Luke bought. Wow! You suck at this Nancy Drew stuff. You should get a new hobby. VERONICA: So you knew he was doing it. LOGAN: [Smirks] You actually think that I would tell you anything? [On Veronica 's Veronica' s look behind him and turning to see that] Hmm [with thumb / finger circle gesture], I guess we 're done here, Officer. [Whistles] What's up, T? Logan walks between them, stares hard at Veronica and then walks away, football in hand. TROY: Hey, gorgeous. That guy bothering you? VERONICA: What guy? They kiss and Troy puts her arm around her with Veronica holding onto her hand and they walk down the corridor together. Cut to the Mars' apartment. Rebecca is looking in the bottom cupboards. Backup is helping. REBECCA: All right. Where is your sifter? Veronica has just entered. VERONICA: I do not think we have one. REBECCA: [Startled] Oh, hi! Um Rebecca extricates herself from the cupboards and stands. Veronica puts her bag on the counter as Rebecca wipes her hands. Backup jumps up on Rebecca. She laughs. VERONICA: [Abruptly] You did not give Human food backup, did you? REBECCA: Oh no, no, no. I just found his happy spot, that's all. So, um, another box of bad timing. Your dad went out for groceries' cause I'm making dinner for both of you tonight. So, uh, how was your day? VERONICA: [Coldly] Fine. How was yours? REBECCA: It was excellent, thank you. I know you guys like Italian food so I'm making fettuccine and for desert guess. VERONICA: No idea. REBECCA: Waffles and ice cream. That's your favorite, right? I have this sauce on top of vanilla ice cream on the burner Rebecca's voice fades as Veronica flashes back to her mother, in pajamas, in a different kitchen. There is a waffle on the counter behind her and an opened carton of eggs. LIANNE: So. When are we gonna cook for your boy? VERONICA: We're Mars women. Should not we play to our strengths? And who says there's a new boy? LIANNE: Do not even try that. No, wait a minute. Let me guess. Um Fisher Garret? Kenny Houseman? VERONICA: [Increasingly offended] Have we put? LIANNE: [Relieved] Thank you. Um Travis Kittlemeyer. VERONICA: [Knowingly] Ooh, I think he'd rather be dating Kenny Houseman. LIANNE: OK. Um, then, Boris- VERONICA: OK! It's Duncan Kane. Lianne 's cheery moods evaporates abruptly, replaced by one of concern and / or shock, as a warning tone emits from the iron waffle. VERONICA: [Sensing her mother's reaction] The waffle's burning. Lianne opens the iron on the charred waffle. A sound of something like Veronica back to the present. REBECCA: Oh! Oh, god, I'm so sorry. It just slipped out of my hands. VERONICA: [Joining her] It's all right. Keith enters with a bag of groceries. KEITH: Hey, how's it going in here? REBECCA: Look at this. I'm a klutz. KEITH: Ah, it was ancient anyway. Do not even worry about it. VERONICA: I really appreciate you doing this, but I actually can not stay for dinner. REBECCA: Really? KEITH: [Skeptical] Why not? VERONICA: I told a friend I'd meet him at Sac-n-Pac. It's a school project. REBECCA: [Disappointed] Oh well, I-I'll ask first next time. Make sure you're available. VERONICA: Thanks for cooking. I'll try the pasta when I get home. KEITH: [Pointedly] Which will not be too late. VERONICA: Have a good night. Veronica exits. Cut to a yard breakers. A bike comes into the yard and one of the men heads over to meet it. WEEVIL: [Offscreen] Angel! How's business? Veronica and Weevil come into view as Angel and Weevil high five and hug. ANGEL: [In Spanish, translation by subtitle] Have you found the Lexus that I asked you about? Weevil nods then turns his head to Veronica. WEEVIL: This is Veronica. She's the girl that got me out of juvie. I told you about her. Look, she's looking for a car. A green BMW 740i. It should have been here a couple of days ago. ANGEL: [In Spanish, translation by subtitle] It came and went. We left it really cool. [Casting a glance at Veronica] Tell her that the customer has the receipt and the registration in order, like all my clients. And I do not even remember his name. WEEVIL: Yeah, I hear you. ANGEL: [In Spanish, translation by subtitle] And nephew, do not bring people I do not know. WEEVIL: All right. They clasp hands and bump chests. VERONICA: Did you ask him about the pi ata? WEEVIL: Oh, yeah. One more thing, uh. Did you happen to see a pi ata? ANGEL: [In Spanish, translation by subtitle] Mario took it. It's his daughter's birthday. WEEVIL: Gracias, Tio. [To Veronica as they walk back to Weevil's bike] So the car w- VERONICA: Was chopped. Your uncle will not say for who, but the papers are in order blah, blah, blah. Please tell me you know where Mario lives, because we need to get that pi ata right away. Weevil is impressed. WEEVIL: Baby, I'll buy a pi ata. VERONICA: [Sweetly] Will you buy me pi ata full of steroids? Cut to Weevil and Veronica on his bike, looking for Mario's. WEEVIL: I've only been here once. VERONICA: [Pointing] Uh, maybe that one. Where are the balloons? Weevil heads for it and stops outside a garden where children's party is in motion. A child is banging on the pi ata. VERONICA: Yeah, this has to be it. Veronica breeds off the bike. VERONICA: Stop, stop. Just as she reaches the child, the pi ata splits and spills its contents to the ground. The children scamper to collect the small sweets in wrappers. Veronica watches, stunned and confused, then leaves the mothers chatter in Spanish about her behavior. VERONICA: Sorry, sorry. Cut to the inside of the girls' restroom. The door crashes open as Veronica forcefully pulls Luke into the room. She flings to the wall and checks that the cubicles are empty. LUKE: Gee! Am I in trouble? What? God! VERONICA: We need to talk. LUKE: All right. But does it have to be feminine hygiene machine? VERONICA: Yeah. Get over it. Look, I found the pi ata and it is not full of steroids. You're out of options. If you want Ziggy off your back, you're going to have to buy him off. LUKE: Veronica, you do not understand. If I go to him without any steroids, cash or no cash, he's going to hurt me. Bad VERONICA: Well, you let me worry about that. You worry about getting the money. LUKE: Yeah, how? What do you think I've got e-eight big stashed away in my other wallet? VERONICA: [Angrily] Figure it out! Veronica storms out of the restroom into the hall, thinking hard. As she looks up, she sees the door to the school administration office. There is a poster on it that says: She breaks and flashes her exiting that office. Lianne is gripping Veronica's arm, leading her. VERONICA: Mom, what are you doing here? Where are we going? LIANNE: Ooh, I just thought it would be nice to spend some time together. I thought we could visit Aunt Sheryl. VERONICA: In Palm Springs? Mom, I can not go to Palm Springs. I have a history test and a Spanish project due. LIANNE Honey, please. Do not make this hard. [Whispers] Just come with me, okay? VERONICA VOICEOVER: [As we return to Veronica in the hall] Three days later she was gone. At the time I thought it was just one of my favorite things. I chalked her nerves up to the vodka. But now I think she really was scared. Cut to Veronica's room. The music is Santana's "Put Your Lights On" with Everlast. Veronica is putting on cell phones in envelopes. VERONICA VOICEOVER: People rarely cut all their ties, even when they try. If it's going to be there, it's going to be a good thing, I'm going to be able to meet you, maybe it's going to be safe for me to call me. It's my version of a message in a bottle. Veronica breaks her activity when she hears the front door of the apartment. She walks out slowly towards her father, who has just come in. SONG: Hey now, all you sinners VERONICA: One more hour and one can actually make a walk of shame. SONG: ut your your your KEITH: Let's say I'm gonna play the dad and go to bed. That all right? SONG: Hey now VERONICA: Actually I need your help. KEITH: What's up? SONG: all you lovers Put your lights on, put your lights on VERONICA: Troy Got His dad's car stolen On His way back from Tijuana and we're try trying to find it before His dad gets back so he's not shipped off to boarding school in Albuquerque. SONG: Hey now, KEITH: Hmm. He's important to you, is not he? VERONICA: Yes, he is. SONG: Put your lights on, put your lights on VERONICA: Keith laughs tiredly. SONG: Hey now, all you children KEITH: I'll be nice to your boyfriend if you're nice to my girlfriend. SONG: Leave your lights on KEITH: Veronica? SONG: you better leave your lights on VERONICA: Deal. KEITH: Good morning. SONG: The ill aha, we fade away. VERONICA: Good night. Both go to their rooms. Cut to Beacon Corporation. Keith walks into the Cubicle of Beacon Woman as she enjoys her salad at her desk. BEACON WOMAN: Can I help you? KEITH: James Anderson, head of security for LT Vandergraff. BEACON WOMAN: Sorry, I'm not sure I- KEITH: Do you know who Mr Vandergraff is? You will be named after the lawsuit he files against your employer. Now, I know you value him as a customer. He really values ​​this car, so we need to run a drill. You look like a smart lady. Do yourself a favor and turn his system on now. She does. Keith smiles. LUKE: [Offscreen] This is insane. Cut to Neptune High School where Luke is sat in front of a computer screen. Veroncia is coming to a leaf. LUKE: I mean, two thousand bucks with four bids? These people have no idea what a Barry Bonds' ball's worth. VERONICA: No, it's classic bidding strategy. They wait 'til the end of the auction. Try hitting refresh. LUKE: [Unhappily] Classic bidding. VERONICA: See, there you go. Twenty-eight hundred. We're almost there. LUKE: No, we're not almost there. [Snorts with disgust] III can not do this. I mean, you have no idea what I was going through to get this ball. You have no idea what it's going to be when he retires, VERONICA: [Patiently, with gestures] Luke. A ball or your life. You do the math. [Losing her patience] It's a ball! LUKE: Yeah, it- Luke slaps his hand on the desk. Cut to Troy and Veronica outside under a tree. . TROY: What are you doing after school? Wanna come over and play detective? VERONICA: How are you laid back? I mean, if we do not find this car, we're done. This. Over. Does not scare you? TROY: Yes, it does. I mean it scares the hell out of me. VERONICA: Then why do you seem so- TROY: Let's just say that you've been told 72 hours to live. How do you spend them? You can dig through medical texts for a miracle cure or you can make those 72 hours the best three days of your life. And I choose sexy fun time. VERONICA: Well, I choose a miracle cure. Wallace wanders over. WALLACE: I do not get something. Why are your parents going to prison in Albuquerque? Seriously. What's wrong with a good old-fashioned grounding? TROY: I'll get you to call you. Get some parenting advice. WALLACE: Happy to help. Wallace leaves as Troy and Veronica stare at each other. MS DENT: [Offscreen] Remember. Cut to the journalism classroom. MS DENT: Start with light, easy questions first. Let your subject get comfortable. Veronica and a snooty looking brunette, Ashley Banks, sit facing each other. ASHLEY: So, Ms Mars. How do you respond to the rumors that your boyfriend strikes with strippers in Tijuana last weekend? VERONICA: Ms Banks. Have you decided which parent are you going to live with after the divorce? And if I can, follow up. Can you believe your father's choice in mistresses? Ms Banks is stung. MS DENT: [Offscreen] Veronica, I need to speak with you after class, please. Cut to later. MS DENT: You look ready for a fight. VERONICA: I get that a lot. I guess it's just my usual expression. MS DENT: [Sighs heavily] How do you think Ashley's going to sleep tonight? VERONICA: I did not know anything deep down. MS DENT: Maybe. But sometimes the lie we we are believed to be for our own good. Veronica digests this] You coming? VERONICA: Uh, in a minute. Research. VERONICA VOICEOVER: [Heading for the computers] Poor Ms Dent. She can not see the big picture yet. Love is an investment. Information is insurance. With someone whose heart has already been crushed, I say you can not be too careful. Veronica pulls up Dotcom Prying Eyez. She is going to the background Check page. Cut to later at Mars Investigations. Veronica walks into Keith's office with a hint of trepidation. She walks into Keith's office. KEITH Hey, there you are. I wanted to ask you a favor. I know you got something planned for my birthday, but it was so, you know, hoping it would be, uh, fine if, you know, before we went to do cook us dinner, because she's a great cook. VERONICA: [Sombrely, placing the file on his desk] I think you should look at that. Veronica turns away and walks slowly back to the desk in the outer office. Keith opens the file and examines it. Veronica looks over at him. VERONICA: Did you know she was still married? KEITH: I did not. I'm still married, Veronica. VERONICA: And that she was arrested for passing bad checks? Keith rises from his desk and walks into the outer office. KEITH: When was she 21. [Holding out the print from Prying Eyez] What were you thinking, Veronica? I'm your father. What made you think you had the right to do something like this? VERONICA: What are you talking about, have the right? This-this is what we do. This is how we survive. I was trying to protect you. KEITH: [Angry] Protect me? I'm an adult, Veronica! Keith drops on Veronica's desk and heads back into his own office. VERONICA: You've got her life going like it's no big deal! KEITH: [From behind his desk] Oh, it's a big deal. It's a huge deal. [Heading back towards Veronica] Makes me feel good about myself. Wanted in a way that I have not in a long time. It makes me wake up with a smile on my face. And we did not ignore your feelings. We tried to make you feel comfortable but you're a snotty. Keith heads back to his desk again. Veronica follows. VERONICA: Mom is still out there somewhere. Do you even care if she ever comes back? KEITH: You did not care until I started dating. You ' VERONICA: [With more distress] You can find anybody! If you were a criminal, you'd make a great pair of tracking her down and have a back in a week. KEITH: Well, maybe I do not care to find her. Have you ever considered that? Veronica is stunned into silence by that. KEITH: And here. [Taking out a card and heading towards his desk] I've turned your boyfriend's security system on. [Slapping it down on her desk] There's the code. Veronica slowly follows him out. Keith spins round and enters his office, closing the door very firmly behind him. Veronica sits at her desk and leans her head into her hands, sobbing quietly. She sniffs, wipes to tear and pick up her pen. But she's still too upset and throws it aside, returning her head to her hands as she cries. TROY: [Offscreen] Sure you're all right? Cut to Troy and Veronica, late, in her car. Veronica has a handheld tracker which is beeping. VERONICA: Would you stop asking me that? I need to concentrate. The signal is weaving all over the place. It's weird. TROY: You think they know that we're on them. VERONICA: Maybe, but it looks like it's going in between buildings. I do not get it. The car pulls up in an empty street. They get out of the car. VERONICA: It says this is the street. Seems like an unlikely place to hide a stolen car, here in mansion land. TROY: You think it's a garage? VERONICA: No, the signal is still moving all around. It's-it's right on top of us. They look ahead. There is a whine and there a yellow lab with the tracking device attached to its collar. TROY: Please tell me that a dog is not supposed to be the BMW. VERONICA: You think your dad'll notice? Troy gives her a look. TROY: Yeah. Cut to the Mars' apartment. It is morning. Keith is in the kitchen, pondering. He hears Veronica as she comes into the kitchen. KEITH: [Softly] You want some breakfast? VERONICA: No thanks, I'm just going to grab an apple. Keith is staring at something on the counter behind Veronica. She turns and looks behind her. It is a file marked with Troy's name. She picks it up. KEITH: That's for you. It's everything you can know about Troy. You can open it, you can throw it out. It's your choice. Keith walks away. Veronica stares after him for a moment, then looks down on the file in her hands. Keith first puts Rebecca out of school. They are sitting alone on a bench against the window wall. Rebecca has one arm around Keith. Her other hand plays with Keith's on the table. She recognizes that Keith is struggling with something and watches him intently. She leaves her wrist resting on her shoulder. KEITH: [Sadly] I just do not know how to say this. Keith sighs heavily. Rebecca looks up, recognizing what is coming. She lets go of Keith's hand and her own together, her forearm still resting on her shoulder. REBECCA: Keith, just pull the band-aid off. [She expels her breath in a nervous and soft laugh] The furrowed brow and the-the breaks are k*lling me. KEITH: I can not see you anymore. REBECCA: [Long pause] OK. Rebecca backs off a little, taking her arm from her shoulder. KEITH: I can not do this to Veronica. She's not ready to see me dating yet. I'm sorry. [Pause] I'm sorry, but she's having a really hard time. REBECCA: Can you do me a favor? KEITH: Of course. REBECCA: Can you just tell me it's another reason like, like a crappy one? Your being a good father is not really something I can bitch about to my girlfriends over margaritas. Keith cups Rebecca's head and draws her to him. Cut to Neptune High. Veronica is waiting outside the lockers in an empty hallway. TROY: Hey sexy. Give me a kiss, make all my troubles disappear? VERONICA: All your troubles? That would be a lot of kissing. [As Troy opens his locker] I'm just glad we were not dating when you were kicked out of those two schools for drug possession and tr*ffick, my lips would have fallen off. TROY: A-huh. Well good morning to you, too. VERONICA: Although, back then, Shauna was doing most of the kissing, was not she? You remember Shauna, do not you? You were kicked out of Pembrooke in Connecticut with her for marijuana possession and then out of St. Mary's in Boston. You crazy kids never learn. So I'm sure that you knew nothing about Luke picking up steroids in TJ? TROY: What are you talking about, steroids? VERONICA: [Wagging her finger] Do not even- TROY: Look, look, I do not know anything about Luke and steroids. Yeah, I got busted in Boston with some dope and big deal. VERONICA: You got busted for drug possession and tr*ffick! TROY: Yeah, so, that was two years before we even put. What does that have to do with us now? VERONICA: TROY: Maybe I would've. You ever think of that? Maybe after I know you for more than a month, I'd tell you my deep dark secrets. Or is that too much of a character flaw? Waiting for the girl to like you before you tell me the things you're not so proud of? I do not have to tell you that. You're Veronica Mars. You know everything. Troy shakes his head and turns and walks away. Veronica stares uncertainly after him. From behind her, Luke rounds the corner. He is holding an envelope. LUKE: Hey. I got it all. Eight big. And a little slice of my soul. VERONICA: [Crossly] Woe is you. Veronica snatches the envelope and trounces off. Luke extends his hands in a 'What did I do?' gesture and follows. Cut to Verona and Backup climbing some stairs. HANK: [Offscreen] Saturday night Veronica reaches Zig Zag's Club, the gym where Luke was, uh, worked out. Hank is on his cell. HANK: I'm looking forward to see you again at Brighton VERONICA: Hey. HANK: [To his caller] I'll, uh, talk to you later, all right. Hank shuts down the cell and looks up at Veronica. VERONICA: Is that Hummer downstairs with the Z-Meister flat yours? HANK: Abso-damn-lutely. VERONICA: Wow. Cool, I guessed right. HANK: So, um ... you here to get pumped? VERONICA: Not exactly. I'm here to settle Luke's account. Hank abruptly changes from flirt to bully as he stands. HANK: Why do not we step in my office? Backup barks. VERONICA: That's okay. I'd rather talk out here. HANK: Well, I would not. VERONICA: [On Backup's growl] Wah, he would. Backup barks a couple times to reinforce the point. HANK: You know, darling, unless you're blind, you're going to take your doggie outside. VERONICA: You can try explaining that to him because he never listens to me. Veronica's cell rings. HANK: You do not understand- VERONICA: Hold on one sec. Veronica holds out her cell, saying that she is taking the call. She takes the opportunity to take a picture of Hank before answering. VERONICA: Yeah? [Listens] Oh, hey Wallace. Not much, you? Hank glares at Veronica and, on Backup's bark, at the dog. VERONICA: No, not at all. No. Piece of cake. [Breaks] Yeah, thanks. She smiles at Hank as she terminates the call. She reaches into the bag and pulls out the envelope taken from Luke. VERONICA: [Hank handing the envelope] Here's the big eight you fronted Luke. You two are square now. HANK: [Taking the envelope and examining the contents] Well, I'm gonna take the big eight, but we do not square, you see, the little bitch let me down and I'm gonna have to make him pay. Veronica nods. VERONICA: Remember this moment. 'Cause you're gonna regret it. Toodles. Veronica heads back to the stairs, dragging Backup behind her. Hank stares after her, malevolently. Cut to Veronica's cell and the picture she has taken from Hank. The cell closes and the camera moves to the picture loading on the laptop screen. Veronica puts down the phone and hits the keyboard. The screen indicates the 12th image of the picture is printing. Veronica readies a pen and paperback to the printer to a black and white print of Hank on Mars Investigations headed paper. She writes something on the space and places it in the fax. She punches in a number and it starts to roll through. Cut to a driveway. Troy and an older man walking towards a taxi waiting. TROY: I can do better, I swear, just give me another chance. TROY'S DAD: You've used up all your chances. You gotta learn discipline and respect. TROY: [Plaintively] Dad, please. I'm sorry, I'm TROY'S DAD: [Implacable] It's too late for apologies, Troy. You've made your bed. He walks away leaving Troy staring after him. Troy sighs in resignation. TROY: Huh, yeah. He turns and heads for the taxi. Cut to a lopsided chocolate cake with a single candle in the shape of a question mark in the center. KEITH: [Offscreen] Wow, that's some cake. The camera pulls back to reveal Keith and Veronica sitting at the kitchen counter in their apartment. VERONICA: Is not it, though? KEITH: I love it. Ever notice how do you make things just to the left? VERONICA: [Cocking her head to check, then, confidently] I do that on purpose. Keith laughs as Veronica hands out the cutlery. KEITH: What time is Rebecca coming? KEITH: She's not. VERONICA: [Surprised] Oh. II already canceled the birthday surprise. I was gonna take you to see Santana at the Bowl. KEITH: I'm not seeing her anymore. Keith lets out a big sigh, then picks up his fork. VERONICA: Dad, you do not have- [Pauses] Sorry. I obviously know nothing about relationships. KEITH: But you can bake and that's important. VERONICA: [Guiltily] It's your birthday. You should be happy. KEITH: And what better way to spend it? VERONICA: No, I- you should- KEITH: I should VERONICA: be- KEITH: [Without pause] be able to do whatever I want because it's my birthday. I just wanna have a piece of cake with my daughter and that's all I want. VERONICA: [Lighting the candle] Well, happy birthday, Pop. KEITH: Thanks, kid. VERONICA: Do not forget to make a wish. Keith smile, his eyes closed for a moment, seriously contemplates the cake and leans forward to blow out the candle. Veronica mimics him. VERONICA: [Laughing and picking up the Kn*fe to cut the cake] Good one. To the opening strains of "The New Kid" by Old 97's, cut to the USA Border Grille & Diner. Troy's taxi has already got pulled up and as Troy gets out, the driver takes his case from the boot. SONG: The new kid, he ' TROY: [Getting some cash out of his pocket] Let's uh, keep this between us, all right? Troy slaps the money into the driver 's hand and takes his case. SONG: He's got the goods but he's not Good for his word Troy enters the restroom of the dinner. He removes a package from a wind in the ceiling. SONG: I should be rolling in it Troy gets into the BMW retooling and drives off. He's feeling pretty smug. SONG: I've been working stiff As for justice The new kid he's got my girl Troy's cell rings. He grabs it as he drives. SONG: The girl I used to have He got the looks you know TROY: Hello. SONG: Got them from his dad SHAUNA: Hey baby, it's Shauna. TROY: Can you feel the heat yet? SONG: I should be kissing that girl TROY: I am getting so close, baby, your panties should burst into flames any minute now. SONG: We should be so in love There is no justice SHAUNA: Troy, what's with this girl calling me? You gave her my number? SONG: There's just dark stars above TROY: Oh, whoa. What girl? SHAUNA: Some girl named Veronica. SONG: I'm gonna toil away Until my judgment day TROY: [Disturbed] Uh, did not you see me soon, did you? SONG: I will be rewarded for SHAUNA: She caught me off guard. What was I- SONG: The good things I did Troy cuts Shauna off and grabs and rips open the package in something of a panic. SONG: Believe me every year There is another one here Candies spill out of the package together with a note. Troy grabs the notes and sets it against the steering wheel to read it. SONG: Do not you see, I used to be the new kid. VERONICA VOICEOVER: Sorry we did not get a chance to say goodbye, just wanted to wish you good luck at your new school and leave you to remember me by. It took me to a place where you were alone, right? In case you're wondering, the pacific Ocean Ocean. Say hi to Shauna for me. She sounds like a keeper. TROY: [Hitting the steering wheel] Damn it! [And again] Damn it! [And again] Damn it! Troy hangs his head and bangs the steering wheel yet again. Cut to the border customs sign advising declaration of all articles acquired outside the US. The various vendors show off their wares, Hank's Hummer. The light turns from green to green and Hank pulls forward. Hank's picture and her message: Hank "Ziggy" Zigman. Orange hummer - flat license: Z-Meister. He rips it from the board and approaches Hank. OFFICER: Mr Zigman! [Holding up the fax] You wanna go ahead and turn over your contraband? Hank just stares at the fax and at the officer. OFFICER: Step out of the car please. Hank gives a big sigh and drops his head, remembering the moment. Cut to Veronica. She is lying on her bed, eyes closed, listening to "Such Great Heights" by the Postal Service through headphones from a portable player resting on her stomach. She does not realize that she is vibrating on her desk. It stops and can be heard. LIANNE: Hello sweetheart. Cut to Lianne March, now with shorter hair, standing with her back against the wall of a sports stadium entry area. LIANNE: First of all, I miss you so much. More than you could possibly imagine. You know what? I did not get one of your letters, but I will not tell you which one because I do not want you to try and find me. Veronica, you listen to me. I know you have a million questions but everything will make sense when the time is right, I promised. Cut back to the oblivious Veronica, barely nodding her head to the music. LIANNE: [Offscreen] I'll be in touch soon. Trust me, okay? I love you. SONG: They would see you like this great heights LIANNE: [Offscreen] And could you tell your father I said happy birthday? SONG: 'Come down now', they'll say But everything looks perfect from far away 'Come down Fade. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x05 - You Think You Know Somebody"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars Veronica runs up and sees the body of Lilly Kane (from 101 "Pilot") VERONICA VOICEOVER: It's been a year since my best friend Lilly Kane was m*rder. Cut to Keith and Veronica watching a news report of the arrest of Abel Koontz (from 101 "Pilot") TV: The Neptune Sheriff's Department HAS apprehended Abel Koontz Shoes and a backpack Cut to Veronica with Keith's file is Lilly's death (from 101 "Pilot") VERONICA VOICEOVER: The Lilly Kane m*rder file. Dad still has not given up on the case. JAKE: [Offscreen] We went to Lilly and Cut to the Kane residence. Duncan is at the dining table (from 103 "Meet John Smith") JAKE: VERONICA VOICEOVER: Duncan Kane. He used to be my boyfriend. Cut to a long view of the Kane family dinner (from 103 "Meet John Smith"). JAKE: I just want to see him passionate about something. Cut to Veronica sitting in the outside area at school. Logan gives her a gesture, a fist with indexes and little fingers extended (from 102 Credit Where Credit's Due) VERONICA VOICEOVER: And let's not forget Logan Echolls. Cut to Logan smashing the headlights is Veronica's car (from 101 "Pilot") VERONICA VOICEOVER: HAS Every school year obligatory psychotic Cut to Logan In His SUV, flooring it away from Veronica (from 101 "Pilot") VERONICA VOICEOVER: jackass . He's bear. WEEVIL: You think you're Cut to Veronica and Weevil outside his house (from 102 Credit where Credit's Due) WEEVIL: this big outsider, push to shove, you're still one of them. You still think like one of them. End Previously. Gates are opening in front of a large, luxurious house. Logan is coming down the drive on a scooter. He is in a dressing gown. Behind him, his mother, Lynn, also in his nightwear, at the front of the house. TOUR GUIDE: Here folks is the house of Aaron Echolls. Admiring voices can be heard as Logan reaches the gate. He get off his scooter. A "Home of the Stars" type tour bus is outside the gate and people are running toward Logan LOGAN: [Antagonistic] Quite a show, huh? [Looks back at his mother, then to the crowd, derisory] Do not you people have lives? Logan picks up the newspaper LOGAN: You do not see me poking around your trailer park, do you? Logan heads back up the driveway FAN: Hey, uh, uh, are you the sound? LOGAN: [Pausing and turning back to the crowd] I'm the guy telling you to get back on the bus and get out of my driveway. LYNN: [Calling from the house] Logan! Come back in the house, honey. The crowd is excited by the arrival of a large, chauffeur-driven car. Aaron Echolls gets out of the back of the AARON: [Personably] Hey, you guys are out early. One woman asks for an autograph, another call "Hi Harry!" (whoops) and the mobster titters. Aaron heads over to them AARON: [Reaching for the proffered pen and paper] Here. Logan signs some autographs. The fan who asked Logan if he was Aaron's his is taking pictures AARON: [While signing] Hey Logan. Come here. The fans are delighted, Logan less than he tightens the belt to his dressing gown and joins his father AARON: Get a few sh*ts with my son, huh? Aaron takes off his glasses and puts his arm around Logan's shoulder AARON: There you go. [Quietly, to Logan] Smile, Logan. Logan smiles by rote AARON: [Less quietly, so the crowd can appreciate] Do not forget these folks pay for all of this, huh? Aaron beams at the crowd. Cut to Neptune High School. From an external sh*t, cut to Duncan entering a room where Jake Kane is leafing through some papers. There is a banner on the wall over elections. Jake is carrying a bag on his shoulder DUNCAN: Thanks, Dad. [Taking the bag off his father's shoulder] You know I'm polled the rest of the soccer team? None of them want to see my junk. JAKE: [Turning to face him] Well, now you're covered. Oh, you did not tell me that elections were this week. You should run. I think it would be a very impressive line on your college applications. DUNCAN: Please Dad. All they do is sell candy and argue about prom decorations. JAKE: Right, that's all they do now. [Patting his neck and leaving a hand on his shoulder] Until the reign of Kane. DUNCAN: [Laughs, disbelieving] Dear god! May no one have just heard him say reign of Kane. Cut to Veronica and Wallace having lunch VERONICA: So, my dad wants to take me to the San Diego Zoo this weekend. WALLACE: Aw, man, I love the zoo. Everyone gets excited about the monkey house. I'm a big cat man myself. VERONICA: My dad's gone a little nutty with all these father-daughter days. WALLACE: Yeah, I would like to go to the zoo with my dad. VERONICA: Wallace, don't WALLACE: But he's d*ad, so. VERONICA: Okay. I hate myself. Are you happy? WALLACE: Um-hum. Wallace smiles and laughs softly. He looks up at the sound of a whistle. Veronica looks round. The camera pans round to a girl coming out of the school. This is Wanda. Her T-shirt says "Sex & Drugs" and "Rock-n-Roll" WANDA: Yo! Man! Over here. Wanda beckons someone, someone who is delivering food. She takes the bag and pays him WANDA: Keep the change. As for the delivery man leaves, a blonde cheerleader, carrying two boxes of delivered pizza and who we will learn Madison Sinclair, walks up to Wanda, hand on hip and gets into her face MADISON: You're not allowed delivery. WANDA: And you're not allowed to breathe my air. Go. Shoo [with gesture]. Return to Xanadu. Madison is at the back of the road. Madison to stand behind Ms Dent, who is talking to someone. Madison, rather imperiously, Ms Dent on the shoulder taps MADISON: Wanda Varner just had her food delivered. MS DENT: [Slowly, staring at the pizza boxes] And that's wrong how? MADISON: She does not have any Pirate Points. [On Ms Dent's incomprehension] Oh, I see. You're new. MS DENT: [Indulgent of the rudeness] I am. MADISON: Pirate points are earned by being a contributing member of the school. MS DENT : [Glancing at the outfit] Cheerleading? MADISON: [Obnoxiously] Is a sport. [Spotting a more likely ally] Oh, Mr Clemmons! Madison leaves Ms Dent standing and heads for Vice Principal MADISON: Mr Clemmons. Wanda Varner ordered in Chinese food. Mr Clemmons does not understand the nature of Wanda's actions as he and Madison stare in his direction. Cut to Wanda who is sitting with Felix, eating her Chinese food. She's laughing at something he's said. Clemmons approaches, Ms Dent in tow CLEMMONS: Wanda, I know you know the rules. If you'd like having your lunch delivered, why do not you get more involved here at Neptune. Wanda snorts derisively CLEMMONS: In the meantime, I'll have to confiscate your food. Wanda boils for a moment then springs up, has determined look on her face. She walked past Clemmons and Ms Dent toward Madison's table. Madison : Oh, you little bitch! Without pausing, and with the encouragement of onlookers, she steps onto the seat and the table, planting one foot in one pizza and one foot in the other WANDA: Oh, really? CLEMMONS: Wanda! Be so kind to follow me to my office. Wanda jumps off the table to follow Clemmons. Madison stares, mouth agape. The camera spins back to Wallace and Veronica, watching the show WALLACE: Who is that girl? VERONICA: That? Is Wanda Varner. Used to be in pep squad together. WALLACE: You two seem less peppy. Veronica smiles and snorts. Cut to a can of whipped cream being applied to the contents of a bowl. Keith enters the apartment just as can empties. The television is on the faint sound of its audio can be heard KEITH: Hmm, all out, huh? Veronica adds chocolate sauce to her confection. Keith tiredly collapses into his armchair with a load sigh VERONICA: Tough day? KEITH: [Philip Marlowe impersonation] That's not the half of it. See, this lady walks in and you should've seen the getaway sticks on her. Says something's hinky with her old man. VERONICA: [Adopting similar old movie black voice] D'ya put the screws to him? KEITH: You are not kidding. He's blood like a canary. Veronica is just finishing off her sundae VERONICA: [Normal voice] Well, you're in luck, Philip Marlowe because it's a desert for dinner tonight and I've got a whole thing here. KEITH: You know if Child Services Finds Out This, They Will Take You Away. VERONICA: Well, that's a risk I'm willing to take. Veronica downs a wide spoonful of her sundae KEITH: Honey. Should you try something at the base of the pyramid food, you know, fruits and vegetables? Veronica looks down into her bowl and gasps VERONICA: What is that? [Picking it out with her spoon] A maraschino cherry? She looks over her father, quite satisfied, pops it in her mouth and heads for the armchair into which she sits, leaving her father standing. He sighs and hits the trail sundae TV: [Offscreen] The Lilly Kane m*rder case This catches Veronica's care and she watches the TV TV: Took an unexpected turn this morning as Abel Koontz fired Convicted k*ller His public appointed legal council. Forfeiting further appeals, the defendant is scheduled to die by lethal injection as early as next year As the commentator speaks, there is evidence of being arrested and brought in by Sheriff Lamb. There is a close-up of the bag in his left hand. In it, there is a pair of white sneakers, decorated with sparkles along the edge and wide laces of ribbon, pinks stars on white. On one of the shoes is drawn a heart with a name inside TV: [Offscreen] And, coming up n Keith, Who has come to stand next to Veronica During the broadcast, switches the TV off with the remote control. He's going back to the kitchen VERONICA: Why did he do that? KEITH: Guess he's ready to die. VERONICA: Well, what are you going to do about it? You do not believe he's guilty KEITH: I hate to break it to you, honey. But nobody in Neptune cares what I believe in. They did not care when I was Sheriff, they sure did not care. This town's gonna have to find another conspiracy nut. Veronica puts down her desert with a worried look. Cut to Veronica entering her green-tinged bedroom. She walks over to her jewelery box LILLY: [Offscreen] Check you out, Veronica Mars. Veronica looks around, surprised. Lilly is standing in front of Veronica's wardrobe, holding a hanger with black garment on it LILLY: You're like a rocker chick now. Lilly : [Offscreen] You and I? We'd have a lot of fun together Cut,,,,,,,,,,,,,,,,,,,,,,, VERONICA: Why are you here? LILLY: Do not you watch any horror movies? [Ominously] Veronica : Really? LILLY: [Back to normal] Yeah, that, and kind of a side project, I dispense fashion advice. Lilly grins VERONICA: [Earnestly] Did Koontz do it? Lilly sucks LILLY: Wish I could tell ya. She shrugs VERONICA: Why would he have to k*ll you? LILLY: Honestly. I was awesome, right? VERONICA: [Smiling sadly] I miss you, Lilly. With a cross between an "ooh" and an "aww", Lilly smiles and shrugs sympathetically. Veronica wakes up from her dream, a sad yet thoughtful look on her face. Cut to the journalism class. Veronica is dark, seated at the large central desk. The Neptune High School broadcasting service is on TV: [Offscreen] So let's get you there and cheer on our teams in the last game of the regular season. In other Pirate news, school council elections MS DENT: Morning, Veronica. I was thinking maybe you're interested in covering up for the student newspaper. VERONICA: Sure. I'll write it up this afternoon. MS DENT: The election's tomorrow. VERONICA: And I can already see the headline. Brown-nosing, resume-packer wins in a landslide. MS DENT: Maybe you wanna dig a little bit deeper. VERONICA: I'll take it. Ms Dent nods and exits. The announcer on Pirate TV is still droning on TV: This morning, we'll be hearing from our first hopeful for the office of President, h*m* Wanda Verner. Duncan and Logan are sitting next to each other at the table. They glance up at the TV WANDA: I'm Wanda Varner and I'm running for the office of student council president. Duncan turns to listen more carefully. Logan follows follows WANDA: Let's be honest. Student government does not do jack. Cut to the art room where one of the students starts to pay attention WANDA: I'm here to promise you real change. If elected, I bet to abolish the unfair and elitist Pirate Points program for good. In the computer room, the geeks cheer Wanda: God bless you and God bless America. Wanda salutes. The geeks clap as do the artists as do some of those in the journalism class. Veronica smiles broadly. Duncan is the last one left slowly clapping and he tails off. Behind him, Logan is less enthused. Duncan on the arm LOGAN: Hey dude. Can she do that? DUNCAN: giveth student councilor, student council taketh away. LOGAN: No, we're not giving up those points, man, you gotta run. DUNCAN: Actually, I do not. Duncan turns back to his computer when he was playing solitaire. Logan stares at him. Cut to Corny unfurling a large poster. It is a skeleton Uncle Sam who advises: Give me Wanda or give me death CORNY: Hey Wanda, check it out. WANDA: k*ller. Thanks. Wanda is sitting with Veronica on a low wall in the outside area of ​​the school. Veronica is interviewing Wanda, using a small recorder VERONICA: One of your campaign staff? WANDA: I'm all about grass roots. VERONICA: How do you account for your sudden popularity? WANDA: Is not it obvious? It's class warfare, the haves versus the have-nots. You should understand that at school. VERONICA: But it's more quotable if you say it out loud. WANDA: Okay. The rich kids, they run things around here. They're the minority and they're corrupt. They get away with m*rder. A student passing behind them shouts his support RODNEY: Hey, give 'em hell, Wanda! WANDA: You give 'em hell, Rodney! [Returning her attention to the interview] Pirate Points are just another way they reward themselves for so swell. They have all the power, we are the disenfranchised [with increasing stridence] but only because we let ourselves be. It's time to take action! Veronica is impressed WANDA: How was that? Was I quotable? VERONICA: Yeah, I think I can find something there. Veronica smiles. Note that there is no mention of the usual opening credits or theme song in this episode. Cut to logan's car pulling into a petrol station. The music is "Still In Love Song" by the Stills. SONG: When we were lovers We were kissers We were holders of hands make believers We were losing time and You Just Said you'd rather live in tepee land Dick Casablancas and two other 09ers get out of the car and head into the station while turns off the ignition. He gets partially out, standing on the running board LOGAN: Hey! Hook me up with a beverage, huh? As Logan exits the bus and walks round it to get to the pump, a beefy black guy walks towards his windscreen HOMELESS VET: And what goes with an icy, cold beverage? A nice clean windshield. LOGAN: No, you do not have to do that. The man sprays the windscreen and starts cleaning it Logan gets the pump LOGAN: The car was just professionally detailed. HOMELESS VET: Ah, they got a lot of nerve calling themselves professionals. The man wipes the squeegee onto a clothe and shows Logan the dirt HOMELESS VET: Look at that. They just move the dirt around. LOGAN: Man, A for effort but, uh, you're not getting paid for it. HOMELESS VET: I do not remember asking. The man turns to the sign behind him who says: Homeless Vet. Accepted donations. Logan just nods. Dick comes back to the car by Logan who is still filling it. They both watch the man LOGAN: Hey, what about him? DICK: Pretty well fed for a bum. LOGAN: Yeah. Logan finished filling the t*nk LOGAN: [To the man] Hey, you army? HOMELESS VET: Hell, no. United States Marine Corps. LOGAN: That's even better, huh. LOGAN: What are you? Logan giggles and walks back LOGAN: What are you? About 240? HOMELESS VET: Uh, in my prime. LOGAN: Yeah? [Hey, I'm, uh, I'm putting together a little amateur boxing night. If you're interested. Logan has a $ 100 bill which he sticks into a frame of the open window. The 09ers get into the car HOMELESS VET: What do you want me to fight? LOGAN: No, man. I want you to win. HOMELESS VET: What do you think that you'd just come in here and buy me like that? Is that how it is? LOGAN: Yeah, that's exactly how it's. I think we're on the same page. HOMELESS VET: Get out of my face. Before I b*at your ass for free. LOGAN: All right, you follow yourself. [Accompanied by the appropriate squeegee actions] Chhu-chhu. [Grabbing the bill] You have a nice day. Logan smirks at the man, starts the car and drives off. Cut to Neptune TV where one of the candidates is doing her thing TV: And in conclusion, I promise to uphold the duties of presidency to the utmost of my ability. Thank you. Cut to the students in the journalism class, listening to the broadcast. Veronica and Duncan are there, seated at the central table along with a punk rocker. Logan is standing next to him at the end of the table PUNK ROCKER: Wanda's gonna blow this chick out of the water. [To Logan] You can kiss your precious Pirate Points goodbye. Logan does not respond but keeps his eyes fixed on television AARON: [Offscreen] Duncan Kane. On the TV, Duncan's name in superimposed on an American flag. Military music belts out AARON: [Offscreen] A natural leader. Duncan looks at the screen, seems vaguely and reacts in his familiar way DUNCAN: What? AARON: [Offscreen] Two time All League Soccer. Editor of the Neptune Navigator. Duncan Kicking a Football; Duncan presiding over a group of students around the central journalism class table. Camera switches to Ms Dent who looks over at him. Duncan breathes out and slowly turns his head to look at Logan AARON: [Offscreen] Three point nine two four grade point average. AARON: [Offscreen] National Honor Society. Logan is exceptionally pleased with himself and holds up both hands . National Merit semi-finalists Cut to Veronica who just looks incredulous AARON: [Offscreen] and all around, righteous dude. Aaron's picture of the dude with two other guys AARON: Hi. I'm Aaron Echolls. [There are gasps among the watchers] And I've known Duncan Kane for a long time. He's the real deal. Duncan Kane for student body President. LOGAN: [High voice] That's my dad. Logan LOGAN: All right! Some pat Duncan, who just looks serious and maybe a little pissed and throw out congratulations and messages wishing luck MS DENT : That's the last of the five candidates. Madison struts into the classroom and hands to a sheet of paper to Ms Dent MADISON: Good luck, Duncan. Veronica watches this with increasing distaste MS DENT: Mark the letter of the corresponding candidate. Only one bubble will be counted. If none of the candidates receive a majority the top will be entered into a runoff election. Duncan sh**t up from his seat DUNCAN: [Sincerely] Please, whatever you do, just do not vote for me. Duncan glares at Logan who is not slow to take an opportunity LOGAN: Did you hear that folks? He's humble to boot. God! This guy. Ms Dent puts up: A) Duncan Kane B) Veronica Wanda Varner firmly marks her ballot paper at the B bubble. Cut to late, at Mars Investigations. Veronica is working on the laptop in the outer office. All the lights are out for the lamp on her desk VERONICA VOICEOVER: If Lilly's ghost is going to be served, then I get my ass in gear. VERONICA: Where to begin? Quotes: Abel Koontz, Jake Kane, Celeste Kane, and Logan Echolls Veronica Voiceover: How about the obvious? Abel Koontz was founded by Abel Koontz , a picture of him, on the file and on expanding it, there are four tabs: information, alibi, motive and evidence . She highlights the evidence of "Confession" Shoes, backpack, bloody clothing at home VERONICA VOICEOVER: He gave a confession on the spot. But Dad was convinced that the mystery of the mystery of the family was in order. The three people were at the scene of the crime before he arrived. Jake Kane, beloved billionaire, Celeste Kane, renowned philanthropist Veronica pauses then clicks on a symbol, allowing her to add a new VERONICA VOICEOVER file : [Typing] and Duncan. Each of the Kanes alibis was airtight. That is, until the day of death. Veronica ponders then looks in the direction of her father's office. Cut to Veronica's hands on the safe combination. She opens the safe VERONICA VOICEOVER: I do not know what I'm looking for. But if there are any Lilly, then they're in Dad's safe. Veronica takes a little bit of stuff with smaller ones and pulls out of the smaller ones out. A time pass effect blows to other files VERONICA VOICEOVER: Arrest record, evidence log, autopsy postponement. How many times to I look at this stuff. Until it starts making sense. Cut to an overhead view of Veronica studying the files. Cut to a ring made up of cars parked in a circle, bed by the headlights. The music is the Red Onions' "Feeling Alright". Logan is master of ceremonies in the middle. There's a crowd of 09ers cheering throughout LOGAN: [Shouting] All right, all right, all right! It's time for the main event. [Louder cheers] Gentlemen! In the red corner [holding up the red-gloved fighter] hailing from Balfour Port is Mighty Mike. And in the blue corner, hometown hero Logan leans over closer to the homeless man LOGAN: [Quietly] What's your name? HOMELESS FIGHTER: Robbo Roth [? Uncertain?] LOGAN: [Shouting] Robbo Roth [? Uncertain?]. Cheering especially loudly is Dick who has a fistful of cash LOGAN: All right, gentlemen, I want a clean fight. Go! The two men, unsteady on their feet, start to circle each other. The crowd urges them on. Cut back to Veronica. She puts a file on the big file and rummages a little more. She pulls out an envelope marked: Crime Photographs. Lillian Kane. DOD. BBZ. Crime No A-97-92184xx. 10.03.03. Case 18900-C2. Bedroom VERONICA VOICEOVER: Where did this come from? Veronica opens the envelope and looks at the crime scene. Something catches her eye and she bends to examine it more closely. VERONICA: It's impossible! It's Lilly's white sneakers with the heart Veronica hears a door slam. She hurriedly puts everything except the pictures back in the large file, stuffs it back into the safe and rushes to the outer office. She slams shut her laptop. She just gets the pictures when Keith walks in, she is a little out of breath KEITH: Hey. VERONICA Hey, Dad. Keith walks to his office as he goes in. Cut to High Neptune, the outside eating area. Veronica and Wallace are eating their lunch. On the 09ers table, they are eating take-out, including Duncan and Logan VERONICA: [Offscreen] In a way, it's a little sad. You know, the end of an era. Wanda wins and no more Pirate Points. No more lunch delivery. CLEMMONS: [Over the public address system] Attention students. The results of the election have been tabulated. There will be no runoff votes in any of the races. DUNCAN: [Relieved] Thank god. CLEMMONS: The winner in the office of secretary, Bryan Gibson. A lot of the students have started to sing "Wanda". Logan looks around smugly CLEMMONS: Vice President, Katie Keenan. And it gives me great pleasure to announce, the 2004-2005 SCA President, Duncan Kane. There are some cheers and a lot of boos. Logan stands on the table to gloat LOGAN: That's how it's done! Corny, sitting next to a disappointed Wanda, is stunned CORNY: That's a steaming crock, Clemmons. WALLACE: There's no way Duncan Kane VERONICA: Now I've got a story. Cut to Veronica knocking on a classroom door. She opens it and goes inside. Veronica: Mrs. Donaldson, did you get my message? The room is empty save for a teacher sitting at her desk, marking papers, at the far end of the room MS DONALDSON: About inspecting the ballots. VERONICA: And? MS DONALDSON: My short answer? No. [Officious] My long answer would not be enough, but it does not mean the outcome. VERONICA: The Student Charter says it is possible to lodge a formal protest. Veronica goes into her bag and pulls out the Charter MS DONALDSON: Which this is not. And if you had to read article 15 concerning student council elections; You would know that the votes have been certified, a faculty sponsor must approve any request for a recount. VERONICA: That's it? So I need to rubberstamp this? Mrs Donaldson looks up, a little alarmed. Cut to Veronica and Ms Dent coming down the school hallway VERONICA: I think it's really cool That You're doing this. MS DENT: Oh, I'm happy to help, Veronica. I just find it difficult to believe that someone would try and tamper with the student council election. VERONICA: Well, you're new. MS DENT: [Laughs] No one will let me forget it. All I'm saying is I admire your enthusiasm just don ' VERONICA: Fair and balanced, that's me. They meet Mrs Donaldson in the hallway VERONICA: As promised, one faculty sponsor. MS DONALDSON: I'd like to speak with Ms Dent for a moment please. The two teachers move over to the MS DONALDSON: I can not believe you'd let her rope you into this. MS DENT: I'm sorry. MS DONALDSON: Look, Mallory. I've never heard of anything like this happening in a student election. MS DENT: Is there really any harm Veronica double checking the votes. MS DONALDSON: Well that's not the point. She's manipulating you. And I'd like to give you the chance to reconsider. MS DENT: I ​​tell my students to be dogged. I tell them to follow hunches. MS DONALDSON: [Condescendingly] All great. Certainly not telling you how to teach your class. But this is a student election and, um, I'm just giving you this go. For your own good. MS DENT: I've signed the form, the request is official. [Shrugs] We'll see those ballots now. They look over at Veronica, who smiles. Cut to a nerd machine. Wallace is feeding the machine. He is in the school with Veronica and Wanda. The machine finishes VERONICA: What'd you get? WALLACE: Duncan still wins with 743 votes. How many times are we going to run it? VERONICA: No sign of anyone erasing nerds. No ballots missing. [Considering one ballot paper] Hey. Student 43059. Who the hell is the candidate E and why did you vote for her? WALLACE: You think I'm not voting for the sister? And for what possible reason do you have my student ID number memorized? Mrs Donaldson Enters from one of the inner offices MS DONALDSON: [Supercilious] You can toss Those ballots in the recycle bin When You're done uncovering [Makes air quotes] corruption. She smugly saunters out. Veronica and Wanda exchange a glance then Veronica returns to the ballot papers VERONICA: What? WANDA: What is it? VERONICA: Well if "Wanda rulez" why'd you vote for Duncan, you head case? I wanna find out who this kid is and what art room he voted in. She passes the ballot to an offended WALLACE Wallace : Yeah, and I want a statue of myself in the lobby lobby, holding a musket, staring down danger. Veronica and Wanda exchange WALLACE: Since we are talking about stuff we want. VERONICA: [Smiles sweetly] Please? WALLACE: How hard was that? Wallace goes over to one of the office computers and taps in the student ID number WALLACE: Kevin Carney. He's got art first period. Cut to an art room. Veronica enters and checks the teacher's desk and the rubbish bin. She walks over to the blackboard and sees the fifth name on the ballot. The other names are obscured by a pull down. She is a jumper and is a jumper, a) Wanda Varner B) Duncan Kane C) Laura Hildebrand D) Steve Whacker E) Melissa Lewis Comprehension. Cut to Clemmons office. Clemmons sits at his desk. Mrs Donaldson and Ms Dent are also there MS DONALDSON: Well you saw the voting cards yourself. You certified the count. There's nothing left to argue, it's over. VERONICA: Someone cheated. MS DONALDSON: How? VERONICA: There were two sets of ballot instructions. MS DONALDSON: That simply does not make any sense. VERONICA: Yes, it does. It makes perfect sense. [Offscreen on going to sh*t of Ms Dent writing the names on the blackboard] The classes heavily populated with 09er kids got the candidates names in the correct order. The classes that Wanda would have - band, autoshop, art - got the list with the candidates names reversed. When these students thought they were voting for Wanda, they actually gave their votes to Duncan. MS DONALDSON: You do not really expect us to believe this. MS DENT: We've invited the students from first period art. We could always ask them to review their bales. She opens the door and has a large group of students stare in CLEMMONS: Hold on. Clemmons gestures for Ms Dent to shut the door CLEMMONS: Veronica. Exactly who do you accuse of doing this? VERONICA: I'm not accusing anybody. Then again Cut to the VERONICA photocopy machine : [Offscreen] It would not be hard to find out which code was punched into the copy that made the bundle instructions. MS DONALDSON: I had my student help make them. VERONICA: And that would be who? Cut to the photocopy machines and Madison's look of satisfaction MS DONALDSON: [Offscreen] Madison Sinclair. VERONICA: Well there you go. Mystery solved. Clemmons ponders, then looks up at Mrs Donaldson who, for the first time, is not smug. Cut to a busy school hallway. Clemmons' voice rings out through the school through the public address system CLEMMONS: Attention students. May I have your attention please? The students pause to listen. Cut to Clemmons CLEMMONS: I regret to inform you that it has been a mistake in tabulating the election results. Back in the hallway, Veronica threads her way through the motionless crowd. She eventually reaches Madison, at her locker CLEMMONS: There will be a runoff election Thursday between Wanda Varner and Duncan Kane. VERONICA: [Cheerfully] Hi Madison. I heard you lost your student and help your student council spot. If you want to make a recommendation, Fridays, ee-uh, and Sloppy Joes are your best bet. Veronica tsks and walks away, leaving Madison glaring after her. Cut to Veronica's room. She scanning in the crime szene pictures into her laptop VERONICA VOICEOVER: I've been waiting for a moment alone to take a closer look at the photo of Lilly's bedroom on the night of her m*rder. The last thing I need to be Dad popping his head in and discovering that I've been poaching from his safe. Veronica enlarges an area of ​​the photos. Lilly's white sneakers with the heart. This achievement sends Veronica into a flashback. Lilly and Logan are talking softy in the cafeteria outdoor cafeteria, all lovey-dovey. Lilly has her leg slightly extended. LILLY: All right, when do I get to do yours? Veronica, drawing the heart on Lilly 's sneaker VERONICA: Finishing touches. LOGAN: [Offscreen] Duncan? LILLY: Oh, yeah, now that's just creepy. The camera cuts back to the enlarged picture on Veronica's laptop. Veronica, visibly shaken, stretches over, phone and dials TELEPHONE: Action News. This is Hank. VERONICA: Hey. I'm a student from Neptune High and I'm doing a follow up story on Abel Koontz. I'm wondering if you could send me a copy of the piece you did on Koontz a couple days ago. Cut to a Mexican roadside burger bar. Jake and Duncan are sitting in Jake's car, finishing off some food JAKE: Do you know your mother? DUNCAN: Agreed. JAKE: What do you say we, uh, stop on the way home, knock out some, uh, campaign bumper stickers. DUNCAN: When you say we mean you JAKE : I mean, we're going to talk to some of my guys. Duncan is not enthusiastic JAKE: Oh, come on, Dunc. Look what you have done and you are not even trying. Imagine what you'd be able to do if you just put your heart into it. DUNCAN: Cue inspirational music here. JAKE: I'm so tired of your cynicism. DUNCAN: Oh, Dad, I'm sorry, I mean, I mean, you know, that's what I think it's about to get out of my house. JAKE: Well, I got news for ya. I'm not concerned about this election, I just want to see you Enthusiastic about something. Duncan does not respond JAKE: Look. Your happiness. Is all I've ever wanted. Father and son stare at each other. Then Duncan gives a little chuckle DUNCAN: Well what if I find happiness living in a grass hut, carving driftwood figurines for tourists? JAKE: I feel confident you have greater ambitions than that. But, if you're, uh, happy and committed to driftwood carving, be the best driftwood carver you can be. After you've graduated from Stamford, [Duncan groans and nods] Law School, [Duncan chuckles] Suma cum laudi [Duncan laughs out loud]. See that! You're already smiling. And he is. Cut to school. Veronica rounds a corner and hears something of a hubbub as students, and now Veronica, see that Wanda's posters have been defaced. The word "NARC" has been sprayed on them. Kane bumper sticker on it. She's going to the opposite lockers where Wanda is just closing hers. It has been marked " WANDA: I think the opposite campaign just went negative. [Slamming her locker shut] I'm gonna k*ll whoever did this! VERONICA: They're just posters. You still own the message. WANDA: They're not just posters. They spray painted "Narc" on the hood of my car. VERONICA: You know they only thing the word "narc" because it would h*t your home with your constituency. WANDA: I should not find that comforting. Goal I do. VERONICA: Well, why do not you come out tonight and we'll make new posters. [With growing, fake, enthusiasm] And I'll get some puppy paint and an Avril Lavigne CD and it'll be just like our pep squad days. Wanda plays along and claps WANDA: Awesome. She strikes a perky pose with hands on hips, straight out of "Bring It On". Veronica laughs and then gets very serious VERONICA: Okay, do not do that. Cut to the journalism room where Duncan sits at the central desk looking at some clippings. He glances over to where we will see that Logan is sitting at one of the computers. Veronica enters and heads straight for Logan VERONICA: Bravo, Logan. It's a new low. And just when the critics were having some doubts. Logan looks over towards Duncan, then back at Veronica LOGAN: Mmm. Must be talking about your, uh, narc friend, WWW-Wanda. [Laughs] Well, that's another bad guy. [Off Veronica's hard look, and maybe seriously, maybe not] Look, I just don't'have time to be responsible for every little thing that goes wrong in your life. He laughs again and gets up from his chair for the other side of the room. Veronica turns to Duncan VERONICA: So, was it your idea or did you just play it your usual way? Veronica crouches by the desk DUNCAN: What's my usual way? VERONICA: Oh, you know, Duncan. You do not initiate trouble. You do not initiate much of anything anymore. She takes a deep breath DUNCAN: Do not stop there, Veronica. Say it. What's my usual way? VERONICA: [With deliberation on each word] You stand idly by. Duncan just stares at her. After a break, Veronica gets up and heads to the other side of the desk, leaving Duncan lost in his thoughts. In the meantime, Dick has come into the classroom and approached Logan DICK: Gotta check out "The Smoking g*n" website. MS DENT: Excuse me, we're in the middle of a class here. DICK: Dude, you're famous. Dick exits. Logan heads for one of the computers. From the Neptune High School (Neptune High School) The Neptune High School (Neptune High School), Neptune High School, Neptune High School, Neptune High School, Neptune High School, Neptune High School The area is dominated by the local Universities and Adjunct Research and Development Colleges of the United States and the United States. ice creams captioned: The Pirate Points To Hold The Pirate Points Holders On The "The g*n g*n" website, the featured document shows a picture of Aaron. Aaron Echolls his caught bruising bums for cash. October 23 - In twisted and horrific brutality Aaron Echolls sound, Logan Echolls, has been participating in organized fights. The only catch is, the fighters are homeless men. A tip to TSG for a video tape sh*t by a spectator. Logan smiling and cheering at the battle. No word as of yet from Aaron's publicist for comment on the matter. But we are sure the Echolls' household is none too pleased with this barbarity and tarnishing their Hollywood perfection. Click to View Video. * Caution * Contains Graphic Images. The video shows Mighty Mike kicking the stuffing out of the other guy Logan clapping and cheering. As he watches, he looks in his face, he is in deep, deep trouble. Cut to Veronica's room. Fresh Wanda posters are everywhere. Veronica is lying down on her bed, being raised on her elbows doing her fingernails and is sitting on the floor doing her toenails WANDA: So, what's the story with you and Weevil? VERONICA: Weevil? There's no story. Why? WANDA: No reason. Lilly's bad boy thing. But I guess I was wrong. VERONICA: Lilly had more of a boy thing. WANDA: Are you sure? Lilly and Weevil never, because I heard- VERONICA: [Laughing] Never! WANDA: Okay. Wanda picks a book off the floor, about making it into top colleges WANDA: So. Is this one any good? VERONICA: Umm, I, uh, I do not know, I have not read it. WANDA: Yeah. Most of these college guys are pretty unreadable. So what's your first choice? Ivy? Baby Ivys? Seven Sisters? Liberal Arts? East Coast? VERONICA: It gives me a panic att*ck to just think about it. WANDA: Yeah. I really want to go to Williams. Now all of a sudden the SATs. VERONICA: I think we're in the same boat. Cut to the Echolls' residence. It is dark and logan is carrying his shoes, coming in quickly but quietly. To no avail LOGAN: Hey, Dad. Aaron is across the room, sitting in the dark. Logan gives an uncomfortable grin which fades and he is clearly nervous LOGAN: What are you doing up? AARON: I could not sleep. What with the phone ringing every five minutes. "Access Hollywood", [Rising from his seat] "Entertainment Tonight", "Walking inexorably towards an increasingly wary Logan" "E". Any guesses what they wanted to talk about? My charity work? No. My latest Christmas movie? No. Aaron reaches Logan and plants a hand, heavily, on the back of Logan's shoulder. He turns to his arm around Logan AARON: They wanted to talk about my son's latest opus. "Skid Row Boxing". Aaron bends his arm on his back. His tone throughout has been steady, but menacing. Logan puts his hand to his eyes LOGAN: Look, Dad, I, uh I did not know what - Aaron grasps the back of Logan's neck hard AARON: [Dangerously soft] I have to say that your performance was really impressive. [Louder] The way you play the ungrateful his determined to humiliate his father was [shouting] utterly impressive. With that, Aaron flings Logan across the room. Logan lands face down on a sofa and scrabbles round his face, still half-lying across it. Logan's expression is caught between fear and readiness AARON: [Shouting] Do you have any idea what you just cost this family? [Taking it down a few notches] Of course you do not. You never had to work for anything in your life. [Softly] Well, tomorrow, after school, you're going to get your first lesson in public relations. A look of disappointment seems to flit across Logan's face AARON: [Almost whispering] Logan. Do not you ever embarrass me again. Aaron walks away. Logan watches him as he steadies his breathing and pulls himself into a sitting position, almost defiant but very shaken. Cut to the outside of the Neptune High. Veronica is encouraging passing students VERONICA: Vote for Wanda. [On him] Weevil. [Holding out a "Go Wanda" sticker] Put one on the back of your bike? WEEVIL: Naw. I'm not going to vote for that narc. VERONICA: Come on, Weevil. You know better than to believe everything you hear at this school, that's just dirty politics. WEEVIL: You might want to explain that to Felix. Somehow the Sheriff found out that the "Welcome to Neptune" signs are hanging up in his bedroom, a week after he hooks up with your Wanda girl. Now how did that happen, huh? Now homeboy's got four weekends of highway clean up. Weevil raises his eyebrows, turns and walks into the school. Veronica is thoughtful. Cut to the hallway. Veronica catches up with Wanda VERONICA: Hey, superstar. Are you nervous? WANDA: I'm so embarrassed but yes. VERONICA: Well, I think we should celebrate this weekend. Win or lose. I heard about this rave out in the desert. And we can make it if we leave directly after school tomorrow. WANDA: Bitchin '. I'll tell my mom I'm spending the night at your place. VERONICA: Provisions? With a capital E, absolutely. But I know a guy. WANDA: Oh, jealous. Wish I knew a guy. Wanda wanders off. Cut to journalism class. Veronica takes her seat at the large table in the center as a student hands in her work STUDENT: Here you go, Ms Dent. The television comes on Clemmons broadcasts. Duncan is at his place in the office of CLEMMONS: We will be voting simultaneously to prevent confusion. By now everyone should have their scantron nerds. The art room is ready CLEMMONS: All right. Here goes. If you'd like to vote for Duncan Kane, mark "A" Veronica's pencil hovers over the ballot form CLEMMONS: and if you'd like to vote for Wanda Varner, mark "B". VERONICA VOICEOVER: Let's see. On the one hand, we have the hot cold ex-boyfriend and heir to the status quo. On the other, the potential duplicitous new friend and champion to the disenfranchised. Veronica flashes back to a scene in the school outdoor cafeteria. Duncan is playing with his hand, Logan and Lilly are opposite and at the table. A boy at the place LOGAN: [To his own group] Wanna hang out? And I'll impress you with my diving skills. Logan looks at the newcomer and then at Duncan who just raises a quizzical brow LILLY: Oh, did you hear that Becky Lacey is trying out for mascot? DUNCAN: Really. Dick in the meantime has unceremoniously grabbed the newcomer's tray and place it on the next table. He slaps the newcomer on the back DICK: Table's ready. Lucky looks at Dick and the scared newcomer, Logan looks at Duncan DUNCAN: You know what, man? Duncan twists round In His seat and gets the tray and places it back in front of _him_ DUNCAN: You're fine Where You Are. Dick, here, can find his own spot. Duncan returns to playing with the hand of an impressed, if drippy, Veronica. Modern day Veronica sweeps back, Duncan staring over, pencil still poised. Cut to Aaron filling his car with petrol. His cell phone rings AARON: Yeah. [Listens] I know I'm late Marty. Look, is this the closest homeless shelter you could find? Logan is sitting in the passenger seat AARON: No. Never mind. Are the cameras ready. Good. Aaron finishes his call and filling the t*nk AARON: All right. Now this is how this is gonna work. They're gonna get a few sh*ts of you volunteering at the kitchen, then I'm gonna join you for an interview with the TV crews, you got it? LOGAN: What do you want me to tell them? AARON: What do you think, Logan? That you're sorry. That you're bone-headed. And that ya screwed up. I'll take care of the rest. Aaron's cell phone rings again. Logan listens in AARON: Vince! What's happening? [Listens] Yeah, I got the script. I've seen better writing on cereal boxes. [Listens, guffaws] Oh, big deal. The man has not made a watchable movie since the seventies. Are they gonna meet my quote? [Listens] Hot damn! Aaron holds the phone to his chest to speak to Logan AARON: Sound! How do you argue with eight figures? [Logan nods] Ya can not. Can not be done. Aaron giggles and returns to his call AARON: Okay. Have 'em to draw up the contract. HOMELESS VET: [Offscreen] Hey. [Coming into view on Logan's side of the bus] It's Don King. Hey, you got some sucker who's willing to make a bitch outta hisself for cash? Logan does not respond and walks away, not disguising his disgust. Aaron, sunglasses on, AARON: All right. You ready to do this? LOGAN: Yeah. Aaron switches on the engine of sports and turns on the stereo. The intro to America's "Ventura Highway" plays. He drives out of the station, Logan stares at him with an expression bordering on hate. Cut to the homeless shelter. The first part of the song plays under the action SONG: Chewing on a piece of grass Walking down the road Tell me, how long do you gonna stay here Joe? Some people say this town do not look Good in snow You do not care, I know Waitin 'on a falling star Watchin' for the early train Sorry boy, but I've been h*t by Purple rain Aw, come on Joe, you can always Change your name Thanks a lot, just the same Wishin 'we're a star Watchin' for the early train Sorry boy, but I've been h*t by Purple rain Aw, come on Joe, you can always Change your name Thanks a lot, just the same Logan is one of three helpers dishing up food. Cameras flash as he reserves one of the homeless HOMELESS MAN: Thank you. The camera pans round to show a number of homeless people eating at tables. There ' AARON: Hey, thanks a lot. PRODUCER: Mr Echolls, we're ready for you anytime. AARON: Catch you guys later. Logan! They meet in front of the cameras, Aaron 's arm around Logan' s shoulders, Logan 's around Aaron' s back. Logan smiles for the cameras AARON: Excuse me! Uh, I just wanted to say that my father was not an educated man. He dropped out of school after the eighth grade so he could go to work in the new automotive plant in Pontiac, Michigan. And he once told me something that I'll never forget. He said his, the good heart is worth all the heads in the world put together. Now my son here is the first one to admit that he was not using his head. But I promise each and every one of you, that this boy, this boy has a great heart. The crowd awws at the saccharine performance. Logan laughs LOGAN: Um. I know now that, uh, that what I was wrong. I'm really sorry. I, uh, I only hope that one day I can live up to my dad's good example. Logan turns to his father. They hug LOGAN: I love you. [On stepping out of the hug] Okay, look, uh, I know you do not want to make a big deal out of this [] but I'm just so proud of him that I, I can not keep it a secret. Aaron keeps his proud face, and looks at it. Logan is saying LOGAN: Dad told me he's donating half a million dollars to the Neptune foodbank. The crowd gasps and applause breaks out LOGAN: Way to go, Dad. Logan claps. Aaron is angry and has a hard time on his face. It's back when he turns to the crowds and laughs. Logan puts his arm around Aaron's back and rests his head on Aaron's head. The cameras go wild. "Ventura Highway" hits the chorus SONG: Ventura Highway in the sunshine Where are you going to go? The nights are stronger Than moonshine You're gonna go I know 'Cause the free wind is blowin' through Your hair and the days surround your daylight There Seasons crying no despair Alligator lizards in the air Seen through the glass fronts of a wardrobe, Logan approaches and slides. The section contains belts, hanging from one side of the walls of the closet. He considers them, and then chooses one, feeling its weight. He takes his time folding it in his hand. He slides the door closed. Logan reappears in the hand part of the Echolls house, walking quickly to his father's study. Posters of Aaron are standing on the walls. Logan pauses at the door, belt in hand, and enters his father's acknowledgment of him. Aaron holds out his hand for the belt. He unfurls the belt and goes to close the door. As he does, Logan can be seen lifting his shirt. To the sound of a belt on flesh, the camera slowly to the round to reveal Lynn, sitting on a sofa, drinking a highball. (How - powerful, beautifully played.) Cut to Veronica at school. Another student approaches with a slip of paper STUDENT: Hey Veronica. Deputy wants to inspect your locker. He hands over the slip and considers it VERONICA VOICEOVER: You'd think I'd quit being white surprised at finding a Kn*fe in my back. Veronica shakes her head. Cut to the school hallway. Deputy Sacks and Clemmons are waiting for her locker DEPUTY SACKS: Ah, Veronica Mars. VERONICA: We meet again. CLEMMONS: The Sheriff's Department has asked me- VERONICA: I could just give you my locker combination, save a lot of trouble. Veronica opens her locker. Sacks pulls out her backpack and sets it down on the floor. Crouching down, he searches it. He pulls "Cat in the Hat" red and white stripped hat. His search is fruitless DEPUTY SACKS: Nothing. VERONICA: There's a couple of suckers. [Off Sack's glare] In the bag if you want one. Sacks and Clemmons exchange a look. The public address system starts MS DONALDSON: This is Mrs Donaldson, the student council advisor. I'm pleased to announce that the winner of the presidential council is Duncan Kane. The students in the hallway react variously depending on allegiance. Veronica sees Wanda in the distance. She grabs some Wanda stickers, shuts her locker and hurries to speak to her VERONICA: Wanda! I guess we're not going to rave in the desert. WANDA: You do not understand. VERONICA: You're right. I do not. Why don ' WANDA: I got busted last year for possession. This was the only way they would keep it off my record. I'd never get into Williams with a drug load on my file. VERONICA: So you were willing to wreck my future to save your own. Wanda does not have an answer. Veronica turns away in disgust WANDA: Veronica! This was not just about getting into college. If I would have won, I would have done what I promised. We would have changed the way things work around here. VERONICA: You know what? [Handing over the stickers] No hard feelings. I did not vote for you. Veronica leaves Wanda standing. Cut to a classroom. Veronica is lining up a sh*t of Mrs Donaldson and the new president MS DONALDSON: Well, it's been a crazy week, uh, but I am proud to introduce your new student body president, Duncan Kane. The crowd crowd in the room applaud. Jake can be seen standing and clapping at the doorway. Duncan moves up to the small podium DUNCAN: Thank you Mrs Donaldson. And now, my first act as President, I would like to make sure that I do not have a single Pirate Point. [Applause] But you know what? In addition to varsity sports, I would like to make sure that students in the band, students who make honor role, students who perform in school plays, that write for the school newspaper ... [Glances at Veronica] should be eligible to earn Pirate Points. [One person cheers and applauds the rest of the council is non-responsive] And they should share in the benefits. Okay. So what kind of candy should we sell this year. Jake is proud of his son. Cut to Veronica entering Keith's office. She goes to the safe, purpose can not open two DESPITE Attempts VERONICA VOICEOVER: Dad changed the combination. He knows. Cut to Veronica entering the apartment. Keith is on the couch, reading. KEITH: [Pointing] Package for you. VERONICA: Oh great. KEITH: Something from Action News? VERONICA: Oh, uh, nothing, a tape for a journalism project. Just to compare and contrast TV news with, uh, local print coverage. KEITH: Hmm. Veronica takes the envelope with the tape and heads for her pauses and considers what she is doing. Keith watches her closely. She turns back and sits in the flesh VERONICA: I'm lying. You know I'm lying. I do not want things to be so between us anymore. KEITH: Like what? VERONICA: Like our own game of spy vs spy. You know I was in the safe. And I know you're still investigating Lilly's m*rder. KEITH: I was. I'm not anymore. VERONICA: Why not? Dad, we're running out of time. KEITH: I used to think that the case was the key to our happiness. Solve the case and my reputation is restored. Solve the case and your mom comes home. Solve the case and you go back to being a normal teenage girl. VERONICA: So let's do it, let's solve the case- KEITH: Wait, Veronica. What I believe in now is that we make the most of what we have here and now. I believe in going to the zoo with the person I love the most. VERONICA: [Holding out the envelope] This is not a school project. It's the footage of Abel Koontz's arrest. [Taking the video out of the envelope] And I need to show you something. [Getting the crime scene pictures out of her bag] This is an enlargement of a crime scene photo taken from the night of Lilly's m*rder. Veronica hands the photo to Keith then takes the video to the player under the television. She switches it on TV: The defendant is scheduled to die as soon as possible. Veronica freezes the tape on Lilly 's shoes as held up by Lamb. Keith looks at the photo KEITH: What are those shoes doing in Abel Koontz's possession? VERONICA: Good question. End

{"type": "series", "show": "Veronica Mars", "episode": "01x06 - Return of the Kane"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars Various scenes of Sheriff Keith Mars, Veronica and the Kanes around the body of Lilly Kane. VERONICA VOICEOVER: It's been a year since my best friend, Lilly Kane was m*rder. Everyone remembers reading about the bungling local sheriff. That bungling sheriff was my dad. Cut to Duncan in shock, then with his arm around Veronica at Neptune High School. Then cutting Veronica d*ad. VERONICA VOICEOVER: Duncan Kane. He used to be my boyfriend. Then one day, with no warning, he ended things. Cut to the Mars' apartment in "Meet John Smith" as Keith and Veronica eat. VERONICA: What do you think Mom was doing at the Camelot motel with Jake Kane two weeks ago. KEITH: I told you to stay away from that case. Cut to Logan at the beach from the pilot. LOGAN: Do you know what your little joke cost me? Logan smashes one of the headlights on Veronica's car. Veronica winces. WEEVIL: [To Logan] You, say you're sorry. VERONICA: I don't want his apology. End Previously. Open at night on police vehicles and an ambulance. RADIO: 44 Adam [can't hear] RESPONSE: 44 Adam, affirmative. RADIO: We'll do [can't hear] The camera swings round to show the exterior of the Sunset Cliffs Apartments, where Keith and Veronica live. Veronica is sitting on the external stairs leading down to the entrance, watching. VERONICA VOICEOVER: I look back over the past week and wonder if things could've turned out differently. [As an occupied gurney is led out of an upstairs apartment] If I hadn't met the girl, if I hadn't initiated the case, if I hadn't interfered, would tonight be just another dull, quiet night in our apartment complex? A wrought-iron gate opens behind her. PARAMEDIC: Miss! Out of the way. Veronica leaps up from the stair, ascends and holds the gate open. The paramedics negotiate the gurney down the stairs. VERONICA VOICEOVER: Is it my fault a horrible crime played out its final chapter here? Or was what happened inevitable? Keith is across the complex, standing with some police officers. He gazes at Veronica as she looks back at him, until turning his attention to the officers. Veronica looks out over the emergency vehicles. Opening credits. Still at the Sunset Cliffs Apartments, it is day and one week earlier. A man waters the grass, a woman carries laundry in a basket. Another man cleans the pool around which the complex is built. The laundry woman is Veronica. VERONICA: [To the pool cleaner] Hey Rocky. ROCKY: Hey Veronica. Veronica carries on until she reaches the laundry room. There is a red-headed pregnant woman there, folding her laundry on a small outside table. This is Sarah. A Chihuahua also lies on the table. The music is the French Kick's "The Trial of the Century", the lyrics of which cannot be heard over the dialogue. VERONICA: Hi, Neighbour. SARAH: [Tearfully] Oh, hey Veronica. VERONICA: [Concerned] Are you okay? SARAH: Yeah, [wiping a tear, then more firmly] fine. [As Veronica sets her basket down inside the laundry room before coming back out with some books] Oh, your Snow Patrol CD. I'll get it back to you, I swear, I've just been so into it. VERONICA: I know. I can hear it through the ceiling. SARAH: Oh, god, you can hear us fighting, can't you? I'm sorry. VERONICA: What was the fight about? SARAH: Oh, it was nothing. Sarah picks up some of her laundry in one hand and the dog in the other and walks away from the laundry room. Veronica follows. VERONICA: You're right, it's not my business. SARAH: No! It's just stupid, I... [in a rush] my journal's missing. I think he took it. She gives an embarrassed laugh and heads for a basket set on a patio table. Veronica sits at the table. VERONICA: Really? Sarah puts her laundry into the basket and puts the dog on top. SARAH: Yeah. He somehow got it into his head that I have a thing for my boss. [Sitting, with some effort] Suddenly, the journal disappears. Sort of my diary-slash-sketchbook. But it's got some way personal stuff in there. VERONICA: I hope it turns up. [The dog barks] Hey, k*ller! Do you mind if I [pointing at the Chihuahua] SARAH: No, go ahead. He lives for the attention. VERONICA: [Taking the dog out of the basket, into her arms.] You are so lucky he's your dog. I would immediately put him in a little sailor's outfit. SARAH: Veronica, can I ask you a favour? I have a doctor's appointment Tuesday morning. I'm getting some test results. VERONICA: Do you need a lift? SARAH: Maybe some hand-holding. VERONICA: Of course. Cut to Neptune HS. Logan is crouched at his locker. Vice Principal Clemmons leans over him. CLEMMONS: Mr Echolls. I was wondering if I could have a word. LOGAN: [Thinks for a moment] Anthropomorphic. [Grinning] All yours, big guy. CLEMMONS: [As Logan stands] Oh. [Sycophantic chuckle] Your father has generously offered to donate a pair of boots for a school fundraising auction. LOGAN: Not the ones made for walking. God, I love those boots. CLEMMONS: [Ignoring the sarcasm] Ah, the pair he wore in "Hair Trigger". LOGAN: Hmmm. CLEMMONS: They're a big ticket item. We're hoping we'll be able to pay for our new scoreboard with what we'll make off of them. LOGAN: [Showing crossed fingers as he goes to walk away] Hope so. CLEMMONS: Unfortunately, [Logan's hand signals "and he keeps on talking"] I haven't been able to reach your father. I was hoping you could remind him. Logan has already put a few feet between himself and Clemmons. He turns back. LOGAN: I'll have my assistant call his assistant. He smirks, nods and walks off leaving Clemmons to ponder the things he has to do in his job. Cut to Veronica at a keyboard in the journalism class. She looks up as she hears a woman's voice. EVELYN: [Offscreen] Let's see, Carrie Ann Leskey went on to be Miss California. Of course then she went on to gain forty pounds. Ms Dent enters the classroom, trailed by an older woman. EVELYN: Oh, and Jake Kane. Big computer mogul and I sat next to him in typing. Surprisingly slow, typing-wise. He's a brilliant man. Ronald Tulan, of Tulan Motors. Are you married because I hear he's separated now? Ms Dent has had enough. She seeks a rescuer. MS DENT: Veronica? Just the girl I was looking for. [Sitting on the desk] I'd like you to meet Evelyn Bugby. EVELYN: [Patronising] Oh, aren't you cute? MS DENT: Evelyn is from the Alumni Association and she's looking for some help putting together a photo display for a class reunion. VERONICA: [Regretfully not] Oh. If only I had the spare time. Evelyn smiles, glances at Ms Dent and turns away, seeking another victim behind her. EVELYN: Bob Patton, is that you? Ms Dent plonks a book on the desk next to Veronica, holding it up. MS DENT: Class of '79. Think of all the bad clothes you can mock. Velour shirts. Platform shoes. VERONICA: [Thinks for a moment] Um, okay. I'll do it. MS DENT: [Relieved] Great! Your first assignment is to scan and print all the photos Mrs Bugby tabbed. [Begging, with a glance back at Evelyn] And please. Keep her away from me. Ms Dent leaves the 1979 yearbook on the desk and tries to sneak away behind Evelyn, who has snared Bob Patton. She is out of luck as Evelyn has the instincts of a bloodhound. EVELYN: [To Bob Patton] Very nice. Oh, excuse me, I have to go and talk to her. BOB: Good to see you. EVELYN: [Catching Ms Dent] Did you see what he did? He used Oblivious to this, Veronica examines the yearbook. VERONICA VOICEOVER: And somewhere amidst the "most likely to succeed" and "class sweetheart", my mom, [Veronica find's the picture] Lianne Reynolds, "most likely to disappear off the face of the earth". Veronica looks intently at the picture. Cut to a timer on a teacher's desk in another classroom. The teacher, a middle-aged black man is marking papers. He peers up at his students as they take a test. Amongst them are Weevil and Logan. Weevil, one along and one back from Logan in the rows of students, looks over at Logan. Logan notices and shifts his papers to obscure his answers from Weevil. After writing a little more under the cover of the test sheet, he looks back at Weevil. LOGAN: They teach you manners in ESL? WEEVIL: If I was gonna cheat, don't you think I'd pick somebody smart? LOGAN: [Mockingly] If you was gonna. Weevil shakes his head and looks back down at his paper. At his desk, the teacher shakes his head and slaps his hands on the desk. MR DANIELS: Ah, alas. [Standing] You both get zeros. [Weevil looks pissed, Logan doesn't seem to care] No talking during test. He grabs their tests and heads back to his desk. LOGAN: [As Mr Daniels passes him, not too quietly] I guess Mrs. Daniels ain't giving it up at home, huh? Mr Daniels pulls up, Weevil is amused. MR DANIELS: You know, the glow of your father's wealth and celebrity may be enough to sustain you through high school, Mr Echolls, but do you know what it will get you in the real world? LOGAN: [Clasping his hands together in prayer and raising his eyes to the heavens] Please say 'high school English teacher'. Please say 'high school English teacher'. Weevil laughs openly. MR DANIELS: Mr Navarro. I wonder if you'll find Mr Echolls so amusing ten years from now. When you're pumping his gas. Weevil nods his head in acknowledgement of the stereotype. Logan smiles broadly and looks back at him. MR DANIELS: See me after class, both of you. I'll tell you where to report for detention. Cut to an overshot of one of the desks where cards are being laid out for solitaire. The camera shifts to reveal Logan was the one dealing and is now playing. Weevil sits next to him as both wait in the now empty classroom. WEEVIL: You know what I love? I love that I get a zero for talking, when you were the one who was talking to me. You get detention for dissing the teacher in front of everybody. And I get detention for laughing. Let me ask you something, man. Weevil pulls his desk closer to Logan. LOGAN: [To the heavens] Is this detention or hell? WEEVIL: How do you people not make yourselves sick? I mean, it's like you walk on water in this school. For what? It's nothing that you do. I mean, all that matters is who your parents are and the zip code your mom sh*t you out in. LOGAN: And if I donate to the United Latino Pain-in-the-Ass fund, will you shut the hell up? WEEVIL: You like playin' wit' yourself? LOGAN: Huh? WEEVIL: Or you wanna make things interesting? LOGAN: What did you have in mind? Cut to later. Their desks now pushed together facing each other, there's money on the table. Weevil has a pair of aces. Logan looks at his cards. WEEVIL: You're almost as bad an actor as your father. LOGAN: You know that you don't need a diploma to steal hubcaps right? I mean why do you even show up here? WEEVIL: I promised my grandmother. LOGAN: Hmm. WEEVIL: I don't break my promises. LOGAN: [Insincerely] And I mean this. Aaww. The door to the classroom opens and Mr Daniels enters. He sees them playing poker and slams the door shut behind him. MR DANIELS: Is this Reno or detention? LOGAN: Would you believe the best of both? Logan grins then laughs. Mr Daniels responds with a humourless laugh of his own then grabs the cards from Logan and then the rest from the desk. WEEVIL: Aw, come on, man! LOGAN: What the hell? We were playing a game here. MR DANIELS: This is punishment, gentlemen, not party time. LOGAN: [Pocketing his cash] Well, that would explain the absence of balloon animals. MR DANIELS: You know, the two of you may not have learned respect in the home but you are going to learn it here. And you now have a full week of detention for me to teach you without luxury time for playing cards. Mr Daniels leaves. Weevil throws his head back and groans. Cut to Veronica getting her keys out at the Sunset Cliffs Apartments. As she heads for the Mars Apartment (#110) she hears a door open and shouting. SARAH: [Offscreen] Why'd you tell her? ANDRE: [Offscreen] I assumed she already knew. God, she's your mother. Veronica pauses then turns and walks back to look up at the balcony above. SARAH: [Offscreen] She is the l-last person I want to know about the baby! I can't believe you told her where I was! ANDRE: Stop it. You're just being hormonal. Veronica can now see the bearded Andre, Sarah's partner, on the balcony to her left, heading for the gate. Sarah is outside the door of the apartment above #110, gripping the balcony rail. SARAH: Shut up! Why don't you go spend the night with Joanna? Maybe then she'll stop calling here all the time! Sarah storms back into the apartment. ANDRE: Get over it, Sarah! Grow up! Sarah slams the door of the apartment. Her partner, having now reached the gate moves off but not before he notices Veronica watching. Veronica drops her head to examine her keys and heads for the Mars' apartment. Sarah's partner shakes his head, turns and grabs open the gate, heading out. Cut to the apartments at night. Veronica is asleep. There is a woman's scream and Veronica jolts to a sitting position. There is a heavy thump above her head and she stares at the ceiling for a few moments. Frightened, she lies down again and pulls the cover closer to her. Cut to the morning. Keith is pouring himself coffee. Veronica heads for the fridge. VERONICA: Did you hear something last night? KEITH: What kind of something? Keith takes his coffee and a bowl to the counter as Veronica raids the fridge. VERONICA: Like a loud thump from upstairs. KEITH: Well, no, but you know me. I can sleep through an earthquake. Why? VERONICA: I don't know. It sounded like a falling body. It really freaked me out. KEITH: A falling body? VERONICA: Yes. A falling body. KEITH: Would you describe the sound as Hitchcockian? Keith can't contain himself and lets out a wheezy laugh as he takes a sip of his coffee. VERONICA: I'm glad you're able to entertain yourself. KEITH: Oh, sweetie, don't sell yourself short. I find you completely entertaining. You're dressed awfully early. VERONICA: I'm taking Sarah to a doctor's appointment before school. KEITH: Oh, well that's mighty neighbourly of you. VERONICA: [In Western accent] Well, I'll see you back at the ranch, partner. Veronica pats her father on the back and he blows her a kiss and smiles after her. Veronica leaves her apartment and heads upstairs. She knocks on the door of #210. k*ller is barking but there is no answer. VERONICA: Sarah? Veronica moves to the window. The curtains are partially drawn. Inside she can see signs of chaos - a lamp and a plant are thrown on the floor, there's cups toppled on the table and k*ller stands amidst them, yapping away. Veronica pulls away, concerned. Cut to the journalism classroom. Veronica is on her cell. VERONICA: Sarah, it's Veronica again. Please give me a call when you get this, I'm just getting a little worried. Veronica disconnects and sits in front of a computer. She picks up the 1979 yearbook and starts to flick through the pages. VERONICA VOICEOVER: The people that say high school years are the best years of your life are usually on the yearbook staff. I just pray that bake sales and pep rallies aren't as good as it gets. And that the prom isn't the most magical night of my life like it was for this golden- The yearbook is open on a page that has the heading "Love is Thicker Than Water". Beneath is the top half of a heart, crowns on each summit with names banners under them. The names are Jake and Lianne. VERONICA VOICEOVER: Oh, my god. The camera pans down to the picture that fills the rest of the heart. The couple is kissing. Veronica stares. Cut to the boys' restroom. Weevil is just finishing at the urinal. Felix is waiting. FELIX: So, how's life with the movie star's kid? WEEVIL: [Heading for the sink] Ugh, he makes Juvie Hall seem like vacation. FELIX: Yeah? You should tell him you spent some quiet time with Lilly Kane, his precious girlfriend. I'd love to see the look on his face when he finds out you tapped that fine, white ass. WEEVIL: [Angry] Hey! You shut your mouth with that, man! You don't know what you're talking about and it-it wasn't like that, all right? Weevil stalks out, leaving a bemused Felix. FELIX: Wha? What'd I say? Felix follows Weevil. Cut to the school hall as Duncan is coming down the corridor. Veronica hurries to catch up with him. VERONICA: Hey. DUNCAN: [Pausing to let her catch up then continuing on with her] Hey, what's up? VERONICA: I've got a little Neptune High trivia for you. DUNCAN: Yeah? VERONICA: Did you know that your dad and my mom were King and Queen of the prom? [Duncan stops and looks at Veronica] Which, I guess, means they were like a couple or something. Did you know about that? DUNCAN: [Expression unreadable] Uh, no. That's weird, huh? Duncan moves off, leaving Veronica standing. VERONICA VOICEOVER: The boy does have a gift for evasiveness. Last year, [cut to flashback] he broke up with me without so much as an "it's over". A concerned Veronica walks down the corridor. VERONICA: What's going on? She is addressing Lilly who is standing by her open locker. LILLY: What's going on is I had lip gloss on my teeth for, like, all of first period. Lilly slams her locker shut and they move off together. VERONICA: Why is Duncan pretending I no longer exist? LILLY: Umm... because he's a freak. I don't know. I'm his sister, not his shrink. VERONICA: It's like he's broken up with me but hasn't gotten around to telling me yet. LILLY: He has been weird the past few days. Maybe his right hand finally said no. VERONICA: Can you not see I'm really upset about this? LILLY: [Laughs impatiently] God, Veronica, please! Will you stop, okay? He's going through like a phase or something. You two are meant for each other. He's not that stupid. [Off Veronica dissatisfied look] Fine. I'll talk to him. VERONICA: Thank you. LILLY: [Walking away] You know, I don't know what you people would do without me. Veronica gives a wry smile. Cut back to the present as Veronica carries on down the hallway. LOGAN: [Offscreen] Is this a joke? Cut to the parking lot. Logan and Weevil, carrying buckets, arrive at a small blue car parked in a space marked "Daniels". Mr Daniels is bringing up the rear. MR DANIELS: No, Mr Echolls, this is detention. Logan sets his bucket down by the driver's door. Weevil carries on past him to the front end. LOGAN: I meant the car. Logan smirks. Mr Daniels looks a little confused. Logan acts embarrassed. LOGAN: Oh, my God! [Puts his hand on his mouth for his faux pas] It's not yours, is it? Weevil, who has set his bucket down at the front end, laughs. LOGAN: [Drawing a heart in the dust in the window] You know, seriously, I don't think it's school policy to have students do chores. MR DANIELS: Seriously, would you like to hear the school's policy on gambling, Mr Echolls? It's considerably detailed. Mr Daniels swipes a finger over the dirty window, rubs his finger and thumb together and gives Logan a 'get on with it' glare. Logan glares back as Daniels leaves then spits on the window before rubbing the glass ineffectually. Weevil empties his bucket on the bonnet with a sarcastic smile. Cut to Veronica entering a posh clothes store. She approaches Sarah's boss, whose name is Nathan, examining his clipboard. VERONICA: Hi, I'm looking for Sarah. NATHAN: Me too. She didn't show up today. VERONICA: I'm her neighbour and she's been missing since this morning. I'm getting really worried. NATHAN: Might want to check with her boyfriend, Andre. VERONICA: Do you know him? NATHAN: [Huffy sigh] I feel like I do. She talks about him ad nauseum. [Snidely mimicking] 'He's such a brilliant artist; he's so down to earth; he has magic hands'. VERONICA: I'm sensing you don't like him very much. NATHAN: They fight all the time. And I know for a fact the guy's got a temper. A couple weeks ago she spent the night at my place. She was-It was storming out, she didn't want to drive. Andre absolutely flipped out. They fought on the phone like Sid and Nancy. VERONICA: Thanks for the info. NATHAN: This isn't like her, you know. She hasn't missed a day at work since she started here. VERONICA: Do you know where I can find Andre? Cut to a wooden floor off a doorway screened with chains. VERONICA: Hello? Veronica parts the chains and enters cautiously. It's an artist's studio. She stops in front of a painting of a man holding his hand over his eyes, palm uppermost. Soft footsteps are revealed to be Sarah's bearded partner from the apartments. He looks up and sees Veronica. ANDRE: What are you doing here? VERONICA: Have you seen Sarah? ANDRE: Not since this morning. Why? VERONICA: Well, I was supposed to take her to the doctor this morning, but she wasn't around. She didn't show up for work, either. ANDRE: She'll turn up. VERONICA: You're not concerned? ANDRE: This is what she does. When things get a little rough, she runs. VERONICA: What was the fight about? ANDRE: I told her I found her friends annoying. VERONICA: Something about you telling Sarah's mom she was pregnant? ANDRE: Well, if you know the answer, why ask the question? VERONICA: [Incredulous] Sarah's mom didn't know she was pregnant? ANDRE: They hadn't spoken since Sarah left Ohio. I told her that Sarah was pregnant. She said she wanted to come be with her. Sarah freaked. VERONICA: Freaked and ran off? ANDRE: Yeah. So get these dark fantasies out of your head. She'll come back as soon as she's processed it all. It's her way. VERONICA: I heard a noise come from your apartment last night. A loud thump. ANDRE: Thump. Hmm. That must have been when I cracked her head open with a candlestick and she crumpled to the ground. No, wait. That was Professor Plum in the study. VERONICA: I am seriously worried. ANDRE: You are seriously paranoid is what you are. I didn't hear a thump. Maybe I slept through it. Look, why don't you go back to playing field hockey or whatever it is you usually do after school. I can handle this. VERONICA: Actually, what I usually do after school is work at my dad's detective agency. You remember, he used to be Sheriff? ANDRE: Mmm-hmm. VERONICA: He still has a ton of contacts in law enforcement. ANDRE: Well, la-di-da. A woman in a thin robe appears behind Andre. WOMAN: Who's the girl? ANDRE: She's the head of our neighbourhood watch program. The woman moves past Veronica and disrobes. She is naked. VERONICA: [Amazed] I wasn't aware this was clothing-optional! WOMAN: [Ready to pose] Let me know when you're ready for me, Picasso. ANDRE: [Sitting at an easel holding a painting in progress of the nude's back] See ya, neighbour. Thanks for dropping by. Veronica takes one last look, turns and walks out of the studio. Cut to Veronica doing homework in her bedroom. She can hear k*ller barking upstairs. VERONICA VOICEOVER: Dogs. Nature's psychic detectives. They know it in their bones when something is wrong. Now I've got the corroboration I need. Veronica grabs a flashlight from her desk and her jacket. Cut to her out #210. She tests the door but it is locked. She moves over to the window. It opens. She climbs in. k*ller is happy to see her. She picks him up. VERONICA: Hey, k*ller. Veronica goes further into the apartment. With her torch, she can see a large painting of Sarah on one wall. She heads towards the bedroom. There's a piece of wood, newspaper wrapped at the end, jutting out from the bed. Veronica sees as free-standing mirror next to an open closet. Over the bed on the wall is another large painting, an extreme close up of frightened eyes and nose. Outside, Andre has exited his car and heads for the apartment. As Veronica swings the flashlight round, she sees a dresser, with some of the drawers open. She spots Sarah's cell phone on top of it. She picks up the phone and looks at the display. She finds Sarah's messages, two from herself and two from a Dr Delmont. Andre is coming up the stairs to the gate. Veronica continues to search, shining the torch into one of the open drawers. She sees a g*n. Using a pencil that was on top of the dresser, she picks up the g*n. Andre has reached the front door of the apartment. He gets out his keys to unlock the door. Veronica hears him. Andre opens the front door. Veronica has managed to get herself into the shower. ANDRE: k*ller? Andre turns on the light as k*ller barks in Veronica's arms. ANDRE: k*ller! [Walking further into the apartment] k*ller, where are you, bud? Andre hears the toilet flush. Veronica comes out of the bathroom. VERONICA: [Friendly] Oh, hi. ANDRE: What the hell are you doing in my apartment? VERONICA: I couldn't study. Uh, the little guy was barking his head off and I tried the door, it was unlocked, so I figured I'd come in and check on him. ANDRE: I never leave my door unlocked. VERONICA: Oh, well then Sarah must have done it. That's possible, right? ANDRE: Possible. Yeah, that's possible. [Getting in Veronica's space] I don't know who you think you are, but you need to stay out of my business. Am I being clear? VERONICA: Crystal. Nice chatting with you. Veronica gives k*ller to Andre and leaves the apartment. Outside, she expels her breath in relief. Cut to the school hallway. There are shelves in a display nook, filled with mementos and pictures. EVELYN: [Offscreen] Well, we definitely don't need this one. I have At the top is a banner that reads: Welcome Back Class of 1979. Cut to Evelyn in front of a small table, filled with pictures. Veronica is assisting. EVELYN: no idea who this is, so what does that say? [Veronica hands her another picture] Oh! Perfect, we have to have Doris Landers. She was Class Sweetheart, in more ways than one but a very nice girl. Evelyn trots over to the display to pin up the picture of Doris Landers. VERONICA: What about Lianne Reynolds? Evelyn gives a little grunt as she stretches to insert the pin. Veronica turns to look at her. VERONICA: She's my mom... EVELYN: Oh my god! Of course. Look at you. I thought you looked familiar. You look just like her. How is she? VERONICA: [Avoiding] I-I love this picture of her. Veronica picks up a large framed picture from the table. It is a side view of Jake and Lianne. Jake's forehead is resting on Lianne's and his hand is on her waist. Lianne's hand is on his shoulder. EVELYN: Oh. [Finger on the picture] She was just gorgeous. [Moving her finger along] And Jake. They were a beautiful couple. VERONICA: So they were a couple? EVELYN: No, they were THE couple. Very lovey-dovey. Practically connected at the mouth in the hallway. I'd always thought they'd get married, and everybody thought they would but obviously everything worked out for the best, otherwise you wouldn't be here, right? [Taking the picture] VERONICA: [Softly] Right. Evelyn places the portrait in the display. EVELYN: They were something, though. Like a couple in a movie. [Picking up another photograph and wrinkling her nose in distaste] Oh, Aaron Staleman. I think he went to jail. Veronica, her own nose deep in another file, wanders away from Evelyn. VERONICA VOICEOVER: It's just high school. What happens here doesn't mean anything. I was part of a perfect couple. It was part of my perfect life. It's amazing how fleeting perfection can be. Cut to flashback. Veronica and Lilly are walking down the school corridor. VERONICA: Yesterday you said we were made for each other. LILLY: I don't-I really, I don't want to be in the middle of this. Lilly gives an uncomfortable laugh. VERONICA: What is 'this'? LILLY: I just think that maybe you should just move on. VERONICA: What! LILLY: I can think of a half dozen guys off the top of my head that would be a better match for you than Duncan. VERONICA: What did he say to you? Did I do something? LILLY: No, it's not you. It's just... I-he needs some time alone for a while. Veronica pulls up. VERONICA: Would you stop walking? What is so horrible that you can't tell me? LILLY: [Serious] Can you trust me? It's for the best, Veronica. I know that it doesn't seem like it right now, but it is! You deserve better. Veronica looks at her friend, closes her eyes briefly then spins rounds, upset. She hurries away. Lilly looks concerned. Veronica races to the girls' restroom, the one present-day Veronica uses as her office. Present-day Veronica watches her go as the return to the present is completed, looks down at the photograph and looks up again, wondering. MR DANIELS: [Offscreen] Alphabetize Cut to a classroom. Logan stands, head down as Mr Daniels paces the room in front of the blackboard. 'Hamlet' has been the topic as shown by what's written there. MR DANIELS: by author and then by title The camera follows Daniels, book in hand, to show a large bookcase. MR DANIELS: for example, Shakespeare would come after Poe Angle changes again to reveal Weevil, arms folded leaning against the bookcase. MR DANIELS: and before Wordsworth and then within Shakespeare, 'MacBeth' after 'Hamlet'. Should I draw a diagram? LOGAN: Aw, please. That would be helpful. MR DANIELS: If you get this wrong, I'll simply have you do it again. Daniels thrusts the book into Logan's hand and leaves. Logan takes off the shirt he is wearing, over his tee-shirt. LOGAN: Well, amigo, let's get to it, huh? Cut to Logan and Weevil moving the desk under the bookcase to get to the top shelf, then to Weevil jumping onto the desk as Logan attends to one of the lower shelves. WEEVIL: [Throwing the books to the floor] Oops! Heads up! My bad! LOGAN: You obviously have no appreciation of literature. Weevil continues to toss the books on the floor as Logan picks a book off the shelf and turns into the room. He drops the book and kicks it. LOGAN: [With Shakespearian flourish] Would that it were Mr Daniels' head! WEEVIL: I was thinking more like that scene in 'Casino'. [Sitting on the desk] With the vice grip. LOGAN: [Leaning back against the bookcase, hands at the level of his head] Ah, see I'm more of a purist, you know, less blood, more emotional distress. I'd rather see him locked in a room, padded, crapping himself in the corner. You know, he's an English teacher. He'd appreciate the poetic justice. WEEVIL: [Tossing another book] I think I've got your poetic justice. LOGAN: Meaning? WEEVIL: [Jumping off the desk] Meaning I've got a plan. LOGAN: Tick tick. Losing interest. WEEVIL: Well, if I thought you had the cojones to pull it off, I'd tell you, but... LOGAN: [With deliberation] Never underestimate the size of my cojones. Logan winks. Cut to Mr Daniels in the car park, jangling his car keys. He looks up. MR DANIELS: Whoa. The camera tracks around him to reveal that there is no car in his parking space. He walks into the space, looking around. MR DANIELS: Where is the Cut to the Sunset Cliffs Apartments. Andre is letting a couple out of the top gate as Veronica comes into frame. ANDRE: Do you know how to get back to your hotel? EMILY: Yeah, I just-- RANDALL: Yeah, we're fine. EMILY: I have one more thing. Where do you think she is? Veronica looks up and slows her walk to listen. ANDRE: No idea. Look, I have your number at the hotel, so if I hear anything, I'll give you a call. EMILY: Thank you. ANDRE: Sure. The couple descend the stairs. Veronica checks to see that Andre has headed back to his apartment, then VERONICA: Excuse me. Are you Sarah's mother? EMILY: Yes. I'm Emily and this is her stepfather, Randall. VERONICA: Um, my father's a private detective. And he's really good at finding missing people. Emily and Randall exchange a look. VERONICA: I can give you his card. Veronica takes a card from her bag and gives it to Emily. Cut to the exterior of Neptune High School. Students are excited over something as Mr Daniels walks towards the school with the English teacher, Mrs Murphy, last seen drilling Veronica on Pope. BOY: Come on, man, check it out! MR DANIELS: Thanks again for the ride, Lisa. MRS MURPHY: Let me know if you need me to take you home. MR DANIELS: Okay. Ah, geez. What's the problem now? Daniels can see a crowd gathered around the flagpole. The flags, one Old Glory, the other, Neptune High's, are being raised. The crowd cheers and claps. Daniels walks forward to disperse the crowd. MR DANIELS: All right, people break it up, break it up. What's the big attraction? As he gets closer to the flagpole, Daniels sees his car at the base of the flagpole. It is impaled by the flagpole. MR DANIELS: Son of a b- He opens the passenger side door and sees the flagpole rising through the middle of the car. MR DANIELS: Son of a b- The crowd is appreciative of the fun. Daniels slams the door shut and turns to face it. MR DANIELS: Get back to class. Go on. Move it. Go to class. Go to class, people! The crowd disperses, leaving a bemused Lisa. Cut to Weevil, making his way down the school hall. CLEMMONS: Mr Navarro! Weevil pauses. Clemmons is behind him with a security guard. CLEMMONS: [As Weevil turns to face him] Interesting artwork you left at the flagpole this morning. WEEVIL: Artwork? Looks to me like Mr Daniels has a little drinking and driving problem. CLEMMONS: Spare me your indignation, Mr Navarro, we have a witness. WEEVIL: [Resigned] Yeah, sure you do. Clemmons beckons Weevil to follow. The security guard places a hand on Weevil's arm to lead him. Weevil glances over to his left. Logan is just coming out of a classroom. He stares. Weevil gives him a head's up gesture which Logan barely acknowledges as he hurries on. CLEMMONS: [Offscreen] The only thing Cut to Clemmons office. Clemmons is sitting on his desk. CLEMMONS: that's going to make this easy on you Camera cuts to another angle to show Weevil sitting on a chair in front of the desk. Mr Daniels paces behind him. CLEMMONS: is if you tell us who helped you. WEEVIL: All right. You guys wanna know who helped me? Ask your witness. MR DANIELS: Do you believe this? [Bending down to shout in Weevil's ear] Tell-us-who-helped-you. CLEMMONS: Tom! Easy. I've called your grandmother. She's been informed that, as of today, you are expelled from Neptune High School. [Weevil nods his head] You are no longer a student here. MR DANIELS: [Dripping with sarcasm] And you had so much potential. CLEMMONS: [As Weevil rises] Okay, then. A security guard will escort you to clean out your locker. WEEVIL: Wait. Weevil pauses at the door and turns back. WEEVIL: [Faux-regretfully] Does this mean I can't try out for the soccer team? Daniels turns to Clemmons with a look of intense botheration. DUNCAN: [Offscreen] I didn't even know they expelled Cut to the school's outdoor cafeteria. Duncan and Logan are eating lunch at one table. Dick is close by, sitting up on the next table. DUNCAN: people at our school. DICK: Well, not our people. LOGAN: [In a low voice] They expelled him? DUNCAN: They had security escort him off the grounds. I was in the office getting my schedule changed and you could hear Daniels just bl*wing a fuse. [Pointing and in an approximation of Daniels tone] Tell-us-who-helped-you. Tell-us-who-helped-you! DICK: [Jumping off the table and as he passes them] If he starts selling oranges in front of my house, I'm gonna be pissed. Duncan and Logan laugh but Logan is thoughtful and looks over at the car, still impaled on the flagpole. Cut to Keith's office at Mars Investigations. EMILY: She was a very sweet girl. Light-hearted. An angel. And then around her senior year I saw a change. She was secretive always picking fights with me. Veronica comes in and places a glass of water on the desk in front of Emily. EMILY: Thank you. VERONICA: OK. Veronica takes a seat behind Randall. EMILY: I think she was angry because I remarried after her father died. I don't know. She had a knack for attracting troubled young men. RANDALL: Come on, Emily. You make her sound worse than she was. She was a teenager. They have moods. EMILY: We shouldn't kid ourselves, Randall. Then one day, last year, she took off. Didn't finish high school, never even said goodbye. RANDALL: Emily, she's only been gone a couple of days. We'll find her. That's why we're here. KEITH: [Leaning forward] I'll do my best. Keith smiles sympathetically at both of them. Cut to later, in the outside office. Veronica and Keith are preparing to eat takeout, sitting on the small couch. VERONICA: So, here's what I'm thinking. The boyfriend? Andre? He knows something and if we lean on him a little bit, put the fear of god in him- KEITH: [Interrupting] Veronica, I'm handling this case from here on out. VERONICA: I know. That's why I brought them here, so you could be involved. KEITH: I'm handling this case without you. VERONICA: No, Dad. She's my friend. KEITH: No, she's a girl you talked to in the laundry room from time to time. Look, sweetie, young, attractive girls who take up with troubled men? Disappear without warning? Huh. I've handled a hundred of these cases in my life and they often end badly. Prepare yourself. Veronica gives her father a long, troubled look. Cut to Veronica's 'office' at Neptune High. She checks out the cubicles to make sure she is alone, then uses her cell phone. VERONICA VOICEOVER: I convinced Dad to let me keep working on the case if I stayed away from Andre. VERONICA: [Into the phone] Hi. This is Sarah Williams. I'm just wondering if I can get my test results over the phone. [Pauses] Right, the DNA test. Could you explain to me what that means? VERONICA VOICEOVER: Sarah's baby. It wasn't Andre's. Veronica is intrigued. There is an offscreen rap on a door. Cut to Clemmons working at his desk. He looks up. Logan is at the door. LOGAN: You got a sec? CLEMMONS: Mr Echolls. What can I do for you? Logan closes the door behind him, shutting it firmly. LOGAN: Man, I tell you Mr Clemmons, I am pissed off! Logan heads for the chair in front of Clemmons desk. CLEMMONS: [Scolding] I need for you to use appropriate language in here, Mr Echolls. [Logan sits and adopts an abashed demeanour] Now, what's got under your skin? LOGAN: It's, uh, it's that Weevil kid. CLEMMONS: He is no longer a student here. LOGAN: Yeah, I know. But the problem is, he's getting all the credit for sticking Mr Daniels car on the flagpole. [Clemmons looks up at him in horror] And all of the sudden, he's like the biggest badass in� [off Clemmons warning look, coughs] rad dude [rolls his eyes] here at Neptune. I mean, people are gonna be talking about that punking for years. CLEMMONS: I don't think I understand. LOGAN: I mean, I want my share of the credit. CLEMMONS: You're confessing to helping Eli Navarro? [Logan smirks] You can't just get away with this, young man. LOGAN: [Expelling his breath in mock contrition] Yeah, I didn't think I could. Logan pauses then swings first one foot, then the other onto Clemmons desk. He is wearing a pair of black boots with red stars all over them. Clemmons stares at the boots on his desk. LOGAN: So, what kind of punishment are we talking about? Logan makes no secret of his triumph as Clemmons stares longingly at the boots and then back at Logan. A deal is in the air. Cut to the shop where Sarah worked. Veronica is talking to Nathan again. NATHAN: I'm not really understanding your question. VERONICA: Well, if Andre's not the baby's father, do you know who is? NATHAN: It's not mine, if that's what you're suggesting. VERONICA: No, I'm not, but you work with her every day. I thought you might have picked up something. NATHAN: I hate to even think this, but maybe the guy that r*ped her is the baby's father. VERONICA: She was r*ped? NATHAN: Yeah. It's one of the reasons she left her hometown, followed Andre here. VERONICA: She told you that? NATHAN: Yeah. Like you said, we spend a lot of time together. VERONICA: Did she say who it was? NATHAN: Never. Ah, I should get back to work. But if I think of anything else, I'll be sure to give you a call. Veronica thinks for a moment and turns to leave until something suddenly dawns on her. She goes back to Nathan. VERONICA: You stole the diary! NATHAN: What? VERONICA: How did that work? She was sleeping at your house that stormy night and there it was, just poking out of her bag. You couldn't resist. You had to find out if she had a thing for you, too. NATHAN: You realize you're paranoid. VERONICA: I do. Everyone reminds me. But it doesn't mean I'm not right. I want the journal, it's gonna help me find her. NATHAN: I told you. I don't have it. VERONICA: Hmm. Looks like we're in a bit of a standstill. NATHAN: Looks that way. VERONICA: Excuse me? Veronica walks away from him as she pulls out her cell phone. VERONICA: [Into the phone] Hey, it's Veronica. Hear you have some free time on your hands, you wanna do me a little favour? Cut to the street outside the shop looking in. The shop is called 'Encore of Neptune' and carries clothes for men and women. As Nathan passes the door, he looks outside, concerned. Veronica is parked outside the shop. She is sat upon the bonnet reading a book. She looks up at him, smiles and gives a little wave. He looks disgusted and marches back into the depths of the shop. Cut to the bikers. They pull up outside the shop. Veronica and Weevil touch fists and the bikers enter the shop. Veronica smiles. WEEVIL: We heard there was sale! BIKERS: Yeah! WEEVIL: Everything's on clearance! The bikers spread out inside the shop as Nathan, horrified, addresses Weevil. NATHAN: What-what do you guys want? WEEVIL: I don't know. Sometimes the girls get put off by this old motorcycle jacket thing. Do you think something in suede might make me seem more accessible? Weevil throws his gloves at him. The bikers are touching the stock, throwing it around. Felix picks up a pile of folded clothes. NATHAN: Could you-could you please not do that? FELIX: [Throwing the pile up in the air] Oops. Hector is trying on a white jacket. HECTOR: Looks like the new Prada line came in. BIKER: Yeah, man! Hector gives his hyena-like laugh. Clothes are flying everywhere, including into his face as Nathan stands, holding Weevil's gloves, horrified. VERONICA: [Offscreen] Guys! The camera fast forwards to the door. Veronica is standing there. VERONICA: Remember! No white after Labour Day! BIKERS: Aww... The bikers continue their anarchy as Veronica joins Weevil in front of Nathan. VERONICA: [Conversationally] Nathan. Did you happen to find that journal? Nathan is defeated. Cut to the back of Andre's studio. The door opens and the model comes out. Andre follows carrying two large suitcases. Keith is observing from his car. Andre loads the cases into the boot of his car. KEITH: What the hell? Keith gets his g*n out of the glove compartment and drives off after Andre. Cut to the train station. Keith confronts them. KEITH: You going somewhere? ANDRE: What's it to you? KEITH: Seems like a strange time to be taking a trip with your girlfriend missing. ANDRE: And how is this your business? KEITH: I was hired by her parents to find her. Something tells me they wouldn't be too keen on the idea of you skipping town right now. ANDRE: Well, that's just it, pal. I'm not skipping town. I'm just dropping off a friend. STATION ANNOUNCER: track number three. All aboard. WOMAN: Can I go? They're boarding now. KEITH: I appreciate you humouring me. Go catch your train. [To Andre] I'll be right here waiting for you. ANDRE: [Walking away with the cases] Well, I'll be right back. Keith watches him go. CLEMMONS: [Offscreen] I would like to take this opportunity Cut to Neptune High. Clemmon's is standing in front of a graffiti covered wall, holding a couple of paint rollers. Weevil and Logan wait their fate. CLEMMONS: to remind you both that you're getting off easy. He hands the rollers to a sceptical Logan. CLEMMONS: This will go on your permanent record but you're extremely fortunate that you're not being suspended or expelled. WEEVIL: Um, does it-does it go on my-my permanent record that I was un-expelled? CLEMMONS: Don't push your luck, Eli. Clemmons leaves them to it. Weevil grabs one of the rollers from Logan. WEEVIL: I'll take this one. They start on either side of an alcove. Weevil is in a wife-beater and as he paints, Logan can see a tattoo situated between his armpit and the expanse of his back. The tattoo is a heart. The name 'Lilly' is bannered across it. Logan marches over to Weevil and pulls the wife-beater down to get a better look. WEEVIL: Hey, man, what are you doing? LOGAN: Hey, what the hell is that? WEEVIL: It's my arm, dawg. LOGAN: What� why do you have Lilly's name on your arm? WEEVIL: You really wanna know? LOGAN: Yeah! WEEVIL: You really wanna know? LOGAN: Yeah, I really wanna know! Both are aggressive at this point. They face off and stare at each other until Weevil answers. WEEVIL: Lilly's my little sister's name, man. That okay wit'cho? Logan doesn't drop the stance or the attitude as Weevil returns to the wall. Weevil turns back to Logan. WEEVIL: You put your hands on me like that again, you'll lose one of 'em. LOGAN: [Not intimidated] Yeah, I think I just peed myself. Logan goes back to his side of the alcove and they carry on with their painting in hostile silence. Air's "La Femme d'Argent" plays. Cut to Sarah's diary. There are words and sketches filling the page. VERONICA VOICEOVER: I guess if you keep a diary, you have to consider the possibility that someone could find it Veronica flips a page. She is at her desk at Mars Investigations. VERONICA VOICEOVER: and be privy to your every intimate secret. At least, that's what I told myself as I pored through Sarah's private thoughts. There were no details of the sexual as*ault, only its aftermath. Veronica looks closely at a full page sketch entitled "Paradise". It is a coastal view. The camera blends from the sketch to the actual site. It pulls back to show Veronica, considering the scene from her camera display, comparing it with the sketch in her hand. She turns from the railing. VERONICA VOICEOVER: Sarah didn't handle it well. She felt she couldn't talk to her mother. She couldn't relate to her friends. She ran away from home and started sleeping in her car. Veronica, who has been walking along, looking at car license plates, spots one with Ohio plates. She looks in and sees signs that someone has been using the car to live in, a towel, a pillow, a cold box, takeaway drink debris. VERONICA: Bingo. Veronica walks along the beach front, searching for Sarah. VERONICA VOICEOVER: The one bright spot was Andre. She met him in an art class and followed him to Neptune. She spots her. VERONICA: Sarah? Sarah is in a small stand overlooking the beach. There is a collapsible chair against the stand, with a blanket and coat thrown on it but Sarah, in dark glasses, is actually sitting in the stand, looking out over the ocean, a pencil and new journal in her hands. She stands as Veronica approaches her. SARAH: You found me. VERONICA: Everyone's worried about you. SARAH: Are my parents here? VERONICA: Yeah. They're back at the apartment. SARAH: I'm gonna miss all this. Cut to Veronica washing up in the Mars' kitchen. Keith enters the apartment. VERONICA: I found her. KEITH: I know. Word's out in the complex. I'm very impressed. VERONICA: Think I've got a future in the biz? KEITH: I think you've got a future as a highly-paid, Ivy-League educated executive of some sort who never thinks about private investigation again in her perfect life. Now. Let's do something normal fathers and daughters do. VERONICA: Buy me a pony? KEITH: I was thinking I'd watch TV and you'd rub my feet. VERONICA: [Not tempted] Hmm. Yeah, that's normal. Cut to Sarah and Andre upstairs, in the bedroom of their apartment. Sarah is sitting on the bed, holding k*ller. Andre is checking the pockets of his jacket. ANDRE: Have you seen my keys? SARAH: You're not leaving, are you? ANDRE: [Wearily] No, Sarah. I'm not the one who's always running. Look, I've spent the last two hours making small talk with your parents. They didn't come two thousand miles to see me. SARAH: I told you, I-I don't wanna deal with them. ANDRE: Yeah, well, you're gonna have to deal with them sometime. SARAH: You're right. ANDRE: I'm gonna take k*ller for a walk. I'll be right back. He kisses her on the top of her head. ANDRE: I love you. SARAH: I love you too. ANDRE: Come 'ere buddy. Come on. Andre takes k*ller in his arms and leaves the bedroom. Sarah watches him go then looks towards the room where her parents wait. VERONICA: [Offscreen] I have to say Cut to the Mars' apartment. Keith is sprawled in his armchair. Veronica is sitting on the small couch next to him. The faint sound of the television can be heard in the background. VERONICA: �I still really don't trust Andre. KEITH: I don't know. He knows about the DNA test, that� the baby's not his. And he said it didn't matter. VERONICA: Which in itself is all sorts of freakish. Veronica gets up from the couch and heads for the kitchen. KEITH: Or it's a testament to how much he loves her. A man's gotta be pretty committed to a woman, who would agree to raise another man's child. Veronica, pouring herself a drink, suddenly pauses. Keith's voice fades. KEITH: You know who the real father is? Hello? Earth to Mars! Veronica comes out of her reverie. VERONICA: What? KEITH: Where did you go just now? VERONICA: Nowhere. What'd you just ask me? KEITH: Who the father is. Cut to Sarah's apartment. Sarah approaches Emily and Randall, sitting at the small table in the living room. EMILY: Oh, Sarah! What's wrong? SARAH: [Quietly] Mom, there's something you should know. Cut to the Mars' apartment. Keith is up and agitated. KEITH: Why didn't you tell me she was r*ped? VERONICA: I just found out. SARAH: [Offscreen, heard through the ceiling] He r*ped me! He r*ped me! EMILY: [Offscreen] These are lies! You are a liar! Why are you trying to hurt me! SARAH: [Offscreen] Shut up and listen to me for once! KEITH: [Groaning] Oh god. SARAH: [Offscreen] Your husband r*ped me! KEITH: [Pointing at Veronica] Just stay here. Keith hurries out, leaving Veronica looking up at the ceiling, worried. Cut to Sarah. SARAH: No, I'm done keeping quiet. RANDALL: That's enough. Sarah cocks and holds up the g*n. EMILY: Sarah! RANDALL: You're not gonna hurt me again. Keith is banging at the door. KEITH: Open up! While Sarah is distracted by Keith, Randall knocks the g*n out of her hand. They both scrabble for the g*n. Randall getting there first. He throws Sarah off of him and she flies onto her back on the floor. EMILY: Randall! Randall crawls on top of Sarah and raises his hand in the air, holding the p*stol, about to p*stol-whip her. EMILY: No! There's a sh*t and blood spatters from Randall's shoulder as he goes down with a grunt of pain. Emily screams, Sarah sobs and Keith can be seen through the nearly curtain-covered window, his g*n trained on Randall. The window has a hole from his b*llet. Sarah pulls herself away from Randall and Emily crouches down to hold her. EMILY: I'm sorry. Randall, breathing heavily and groaning, holds his shoulder, looks at the blood and falls back. Veronica races to and opens the upstairs gate to the upper floor balcony. She sees Keith lower his g*n outside the window of #210. Keith heads for the door. Cut to the gurney being loaded onto the ambulance. There is various chatter on the radios of the emergency services. Veronica watches from the balcony next to the gate. Keith walks over to her and looks out over the scene. VERONICA: How is she? KEITH: She's resting. She's gonna be okay. VERONICA: So, I guess I'm grounded. Keith thinks for a moment. KEITH: I'm gonna let you slide on this one. Keith puts his arm around his daughter and pulls her to him. The camera pulls back. VERONICA VOICEOVER: But can I let myself slide? Sure, the real tragedy happened long before I came along. I just brought it to the surface. But are some things better left buried? End.

{"type": "series", "show": "Veronica Mars", "episode": "01x07 - The Girl Next Door"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars Veronica studies her father's Lilly Kane m*rder file (from 106 "Return of the Kane"). TV: (Offscreen] The Lilly Kane m*rder case took an unexpected turn Veronica and her father watching the news report from the same episode. TV: (Offscreen] as Abel Koontz fired his public appointed legal counsel. KEITH: Guess he's ready to die. Weevil talks to Veronica outside his house (from 102 "Credit Where Credit's Due"). WEEVIL: I guess what everybody says about you is true too. That you spy on Duncan Kane. Veronica pauses in completing her ballot paper to gaze at Duncan (from 106 "Return of the Kane"). VERONICA VOICEOVER: Duncan Kane. He used to be my boyfriend. Veronica and Duncan walk down the hallway (from 107 "The Girl Next Door"). VERONICA: Did you know that your dad and my mom were king and queen of the prom? I guess they were like a couple or something. Veronica and Keith consider the evidence from the crime scene photos and the arrest video (from 106 "Return of the Kane"). VERONICA: This is an enlargement of a crime scene photo taken the night of Lilly's m*rder. VERONICA: And I need to show you something. KEITH: What are those shoes doing in Abel Koontz's possession? VERONICA: Good question. End previously. Veronica is sitting at her desk, considering the shoe photos. VERONICA VOICEOVER: Two photos that don't add up; there's only one person who can make sense of them and only one person who can get me in to see that person. Cliff has entered Mars Investigations. VERONICA: Cliff McCormack. Just the person I wanted to see. Can I get you some coffee, a doughnut, baked good of some sort? CLIFF: Aren't we pleasant? You're not gonna try to sell me a raffle ticket, are ya? Cliff looks round the corner into Keith's office, looking for him. VERONICA: Close. I want you to get me onto death row to meet with Abel Koontz. CLIFF: (Laughs]You crazy kids. This stuff you're into; (sitting opposite Veronica] Hula-hoops, cramming into phone booths, visiting death row inmates. What's it going to be next month? VERONICA: I'm serious. You're Koontz's lawyer. CLIFF: Interesting fact; once a person confesses to a crime, gets sentenced to death and refuses to appeal, the term becomes former lawyer. VERONICA: You can get him to see me. CLIFF: He alone decides who he'll see and so far, he's seen no one. VERONICA: Except you, his ever-loving lawyer. CLIFF: Yes, me. His $20 an hour public defender. Dershowitz, Cochrane and Shapiro were offering up their limbs and he comes here for representation. I failed criminal law and I still know that can't be good. VERONICA: Tell me. Do these look like the same pair of shoes to you? Veronica hands him the photos across the desk. CLIFF: Um, sure, I guess so. Why? Cliff again looks round to see where Keith is. VERONICA: One of those photos was taken in Lilly's room after her m*rder. The other is from Koontz's houseboat, two months later. CLIFF: I see. VERONICA: Why would Abel Koontz break back into the Kane house simply to steal a pair of shoes? CLIFF: (Slowly] Because he's crazy? (Realisation strikes]Your dad didn't page me, did he? Cliff chuckles as he gathers his briefcase and stands to go. VERONICA: Help me get in to talk to Koontz and I'll judge whether he's crazy for myself. CLIFF: Write him a letter stating your case, I'll make sure he gets it and deny any involvement with what you're doing. VERONICA: Thanks, Cliffy. CLIFF: (Reaching the door] Um-hum, he's gonna say no. VERONICA: You think? (Cliff pauses] Sometimes people find it very difficult to say no to me. Cut to the girl's shower room at Neptune High. Veronica emerges from the shower in a towel. She finds her locker open. VERONICA: Where are my clothes? She looks around. Some of the girls ignore her, other watch and giggle and smirk. VERONICA: Where are my clothes? The girls don't respond and start to leave. Cut to Veronica looking at her clothes stuffed down the toilet. Meg runs over. MEG: Veronica, did you find your clothes, yet? (Sees the clothes] Ugh, the people can be so awful here. VERONICA: Well does this towel make me look fat? MEG: You need something to wear? Cut to the door of Neptune High as Meg and Veronica exit into the outdoor cafeteria. Veronica is wearing a cheerleader outfit. There are catcalls and whistles at Veronica's appearance. MEG: I usually have sweats in my locker. Sorry. VERONICA: No, this is perfect. I just have to resist the urge to do a cartwheel. MEG: Why don't you come have lunch with us? You're already dressed for the occasion. Veronica looks over at the table Meg is referring to whose inhabitants include Dick Casablancas. VERONICA: I think I'm gonna go straight home and change but thank you for this. Really. MEG: Um-hm. Meg heads for her table as Veronica leaves, to the sound of some girls mocking her. At Meg's table, Dick is reading off a laptop screen as the rest listen. DICK: Number 26, have you ever done it in a car? Yes. Number 27, have you ever done it in a moving car? Yes again. The girls laugh as Meg arrives, cuddling up to Cole. PAM: Oh my god. Meg, is Veronica Mars wearing your uniform? MEG: Yeah. PAM: Better make sure she washes it. DICK: I'd boil it if I were you. MEG: We fear what we don't understand. Veronica's cool, you guys, really. DICK: Tell that to Logan. She put a bong in his locker and got him suspended. KIMMY: What about Ashley? She told her that her dad was having an affair. A week later her parents split up. PAM: You're too nice, Meg. The girl's a skank. Duncan joins the table. DICK: Says Pam, the girl who scored a 63 on the purity test. PAM: Shut up. DICK: Gosh. PAM: I did not. MEG: What's a purity test? DICK: Aw, it's this online list of questions of everything you could possibly do that's dirty or fun or illegal: have you smoked pot, have you ever shoplifted DUNCAN: Have you ever done a reverse cowgirl? And then it tallies up your answers and gives you the score of what percentage pure you are. The lower score, the badder you've been. PAM: So if you get a 60, you're 60% pure, 40% sack jockey. Anything under 60's really slutty. DUNCAN: Unless you're a guy. KIMMY: It was emailed to the whole school. Everyone's taking it. MEG: (Turning to Cole] What'd you score? COLE: Uh, 91. DICK: Dude, Snow White took it and scored an 89. Everyone at the table laughs. MEG: I think it's sexy we decided to wait. Meg smiles at Cole, gives him a quick kiss on the lips and exits. DUNCAN: All right, Cole. Kissing on the lips now. COLE: (Sighs heavily] Somebody describe second base to me. Tell me what it's like. Is it beautiful there? Cut to Wallace's house. A Pay-Per-View countdown for the Super featherweight Crown is on the television. Wallace is looking at the laptop on his lap while Veronica watches the tv. VERONICA: Twenty seconds, baby. WALLACE: You're this excited about the super featherweight crown? VERONICA: I know I'm usually so passive. But our bond grows stronger every day, he-who-has-satellite-dish. WALLACE: So, did you take the purity test. (Off Veronica's offended look] Yeah, me neither. Stupid, right. VERONICA: What'd you score? WALLACE: Seventy. VERONICA: Wow, you are 30% danger-lovin', girl-touchin' rock star. WALLACE: More like one point away from being cool. VERONICA: Here. (Veronica unzips her top and shows off her sports bra] Now you're a big stud. Happy? Wallace's chuckle is cut short by the appearance of his mother in the entranceway. MRS FENNEL: Wallace. Can I talk to you for a moment? Veronica's broad smile has dropped as she lets out a deep breath. Wallace puts the laptop on the table, gets up from the couch and heads out of the room. VERONICA: (Softly] That had to worth at least two points. Wallace enters the kitchen to face his mother as his little brother watches from the stool on which he is perched. MRS FENNEL: I thought we talked about you hanging out with that girl. I've only heard bad things about the Mars family since we moved here. WALLACE: Except from me. MRS FENNEL: We have the chance of making a fresh start in Neptune. Now there have to be lots of respectable kids in your school. (Wallace shakes his head] I don't want you spending all your time with Veronica Mars. Cut to Veronica, the laptop on her lap as Wallace re-enters the room. On the screen are a cartoon nun and devil. Wallace falls heavily onto the couch, next to Veronica. COMPUTER: I'm an angel. I'm hot. Straight from heaven. VERONICA: Did she invite me for supper? WALLACE: Aw no, it's no big deal. There aren't many girls she caught flashing me. VERONICA: Listen to this. Not that innocent? Buy the results of anyone's purity test. Ten dollars will let you know if you're dating an angel from heaven or a hottie from hell. WALLACE: That's crazy. You can go on there and buy anyone's test? VERONICA: I never thought I'd say this. But I kinda can't wait for school tomorrow. Cut to the chaos at school. People are challenging each other about sleeping with boyfriends or cheering girls who look confused. One boyfriend is being smacked by the paper in the hand of his girlfriend. Veronica is greatly amused. Cole is standing with Meg outside her locker, opposite to Veronica's locker. Meg is trying to rub out a large number 48 painted on her locker. COLE: I knew when you came back from Spain last summer, there was something different about you. Should have guessed you slept with that Hobby Air guy. You couldn't shut up about him. MEG: He was our tour guide. COLE: Oh. Was sex included in the package or was that extra? MEG: I did not have sex with him. I haven't had sex with anybody. This is crazy; I didn't even take the test. COLE: (Reads] Have you ever slept with someone who spoke a language you didn't know? Have you ever had a fling while on vacation? Do you lie to protect your reputation? It all makes sense, every question here. You turned me into a joke. Thanks. Cole walks away from the upset Meg. Veronica approaches with a tissue. MEG: I-I didn't even do anything. VERONICA: I know. MEG: You believe me? VERONICA: Meg, you're the last good person at this school. I'd believe cartoon birds braided your hair this morning. If you want, I can find who posted that test for you. We'll clear your name and make somebody pay. MEG: Really? VERONICA: Unless there's a fairy godmother already on it. Opening credits. Cut to a computer classroom where a teacher is supervising a student. Veronica enters. VERONICA: Is there any way to convert cipher text to plain text without initial knowledge of the crypto-algorithms? GYM TEACHER: Ah, excuse me? VERONICA: I'm trying to figure out how someone could have overridden the control framework on the school server in order to access everyone's password. Can you help me? GYM TEACHER: Yeah, uh, in real life, I'm actually a gym teacher. The person you want to talk to is Mac. Try the parking lot, look for the blue hair. Cut to Veronica in the parking lot. She sees a girl, with a streak of electric blue in her hair, at the door of an old wreck of a car, kicking it. MAC: Damn it! VERONICA: Have you ever seen that movie "Repo Man"? MAC: Uh-uh. Veronica lays her bag on the bonnet of the car and gets out a plastic file from which she takes the grip from the side. VERONICA: Just call me Otto. Mac watches as she slides it between the door and window and unlocks the door. MAC: Wow. That's really criminal of you, Otto. I'm impressed. VERONICA: Thanks. MAC: I don't know why I bother locking it in the first place. It barely runs. Mostly I just keep it around for status. VERONICA: Fashizzle. (Pointing at her car] Check out the LeBaron. MAC: Stylin'! VERONICA: I'm Veronica, by the way. MAC: Mac. VERONICA: Is that 'cause you're good with computers? MAC: Ah, no, 'cause my last name's MacKenzie. How'd you know I was good at computers. Veronica smiles. Cut to later as they sit on the bonnet of Meg's car. MAC: Every student has an email address that's easily accessible. You're [email protected], Meg would be [email protected]. VERONICA: That's the easy part. Anyone can buy a copy of the test but to post the results in the first place, you need to use your password. Who has that information? MAC: Only the student and the IT guy. VERONICA: Neptune High School has their own IT guy? MAC: Rene DeMois. We share him with the entire school district but he's here Tuesday and Friday mornings. VERONICA: You know his schedule by heart. MAC: I do a lot of computer stuff. Plus you'll understand when you see him. VERONICA: Cool. Thanks. MAC: Yeah and if Rene can't help you let me know 'cause I might be able to find a way to sneak into the system and get you some answers. VERONICA: That's really criminal. Thanks. Cut to Wallace's house. Veronica is posing in front of a sheet places over a window. Her hands are raised and pointing in an odd position. WALLACE: Why are you holding your hands like that? VERONICA: So that one day in your memoirs, you'll describe me as inscrutable. Wallace takes a picture. WALLACE: I was leaning more toward bonkers. VERONICA: I'll take what I can get. The phone rings. WALLACE: Ah, I guess I'll get that. Wallace leaves the room to take the call. As Veronica is putting away the camera, she sees Mrs Fennel through the window, speaking to a man at the door of an apartment attached to the house. Veronica watches MRS FENNEL: It's been over two months now and no rent. JEREMY: You've been really great and I appreciate it. MRS FENNEL: I'm tired of being great, you know, I have my own bills to worry about. JEREMY: Listen, can we talk about this later? I had to take a painkiller for my back and I'm a little fuzzy. That fall that I took on your front steps really wrecked me. I think you should probably get those fixed. Cut to the studio of Neptune High television. Meg and a fellow student are sitting as anchors on a news programme, watching a report. MICHAEL: (Offscreen] From New York City to the California coast, Miss Poppum is hoping to bring a little bit of Broadway to the beach. Meg. MEG: Thank you, Michael. Cut to a classroom where Veronica watches. MEG: Thank you, Michael. Auditions for "Cabaret" will be held this Friday immediately after school. LARS: You're quite the actress yourself, aren't you Meg? Meg is flustered. MEG: Uh, um. The awkward pause continues. LARS: Uh, weren't you the lead in "Guys and Dolls" last spring? MEG: (She laughs with mixed embarrassment and relief] Ah, yeah. Veronica shows a sympathetic face. Back in the studio, the broadcast over, Meg leaves the anchor desk and joins Pam and Kimmy behind the camera. PAM: That was so uncool. He shouldn't have gone off script. MEG: No, it was my fault. I'm just not myself lately. PAM: Maybe Mrs Denton will f*re him and promote you. MEG: You should have been picked anyway, Kimmy. Your audition tape was awesome. KIMMY: Thanks, Meg. Cut to Meg at her locker. Veronica approaches. VERONICA: Hey, you okay. MEG: Barely. Boys have been calling my house, emailing me p*rn, slut sneezing. VERONICA: What? MEG: (Demonstrating by sneezing out the words] Slut, slut. VERONICA: Okay, whoever posted those results had to have gotten hold of your password somehow. Here's my very important question. Does anyone else besides you know it? MEG: No, no one. Well maybe my sister Lizzie. I mean, we're very close. Cut to the girls restroom where Lizzie is applying her makeup as Veronica stands behind her. LIZZIE: I wish I had posted it. You have no idea what a pain in the ass it is living in that house with her. It's all: "Meg got a scholarship, Meg keeps her room spotless, Meg never got kicked out of summer camp for waking up in the swim coach's cabin." That it? VERONICA: Unless you want to tell me you created the fake test for your sister. LIZZIE: No. But you might as well blame me. I get blamed for everything else. Veronica watches Lizzie trounce out. Cut to Rene's office. Veronica enters as he is working on a computer. VERONICA: Mr DeMois? RENE: Yes? As he swings around to face Veronica, she does a double take at his dark good looks. VERONICA: Whoa! Um, I was- RENE: Can I help you with something? VERONICA: I hope so. Um, my friend Julie, it's her sweet sixteen tomorrow and I wanted to change her screen saver to say happy birthday, like, as a surprise, but I don't know her password. I was told I could get it from you. She won't mind, I promise. We're like total BFFs. RENE: I don't know what that means but I cannot give you someone else's password. They are confidential. VERONICA: Am I supposed to, like, pay you or something? RENE: I cannot give it to you. I would lose my job. I'm sorry but no way. Veronica pouts and exits. Cut to the auditions for "Cabaret". Veronica enters. KIMMY: (Offscreen, singing] You can tell my brother, that's not grim 'Cause if he squeals on me I'll squeal on him, But don't tell Mama, bitte Don't tell Mama, please, sir, Don't tell Mama Veronica stops to watch Kimmy. KIMMY: What you know. Sssh! So if you see my Mommy, mum's the word! There is polite clapping as members of the audience call out comments. AUDIENCE MEMBER: Good job, Kimmy. AUDIENCE MEMBER: All right. CHOIR TEACHER: Good job, Kimmy. Um, Meg? You're up. Meg goes up to the mike as Kimmy takes a seat downstage. The choir pounds out the intro on the piano as Meg starts to move her shoulders suggestively. MEG: (Singing] Mama thinks I'm living in a convent A secluded little convent in the southern part of France. AUDIENCE MEMBER: Ooh la, la. MEG: Mama doesn't even have an inkling AUDIENCE MEMBER: We do. AUDIENCE MEMBER: (Sneezes] Slut. Meg is starting be affected by the heckling. She carries on but is increasingly losing it. MEG: That I'm working in a nightclub in a pair of lacy pants. AUDIENCE MEMBER: Nasty MEG: So please, sir if you run into my mama, The noise and mockery of the audience gets louder and more disruptive. MEG: Don't reveal my indiscretion, give a working girl a(Sobbed] chance. Meg rushes off the stage. The audience applauds. Veronica races after her to the lockers. VERONICA: Life is so not a cabaret. MEG: I can't take this anymore. This is too much. Everyone thinks I'm the biggest slut in school. They've stopped in front of Veronica's locker which now bears a painted number, 14. VERONICA: We- (Sees the number] Well, second biggest. VERONICA VOICEOVER: I suppose the only surprise is that it took them this long to come after me. Cut to Veronica in her room, working on the laptop. She is surrounded by articles and clippings on Abel Koontz. VERONICA VOICEOVER: (Typing and adopting a Virginian drawl] Dear Mr Koontz, my name is Ellen White and I'm a graduate student in criminology at San Diego State University. I also happen to be from your home town. I would love the opportunity to talk with you. On the laptop, Veronica superimposes the photo Wallace took earlier onto one showing a Stallingsburg town sign. She prints off the photo. VERONICA VOICEOVER: I admit it. I splurged and spent ten bucks to read my own purity test. Cut to Rene, checking some computers. There is a knock at his door. VERONICA VOICEOVER: Apparently I've pleasured the swim team while jacked up on goofballs. RENE: You're back. VERONICA: I need to change the password on my email account. Someone managed to figure out the old one. RENE: That's why your password should always include numbers as well as letters. Everyone thinks its fun to use the name of your dog or boyfriend, but that actually makes it easy to crack. Rene has moved to a computer screen. VERONICA: My old password was GJ7B!X. Rene stares at Veronica. RENE: Well, try and make this one a little bit tougher. Cut to Wallace's house. Jeremy is in their kitchen, cooking himself a steak when the Funnels arrive home with groceries. MRS FENNEL: What do you think you're doing? JEREMY: What does it look like? MRS FENNEL: (Putting down the grocery bag, angry] You are not supposed to be in here. You have a stove in your own apartment. JEREMY: No, I don't have a stove, you see, I have a hot plate. MRS FENNEL: Jeremy, I have been about as patient with you as I'm gonna be. Now, do you think that I charge you rent for the hell of it? I rely on that money. JEREMY: God! You're like this mosquito that's buzzing around my ear. WALLACE: Hey, watch it man. JEREMY: You know, I can't enter my home, right, my home without being accosted. (Wallace too is getting angry and puts down his grocery bag and pulls off his jacket] Every time I make a move, I get this yappity yap in my face. Jeremy slams the pan he was using down on the stove. Wallace is ready for a fight and makes for Jeremy. WALLACE: Yeah, all right then. Let's get this yappity yap- Mrs Fennel, who has clocked the pan in Jeremy's hand, holds out her arm to block Wallace. MRS FENNEL: Whoa, whoa. Hold on, son, hold on. Go ahead. Go ahead, make your dinner. (Backing out of the kitchen, forcing Wallace behind her] Come with me Wallace, come on. You-you set an example for your brother, now. WALLACE: That's exactly what I plan on doing, ma. MRS FENNEL: Listen to me, listen to me, come on. Cut to Wallace arriving at the Mars apartment. Veronica lets him in. He marches past her. VERONICA: You ready to put the hurt on that Pythagorean Theorem? WALLACE: Oh, you don't even wanna mess with me on that today. I just about murc'd my mom's crazy, no-rent-paying tenant this afternoon. VERONICA: That guy's sleazy so I hope "murc'd" means something bad. You know, my dad's still got that Sheriff sheen. He's great at scaring people away. WALLACE: No, I got it covered. Keith comes out of his bedroom. VERONICA: Seriously, you should talk to him. KEITH: Am I giving you the birds and bees again, Wallace? VERONICA: Wallace's mom is having trouble with her tenant. Dude's a bit unstable. Wallace got in a fight with him today. WALLACE: It's really not a big deal. KEITH: I'll stop by, it'll take two seconds. WALLACE: I don't even know when he'll be home, Mr Mars. KEITH: Wallace. It's nothing. Just leave the address for me, will ya? 'kay? VERONICA: Don't worry. It's his speciality. Bustin' heads and breakin' hearts. Cut to a classroom where Meg and Veronica sit side by side. As the teacher talks, Veronica leans over to Meg. MRS MURPHY: This was written in 1928 VERONICA: So, I found out that this version of the purity test was originally published in "Grind Girl" magazine. MEG: My sister subscribes to that. VERONICA: I know. She's the only person at Neptune High who does. Mrs Murphy notices. MRS MURPHY: Veronica. You seem to be in a sharing mood. Why don't you tell us your position on this? As Veronica is pondering her response, she is saved by a dick. DICK: All fours. The class laughs. MRS MURPHY: Dick Casablancas. You can see me after class. Dick gives Veronica a dirty look as she wags her finger at him. VERONICA VOICEOVER: Congratulations, Dick. You just made my list. Cut to Keith, ringing the Fennel's doorbell. Mrs Fennel's opens the door KEITH: Hi, Mrs Fennel? I'm Keith Mars, Veronica's father. MRS FENNEL: Your daughter's not here. KEITH: I know. Wallace mentioned that trouble you were having with the tenant and I thought I could be some help. MRS FENNEL: Well, thanks, but I have it under control. KEITH: It's no trouble at all. MRS FENNEL: Look. If I have a problem, I'll go to the police. KEITH: Wallace was concerned. MRS FENNEL: Well, I'll tell you what. I'll worry about my children, you worry about yours. Keith nods and Mrs Fennel's shuts the door. As Keith leaves the porch, he sees the mailbox for the tenant: Jeremy Masterson. Cut to Veronica in her bedroom. Her cell phone rings. She doesn't recognise the caller ID. VERONICA: Hello. TELEPHONE: Ellen White, please. VERONICA: Speaking. TELEPHONE: I'm calling to set up a visitation with Abel Koontz. He's agreed to see you this Friday between two and four. Prison guidelines are as follows: No cameras permitted inside Cut to Neptune High. Veronica is working on one of the outdoor tables, close to an 09er table containing Duncan, Cole and Dick. DUNCAN: So now it comes out. Meg was one of those Britney Spears virgins, huh. (Veronica looks over at him] And you were her noble Justin, just keeping it all on the down low. COLE: (Doing a Bill Clinton impersonation] I did not have sexual relations with that woman. The boys laugh. DICK: Come on, man, we know you did. The sweet ones always turn out to be the freakiest. COLE: No, man, Meg's a good girl, really good. Good at everything she does. And she does do everything. Lizzie, standing nearby, has heard enough. She marches up to Cole. LIZZIE: Keep it up, hot sh*t. Everyone's so impressed. Hey, maybe I should post some of the love poems you wrote to Meg. I know where she keeps 'em, you know. COLE: Meg always said you were immature. LIZZIE: Funny. According to her purity test, you were always premature. COLE: Shut up, Lizzie. LIZZIE: Stop talking about my sister, Cole. COLE: You don't even like her. LIZZIE: Maybe not, but I love her. Lizzie walks away, straight towards Veronica who beckons her over. LIZZIE: What's up, Veronica? Want to interrogate me some more? VERONICA: Why, yes, I do. I was supposed to meet Meg here after lunch. Do you know where she is? LIZZIE: She didn't come to school today. VERONICA: Is she all right? LIZZIE: Let's just say my parents have stopped bugging me to be more like her. Cut to Meg's bedroom, where she is piling up the tissues next to the bed in which she is sitting up. Veronica is sitting at the end of the bed. MEG: First my dad wanted to sue the school or k*ll whoever posted that score and then he searched my room. VERONICA: For what? Your p*rn stash? MEG: (Strangled laugh] No. There were these letters I got from a guy I met in Spain. He had a crush on me and wrote all this sexy stuff. Dad kind of flipped out. Told me I was acting just like Lizzie. VERONICA: That must have been fun. MEG: After everything else, I was, I was just too decimated to make it to school today. I don't see how you do it. VERONICA: Do what? MEG: Deal. The way people talk about you. Does it bother you, the things they say? VERONICA: No. Here's what you do. You get tough, you get even. MEG: (Laughs] Really. VERONICA: Works for me. And you are going to school tomorrow. And you're not taking crap from anyone. Meg gives a rueful smile. Cut to the Fennel household. As Wallace, his mother and his brother enter, they pause. WALLACE: What the hell is that? MRS FENNEL: Oh my god, its gas. She rushes them out. MRS FENNEL: Come on. WALLACE: I've got to turn it off. MRS FENNEL: Wai-wai-wait. Cover your mouth. She give Wallace her scarf. WALLACE: All right. MRS FENNEL: Cover your mouth. Wallace heads for the kitchen. MRS FENNEL: Hurry up. Wallace reaches the stove and turns off the gas. MRS FENNEL: Hurry up, hurry up. Are you okay? WALLACE: Yeah, I'm okay. MRS FENNEL: Okay. WALLACE: Are you okay? WALLACE'S LITTLE BROTHER: Yeah. MRS FENNEL: Well, now we have something to go to the police with. Cut to a police vehicle outside the house. DEPUTY SACKS: I'm sorry, there's really nothing I can do to help. You're gonna need to get a lawyer involved and file an eviction notice. MRS FENNEL: Best case, he won't be out for 60 days. Sacks shrugs. MRS FENNEL: Thanks. That's very helpful. WALLACE: Yeah. You're a help. MRS FENNEL: Come on. Cut to the Mars apartment as Keith responds to a knocking at the door. Veronica is drying dishes. KEITH: Wallace. Come on in. WALLACE: Hello Mr Mars. Think I could crash on your couch tonight? My house is getting exterminated and we have to be out of the house for the night. KEITH: Of course. Are you hungry? We just finished supper. WALLACE: Thanks, yeah. VERONICA: What happened? WALLACE: Nothing. VERONICA: Did you ever get over to talk to Mrs Fennel? KEITH: Yeah. I went over there. Wallace's mom had a plan and I didn't want to overstep. VERONICA: Overstepping is your main form of transportation. KEITH: You know, I have to go back to the office and grab some stuff. Keith leaves. WALLACE: My mom thinks I'm staying at Norman's house. VERONICA: Who's Norman? WALLACE: Norman is my imaginary, straight-A, eagle-scout, (does air quotes] mama's-boy, friend. VERONICA: He sounds boring for an imaginary friend. WALLACE: Mom seems to like him. VERONICA: I guess she'd freak out if she knew you were staying at a girl's house, huh? What? Not the flashing thing again? WALLACE: Let's just say the old biddies over at the Kane Software rumour mill are filling her head with a lot of garbage. VERONICA: Not a big fan of the Mars family, huh? WALLACE: I know. It's whack. VERONICA: I get it. It's fine. Want some popcorn? WALLACE: Yeah, thanks. Veronica puts the popcorn in the microwave, looking a little sad. VERONICA VOICEOVER: Does it ever bother me, what people say? Okay, maybe once and a while. Depends who's listening. Cut to Keith at Mars Investigations, looking up Jeremy on the computer. He finds that he has a record for various offences including passing bad cheques and public nuisance. Cut to Jeremy entering the Fennel's dark kitchen. When he opens the refrigerator, he is startled by Keith, sitting on a stool just beyond it, drinking from a bottle. JEREMY: Who the hell are you? KEITH: So you are moving out. You have until, let's say, um, 6am. That gives you, oh, six hours to pack up all your stuff. JEREMY: Yeah, I'm not going anywhere. As Jeremy closes the fridge and leaves, Keith just takes another swig from his bottle. Cut to Jeremy's apartment. As the clock turns from 5:59 to 6:00, the alarm sounds. Jeremy turns it off and rolls over. Keith is sitting on the floor by the bed. Jeremy is shocked. KEITH: 6am, big boy. Time to get going. JEREMY: You can't be in here. KEITH: You think you're pretty clever, huh? Taking advantage of a single mom, sixteen-year-old kid, huh? Okay, well, it's over. You're out. JEREMY: This is my apartment. KEITH: It stopped being your apartment two minutes ago. So what do you think? You ready to impress me with your nuttiness, 'cause I hear that's your schtick. Come on, son, perform for me. Let's see the show, let's see if you can scare me. Is that it, is that all you got? That's nothing. You wanna see crazy? You pay attention, 'cause this is gonna get good. Keith barks and screams and shakes Jeremy out of bed. KEITH: See that was crazy. Now I want you to pack your bags and get out. You're never to bother Mrs Fennel again. You don't talk to her, you don't drop by, you never lived here, right? (Shouts] Right? JEREMY: Right. Cut to Keith lounging in a chair on the Fennel porch with a paper and a cup of coffee. Jeremy is moving out. Keith smiles. Cut to the Mars apartment. Veronica is getting her bag together. Wallace is searching. WALLACE: Could you use your investigative skill to find my keys? VERONICA: Hmm. Keith enters with a small bag. VERONICA: You got breakfast? KEITH: Don't act like this isn't usual, Wallace will think I did it for him. WALLACE: I know you did. Have you seen my keys? Keith reaches into his pocket and pulls out the keys. KEITH: Well, what do you know? The last place you'd think to look. Keith throws him the keys and chuckles as he heads for his bedroom. Cut to a classroom. Mac and Veronica are working at a computer. MAC: Ten bucks a pop, man. Somebody's getting rich. I know some kids who have ordered dozens. VERONICA: Did you order any? MAC: Think that I have ten dollars to spare? You've seen my car, right? VERONICA: Can you email me the dummy corporation info anyway? There might be something. VERONICA: The computer won't let me access my account. MAC: Somebody's logged on as you right now. It says they're on a computer in the journalism room. The bell rings as they race to the computer room. By the time they get there, the room is empty. Veronica sees one of the computers is live and sits before it. MAC: So how hush-hush are the contents of your mailbox? VERONICA: Just homework and class schedules. Anything on the QT, I keep in my personal email, not my Neptune- Oh god. My outbox. There's an email from me to my ex-boyfriend. MAC: Duncan Kane? You used to be all anyone gossiped about. You still are, just in a different way. So what does it say? VERONICA: (Reads] Dear Duncan. I want you to know that I still love you very much and I think about you constantly. Every time I see you, my heart breaks. I need to tell you that when we were dating I had (with horror] VD. I hope you didn't catch anything from me (Turns to face Mac] Am I naked, because in my nightmares, I'm usually naked. A noise from the computer attracts the attention of both of them. There is a message on screen from "Froggy" asking "where'd u go?" MAC: Someone wants to chat with whoever's pretending to be you. VERONICA: They think I'm still whoever was on my account. MAC: But the bell's rung. They'd know that whoever it is would have left for their next class. VERONICA: Unless they're not at school. (Typing] Can you get a password for me. (Reading the rapid response] Another one? (To Mac] We have all the information we need. Veronica hurries out with Mac trailing. MAC: We do? Wait, Veronica. Who is Froggy, do we know? Who's Froggy? Cut to night as Veronica's call pulls a distance away from a parked car. VERONICA VOICEOVER: There's just one frog who knows everyone at Neptune High's password and I followed him to the low rent version of Lovers' Lane, Inspiration Rock Quarry and while there's nothing more satisfying than solving a case, (racing up to the parked car and taking pictures of its occupants] there's something seedy about being the interruptus in someone else's coitus. As the camera flashes away, the occupants become increasingly noisy in their distress. Cut to Veronica standing by her locker with a file in her hand. As she refers to them, the parties pass by. VERONICA VOICEOVER: Who would want to sully the reputation of the nicest girl in school? Cole, the sexually deprived boyfriend? Pam, the type-A tightass debutante? Lizzie, the oversexed overlooked little sister? Or single white female, Kimmy? Veronica beckons Kimmy over. VERONICA: Hey, Kimmy, check this out. I followed our IT guy around last night. Guess where he ended up. KIMMY: Oh my god. VERONICA: I heard the purity test website is gonna start posting pictures to illustrate the questions. Wouldn't these be perfect? Look. Number 23, have you ever touched it? Well, I guess you have. This here's a stellar example of number 78 and this one, whoa, I think my score went down just looking at that. Although it would be hard to score below a 14, wouldn't it Kimmy. KIMMY: Why are you doing this? VERONICA: Because you messed with the wrong person. You don't even know me and you posted that test for me. KIMMY: No, I didn't. VERONICA: Stop lying. I know you got my password from Rene. You know, he's 23, you're 17. I don't think they allow conjugal visits in prison. KIMMY: Please, it wasn't me. VERONICA: Then who was it? KIMMY: It was Pam. Pam posted the test for you. She hates you because Duncan is still hung up on you. I only posted Meg's, I swear. VERONICA: Why would you do that? KIMMY: She gets everything I want. Everything. The lead in the musical, cheerleader, the anchor job. VERONICA: Thanks, Kimmy. Veronica opens her locker and takes out the video camera. KIMMY: What did you- Oh, god. VERONICA: So, your boyfriend was the one running the purity test website, right? KIMMY: No! VERONICA: Kimmy, why do you insist on pissing me off? You and Pam aren't smart enough to pull that off. KIMMY: Seriously! He didn't even know why I wanted the passwords. I don't think he even knows the purity test exists. Veronica walks away. KIMMY: Wait, what are you gonna do with that tape? Meg enters the school TV studio. Meg brings in some tapes. MEG: This is the debate club piece, the school board meeting and the lacrosse team. STUDENT: Okay, no problem. STUDENT: Hurry Meg. Meg races to the anchor desk. STUDENT: Any you're live in five, four, three, two The news starts. Veronica and Duncan, in the same class, are watching. MEG: Last night's victory continued the winning streak for the Pirate lacrosse team. Kevin Stockland has a story. Instead, Veronica's tape starts, to everyone's surprise. KIMMY: Please, it wasn't me. VERONICA: Then who was it? KIMMY: It was Pam. Pam posted the test for you. She hates you because Duncan is still hung up on you. Duncan raises his eyebrows while Veronica cringes a little. VERONICA VOICEOVER: Note to self, cue tape for client. KIMMY: I only posted Meg's, I swear. Meg looks over at Kimmy in the studio. VERONICA: Why would you do that? KIMMY: She gets everything I want. Everything. The lead in the musical, cheerleader, the anchor job. VERONICA: Thanks, Kimmy. KIMMY: Wait, what did you- The original broadcast of the lacrosse team resumes. KEVIN: And last night's lacrosse match with the Point Pleasant Raiders PAM: You dumb wanna-be freak show. KIMMY: I had to tell her. PAM: Of course you did. Because you're spineless. Please start crying 'cause you're not pathetic enough already. Nice hair cut by the way. Does Meg know you bring her picture to Fantastic Sam's? (Kimmy runs out in tears] Very dramatic, Kimmy. Very Meg. Meg, and all the others, stare hard at Pam. PAM: What? Cut to the car park. The music is "Don't Let It Get You Down" by Spoon. Veronica passes Dick whose car engine is steaming. VERONICA VOICEOVER: All fours, huh, Dick? You mess with the bull. SONG: Don't let it get you down Don't let it get you down Don't let it get you down Don't let it get you down Mac honks as she passes Veronica in a brand new Beetle. VERONICA VOICEOVER: There was really only one person smart enough to set up the purity test. How can I resent someone who took sex-crazed 09ers for their allowance money? As Veronica reaches her car, Meg approaches. MEG: I was looking for a white horse. VERONICA: Ooh. So now I'm your knight in shining armour? MEG: Pretty much. All of a sudden everyone's running up to me saying how they never believed I did those things. Cole, even. Not that I care. VERONICA: I'm glad. Funny. No one's come running up to me. MEG: It's because people are afraid of you. VERONICA: Then something's working. MEG: Getting tough? Yeah, that was good advice. And I needed that. The getting even part? You might want to rethink that one. Meg goes to leave, but then turns back. MEG: You do have friends, Veronica. Veronica sees Duncan and runs to catch him. VERONICA: Duncan, hey. DUNCAN: Hey. VERONICA: Somebody stole my computer password and used it to sent fake emails from me to you so I don't have VD, I've never had VD and I don't still love you. Just so that you know. DUNCAN: Good. 'Cause, I'm not, you know, still hung up on you or anything. VERONICA: I never thought you were. They pause awkwardly, then Veronica turns to go. DUNCAN: Wait. You don't have VD? 'Cause I keep getting this thing on my lip and I'm not sure who I could've gotten it from Veronica punches him and they smile at each other. Cut to Mars Investigations. Mrs Fennel enters cautiously as Keith makes coffee in the kitchenette. On seeing her, he pours her a coffee. MRS FENNEL: So. My tenant moved out. Wallace said I have you to thank for it. KEITH: I know how the law works. Slowly. And I was-I was worried. For Wallace. MRS FENNEL: The fact that you helped me, even though I was awful to you, you're a very decent man. KEITH: Yeah, I'd like to think that but really I just like tossing people out, it's kind of a hobby. MRS FENNEL: I don't know if you've heard some of the things they say about you. KEITH: Oh, I know, trust me. I barely let me socialise with myself. I'm a bad influence. MRS FENNEL: (Choking on the coffee] Do you have any sugar? KEITH: Oh, yeah. Veronica enters the prison visiting area where she sits before the glass divider in front of him and picks up the phone. VERONICA VOICEOVER: They say the truth will set you free. And I'm looking for the truth in a maximum security prison. Don't worry. The irony isn't lost with me. KOONTZ: Ellen. Well aren't you a breath of fresh air. VERONICA: I want to thank you for taking the time to meet with me, Mr Koontz. KOONTZ: It's always nice to chat with a hometown girl. Do you ever get back to good old Stallingsburg for the pear blossom festival? VERONICA: You mean apple blossom. KOONTZ: Of course. VERONICA: Just bought my tickets for May. KOONTZ: You know, you remind me of someone. How old are you, Ellen? VERONICA: Twenty-two. KOONTZ: She must have been the same age when I knew her. Hmm. I shouldn't bore you with ancient history. Now, what shall we chat about? VERONICA: Well, I found these photographs online. (Holds up the photos] I think they could prove you didn't take Lilly's shoes the night of the m*rder. It might be enough evidence to get you a retrial. KOONTZ: Now why would I want a retrial when I could have all this? VERONICA: Somebody had to plant those shoes on your houseboat. You never saw Lilly Kane in your life. Why would you confess to k*lling her? KOONTZ: So you're one of those. What will it take for Keith Mars to let sleeping dogs lie? (Evilly] Do you wanna know exactly how I bashed your friend's brains in? Oh. I know who you are Veronica Mars. I knew your mom when she used to visit the office during lunch hours. VERONICA: I don't believe you. KOONTZ: You're a very dedicated young lady. Certainly you didn't inherit that quality from poor scattered Lianne. Unfortunately for you, that makes you your father's daughter. VERONICA: My dad tried to save your life. KOONTZ: I meant your real father. Think about it Veronica. Look in a mirror. Are you the product of a schluppy sheriff or the king and queen of the prom? Veronica is shocked. Koontz is satisfied and smiles. Cut to Veronica walking to her car. She climbs in and starts to sob. She remains in the car, crying, as the camera pulls back. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x08 - Like a Virgin"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars Veronica at her mother's safety deposit box (from 105 "You Think You Know Somebody") VERONICA VOICEOVER: All this time, I've been thinking Mom bolted 'cause she couldn't handle losing everything. Maybe she just couldn't handle losing me. Veronica and Duncan walking down the school hallway (from 107 "The Girl Next Door") VERONICA: Did you know that your dad and my mom were king and queen of the prom? Picture is Jake, Veronica and Duncan at the hospital (from 103 "Meet John Smith) with an insert of Veronica's line, "Mr Kane" from 102 "Credit Where Credit's Due") VERONICA: Mr Kane. JAKE: Veronica, we meet again. VERONICA: What are the odds? Veronica running and seeing Lilly's body (from 101 "Pilot") VERONICA VOICEOVER: It's been a year since my best friend Lilly Kane was m*rder. Veronica and Keith at the Mars apartment (from 106 "Return of the Kane") VERONICA: And I know you're still investigating Lilly's m*rder. KEITH: Solve the case and your mom comes home. VERONICA: So let's do it, let's solve the case. Television broadcast from the same episode VERONICA: It's the footage of Abel Koontz's arrest. Veronica and Abel Koontz (from 108 "Like a Virgin") KOONTZ: I know who you are Veronica Mars. VERONICA: My dad tried to save your life. KOONTZ: Look in a mirror. Are you the product of a schluppy sheriff or the king and queen of the prom? Veronica cries in her car from the same episode. End previously. Open with Veronica still in her car at the prison. She lifts her head from the steering wheel and wipes her tears away VERONICA VOICEOVER: So Jake Kane is your father. Deal with it, Veronica. Cut to Veronica driving on the highway VERONICA VOICEOVER: Does Dad know? Did he go after Jake Kane so obsessively because of the affair? Oh god, does this mean- Is Duncan my- Cut to Veronica, stopped and leaning out of the car, throwing up. Cut to her driving again VERONICA VOICEOVER: Those photos that were sent to Mom, the ones with me framed in a g*n sight, was that how Jake finally stuck it to Dad, his old rival. If so, I'm taking this bastard down. Hard. I don't care whose father he is. Cut to Veronica looking at the photos from Lianne's safety deposit box VERONICA VOICEOVER: This one was taken last year. downtown. My sole reason for being in that part of town was that Mom insisted I see a counsellor after Lilly died. Every Thursday for six weeks, Dr Dave and I stared across an ottoman at each other. But which Thursday? Veronica is in her bedroom and looks closely at one of the photographs. In it, she has long hair and is standing in front of a sign that says: Neptune High School Book Week VERONICA VOICEOVER: Book week? Cut to Veronica entering the school office VERONICA: Miss Murphy, when was book week? MRS MURPHY: Wow, now there's an attitude I like to see in our post-literate age. Don't worry, Veronica. It's still months away. VERONICA: Last year's book week? MRS MURPHY: It's always the first week in February. VERONICA VOICEOVER: OK. Now I know which Thursday. Cut to Veronica downtown, checking the pictures. She looks around VERONICA VOICEOVER: In the picture, I'm standing in this exact spot. Cut to her sitting at an outdoor table of a cafe, training her camera on the spot where she was sitting VERONICA VOICEOVER: Whoever took those photos had to be sitting at this exact table. It's the only one where the angle matches. Cut to her receipt for one ice tea ($1.00 plus $0.08 sales tax) at the Aladdin, offering Mediterranean style cuisine, Pasta 'Kabobos', Greek salads and Taboule. The date is November 21, 2003 and the time is 15:09 VERONICA VOICEOVER: Dated and time-stamped. Gotcha. Cut to Veronica speaking to one of the Aladdin's waitresses VERONICA: Can you tell me if you keep all your receipts. Is it possible for you to pull just the ones from February 4th between 4:45 and 5:30? Someone's been stalking me. Veronica shows the waitress the photos WAITRESS: My god. VERONICA: I'm positive whoever took these sh*ts was sitting at that table over there. Cut to the Aladdin's records for February 4, 2004 at 5:11. The $17.08 (inclusive of $3.00 tip) was paid by Visa credit card by Clarence Wiedman Jr VERONICA VOICEOVER: Clarence Wiedman. Cut to Veronica in her car, watching Wiedman come out of his house VERONICA VOICEOVER: Big mistake paying with a credit card. And there he is. The man who took surveillance photos of me. Well, wouldn't you know? She has followed him to Kane Software, the number of the building being 10996. She watches him enter the building as she uses her cell VERONICA: Kane Software? Main number please. TELEPHONE OPERATOR: The number you requested is 555-0125. RECEPTIONIST: Kane Software. How may I direct your call? VERONICA: Give me Clarence Wiedman, please. VOICEMAIL: You've reached Clarence Wiedman, Head of Security, Kane Software. Please leave a message. Veronica cuts off the phone VERONICA VOICEOVER: And there it is. I know who's responsible for scaring Mom away. So if Jake Kane is my biological father that information is gonna be worth millions. And after what that family has done to mine. I intend to collect. Opening credits. Veronica enters the apartment and Keith rushes up to her excitedly, sporting a nasty cut under his right eye and on the side of his nose VERONICA: [Concerned] What happened to you? KEITH: It's nothing. A little collision at home. Now, cover your eyes and give me your hand. VERONICA: A collision at home? Did you fall in the garbage disposal? KEITH: No, no, home plate. [Imitating an umpire] Safe! VERONICA: Did you see a doctor? KEITH: Honey, it's fine. Chicks dig scars, now come on. Ya gotta see this. Keith jumps up and down and claps before the bemused Veronica. He races back towards her bedroom VERONICA: What is your deal? You're jacked up like some hillbilly kid who just stumbled into Daddy's meth lab. He races back, grabs her hand and raises it in front of her eyes. He grabs her hand and pulls her towards the bedroom KEITH: Hey, come on. Sit! Veronica is sitting on her new waterbed VERONICA: Whoa! KEITH: It's a water bed. VERONICA: All right. KEITH: Come on, you've wanted one of these things since you were, like, five years old. VERONICA: I also wanted to marry Vanilla Ice and build the world's largest collection of Z-bots. KEITH: You asked me, no you begged me for a water bed like four years in a row. It was your obsession. Keith crouches down in front of Veronica VERONICA: Uh-huh. It's all coming back to me now. The way you explained it, Santa was cool with the basic concept, but had grave doubts about second floor deployment. KEITH: That well known, bed-rock pragmatism of elvish culture. But I gotta tell ya. If it had been my call, I would've- VERONICA: [Laughing] You're so full of it but it is incredibly sweet of you. Yard sale, right. Ten bucks maybe. KEITH: No. VERONICA: It's okay. [Ripping off a piece of tape] You forgot to remove the masking tape price tag sticker. Besides, our money situation being what it is, I'm glad you didn't blow your wad on a whim gift for me. KEITH: Well, you'll be even gladder to know that I got us a throw in with some old Gordon Lightfoot LPs. VERONICA: [Seriously] I love you. Veronica leans forward and hugs Keith KEITH: [A little taken aback] Yeah, you too. Well, anyway, sorry it took so long to get Santa's old d*ad ass in gear. Night, sweetie. VERONICA: Night. Keith leaves and Veronica falls back onto the waterbed. Cut to Mars Investigations. Keith is in his office, taking details from a rich couple, the Gants MR GANT: He was as well adjusted a kid as you could ever want to meet. Ah, secure, extroverted, lots of friends and school activities. MRS GANT: Super popular, super focused. MR GANT: Girlfriends, top grades, not into the drug scene as far as we could tell. MRS GANT: Definitely not a druggie. Casey is just not the kind of kid who just up and joins a cult. KEITH: Well, it's actually the ones who seem to have everything that so often go off- MR GANT: I know what you're thinking. Spoiled rich boy raised in a soulless lap of luxury, no material whim denied, no spiritual need met. MRS GANT: Six weeks ago, Casey kisses me goodbye and drives to school, same as always. But he never comes home. MR GANT: He says he's gone off to live at some place called the Moon Calf Collective and basically, thanks for all you've done guys but I can take it from here. MRS GANT: The Porsche. MR GANT: That's right, the Porsche. He sold his Boxster and gave all the money over to the cult. Look, Mr Mars, here's what we need and what we're prepared to pay handsomely for you to do. Keith's eyes light up. Cut to the Gants in the main office, leaving MRS GANT: Thank you, Mr Mars. KEITH: Thank you, you're welcome. MR GANT: Thank you very much. KEITH: Thank you. Veronica is at her desk, a blood test kit laid out before her KEITH: Now what? VERONICA: I'm trying to draw a blood sample. Our health teacher said she'll give extra credit for anyone taking a self-administered HIV test. I ordered this thing online but I am seriously punking on this fingerstick. KEITH: This is so endearing. My badass, action figure daughter is adopting a Transylvanian accent[] afraid to draw a teensy little drop of blood. VERONICA: You know, if you really were a good father, you'd let me draw some of your blood for the test. KEITH: [Laughing] What? VERONICA: Nobody'll know the difference. Besides, you've been sexually active, I haven't. Veronica hold out the fingerstick KEITH: Oh for crying out loud, you're serious about this, aren't you? [Taking it] Let me have that. You wuss. So those are the parents of Casey Gant, you know him? VERONICA: Unfortunately, yeah. He's just another slice off the loaf of shallow vapid pain-in-the-ass 09erdom. KEITH: Hmm, well, despite your assessment his parents are still a little irked about his decision to run off and join a cult. VERONICA: He joined a cult? What do they worship? Wedgies, keggers, their parents' platinum cards? Returning the test to Veronica, having drawn blood onto a card. Veronica gazes at it and waves it gently to dry KEITH: It doesn't matter. He's 18 so there's little the law can do. [Sitting on her desk] If we get him back, the Gants are offering a five grand bonus so it's time to focus [clicks fingers] like the proverbial laser. VERONICA: Target acquired and locked on. KEITH: What they'd be paying us for is proof of any unlawful activity out there like firearms, drugs, kidnapping, anything'll work. All we need is a sound legal basis for the Sheriff's Department to shut 'em down. VERONICA: I'm still with ya. KEITH: This boy is a classmate of yours. Maybe you can find something that'll shed some light. You know, his parents say he's still showing up at school. VERONICA: For a five thousand dollar bonus, I'll get you his genetic code. KEITH: [Sincerely and with wagging finger] Veronica, do not, under pain of slow, agonising death even think about going to the compound yourself. I'll run the title search, do the background check, take the recon sh*ts, all of that, nous comprenon nous? VERONICA: Mais oui. Gotcha Frenchie. Keith goes back into his office and shuts the door. Veronica gets a posting box out of her desk drawer, casting a cautious glance at Keith's door VERONICA VOICEOVER: Okay. So there's no health class extra credit. There is, however, an online company that does paternity testing. I need to know, without a doubt, who my father is. Veroncia parcels up the test, including her own blood sample, keeping a wary eye on Keith's office. Cut to Neptune High. Veronica approaches as Duncan sits on a low wall. He stands as she passes close to him DUNCAN: Hey. She walks on, ignoring him. Duncan is confused VERONICA VOICEOVER: I am not ready to face Duncan. Too many sweet memories have become chilling what ifs. Cut to some boys, including Casey, playing Hacky Sack. Veronica is watching. Wallace approaches WALLACE: Hacky Sack? The final arena of unquestioned white domination. New crush? VERONICA: Hardly. That's Casey Gant. He sold his Porsche, joined a cult and took up Hacky Sack. WALLACE: He looks normal enough. VERONICA: Not if you knew him before. Flashback. Students are sitting on various beanbags on the floor of a classroom, many in couples, including Veronica and Duncan and Casey and his girlfriend, Darcy. Weevil is at the front of the class, reading his poem. A female teacher paces nearby, listening WEEVIL: The prisoners pray when they're on death row. Hear the angels sing. The junkie cries for love but it's all run out. Casey laughs out loud TEACHER: [Encouraging] Go on, Eli. Veronica is enchanted as Duncan strokes her hair and kisses her shoulder, his arm around her waist WEEVIL: When the angels sing, the sins of the world And it's cold on the streets and you're all alone And the tears, they start to fall When it all comes down, hear the angels sing. Casey laughs louder as Veronica looks back to give him a filthy look TEACHER: Casey Gant! You can learn good manners or go see Mr Clemmons. [To Weevil] Eli, it's amazing work. You're doing great. CASEY: Miss, that's not original poetry. That's a Social Distortion song. TEACHER: Is that true Eli? Caught, Weevil is pissed, Casey giggles and Veronica continues to hard stare him. Cut back to the present VERONICA: I know who'll give me all the dirt I want. WALLACE: Who? Cut to the girls' bathroom. Darcy is gazing in the mirror while Veronica, back to the mirror, leaning against the sink, listening VERONICA: His ex-girlfriend. DARCY: I'm as clueless as anyone about this trip he's on. I mean one day, he's totally cool, the next he's like alien lobotomy boy. VERONICA: Any explanation? DARCY: Nothing that made a bit of sense. He started babbling about renouncing the toxic death style of late-stage capitalist society and un-remembering the consumer siren song. I think compost even came up too, once. It was just so bizarre. I mean, I had to cut him loose. VERONICA: Did he talk about any new friends he'd made, before he started weirding out, I mean? DARCY: No, but [turns towards Veronica] you know what? I think he's got something going on with Miss Mills. VERONICA: You mean, like, sexually? DARCY: Yeah. It got to where they were doing everything together. He even started working for the literary magazine. I mean, this is the same guy who's been downloading every writing assignment since the seventh grade. He used to think Cliff Notes were for the intellectual posers. There's no way they're not getting it on. Cut to Veronica pondering on her bed then at her bedroom desk VERONICA VOICEOVER: Ah, how to get in tight with the lit-mag crowd. I've got it. Become one of them. The attributes and style of crap teen poetry: must be written in a funky colour of ink, must include dominant themes of alienation, sexual ambivalence, self-loathing, death, etcetera. Cut to Veronica in the shower. The pipes groan and Veronica jumps back out of the water with a yelp. Cut to Veronica exiting her bedroom in her bathrobe VERONICA: Dad! You're an ex-cop. You know gangland enforcer types. Can't you find someone to intimidate the maintenance supe into fixing the hot water problem? KEITH: Honey, he swears he's putting all new copper pipes, new five thousand gallon t*nk, the works. VERONICA: That nimrod has been feeding us the same line for five months. KEITH: Just try to tough it out. Hey, if we get that five grand bonus, maybe we can go look for a new place. Veronica considers this with some satisfaction. Cut to another classroom. A male teacher walks between the two rows of desks down each side of the room, facing each other TEACHER: Ten-o-five, ladies and gents, time to get cracking. Hope y'all have those editorial content analyses I signed last week. Everybody good? Okay then, let's break into groups of four and start comparing notes. STUDENT: So, you wanna be in my group? The students all shunt their desks into groups of four. Veronica, slow to start, finds herself excluded VERONICA VOICEOVER: Can you feel the luv? Cut to Veronica walking into the school. She is approached by Holly Mills and they walk on together HOLLY: Hey, Veronica! VERONICA: Miss Mills, what's up? HOLLY: I, um, read the poem you submitted for the literary journal, "I Cut Because I Can". VERONICA: Oh, yeah. Um, there are a bunch I thought about submitting but that one seemed more I don't know, relevant to where I am now. So, are you going to publish it? HOLLY: Well, you have a very unique outlook, Veronica. You know, if you ever feel like sharing, there's a place where you're always welcome to do so. We're kind of like family. VERONICA: [Pulling up in the hall] Yeah, I have some friends who work on your literary magazine and they say it's really cool. HOLLY: Actually, I'm, uh, I'm talking about the folks out at the Moon Calf Collective. That's where I live. Something tells me you'd really enjoy visiting. I-if you'd like I could even take you out there today. How's that sound? VERONICA VOICEOVER: So Miss Mills lures kids out to cult headquarters? VERONICA: That sounds great. I'm ready to go whenever you are. VERONICA VOICEOVER: Wait, what did Dad say about going out there? Cut to Holly exiting her car. The LeBaron is pulled up behind her. The music starts up: "Make a Deal With the City" by East River Pipe SONG: You live in this city, make a deal with the city now You live in this city, make a deal with the city right now Sometimes just grow up, sometimes just keep faith Sometimes just hang on, sometimes pull away You live in this city, make a deal with the city now You live in this city, make a deal with the city right now 'Cause people disappear, and life might be a joke You get {?} every day like a {?} No bye-byes, no bye-byes, no bye-byes They will fly away from you; they will fly away from you They will fly away from you; they will fly away from you They are in the country on a large farm. Veronica looks around HOLLY: Come on over. VERONICA: This is all so amazing. I feel like I'm on a movie set or something. Thank you so much for inviting me Miss Mills. HOLLY: Ah, around here I'm just Holly. And as far as you can see is all ours. You should take some time later, wander around and get a feel for the place. Just stay out of the barn; you do not want to go in there, trust me. Veronica pauses and looks back at the barn they've just passed VERONICA VOICEOVER: Hey, way to throw me off your trail, Holly. "Wander freely, don't go in the barn, whatever you do"? Maybe I should play this needy, despondent waif card more often. Veronica catches up with Holly HOLLY: Come meet my man. Well, really he kind of owns all of us. A man approaches Holly HOLLY: Hey. They kiss long and lovingly as Veronica observes VERONICA VOICEOVER: Forbidden barn? Check. Implied polygamy? Check. Ladies and gentlemen, we have a cult. HOLLY: Veronica, this is Josh. JOSH: Hey there. Joss hugs a somewhat surprised Veronica VERONICA: [High pitched] Hi. The hug goes on and on JOSH: Hmm. VERONICA: Help. VERONICA VOICEOVER: I knew I should have included a few discreet lesbian overtones in that poem. Josh finally lets her go and steps back. Casey approaches CASEY: Hey, Veronica. I heard you were coming but I had to see to believe. VERONICA: Yeah, I, I don't blame you. This is off my beaten path a bit. CASEY: But now that I think about it, it makes perfect sense that you'd wind up here sooner or later. VERONICA: Yeah. Josh kisses Holly again and wanders off CASEY: Cool, well I'm sure I'll be seeing a lot more of you and I'll catch up with you later, okay? Casey wanders off as well HOLLY: Veronica, it's only a few hours 'til dinner time. Why don't you stay and join us. As you can see, the gardens have really blessed us this year. They approach tables set outside at which people are preparing food. They head for one where a young black girl, Rain, is stirring something in a bowl VERONICA: Sure, that would be great. I'm starving. All I had today was Beef Mexi-Melt and some Cinnamon Crispas. Holly laughs RAIN: Those Crispas are awesome, aren't they? Frankly, I'd give my body to anybody for one of those Chocolate Taco Ice Cream deserts. HOLLY: Believe it or not, I think we can raise the culinary bar a bit higher. As you can see, we get a lot done through team work. In fact, if you want to jump in, you're more than welcome, if you're interested. All three have moved over to another table where Django works VERONICA: Ah, sure. Fair warning though. My idea of gourmet cooking is sprinkling on some three year old Bacos to my microwave soup. RAIN: Yeah, same here actually. But most of us are just grunt workers anyways. We find our satisfaction in realizing the visions of chef Django here. DJANGO: The secret ingredient's love. Holly wanders off leaving Veronica with Rain RAIN: I'm Rain. Glad to meet you. VERONICA: Veronica. Likewise. So, this thing you're doing seems easy enough, even I can do it. Where do I start? RAIN: Actually, I've just about done here but I'll hook you up with a job that's a little more fun. Cut to Rain milking a cow RAIN: That's a good girl, !sis. See Veronica? It's pretty easy once you get the rhythm down. She stands to allow Veronica to take her place. Uncertain, Veronica tentatively takes the nipple in her hand and pumps. Nothing happens VERONICA: Easy for you but I'm not getting a freaking drop. RAIN: She may be a little nervous. Are you nervous, sweetie? VERONICA VOICEOVER: Okay, got the youngest moonie away from the herd. Time to dig up dirt. VERONICA: So I guess you can tell I learned all I know about country life from "Dr Quinn, Medicine Woman" reruns. RAIN: What do you mean? VERONICA: Well, for example, I was under the assumption that milking takes place in, you know, a barn. RAIN: Well, sometimes, I guess. But I don't think there's any hard, fast rule though. Veronica gives up and stands VERONICA: So Josh is cool, huh? He's kind of sexy. RAIN: Really? I hadn't really noticed, but, you're right, he's a great guy. You're really gonna enjoy getting to know him. VERONICA: I'll bet. Holly says it's looking like a kick-ass harvest this year. I don't think I asked what you guys were growing. RAIN: I guess you could say it's the ultimate cash crop. VERONICA VOICEOVER: Yahtzee. VERONICA: And what's that? RAIN: I can't even begin to describe it. But it'll blow your mind. Cut to later as the collective are gathering around a f*re. One of the members, possibly Django, is strumming his guitar, playing and singing the Velvet Underground's "Oh! Sweet Nuthin'" SONG: Oh, sweet nuthin' She ain't got nuthin' at all I said, oh, sweet nuthin' 'Cause she ain't got nuthin' at all Say a word for Jimmy Brown He ain't got nuthin' at all He knocked the shirt right off his back He ain't got nuthin' at all With the others, Veronica gets up from one of the tables the food was served on and heads to join the circle around the f*re VERONICA VOICEOVER: Enough, already with this mellow incense and peppermints vibe. Let's break out the mushrooms and dance naked! Strap on the goat skull headgear, sacrifice a few infants. Come on, people, you're cultists. Start acting like it. HOLLY: Veronica, over here. CASEY: Hey, Mars! Why don't you come on over here? I feel like I gave you the h*t and run treatment earlier. VERONICA VOICEOVER: Wow. It's Bizarro world. Out here I'm Miss Popular. CASEY: I'm serious. Look, we've been going to classes together for, what, three years? And I don't think we actually ever really talked. Lately, I feel like I've been missing out on a lot. The singer comes to an end of his song and Josh takes the centre JOSH: Okay. RANDOM MOON CALF: That was great. JOSH: So how was everybody's day? What's up? RAIN: I woke up scared. I felt like I was in a dream of peace and happiness VERONICA VOICEOVER: Do not roll your eyes, Veronica. You're undercover. JOSH: It's strange, isn't it? How we believe more in the reality of RANDOM MOON CALF: I JOSH: Pain. RANDOM MOON CALF: suddenly I realised I was conscious only of my own voice and delivery. I was like directing myself in a play JOSH: I'm feeling you there, brother. I have to watch that all the time myself. HOLLY: This is scary. I'm 32 years old and I feel like I'll never have a better moment than this. JOSH: Veronica Mars. Hey, how 'bout a big Moon Calf welcome for the honoured guest. Everyone claps and moos HOLLY: Veronica's a writer, a poet. She has a unique voice I think you'd all appreciate. Would you honour us with the one you showed me earlier? VERONICA VOICEOVER: I was just reading in last month's "Koreshian Bride" that four out of five cult leaders like their handmaidens nubile, flighty, and teetering on the edge of a breakdown. Veronica stands nervously. She clears her throat HOLLY: Go for it, Veronica. She looks around then grabs her bag VERONICA: I'm sorry, I have to go. Veronica races off. Cut to her walking towards the forbidden barn VERONICA VOICEOVER: There. That performance should have them asking me back. Veronica opens the barn door and is met by a panicked and bucking horse. She falls back into the mud. As she gets up, Josh, Holly and Casey run up to her CASEY: Veronica! Are you all right? VERONICA: Oh, god, I'm so sorry everybody. I was freaked out and just wanted someplace to sit and pull myself together before driving. HOLLY: Oh, it's my fault, Veronica. I shouldn't have teased you earlier with all that stuff about the forbidden barn. JOSH: This is a little project we're undertaking. One of our neighbours was going to put down Hildegard here. We're nursing her back. Slowly but surely. Cut to Veronica opening the door to the apartment. Keith is sitting in the armchair KEITH: You're covered in mud. VERONICA: See? That's why you make the big bucks. KEITH: So what'd you find out about my boy, Casey? VERONICA: His ex-girlfriend confirms what his parents said. He's a full blooded cultist. Cut to Veronica turning on the shower VERONICA VOICEOVER: I can't get it out of my mind. Somewhere in Pennsylvania, a lab tech is determining if I'm heir to a billion dollar fortune. It's not about the money, [stepping into the shower, gasping at the cold] it's about making Jake Kane pay. But if I am an heiress, [adopting a Southern Belle accent] as God is my witness I'll never take cold showers again. Cut to Casey walking along the school hall. Veronica runs to catch up VERONICA: Casey! Hey. Wait up. I'm so ashamed of myself for my meltdown last night. I was a rampaging jackass. CASEY: [Smiles broadly] Have you forgotten who you're talking to? I'm Casey Gant, okay? I wrote the jackass Bible, the jackass Koran, the jackass Talmud. [Sincerely] Why don't you come back out? It'd mean a lot to me. Cut to the collective. Peter Tosh's "(You Gotta Walk) But Don't Look Back" starts up VERONICA VOICEOVER: Of course, if I'm not an heiress, Dad and I could really use this five grand and if it means me having to save this homely boy from cultists, so be it. SONG: There is no hiding place (can't run, can't hide, can't run) Just your problems, no one else's problems you just have to face (can't run, can't hide, can't run) If you just put your hand in mine we're gonna leave all our troubles behind We're gonna walk and don't look back (don't look back) We're gonna walk and don't look back (don't look back) Now if your first lover let you down There's something that can be done (can't run, can't hide, can't run) Tell me what you do brother Don't heal your faith in love Remembering what's become (can't run, can't hide, can't run) Oh no So if you just put your hand in mine We're gonna leave Josh approaches Veronica and enfolds her in another big hug JOSH: Veronica. I can't tell you how happy I am to see you again. I guess, uh, you can see everyone else feels the same way? Everybody calls to her, welcoming her VERONICA VOICEOVER: Get your game face on, Mars. VERONICA: I'm floored. JOSH: Hey, listen, would you like to join me for a walk? VERONICA VOICEOVER: I knew it. This is when the cult leader claims me as his new bride. Veronica pauses to turn on the tape recorder in her bag then follows JOSH: I'm not judging you, I'm just, I'm saying what you already know. VERONICA VOICEOVER: That fake fur was a poor choice to infiltrate utopia? JOSH: You've built this fortress around yourself. Now, it does offer a limited amount of protection but it also keeps other people and all they have to offer at bay, starving your soul. Now, you might want to consider...opening yourself up. Letting other people inside. VERONICA VOICEOVER: Let other people inside? Got anyone particular in mind? [Reaching into her bag to keep her hand on her taser] Maybe if I discreetly flash Mr Taser... JOSH: So, has anyone told you what we grow here? VERONICA: I heard it was the ultimate cash crop. JOSH: That it is. Cut to inside a large greenhouse filled with poinsettias JOSH: Impressive, isn't it? VERONICA: Aren't these poinsettias? JOSH: And Christmas is right around the corner. See, we never would have been able to finish off the greenhouse if Casey hadn't given us that money. VERONICA: I wish I wasn't so broke right now, otherwise, I'd try to chip in too. JOSH: Oh, well our goal isn't to be a charity case. I mean, it's not that we have anything against money, it's just, it's kind of like water, you know? Lots of symbolic power but really just a lifeless substance when you get right down to it but the paradox is that life as we know it would be impossible without it, if you see what I'm saying. VERONICA VOICEOVER: You're saying you don't want my money, you don't want my body, you don't want me working in your ganja fields, you just want me to be happy. Strange. "Have a Nice Day" by the Stereophonics plays against a montage of happy scenes as the collective prepares food. Veronica is enjoying herself SONG: San Francisco Bay, past pier thirty nine Early p.m. can't remember what time Got the waiting cab stopped at the red light Address, unsure of but it turned out just right Josh approaches the working tables, a man following behind him JOSH: Hey, listen up everybody. This is important. We've got South of the County Water Department who's out here to check for lead in the pipes so try not to use the water for the next fifteen to minutes, all right? The man is Keith and he is very unhappy to see his daughter VERONICA VOICEOVER: That's it. I'm d*ad. Cut to Veronica sneaking into Mars Investigations. Keith, very angry, comes out of the kitchenette KEITH: There ya are. What the hell were you thinking Veronica? That's got to be the worst decision I've ever seen by someone who wasn't literally brain damaged. Since when do you reserve the right to totally blow of my instructions? Does my judgement, my concern for your safety carry that little weight with you? VERONICA: I'm sorry. Dad, I screwed up, big time, I know. Trust me. I'll be following your game plan the rest of the way. They just seem so harmless. KEITH: What is your basis for that call? The absence of swastikas engraved on their foreheads? Please, reassure me that you aren't that dense. VERONICA: I'm sorry. Really. So did you plant any bugs when you were out there? KEITH: Yes. VERONICA: You've been listening in? KEITH: Uh-huh. VERONICA: Heard anything incriminating yet? KEITH: Nope. It's like listening to "The Brady Bunch" with a reggae soundtrack. VERONICA: What about your background check on Josh? Anything shady, out of line? KEITH: Up until four years ago, he was a manager of a downloadable ring development team at E-Tones. One day without warning he quit his job, cashed out his stock and used it to buy the land for the collective. Holly's totally clean as well. VERONICA: So what's our next step? KEITH: There's no "our" about it. You are officially off this case. I'll take it home from here. VERONICA: What? That makes no sense whatsoever! Aren't you even interested in what I've learned? KEITH: What's the point, Veronica? I'm prepared to admit that these Moon Calves probably don't merit the full A*F f*re-b*mb treatment. I mean, my guess is they're just a bunch of tie-dyed Oliver Twists who scam naive kids to pay the bills. The door to Mars Investigations opens behind them as the Gants walk in with another man KEITH: Mr Gant. Keith holds out his hand but Mr Gant ignores it MR GANT: I'm sure you have a lot to report but first there's something you need to know. Cut to the Gants sitting in Keith's office with the strange man standing quietly behind them. Veronica eavesdrops from the main office MRS GANT: Mr Mars, my mother, Casey's grandmother, is dying. She had a severe stroke on Tuesday night, she's effectively brain d*ad and not expected to make it more than a couple of days. KEITH: My condolences. MRS GANT: Thanks. This has been a tough disorienting time for us. Even more so because of something else we've just learned from her attorney. KEITH: What's that? MRS GANT: If she dies, the bulk of her fortune, about eighty million dollars, goes to Casey. Well w-we're afraid he's simply gonna hand it all over to that cult. KEITH: I appreciate that information. And, um, I wish I could say that I found something that we could nail them on but that's not the case. I mean, not yet anyway. At least you should know that I've seen no evidence that Casey's in danger. STRANGE MAN: I'm sorry to contradict you, Mr Mars. But I have substantial experience with these groups. The sooner we get him off that farm, the better. If you're current strategies aren't working, perhaps you should try something new. KEITH: Any relevant experience you can share, I'll be happy to consider it. What's your background, anyway, if you don't mind my asking? STRANGE MAN: Technically, my field is SMSPI. Systematic Manipulation of Social and Psychological Influence. One vulgar term is deprogramming. KEITH: No kidding. I've heard of that. How does that work, anyway? The man turns his head to the door and notices that it is open and Veronica is listening. He pushes the door to STRANGE MAN: In simple terms, I control the elements of a subject's social and psychological environment to eradicate undesirable modes of behaviour. I'm then able to instil or re-instil desirable ones. I'm quite good at my work. KEITH: Yeah, I bet. MRS GANT: We just want Casey back home again. Soon. This is a sensitive situation and we ask that you proceed accordingly. KEITH: Of course. Keith nods. In the main office, Veronica moves away from the door. Cut to the Mars' apartment. Veronica, offscreen and in the shower, screams. Keith and Backup both look up at the bathroom door. Cut to Neptune High. Wallace approaches Veronica in the hallway WALLACE: Not to sweat you, V, but when will we see the FBI-Swarms-Coke-Compound headline? VERONICA: The case is d*ad in the water. We found diddly squat on the Moon Calves and I seriously doubt that there's anything to find. Plus, my dad caught me out at the farm so now it's seriously off limits. WALLACE: Dang. VERONICA: As if that weren't enough, I'm starting to doubt the whole rationale for what we're doing. Casey, noxious, overbearing 09er butthead Casey has become a really sweet guy and I think this so-called cult deserves most of the credit. WALLACE: Sounds to me, Veronica, like you've been drinking the Kool-Aid. VERONICA: I have not. WALLACE: You better recognize. VERONICA: Thank you for being my own personal "Springer" audience. Should I check myself before I wreck myself? WALLACE: All I'm saying is, is you may be getting a little soft. VERONICA: Right and I'm CASEY: Hey, Veronica. Listen, I've got to go visit my grandma in the hospital after school. Do you want to come with me? Casey rushes up to them VERONICA: Yeah, sure Casey, I'd love to. CASEY: Good. Casey smiles and goes off. Wallace grins and backs away from her WALLACE: [Whispers as he goes] Soft, soft. Cut to Casey's grandmother in hospital, Casey and Veronica on either side of her bed CASEY: It's so hard to see her this way. Wanna hear something sad? VERONICA: Sure. CASEY: My parents' fortune. Every last nickel of it comes from Grandma's publishing company. Mom and Dad had nothing to do with it. Grandma provided for everything. Then, a couple of years ago when she started having strokes, started forgetting stuff, my parents, who call her Grandmonster behind her back, just stopped paying any attention to her. It's amazing how much better they started treating me once they found out that she decided to leave all her money to me. VERONICA: So, how long have they known she was willing her money to you? CASEY: They've known for a year. Cut to Veronica dropping Casey off at the collective VERONICA: I wish I could come with you. CASEY: I know. Thanks for spending all this time with me. You know, if you wanted to, you could. VERONICA VOICEOVER: Crazy thing? I do want to. Veronica starts up the car reluctantly and drives away. Cut to the Mars' kitchen. Veronica gets a carton of milk from the fridge, setting it on the counter. On the side of the carton is the picture of a runaway: Debbie Myer. Amongst her details, it shows she's 17 and went missing on 29 April 2002. It's Rain. Veronica gets a glass from the cupboard and grabs the milk to fill it. She spots the photo VERONICA: Rain? Cut to later. Veronica is sitting in the dark, staring at the milk carton when Keith enters the apartment KEITH: That must be good milk. VERONICA: Recognise her? That's Rain. One of the girls from the collective. Real name, Debbie Myer. She's a runaway, a minor. KEITH: So we gotta call the Gant family right away. VERONICA: Hold it, hold it. Please Dad. Let's think about this for a minute. KEITH: This is what we're working for. We were praying for a break and now you gave it to us. Don't tell me the prospect of having new digs and steady hot water doesn't sound good to you. And we can't just blow this off, Veronica. They're contributing to the delinquency of a minor. It's a serious crime. VERONICA: Oh, please, Dad, you've been around these people. Do you honestly think they're corrupting anyone? I think they're exactly what they seem to be; a bunch of sweet, naive, sixties throwbacks. KEITH: That's possibly true but definitely beside the point. Even if they are the Utopian sweethearts you think they are, we don't answer morally or otherwise to the Moon Calf Collective. We answer to our clients who pay us to do a job and that job is to find the information they want. Keith walks away as Veronica ponders unhappily. Cut to Neptune High. Veronica enters Holly's empty classroom. Holly is cleaning the blackboard HOLLY: Hey, Veronica. Casey told me you were out at the farm last night. I wish you could have stayed a while, it was so beautiful. The moon was so bright, you could almost read by it. VERONICA: Holly, there's something you need to know about, right now. The thing is I work for my dad who's a private detective, okay, and Holly looks up, past Veronica. She turns to see Casey, tears streaming down his face CASEY: Mr Clemmons just called me to his office. My grandma died this morning. HOLLY: Oh, Casey. Holly holds him. HOLLY: Casey. Veronica strokes his arm. The delicate strains of "Famous Lover" by The f*re Marshals Of Bethlehem start up. Cut to the cemetery as the funeral for Casey's grandmother concludes SONG: Lay down your arm and sing with me My melody is shaky You say you knew, when we first met I'd be your famous lover There's a {?} around us It makes an angry sound But you are speaking slowly Beauty and time, my famous lover Build bridges over water Dream of the buildings there I know that when I stumble You'll remain my famous lover. Casey walks away with Josh and Holly. Veronica races up to them VERONICA: Josh, Holly. I've done something I regret. I found out that Rain was a runaway. I told my dad about it. You have to get her the hell out of there right away. JOSH: It's okay, Veronica. We get the picture. Everything's gonna be just fine. We appreciate you being up front with us. If you'll excuse us. Ah, come join us later if you like. VERONICA: Thanks, Josh. I won't keep him long. Josh and Holly leave and Casey walks Veronica to her car. CASEY: I appreciated you being here. For no reason that I can see, you've been a real friend to me lately. VERONICA: Can you really say that after what I just told you? CASEY: I guess I don't think that you were faking the kindness. Am I wrong? Veronica smiles. Casey looks over to a large limo CASEY: Well, I guess I better go have this conversation with my parents. They wanna hear that I'm not going to let them starve. Casey helps Veronica into her car and walks down to talk to his parents, waiting by the limo. She watches through the rear view mirror. As Casey nears them, two men grab him and shove him into the limo CASEY: Hey, come on, what are you doing? Hey! Veronica jumps out of her car as the strange man gets into the limo after him VERONICA: Hey! What are you doing to him? Stop! Stop! Veronica watches the car drive away. Cut to Mars Investigations VERONICA: Dad! We have to call the police, Casey's just been kidnapped. KEITH: What? What are you talking about? Kidnapped by who? VERONICA: By his parents and that creepy guy that was with them at the last meeting. They grabbed him in the parking lot at the funeral and shoved him in the limo and drove away. KEITH: They grabbed him? So it was against his will, then? He tried to get away? VERONICA: No, it's not like he was running from them. I was kind of far away but I could tell he was surprised by what was happening. Keith gets up from his chair and comes round to sit on his desk, facing Veronica KEITH: Okay. I wasn't there. You saw what you saw, I'm not doubting your interpretation but if I was still sheriff and somebody told me an 18 year old kid got into a car with his parents after his grandmother's funeral, well there's nothing I could do about it. Not for a couple of days anyway so let's just hold off. See what happens, okay? VERONICA: I wish we hadn't turned over that information about the collective. KEITH: We didn't. VERONICA: What? You didn't KEITH: Um-um. I thought about what you said, what I heard on the wire tap and, uh, you were right. Once you get past all the sixties theme park trappings, that community's a lot more wholesome and functional than, just for example, Neptune is. [Picks up a file from his desk] I also did a little checking on Debbie Myer. What a life. Poor kid's been in four foster homes since she was eight years old. Reports of serious abuse in at least two and I had to admit it, she's a lot better off where she is. Veronica bestows on him a loving smile. Cut to the parking lot at Neptune High as Veronica gets out of her car. There is a flyer on her windscreen. She grabs it, glances at it and heads round her car to the car parked next to her VERONICA VOICEOVER: With each day that passes, I come more to terms with the question of my paternity. It's Duncan's car. She sticks the flyer on his windscreen. Duncan notices and exits the car DUNCAN: What's this? He grabs the flyer DUNCAN: [Reads] Free Crab Rangoon with purchase of Happy Family Dinner at Wok'n'Roll. Phat. Don't think I didn't notice the sacrifice. VERONICA: My pleasure. Duncan walks on but turns back to glance at Veronica. He smiles. Veronica watches him go VERONICA VOICEOVER: I sent off for those test results because I wanted the truth. But can a lab tech really see the shape of my soul in a drunken conga line of genes? Jake Kane could be my father. But whether he is or isn't, would I really claim him as such and deny the man who raised me? Wallace runs up to join her WALLACE: Veronica, wait up! What's up? A Porsche Boxster cuts across their path into a parking space WALLACE: Oh. Now that's a sweet ride. Casey gets out, giving Veronica a disdainful look CASEY: What's up, Veronica. Veronica watches the old Casey go regretfully. Cut to Veronica entering the apartment. She checks the mail and freezes VERONICA VOICEOVER: The DNA test results. Veronica lies on her bed, holding the unopened envelope VERONICA VOICEOVER: It's my call now. I can open this letter and find out if my dad is really my dad. If he's not, then I'm almost certainly the daughter of Jake Kane and, consequently, an heiress. Veronica quietly sneaks into Keith's bedroom, trying not to wake him. She shreds the envelope in the shredder. The noise wakes Keith, who turns on the lamp by his bed. VERONICA: Hey, Dad. KEITH: Honey, I don't mean to ask a silly question but is, is it really necessary that you do that right now? VERONICA: Yeah. As a matter of fact it is. End

{"type": "series", "show": "Veronica Mars", "episode": "01x09 - Drinking the Kool-Aid"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars Keith then Veronica stand over Lilly's body (from 101 Pilot). VERONICA VOICEOVER: It's been a year since my best friend Lilly Kane was m*rder. Keith interrogating Jake (pictures from 102 "Credit Where Credit's Due", sound new). VERONICA VOICEOVER: Dad told Jake Kane, the most powerful man in town that he was sure that he was somehow involved in his own daughter's death. Veronica and Duncan kissing as they walk up the hallway (from 101 Pilot). VERONICA VOICEOVER: Duncan Kane. He used to be my boyfriend. Logan taunting Veronica by sitting on Duncan's lap from the same episode. VERONICA VOICEOVER: And let's not forget Logan Echolls. His dad makes twenty million a picture. Aaron with arm around Logan (from 106 "Return of the Kane"). AARON: Smile, Logan. Don't forget, these folks pay for all of this, huh? Weevil and Logan facing off at Dog Beach (pictures and sound from 102 "Credit Where Credit's Due", except for Logan adding "Weevil" at the end of his first line). WEEVIL: What the hell do you think you're doing on our beach? LOGAN: Am I supposed to apologise? Am I supposed to shake in my boots, Weevil? WEEVIL: Maybe. LOGAN: Look around you, man. It ain't fifteen on four tonight. RANDOM 09ER: That's right. Veronica at Lianne's safety deposit box (from 105 "You Think You Know Somebody"). VERONICA VOICEOVER: All this time, I've been thinking Mom bolted because she couldn't handle losing everything. Maybe she just couldn't handle losing me. Cut to Wiedman leaving his house with Veronica following him to Kane Software. She watches from the car (from 109 "Drinking the Kool-Aid" except for last lines of both of Veronica's voiceovers which are new). VERONICA VOICEOVER: Clarence Wiedman. The man who took surveillance photos of me. The ones with me framed in a g*n sight. WIEDMAN: You've reached Clarence Wiedman, Head of Security, Kane Software. VERONICA VOICEOVER: And there it is. I know who's responsible for scaring Mom away from Neptune. Her former lover, Dad's nemesis, Jake Kane. End previously. Open on the Mars' apartment. Backup is on the couch watching "The Year Without a Santa Claus" on television. Veronica and Keith are decorating a small Christmas tree. TV: It is okay, will you make it snow? TV: Sure thing. Don't get your hopes up. You'll never get anywhere with that one. TV: We'll have to try. Veronica sorts ornaments from a small box on top of the television. VERONICA: The downside to being an only child? You know all the scary handmade ornaments are yours. Ooh, this concerns me. She picks out a reindeer face made of three Popsicle sticks and heads over to Keith and the tree. KEITH: Whoa, whoa, whoa. You gotta put another Padres ornament over there. Keith reaches into another box and hands Veronica an ornament. Veronica looks at him sceptically. KEITH: What? They should be spread out so it's even. VERONICA: You know, there are some people who think Christmas is about the birth of Christ, and not baseball. KEITH: Well, we're all entitled to our own religions, Veronica. VERONICA: So what do you want for Christmas. KEITH: Your love and respect. VERONICA: Seriously, if you could have anything, for Christmas, anything? KEITH: I want you to save your money. Veronica looks disappointed but Keith's attention is caught by the music coming from the TV. KEITH: Oh hey, hey, hey, oh, it's our favourite part. The animated figures on the TV go into the "Heat Miser" song. Keith grabs the remote to turn up the volume and puts his arm around his daughter, who giggles. SONG: I'm Mr Green Christmas, I'm Mr Sun Cut to Weevil, sitting at a poker table, none too happy to be listening to a drunken Duncan singing the same song, particularly when Duncan massages his bald pate. Weevil slaps his hand off and Duncan moves on to the next player, Connor, putting a hand on his shoulder. Connor is more indulgent. Logan is watching his friend, grinning, as Duncan, bottle of whiskey in hand, makes his way to his place at the table. DUNCAN: I'm Mr Heat Blister, I'm Mr 101 They call me Heat Miser Whatever I touch starts to melt in- As Duncan takes another slug from the bottle, Logan grabs it away from him. He bangs the bottle down on the table and puts a large unlit cigar in his mouth. LOGAN: You start singing, you stop drinking. DUNCAN: Aww. Duncan slumps into his chair, sorry for himself. The final member of the poker party, Sean, watches impassively. WEEVIL: You know, you look pretty comfortable with that thing in your mouth. LOGAN: [Caressing the cigar] Savore Cubano. You people can handroll like nobody's business. The others laugh and Logan sticks the cigar back in his mouth. Logan bets. LOGAN: Five hundred. WEEVIL: Call. Duncan groans as he reaches full length across the table for some nuts. He notices Sean is drinking beer from a wide-mouthed bottle. DUNCAN: Sean, isn't that ghetto brew beneath you? SEAN: It's the new me. I am projecting a ghetto aesthetic. [Leaning towards Weevil] Word. CONNOR: Man, where were you when I was playing the metrosexual in "Lonely Season"? SEAN: I was in high school, not getting paid a quarter of a million dollars to make out with Selma Blair, Connor. LOGAN: Don't cry now. Logan pushes all his chips into the pot. DUNCAN: Ooo-hoo. LOGAN: All in. He looks at Weevil expectantly. Weevil calls. WEEVIL: Boo hoo. Logan throws down his hand triumphantly. SEAN: Woo! LOGAN: Whoo! Weevil lays out his cards. LOGAN: Oh damn. They are not as good as Logan's. Logan is extremely smug. LOGAN: So let's see here. There are 42 cards remaining and I can win with 40 of them. I can win with an ace. I can win with a Jack. Will she be the ten and give me the straight? Or will I get the high kicker out of my Jack. Pins and needles. WEEVIL: Just flip the card. LOGAN: Okay. [Sings] But the river's gonna get ya. Logan slaps the card down on the table. LOGAN: Boom. The others at the table laugh as they see the two of hearts, one of the two cards with which Logan couldn't win. Weevil smirks and the cigar in Logan's mouth droops. DUNCAN: I can't believe he b*at you with a pair of twos. WEEVIL: I'd like my five grand now. LOGAN: Sean, the money box so I can pay the pool boy. Sean slides a wooden chip box across to Logan. Logan opens it. The money is gone. WEEVIL: No. No, no, no, no. You guys aren't pulling any of that with me. LOGAN: Weevil, I'm not pulling anything. Where's the money? Guys, where's the money? WEEVIL: [Shouts] Where is it? LOGAN: Guys, where's the money? SEAN: Did it fall out? CONNOR: How could it fall out? WEEVIL: Maybe it was never in, huh? LOGAN: You know, I rolled the money up and put it in the box. You all saw me. WEEVIL: Well, I'm not leavin' here without my money. Now...do I have to turn each of you upside-down and shake you? The rest of the players look uncomfortable. Cut to Logan and Duncan in matching reindeer boxer shorts and nothing else. Sean and Connor are also down to their underwear. As Sean passes Logan and Duncan, he spots the boxers. SEAN: Did you guys call each other? Weevil, back to the group, lifts a Faberge Egg from a bookcase, sticking it in his jacket. He turns back to the others, now lined up in their underwear. Logan still has the cigar in his mouth. WEEVIL: This isn't over. I'll be collecting a grand from each of you, one way or another. Weevil reaches the sliding glass doors of the Echolls pool house and looks back at the semi-naked group. WEEVIL: You picked the wrong guy to rip off. Weevil leaves. Sean sinks into one of the chairs. SEAN: This is the worst game of strip poker ever. Opening credits. Veronica and Wallace walk out of the school administration office and continue on through the bedecked hallway. VERONICA: Check it out. WALLACE: You know this is for a baseball camp, right? It's not like a hot guy catalogue. VERONICA: Do they have a hot guy catalogue? WALLACE: Attend a week long Padres fantasy camp at their first class training site. VERONICA: It's a perfect Christmas present for my dad. WALLACE: In a world where you can afford three grand. Coming to a halt in the middle of the hallway. VERONICA: Oh, I am so sick of not having money. Wallace sympathetically pats his chest with his hand. VERONICA: I'd be the best rich person. Seriously. I'd be the perfect combination of frivolous and sensible. Money is so wasted on the wealthy. Duncan barges in between them, focused on Weevil ahead. DUNCAN: [Angry] I want my laptop, now. WEEVIL: How does it feel to want? DUNCAN: [Grabbing Weevil by his shirt at the shoulders] I am not screwing around. It's a bad move as the intervention of four of Weevil's biker boys confirms and Duncan is shoved up and held against the lockers. DUNCAN: I didn't take your money. WEEVIL: Someone did. Veronica creeps closer to see what's going on. DUNCAN: [Offscreen] Well, it wasn't me. WEEVIL: Let him go. RANDOM BIKER: Lay off. Weevil and his boys wander off, leaving Duncan fuming. Veronica approaches. VERONICA: Someone stole your laptop? DUNCAN: There was this poker game at Logan's last night. Weevil won five grand and someone stole the money. This is his way of collecting. VERONICA: You lie down with dogs, you're gonna get fleas. DUNCAN: I didn't invite him. VERONICA: I wasn't talking about Weevil. Veronica walks away and Duncan follows. DUNCAN: Hey, this kinda concerns you. VERONICA: I don't see how. DUNCAN: I keep a journal on my laptop for the past, I dunno, three years. There was a time when you were kind of a feature. VERONICA: [More in hope than expectation] A feature with a cleverly disguised pseudonym? DUNCAN: Let's just say...I was prolific. Duncan walks off as Veronica stares worriedly after him. VERONICA VOICEOVER: There are a million things Duncan could have written about me that I'd sooner impale myself on a rusty spike than have someone else read. I must get that computer back. Cut to a darkened classroom with stuffed chairs and beanbags (last seen in 109 "Drinking the Kool-Aid). Weevil and his boys are all sitting on the floor and appear to be playing craps. Veronica enters. The bikers seem to have anticipated it. Veronica cocks her head. VERONICA: Hey. Weevil laughs. WEEVIL: See, there you go with that head-tilt thing. You know, you think you're all badass but whenever you need something it's all, [tilts his head] "hey". VERONICA: Just be glad I don't flip my hair. I'd own you. WEEVIL: So what can I do for you? VERONICA: You can not get busted stealing 09er stuff and let me handle this poker thing? Weevil chuckles. VERONICA: Seriously. Why risk it? Give Duncan back his computer. Let me handle this. WEEVIL: Could you, please, Veronica? Protect me from the big, bad, sweater vest-wearing rich boys? VERONICA: I'm just trying to help. WEEVIL: In what alternate universe does it look like I need your help, huh? Veronica throws up her hands to say "Forget it" and goes to walk out. WEEVIL: Of course, if I get my five grand, some of those guys will stop losing their stuff. VERONICA: Why were you even there? WEEVIL: [Standing] I hear about a five thousand dollar card game played by idiots, I'm interested. Flashback. Logan is crouched down at his locker, his books on the floor. A foot steps on his books. The camera pans up to Logan as he looks up, then lets out a deep breath. LOGAN: If you're asking me to the prom again, the answer is still no. The foot belongs to Weevil who looms over him. WEEVIL: I heard you got a card game going on. I'd like in on it. LOGAN: [Standing and facing him] Yeah? I'm sure you would but I can't. WEEVIL: A thousand dollar buy in, right? Logan shakes his head and walks away. WEEVIL: I got the money so what's the problem? Logan pauses and turns back to face Weevil. LOGAN: Look, my only concern is property values going down if anyone sees you in my house without a leaf blower or a skimmer. WEEVIL: You're concerned? I'm the one who's gotta go up into the hills, all by myself. What if I run into a pack of you white boys, huh, on some clean, well-lit street? I could be bored to death. LOGAN: Fine. It's a thousand dollars in ten crisp one hundred dollar bills. Weevil smiles and turns to walk away. LOGAN: We don't take food stamps. WEEVIL: [A la surfer dude] Ouch! You got me. Return to Weevil in the present. WEEVIL: He though I was just some dumb Mexican he could take for his cash. VERONICA: Who do you think did it? Did Logan do it? WEEVIL: Well, I know for a fact that nobody left the house with the money. He could've hidden it anywhere and he had an opportunity. Flashback to the poker game. Logan throws down a card in disgust. The music, some lyrics muted, is "Little Bit More" by Tony C and the Truth. SONG: That's lovely I thought she was a nasty girl, and I was right She's tying cherries up in knots with her tongue I said I wish I may, I wish I might Break me off a little some Body left the lights on at the Motel 6 Baby came complete with a whole bag of tricks Brought the cuffs, but she left the key Showed me shit I ain't never even seen I did it one time and I liked it So I did it two times got addicted Had to do it three times couldn't help it And the number four time was the best She showed me how it was supposed to go Now give me a little bit more Just a little bit more Connor rejoins the table. CONNOR: Sean won again? LOGAN: Well, you miss a lot when you go to the bathroom every five seconds. SEAN: Tip money for the guy who washes my Jag. DUNCAN: Dude, you don't even have a licence. LOGAN: Dude, why does he need a licence when he has a [gestures a twirly moustache] chauffeur? SEAN: Can it be considered an embarrassment of riches if I'm not embarrassed? Thoughts? Weevil's face makes it clear he thinks Sean is an assh*le. Sean spots something outside. SEAN: Hot chick, poolside, bikini. DUNCAN: Hi-yoo! Everybody except a somewhat dejected Logan gets up to walk to the sliding doors and look out. CONNOR: Dude, is that your mom? The pool is lit from the bottom and shines in the dark night. Lynn is framed against its light and the lights from the house. She's in a bikini, crouched, testing the water. SEAN: [Offscreen] Here's to you, Mrs Echolls. Sean drinks as Duncan, nose pig-shaped pressed against the glass,nods drunkenly. LOGAN: [Offscreen] And all of you are going to rot in hell. Lynn stands by the side of the pool and stretches. WEEVIL: [Offscreen] I'll go to church every day if this is her nightly skinny dip. Sean and Duncan continue to watch Lynn. SEAN: Please jump off the diving board, please jump off the diving board. Lynn dives into the pool from the side. SEAN: [Offscreen] Oh god, I love your mother. The other three guys make similarly appreciative noises. Weevil looks back at Logan who is painfully acknowledging the inevitability of it. Weevil has the grace to be a little chagrined. Cut back to the present as Veronica and Weevil walk down the hallway. VERONICA: Duncan was at the window? WEEVIL: Everybody but Logan was. VERONICA: You're sure? WEEVIL: I wasn't taking notes, but yeah. The money was in that house, somewhere. I would've torn the place apart if I didn't think he'd call the cops. Weevil walks off. Cut to Mars Investigations. Legs in heels walk in. Keith looks up from his desk, hearing the clack of high-heels. Lynn Echolls appears in his door. LYNN: I don't have an appointment. I was hoping you were available. KEITH: I am. I'll clear that for you. Keith, having risen, walks round and clears the chair in front of his desk. KEITH: How are you, Lynn? LYNN: [Sitting] Honestly, I, uh, am a little freaked out. My husband gets a lot of disturbing letters from fans. He's a very handsome man and people get obsessed. KEITH: [Sitting on the desk next to her] Everybody has their cross to bear, huh? LYNN: Well, this one's different. I found this on our breakfast table in our house. Lynn hand the letter to Keith who reads it aloud. KEITH: Cheater, cheater, pumpkin eater, had a wife and couldn't keep her. LYNN: Can you find her and keep her away from us, I mean, obviously she's crazy. KEITH: Not necessarily a she. Do you keep all the thr*at letters? LYNN: I try to. Aaron throws them out but I thought we might need them. KEITH: I'd like to see them if I may. Just to determine if this is the first letter. Can I come by this afternoon? Lynn gets up and starts to leave, then turns back to face Keith. LYNN: Perfect. I know this goes without saying but discretion's paramount. KEITH: Of course. LYNN: It's been a long time, Keith. KEITH: Well, our kids don't seem to hang out together much anymore. LYNN: Logan's had a tough time with Lilly's death. KEITH: Understandably, but so has Veronica. They nod at each other in understanding. Cut to the darkened journalism room where Duncan is bent over some proofs on a lightbox. Veronica leans up next to him. VERONICA: Good news? I might be able to get your laptop back. DUNCAN: So what is this, like a case? VERONICA: Yeah, like the case of the guy who's too lazy to hand write his journal like every normal person. Duncan laughs. Veronica stands. VERONICA: So, any details you can give me? DUNCAN: You're serious. VERONICA: Were you a little surprised that Weevil was even there? DUNCAN: As a matter of fact, I was. Flashback to the poker game. Duncan arrives as Logan is counting the cash. DUNCAN: Just want to let you know. I am in fact, feeling lucky. CONNOR: What's up, buddy? He and Connor shake. Duncan approaches the table and Logan holds out his hand for the money. Duncan is surprised when he looks across the table. DUNCAN: Hello. [Handing his cash to Logan] You're not Chester. Weevil doesn't respond. Duncan sits in the chair next to Logan who leans over to him. LOGAN: Hey, don't worry, okay. There's no way in hell I'm letting Weevil walk out of here with our money. Logan picks up a chocolate, offering it to Duncan. Duncan nods and opens his mouth to receive. Logan sticks it in his own mouth and Duncan snaps his shut and nods at the joke. Logan puts a rubber band round the money roll, holds it up for everyone to see, and throws it into the empty chips box. Cut to the present. VERONICA: Do you think Logan invited Weevil there to steal his money. DUNCAN: Invited him there to steal his money? No. VERONICA: But? DUNCAN: [Hesitates] Nothing. Cut to the 09er table outside. Sean, Duncan and some others are sitting while Logan and a few others stand around them. They're eating Chinese food and have chopsticks. SEAN: That's what he decides to steal? What's he going to do with a Faberg Egg? LOGAN: Two words, man. Huevos. Rancheros. Everybody laughs appreciatively, except Duncan. LOGAN: Hey, this is what I get for trying to be nice. Logan slides in next to Duncan who looks cross. DUNCAN: Is that so? Duncan scrambles up from the table to Logan's consternation. He follows him. LOGAN: You got something to say to me, you say it. DUNCAN: Did you take the money? Logan doesn't deny it and Duncan storms off. Logan follows again. LOGAN: You were so drunk, you wouldn't know if Kris Kringle walked in and took the money. DUNCAN: When did you get like this? It's like you've been going over to the dark side, bit by bit, so slowly that I didn't notice when you morphed into a full fledged jackass. LOGAN: Then I'm a jackass? DUNCAN: Yeah, and I'm over it. Duncan leaves him standing again. Logan calls after him. LOGAN: So what, are we breaking up now? Huh? You want your best friend charm back? Beneath the gibes, Logan is upset. Cut to the Echolls home. A servant is placing a star atop a large artificial tree. Lynn watches with Keith at her side. LYNN: I try to make each Christmas as special as I can. Carlita, [points] bald patch. CARLITA: Si, senorita. KEITH: Well, I went through the letters you gave me and I'm fairly certain that the stalker who left the letter inside had sent six previous letters. Lynn is more intent on her decorations than on Keith. LYNN: Is it bad? KEITH: I'm very concerned that this stalker has escalated to home delivery. LYNN: I have 200 guests coming here tomorrow night and now I have to deal with this? KEITH: I recommend you cancel the party. LYNN: I've hired plenty of security. KEITH: Well, what about these people? You have ten people wandering freely around your house right now. Do you even know them? LYNN: Of course. They're the help. AARON: [Entering, singing] Deck the halls with boughs of holly, fa la la la He spots Keith. Keith! Lynn didn't get you over here about that letter, did she. I get letters like that all the time. KEITH: Well, I still thinks it's wise to use extra caution. Aaron puts his arm round Keith's shoulder and steers him to the door. AARON: Well, I'll keep that in mind. Look, I'm sorry we bothered you about this. It's nothing. Trust me. I mean that sort of thing is perfectly normal. He opens the double doors. On top of a large decoration gift box is a pumpkin. Aaron's face has been carved into it and a Kn*fe is sticking deep into the forehead, with red food dye dripping down the face. KEITH: Normal? Aaron doesn't know what to say. Cut to Keith back in his office. He is on the telephone. KEITH: Oh, I was wondering if you did pumpkin carving. [Pause] Yes, I'm aware that it's Christmas. [Pause] You know, I already have a gingerbread house, but thank you. He puts down the receiver and crosses through his list. Veronica enters. VERONICA: Making a list and checking it twice. Is there a side job I should know about? KEITH: Do we not live in California. Isn't there produce available 365 days a year? VERONICA: Well, at least now I know what I'm getting you. KEITH: Hey, do you have a minute to run by the Echolls house for me? I need Lynn to sign a few papers. Keith gives her an envelope which she ponders for a moment. VERONICA: Sure. Veronica leaves with the envelope. Cut to the back of the Echolls' house. Veronica walks past the pool and into the pool house. The place is in a mess. Logan is there, playing a video game. He doesn't notice her. LOGAN: Come on. VERONICA: I love the smell of testosterone in the morning. Logan looks over at her. LOGAN: This is why I suggested att*ck dogs. But no, my mother wanted an alpaca. Veronica gets the envelope out of her bag. VERONICA: My father sent me with paperwork for your mom. LOGAN: And you just wanted to say hi? It's a good thing I didn't have my slam book out. VERONICA: I wanted to ask you about the game. LOGAN: I've been meaning to ask you something. Logan gives up on the video game and gets up from the chair, heading around the bar to the coffee maker. LOGAN: Did your super-sleuth kit come with a decoder ring? Do you have a pen that writes with invisible ink? Never mind, don't care. Mush! Mush! Logan gestures for her to leave. With exasperation, Veronica turns to go. LOGAN: Hey, uh, wait. Hey! Veronica pauses by the glass doors. LOGAN: Maybe you should talk to Connor. She surprised and walks back towards Logan. VERONICA: Larkin? Like, Connor Larkin? LOGAN: He's a mortal, believe me. They just draw his abs on. VERONICA: Is he doing another movie with your father? LOGAN: You know, I don't know if it's so much a movie as a fifty million dollar crap pile. VERONICA: Why would Connor steal the money? He's a zillionaire. LOGAN: Well, everybody's got their issues, right? Logan puts a finger to his nose and sniffs loudly. LOGAN: Plus, the guy's got something against me. Flashback to the poker game. Ozomatli's "Saturday Night" plays in the background. SONG: Dip, dive, socialize Get ready for the Saturday night Dip, dive, socialize Get ready for the Saturday night Dip (dip), dive, socialize Get ready for the Saturday night Dip, dive, socialize Get ready Uhh, imagine Waking up, solidarity is evident Harmony moves, time is irrelevant People, the places, the message basic From raise fists to sit-ins, resist the change Peep the scenario, to the future bro 2020 and some number a year ago People rose up, governments froze up Worldwide block party, everybody shows up The guys chat. WEEVIL: So, what's Catherine Zeta-Jones like? SEAN: She likes to read to starving children and bake home scones, this according to "The Insider". CONNOR: I only met her in passing. LOGAN: It's not like your people, they don't all know each other. Weevil smiles and nods. CONNOR: Dude, what's up with that? LOGAN: What? CONNOR: That's like the tenth r*cist thing you've said. LOGAN: Oh my god! Does the soapbox come with the SAG card? The others smirk. CONNOR: Or is it because Rosie Perez thought you were a girl? WEEVIL: What? Wait, wait. This I gotta hear. CONNOR: No, no. When Logan was like ten, he was madly in love with Rosie Perez. LOGAN: You so don't know what you're talking about, man. CONNOR: Aaron arranged for her to come to his birthday party. It was like this big moment. She walks in with this gift and she's like [mimicking Rosie] "Happy birthday, little Lauren". Everybody laughs, except Logan. LOGAN: [Not amused] That's funny. Really hysterical. CONNOR: Oh, dude, she got you a purse! That causes even more laughter. SEAN: Connor, you really are like the son Aaron Echolls never had. Logan sh**t Sean a nasty look as that one hits home. A cell phone goes off. Connor pulls it out of his pocket and stands. WEEVIL: So wait, wait. Do you still have the purse. Connor heads for the toilet amongst the fresh bout of laughter as Logan stares daggers at his back. Cut to the present. LOGAN: So unless his Pavlovian response to a downloaded ringtone is to urinate, then he was up to something. Or, his bladder's as small as his brain. VERONICA: I would be more than happy to question him. I've a feeling he's not the easiest person to get to, probably has a team of bodyguards to protect him from girls like me. Logan is already using his cell. LOGAN: I honestly don't get it. [Into the phone] Hey man. It's, uh, Logan Echolls. Yeah. Hey, listen, can you get, uh, my friend [a pauses to throw an ironic grin at Veronica] a drive-on today to see Connor? Yeah, Veronica Mars. No, Veronica, 'V' as in 'virgin'. Yeah. He finishes the call. LOGAN: There you go. VERONICA: Look at you, all helpful. LOGAN: Hey, your peskiness being unleashed on Connor brings me joy. Veronica marches out. Logan follows. LOGAN: Annoy, tiny blonde one. Annoy like the wind! He gestures and blows as she goes, then turns back into the pool house, more serious. Cut to a clapperboard for "Vector Force Ten". It's the 11th October according to the board and Jeffrey Ellis and Victor Hammer are cited on it. It claps and drops as the girl holding it moves aside to show a helicopter. DIRECTOR: Action! The door of the helicopter opens and three commando types jump out, g*n raised. They run off. Veronica watches. DIRECTOR: All right, not bad, that's a cut. Let's set it up to go again please. Veronica walks over to Connor who is inspecting his stomach. VERONICA VOICEOVER: I don't know if Connor's smile cost a million, but his six-pack abs are worth at least double that. Damn. I repeat, damn. CONNOR: Too shiny? VERONICA: Uh, no. CONNOR: My helicopter gets sh*t down mid-flight so I'm supposed to be sweaty but I don't want to be gross. VERONICA: I think you're good. CONNOR: So, uh, let me guess. You want to be an actress. VERONICA: No, no. I'm just your standard issue fan. Logan told me you were at the poker game and CONNOR: Oh, yeah, that was fun. VERONICA: I heard it got a little weird. Someone stole all the money? CONNOR: Yeah. And I feel sorry for the kid who won, too. He was pretty cool. He was real, you know what I'm saying. VERONICA: Any idea who took it? CONNOR: It could have been anyone. He gestures for her to sit and they sit on a couple of high director chairs. A hair/makeup person immediately starts work on Connor's hair. VERONICA: As I understand it, no one left the room and it wouldn't have been possible for anyone to walk out with cash on them. CONNOR: You know what? There was one guy who left the room with cash. Flashback to the poker game. "CampFire" by Starling Electric plays. A pizza delivery man stands at the doors to the pool house. Duncan is struggling to get his wallet out of his pocket. LOGAN: How can you play cards when you can't even get your wallet out of your pocket. Logan grabs it in frustration. CONNOR: And how does he keep winning hands? DUNCAN: At least I take out of my wallet unlike some cheap ass people. SEAN: If I didn't know better, Duncan, I'd think you were speaking ill of me. DUNCAN: Dude, you get dropped off in a town car and you can't even chip in for beer. SEAN: I happen to enjoy my ghetto brew affectation. Quenching. DUNCAN: You enjoy being a tightwad. While this is going on, Logan pays the delivery man. LOGAN: Thanks for coming in. PIZZAMAN: Thank you. DUNCAN: Wait, how much did you tip him? LOGAN: Dude, I don't know, a couple bucks. DUNCAN: Dude, the bill was fifty, that's like four percent. LOGAN: Look who's got beer brains. Weevil hands Duncan some cash. WEEVIL: Here man. LOGAN: It's a kindler, gentler Weevil. Duncan hands over some more money. WEEVIL: It's Christmas, even for delivery guys. LOGAN: Pa rum pum pum. Cut back to present. Connor is swishing a tea bag in cup. CONNOR: You know, really anyone could have gotten his hands on the money box. There were plenty of times. Bathroom breaks, beer breaks VERONICA: Lynn Echolls' breaks. CONNOR: Oh yeah, you heard about that one, huh? He takes out the tea bag and throws it towards the rubbish. It misses. His cell rings. CONNOR: Hm. Aw, it's my agent. Can you excuse me? Connor exits and Veronica gets her phone out and uses it. VERONICA: Wallace, are you still in the attendance office? [Pauses then rolls her eyes] It's a small favour. Teeny. Sean Friedrich's home address. I want to send him a Christmas card. Veronica walks as she talks, glancing back at Connor appreciatively from time to time. Cut to Aaron playing tennis. Keith stands at the side. KEITH: Hey. I was hoping we could have a quick conversation in private. AARON: Brian's cool. You can talk freely in front of him. KEITH: Aaron, were you with anyone last Halloween that might be harbouring some resentment or ill will? Aaron stops playing. AARON: No. KEITH: Ah, I was thinking that the, you know, the Aaron'o'lantern had some significance. A spurned lover, perhaps. He reaches Keith. AARON: I'm faithful to my wife. As a matter of fact I was with Lynn last Halloween at the Casablancas annual costume party. KEITH: I'm just making sure, you understand. AARON: Well, I appreciate that. KEITH: Don't want to stir up any muck. AARON: Well, there's no muck to stir. Having just taken a drink from a bottle, he throws it back in an ice bucket and goes back onto the court. Keith looks sceptical. Cut to Veronica outside a door with a large Christmas wreath on it. The door opens. VERONICA: Mr Friedrich? MR FRIEDRICH: Good afternoon. VERONICA: Good afternoon. Is Sean home? MR FRIEDRICH: He's not available. VERONICA: It will just be a minute. MR FRIEDRICH: Sean is not permitted to receive visitors at home. VOICE FROM INSIDE: Mr Friedrich. Mr Friedrich shuts the door. Cut to a large gingerbread house being decorated. The camera pulls back to show Keith in the kitchen of a caterer, counters full of Christmas goodies. KEITH: I spoke with Sadie Casablanca and she said you catered her Halloween party last year. CATERER: I cater it every year. KEITH: Anything special about this party? CATERER: I really can't talk about the events we do. It's in the contract. KEITH: Is that so? You should know. I was told you had the bad taste to f*re someone that night. CATERER: She did not say bad taste. Like I had a choice. Servers were restricted to the first floor as always. But one server snuck off upstairs to find an available bathroom. Aaron Echolls insisted that the girl be fired. KEITH: Aaron wanted her fired because she was on the second floor of somebody else's house? CATERER: That and someone else's wife was on top of him, KEITH: Wait. You're saying Aaron Echolls was with another woman the night of the Halloween party. CATERER: While his wife was downstairs eating canaps. Keith sighs. Cut to Neptune High. Keith is dropped off by a chauffeur. Veronica runs to walk by his side. VERONICA: Good morning. SEAN: Maybe in your world. In mine, I am minus one Rolex. The criminal element found its way into my gym bag yesterday. VERONICA: Why can't we all just have nice things. SEAN: Who behaves this way? VERONICA: Maybe you missed that eye for an eye section in your Bible. SEAN: Okay, this isn't retribution, it's thievery. VERONICA: Weevil didn't start this. It's not his fault someone stole the money. SEAN: Is that so? Flashback to the poker party. It is at the end, when Weevil is having the boys strip. SEAN: This is ridiculous. CONNOR: Yeah, I usually get six figures for this. SEAN: What about you? WEEVIL: I'm the one who got his money stolen. SEAN: I'm thinking crabs? WEEVIL: I told your mother to clean up. LOGAN: Guys! Play nice, huh? WEEVIL: I'm playing nice. Believe me. Cut to the present. VERONICA: Why would Weevil steal his own money? SEAN: You should really consider another profession. Perhaps he stole the money before he knew he was going to win. And before Mrs Echolls got wet and wild, he was down to his last two chips. VERONICA: I heard you weren't doing so hot either. SEAN: Yeah, but the difference is, I don't need the money. Sean walks into the school. Cut to Mars Investigations. Aaron is there. Keith joins him, carrying two cups of coffee and a file under his arm. KEITH: So I interviewed the caterer for the Casablancas' Halloween party. Do you mind getting that for me? [Aaron grabs the file] Thanks. [They sit] Apparently, you were caught in flagrante. Yeah. Yeah, my memory isn't what it used to be either. AARON: Listen, it didn't mean anything. KEITH: What's it gonna mean? AARON: I love my wife. KEITH: Aaron, my job is to track down a potentially dangerous stalker. Your affair is, well, that's your affair. AARON: So you're, you're not gonna tell Lynn. KEITH: If Lynn had hired me to find out if you were cheating on her, I would tell her. She hired me to protect you and that's what I'm gonna do. But I'm gonna need your help. KEITH: This is the guest list from the Casablancas' Halloween party. Circle the name of who you slept with. Aaron circles three names. KEITH: Um, no, maybe I should clarify. Who you slept with at the Halloween party. AARON: It was the night that I had the hard cider. Cut to Aaron and Monica fooling around on a chaise longe. One of the serving staff walks in on them. Cut back to MI. KEITH: That would be Monica Hadwin. AARON: Yeah, but she's not a stalker. She's my agent's wife. KEITH: I'm sure she's lovely. Mrs Casablancas gave me photos from the party. If you could point out Monica, and, uh, Sharon and Deborah. AARON: There they are. All three women are in one photo, all in costume. KEITH: These three women are invited to your Christmas party. Maybe that's not the best idea. AARON: They're not stalkers. They're just needy. KEITH: Hm. Cut to Monica, who is having a fitting. MONICA: [To the fitter] Tighter. I didn't lose five pounds for my health. KEITH: So, Mrs Hadwin MONICA: Hadwin's my maiden name. I didn't want to be Monica Greenblatt. KEITH: If there's anything else you could tell me, it would be helpful to the Echolls. MONICA: Well, what's there to tell? Aaron's a sexy charming movie star with an ass like an 18 year old wrestler. He's psycho-bait. [To the fitter] You know, can we go a couple of inches higher? It's not a wake. [To Keith] You know who you should talk to is Deborah Daily. She's always hovering around Aaron, sticking her fake boobs at him. [To the fitter] Okay, look. My life depends on looking as hot as possible in this. You're gonna need to rally. Monica's husband walks in. HARVEY: Always with an audience. MONICA: He's the Echolls' private investigator. Aaron has a stalker. HARVEY: Oh. MONICA: I'm providing him with the low-down on the ladies that, uh, aim higher than tennis pro. HARVEY: You'd think at least one part of my day wouldn't involve Aaron. MONICA: Oh, before Aaron, his biggest client was a day player on "Boy Meets World". HARVEY: And before me, you sat in your underwear in a fish t*nk at the Standard. Cut to Neptune High. She sits and watches the 09er table. VERONICA VOICEOVER: Breathe, Veronica. So what? Duncan's secret diary is unaccounted for. That doesn't mean the intimate details of our strange and steamy relationship will become public domain at Neptune High. Things don't always turn out for the worst. After all, it's Christmas. Despite what everyone else might think, Santa knows I've been a good girl. Wallace sits next to her. WALLACE: You're gonna hurt yourself, thinking that hard. VERONICA: They say if you're caught in a stare it means your mind needs a break. WALLACE: Like, that mind ever takes a break. So, how's the poker case coming? VERONICA: Oh, it's a Christmas miracle. I think I finally found a way to send my dad to camp. At the 09er table, Duncan and Sean are having pizza. Logan walks over, grabs a piece of pizza and sits next to Duncan, who immediately gets up. SEAN: Will you guys kiss and make up already? Logan throws Duncan a kiss. Veronica approaches with Weevil. VERONICA: So, good news, bad news. The good news is, I know who stole the money. The bad news is, I know who stole the money. [Logan grins] Here's my brilliant idea. Filled with holiday spirit, Logan will host another game. LOGAN: Will I? VERONICA: I'm thinking tonight. LOGAN: Mm, no, my mother's Christmas party is tonight. VERONICA: Mm, so no BYOB. Here's how it will go down. Veronica sits next to Logan, surprised, backs away and casts a glance at Duncan, who is po-faced. VERONICA: I'll tell you who did it and you'll buy me into the game. I'll just take the place of whoever stole the money. Unless you still might think you want his around. LOGAN: You know, even if you keep talking, it's not gonna happen. VERONICA: Oh. I thought you guys might all want your stuff back. WEEVIL: Yeah. If I get my five grand, some items could [grabbing a piece of pizza] magically reappear. VERONICA: And if you think about it, anyone who doesn't see this as a great offer is obviously the thief. Kind of a no-brainer. Veronica stands up. LOGAN: Do you even know how to play poker? VERONICA: No. [Mock awe] But it must be really hard if all you guys play. Cut to night. The Echolls Christmas party is in full swing, with guests still arriving. Lynn and Aaron meet Jake and Celeste Kane at the door. Cut to the pool house. Everyone who was at the original party is in their seats except Weevil. Logan is handing out the chips as Veronica enters. LOGAN: Ho, ho... [looking at Veronica] ho. Veronica laughs in mock appreciation at his wit and drops her bag to the floor. Weevil picks it up. WEEVIL: Allow me. You want a sodey-pop or somethin'? VERONICA: You know, I think I want something with a little more kick. Veronica reaches the table and grabs Duncan's bottle of whisky. DUNCAN: Hey, no. Veronica lifts the bottle to her lips and pours it straight down her throat. Duncan looks resigned, the others are impressed.. WEEVIL: Damn, girl! VERONICA: Mmm. Iced tea? DUNCAN: Yeah. VERONICA: How very musical theatre of you. Logan stares at Duncan and smiles in wonder. Veronica walks around the table. VERONICA: Duncan can't remember the alphabet when he drinks let alone figure out 20% of the pizza bill. Logan grabs the bottle to smell it. As Veronica explains, there are flashbacks to Duncan drumming drunkenly on the table, pressed up against the window watching Lynn and a sh*t of him losing a hand. VERONICA: [Offscreen] No, he didn't play drunk to steal your money, he played drunk to win your money. To no avail it seems. Cut back to the present. Logan and Connor, supping on another cup of tea, take interest. VERONICA: Oh, and Connor isn't a drug addict. I know Cut to scenes from the poker party, Connor going to the bathroom, Connor on set, taking out the tea bag. VERONICA: [Offscreen] the constant bathroom visits. He wasn't going for a fix. He was going because of the Sun Tea. Cut back to the present. Connor looks down in his cup. Duncan leans over to do the same. VERONICA: It's that diuretic wrestlers down when they need to make weight or that actors use before their half naked on the cover of "Vanity Fair". Duncan laughs and Connor shrugs. VERONICA: And then, there's bachelor number three. And he's got it all. [Logan grins] Motive. Access. Looks like an evildoer, smells like an evildoer, [Logan rolls his eyes] but surprisingly... not so much. Weevil cleared him. Cut to the mess in the pool house when Veronica visited. VERONICA: [Offscreen] He told me he searched the room but didn't go through it as much as he wanted. When I saw it, it looked like it had been raided by the FBI. Cut back to the present. VERONICA: You had to tear the room apart looking for it. So, two left. The boy from the wrong side of the tracks and the boy who lives in the most expensive house in the 09er zip. [Dumping her bag and taking off her coat] So, do you want to hear how Sean did it? Ah, he's a crafty little bugger. Cut to the poker party and Duncan, Logan and Weevil at the door, dealing with the pizza delivery man. Sean grabs the money and stuffs it in one of his wide mouthed beer bottles. It is collected by the servants and then by Sean the next day who cycles off. VERONICA: [Offscreen] Sean didn't bring the Big Mouth Joes because he's cheap. He knew he couldn't leave with the money, so he didn't. What happens to garbage in the 09er zip? He just waited for the recycling to go out the next day and did a little garbage picking. Cut back to the present. LOGAN: Sean? What? The guy has a chauffeur drive him to school everyday. Why would he need to steal? VERONICA: Funny story. When I went to Sean's, I couldn't help but wonder Cut to Mr Friedrich opening the door to Veronica. VERONICA: [Offscreen] what was his dad doing at home, three in the afternoon, dressed in a suit instead of being at work? VOICE FROM INSIDE: Mr Friedrich. VERONICA: [Offscreen] Unless he was at work. Cut back to the present. VERONICA: I have to say, I was a bit miffed. I was this close to being able to say the butler did it. But no, it was the butler's son. SEAN: [Bitterly] That doesn't prove anything. VERONICA: Well, that proves that you're a liar and the background check I ran on you proves that you've got a bit of a shoplifting problem. You are really bad at it. Sean looks around the table. Weevil smiles softy, Connor and Duncan look disgusted and Logan looks almost disappointed. Sean gives a nervous laugh. He stands and turns to Weevil. SEAN: I can totally pay you. I have the money, I can get it right now. Logan stands as does Weevil. WEEVIL: All right, why don't we take a walk so we can discuss a few things, huh? SEAN: But you see I can pay you, see, there really is no need for physical v*olence. WEEVIL: Uh huh. Weevil escorts Sean out of the pool house, Logan staring after them. Veronica sits in Sean's seat. VERONICA: Mind if I deal first? Duncan extends an inviting hand. Veronica grabs the cards and fans them on the table with one smooth move. Duncan looks up. She shuffles the deck professionally. Logan looks at her and grins. Connor and Duncan both look awed. Cut to the party in the house. Lynn, Aaron, Jake and Celeste are in a group. CELESTE: It's this great winery, just outside of Ojai. JAKE: Right, it's ninety miles but you feel like you're a world away. Aaron and Monica are eying each other across the room. LYNN: Oh, it sounds perfect. AARON: Great. So next fall we'll all go for the crush. LYNN: Oh, I'm so excited. Cut to Mars Investigations. Keith is working his way through some papers and comes upon the pictures from the Casablancas party. He notices some carved pumpkins behind one of the women. Cut to the Echolls party. The piano is being played and Aaron and Lynn are standing around it. The pianist finishes and everyone claps. LYNN: Make sure you stay right here for nine o'clock. I have a big holiday surprise for everyone. Lynn moves away from the piano as Aaron and a girl the other side of the piano make eye contact as she nibbles on a large olive. Cut back to Keith who is putting on his coat while holding the phone to his ear. TELEPHONE: Elite Catering. This is Martha. KEITH: The girl you fired from the Casablancas' party. What was her position? TELEPHONE: She was a le trancheur. KEITH: What does a le trancheur do? TELEPHONE: Uh, they're carvers, sir. KEITH: Carving. Can you tell me what she looks like? Cut back to the Echolls and to one of the servers. It is the same one that came upon Aaron and Monica at the Casablancas house. She glances at Aaron, now without his jacket, laughing in conversation with Lynn and Celeste. Cut to the pool house. The Dandy Warhols wassail in the background with their version of "Little Drummer Boy". SONG: Pa rum pum pum pum A new born king to see Pa rum pum pum pum Our finest gifts to bring Pa rum pum pum pum Veronica wins what is obviously another big pot and is cleaning up. VERONICA: A little impressed, aren't you? CONNOR: You must be really unlucky in love. Veronica chokes a laugh. LOGAN: Okay. I say we take a little break. Let the cosmos realign because obviously something's up. WEEVIL: I can use something to eat. They get up from the table. Cut to inside as Weevil and Veronica fill their plates from a buffet table. WEEVIL: Seriously, don't I just blend right in? Come on. Where's Weevil? VERONICA: I think we both stand out a bit. WEEVIL: Yeah, right. You are a natural at this. Look at you. Veronica spots Jake. JAKE: I'll be right back. VERONICA: Will you hold this for a sec? She hands her plate to Weevil and follows. One of the waiters passes Weevil with something scrumptious but because both hands are full, he can do nothing. WEEVIL: You're k*lling me. Cut to the bar. Logan is already there, Duncan joins him. They both lean against it. DUNCAN: So I, uh, you know. LOGAN: Yeah. DUNCAN: Sorry about the whole LOGAN: I've been plenty of other things. They both chuckle. DUNCAN: So, we're cool. LOGAN: Yeah. They smile, Duncan slaps Logan on the arm and turns to the bar. DUNCAN: Bartender. Keith is outside, trying to get past security. SECURITY MAN: Mars, Mars. KEITH: Look, I'm not on the list. If you could just tell Aaron that Keith Mars is here. SECURITY MAN: Mars, Mars. Not seeing you, sir. KEITH: Will you listen to me, this is an emergency. Cut to the library in the Echolls house. Jake is there and Veronica enters and closes the door behind her. VERONICA: I've got a question for you. JAKE: Hello, Veronica. VERONICA: Does your Head of Security make it a habit of taking photographs of high school students and drawing bull's eyes over their faces or am I special. Cut back outside. As security deals with some newly arrived guests, Keith takes the opportunity to slip past. Cut back to Veronica and Jake. VERONICA: Clarence Wiedman took pictures of me. Surveillance pictures. He drew a target over my face and sent them to my mother. Why? JAKE: You're not making any sense. VERONICA: Why? JAKE: I have no idea what you're talking about. VERONICA: Why would you want my mother out of town? JAKE: I didn't. VERONICA: Why didn't she tell me or my father about the pictures instead of hiding them in a safe deposit box? JAKE: [Shouting] I don't know. They've moved to the door, Jake wanting to leave, Veronica blocking his way. Veronica stares at him. VERONICA: I don't believe you. Keith opens the glass door from outside into the library and sees Veronica as she steps aside from the door to let Jake leave. Keith pauses. Jake walks out, followed by Veronica. Keith steps into the room. Outside the rooms, Jake storms towards Celeste who is in mid conversation with Aaron and Lynn. LYNN: that's a surprise, that's- Jake grabs Celeste's arm. JAKE: What did you do? CELESTE: What? JAKE: What did you do? CELESTE: Jake, I don't know what you're talking about. Veronica watches, and behind her, Duncan does the same. JAKE: Don't lie to me Celeste. What did you do? CELESTE: Jake, stop it. JAKE: Get your coat, we're leaving. Jake steers Celeste away. Lynn mouths "Oh my" at Aaron. AARON: Well, time for us to get a drink. Duncan glances at Veronica and follows his parents. Lynn walks up to the piano and rings a bell. LYNN: Everyone, if you could just follow the Santas outside, I have a special surprise for you. The waiters ring bells and lead people out the front door. Keith wanders through the crowd. AARON: Brr. I'm gonna grab my jacket. LYNN: Okay. Outside there are carollers in old style clothes. Inside, Aaron has stopped to talks to Monica. Lynn runs up and grabs Aaron's arm. LYNN: Come on, you two, you'll miss the surprise. AARON: And we know how much she loves a surprise. Aaron starts putting on his jacket and turns to follow Lynn. The server from the Casablancas races up to him. WAITRESS: You don't even care, do you? AARON: I'm sorry? WAITRESS: Sleep with me, you say you love me. AARON: Lynn, I don't know who this person is, I swear. Keith spots them and runs towards them. AARON: I don't know you. The woman swings back her arm and s*ab Aaron. There are screams. The carollers wassail in snowfall outside. SONG: Here we come a'wassailing among the leaves so green. Keith tackles the woman to the ground. SONG: Here we come a'wandering so fair to be seen. Aaron staggers back as blood pours from the side of his abdomen. SONG: Love and joy come to you and to you your wassail too. Logan is distraught. Lynn runs to Aaron as he collapses into a chair. SONG: And god bless you LYNN: Somebody call an ambulance. SONG: and send you a happy new year. The ice pick like w*apon lies on the floor. Logan is on his cell. SONG: And god send you a happy new year. Aaron is losing consciousness, Veronica is stunned. The crowd claps when the carollers finish. They go into another chorus. VERONICA VOICEOVER: What was I thinking? Christmas in Neptune is, was and always will be about the trappings. The lights and the tinsel they use to cover up the sordidness, the corruption. No Veronica, there is no Santa Claus. As Veronica thinks, the camera pulls back on the snow machines creating the fake winter wonderland scene. End

{"type": "series", "show": "Veronica Mars", "episode": "01x10 - An Echolls Family Christmas"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars Lamb joins Keith and Veronica at a diner (from 102 "Credit Where Credit's Due"). LAMB: If it isn't my predecessor and mentor. Are you doing anything special to mark the one year anniversary of Lilly Kane's m*rder? KEITH: Tell me again how you solved the crime. An anonymous tip. Did anybody show up to collect the reward? Do'ya find that strange? Cut to Mac locked out of her car and Veronica opening it for her (from 108 "Like a Virgin"). MAC: Damn it! Wow. That's really criminal of you. VERONICA: I'm Veronica, by the way. MAC: Mac. Cut to Veronica at her mother's safety deposit box, looking at the pictures of her lined up in a g*n sight and her observing Wiedman from her car as he enters Kane Software (audio from 109 "Drinking the Kool-Aid", visuals from 105 "You Think You Know Somebody" and 109 "Drinking the Kool-Aid"). VERONICA VOICEOVER: I know who's responsible for scaring Mom away from Neptune. Clarence Wiedman. The man who took surveillance photos of me. So if Jake Kane is my biological father, that information is going to be worth millions End previously. Open at the Mars apartment as Veronica comes out of her bedroom, into the kitchen area where Keith is standing. VERONICA: Good morning. Keith is intent on something he is reading and doesn't respond. Veronica looks over at him VERONICA: Or not. KEITH: You don't go to the oceanside bars that the college kids hang out at, do you? VERONICA: I prefer the biker bar by the train station. I get more attention there. Keith isn't amused. VERONICA: I'm kidding. Why would you ask me that? Keith holds up a newspaper, the headline of which reads: E-String Strangler Strikes Again. KEITH: Twenty year old co-ed washed up d*ad on the beach. Veronica comes closer to take the paper and read the story. VERONICA: Scary. Wait. Wasn't this your case? I thought they caught this guy in Oakland two years ago. KEITH: Well, apparently they didn't. Everyone wanted to believe the Oakland strangler committed the Neptune crimes too. It never quite fit. Oh, but it was so important for the mayor and the Chamber of Commerce to put that scare behind us. Veronica casts a concerned glance at her father. Cut to Neptune High. Veronica and Wallace are threading their way through the students in the outdoor lunch area, hot dogs in hand. WALLACE: People are really freaking out about this E-String Strangler. My mom is scared to drive home alone. I told her this time she can be happy she's not the guy's type. VERONICA: My dad barely let me out of the house this morning. Another student, Jackson Douglas, butts in just as they reach an empty table. JACKSON: I hear you do detective stuff for people. VERONICA: I do favours for friends. JACKSON: I can pay. VERONICA: Sit down, friend. What can I do for you? JACKSON: I was hoping that you could find some dirt on my parents. VERONICA: [In southern accent] Why Jackson Douglas, I do declare! [Normal voice] You want me to dig up dirt on your own parents. JACKSON: I need leverage. They're crazy strict. They grounded me for two months for smoking up in my room. WALLACE: Apparently you've never spent time in a black woman's house. Be glad you're still walking. JACKSON: Yeah, well, they act like they were always perfect. And every little thing I do wrong is catalogued so they can rub my nose in it later. VERONICA: Sure you can handle the truth? The '70s and '80s were not pretty decades for people. We've all seen the pictures. JACKSON: I can handle it. VERONICA: Now as for the small matter of compensation. They are interrupted by the sound of a string quartet playing the Beatles "Happy Birthday". They turn to watch as Madison Sinclair arrives at a table of her 09er friends and gasps. MADISON: I love my parents. She hands flyers out at the table. MADISON: All right. Come to my party. No need to bring gifts. Madison gasps again as a waiter arrives with a large birthday cake and sets it down on the table. MADISON: Happy birthday to me. Madison, horribly coy and entitled, blows out her candles as Veronica and Jackson watch. VERONICA: The rite of fall. Madison Sinclair's birthday. JACKSON: Best party of the year and I can't go because I'm grounded. WALLACE: Her parents must looove her. VERONICA: They really loved her, they would've gotten the real Beatles. Cut to a piece of paper upon which is written: Jackson's Parents' Jocelyn Aardwick Douglas Alan Douglas Veronica is working at her laptop in Mars Investigations until interrupted. LAMB: [Offscreen] Veronica Mars. She looks up to see the sheriff standing before her in the company of a man in a suit. This man is the mayor of Neptune. LAMB: Is your daddy here, or is he busy peeking in people's windows? VERONICA: You stop dressing up like Little Bo Peep, he'll stop peeking. MAYOR: Your father? Veronica, vaguely petulant, rises from her desk and sticks her head into Keith's office. VERONICA: [Deliberately] Deputy Lamb is here. He's got the mayor with him. KEITH: Show him in. VERONICA: Yeah, sure. I'll just have Rod Serling wait out here on the couch. Veronica throws open the door to Keith's office VERONICA: The detective will see you now. The mayor casts Veronica a disapproving look before entering Keith's office. Keith rises from his desk and shakes hands with the mayor. Veronica watches from the door. MAYOR: It's been a long time, Keith. KEITH: I know. MAYOR: Good to see ya. I wish it were under better circumstances. KEITH: Sit down. The men sit. VERONICA: Can I get anybody anything? Water? Coffee? [Directly herself to Lamb] A banana? LAMB: We're good. VERONICA: Okay. Just leaving. Veronica makes a big play of shutting the door, then stands by it, trying to eavesdrop. KEITH: So how can I help you gentlemen. MAYOR: You know the situation Veronica walks back to her desk but glances continually at the closed door. Finally, it opens and Keith comes out first, followed by the mayor and an unhappy Sheriff Lamb. MAYOR: Thank you Keith. Appreciate it. KEITH: See you tomorrow, Lamb. LAMB: Um-hmm. Can't wait. The men leave. VERONICA: What was that about? What's tomorrow? KEITH: The day I go back to work at the sheriff's department. Veronica's jaw drops. Opening credits. Resume at Mars Investigations as Veronica follows Keith into his office. VERONICA: You're going back to work at the sheriff's department? KEITH: It's temporary. I'm just there to work on the E-String Strangler case. VERONICA: And you're teaming up with Lamb? KEITH: It's a bitter pill, I know but they're paying me my normal hourly. VERONICA: And Lamb agreed to this? His head didn't explode. KEITH: The mayor didn't give him a choice. I'm the closest thing they have to an E-String Strangler authority and it's a big priority for the mayor. A k*ller preying on partying college girls tends to k*ll the Spring Break business. VERONICA: So this is all about tourist revenue. God bless America. KEITH: Well, whatever their motive, I'm glad to be involved. VERONICA: Hey, if you're working at the Sheriff's office, you'll have access to the Lilly Kane files. We can finally get our hands on that Crime Stoppers Hotline recording, find out who the anonymous source was, the one who fingered Abel Koontz. KEITH: Veronica, that won't be on my agenda. Veronica is disappointed. Cut to Veronica in her 'office' at Neptune High. She is consulting the file she is holding. VERONICA: Here are the highlights. Your dad was busted trying to buy an eight ball from an undercover cop at an Eagles concert in '74, your mom had five speeding tickets and a collision on her record before she graduated high school. She hands the file to Jackson who is standing before her. He is impressed. JACKSON: I don't care what they say about you, Veronica Mars. You rock. VERONICA: Yes, I do. I also take cash. Veronica holds out her hand. Cut to the outdoor lunch area. Another student, Jasmine, approaches Veronica. CRYSTAL: I hear you can dig up dirt on parents. Veronica smiles. Cut to the sheriff's department. Keith is standing in front of the incident board with pictures of the victims. He is presenting the case to a group of deputies, including Sacks and one who will later be identified as Leo D'Amato, sitting and standing around a table that fills the room. Lamb is standing on the other side of the board. KEITH: The first two victims, Katherine Wills, Andrea Sims were found in 2001 and 2002 respectively. They had certain shared characteristics. Both were undergrads on break, both were attractive social girls, both had- LAMB: Hard partiers. KEITH: Both had high levels of alcohol in their blood and both were abducted on Friday nights. LAMB: Technically, early Saturday morning from midnight to closing time. KEITH: The bodies were found in the bay. A single nickel-plated guitar string tied around their necks. The latest victim, Amy Polk, was k*lled with the exact same MO. LEO: So he kills them with the guitar strings? KEITH: Naw, that's just- LAMB: It's his signature. His mark. Keith, who has done his best to ignore Lamb's constant interruptions and attempts at a pissing contest, takes a deep breath. KEITH: The girls are asphyxiated. The strangler thing came from the press, it's a misnomer. There's evidence that these women have been held for 48 hours in a contained space, basically suffocated. LAMB: The m*rder are reminiscent of the Hillside Strangler case. KEITH: Except the Hillside Strangler actually did strangle the girls. LAMB: Party girls, like ours. Picked up outside of bars. k*ller leaves his mark. KEITH: Okay, except for the asphyxiation, the imprisonment, the body disposal, these cases have a lot in common. LEO: What do we know about the k*ller? KEITH: He hates women, he craves attention, he's a luuser. Lamb sighs heavily. KEITH: The weekend killings suggest the guy has a traditional job. LAMB: Amy Polk was found with wrist bands from local bars on her wrist and smudged ink on her palm that looked like it could be a phone number. Lab boys in LA are trying to decipher it. SACKS: Imagine the poor sucker waiting for that phone call. Cut to Veronica, back in the Neptune High girls' room, giving another report. VERONICA: Your mom sued her parent for emancipation when she was sixteen and then moved to Hollywood. According to the Internet Movie Database, she went on to play such roles as "Trucker's girlfriend", "Screaming maid" and "Bi-curious room mate". Veronica hands the file to Jasmine, who grins. Cut to Veronica making another report to a different student. VERONICA: Your mother was married in 1985 for 36 days. JASMINE: Shut up. She grabs the file from Veronica as Mac exits one of the cubicles and glances over to see what is going on. She observes through the mirror as she washes her hands. VERONICA: To a pro-skier she met on Spring Break. They drove to Vegas, did it drive-through style and she had it annulled. JASMINE: And she calls me boy crazy. You just made my year. Veronica smiles. Cut to Mars Investigations. Mac enters the outer office. MAC: Hey. VERONICA: Hi, Mac. MAC: Hope I'm not interrupting anything. VERONICA: Come on in. Mac sits down opposite Veronica. VERONICA: It's a spiffy new Beetle you're driving these days. MAC: Yeah. Well, the purity test was probably my finest hour but that's nothing compared to what this could be. It's time to think global and act local. Mac opens her laptop to show Veronica a site she has designed. The home page reads: Get the Dirt. MAC: Okay, you're exposing parental secrets for fifty bucks a pop. We create this website, double the fee, we have no overhead because I've already bought the domain name. With your sleuth prowess and my programming skills, I don't think it's an exaggeration to say that we would rule the entire known universe. As Mac talks, Veronica explores the site. The next page reads: Parent. There is then a page where a skeleton exits a closet. There is a form headed: Let's Start Digging! VERONICA: I can barely handle school and my cases as it is. MAC: Think about it. This isn't just a college fund. Potentially this is our retirement fund. VERONICA: I will definitely think about it. Mac closes the laptop and hesitates. MAC: There is just one more think, about my folks that I was wondering about. You PIs have access to search engines that would take me weeks to hack into, so I mean I have cash. VERONICA: Gotcha. Keep your money. It's a professional courtesy. Veronica opens her own laptop. MAC: It's not that they're bad parents. They just...don't get me. They're nachos and NASCAR people and I'm more... VERONICA: Falafels and Fellini? MAC: Exactly. VERONICA: Your last name's Mackenzie, right? MAC: Um-hmm, Natalie and Sam, 9715 Colony Place. The results load and return a marriage database with her parents names, dates of birth (21 November 1955 for Samuel and 11 July 1958 for Natalie) and Social Security Numbers. VERONICA: Mom is Natalie Franklin? MAC: Yep. VERONICA: Oh, you had a birthday a couple of days ago. MAC: Yeah, one more year until I can leave home. VERONICA: Okay. On Veronica's laptop, a list appears of various items. Under the heading: Division of Motor Vehicles 01-13-1973 - $250 Fine (Paid) - Speeding 55mph in 25mph Zone 10-24-1985 - $155 Fine (Paid) - Failure to Observe Traffic Signal 04-11-1992 - $120 Fine (Paid) - Illegal Passing Manoeuvre Under the heading: Internal Revenue Service 06-22-1989 Audit - Insufficient Data for Recourse Under the heading: Subscriptions 11-21-2002 - Outdoors, Inc. - 96-week subscription 09-10-2003 - Adventure Camper - 2-year subscription 10-27-2003 - NASCAR the Magazine - Renewed through 10-27-2010 Natalie's subscriptions are: 05-01-2001 - Home & Garden - Renewed through 05-01-2006 01-01-2001 - National Geographic - 3-year subscription VERONICA: Sam's had a few tickets, tax audit, nothing strange Veronica scrolls down to the last entry under the heading: External Income 05-12-1992 - Neptune Memorial Hospital - $1 million awarded in lawsuit. VERONICA: huh, except that. MAC: What? VERONICA: According to this, they won a million dollar lawsuit against Neptune Memorial Hospital in '92. MAC: No way. That's got to be a mistake. VERONICA: Hello? Sleuth prowess. MAC: Come on, they hate lawyers and they never even go near the hospital. VERONICA: You want me to look into it? MAC: Yeah, I do. Cut to Veronica using the microfiche at a library. VERONICA VOICEOVER: Neptune isn't short on millionaires but I figure a judgement that big against the local hospital might have made the papers. It's beginning to look like I'm wrong. She whizzes past a headline then backs up to it. The headline is: Hospital Takes h*t on Baby-Swap Case. Judge order hospital to pay $1 million in damages to each family. The story is written by the newspaper's staff writer, Charles Martin and has the following passages: "After five years of bitter legal battle ensnaring the lives of two Neptune families appointed in our state's legal system for allowing this to proceed as far as my court,' Judge Pockett remarked. The court verdict also contained specific lies to retain custody,' Sarah Epstein, the Plaintiff' lawyer, explained. 'Too much upheaval would have" VERONICA VOICEOVER: Hold the phone! I was expecting something like "Woman Accidentally Receives Pig Heart" but no, I have to find out the one thing that can completely wreck Mac's life. Veronica focuses on a particular passage: "the children's privacy. Also, both families have agreed to keep their non-biological children. Neptune Memorial Hospital spokes-" VERONICA VOICEOVER: How do you live a normal life once you find out you were switched at birth. Cut to Lamb and Keith entering a guitar store. The sound of a session booms out. KEITH: [Shouts] Hello Cleveland. Lamb looks at him as if he has gone mad. KEITH: [By way of explanation] "Spinal Tap". LAMB: What? KEITH: The movie "Spinal Tap". You've never seen "Spinal Tap"? LAMB: No. KEITH: That explains a lot. They head for the counter behind which is a room from which the noise is emanating as three guys play. LAMB: Is there someone that actually works here? One of the guys playing, who is called Gabe, turns and shouts at them above the noise. GABE: Dawg, look like you need help. Keith nods, smiling. Lamb is bored and impatient. KEITH: He's waiting for you to throw your panties. Gabe comes to the counter, still playing. LAMB: Can we lose the noise? GABE: Noise! [Dodgy Britpunk accent] All I hear are sound waves woven into melodic poetry. Gabe gives a shout and carries on playing. Keith leans forward and puts his hand on the guitar's string. Gabe is forced to stop. KEITH: Hey! We can do this here or down at the sheriff's department. Maintaining his open mouthed rocker style, Gabe walks back to the entrance to the room behind and slides the glass door shut. The noise is immediately and effectively muted. Gabe smiles and goes dorky. GABE: So what's up? You lookin' for a band to play the policeman's ball? Keith holds up an evidence envelope with a guitar string enclosed. KEITH: We're looking for a m*rder. Found this guitar string tied around the neck of his last victim. Is there anything special about it? Gabe takes and examines it. GABE: This exact string? This is a triple nickel antioxidant special order string we get for just one customer. A guy we call Devil Dave. LAMB: [Excited] Do you know where we can find this Devil Dave? GABE: [Calls out] Devil Daaaave? DAVE: Huh? A nerdy look guy strumming an acoustic guitar in the shop looks up. GABE: Did you k*ll anyone this week? DAVE: Uh-uh. KEITH: Your basic guitar string? Gabe laughs manically. GABE: Same as any other string. Betcha the criminals in town are shakin' in their boots knowin' you're on the case. Mental note: put in a security system. KEITH: Right. Keith and Lamb turn to go but Gabe wants to bait them and hooks Lamb back. GABE: So ya, ya think the k*ller's a guitar player? That is brilliant. I think guitar players are a little too busy nailin' women to strangle 'em. Ooooww! LAMB: Even the wannabes and losers living in Neptune who don't realize if they haven't made it by the time they turn thirty it's because they're not going to? They're too busy? Gabe adopts an offended look. Lamb glances at a full scale cartoon of a guitar player behind Gabe. LAMB: Nice art work. Yours? Gabe steps back and strikes the pose of the subject of the cartoon. GABE: Guitar players, the heroes of our modern age. LAMB: Strappin' on a guitar. Does it get rid of feelings of inadequacy? GABE: Does strappin' on a g*n? Lamb winks in an "I've got you number" sort of way and turns to go. Cut to Veronica, arriving at the door of a house, looking concerned. The door has a Christmas wreath on it. Mac opens the door. MAC: Hey. VERONICA: Got a minute? Mac gestures for her to enter. In the lounge is a huge Christmas tree. MAC: Ho, ho, ho. There are more, and garish, decorations as she leads Veronica to a short hallway. A ball misses her. She looks up to see her little brother, g*n in hand. He giggles and runs back into his room, slamming the door behind him. MAC: [Shouts after him] Ryan, open that door and you'll know pain like you've never known in your pathetic little life. Mac gives Veronica an apologetic grin then opens the door to her room. It is covered with art posters, looking more like a gallery. She has books everywhere. MAC: Enjoy the peace. Lasts about seven minutes tops. Veronica is seriously impressed with the room. VERONICA: Whoa. Who's your curator? MAC: You like it? It's my own little cave. Whenever I run out of space, my dad just builds me more shelves. There's a knock on the door immediately followed by Mac's mother, Natalie, bringing in a tray. NATALIE: Knock, knock. You must be Veronica. I wasn't sure if you were a normal eater or one of those freakball vegans, like Cindy. VERONICA: Uh, more normal than freakball, thanks. Natalie smiles and wants to stay and chat. MAC: Okay, thanks Mom. NATALIE: Okay. Natalie gets it and goes, leaving the girls alone. VERONICA: Cindy? MAC: It won out over Barbie. So what did you find out? Has to be pretty big for you to come deliver it in person, VERONICA: [Sighs heavily]Um MAC: Suspense effectively built. h*t me. VERONICA VOICEOVER: Dad always says, this is the job. Telling people stuff they might not want to know or might be better off not knowing. Veronica slowly pulls up a chair and sits in front of Mac, who is now sitting on her bed. VERONICA: It is big, like, life-altering big, so you should really think about if you want to hear it or if you'd rather just forget it and go on with your life. And may I suggest option B. MAC: I'm adopted, aren't I? Go ahead and tell me, it would explain a lot. VERONICA: [Slowly] Well, yes and no, um, the Mackenzies aren't your biological parents. MAC: So what does that mean. VERONICA: [Sighs again] You were sent home from the hospital with the wrong family. MAC: Oh my god. VERONICA: And there's more. MAC: More than that? VERONICA: Another family was awarded a million dollars at the same time. MAC: Okay. VERONICA: Um, another baby girl, born the day after you were and your biological parents took her home. MAC: Another girl, born a day after me. [Comprehension dawns] I was switched at birth with Madison Sinclair? Cut to Keith in a darkened interrogation room at the sheriff's department. He is seated at the table and has a picture in his hand. KEITH: You were bartending Friday night at Body sh*ts when Amy Polk came in. [Sliding the picture across the table] Recognise her? Vic Sciaraffa, sitting on the other side of the table, picks up the picture, glances at it and throws it back across the table. Lamb can be seen leaning against the wall in the corner of the room. VIC: Honestly, I can't tell them apart anymore. They all have that same sorority girl in heat look to me. LAMB: We suspect she was there with the man who k*lled her and you remember him. VIC: Gentlemen, I can't help you. It was Friday night and Friday night is ladies night. Two for one sh*ts. It's wall to wall drunk bitches. KEITH: Do you mind toning down the language. VIC: [Insincerely] Ooops. Sorry. Vic is blas and puts his feet up on the table, staring Keith down. He then looks behind Keith and sees Veronica as she peers into the room through the slatted window blind. VIC: Mmm mmm. Now that one, I would've noticed. Keith looks behind him. Veronica holds up a bag to indicate she has some food for him and then walks away. Keith turns back to Vic. KEITH: That's my daughter. VIC: Wouldn't mind havin' her call me daddy. In one fluid movement, Keith rises off his chair, grabs Vic's feet on the table and throws them up off the table. Vic overbalances and falls to the floor. Vic quickly gets to his feet. KEITH: Whoops! Sorry! Sit down. Cut to Veronica in the reception part of the sheriff's department, clutching the bag. She approaches Leo at his desk.. LEO: Can I help you? VERONICA: You must be new. I'm Keith Mars' daughter, Veronica. LEO: Ah. Leo. VERONICA: Did you just tell me your sign? LEO: [Smiling broadly] My name, actually, though I am coincidentally enough a Leo. VERONICA: I'm just bringing some food for my dad. LEO: Ah well, you can put it on his desk if you want, unless it's gonna go bad or something, then we have a mini-fridge, I could put it in there. VERONICA: I might just take you up on that 'cause there's coleslaw. LEO: No problem. Veronica hands him the bag and he takes it away. Veronica takes the opportunity to check out the counters, looking for something which she doesn't find. She gets back in front of Leo's desk as he returns. LEO: Word of caution. You probably shouldn't trust me. VERONICA: Oh yeah? LEO: Every night at nine, the whole crew goes out to dinner leaving the rookie here to answer the phones. I usually wind up getting dinner at a candy machine. A pastrami sandwich could prove to be very tempting. VERONICA: [Putting her hands on her hips] You looked in my bag. LEO: I told you, I'm a scoundrel. VERONICA: A rogue deputy is among us. No sandwich is safe. LEO: I tell you what. If you promise to come back and visit me, I will stay out of the fridge. VERONICA: Deal. Veronica turns and walks away, looking like the cat that got the cream. VERONICA VOICEOVER: Oh my Deputy Leo. You might as well leave me a key and a map. She throws a smile back at him. He watches appreciatively. Cut back to the interrogation room. Keith and Vic have returned to their positions at the table and Lamb is pacing. LAMB: What about the guys who hang at Body sh*ts? Anyone suspicious? VIC: Mostly loud-mouth frat boys. You know who you should talk to. The Worm. KEITH: The Worm? VIC: Yeah, this guy who sh**t videotapes of all the girls, then sells them to "Girls Gone Bad". KEITH: Where do we find the Worm? Cut to Keith and Lamb approaching an apartment. Lamb is about to rap on the door when Keith grabs hold of his arm, listening intently at the door. The moans and groans of sexual activity can be heard. LAMB: Think he's got a girl in there? KEITH: I think he's got a video rental. Keith pounds on the door. The sounds cut off and Eddie LaRoche pokes his head around the door, looking nervously at his visitors. EDDIE: Yeah, can I help you? LAMB: Sheriff's department. We need to ask you a few questions. KEITH: [Holding up a picture] You recognise her? EDDIE: No. KEITH: Are you sure? 'Cause we heard you were filming at Body sh*ts the night she disappeared. Take another look. Lamb peers into Eddie's room as Keith talks, spotting a stack of videos and a guitar. Keith hands Eddie the picture. Eddie takes it and examines it for a moment before handing it back. EDDIE: No, really, I don't know her. Listen, I've gotta get dressed for work, so if that's everything KEITH: Sure, no problem, thanks for your time. EDDIE: Right. KEITH: Hey, if you think of anything, just give us a call. Keith hands Eddie a card and Eddie shuts the door. Throughout this exchange, Lamb is staring at Keith as if he has gone mad. Keith walks away and Lamb, frozen for a second, follows. LAMB: I guess you didn't notice, the guitar sitting out there in plain sight. KEITH: I saw it. LAMB: So what does he need, a shirt reading "I'm the E-String k*ller, arrest me"? Let's go back. KEITH: He needed to look like he's not going to soil himself. If he gets any more freaked out, he's going to destroy those tapes before we get a warrant. LAMB: You should have consulted me first. KEITH: What did you want me to do, consult you in pig-latin? He was standing right there! LAMB: You don't make the decisions around here. I am the Sheriff. KEITH: I noticed. Thank you. Keith walks on while Lamb casts a longing look back at Eddie's door. Cut to Neptune High, outside, as students arrive. Veronica joins Mac as they walk along. Mac is clutching a flyer. VERONICA: Hey, did you get any sleep last night because I- Veronica notices and grabs the flyer out of Mac's hands. VERONICA: Helping to keep America beautiful by picking up the litter? Mac grabs it back and grins ruefully. MAC: Wanna crash a party with me? VERONICA: Bad idea, Mac. Bad, bad idea. MAC: It's my chance to see how the other half lives, especially since I should have been the other half. Mac walks on. Veronica pauses, staring at her with concern. "Brilliant Sky" by Saybia starts up. SONG: Nothing has changed, I'm exactly the same As before we went cruising In a high speed lane I'm still dreaming of open sky, Open road But grass is not greener On the other side I know by now 'cause I walked the red carped and died There is so much more to life Than what meets the eye We're running wild on the ocean Running wild Brilliant sky all over Cut to night, outside Madison Sinclair's house. Wallace, Veronica and Mac walk up to the entrance, drawing surprised glances. WALLACE: So this is where the bourgie folks live? VERONICA: Upper upper bourgie. MAC: It'll be fine. The front door, with its "Happy Birthday" banner, is opened by Madison, whose smile drops. VERONICA, WALLACE and MAC: Hey, happy birthday. MADISON: What are you doing here? WALLACE: I came to celebrate your birth, but these two just wanna hook up. MADISON: I mean, who invited you? WALLACE: That would be Seth Russell, from History? The three of them step in, forcing a horrified Madison to step back. VERONICA: No, it was Adam Bunting. MAC: Adam Bunting. Isn't that the guy who looks like Fievel? VERONICA: No, no, that's Adam Hamilton. Nobody talks to him, he's poor. MAC: He still looks like Feivel. MADISON: But... I didn't invite Adam! WALLACE: I remember, it was Kevin Powell. MADISON: Who? WALLACE: Kevin Powell. While Wallace keeps Madison occupied, Mac and Veronica wander off. VERONICA VOICEOVER: The last time I crashed an 09er party, I got ridiculed, roofied and woke up missing my underwear. You can imagine how glad I am to be back. Another student comes up behind Veronica. BUD: Hey, hey. I hear you're working some magic lately. Uh, can you help me get my parents off my back. MAC: I'm gonna go find a bathroom. VERONICA: Uh, shop's closed right now, Bud. He grimaces and gives her a pleading look. VERONICA: All right, come see me at school on Monday. BUD: Yeah. Cut to Mac, walking through the crowd. The music changes to Amy Cook's "Fireflies" . SONG: Orange moon lies low Up against a western sky Soon we'll see all our troubles disappear Underneath its watchful eye Meet me in Dockweiler Tonight We'll watch the waves roll in and the plains blow on by We'll build a bonfire And laugh at all life's crazy twists and turns Bonfire And as the flames flicker Burn out bright We're fireflies Tonight Mac sees various pictures of Madison at the Pyramids, St Mark's Square, the Taj Mahal, the Arc de Triomphe. Mac swallows and moves on as one of the 09er boys gives her a curious, contemptuous look. Mac moves into a large library and is captivated. A young girl, about ten, pops her head from around the large leather chair in which she is sitting, startling Mac. LAUREN: Hi. MAC: Hi. LAUREN: You didn't see me, huh. Mac shakes her head. LAUREN: I'm Lauren, I'm Madison's sister. MAC: Hi Lauren. I'm Mac. LAUREN: That's a cool name. MAC: Thanks. So. What are you reading? Mac moves further into the room and sits opposite Lauren, putting down her bag. LAUREN: "The Westing Game". It's really good. MAC: Yeah, it is. LAUREN: I'll probably finish it tonight. Madison says I have to stay in here. Loud footsteps sound as an angry Madison enters. MADISON: What are you doing in my parent's library? LAUREN: She's read my book. MADISON: No one's supposed to be here. It's off limits. Veronica races in behind Madison. VERONICA: There you are. MADISON: And you. I won't even start. LAUREN: God, Madison, they're here for your party. MADISON: No, Lauren, they're crashing my party. You need to leave. You don't belong here. MAC: Well actually- Veronica grabs Mac and leads her out of the room. VERONICA: We were just leaving, right Mac? Happy Birthday, Madison. Thanks for being such a gracious host. Martha Stewart has nothing on you. Cut to Veronica pulling up outside the Mackenzies. The outside is as garishly decorated as the inside with hundreds of lights. Mac sits in the passenger seat. VERONICA VOICEOVER: I could tell Mac I know how she feels, but the truth is, I don't. When I had the opportunity to learn my paternity, I chose blissful ignorance with a side of gnawing doubt. MAC: Think she's even read five books in that library? She wouldn't know Monet's Water Lilies unless Revlon named a nail polish after it. [Snorts] I have a blood sister I've never even heard of. VERONICA: And Madison has a brother. MAC: Why didn't they just trade us back? We would have gotten over it eventually. VERONICA: I suppose they got kind of attached in those first four years. MAC: They should have figured it out way before then. At two I was spitting out corn dogs and tuning the radio to NPR. Did you ever find out what happened to that million dollars? VERONICA: Still working on it, [hopefully] unless you wanna just blow it off. MAC: No. Keep checking. I've come this far. See ya. Mac gets out of the car. Cut to the car park at the sheriff's department. Lamb is getting a box of videos out of the boot of his car while Keith is on his cell phone. KEITH: Okay, well, thanks for calling me back. He finishes his call and approaches Lamb. KEITH: That was one of the "Girls Gone Bad" producers. They've never even heard of Eddie LaRoche. LAMB: Ah, so this guy's been videotaping girls for his own personal enjoyment. Nice. Told you I had a bad feeling about that guy. Keith reaches into the boot to grab another box. KEITH: This the stuff from his apartment? LAMB: Yeah. Pervert's recorded 40 tapes-worth of girls flashing their ta-tas. KEITH: Okay, well, we should split these up- LAMB: We'll split 'em up and we'll see if any of the victims are on 'em. KEITH: Perfect. Leo runs up behind them. LEO: Hey. Strings from Eddie's guitar match the strings left on the victims. Keith and Lamb share a satisfied look. Cut to a clock in the sheriff's department, showing the time as 9:07. Veronica enters, carrying a pizza in a large box. VERONICA VOICEOVER: I know, I'm shameless. But every time I start to feel guilty, I remind myself that Lilly would be thinking about colleges right now or what new CD played at maximum volume would most annoy her mother. And I remember my mission. She pauses at the counter and sees Leo, on his own in the office, his back turned to her. She dings the counter bell. He turns and grins. She holds out the pizza box invitingly. VERONICA: Hungry? Cut to later with them sitting at his desk, enjoying the pizza. VERONICA: So what made you decide to be a cop? LEO: Oh, well the same old tired story. I was sent here by the agency to do a strip-o-gram for Inga. Veronica laughs. LEO: An armed robbery call came in, I figured I was in uniform anyway, so what the hell. VERONICA: So you're saying you just kind of stumbled into it. LEO: Uh, what I'm trying to say is, this uniform, it's-it's a tear-away. Veronica laughs again, genuinely amused. WEEVIL: [Offscreen and loudly] Hello? Weevil is at the counter and bangs on the bell. WEEVIL: Is anyone back there? Leo gets up and goes to the counter, his back to Veronica. WEEVIL: Hi! LEO: Hi. WEEVIL: I need to talk to someone about the noise level Veronica slides open a couple of the drawers of Leo's desk until she finds keys.. WEEVIL: [Offscreen] in my neighbourhood which is truly out of control! LEO: [Offscreen] Uh-huh WEEVIL: [Offscreen] I mean, you got motorcycle gangs, g*n LEO: [Offscreen] Wh- WEEVIL: [Offscreen] heavy metal music? It's gotten to the point where I can't even sleep at night. Veronica runs on tip-toes to the evidence room. LEO: [Offscreen] Well, why don't- WEEVIL: [Offscreen] I'll bet that if my zip code ended in 0909, you'd have a patrol car swinging by the house every 10 minutes. [Adopting a hokey accent] "Good evening Mr. Weevil. Is there anything we can do for you?" That kind of service. Veronica searches. WEEVIL: [Offscreen] But no, it's the barrio. So you figure, hey, they'll sort it out themselves. She finds a box and pulls it out. Cut to Weevil as he throws himself into his part. WEEVIL: And don't get me started on what this is doing to the property values in my neighbourhood! Cut back to Veronica as she searches through the box. She finds a CD entitled: Crime Stoppers Hotline. WEEVIL: [Offscreen] I have a good mind to run for the city council and if I win, I'll promise you this. Cut to Weevil, who sees Veronica return to her place as Leo's desk. WEEVIL: Heads will roll. LEO: We could send a patrol car by.... WEEVIL: I'm wondering if I'm better off speaking with your supervisor. LEO: Well, he won't be in until morning. WEEVIL: Well then you leave the sheriff a note: he shouldn't expect Eli Navarro Esquire's vote this year! Weevil finishes with a flourish of bell ringing and Leo returns to his desk. LEO: Sorry, couldn't get rid of him. VERONICA: No problem. Cut to a little later as they are finishing the pizza. LEO: Seventeen? [Laughs ruefully] You're seventeen? VERONICA: I don't see how my age is relevant to this discussion. LEO: Well then, you're not reading my mind. VERONICA: I'm afraid to ask. And how old are you? LEO: Twenty. VERONICA: Yeah, I can read the wisdom in your eyes. LEO: I've one line, that's it. You wanna hear it? VERONICA: Sure. LEO: My band's playing this weekend. If you wanna come down, I'll put you on the guest list. VERONICA: [With mock scepticism] And that line works? LEO: On occasion. But the good thing about the line is, it's a no-risk line. You throw it out there. If she shows up, hey, she's interested. If she doesn't, you haven't embarrassed yourself. Of course, if the girl you're chatting up can't get into the club then the whole thing's kinda useless. VERONICA: A cop that rocks. What will they think of next? LEO: I'm trying to cover all fantasy bases. Veronica laughs. Cut to Veronica in her bedroom with the CD in hand. She puts it on the laptop and plugs in earphones. VERONICA VOICEOVER: The Crime Stoppers Hotline CD I snuck out of the evidence room should have a recording of every call on it. What I wanna know? Who gift wrapped Abel Koontz for Sheriff Lamb. She listens to the variety of voices, becoming increasing bored and frustrated. HOTLINE CALLERS: There's been a suspicious vehicle parked on my street for days and I'm wondering if it's somehow connected to the Lilly Kane m*rder I think I saw the girl on the day of the m*rder, at the gas station on main What's up? It was me. I k*lled her My neighbour? I can hear him I have grave concerns about a sheriff's department I would love to send them a card The logical by-product of the evil practices of Kane Software She sits up when she hears a deep, electronically distorted voice. VOICE: I know who k*lled the Kane girl. His name is Abel Koontz. He lives in a houseboat on the marina. Cut to Keith in the living room, watching one of Eddie's tapes on the TV. He pauses the picture when he sees Amy Polk. Cut to his arrival at the sheriff's department. He goes to Lamb's office. KEITH: Amy Polk is on this tape. Let's bring this guy in. LAMB: As always, a day late and a dollar short. I already got him sweating in interrogation. [Holding up a picture] She was on one of mine. KEITH: So how you wanna play this? LAMB: I say we play to our strengths. KEITH: So I'm good cop? Cut to Eddie in the interrogation room. He appears completely strung out. Lamb puts his face near his ear. LAMB: Why don't you admit it, scumbag? Say it. [Whispers] I k*lled those girls. EDDIE: I wanna go home. LAMB: Oh, I'm sure you do. But you still haven't told us why two of the m*rder girls ended up in your little do-it-yourself p*rn tapes. KEITH: Why'd you lie to us, Eddie? Why'd you tell us you didn't know Amy Polk. EDDIE: There have been so many. LAMB: Why'd you keep them alive 48 hours, huh? Are you lonely Eddie, did you just need someone to talk to. Huh? Eddie draws a deep, raspy breath, as if in pain. EDDIE: If I tell you can I go home? Lamb looks up at Keith, triumphant. He slaps a pad of paper in front of Eddie. LAMB: Start writing. We'll see. KEITH: Don, can I talk to you a sec? Both move just outside the interrogation room. KEITH: [Quietly] Everything we have on this guy is circumstantial. I mean, obviously he has some mental issues. No judge is gonna allow his confession. LAMB: I'll take that chance. KEITH: I'm saying I'm not sure he's our guy. LAMB: [Sighs heavily] What's the problem? Too easy for you? KEITH: Let me ask you something. Where did he keep those girls for all that time? It couldn't have been his apartment, the walls are too thin. We know he doesn't have other property. I don't think we can eliminate the possibility that it was someone else. LAMB: [Sarcastically] Like who? Jake Kane? Keith sighs as Lamb looks into the interrogation room through the window. LAMB: Ah, well lookie here. He's writing. [Dismissive] Keith, I'll handle it from here. We'll send you a cheque. Keith holds back his anger and Lamb re-enters the interrogation room. LAMB: What do you got for me, Eddie? Is it a page turner? Eddie slides the pad across the table towards Lamb. He picks it up and reads the words: I want a lawyer. Eddie stares at him malevolently as he slaps the pad back down on the table. Cut to Veronica at her desk at Mars Investigations. She's on the phone. MAC: [Offscreen] Hello? VERONICA: Mac. It's Veronica, hey. I just emailed you a sound file. The voice on it has been digitally altered. Do you think you can strip it down? MAC: [Offscreen] Maybe, I'll give it a sh*t. VERONICA: Thanks. Also, I think I found out what happened to the money from the lawsuit. You know "Funtime Motors"? They sell jet skis and four wheelers? Cut to Mac, sitting in her car using her cell phone. Thereafter the scenes cut between them MAC: Yeah, sure. My dad's a salesman there. VERONICA: He used to own it. VERONICA: Your dad started that business in 1992. He filed for bankruptcy in 1994 and it was bought out in early '95. There is a long pause. VERONICA: You still there? MAC: I'm okay, Veronica, really. VERONICA: Mac, I know this is hard to hear but you did have a choice in all this. There's a reason this was kept a secret. MAC: Yeah. I'm not gonna do anything stupid. I just need time to think. I'll talk to you later. Mac gets out of her car. She is in front of the Sinclair's house. She rings the bell. Mrs Sinclair, a brunette looking remarkably like Mac opens the door. She appears to recognise Mac but doesn't acknowledge it. MRS SINCLAIR: [Cautiously] Hello. MAC: [Emotionally] Hi. [Pauses] I'm Cindy. I think I-I left my purse in the library when I was here for Madison's party. MRS SINCLAIR: [Surprised] You were okay, well, come in. Mac enters the house as Mrs Sinclair, concerned, shuts the door. They go into the dining room where Lauren is reading. MRS SINCLAIR: Lauren, this is- LAUREN: Hi Mac. MAC: Hey. Finish your book, yet? LAUREN: Twenty pages left. Can't wait. MRS SINCLAIR: Mac thinks she might have left her purse in the library. Would you go check? MAC: It's leopard print. Lauren leaves the room and Mrs Sinclair turns to Mac. They are careful with each other. MRS SINCLAIR: So, how's school? MAC: It's good. I mean the actual school part is good, anyway. MRS SINCLAIR: What kind of college do you think you'll- MADISON: [Offscreen and imperious] Mom! Did you Madison comes down the stairs. MADISON: pick up the dry cleaning? I can't find- She stops when she sees Mac. MRS SINCLAIR: Oh, hi honey. I guess you know Cindy. She thinks she might have left something here. MADISON: You were here long enough to leave something? MRS SINCLAIR: So, anybody want a snack? MADISON: No thanks. I'm not hungry. MAC: Sure, if it's not too much trouble. MRS SINCLAIR: No, no trouble at all. Mrs Sinclair puts a comforting hand on Mac's arm. Madison snorts in derision. MADISON: I'm going upstairs. Madison turns on her heel and heads back to the stairs, sharing a dirty look with her sister as Lauren returns with Mac's bag. MAC: Thank you. MRS SINCLAIR: So I could make you a sandwich or MAC: You know, I-I should probably go. It was nice to- MRS SINCLAIR: Are you sure? Both are emotional and Mac races out of the house, Mrs Sinclair gazing longingly after her. Cut to the sheriff's department. Keith is packing up his stuff when a distraught woman runs in. WOMAN: Somebody help me, please? Leo goes to the counter as Keith watches. LEO: What's the problem? WOMAN: My daughter Kelly. She went off last night with a group of girlfriends, even though I warned her not to go to those bars. She didn't come home. LEO: Ma'am, I'm sure she's all right. Lamb comes out from his office. LAMB: What's going on here? KEITH: Her daughter's missing. WOMAN: The strangler's got her. I know he does. If you don't find her, I will hold you responsible. All of you. Lamb looks back at Keith. Cut to Keith, unpacking his stuff again in Lamb's office. Lamb enters. LAMB: What are you doing here? I told you, you're out. KEITH: Yeah, well, that was before I knew there was another girl missing. Sacks and another deputy come to the door of the office. SACKS: We got the test results back from the writing on the victim's palm. They were able to put together a seven digit number. It belongs to Vic Sciaraffa. KEITH: The bartender from Body sh*ts. LAMB: Who's out in the field? SACKS: Haymark and Jones. LAMB: Send them to his apartment- SACKS: Already did. He's not there and his car isn't in the carport. LAMB: I want you to send out an APB, notify the Feds. We gotta move on this thing. Okay, let's go. Lamb shuffles everyone out except Keith. Cut to a little later. Keith is on his cell. KEITH: Veronica, hey, it's Dad. I just need to know where you are right now. Cut to the tracker in Keith's car as he drives in the night. KEITH: Veronica? It's me again. Listen, I'm tracking your phone right now. Can you call me as soon as you get this? Keith pulls up outside some derelict looking buildings. He approaches a door and can hear a guitar playing. He bangs on the door to no end. He draws his g*n and heads to a smaller door round the side. He kicks it in. Two guitarists stop playing, shocked at the g*n pointed at them. Leo, playing drums, jerks back in his seat. GUITARIST: It's cool. It's cool. Veronica steps slowly towards her father. Keith lowers the g*n. VERONICA: [Embarrassed] Dad, everyone. Everyone, Dad. EVERYONE: Hey. Hey. Ah, dude. Keith goes to Veronica. KEITH: Are you okay, honey? VERONICA: Aside from never wanting to show my face again. LEO: What's going on? KEITH: There's a new girl missing. The k*ller might still be on the loose and he's he might be a guy who doesn't like me and does like you. As he gets his equilibrium back, Keith glances from Veronica to Leo. KEITH: So you two know each other? VERONICA: Did I forget to mention that? Keith notices the cladding on the walls. KEITH: You do this yourself? LEO: Yeah, we were getting a lot of noise complaints from the neighbours. Something clicks. Keith addresses the lead guitarist. KEITH: Will you follow Veronica back to the sheriff's department? GUITARIST: Yeah. KEITH: [To Leo] You got your piece with you? LEO: Ah, yeah. KEITH: [To Veronica] Okay, you go, [then to Leo with a gesture] come here. Veronica watches with bemusement as Leo follows Keith out. Cut to Keith and Leo screeching to a stop outside the guitar shop. Keith is on the radio. KEITH: Deputy D'Amato and I are checking out Evermore Guitars. It's probably nothing. RADIO: Roger. They get out of the car and inspect the door. KEITH: Closed Saturday and Sunday. Abducts the girl Friday, disposes of the body Sunday night. It's a theory at least. They back away to look at the premises. LEO: What do you wanna do? KEITH: Find a way in. Keith picks up something from the ground. LEO: What is it? KEITH: Wrist band from Body sh*ts. Keith gets a crowbar from the boot of his car and applies it to the door. KEITH: Hey, can you stay here? Give me a signal if he shows up. Cut to Keith in the store. He throws open the sliding glass door into the room behind the counter. In the dark, he painfully bumps into a drum set, causing the symbol to clang. He hears a muffled cry. KELLY: Hello? Is someone out there? KEITH: [Shouting] Hold on, hold on, I'm coming for ya. Keith hits a switch for light but instead turns on disco lights which do little to illuminate the scene. He heads for what looks like a small refrigerator. KEITH: I'm with the sheriff's department. Hang tight. He frantically applies the crowbar to the padlock. Behind him, and unseen, a figure is creeping down the stairs in the corner of the room, holding some sort of w*apon. Keith gets the padlock off and wrenches open the fridge. He pulls Kelly out. KEITH: Are you okay? Breathe. She does and looks up and over Keith's shoulder. She screams. Gabe is behind Keith, arms raised to bring his w*apon down on his head. Before he can, he is tackled from behind by Leo. Gabe gets the upper hand and is on top of Leo. He starts to choke him. He stops when he hears Keith's g*n cocked close to his head. KEITH: Stop. Now, or I will sh**t you. Gabe knows it's all over. Cut to the sheriff's department. Leo is packing stuff up at his desk. Veronica approaches. VERONICA: You know, saving the life of a gal's dad, smooth. LEO: [Softly] Hey. Veronica notes his muted response and what hs is doing. VERONICA: Is everything okay? LEO: Not really. Sheriff just came and told me I've been suspended for a week seeing as the evidence room was left unlocked on my shift the other night. Somebody must have snuck off with the key when I wasn't looking. You know anything about that? Veronica gives him a baleful, and guilty, look. LEO: [Chuckles] Can't say I wasn't warned. Leo leaves. Veronica watches him sadly. VERONICA VOICEOVER: Same old story. Girl uses boy. Girl falls for boy. Boy saves girl's dad's life. Girl gets what she deserves. Her cell rings. VERONICA: Yeah? Cut to Mac, at home and thereafter between them. MAC: It's me. Are you busy? VERONICA: No, I'm suddenly very free. MAC: I decoded the message, I think, so do you wanna swing by tomorrow morning and hear it? VERONICA: Sure. MAC: You gotta make it early though. I'm going camping with my family. VERONICA: Camping? MAC: It's a bi-annual rite of t*rture. Cut to the next morning. Natalie is racing about as Veronica and Mac sit at the dining table at the laptop. MAC: I'll play this recording at a few different speeds. Tell me when you think it's right. VERONICA: Sounds good. NATALIE: Oh, ah, honey. Did you remember a pillow? MAC: Yeah, I've packed it. NATALIE: Good. Natalie carries on racing about. VERONICA: So where are you guys headed? MAC: Ah, Yosemite maybe. I never know 'til I get there. Okay, here we go. VOICE: The Kane girl. His name is Abel Koontz. VERONICA: No, nothing yet. MAC: Let's try this. VOICE: I know who k*lled the Kane girl. MAC: Veronica, I gotta go soon. VERONICA: I know. Can you just try it one more time. VOICE: His name is Abel Koontz. He lives in a houseboat on the marina. VERONICA: Stop. I know who it is. Cut to outside Mac's home. Ryan is running around the camper with his ball g*n. NATALIE: Ryan, if you don't want to be left, I suggest you get into this camper. Natalie chases Ryan offscreen as Mac's father, Samuel, comes out of the camper. SAMUEL: Honey, you have everything you need, uh, pocket Kn*fe, headlamp, latest works of staggering genius? MAC: Yeah, Dad, it's all accounted for. SAMUEL: All right. Samuel heads back towards the house and Mac sticks some stuff into the camper. When she turns, she sees a small car on the other side of the road. 46bliss's beautiful "The Way You Are" starts up. SONG: All the way around alone. All, all the way home All, all, all the way around alone All, all, all the way home All, all, all the way around alone All, all, all the way home All, all, all the way around alone All, all, all the way home All, all, all the way around alone Put yourself, put yourself in my place Put yourself, put yourself in my place Put yourself, put yourself in my place Put yourself, put yourself in my place Put yourself, put yourself in my place Put yourself, put yourself in my place Put yourself, put yourself in my place Put yourself, put yourself in my place It's Mrs Sinclair. Mac walks up to the car. The window is rolled up. Mac puts her spread hand on the window. Mrs Sinclair covers her hand with her own, the glass between. She starts to sob as they stare at each other. Cut to Natalie and Samuel, ready to go. NATALIE: Cindy! What are you doing? Come on, let's go. MAC: I'll be there in a minute, Mom. As Mac turns to address her parents, her hand drops. Mrs Sinclair drives away. Mac stares after the car then rejoins her family. MAC: So where are we going this year, anyway? NATALIE: Come on. Let's h*t the road. Cut to Veronica at Mars Investigations. She puts her telephoto lens on her camera. VERONICA VOICEOVER: I suppose this isn't my smartest move. I don't care. I want him to know what it feels like. Cut to Kane Sofware. A man approaches a reception desk. RECEPTIONIST: Hey boss. Package came for you. She slides an envelope over the counter. He opens it as he walks away and finds pictures of himself, for it is Clarence Wiedman, on his own, with a small boy and with Jake Kane. He returns to the receptionist. WIEDMAN: How'd this package arrive? RECEPTIONIST: Messenger. WIEDMAN: I wanna find out who paid to have it sent here. Today. Wiedman goes to his office (#162). VERONICA VOICEOVER: You send target photos of me to my mom. You call in the Abel Koontz tip. Two words for you, Clarence Wiedman: game on. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x11 - Silence of the Lamb"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars ... Lilly cleans a car at the pep squad car wash (from 101 Pilot). VERONICA: God, Lilly, I see the Prozac's working. LILLY: I've got a secret. A good one. Cut to Lilly 's body and a shocked Veronica in Keith' s arms from the same episode. REBECCA: [Offscreen] Socially, it seems to be a bit ... Cut to Rebecca James' office (from 103 "Meet John Smith"). REBECCA: ... isolated. KEITH: I'd say Veronica's doing pretty well, given the circumstances. REBECCA: I know how close she was with Lilly Kane. Cut to d*ad Lilly appearing to Duncan from the same episode. LILLY: The truth is gonna come out. It does not add up. DUNCAN: Lilly? LILLY: What? You forgot about me already? Duncan jerks himself awake. Cut to Logan, pulling down Weevil's wifebeater to expose her Lilly tattoo and get aggressive (from 107 "The Girl Next Door"). WEEVIL: What are you doing? LOGAN: Why do you have Lilly's name on your arm? WEEVIL: You really wanna know? LOGAN: Yeah, I really wanna know! Cut to Aaron signing autographs outside the gates to his house (from 106 "Return of the Kane"). LYNN: [Offscreen] My husband gets a lot of disturbing ... Cut to Lynn in Keith 's Office (from 110 "An Echolls Family Christmas"). LYNN: ... letters from fans. Cut to Aaron's spotted lover facing his at the Christmas party from the same episode. AARON: I swear, I do not know you. She s*ab him, Lynn screams, Logan worriedly paces, Lynn rushes to the fallen Aaron, Veronica watches in disbelief. End previously. Veronica, sitting in a chair, waiting impatiently. Next to her, another student, wearing an MIT sweatshirt, bide his time with the chess board on his lap. It's 8:33 am. VERONICA VOICEOVER: The word is out. Our illustrious Guidance Counselor has received a grant to study the effects of adolescence. She's demanding an audience with each other by Lilly's death. I was going to decline, then I had a thought. There is a concussion outside the office of a pair of boys, or balklavas or ski masks, race past the door of their way down the school hallway. VERONICA: Well there's something you do not see everyday. MIT GUY: Yeah. I can not wait to get out of Neptune. VERONICA: MIT, huh? MIT GUY: Early admission. VERONICA: Bet you're gonna miss this place when you're gone. MIT GUY: Not really. VERONICA: I did not think so. They chuckle as footsteps approach. REBECCA: [Offscreen] Veronica? Rebecca James appears, carrying a file. REBECCA: Sorry to make you wait. Come on in. Cut to Rebecca's office as they enter. Rebecca heads around her desk and Veronica for the chair in front of it. REBECCA: Do you remember when we talked last year, right after Lilly's death? You were ... inconsolable. I'm really hoping that this year, you're able to talk about it. Veronica appears disinterested, concentrating instead on a stapler on Rebecca's desk which she picks up. REBECCA: You know, you're never going to come back with Lilly's death. VERONICA: Wow. I have that exact same flatness-a-day calendar at home. It's how I know beauty comes from within. REBECCA: Look, Veronica, for whatever reason, I do not think you ... so much better, so if you prefer talking with someone else, that ' Veronica, who has been playing with the stapler all over, snaps it shut, Rebecca to pause and sigh. VERONICA: Sorry, that was tough. It's not you. It's the talking. I do not want to talk away my grievance. I want to turn it into something else. Fuel. I know how I'm gonna feel better. Veronica is still fidgeting with the stapler and starts compressing it rapidly. REBECCA: Veronica has a pained expression and shake of her head! VERONICA: [Stops] Yeah. Nervous clothes. Veronica sets the stapler at the edge of the desk. It falls and she bends down. The desk blocks Rebecca's view so she does not see Veronica swap the stapler with an identical one in her bag. Veronica carefully places the new stapler on Rebecca's desk, adjusting its position. REBECCA: So how's it going to find, uh, and I really hate it? VERONICA: I'll find closure when Lilly's k*ller's rotting away in prison. Rebecca takes that in. Rick pores over some picture proofs. A teacher enters the room and approaches the teacher. STUDENT: Miss Jeffries? He hands a slip of paper, which she reads. MS JEFFRIES: Rick! You're wanted in the office. The student walks over to Rick and sets the slip of paper Rick has an uh-oh face. Cut to Rick in Clemmons office as he sits nervously on a small couch. Sheriff Lamb shut up the door. CLEMMONS: The Sheriff is here- LAMB: Morning, Rick. How's your head this morning, a little bit of a hangover? Lamb pulls up in front of him and gets in his face. Clemmons observes. LAMB: That's nothing compared to your buddy Tim is feeling. Tim had to have a tube put down his throat so they could pump his stomach. He's in a coma, Rick. RICK: [Horrified] Oh my god. LAMB: According to a surveillance tape, your evening ended at 1:30 am when you dropped, and I dropped, an unconscious Tim outside the Neptune Memorial ER. RICK: II did not have a choice. Lamb leans forward Rick's wrist, pushing up his sleeve. Rick has a variety of stamps on forearm. LAMB: Right. Someone must have a g*n to your head, do you have a pub crawl? By the way, how did you get into those bars? RICK: We got fake IDs. Lamb holds out his hand, flexing his fingers with a "give" gesture. Rick goes into his pocket, pulls out his wallet and hands over the ID. LAMB: You and half the kids in Neptune. [To Clemmons] These things have been popping up all over the place. The way I see it, they're coming from your school. [To Rick] I think you know who's making the fakes. Rick hesitates. Lamb pats him on the leg and stalls, moving to the side of the room. RICK: Look, Rick. The three of us? We're not leaving this cozy little room until you give me a name. Rick stands and the camera focuses on his mouth as he says ... RICK: Veronica Mars. Lamb looks at Clemmons who nods his head soberly. Cut to lamb and clemmons waiting for you outside Veronica's locker. VERONICA: Sending out the big g*n in the morning. I'm flattered. CLEMMONS: Veronica, the Sheriff wants to have a look inside your locker. VERONICA: Race he does. Veronica starts to tumble the combination on her locker VERONICA: Just out of curiosity, what are you gentlemen hoping to find in here? Al Capone? The Lindbergh baby? LAMB: We have reason to believe that you are manufacturing and distributing fake drivers licenses. VERONICA: Ooo, that's a new one. LAMB: It's a second degree felony. VERONICA: Lord knows, I hate to disappoint you ... Veronica sweaters open her locker. A load of blank IDs spill out. Lamb bends down and flicks through them (slight editing wrong in the reverse sh*t, he's still standing). VERONICA: Wait a minute, those are not mine. Lamb rises with one of the cards in his hand. He smirks. LAMB: I'm gonna need to search your purse as well. Either we can do this here ... VERONICA: [Gasps] Or down at the station? Veronica hands Lamb her bag. He grabs her wallet. Veronica takes a deep breath. Lamb looks through her cards. LAMB: Lilly Kane's driver's license. Driver's license for a twenty two year old Veronica Mars. At San Diego State Student ID. Licensed massage therapist. VERONICA: Oh yeah. Those are mine. Lamb pulls out handcuffs. VERONICA: You really do not have to do that. LAMB: [Really smirking] You're right about that. But I'm going to anyway. CLEMMONS: And Veronica, do not bother coming back to school for the next three days. You're suspended. Veronica is disbelieving but any protest is silenced by the ringing bell and students pouring into the hallway. Lamb is particularly satisfied with the presence of an audience and cuffs her. STUDENT (sounds like CORNY): [Offscreen] You better call your daddy, Mars! Veronica grimaces and nods at the help and advice Lamb leads her forward. LOGAN: [Offscreen] Ah, it's your turn, huh? Ha ha. Veronica is led by Logan who is enjoying the moment and gives her salute. A grinning girl in the crowd takes a snapshot as she passes. VERONICA VOICEOVER: Gosh, I hope they use that sh*t in the yearbook. Opening credits. Open on Veronica, head on the table, in one of the interrogation rooms at the sheriff's department. Cliff enters, clearing his throat. VERONICA: Know any good lawyers? CLIFF: Very cute. I know a suitable one who just posted your $ 500 lease. VERONICA: They take Diners Club here? Seriously, Cliff, thanks. CLIFF: It's quite all right. It's all part of my full service legal counsel. VERONICA: Is there any way you could not tell my dad about this? CLIFF: Why did not you call him? VERONICA: He's busy chasing a lease jumper in Arizona. CLIFF: Trust me, your dad's gonna find out one way or the other. Besides, I can not help but see you at the Courthouse. Next Tuesday, 9am. VERONICA: So, are we gonna b*at this wrap? CLIFF: Well, possession, they've got you pretty cold on that one. The stuff in your wallet is Mickey Mouse. It's the IDs in the locker that they care about. VERONICA: They were blank. CLIFF: Right. So until the coma guy wakes up, the only thing they've gotten to know about this ring ID is the testimony of the other kid. VERONICA: What other kid? CLIFF: Your buddy ... Rick. Cliff points to Rick, just passing the open door behind Veronica. She rises. VERONICA: Excuse me? CLIFF: Hmm. Veronica breeds out of the room and grabs Rick, pushing him against the wall. VERONICA: Howdy, Rick. Do I know you? No. Then why'd you tell Sheriff Lamb I sold you a fake ID? RICK: It's ... it-it's what they told me to say. VERONICA: Who's they? RICK: No way. They're everywhere. They will destroy me. VERONICA: I'll destroy you worse. RICK: I can not talk about it here. VERONICA: Tomorrow in school, we talk. RICK: No! I just- I told you, it's got to be done in secret. VERONICA: Oh, it will be. You'll be hearing from me. Veronica goes to walk away. RICK: I thought you were expelled? Veronica throws back an annoyed look and returns to the interrogation room. Cut to Mars Investigations. Veronica is working on her laptop at the table in front of the small couch. Wallace enters. WALLACE: The Veronica woman. I heard it took place at your school. VERONICA: You must be the only student who does not see my walk of shame in person. WALLACE: I grabbed your books. Veronica her bag. WALLACE: And your homework from the teachers. VERONICA: I need to ask another favor. WALLACE: This mission better involve me seducing the head cheerleader. VERONICA: I need you to poke around and see if you can get me a fake ID. If you must be so cheerleader in order to fulfill your mission, so be it. WALLACE: No sweatshirt. How do I do that? VERONICA: Play on her insecurity. WALLACE: I meant the fake ID part. VERONICA: Okay. Let's pretend for a moment that this mythical head cheerleader of yours has just been asked you out on a date. In exchange for seven minutes in heaven, you have to go to the nightclub in Neptune or at least buy her a pack of strawberry wine coolers. The stakes are high, Wallace Fennell. Think, now. How would you do it? Wallace thinks for a moment on the couch next to her. He puts his arm around his shoulder. WALLACE: [Whispers conspiratorially] Hey, Veronica? VERONICA: Yeah? WALLACE: I need you to get a fake ID so I can get some fake action from a fake cheerleader. VERONICA: Wallace? WALLACE: Yeah? VERONICA: Please find out who else at school is making them. Wallace smiles and nods. Cut to Neptune High. Logan's Xterra yellow pulls into the carpark. Logan turns off the ignition but breaks as he listens to the radio. RADIO: If you're breathing, then you've heard about Aaron Echolls getting ginsued at his own Christmas party. Explain to me why a guy who's married to Lynn Echolls would like to bang the frigging help. It's like the old saying goes, show me a hot chick and I'll show you a guy who's tired of hitting that. Logan is upset and turns off the radio. "All They Ever Do Is Talk" by Earlimart starts up. SONG: If They come in just to meet you With broken words in monotone Just smile and take the picture Nothing hurts it's gone up to My New Year's Resolution ' Talk. Year 09er knocks on his window. 09ER: Logan! LOGAN: [Shaky] Yeah. Be right there. The 09er wanders off while Logan tries to compose himself. Cut to Logan entering the school, heading for his locker. Students stare at him. Cut to Logan's locker where newspaper and magazine clippings about Aaron, Lynn and Aaron's attacker from 110 "An Echolls Family Christmas" have been pastes. Hector, the biker, is one of a number of students crowded around the locker, reading them. Students point as he gets his locker. Hector is too engrossed in his reading. Logan sees the clippings, then looks at Hector. HECTOR: In my humble opinion, your mom's totally hotter. LOGAN: You shut the hell up. Logan grabs Hector's shirt and they grapple as Logan throws him against the lockers on the other side, then steps back. HECTOR: Big mistake, sound. Hector lunges towards him and knees in the snout, facelift Logan off his feet. Hector then punches him in the face, sending crashing into the lockers. Hector does his hyena laugh, pointing at Logan. Logan rolls off the locker and runs Hector back into the opposite lockers The gym teacher from 108 "Like a Virgin" has Logan. GYM TEACHER: Break it up! Break it up. LOGAN: Get off! GYM TEACHER: It's enough. Logan struggles for a moment, then holds up his hands. Earlimart finishes and there is a cut to Weevil sitting opposite Rebecca in her office. WEEVIL: To tell you the truth, II ... I really do not remember that week. REBECCA: Hmm. You do not remember being in this office? You slammed the flesh against the wall, Eli. The last time that we put it that Lilly's death had a deep way. WEEVIL: Well, yeah. I was mad. You know, the same day Lilly Kane died, a little girl went missing in my neighborhood. They found her body three months later. Where were the cameras when she went missing, where was the grievance counselling for her? REBECCA: What happened to Marisol Reyes, Eli, was a tragedy. People do care ... Having panned down to the stapler on Rebecca's desk, the scene cuts to Veronica tuning in her radio until she picks up the transmission from the bug in the stapler. The car is covered with a blue tarpaulin and Veronica is bathed in its blue light. She sits back to listen. REBECCA: [Offscreen] ... Right now Lilly, okay. WEEVIL: [Offscreen] Oh, well then, why do not you call some of your rich, white friends in here? REBECCA: [Offscreen] I want you to listen to something. Cut back to Rebecca's office. REBECCA: It's a letter you wrote. [Reads] You tore my heart out. You can not stop at nothing but you, but you can not stop me from loving yourself. For the rest of your life, wherever you go, I'll always be there, just out of sight, in the shadows. WEEVIL: You know, I do not remember cc'ing you on that. REBECCA: Lilly wanted to be part of your class last year, she was having trouble with a boy. She gave me these to prove it. Weevil shakes his head. WEEVIL: I never would have hurt her. Look, the cops already rubbed my nose in those letters so what-what ... Cut to the shocked face of Veronica. VERONICA VOICEOVER: Lilly and Weevil? REBECCA: [Offscreen] Look, Eli, I did not bring you in here to embarrass you. Cut back to Rebecca's office. REBECCA: I asked you why these things. WEEVIL: Her and Logan had just broken up. And uh, Lilly sweetheart, it's a nightmare! [Tearfully] And ... she was someone I could have loved, you know? And she felt it too, I know she did. Rebecca Gases at him sympathetically. Cut to Veronica who shakes her head. VERONICA VOICEOVER: Why did not Lilly tell about him? Was weevil her big secret? Cut to the outside area of ​​the school. A cell rings. Rick answers. RICK: Hello? Cut to Veronica, still in her car. VERONICA: Back parking lot, fourth row. Cut to the parking lot as Rick looks for Veronica. One of the cars is covered in blue tarpaulin. Rick still has his cell to his ear. The scene cuts between him and Veronica. RICK: Where are you? VERONICA: Is anyone watching you? RICK: No, I do not think so. Veronica disconnects the phone and opens the door. Rick is surprised to see the tarpaulin move to Veronica's voice. VERONICA: Slide on in. Rick does and joins Veronica in the car, sitting in the back seat. Veronica shuts the door and turns to face him. VERONICA: So where were we? Right! Who framed me? RICK: They're called the Tritons. It's a secret society at school. VERONICA: Why have not I heard of them? [Breaks] Stupid question. Keep going. RICK: [Sighs heavily] The Tritons have been around as long as Neptune High. Six new members are inducted in junior year by the six seniors. Tim and I were among their pledges. VERONICA: Who's in charge? RICK: No one knows for sure who the brothers are. VERONICA: Then who invited you to join? RICK: Two weeks ago, I found a note in my locker. Flashback to Rick arriving at his bottom locker. He is a small envelope with a shell symbol on the front. Cut back to Veronica's car. VERONICA: So this was all part of a hazing ritual? RICK: The twelve plows. The first few challenges were not so bad. But on Friday when I opened my locker, I found a fake ID with my yearbook picture on it. The instructions said we were supposed to go to a bunch of bars and have a sh*t at each of 'em. VERONICA: Let me guess. Twelve? RICK: Tim passed out at the eleventh. All the other pledges freaked out and left me to take care of him so much. VERONICA: If they're so secret, how do you know all this? RICK: My dad was a Triton. So were my two older brothers. Flashback to the journalism class. Clemmons office is placed next to him, folded. On the back, with the symbol of a shell conch, is written: Blame Veronica Mars. RICK: [Offscreen] All I have been staying at. Cut back to Veronica's car. RICK: If they found out that I betrayed their secrets, let's just say I'd be better off in jail. These guys will destroy your life, it's their mission statement. VERONICA: So that's your defense? That you were just following orders? [She makes a 'wrong answer' buzzer sound] That does not cut it, Rick. RICK: I know that now and I'm sorry. You've gotta believe me. After what they did to Tim? And now his family's thr*at to sue me. I can not even talk to my own dad about it. He calls me a coward and a traitor for what I did. But how can I belong to my favorite friend? All I want now is for the Tritons to go down. VERONICA: So, who are the other pledges? RICK: Anyone who's anyone. The Tritons supposedly the best guys in everything: academics, sports ... they're pretty much the six guys you'd expect. VERONICA: I want their names. RICK: Harry Diddon, Steve Argo, Matt Barron, Duncan Kane. VERONICA VOICEOVER: So if I follow Duncan, I can find the Tritons. Cut to Veronica planting a tracker on Duncan's car. Cut to Logan waiting outside the school administration office. Aaron can be seen inside, talking to Clemmons. Logan is flexing and shaking his right hand. Aaron exits the office. AARON: [To Clemmons] Thanks, I appreciate it. Logan, let's go. Logan stands and walks briskly with his father. LOGAN: How long did I get? AARON: You're not being suspended. The Vice Principal is here on Friday for a disciplinary conference. They reach the outside. AARON: Listen. I'm not happy that you've been fighting but I'm proud of you for sticking up for your mother. Logan pulls up to a stop. LOGAN: [Contemptuously] You're proud of me! AARON: Yeah. LOGAN: Oh great. Good. I can die happy. Logan turns to walk Aaron grabs his arm and jerks back to him, Aaron's other hand on Logan's shoulder. AARON: You keep smarting off and I'll help arrange it. Logan looks beyond Aaron and eases off any reaction. Lynn, smiling, approaches them. LYNN: Is everything okay? Cut to Mars Investigations. Cliff is sitting at Veronica's desk with his feet up, reading the newspaper, the "Neptune Register". Veronica enters. VERONICA: Sorry Cliff, I'm late. Cliff subtly jerks his head back and widens his eyes, nodding towards the small kitchen as Keith enters from it. Veronica turns and sees her father. VERONICA: Hi, Dad. Their case is fuzzy and circumstantial. KEITH: [Laughs] You know the odd thing? Those were also very first words. VERONICA: I think I've got a good lead on who's making the fake IDs. It's a secret society at school called the Tritons. Rick told me that he was bullied into turning me in. I'm positive they're the ones who set the blanks in my locker. KEITH: Look, Veronica. The criminal case is the least of our problems. CLIFF: Tim's parents are suing. VERONICA: Us? CLIFF: And pretty much everyone else involved in their night of debauchery. Every bar in town is gonna be named in the following. The thing could be worth millions. Veronica is abashed as the two men stare down at her. Cut to later at Mars Investigations. Keith is lying on the small couch. Aaron enters carrying a stack of magazines. KEITH: Aaron! Come on in. AARON: Thank you. KEITH: So, how's it going? Do you need anything? AARON: Uh ... yeah, some water would be good. Keith goes to the kitchen as Aaron eases himself painfully down onto the couch. AARON: So, I, uh, I guess I should have canceled that party after all, huh? Keith, retuning with a bottle of water, smiles and sits down next to him. Aaron takes a couple of tablets and downs them with a swig of the water. KEITH: So. How do you hangin 'in. AARON: Hmm. This [pointing to his side] I can not do it [pushing the magazines towards Keith] ... I've been trying to regain my family's trust. Keith picks up one of the magazines, "Strike". Two small headlines at the top read: Drugs & Booze - Lindsey living debauched lifestyle with drug & alcohol orgies - Friends say Imminent Rehab and Worth $ 15M ?! Studio execs guarantee Crinkshaw highest contract in movie history - Wasted Money? We are accompanied by small headshots of the subjects. Victoria Fletcher - Getting Hotter and Hotter. But the main picture is Aaron under the headline: Two-Timing Aaron! AARON: And I meant what I said when I told you that I was going to give it all ... but these stories. I mean they're tearing my family apart. My daughter Trina's the only one who will talk to me anymore. I can not blame Logan or his mother, I just ... KEITH: Any idea who could know such intimate details about you? AARON: Paparazzi. But then again they would have printed the stories right away. Someone on my staff? KEITH: Jealous boyfriend or husband? AARON: That's a possibility. KEITH: Well, let me dig around. AARON: Listen. My wife's really fragile. I do not know how much more scandal she can take. KEITH: Let me see what I can do. Keith squeezes Aaron's arm in comfort. Cut to Veronica at home, curled up on the couch, reading a book. VERONICA VOICEOVER: Triton, sound of Neptune, the god of the sea Triton commands the dark waters and all creatures within. There is an illustration showing Triton using a conch shell as a horn. Veronica looks up to the knock on the door, immediately followed by Wallace. WALLACE: Trick or treat. VERONICA: What's the news? WALLACE: Nobody is talking about everything about fake IDs. Veronica gives a big sigh of frustration. WALLACE: But then, this afternoon, a kid from my biology class comes into Sac'n'Pac, buys a six pack from my boss, like it was no problem. VERONICA: Did you figure out where he got his fake? WALLACE: Slow down. This is my story. Follow me to the parking lot and I was like "Yo, fella, check it out." You're on "Candid Camera" Wallace replicates his pointing out cameras and Veronica laughs. WALLACE: Gave him the four-on-one on our video playback capabilities, you know, leaned on him. Like I was Shaft or somethin '. VERONICA: Shut yo 'mouth! WALLACE: Long story short- VERONICA: Ha! WALLACE: The guy is asking for a mystery locker at school. VERONICA: Ooo, I like it already. WALLACE: Here's how it works. One of your first two things in the morning. Come in, brand spanking new license that says you were born in 1983 arrives in your locker. VERONICA: Are you willing to put $ 250 into some strange locker just to see if this works? WALLACE: Hell, no. I'm using your money. Veronica snorts. Cut to a janitor polishing the hallway at Neptune High, outside the administration office. On the floor is a circle. The outer part is green and has the words "Neptune Pirates". The inner circle has a representation of water. Over both, a compass star is set and at it very center, is a symbol, small and hard to see. Veronica walks up the hallway and stops, looking down at it. VERONICA VOICEOVER: How many times did I walk through the main hallway? And how many times have we not noticed that our school insignia includes Trinton's conch shell. Veronica looks over at the janitor who disappears around a corner. She heads for the glass cabinet next to the school administration office, and unlocks it. VERONICA VOICEOVER: According to Wallace, one-ten locker is not assigned to anyone in school. If it is possible to provide a fake ID, it is possible to have one of these locks. This is made tougher, though not impossible, by my suspension. Veronica rearranges the existing display to the bottom shelf. She places a new banner at the back of the bottom shelf: The camera see what the eye so often misses. - To Adams. She then sets out a number of cameras, one of which focuses on one-ten locker. She sets the camera to continuous and then time-lapse movie at 30s intervals. VERONICA VOICEOVER: Then Wallace will drop the two fifty in the mystery locker. Cut to Wallace doing just that. Cut to Rebecca's office. The door opens and she looks up. REBECCA: Thanks for coming in, Logan. The camera pans round Logan, entering her office. LOGAN: Thanks for getting me out of a calculus class, Becky. REBECCA: It's Miss James please. Cut to Veronica at her listening post in the car. She is up and pays close attention. LOGAN: [Offscreen] So the week Lilly died would have been our second anniversary. Cut back to Rebecca's office where Logan is now seated opposite her. LOGAN: We were together since junior high. REBECCA: Off and on? LOGAN: [Softly] Yeah, off and on. REBECCA: And at the time of her m*rder you were- LOGAN: [Sharply] Off! [More calmly] Temporarily. REBECCA: Why were you broken up? LOGAN: Uh, we were supposed to go to this party. And, uh, Lilly was pissed at me for something, [laughing without humor] I can not remember what, you know. And, uh ... Lilly stands me up. I'm going to get f*cked and f*cked [sighs] REBECCA: And Lilly! LOGAN: Nope, someone else did. You must know her. Word is you're real close with her dad. You could do better. REBECCA: You need to leave my personal life out of this, Logan. LOGAN: [Sarcastically] Yeah, let's not get this. REBECCA: You know what, it sounds like you blame Veronica. LOGAN: You know Veronica was my friend too. Cut back to Veronica, looking stunned. LOGAN: [Offscreen] And if she had not written to me ... Cut back to Logan. LOGAN: ... then Lilly and I would have stayed together. [Voice breaking] And Lilly would not have been alone that day. I would have been there. So, yeah, I blame Veronica. [Breaks, then lets out a deep breath] And I blame myself for being stupid and I blame Lilly for being a bitch that week. REBECCA: You know there is another one, Logan. If you'd be together, you might be d*ad too. Logan laughs mirthlessly. LOGAN: And what is so great about living. Cut to Veronica pondering what she has heard. Cut to a tracker. It's on Veronica's laptop. She is sitting at her desk at home. Wallace knocks and enters her room. Veronica does not look up. VERONICA Hey, Wallace. How was practice? WALLACE: [Excitedly] I was on f*re out there. Three point line, hand in my face, fade away like Jordan! Boom! Wallace accompanies this action with the action of the basketball court Veronica is aiming at the computer. VERONICA: Great. WALLACE: 'Race you're not listening to I say. So I might have said, "blah blah blah, blah, blabbity blah blah." VERONICA: Mm-hm. How'd you like to go on a little field trip? Duncan's on the move and if we hurry, WALLACE: Actually, I planned on hitting a few bars. I found this little beauty in my locker after seventh period. Wallace holds out an ID card. This gets Veronica's attention and she jumps up to grab it. VERONICA: Let me see that. Veronica examines it and pulls a face. VERONICA: The ink is bleeding at the edges, the hologram is missing and the peering closely ... the photo ... is your yearbook picture, Wallace? WALLACE: So what? VERONICA: So this is a $ 250 piece of crap. Now I'm not just falsely accused, I'm genuinely offended. Cut to Veronica and Wallace coming down the stairs into a club. VERONICA: All right, all I've heard, these guys are bad news, so I want you to be careful. They can hear someone singing "Swing Low Sweet Chariot", very badly. WALLACE: [Teasing in a little boy voice] I'm afraid, Veronica! I'm afraid! Veronica shakes her head at him and steps forward into the body of the club. The singer is Duncan. DUNCAN: [Singing off key] Swing low, sweet trolley Coming for home. VERONICA VOICEOVER: I'm sure the Triton Leaders consider this initiation painful for their pledges but honestly, are not we the true victims? Duncan finishes and comes off the karaoke stage amidst boos. Three judges hold up scores; a two and two threes. Duncan walks straight into Veronica. VERONICA: Nice performance, Duncan. I was wondering if you could introduce me to a few of your Triton buddies. DUNCAN: Brawny gods just flocked up to quiz and vex him. VERONICA: If you could just tell me who's in charge then I can [Veronica pulls him round as he tries to pass her] personally thank you for putting fake IDs in my locker and getting me off to the sheriff's department. DUNCAN: Quick wafting zephyrs vex bold Jim, I ... VERONICA: That's very illuminating. Forget about me for a second. Tell me about Sunday night, you know that the Tritons are responsible for putting a kid in the hospital, right? Duncan shakes his head. VERONICA: Tim is in a coma right now because of your secret club forced him to do. Can you live with that, Duncan? DUNCAN: The quick brown fox jumped over the lazy dog, I ... VERONICA: Ugh. Veronica walks away from him in disgust to the strained version of "On Top of Old Smokey" coming from the stage. Wallace follows. Duncan lets out a sigh of relief. Later, Wallace and Veronica are sitting on stools at a raised table. An even worse singer is massacring "The Hokey Pokey". VERONICA: Let's get out of here. This is going nowhere. Wallace spots Duncan coming towards them. WALLACE: Heads up. Looks like your boy's having second thoughts. Duncan gets them. VERONICA: Are you ready to talk? He does not know how to do it. He leaves as Veronica reads the note. VERONICA: The judges hold the vital scores. You shall hear my voice once I've heard your. The Great Triton. She looks up quizzically at Wallace but he is too happy with the karaoke singer who is just finishing to the sound of boos. KARAOKE SINGER: Aw, what's up? What's up? He shrugs and leaves the stage. The master of ceremonies steps up. MC: Next up we have ... Veronica Mars! Veronica's eyes widen with shock. The MC puts his hand on his eyes to the face of the crowd. "Sing" with increasing insistence, stamping their feet and pounding tables. Veronica looks at the note again, then back at the stage. Finally she goes to the stage and whispers in the MC's ear. The crowd clap in anticipation. The opening of Blondie's "One Way or Another" rings out. VERONICA: This song goes out to my friends in the Tritons. Wallace gives her two thumbs up from the crowd VERONICA: [Singing] One way or another I'm gonna get ya I'm gonna getcha, getcha, getcha, getcha One way or another I'm gonna win ya I'll getcha, I'll getcha One way or another I'm gonna see ya I'm gonna meetcha, meetcha, meetcha, meetcha. One day, maybe next week I'm gonna meetcha. I'm gonna meetcha, I'll meetcha. I'll walk down the mall, stand over by the wall Where do you come from, find out who is there? getcha, getcha, getcha, getcha Getcha, getcha, getcha, getcha One way or another I'm gonna getcha, I'll getcha I'll getcha, getcha, getcha, getcha One way or another I'm gonna getcha, I 'll getcha I'll getcha, getcha, getcha, The crowd goes crazy, particularly Wallace and the judges give her nines and tens. Duncan beams. VERONICA: Thank you. She hands the mike to the MC who gives her another note. She heads back to Wallace. MC: Let's go for Veronica Mars! WALLACE: Nice job, see you in the bathroom - Alone. She whips rounds and heads for the bathroom. The room is baroque with candles and graffiti. She approaches closed stalls. VERONICA: Hello? VOICE FROM THE STALLS: The Great Triton is listening. VERONICA: I wanna know why you've got those IDs in my locker. VOICE FROM THE STALLS: The Great Triton did it to you because it's great. VERONICA: Yeah, you're a real pal unless you need a ride to the hospital. VOICE FROM THE STALLS: The Great Triton ... does not really know what you're talking about. Veronica kicks open the stall door. Inside, a boy is sitting on the toilet. He looks taken aback. VERONICA: Who are you? JEFF: Jeff. VERONICA: What are you doing in here? JEFF: Some dude, he gave me twenty bucks. He said he wanted to be a prank on one of his friends. Jeff clicks his fingers and grins. Veronica spins on her heel, fed up, and closes the door on him, leaving the bathroom. Cut to Veronica picking the lock on the glass cabinet at Neptune High. She retrieves the digital movie from the camera. Cut to her exiting the school. Rick runs after her. RICK: Veronica! They found out. I do not know how they are here I've been talking to you. VERONICA: Easy! What happened? RICK: Last night, there was a knock on the door. When I opened it, I found a rat. They nailed the thing alive to the front door. VERONICA: Pull it together, Rick. We've a seven figure lawsuit to worry about. There's no doing this thing halfway. We have to make sure what happens to Tim never happens again. Rick backs away from her, all scared. Cut to Rebecca's office. Duncan knocks on her open door, then enters, closing the door behind him. REBECCA: You missed our last three appointments. DUNCAN: I'm sorry. I've been buried. Thanks for waiting around for me. Veronica, listening in the car. DUNCAN: [Offscreen] Lilly used to make this face when my mom was doing it. Cut back to Rebecca's office. DUNCAN: So I-I'd try to look at her goal I could like, feel her making the face at me. And that's what it's like, all the time. I think she's watching me. It's like whenever I do anything, II can feel her there and she can see me. It-it's like I'm never, ever alone. I sound like a total psycho. REBECCA: You sound like someone who lost his sister. DUNCAN: [Smile] And his mind. REBECCA: How long have you been feeling like this? DUNCAN: Since I stopped taking my meds. REBECCA: Uh, does your doctor know about this? Duncan chuckles and barely nods at Rebecca's concerned query. REBECCA: Have you had any episodes? DUNCAN: Oh, I only stopped the anti-depressant. I'm still taking the old stand-bys. Cut to Veronica with furrowed brow. VERONICA VOICEOVER: What kind of episodes? DUNCAN: [Offscreen] I'm not stupid. VERONICA VOICEOVER: What kind of medication? REBECCA: [Offscreen] It does explain a lot. Cut back to Rebecca's office. REBECCA: The medication ... calmed you. Maybe even prohibited you from fully processing your sister's death. You know, all that has been suppressed for the past year, maybe it's ... finally making it's way to the surface. [Off Duncan's confused look] What, you do not agree? DUNCAN: I do not know. I think she's mad that I do not remember. REBECCA: Are you starting to forget about Lilly? DUNCAN: Oh, I remember Lilly. II just do not remember what happened. I remember being at soccer practice that morning. Then I was in the back of a limo and ... it was three days later and Lilly was d*ad an-and all that time in between was just ... gone. Cut back to Veronica as it is a sharp rap through the tarpaulin. Veronica is peeved. VERONICA: Are not you forgetting something, Wallace? The secret knock? The tarpaulin is jerked away by three of the robed and hooded figures who writes open the door and grab Veronica. VERONICA: Hey! Hey! Cut to black pitch and the sound of Veronica struggling. A faint light shows her wriggle her hands free from the rope that binds them and she looks around. She is lying in an enclosed space. She pulls her cell out of her pocket and punches a number, breathing heavily. VERONICA: Hey, Wallace, whatcha doin '? [Pauses to listen] Uh-huh. No, I have not seen that one. i> [Pauses to listen with impatience] Yes, Dave Chapel is great. Listen, the real reason I'm calling? Funny story .... Cut to the exterior of the LeBaron's boot where the keys are in the lock. Cut to Veronica with breathing is labored, stuck inside. Cut to an overhead sh*t of the LeBaron with the tarpaulin on the ground and the driver's door wide open. Cut to Veronica again and then outside as Wallace arrives and opens the boot. Veronica climbs out. VERONICA: Thanks, Wallace. She grabs the keys from him and races to the driver's side. WALLACE: Uh, Veronica? I'm assuming you did not accidentally lock yourself in the trunk? VERONICA: [Getting into the car] I'll tell you later, Wallace. Right now Duncan and figure out where the Tritons are meeting tonight. Wallace climbs in the passenger seat as Veronica puts the key in the ignition. As soon as she comes on the radio, she can hear chanting. TRITONS: Triton. His of Neptune. Rise up from the dark sea wine. Cut to the stapler on Rebecca's desk, then to Veronica, creeping round the corner of the school hallway. TRITONS: Oh great one. With your horn, we summon you from beneath the terrible waves. With your horn, we summon your awesome powers. With your horn, we summon your unrivaled wisdom. Veronica creeps closer to the scene of action which is the emblem on the floor outside the school administration office. Six initiates in white dresses are kneeling on the edge of the outer circle while one of the seniors in a green dress blows a conch shell. The other seniors, also in green dresses, stand behind the initiates. SHELL-bl*wing TRITON: Congratulations. When you started this journey twelve days ago, you were told that it would be perilous. I am happy to say that this year, all the pledges have passed the Great Triton's test. VERONICA VOICEOVER: [Against more chanting] Oh yeah? Except for kid who almost drank himself to death. And the kid that you almost scared to death. SHELL-bl*wing TRITON: Tritons as your brothers. The Tritons remove their hoods. Duncan is one of the initiates and the shell-bl*wing Triton is the MIT Veronica guy sat next to the school administration office. Veronica gets her camera ready as Duncan and the MIT guy shake hands. Veronica walks into position. VERONICA: Hi everybody! Say repressed h*m*. Veronica takes pictures of the shocked Tritons. VERONICA: Gotta boogie! Veronica runs and the Tritons, somewhat encumbered by their dresses, race after her. They chase her through the halls and out of the school, where the LeBaron is waiting. Veronica runs up and down the carriage and Wallace peels away, leaving the Tritons standing. Cut to Veronica's bedroom. WALLACE: [Thrilled] Man! Did you see me lay rubber in that LeBaron? VERONICA: Do not get carried away. [Sitting at her laptop] All right. Tritons are the ones operating the mystery locker. Match one of their faces in these sh*ts with the frame of whoever picked up the two-fifty for your fake ID. Piece of cake. Cut to sometime later. Veronica is still working, pulling up photos. Wallace appears to have crashed out on the floor with his back against the wardrobe. Veronica watches the time-lapse of the camera trained on locker one-ten. VERONICA: This does not make sense. Someone had to open that locker. How else could they have gotten the money? How else could they have gotten Wallace's name? WALLACE: [Raising his head] Veronica, I'm still here, you know? VERONICA: One-ten is a top locker, right? WALLACE: Yeah. VERONICA: No one goes near it. [Comprehension dawns] I know how it went down. WALLACE: Great. Can I go home? Cut to Keith slamming. Aaron is behind Keith. KEITH: Aaron, thanks for stopping by. AARON: No problem, I'm gotta be at school for a parent conference. You were on the way. KEITH: I found out who's been selling the pictures. You're not gonna like it. AARON: It could not get much worse than it already is. Keith's expression suggests otherwise. Cut to Veronica entering Lamb's office at the Sheriff's Department. She is carrying a large box of donuts. LAMB: Your short date is not until next Tuesday, right? VERONICA: We might as well go ahead and cancel while while I'm here. LAMB: [Sniffs] Really? Why's that? VERONICA: Well I thought, for a change, you might be interested in having the real criminal stand trial. [Shrugs] In the meantime, I'm gonna have a seat in your living room, [waves a magazine] learn how to turn men into a new way of walking and wait for the bad guy. Veronica plops herself in an armchair in the corner of Lamb's office. LAMB: I do not have time for your games. VERONICA: And I do not have time to go wrong with a government issued document if I'm stuck here in your office. I'll make you a little deal, Lamb. [Rises and walks towards him] If I do not deliver the person who is in the hospital. at me. LAMB: [Sighs] What do I have to do? VERONICA: Just pick a name. [Getting out the yearbook] Write the name of any student on this post-it, put it in the envelope and have one of your minions drop it to locker one-ten. By the end of the day, that kid'll have a fake ID and you'll have a crook. And I'll be sittin 'over here, chillin' like a villain. Veronica returns to the armchair and makes herself comfortable, flicking through her magazine. Lamb chooses a name from the yearbook and writes it on the post-it. He exits the office after giving her a long look. When he's gone, Veronica punches a number into her cell. VERONICA: Hey, Rick. I'm down at the Sheriff's office. Hey, they're in the real bad guy this afternoon. Oh, and I found out who the Tritons are. You do not want to miss it. I'm going to nail 'em to the wall. Cut to the bench under the glass display cabinet outside the school administration office at Neptune High. Logan and Lynn are sitting, waiting. Aaron arrives and joins them, Logan sitting in the middle. AARON: [Casually] So ... [sitting] What was the plan? Lynn knows she is busted. AARON: Embarrass me? Destroy my career? Soften up public feeling for a generous divorce settlement? Turn me into Costner? LYNN: Course, you'd think of your career and your money before you'd think of the obvious. Did it ever happen to you, did you hurt me? Logan, devastated, sits between them, staring at each of them, and the floor, in turn. AARON: You had private detectives following me. LYNN: Only on location. The women here I've always known. LOGAN: [Sarcastic but with breaking voice] Gosh, Mom. Gee, Dad. Will I be going to live with Grandma? AARON: Listen to me. If you try to divorce me, I will leave you with nothing. No house. No career. No club memberships. No maid and no friends- LOGAN: [Explodes and thr*at] Right, Dad! You say another word to her and I will k*ll you. LYNN: I can not take this anymore. Lynn gets up and storms off. Aaron follows, leaving Logan gutted. Cut to a California flat license: ECHOLLS2. Lynn gets into her car, a red sporty number. She shakily grabs a plastic bottle of pills from her handbag. She takes some thrills and throws the bottle onto the passenger seat. She starts the car and races off. Cut to Lamb's office. Veronica is still lounging in the flesh. . LAMB: The thing about a felony load is, it does not get off your record just because you turn eighteen. It's like this black eye that you have the whole rest of your life. VERONICA: Ooo. Veronica tears something out of the magazine as Rick arrives and knocks on Lamb's open office door and enters. RICK: Is he here yet? Veronica gets up from the flesh. VERONICA: He just arrived. Deputy Sacks enters. SACKS: Uh, it's just like she said. Found the fake in his locker. Sacks hands an ID to Lamb who examines it. VERONICA: Process of elimination. I did not do it. Rick looks from Veronica to the Sheriff. RICK: What, me? Are you crazy? VERONICA: How else do you explain the two fifty in your wallet? LAMB: Cough it up. RICK: [Getting out of his wallet] Big deal, this money's mine. It does not prove anything. VERONICA: Why do not you take a closer look at the one on top. Lamb grabs the money Rick has pulled from his wallet. VERONICA: Read what's written over Grant's head. LAMB: [Reads] Veronica Mars is ... smarter than me. VERONICA: [Grinning and slapping his arm] Oh, you stop it! LAMB: So this is Rick's locker that Deputy Sacks put the envelope in this morning? VERONICA: Not exactly. Flashback to Rick going to his bottom locker. Inside, he is going to the top of the top locker. He grabs the envelope and puts it in his pocket. Cut back to Lamb's Office. VERONICA: The night went to the hospital, he and Rick were using their own fake IDs, buying their own drinks and enjoying the profits of their own fake ID biz. You were never hazed. You tried to blame the Tritons because you were pissed off at them. Your dad and your brother are Tritons but you did not measure up, did you Rick? You were not even invited to join their secret society. Flashback to Rick approaching Veronica's locker and stuffing bland IDs through the slats. VERONICA: [Offscreen] So when you were called into the office, you dumped a bunch of blank IDs and you blamed me. But why me? Cut back to Lamb's Office. VERONICA: Was it just because people would think that I did it? RICK: All right. Since you asked. Last year your dad was hired to track down a hedge fund manager for embezzlement. That was my father. Only the newspapers never mentioned that his company They took our house, they took our cars. Eventually, my parents got a divorce. You must be proud. Veronica drops her head. "Feel So Free" by Ivy starts up. Cut to Veronica approaching Duncan in the car park at Neptune High, as he approaches his car. VERONICA: Hey! Duncan breaks and waits for her to join him. She hands him a folder. VERONICA: These are for you. You look kinda cute in one of them. Surprised but ... cute. SONG: Ask me again I'll take my chances Duncan flicks through them and laughs. VERONICA: Your secret is safe with me. SONG: I do not know how to begin Duncan nods. DUNCAN: I heard that guy Tim came out of his coma. VERONICA: Yeah. SONG: You can not understand I have got no answers VERONICA: [Breaks and sighs] Look, I never should have doubted you, Duncan. SONG: I can not explain where I've been VERONICA: I'm sorry I came after the Tritons. DUNCAN: And who are the Tritons? SONG: I should have known better than Veronica laughs and Duncan grins, patting her affectionately with the folder before getting into his car. SONG: I Should've Known by now I should've Known Better I Should've Known by now VERONICA VOICEOVER: Another hole in Duncan's memory? At least he can joke about it. To pass him in the hallway, you'd never guess that anything was wrong. But I heard it out of his own mouth. So what exactly is your mystery, Duncan? And what other pills are you taking? Veronica reaches and gets into her own car. SONG: And I feel so free Yeah, I feel all right Never thought I'd feel Like I feel tonight Cut to the sound of a helicopter as it circles and gradually pulls away from an abandoned red sports because we have a bridge. RADIO: Dispatch, this is G12 requesting assistance for possible jumper on the Coronado Bridge. The abandoned vehicle is a red Dodge Viper, ECHOLLS 2 flat license blocking the northbound lane. DISPATCH: Roger that, 12. The music swells. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x12 - Clash of the Tritons"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars ... All the "previously" clips are from the episode or outtakes of the episode 112 "Clash of the Tritons" and opening with Veronica in Rebecca's office. (Rebecca's line is re-jigged from the one in the episode.) REBECCA: You know, Veronica, you're not going to be able to come back with Lilly's death. VERONICA: I'll find closure when Lilly's k*ller's rotting away in prison. Cut to Logan in Rebecca's office, a sh*t of Logan not used in the previous episode. LOGAN: You know Veronica was my friend too. Lilly and I would have stayed together. Keith and Aaron at Mars Investigations. AARON: These stories. I mean they're tearing my family apart. The Echolls Family Breakdown (including unfortunate glimpse of director's hand reflected in the mirror behind Lynn). AARON: If you try to divorce me, I will leave you with nothing. No house. No maid and no friends- LOGAN: Right, Dad! You say another word to her and I will k*ll you. LYNN: I can not take this anymore. Cut to Lynn popping pills RADIO: requesting assistance for possible jumper on the Coronado Bridge. End previously. Open on the diamond-ringed hand of Bone Hamilton, as he thrusts down what appears to be a script. He is lying on a sunlounger, wearing a phone earpiece. He is being served by his wife and his wife, Vanessa, is approaching from the sumptuous house. BONE: [Angry] No! Look, if they can not commit at least ten million, man, we're going someplace else. Handle it. He rips out the earpiece. Vanessa reaches him and passes him a sheet of paper. VANESSA: Nice day. BONE: It's always nice here. What's this? VANESSA: A waiver so Bryce can drop PE. BONE: Drop PE? VANESSA: His physics teacher agreed to sponsor him for independent study so he needs to drop a class. BONE: [Signing the form] Dropping PE. You know that boy could stand with a dodge ball or two. [Handing it back] Toughen his ass up. And why's this club so high this month? VANESSA: Yolanda took riding lessons. BONE: Like on a horse? First time I saw a horse, I was thirteen. Damn thing was on TV. VANESSA: And the streets were tough and you lost a lot of homies But this is Neptune and her friends took them. You should talk to her when she comes home from Gabrielle's. She's supposed to call if she stays over. BONE: I'll do more than talk to her, all right. Tell me this, baby: how do you like to end up with Black Velvet and Urkel, huh? [Snorts] Speak of the devil. Their son, Bryce, gormless and nerdy, approaches from the house. BONE: What's up, his? What's the matter? BRYCE: [Ominously] It's Yolanda. Something's happened. Cut to Mars Investigations where Wallace and Veronica are doing homework on the couch. Their papers are spread out on the small table in front of them. Amongst them is a tabloid, "Week b*at" bearing the headline: Aaron Echolls' Private Tragedy. Lynn's car parked on bridge - abandoned. There is a large picture of Aaron, head drooped and a full body sh*t of Lynn. Smaller unrelated items are a picture of Reality Television Hits Keep Comin 'Pg. 33. WALLACE: Did she really leave a note on a Blackberry? VERONICA: Yeah. Talk about post-modern. WALLACE: How ' VERONICA: He has not been at school since. We're not exactly phone buddies. Keith enters from outside, gingerly. He very slowly makes his way to his office. VERONICA Hey, Dad. How's the back holdin 'up? Do you remember to take your pills? KEITH: Should not you be doing your homework instead of nagging me? Veronica hands him some pills as he passes. KEITH: Thanks. VERONICA: Next time, remember: drunk lift, combative lease jumpers with your legacy, not your back. Keith takes his tablets with some show of reluctance. VERONICA: And use your heating pad. Keith, miserable, goes into his office. VERONICA: [Throwing Keith's parting sh*t] And eat fiber. KEITH: Hmm. Veronica smiles and looks at Wallace who has a new do. She's fascinated by it. WALLACE: It must suck to have tabloid creeps in your face at a time like this. Wallace notices her attention to his hair. WALLACE: Stop staring. It's just hair. VERONICA: Resisting the urge to touch ... Veronica raises a hand towards Wallace's head. WALLACE: [Pressing her hand away] You keep resisting that urge. They both turn to the sound to the outside door opening. It's Bone. BONE: Hey, I'm, uh, looking for Keith Mars. VERONICA: Yeah, sure, in here. Dad? KEITH: [Offscreen] Yeah? Bone does not wait for Keith's office and closes the door. Wallace has not taken his eyes off. WALLACE: You know who that is? VERONICA: Should I know who that is? WALLACE: If you're serious about your urban population. VERONICA: I am absolutely serious about my cred with the urban demo. WALLACE: Drive-by Records. [Off Veronica's blank look] Reported to be held in a contract. [And again] Twice and stronger each time. [Veronica is still not getting it] The gangster rap impresario. [Nope] That's Bone Hamilton. Cut to Keith and Bone in Keith's office. KEITH: How can I help you, Mr Hamilton? Keith sits down carefully. Bone remains standing and gives Keith a photo. BONE: My daughter's missing. I need you to get back. Cut back to Veronica and Wallace. VERONICA: Hamilton? God, that's Yolanda Hamilton's dad? WALLACE: I did not know you knew her. VERONICA: We used to be friends ... a long time ago. Opening credits. Yolanda being held up by Keith. Bone can be seen out of focus beyond it, sitting opposite Keith. KEITH: You sure it's not just some kind of misbehaviour teenage. It's not uncommon for- BONE: Maybe your teenager. But Yolanda, she knew the rules. And her friend Gabrielle tells me that she was studying at her place 'til midnight. Now my son, he finds his car up the block, the door open, the light is still on, a sign of struggle. We're not talking about teenage misbehaviour, man, somebody's got her. KEITH: Mr Hamilton, much as I appreciate the business, sounds like something for the police. BONE: Hey, hey, hey. I do not like the police. [Leaning forward] And the feeling is mutual. And what I hear, sounds like something you'd understand. Keith is quiet for a moment. KEITH: Any idea who might want to do this? Bone laughs. BONE: Look, man, let's just say I'm a couple of big deals going down real soon. And there's some cats out there who would not mind seeing it screwed up. Bone unfolds the list and throws it on the desk in front of Keith. It's a long list. Keith gazes at it as Bone stands. KEITH: It's a lot of ideas. BONE: That's just southern California. Keith's face, the so-called placid, is a picture. BONE: Now if you hear anything about New York, Detroit, Atlanta; I got more lists. I suggest you start at the top. Sam Bloom. Bone exits. Cut to the apartment. Veronica is stirring the contents of a large saucepan as Keith enters. KEITH: Hey honey, what's cooking? VERONICA: Not quite sure myself. Something that ends in -aroni. Keith pullovers to a magazine out of the folder he is carrying and starts reading it. VERONICA: Any luck? KEITH: Nothing in the car, no one in the neighborhood saw or heard anything. VERONICA: So you figured you'd check what's up with Nelly? KEITH: I'm reading up on my client. And if you buy it, he's the scariest alive guy who's also launching a line of casual wear. Veronica picks up the photo of Yolanda from the file. VERONICA: She's a senior at my school. I can ask around, background info. KEITH: Sure. But be discreet. Customer's a little sensitive, okay? Veronica nods. Cut to Veronica walking down the halls of Neptune High. VERONICA VOICEOVER: Our client is not only one who's sensitive. This is not the first time I've had the chance to help Yolanda Hamilton. Veronica, looking sad, grinds to a stop in the hallway. Flashback to Yolanda, looking lost, coming down the hallway. Duncan, Veronica, Lilly, and Logan are at Duncan's (wall stickers on the inside of the door: Ramones) and Lilly's open lockers. DUNCAN: Whoa! New student alert. LILLY: Glad to see you guys are equal opportunity oglers. LOGAN: Hey, I do not judge the color of the skin by the content of their sweater. Logan laughs and glances back at Duncan for approval of his wit, which is duly given by Duncan's giggle. LILLY: Good thing I'm not a jealous guy. The bell rings, Logan Lilly kisses and they move off. Veronica heads for Yolanda. VERONICA: What's going on in the teacher's lounge? YOLANDA: This is not English? Mrs Murphy? VERONICA: Not even close. I'm Veronica. You're ... YOLANDA: New. Yolanda Hamilton. VERONICA: Lemme show you. Veronica leads Yolanda past present Veronica day as the flashback ends. Cut to Keith examining a trophy. He swings round to Sam Bloom, at his desk in his office. KEITH: Field Masters, three years in a row. SAM: I was good. So you did not tell me what this was in regards to, Mr Mars. KEITH: I'm trying to find someone, Mr Bloom. The daughter of a customer of yours. To Mr Hamilton. SAM: Yolanda come to her senses and run away from him? KEITH: So you know Yolanda. SAM: I did not. Our kids grew up together. Wh-why would you think I'd know anything about her disappearance? KEITH: He implied that there was some pretty bad blood between you two. A grudge. Sam laughs. SAM: Bad blood, huh? Well, that's one way to put it. Hatred would be another way. Oh, so he did not fill you in. When Bone was, uh, as he was fond of telling the magazines, he did not advertise the fact that he was much better off than he was. Everyone was making money. KEITH: It sounds like you are on good terms. SAM: Sounds like it. When he later did not know that he was involved in some ingenious tax evasion, I had to make a choice. Lose my practice to the IRS or talk. I thing to save my practice. Bone went back to prison. KEITH: I'm not sure I understand. It sounds like he's the one with the grudge. SAM: Well, that's not the whole story. Sam pushes himself away from his desk. He is in a wheelchair and wheels himself around the desk. SAM: About two months in his sentence, I was leaving work. A car pulled up, fired ten sh*ts into my car. KEITH: He tried to have you k*lled? SAM: Well, it does not matter where I'm realizing who the real Percy Hamilton is. It's Bone. Yolanda's friend, Gabrielle, is sitting at one of the outdoor lunch tables. GABRIELLE: I mean, we might have lost track of time studying ... Gabrielle continues talking to an observing Veronica. VERONICA VOICEOVER: One thing about an ex-cop for a dad is that some boring Sunday when you've seen all the reruns, he might k*ll time describing, for instance, how to tell if someone's lying in an interrogation. Take Yolanda's friend Gabrielle here: the indirect eye contact, the smile that does not crinkle the eyes. Gabrielle is displaying this behavior. She breaks and looks at Veronica. GABRIELLE: So sh-she still is not back, huh? VERONICA: She's missing. She's in danger. Quit lying and tell me what really happened. Gabrielle thinks about it for a moment. GABRIELLE: We'd been sneaking out of this club in LA, Blender. The bouncer Marcel used to work for her dad. I've been seeing this guy. He's older. My parents would disown me if they knew. VERONICA: How long did you stay at the club? GABRIELLE: When did you leave me? Yolanda was still there. But she had her car. VERONICA: Thanks. I hope she's okay. GABRIELLE: [Pissed off] You think I do not. She's my friend. Who are you? Gabrielle collects her stuff and stomps off. Veronica stares after her then gets her cell phone out of her back. She punches in a number. VERONICA Hey, Dad. Something to check ... VERONICA VOICEOVER: Who am I? I was Yolanda's first friend at Neptune. Flashback to Logan, Lilly and Dick eating Chinese at one of the outdoor tables. DICK: So, new girl. What's your dad do? Duncan, Veronica and Yolanda are also at the table. YOLANDA: He's one of the Dixie Chicks. And, yeah, he makes more money than your dad. Everybody laughs. YOLANDA: Was that your real question? LOGAN: You guys ready for the biggest blow-out of all time? DUNCAN: Where are your parents going this time? LOGAN: Nepal. Logan rubber band off sweaters Lilly's wrist as she eats. LOGAN: Sherpas lug their crap up and down a mountain for two weeks so they can take pictures of a yak. Duncan cringes as Logan flicks the rubber band at him. VERONICA: While I take pictures of you in the comfort of your living room. LILLY: Happens twice a year. His parents leave town. He throws a big party and he gets busted. You must be there. VERONICA: You must. YOLANDA: I guess I must. Cut to present day Veronica, with her cell at her ear. Cut to Aaron, dressed in a dress at the end of the bed in his darkened bedroom. He is gazing at a picture in a frame. Logan enters carrying a suit. LOGAN: If you really want flowers, it seems to be the way to go. Logan drops the following on the bed. LOGAN: Here's your costume. Aaron looks over at it listlessly LOGAN: You know, it's not enough, I can order you a veil. AARON: You remember that day we went to the zoo on your tenth birthday. Aaron reaches out and takes out his hand. AARON: We told you that we were all gonna get dressed up as a favorite animal. You remember her animal. LOGAN: Yeah, it was a mermaid. Logan says his hand is from Aaron's. Aaron sighs. AARON: When it's done we have a trick on her, no one else had gotten dressed up ... [fondly] she wore that costume around the rest of the day, anyway. LOGAN: Yeah, I remember that day. [Breaks and glares down at Aaron] You've got a nosebleed. AARON: You're going to get out of the backseat because we did not buy you a monkey then when I went to grab you, you smacked your head against a window. LOGAN: I guess we just remember it differently, Dad. Aaron sighs loudly and looks away tragically. Logan throws up his hands. LOGAN: It's fine. Logan heads for the door. AARON: Have you heard from your sister? LOGAN: [Bitter] Yeah. She feels a telegram. Heartbroken. Fermare. Can not make it back from Sydney. Fermare. Underwater scene sh**t tomorrow. Fermare. Entire crew said prayer for Mom. Fermare. Love you. Fermare. AARON: Logan. LOGAN: Stop? Boy, there's no people like show people. [Does jazz hands] Ya-da-ti-da. [Smiling humorously] She did not send a wreath though. Gah, it's gorgeous. Tulips and hyacinth. Probably set you back hundreds. AARON: Your mom loved tulips. LOGAN: Yeah, it was an overwhelming gesture. Aaron goes back to gazing sadly at the picture in his hand. The doorbell rings. Logan stares at his father. LOGAN: Do not get up. Aaron shows no signs of being heard or the doorbell or his son. Logan stares at him for a moment. VERONICA: [Offscreen] Where you going? Cut to Mars Investigations. Keith is putting on his coat in his office. Veronica is at her desk. KEITH: Marcel, what doorman you call me about? Number four on the enemies list. He was Bone's bodyguard until he paid too much attention to Yolanda and Bone had him fired after a symbolic meeting between his boot and Marcel's groin. Keith reaches for his car keys on Veronica's desk but she snatches them away. KEITH: Veronica, this is a Mars Investigation matter. I'm Mars. VERONICA: And who am I? KEITH: Veronica, and you're staying. VERONICA: Veronica MARS. And you're on painkillers! And the bottle says do not operate heavy machinery and a car's heavy. Keith is irritated but defeated. Cut to Veronica and Keith in the car, outside a club. The music is "The b*mb" by the Pharcyde. SONG: [Repeated ad nauseum] I can not I just can not get enough. KEITH: You? Stay in the car. VERONICA: And remember, you watch your back. I mean that medically. Keith gets out of the car slowly and Veronica watches his progress in the rear view mirror. Cut to Keith, walking up to the top of the line of people trying to get into the club. CLUB-GOER # 1: Did you get in last week? CLUB-GOER #: 2 No. Cut back to Veronica, who is now twisted around to watch what is going on behind her. She has a box with Valet stubs being fed through the slot at the top. Cut back to the bouncer at the head of the tail. MARCEL: I just let her in, man, that's it. KEITH: Bone fired you for being a little too friendly with your daughter. That did not make you a little mad? MARCEL: No, it's made me smart. I got into trouble looking at that girl. If Bone's got you after me, he must not know who was here that night. KEITH: Who was here? Cut to Keith getting back into Veronica's car. VERONICA: Where to, boss? KEITH: Heard of a rapper named Dime Bag? VERONICA: Dad, I thought you read Vibe. "sh*t My Boo", "Thuggin '". KEITH: Lovely tunes, I'm sure. But you might remember the guy that Bone Hamilton supposedly dangled out of a window until he signed a contract. VERONICA: That was Dime Bag? KEITH: Number two on the list. He was here Saturday night with his bunch of dudes. Veronica winces and groans. VERONICA: His posse, Dad. The Eagles had a bunch of dudes. KEITH: Well the posse is at the Duke Hotel. Keith picks up a bag from between the seats. KEITH: What's this? VERONICA: Clues. Valet stubs. I figure even kidnappers have to park. [Off his look] I know. Stay in the car. Throwing an impatient glance at her father, Veronica starts the car. The music ends and cut to Veronica leaning against the car in an underground car park. Keith is heading towards her. VERONICA: Any luck? KEITH: Their manager said that Mr Bag is out on the town and that Dime would not talk to me, even if he were here. That is unless Bone might be willing to beg. VERONICA: So what next? KEITH: Plan B. Keith heads for the boot of the car. Veronica considers two different bugging devices. VERONICA: What do you think, the T6 or the T9? KEITH: T9. How do I look? Keith is in overalls. Veronica hands the bug and inspects him. VERONICA: Like a humble drudge KEITH: That'll do. Keith exits. Veronica still has the T6 bug in her hand and puts it in her pocket. She closed the case. Cut to the hotel lobby. Veronica is leaning against a wall near reception. VERONICA VOICEOVER: When I put Yolanda, I never imagined a year later I was waiting in a hotel lobby while my dad bugged a rapper's room trying to find her. I thought it would be a long time ago, and I would be hanging out like we did the first month, just being normal. This being of course before that word lost all meaning. Flashback to Yolanda's house. Lilly, Yolanda and Veronica, who is carrying a large bowl of popcorn, is coming down to a small stairway which is lined with framed records and discs. LILLY: Are these platinum? No wonder you do not talk about your dad. He's TuPac, he's secretly still alive. YOLANDA: He's just a producer. Nothing interesting. VERONICA: So how come he's never around? BRYCE: He's away ... Unseen by the girls, Bryce is crouching at the bottom of the stairs to Yolanda's room. BRYCE: ... on business for a little while. YOLANDA: Excuse my little brother. He's an eavesdropping little freak. Yolanda pushes him away and shows the girls into her room. LILLY: Ugh. Mine's worse. Veronica turns and glares at Lilly. Bryce is left standing outside. BRYCE: I'm doing a project. YOLANDA: Do it somewhere else, Bryce. Yolanda closes the door on him. Cut to later. Playing through the rest of the flashback is Tsar's "The Girl Who Would Not Die". SONG: I remember her The girl who would not die She said it was not true I knew it was a lie People on the street Would cry out if they knew The things that I have done To make the dream come true When she blew my mind away All the feelings were betrayed Heaven would squeeze her Hell would release her into my brain Veronica and Lilly are lounging on Yolanda's bed while Yolanda is curled up in a large armchair. All are flicking through magazines. LILLY: Okay, for my next boyfriend, Jude Law type gold Colin Farrell type? VERONICA: Next? What happened to Logan? LILLY: He's insanely jealous all the time and it's getting on my nerves. YOLANDA: I know it's not cool to admit this goal I like a jealous streak on a man. Keeps' em in line. LILLY: All yours. I'm saying his party this weekend 'cause I do not want him getting all the time. Veronica makes a face that includes sticking her tongue out and Yolanda laughs. LILLY: It's not my fault. I can not help it, VERONICA: Well if you're ditching, that means Yolanda and I will have to party for three. LILLY: Which means Yolanda will be partying for two and a half. Veronica rolls her eyes. LILLY: Oh, but we're still going that fleet thing in San Diego, right? VERONICA: Uh-huh. LILLY: It's the best. All these weird, angry bands play and hundreds of cute sailors get totally wasted and fight on the sidewalk. They all laugh. YOLANDA: You know? I'm really glad I'm putting you guys. LILLY: You should be glad. We're the best. VERONICA: Um-hmm. LILLY: Now I can not wait for San Diego. It'll be rockin 'like dockin'. It's all about it and it's going to be contrasted with Veronica's sad face as it's flashback ends and she stands in the lobby of the hotel. Dime Bag and his hangers-arrive at reception, complaining. FLUNKY: We got some problems here. RECEPTIONIST: What can I do for you? DIME BAG: Yo, y'all call that a penthouse? A pent doghouse maybe. FLUNKY: He's saying it's small. VERONICA VOICEOVER: Uh-oh. It looks like Darius Bagley's aka Dime Bag and crew are arriving home early. Not good. If they catch Dad in their room ... FLUNKY: What we asked for a big ass room. RECEPTIONIST: I'll get you switched right now. VERONICA VOICEOVER: Good news? They will not walk in on Dad bugging their room. Bad news, he's bugging the wrong room. Veronica pulls the spare bug out of her pocket coat and shifts it to her pocket holes. RECEPTIONIST: Okay, room 1411, our biggest. DIME BAG: You know, y'all could learn a little something about VIP service. While this is going on, Veronica has taken off her coat and has taken it to the corner and picked up a clipboard from the reception counter. She puts on a bright smile. VERONICA: Thank you so much, [glancing at the receptionist's name] Sarah. Uh, I'm Melinda, your hospitality hostess. I'm so sorry about the mix-up. The new help does not always get you here, I can show you to your room. Sarah is bemused but does not interfere after glancing at the apparent satisfaction of the guests at this turn of events. Ozmomatli's "Saturday Night" starts up. SONG: Dip, dive, socialize Get ready for the Saturday night Dip, dive, socialize Get ready for the Saturday night Dip (dip), dive, socialize Get ready for the Saturday night Dip, dive, socialize Get ready uh. They head for the lift, Veronica entering and pushing the button to close the door. Cut to Veronica sliding back double doors into a suite. DIME BAG: Ah-hah, yeah. Now this what I'm talkingin 'about, baby. FLUNKY: Yeah. VERONICA: So, you have your bathroom, [frantically looking round] right back there and your television, if you want to watch that. Uh, chairs for s-sitting and your, uh, the phone in case you need to make a call ... The phone is on a table with the back of a couch against which it stands. As she talks, Veronica goes to the table, and the table, she plants the bug under the table. She plays her songs and picks up the phone to hide her action. VERONICA: ... would be, just right like that. DIME BAG: All right. It's cool. VERONICA: I'll have them send you some more ... is that Crystal? FLUNKY: You're damn straight, Melinda. VERONICA: Enjoy your stay. Veronica exits with an expression of relief. Keith is waiting. KEITH: Where have you been? What did I say- VERONICA: Bathroom break. They get into the car, Keith groaning as he sits .. VERONICA: How'd we do? Keith opens a small laptop and sets the bug running. KEITH: I think we're in business. WOMAN'S VOICE: They give us this upgrade, you just watch golf like an old coot. MAN'S VOICE: {Outcome} of ten more minutes. VERONICA: Here, let me try this. Veronica types into the laptop. The Sonic Snoop on the screen changes the transmitter receiver from the T6 to the T9. New voices come in 5x5. DIME BAG: [Offscreen, through the transmitter] Yo, man, that damn hospitality hostess was lyin 'about that Cristal, man! FLUNKY: [Offscreen] And she is hot! DIME BAG: [Offscreen] If you like 'em scrawny. Keith gazes balefully at his daughter as the rapper and his friend laugh. VERONICA: [Forestalling] Just ... please, do not ask. DIME BAG: [Offscreen] Yo, man, did she leave the key for the mini bar, man? VERONICA: Now what? DIME BAG: [Offscreen] Need some drinks. Now we're gonna have some girls up- Keith slams the laptop closed, cutting off the transmission. KEITH: I get Mr. Hamilton to beg. Veronica gets out her keys. VERONICA: [Crossly] I'm not scrawny. [Off Keith's look] I'm not! Cut to the Echolls' house. Pictures of Aaron and Lynn cover a piano in a large lounge area. Aaron and Logan, both in dark suits, are walking into a corridor. Logan, collar up, stops to use the reflection for the window to his top button on his shirt. AARON: Logan. I have a pretty good idea what is going through your head. They reach the front doors. Logan looks at Aaron for a moment then concentrates on doing up his tie. Aaron pauses with his hands on the door and looks at his son. AARON: I know you blame me for your mother's death. That's okay. Our marriage had some very high highs and some [theatrically] very low lows. And I know that this hard act is putting you on your way of coping. But let's make a deal, all right? From now on, we're gonna be team. Our w*r's over now Logan. [Softly] It's what she would have wanted. Logan, having finished his fashion, looks at his father fairly impassively. He very deliberately donates his sunglasses then gives a peace sign. Aaron nods his head briefly and opens the door. Logan exits first and breaks, then hears the click of a camera. He takes off his sunglasses and peers around. He sees a paparazzi behind a rock. His face is twisted in rage he runs at the photographer who scrambles up and takes off. AARON: Logan! The photographer gets to the door with Logan right behind him. A crowd is on the other side of the gate. The photographer tries to vault Logan grabs him. LOGAN: Picture, man, huh? Logan, at the same time as grabbing the camera, pulls him off the gate with sufficient strength that the photographer's left on his back on the ground. LOGAN: Something real? Here's real for you! Logan raises the camera and smashes it down hard on the drive. PHOTOGRAPHER: Hey, that's a thousand dollar camera! From cringing from the thr*at that Logan was going to att*ck him, the photographer sits up and crawls over the pieces. Aaron races up, hands outstretched to stop any fight. AARON: Logan! Enough! LOGAN: You know what Mom would have wanted! She would have wanted to sleep with all her friends. She would have wanted to care for you. So okay, Dad, let's be honest. Maybe we both wished we'd be better. But she's only gone because of you. Logan holds up his hands and storms off. The crowd mutters as Aaron stares after him. He turns to the photographer gets off the ground. PHOTOGRAPHER: Who's gonna pay for my camera? AARON: I'll tell you what. I'll get buried here. [To the crowd] Hey everybody! [Raises both hands and waves] Enjoying the show, huh? Aaron turns and heads back to the house. Cut to a classroom and Bryce, performing some kind of science experiment that involves running water in a fish t*nk filled with earth and plants. He seems well satisfied with the results. Veronica enters. VERONICA: They said you had PE this period. BRYCE: I dropped it for independent study. VERONICA: Independent study of sand? BRYCE: Civil engineering. Soil erosion modeling in a ... urban context. VERONICA: Cool. I'm ... BRYCE: Veronica. I remember. VERONICA: Just helping you know, you know, see if we can track Yolanda down. BRYCE: Track her down? Like she just gone lost or something. Someone's got her. One of the other low lives Bone stepped on to get to the top. Whatever happened to Yolanda, it is his fault. VERONICA: He is desperate to get back. BRYCE: Hmm. Then where's the police? He's ashamed of me, you know. He's been in jail a third of my life but I'm an embarrassment. State Science Fair winner two years straight but I'm soft. Is that why you guys being stopped? You figure out our dad was in jail? VERONICA: I did not know about that. She never talked about your dad. BRYCE: So, you just drifted apart. It's too bad. She really liked you guys. VERONICA VOICEOVER: And I liked her. Flashback to Logan's party. The music is "Hey Ma" SONG: Look at the range man I was a whole new game plan Looked and said that's nothing but game Cam She was right; she was up in the Range man Dropped her off at the L, now I'm flippin 'the cell That's right I had to call up L You L, what up, I h*t, what else, more dome, say word And we got it on tonight Hey my, what's up, lets slide, all right, all right And we get it on it You smoke, I smoke, I drink, me too, well good Cause we get high tonight Got droops, got sh*ts, got Trucks, got juice, all right Cause we take a ride tonight So my, what's up, let's slide, all right, all right And we gon get it on tonight Logan, Yolanda, Duncan and Veronica are sitting around a low table, playing quarters. Logan laughs as a quarter drops into his glass. He picks up the glass. LOGAN: [Drunkenly] Girl is deadly at this. DUNCAN: You're letting her win. LOGAN: Yep, or maybe it's going to get me drunk and she'll take advantage of me. YOLANDA: Dream on. Logan throws back his drink. VERONICA: Careful Logan, Lilly's just sick, she's not d*ad. LOGAN: Sick, my ass! She's jerking me around. [Giggles] She's looking sick to you earlier D? DUNCAN: Hey, leave me out of this. [To Veronica] We need to get you home. Remember the last time, Homecoming? Veronica, on Duncan's lap, groans in acknowledgment. She starts to move, Yolanda on both cheeks. VERONICA: Gotta go, yo. YOLANDA: Make a tree, Veronica and Duncan leave Logan and Yolanda to the game and head downstairs. DUNCAN: So, Yolanda seems cool. VERONICA: Oh is she? I've got a good eye. They are halfway down the stairs when Veronica breaks. VERONICA: Oh, sh**t, my purse. I'll be right back. Duncan carries on down as Veronica runs up the stairs. VERONICA: Hey, if you guys are still conscious, have you seen my- As she crests the stairs, Veronica stops in shock. The music stops. Logan and Yolanda are kissing. Both seem into it. Cut to Neptune High, still within the flashback, as Lilly and Veronica thread their way down to a crowded hallway. LILLY: They what ?! VERONICA: It was a second look. Let me ask Yolanda about it. LILLY: I do not know a Yolanda, do you? Veronica stares at Lilly, distressed. Cut to present. Veronica exits. KEITH: [Offscreen] We know he has a motive ... Cut to an office at the Hamilton's home. Bone is at the desk with Keith. Vanessa stands anxiously on the other side of the desk. KEITH: ... he was at the club and he will not talk to me. He's the best lead we have right now and we need to know what he knows. Bone is not a happy bunny. VANESSA: [Impatient] Percy, this is not business, this is your daughter. BONE: Look, I ... I know this is my daughter. He snatches up the phone receipt, his apparent distaste. RECEPTIONIST: [Offscreen, on phone] Villa Marquis. May I help you? BONE: Room 1411. RECEPTIONIST: [Offscreen] One moment. Bone sinks to his chair. "Living It Up" by The League plays. The camera cuts between the two as they talk. DIME BAG: Yo, what up? This is Dime Bag. BONE: It's me, Hamilton. DIME BAG: Whoa ho ho ho. Heard you got a little personal problem. BONE: Man, look, II-I'm just calling to see if you know anything about Yolanda. DIME BAG: Yolanda, huh? I can know a little something about that. Why, what's up, what's the deal? BONE: Look, man, wh-whatever you got against me and you- DIME BAG: Bones, I just wanna hear you beg and I'll tell you where she's at. This is like me holding you out of a window. BONE: Damn man. DIME BAG: Wa-wait, now hold on, Bone. Saying "Damn, man" is not begging. Bone gets fortitude from the picture he is holding of himself and Yolanda when she was a toddler. BONE: Dime Bag, man. This is my daughter. If you could help me get back ... I'm begging. DIME BAG: You almost like a little woman there, Bone. But you know what? To tell you the truth. I do not know nothin 'about Yolanda. I mean I can have seen her at the club for a minute, now that was it. All right? So why do not you go back to crying and leave me alone, you little bitch. Bone blusters then slams the receiver, breaking something in the process. KEITH: Wait, wait. Ju-Quiet. The Sonic Snoop is open on Bone 's desk and they listen. DIME BAG: You should have heard this fool cryin '. [In cruel caricature] "Yo, Dime Bag, man, that's my daughter." Sounds like a little bitch. FLUNKY: Hey! She is fine though, man. I would not know what I'm sayingin '. Bryce wanders in the room and listens, unobserved by the adults. DIME BAG: Man, who do not you think is fine. I would be nice though, huh? Bones' little Miss Princess locked up in a closet somewhere, available whenever, huh, I mean, if that was possible, right? Bone can not take it anymore and slams the laptop shut. He stands, breathing deeply and spots Bryce. BONE: What are you lookingin 'at boy? Bryce stares at his father at a time then turns and walks away. Cut to the parking stubs, spread out over Veronica's bedroom desk. She is on her laptop while Wallace spells through them. WALLACE: Look at all these valet stubs. Man, I'm in the middle of a hot sh*t of dudes and making out with sexy widows. VERONICA: Sexy widows show up later. [Sees something of interest on the screen] Hey! WALLACE: What? VERONICA: Bloom. My dad talked to a Sam Bloom but ... he's in a wheelchair. The record page for the Blooms. The first record is from the Division of Motor Vehicles for Benjamin Bloom: 08-15-2004 - Warning - Loitering, reported by neighbors. There is another entry for Rebecca Bloom: 05-30-1995 - $ 150 Fine - Parking Within 10ft of Hydrant f*re. Underneath are Samuel Bloom's subscriptions which are exactly identical in every detail to Samuel Mackenzie's subscriptions seen on "Silence of the Lamb" (tsk, tsk props guys, do not you know you've gotten a cult show here - fans look at this stuff, or maybe it's just me). WALLACE: Benjamin Bloom. VERONICA: Hold the cigar, I'm not done yet. She brings up the personal detail page. It was Samuel Bloom's born on November 22, 1961, and his wife Rebecca nee Leibovitz was born on July 1, 1965. Under children, Benjamin (born in London) 1985. VERONICA: Sam Bloom Esquire has a named Benjamin who was at the club the night she disappeared. I'll take that cigar now. Cut to the Echolls' home. Lynn's wake is in progress. Flowers are everywhere and people in dark suits wander about fairly aimlessly. Logan Enters, playing a hand as he approaches various people .. LOGAN: [To a gray-haired gentleman] Thanks for coming out. GENTLEMAN: Our pleasure. LOGAN: It means a lot to the family Logan shakes his hand with gusto and a little too long. LOGAN: Thank you. [On spotting a woman, click and point at a finger g*n at her] Nice to see you. WOMAN: Logan. LOGAN: It's good to have friends around. She takes his hand and pecks him on the cheek. WOMAN: I'm so sorry. LOGAN: It's good to have friends around. He moves on to an elderly couple. In mock seriousness, he takes the woman's hand. LOGAN: My father thanks you. ELDERLY WOMAN: You're welcome. LOGAN: My mother thanks you. [Pause] I thank you. Logan moves on again, taking a deep sigh but it's part of the act. He seems to be taking piss out of the whole affair. He sees another patsy and race up to him, grabbing his shoulders and grinning. LOGAN: I'm glad you're here. As he shakes the man, it can be seen that MAN has something in his left hand MAN: [Somewhat taken aback] Thank you. He walks on, bl*wing out a breath and playing with the item in his hand; a lighter, opening and closing it. Harvey Greenblatt, Aaron's agent, is talking intently to Aaron. Logan comes out for the first time, seems genuinely engaged. HARVEY: ... Aaron, this is a little awkward goal, uh, the studio's been calling non-stop. They just can not wait any longer. Now I know it's a hard time but we do not want them for somebody else and, uh, I think I should just give them a call, make the deal, just make sure. AARON: Good god, Harvey, this is my wife's funeral. LOGAN: [Hard] So Harve. Harvey turns and sees Logan. LOGAN: Hey. Harvey nods and smiles LOGAN: Do you think next time we have these things that ICM will let us use the boardroom. You know, so there's no travel, no trailer size negotiations. I do not know, it's just a thought. Harvey stares at Logan, uncomfortable. Logan walks closer and seems to be addressing Harvey's goal by the end, he's staring at Aaron. LOGAN: Can I get you anything? Mimosa? Finger sandwich? [Bitterly] A tissue? Logan turns and walks into the house. Harvey sighs heavily and then turns back to Aaron. HARVEY: Look, I-I'm sorry, I ... this is an awful time but ... we do not want the studio to move on somebody else- AARON: Harvey! [Holds up a finger] I do not want you to negotiate this deal for me. In fact, I do not want you to bargain for me. Aaron pats Harvey on the arm and heads back to the house. HARVEY: Are you f*ring me? Aaron breaks at the door and turns back to Harvey. AARON: No, I'm not f*ring you. I'm out of the business. I'm done. Aaron uses the Echolls raised in his hands and goes into the house, leaving a gutted Harvey behind. Cut to Logan's room. One of the most popular WEGA flat screen TVs, which has been written with Zelda type game is in progress. TV: Your health is critical! Logan is sitting at the end of his bed, intent on the game. He has taken off his jacket and loosened his tie. There is a knock on the door and Duncan steps in. DUNCAN: What are you doing? LOGAN: Trying to get this magic amulet but it takes concentration so it could keep it down. DUNCAN: Logan. It's your mom's funeral reception. Maybe we should- LOGAN: It's not my mom's reception. It's his. So you want to eat crab puffs and discuss today's "Variety", knock yourself out, man. Thanks for coming, it really means a lot to the family. DUNCAN: Logan, I'm your friend, and I'm starting to get a little worried. Logan finally stops staring at the screen and laughs, throwing the controller onto the floor. LOGAN: And now I'm d*ad. Duncan is not reassured. Logan slaps his hand. LOGAN: None of this matters, man, do not worry. Logan gets off the bed and walks over a chest of drawers by the window. DUNCAN: What are you talking about? Logan gets the lighter out of his pocket and starts playing with it again while leaning on the chest of drawers, gazing at a picture of he and his mother. LOGAN: You know Mom's dad fought in the Korean w*r? Duncan shakes his head. LOGAN: Uh. Well, he got this lighter in Seoul. He was taken over when he was captured. He and his buddies escaped and he had it engraved. Logan throws the lighter to Duncan who catches it with one hand. He looks down at it. The engraving reads: FREE AT LAST. LOGAN: And it was always in her purse. But she left it on her trainer the night she disappeared. [Off Duncan 's blank look] It' s a sign. Duncan still does not understand. LOGAN: You know, man, come on, I mean, she hated all this, she hated him. [Laughs] They did not find a body because they were not d*ad. Logan recovers the lighter from Duncan and holds it up. LOGAN: She just escaped. Logan laughs again but Duncan is seriously concerned about his friend. Cut to Sam Blooms office, where he is at his desk. SAM: No! As far as I know, Ben does not hang out at hip hop clubs. Keith is standing in front of his desk. KEITH: Then why was he there? He was at the club Yolanda disappeared. SAM: Well, II am sure there is some explanation. KEITH: Did you know that he got a traffic warning last month? A neighbor had called someone who was watching the Hamilton house. How did he feel about the sh**ting? SAM: Outraged. What else could he be? KEITH Where's he now, Mr. Bloom? SAM: He's at USC. But you will not find him there. He and some friends are in Mexico hiking. Can not be reached. KEITH: You hear from him, you let me know. Keith leaves. Sam looks worried. Cut to Mars Investigations. Veronica is at her desk as Keith enters. VERONICA Hey Dad. Did you find Benjamin Bloom? KEITH: No, but his dad seemed squirrelly when I asked how he was. How's your sorority speak. VERONICA: Like awesome! Why? Cut to later. Veronica is on the phone. VERONICA: Hi, is Ben there? Oh, is this his roommate? Cool. Um, hi, this is Lisa, I put Ben last fall on this beach blanket bingo mixer. Keith motions to her to move it on. VERONICA: Yeah, it's a boring story. But, um, I need to talk about something involving crabs and I heard that it was going to Mexico with some of the guys. [Listens] Oh. [And again] Really? Uh, thanks. KEITH: Crabs? VERONICA: No Mexico. Roommate said he's been acting kinda weird but he left alone last week. But he said he saw something on his desk. A hotel confirmation number for Vegas. Keith picks up the phone receiver and dials. KEITH: Tom Decintio please. [Breaks] Tom! Keith Mars. How's Vegas? [Listens] Yeah, yeah, I got somebody here. Veronica holds up her notebook. KEITH: Benjamin Bloom, license 4-PC-1-0-7-5. Might be in one of the hotels. Thanks. Keith ends his call and looks down on Veronica, who sighs heavily. Keith perches on the edge of her desk and leans over her back and massage. KEITH: You've been working overtime on this, kid. Hmm. You said she's a friend? VERONICA: Hmm, something. VERONICA VOICEOVER: What was that word again for almost friend. As Keith moves to a massage both her shoulders, flashback to the school outside. Yolanda runs to catch up with Veronica, who keeps walking, Yolanda to keep pace. YOLANDA: Veronica! Can you talk to Lilly? I heard what Logan said about that night and it's totally untrue. I did not do anything. VERONICA: I saw it, Yolanda. Veronica stops and looks at Yolanda. YOLANDA: We were just talking, you know, and he just kissed me. The story, I threw myself at him? I'd never do that. Please, make her understand. VERONICA: I do not know, sometimes she's really- A car horn honks. Lilly is in her car, at least one other girl is in the back seat. Lilly is shielding her eyes against the sun, shouting. LILLY: Veronica! Come on. San Diego's waiting. Veronica looks back and smiles at Lilly. LILLY: In or out, Veronica? In or out? YOLANDA: I swear, he kissed me. It did not go anywhere. I do not want to blow it here. Lilly, impatient, blows the horn to a couple more times. Veronica looks back at Lilly who does "what are you going to do" gesture. Veronica turns back to Yolanda VERONICA: You should have known better. Veronica turns back on Yolanda, leaving her standing, and heads for Lilly's car. VERONICA VOICEOVER: Do I tell my dad that his fiercely non-compliant daughter has a fresh face? Cut back to the present. Bone enters Mars Investigations. BONE: Hey, we need to talk. Cut to Keith's office. He hands Keith note. BONE: It came an hour ago. They want a half million if I am ever to see Yolanda alive again. KEITH: Okay, I know this is hard to believe. [Examining the note] This is strange. BONE: Strange how? KEITH: Well you get that ransom demand and they give you the details of the drop at the last minute so you can not stake it out but this guy, he gave it all. The time, the place ... BONE: That's' cause he's stupid, man. Look at the top. KEITH: [Reads] If you want a little Miss Princess back home ... BONE: Yeah, that's what we heard on the bug. "Little Miss Princess." It's Dime Bag. Hey, if I do not get my daughter back, somebody Keith nods. Cut to Bone's home office. He is loading cash into a briefcase as Keith enters. KEITH: That the money? BONE: Five hundred plus the GPS tracker and the dye pack you put in here. Bastards will not even make it a block. KEITH: Look, Mr Hamilton, I know we're talking about this goal. BONE: And I've already told you I do not use for the police. I have my justice right here. Three heavies have come into the room, behind Bone. Keith sighs in frustration. KEITH: Look. This is not the way to deal with this. If you care about your daughter, you'll go to the cops. BONE: Hey. If the cops were so great, why are you still one, huh? KEITH: Mr Hamilton. I can not be party to this. BONE: Then you've done you're bit. Check in the mail. BONE hands the box to one of the heavies BONE: Load it up. Let's roll. Keith watches this unhappily and turns to look at Vanessa, stood behind him. She shakes her head and is nodding in understanding. VERONICA: [Offscreen] I thought you were fired. Cut to a Neptune street. It is pouring with rain. Keith has his arm around Veronica 's shoulders, holding her close as they share the same umbrella and slowly walking down the street. VERONICA: Why are we here? KEITH: Trying to save the girl. This is the dumbest kidnapper ever or the smartest. I mean, it gives the drop in advance and it's the worst possible spot. There's no escape routes. It's totally open to surveillance. I mean, getting away with the money will be impossible. Veronica seems to have an idea of ​​the rain, the people and the water pouring down the drains. VERONICA: Maybe not totally impossible. Cut to Veronica with a carrier bag filled with yellow plastic ducks. Keith holds one up. KEITH: Oh, Veronica ... this is really fatping at straws. VERONICA: Make yourself useful. Get those things in a row. Veronica starts the car. Cut back to the street where Bone is pacing. Cut back to Veronica and Keith, using the tracking device in the car. VERONICA: Any signal yet? KEITH: Yeah, take this right. Back to the street, Bone is waiting. He nods to his heavies who are spread around the area. His cell phone rings. He pulls it from his pocket. BONE: Yeah. The voice on the phone is digitally disguised. VOICE: Do you see the taxi up the street? There is a taxi idling up the street. BONE: [Looks] Yeah, I see it. I got the money. VOICE: Go to the trash can on the corner. You'll find a plastic football. Bone retrieves a football. BONE: I got it. VOICE: You can keep your cash. That's a million dollar ring that you like to wave to people inside the football and throw it down the storm drain. I'm watching you. The cab will not stop unless you've done this. Do it now. Bone takes off his ring and inserts it through a slit into the ball which he throws down the drain. BONE: All right, it's done. Now what? The cab moves forward. The voice on the phone is replaced by a dialling tone. BONE: Hello! Hello! [Shouting at the heavies] It's the car. Get that car. Armed, they race to the cab. They open the back doors. It's empty. BONE: Where is she? [Banging the top of the taxi] Damn. They stand around, flummoxed. Cut to a storm drain. Little rubber ducks are popping out. Bryce watches, confused about the ducks but smiles when the football turns up. He grabs it. VERONICA: Hey, Bryce. Bryce is startled as Veronica comes up behind him. He turns and sees Keith not far behind her. BRYCE: How'd you guys find me? VERONICA: Whoever did this dumb or really smart. Veronica picks one of the ducks and removes a bug from it. VERONICA: You're really smart. BRYCE: Yeah, so are you. Cut to the side as they walk up from the storm drain. Keith walks behind them, speaking on the cell phone. VERONICA: So she was never kidnapped? BRYCE: No. She just ran off. VERONICA: How do you know? BRYCE: She always thinks I'm not around but I hear things. VERONICA: Eavesdropping again, huh? BRYCE: She was on the phone talking about someone at the club, running off forever. I rode in the trunk when she left Gabrielle's for LA. Drove the car back, made it seem like she'd been abducted and that was that. VERONICA: God, Bryce, why? BRYCE: Trust me. You would not understand. VERONICA: But Yolanda, is she okay? BRYCE: As far as I know. I think she is trying to get my dad's attention. I may have stolen some of her thunder. KEITH: [Into his cell] So she's okay. [Breaks] No kidding. Thanks Tom. Here's what we'll do. Cut to the Hamilton home. Bone is sitting with his head in his hands while Vanessa paces. Bryce enters followed by Keith and Veronica. VANESSA: Bryce! Where have you been? KEITH: Mrs Hamilton, Mr Hamilton, I think there's something Bryce wants to tell you. Bryce slaps the ring on a glass table top. BRYCE: You lost your ring. Bone picks it up and looks at it. KEITH: Your daughter was not kidnapped. She's just run off. Bryce here's the one who wrote the note. BRYCE: [Off his parents astonished looks] Well, you can be mad, Dad. But you can not call me soft. BONE: No. I guess I can not. VANESSA: Bryce, my god, where's Yolanda? KEITH: She for yourself. Keith steps forward with the laptop. KEITH: She can see you. The pinhole at the top of the screen is a camera. Keith sets the laptop on the table. Yolanda appears, a boy behind her. YOLANDA: Ma? Dad. Here's the good news. I'm fine. And I'm married now. VANESSA: What? YOLANDA: I'm Mrs Benjamin Bloom. Which is why? I'm telling you and I'm bl*wing you just ... get over yourselves and make up, we're not coming back. BONE: Okay, look here baby girl. How many times do I have to tell that I did not order that drive-by. YOLANDA: You let everyone believe you ordered because it gave you cred. Never mind it just turned me and Bryce into gangster's kids. Bone looks up at Bryce. YOLANDA: Give us your blessing. And, um, we'll come home. After the honeymoon. Bryce scratches his head, unwilling to comply. YOLANDA: All right then, be like that. Yolanda leans forward on the screen and switches off the camera Cut to Veronica's room. She has the camera in place and it is trained on the same Las Vegas hotel room. Yolanda comes into view. YOLANDA: Veronica? Is that you? How did you ... VERONICA: I just wanted to say congratulations on the marriage and I'm sorry. I should have been a better friend. YOLANDA: Veronica, if I had been in your position, I would have done the same thing. There's a sharp knock on the front door. Cut to Veronica making her way across the dark lounge to the door. She opens it. It's Logan, arms wrapped around himself. VERONICA: [Perplexed] Logan, what are you doing here? LOGAN: I want you to find my mother. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x13 - Lord of the Bling"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars� Abel Koontz is interviewed by Veronica (from 108 "Like a Virgin"). VERONICA: You never saw Lilly Kane in your life. Why would you confess to k*lling her? KOONTZ: Do you wanna know how I bashed your friend's brains in. I know who you are, Veronica Mars. Rebecca James and Duncan in a counselling session (from 112 "Clash of the Tritons"). REBECCA: How long have you been feeling like this? DUNCAN: Since I stopped taking my meds. Cut to Veronica listening in her car from the same episode. VERONICA VOICEOVER: So what exactly is your mystery illness Duncan and what other pills are you taking? Aaron and Logan in their funeral clothes as they pause at the front door (from 113 "Lord of the Bling"). AARON: I know you blame me for your mother's death. Let's make a deal. Our w*r's over now. Logan and Duncan in Logan's room from the same episode. LOGAN: They didn't find a body because she's not d*ad, she just escaped. Cut to Veronica opening the door of the apartment to find Logan from the same episode. VERONICA: Logan, what are you doing here? LOGAN: I want you to find my mother. End previously and carrying straight on from there. LOGAN: Relax, I'm not asking you to drag the lake. My mother didn't really k*ll herself. VERONICA: [Softly] Come inside, okay? Veronica steps back as Logan enters the apartment, his arms still wrapped around his body. LOGAN: Veronica, she's not d*ad. VERONICA: [Carefully] What makes you think she's still alive? LOGAN: [Impatiently] Why does everyone assume that she's not? I mean, there's no body. VERONICA: What about the woman who saw her jump? It's been on every channel. LOGAN: [Quietly sarcastic] Well, if she's on the TV, she must be telling the truth. But her credit cards were missing. I mean, doesn't that seem like... [voice shaking] I don't know, a clue? You don't jump off a bridge with your platinum card. VERONICA:Logan, I- LOGAN: [Insistent] I know my mother! VERONICA: Okay... Logan lets out a big sigh and looks down at his hands. He is still carrying Lynn's lighter. Throughout this scene, Veronica speaks softly and sympathetically but with a view to trying to reason with him. VERONICA: I heard she left a note. LOGAN: Well, yeah, she wants people to think she's d*ad. But if she was going to really do the deed, it would be chardonnay and sleeping pills. [Smiles] You know, she wouldn't risk being found bug-eyed and bloated in some shrimp net. VERONICA: I'll see what I can find out. Logan turns to go. LOGAN: You know I... He pauses, framed in the doorway. LOGAN: I just need to know she's okay. He leaves as Veronica stares after him. Cut to an abrupt change of mood as students, their desks ranged in two groups facing each other across the classroom, slap their desks and tap their feet rhythmically. The teacher, Mr Rooks prowls the central walkway created by the arrangement. The students include Veronica and Wallace. MR ROOKS: Scholars! Thinkers! Learned charges. You asked for it. You got it. World history review, roundup and death match. STUDENTS: Woo. MR ROOKS: Who will reign supreme? Will it be [pointing to the students in the group opposite Veronica's] the Age of Enlightenment rock stars? AGE OF ENLIGHTMENT GROUP: Ooga-booga-booga-booga! MR ROOKS: Or will it be the children of the Industrial Revolution? CHILDREN OF THE INDUSTRIAL REVOLTION GROUP: Ah-ooga! The camera closes in on Veronica, with Wallace sitting behind her. Both are enjoying themselves immensely. MR ROOKS: Blood is in the air. Blood! Round one! Let's take a look at the board! Rooks has an overhead projector set up at one end of the room to shine onto the blackboard at the other end. He removes a strip of paper to reveal written at the top of a slide: Five Leading Causes of the Fall of the Roman Empire. MR ROOKS: The question is what are five leading causes of the fall of the Roman Empire? The student next to Veronica presses the small bell on his desk. The students start to click their fingers. MR ROOKS: Team captain Corazon Soliman, your answer? STUDENT: The Huns kicked their ass. The students laugh and look up at Rooks. MR ROOKS: The correct answer was invading Germanic hordes. The students groan a little as Rooks presses his hand to his ear. MR ROOKS: Judges? Judges award the point! Children of the Industrial Revolution, you control the board! The students celebrate as Rooks reveals the second answer on the list on the projector: 2. Invading Germanic Hordes. Rooks then starts clicking his own fingers as he observes them. MR ROOKS: You know the rules. I can call on any team member. Who will be the weakest link? Wallace Fennel, show me what you got. WALLACE: All right, Mr Rooks. They relied too much on sl*ve labour. MR ROOKS: Can I see sl*ve labour? Rooks goes back to the projector and pulls another strip away revealing: 4. Over Reliance on sl*ve Labor. There's more cheering. MR ROOKS: Two more answers. Uh-oh. I see someone hiding back there, trying to disappear completely. Carrie Bishop. [With gusto] Sock it to me, baby! Carrie is clearly not into the fun at all. She smiles but there is no humour in it. CARRIE: The answer is I'm not pregnant. Rooks face drops and the students stop clicking their fingers, shocked. CARRIE: So you can quit dodging my calls and you can keep your money to [air quotes] take care of it. And while we're at it, [throws him a key] here's your key back. I won't be needing it anymore. Opening credits. Veronica is the last student in Rooks' class. She approaches him. VERONICA: Are you okay? MR ROOKS: Oh, been better. [Sighs heavily] She's making it up, you know. I never touched that girl. I've never seen her outside of class. VERONICA: I know. MR ROOKS: Yeah but it's not going to matter. Class has been out less than a minute and I would guess that everyone in this school has heard by now. Veronica turns her head to see where Rooks is looking. It is through the open door of the classroom where some students are peering in, gossiping. VERONICA: That's probably a good guess. MR ROOKS: This is all I ever wanted to do. And it's over. VERONICA: Not if I can help it. Rooks gives her a resigned look. Cut to cheerleaders carrying their lunches past some of the outdoor tables. They pass Carrie, who is sitting alone at one of the tables. Three girls are at a table behind her. One of the girl's starts to sing the Police's "Don't Stand So Close To Me". From the look on her face and the phrasing, her intent is malicious. Carrie glances round then goes back to her lunch. SONG: Young teacher, the subject of schoolgirl fantasy She wants him so badly knows what she wants to be Her two friends join in. SONG: Temptation, frustration, so bad it makes him cry Her bus stop, she's waiting, his car is warm and dry Don't stand so, don't stand so, don't stand so close to me Carrie's had enough and walked off with her lunch, observed by Veronica and Wallace. WALLACE: That's rough, man. VERONICA: Don't look to me for sympathy. Carrie has had a long and storied reign as the gossip queen of Neptune High. WALLACE: You get a crown with that? VERONICA: Do something for me? WALLACE: Let me guess. Borrow her permanent file? VERONICA: I remember when you were new and eager to please. Good times. They smile. Veronica looks over her shoulder and spots someone. VERONICA: Hey! She scrambles off the bench and approaches Duncan, who is walking past. VERONICA: Can I ask you kind of a weird favour? DUNCAN: Depends how weird. VERONICA: Our family physician just retired to Death Valley, literally. I know it sounds like a metaphor, but it's not. [Duncan laughs] Anyway, we need a new general practitioner. Can I get the name of yours? DUNCAN: Sure. Dr. Al Levine. He's in the book. VERONICA: Thanks. DUNCAN: Yeah, no problem. He's� kind of expensive, though. VERONICA: We've got insurance. Duncan seems a little sceptical that this will be adequate but is too polite to argue. He leaves. VERONICA VOICEOVER: Al Levine. Got it. It's time to find out what this mystery illness is you're suffering from. Cut to later. Veronica exits the school and is met by Wallace. He has a file. He looks around conspiratorially. WALLACE: Carrie's file. He holds it out to her but as her fingers close on it, he snatches it back. WALLACE: If you are caught with this, I will disavow any knowledge of you or your mission. You'll be on your own. VERONICA: Don't worry. I've got a cyanide capsule in a false tooth. If I'm caught, I'll do the honourable thing. He hands her the file. WALLACE: It's been a privilege knowing you, Mars. He heads off a Veronica looks around then starts perusing the file. VERONICA VOICEOVER: Well, well, well, Carrie. Deeply into the file, she doesn't see Logan approach and stop next to her. VERONICA VOICEOVER: I'm not sure this is- LOGAN: It's a good read? Veronica is startled and quickly closes the file. LOGAN: Any news? VERONICA: I put notices on your mom's credit cards and on her ATM card. LOGAN: Meaning what? VERONICA: Meaning a friend of my father's who works at your family bank will text message me if any of the cards are used. And you know that eyewitness that's been clogging up the airwaves? LOGAN: Yeah. Opportunistic hag. VERONICA: That's the one. Well, she's giving a statement at the sheriff's department tomorrow. I'll drop by; see if she's up for a chat. LOGAN: Well, I'll go with you. VERONICA: Actually, despite popular opinion, you really can't b*at the truth out of someone. Veronica moves away, returning to her scan of Carrie's file, leaving Logan standing but only for a moment before he follows her. LOGAN: Listen, I'm going. VERONICA: You're not. LOGAN: 'Kay, what are you going to stop me with? VERONICA: Force of will, strength of character, tenacity, [illustrating] karate chop... Logan puts his hand on her arm to stop her walking and turn her to face him. LOGAN: [With finger pointed] I will know if she's lying, okay. You won't. VERONICA: [Resigned] Fine. I've got a plan. LOGAN: [Harsh laugh] Yeah, I'm sure you do. Logan stands, arms akimbo as Veronica turns her attention elsewhere. VERONICA: Hey, Carrie, wait up! Veronica walks on and reaches Carrie. CARRIE: [Sarcastic] Why? Did you want the chance to tell me how much you admired me for my brave stand? VERONICA: I want to give you a chance to recant before I prove you're lying. CARRIE: Why do you even care? VERONICA: There aren't many great teachers. Mr Rooks is one of them. CARRIE: Yeah, if you can get past the part where he seduces his students. VERONICA: Hey, Carrie, this is me, Veronica. I know you. CARRIE: You're so naive. VERONICA: Yeah, that's me, naive. Carrie opens the door of her car to leave. VERONICA: Mr Rooks called your parents in for a parent-teacher conference last September. Hardly seems like something an illicit boyfriend would do. CARRIE: Believe what you want. Never cared what you thought of me before, no reason to start now. Carrie gets into her car. Veronica sighs softly. Cut to Veronica entering Mars Investigations. Keith comes out of the kitchenette. KEITH: Hey, sweetie. VERONICA: Hey. KEITH: Hey, you know a teacher named Chuck Rooks? Teaches history? VERONICA: Yeah, I'm in his class. KEITH: Oh, good, good. I want you to find out whatever you can about him. VERONICA: Why? KEITH: Well, the parents of a girl named Carrie Bishop just hired us to investigate him. Apparently Carrie filed a sexual harassment claim against him this afternoon. They want him fired. Veronica is horrified, shaking her head. KEITH: What's wrong? Veronica is momentarily dumbstruck. Cut to a little later. Veronica is at her desk, emptying her bag, loudly. Keith is standing in front of her desk, observing. KEITH: Calm down. What are you so upset about? VERONICA: [Passionately] Mr Rooks is an amazing teacher, one of the few good teachers at Neptune High. And you're just going to join the witch hunt to get him fired? KEITH: I'm just running a background check. I'm not organising a stoning in the town square. VERONICA: For the record, I can't help you. I've already volunteered to work with him. You know how I dread going to that school every day? His class is one of the few things that I look forward to. KEITH: Well, I'm sorry. This is my business, honey. It's what I do. Besides, the girl deserves to be heard. VERONICA: No, actually, she doesn't. She's a liar and a gossip and a manipulator. KEITH: What makes you think that? VERONICA: I just do. KEITH: Well, I can't drop a case based on a feeling you have, I'm sorry. Keith goes into his office. Veronica sulks. VERONICA: Fine. You can answer your own phone. Keith stares at her from his office as Veronica gets out her laptop and thinks. SUSAN: [Offscreen] I'm surprised they lasted as long as they did. Flashback to the girls' bathroom. Carrie and her friend, Susan Knight, are at the mirrors. Unbeknownst to them, Veronica is in one of the stalls and can hear them. CARRIE: I know. SUSAN: I mean, of all of the girls in the school Duncan could have gone out with, Veronica Mars? [Snorts] I mean, how insane is that? CARRIE: He's out of his mind, that's for sure. She really got her claws into him. SUSAN: You know, I actually sort of feel sorry for the guy. I mean, you know all she's after is his money. CARRIE: No, I mean, he's literally crazy. Like loony-bin crazy. SUSAN: What are you talking about? CARRIE: Well, you know how Brian's brother is a resident at the hospital? And Brian told Ashley that last week; Duncan was brought in kicking and screaming, foaming at the mouth, calling out Veronica's name. It took like three orderlies to get him in a straight jacket. In her stall, Veronica is distressed at this. SUSAN: Come on. CARRIE: That's what I heard. Veronica flushes the toilet and storms out. Carrie and Susan turn and see her. Veronica goes to the sink. VERONICA: Carrie Bishop and Susan Knight. Go figure. Carrie can't be seen but Susan looks uncomfortable. Cut to Veronica at Mars Investigations and then immediately to the sheriff's department. Veronica and Logan are sitting, waiting. VERONICA: We should do this more often. Logan ignores her and chews his g*n. Steps are heard as a woman exits one of the offices. WOMAN: Thank you, detective. VERONICA: That's her. She heads towards where they are sitting. Logan takes out his gum and sticks it under the chair in preparation of confronting her. Veronica puts out her arm. VERONICA: Down, boy. Relax, I've got it covered. [Speaking softly into her sleeve] White trash walking. She hands an earpiece to Logan as the woman passes them. VERONICA: I know, gadgets and all. Logan glances at the woman and beyond where, Cliff can be seen waiting for the woman. Logan puts the earpiece in his ear and can hear Cliff. CLIFF: Oh, uh, Ms Stanton. Cliff McCormack from "Weekly World News." My boss is very interested in your story. MS STANTON: Well, are we talking an exclusive, or what 'cause I'm getting lots of offers. CLIFF: Oh, definitely an exclusive. WOMAN: Well, what's the offer? CLIFF: Well, it depends on what you've got. Did she look intoxicated, drugged up, bruised? WOMAN: If you'd like, sure. Logan explodes off the chair and heads for the woman, shouting. Veronica follows. LOGAN: So, what?! You couldn't get on "Springer" this week, so you make lies up about my mom? VERONICA: Logan... Veronica puts herself between Logan and the woman. LOGAN: You know, I am sure the trailer payments must be high. And what with the high price of spam these days� The woman stalks off. Logan starts to follow but Veronica holds his arms. He throws Veronica's restraining hands off to raise his own in his "that's it" gesture and walks in the other direction. Veronica turns to Cliff. VERONICA: Okay, enough. Thanks, Cliff. You're the best. CLIFF: [Returning the microphone and earpiece to her] If by best you mean willing. You owe me one, kid. Cliff leaves and Veronica heads back to Logan, who is leaning against the wall As she reaches him, she sees Leo. VERONICA: Hey. LEO: Hi. VERONICA: [To Logan] I have to take care of something. I'll be like two seconds. Stay calm. Finding out what that woman is about is good news. Logan is still keyed up but nods. Veronica heads in Leo's direction. VERONICA: Deputy. LEO: What do you want, Veronica? VERONICA: A chance to explain. LEO: What's to explain? You used me. I get it. VERONICA: Lilly Kane was my best friend. LEO: Listen, I know all about your dad and the m*rder investigation- VERONICA: No, you don't. You know the story that everyone else knows. LEO: A guy confessed. He said he did it. Veronica pulls Leo closer, away from the other deputies. VERONICA: [Urgently] Did you know that the head of security at Kane Software was the one that made the tip call that got Abel Koontz arrested? Did you know that your own crime scene photos make it impossible for Abel to have left the Kane house with a pair of Lilly's shoes that they found on his houseboat? Did you know there's a traffic ticket that proves that Lilly's time of death is three hours off? LEO: How do you know all this? VERONICA: I know all of this because I have done everything I could to get to the truth... including using you. And I'm really sorry about that. But I-I used you, then fell for you, not the other way around. LEO: [Smiles] You fell for me? Veronica smiles uncertainly back. Cut to Veronica approaching a wooden door. She knocks. VERONICA: Hello? Rooks opens the door into a small patio area with a small swimming pool. There is a little girl in the background. MR ROOKS: Hey, Veronica. Uh, come on in. Meet my daughter, Olivia. Veronica enters and approaches the little girl. VERONICA: Hi, Olivia. I'm one of your dad's students, Veronica. She must be going through a shy phase. MR ROOKS: No, not really. She's usually pretty gregarious. She must really dislike you. VERONICA: There's a club she can join. MR ROOKS: Sweetie, why don't you go finish your colouring. I'll-I'll come in and join you, okay? There you go. Rooks installs her at a child's desk on the porch, behind a child gate. VERONICA: She's adorable. MR ROOKS: Well, if you get past her megalomania and reactionary politics. I get her on the weekends. My ex-wife has her during the week. VERONICA: I'm sorry to intrude on your weekend. MR ROOKS: Oh, no problem. What's on your mind? VERONICA: A few months ago, you called a parent-teacher conference with Carrie's parents? MR ROOKS: How would you know that? VERONICA: I can't reveal my sources. MR ROOKS: Uh. Veronica, I appreciate your offer of help. It's very generous. But I really think this is an adult matter. VERONICA: Right now, Carrie's parents have a private investigator running a background check on you. There's going to be a hearing. If the school board believes Carrie's allegations, you'll never teach again. MR ROOKS: Her parents came to see me about her grades. I gave her a C on her midterm paper. She thought it was unfair that the black mark on her transcript would keep her out of Cornell. VERONICA: Do you suppose that's why she's after you? Spoiling her Ivy League dreams? MR ROOKS: Honestly, I couldn't tell you. VERONICA: Do you have anyone representing you at the school board hearing? MR ROOKS: Well, faculty union rep. VERONICA: Who's that? MR ROOKS: You're looking at him. Cut to Mars Investigations. Veronica is at her desk. Keith enters. KEITH: Any messages? Veronica glares at him and says nothing. Keith takes off his jacket and heads over to her desk. KEITH: Veronica. I know you admire this guy and I encourage you to stand up for your convictions when you think you're right. But Rooks is a bad egg and I don't want you getting hurt when the whole story comes out. VERONICA: I'm sorry. I believe him. KEITH: Carrie kept a very detailed diary of her affair with him. It's full of times and dates. She recorded the very date of a weekend she spent in a hotel with him when her parents were out of town. She writes about him taking her to a fancy restaurant in San Diego after she won the District Extemporaneous Speaking Competition. VERONICA: So? That doesn't prove anything. I could write down that I met Kid Rock every weekend at the Hedonism Lodge for sensual massage and smoothies, but that doesn't make it true. KEITH: I did a cross check of Rooks' credit card history. [Getting a file out of his briefcase] The charges match Carrie's diary. VERONICA: She could have followed him. KEITH: Sweetie, it's very specific. And I don't want you seeing Kid Rock. Veronica sighs, concerned. Cut to later. Veronica is standing at the front of her desk, her back to the door to the office and picks up the phone. DOCTOR'S RECEPTIONIST: Dr. Levine's office. VERONICA: Hi, this is Veronica Mars. Veronica doesn't see or hear Logan enter the office, holding a tabloid. VERONICA: I was wondering if I could get in to see the doctor sometime this week. End of the day would be best. I have band practice after school. DOCTOR'S RECEPTIONIST: How's five o'clock? VERONICA: Five is great. Thanks. LOGAN: I'm no doctor� Veronica whirls round. LOGAN: �but I'm, uh, pretty sure Penicillin will clear that problem right up. VERONICA: Can't say I was expecting you. LOGAN: Yeah, yeah, I usually avoid buildings with stained glass. VERONICA: [In her girlie voice] That's why you haven't come to visit. Veronica has moved round to sit at her desk and Logan slaps the tabloid down in front of her. LOGAN: [Excited] There's a woman who saw my mom get out of her car and get in a van with a [air quotes] mysterious stranger. VERONICA: There's also a jungle tribe that worships Donald Trump's hair. It's a tabloid. LOGAN: [Smiles] What, so the girl with the pig arm can't really bowl? VERONICA: [Genuinely] I just don't want you to get your hopes up. LOGAN: I'm not paying you to worry about my hopes. I'm paying you to follow leads. VERONICA: I wasn't aware you were paying me. LOGAN: This isn't a favour, it's a job, you know. I mean, we're not [hands up] exchanging friendship bracelets. VERONICA: I'll stop braiding. LOGAN: The woman said my mom was laughing and having fun. And so do whatever it is you do and track her down. Veronica is reading the story. VERONICA: Sondra Bolan of Sunset Springs. How am I going to find her? Veronica picks up the phone. VERONICA: [Into the phone] In Sunset Springs. Sondra Bolan. [Whispering to Logan as she waits] I'll put it on your bill. [Into the phone] Hi, Sondra, this is Veronica of "The National Instigator." I had a few follow-up questions on your Lynn Echolls story. [Pauses] Actually, in person is a lot better. [Pauses again] No, Tuesday night's no good, newspaper work night. Logan, who has been leaning on a filing cabinet, worriedly steps forward. LOGAN: What are you doing? Veronica looks at him but continues speaking to Sondra on the phone. VERONICA: Any chance you're available right now? She smiles at Logan. Cut to a coffee bar. Veronica and Sondra are sitting opposite each other on two small couches. VERONICA: So I'm not sure how much you were paid for the last interview, but- SONDRA: Uh, I wasn't paid. I thought people should know the truth with that woman lying on every talk show. As the camera pans round, Logan can be seen sitting on a stool at a raised table behind Sondra. VERONICA: So is there anything else you remember? The model of the van? Maybe a piece of the licence plate? SONDRA: Honestly, I was just so excited to see Lynn. I thought they were filming a movie or something. VERONICA: Have you ever seen Lynn Echolls before? SONDRA: Once. The premiere of "Delta Blue b*mb." She was on the red carpet with Aaron. I must have seen that movie a hundred times. VERONICA: A hundred times? SONDRA: I can check if you want. Sondra pulls out a scrapbook. It is full of pictures of Lynn and ticket stubs. She starts to count them. Veronica decides to move on. VERONICA: So the van. In the interview, you said the van was blue? SONDRA: It was the van from "The Pursuit of Happiness." The exact van. VERONICA: You mean the exact model? SONDRA: No, the actual van from the movie. Lynn and Aaron met on the set of "The Pursuit of Happiness," you know. They were so young then. Logan looks at the woman and smiles, understanding that she's a deluded fan and no witness to anything. SONDRA: I don't know why anyone could ever think she'd k*ll herself. Logan gets up and leaves. SONDRA: She is the luckiest woman in the world. VERONICA: Excuse me. Veronica leaves Sondra and follows Logan around a glass block partition towards the exit. The lyrics of Bloc Party's "Tulips" kick in. SONG: When you said tulips I knew that you're mine When I caught you there Crying in the night Wearing my jacket Wearing that smile I knew that I'd found you. Logan has paused, leaning on the partition, his back to Veronica. VERONICA: I would have done the same thing. He turns his head to look at her. LOGAN: Done what? VERONICA: If it was my mother, I would have let myself believe that story. Logan pushed himself off the glass blocks and blunders up the exit stairs, bumping into a girl standing on the stairs on one side and Weevil, coming down the stairs, on the other. WEEVIL: Hey, manners Opie! [To Veronica] What, did he lose a puka shell? VERONICA: No. Just the last ounce of hope that his mother was still alive. Weevil looks a little contrite. Cut to carrots being chopped. Keith is making dinner. Veronica enters the apartment. VERONICA: Is that lasagne I smell? KEITH: Keith Mars' secret recipe. VERONICA: You double the cheese. Your secret is out. You're making salad? I know pity cooking when I see it. There must be more bad news. KEITH: Maybe we should wait 'til after dinner, huh? VERONICA: Spill it. I promise I won't let it ruin my appetite. KEITH: Rooks was fired from his last job at a private school. His file is sealed, but the complaint came from the parents of two girls. Veronica takes this in but is still determined. VERONICA: I want to see Carrie's journal. KEITH: You know I can't let you. VERONICA: There better be dessert. Cut to Veronica at Mars Investigations, pacing in Keith's office.. VERONICA VOICEOVER: If I'm going to save Mr Rooks' job, I have to get my hands on this supposed diary. She tries to unlock the safe. VERONICA VOICEOVER: Unfortunately Dad's changed the combination. It's the rare individual who chooses meaningless numbers as a combination. He taught me that. Veronica searches the bulletin board over Keith's desk. VERONICA VOICEOVER: Nine times out of ten, an individual will select numbers that mean something - birthdays, anniversaries, addresses. Of course, dad is smarter than that. She turns her attention to the things on his desk. VERONICA VOICEOVER: You wouldn't believe the number of people who keep the combination written down on a post-it or tacked to a bulletin board or scribbled on a birthday page of their page-a-day calendar. Somehow, I doubt Dad's that careless. On the page-a-day calendar, she spots the entry for 10 February upon which is written: 12 1663. She smiles and heads for the safe. VERONICA VOICEOVER: Then again, he'll be glad to know how much I've soaked up listening to him. It opens. VERONICA VOICEOVER: And what do we have here? She pulls out a steel box. She brings it to his desk and opens it. It explodes, covering her skin and her clothes with blue dye. VERONICA VOICEOVER: I suspect there's also a lesson to be learned here. Cut to Veronica at home, frantically scrubbing at the kitchen. Her father comes up behind her. KEITH: Hey, honey. What have you been up to? VERONICA: [Barely restrained] Tell me where to put your father-of-the-year trophy 'cause there's some place I'd like to put it. KEITH: Wow. Good thing I didn't go with a bear trap. VERONICA: This is not funny. I need to see that diary. She's lying. I know it. I can feel it with every fibre of my being. KEITH: Honey, you don't have to get all blue in the face. VERONICA: You're patronising me? KEITH: [Enjoying himself] To be fair, I am your patron. VERONICA: The Bishops are going to use your credit card research and that diary to prove the two of them were together. Just give me the dates and times, I don't have to read the diary. Do you want to be responsible for taking a good man down? Destroying his reputation? Can you possibly relate? Keith's gesture suggests that this is a low blow but one he acknowledges. KEITH: Dates and times. That's it. Veronica holds up her hands (the gesture is obviously infectious) with an innocent face. Cut to Veronica leaving the school administration office. She pauses at the glass display cabinet, which is showcasing achievements, medals and trophies, spotting Carrie in one of the photographs. WEEVIL: [Offscreen] If you're looking for my trophy, it's back by auto shop. The camera pans round to show Weevil, watching her. VERONICA: A lube job? Or can you medal in stealing hubcaps? WEEVIL: Is this 1970? Rims, baby. VERONICA: So you got a trophy for a rim job? WEEVIL: [Chuckles] Forget it. Look, I got some information for you. VERONICA: [Girlie voice] Finally, a Deep Throat to call my own. WEEVIL: I'm not going to touch that one. Uh, I hear this freshman kid's been sh**ting his mouth off that he's got proof that Lynn Echolls jumped and he's gonna make millions. VERONICA: Who's the kid? WEEVIL: Do you want me to find out? VERONICA: Do you even have to ask? Cut to the end of another history lesson as the students are filing out. Veronica has lingered behind again. She approaches Rooks. VERONICA: Can I ask you something? MR ROOKS: sh**t. VERONICA: Why were you fired from your last job? MR ROOKS: How on earth do you know- VERONICA: I just do. MR ROOKS: Wow. Maybe I should give more credence to the teacher's lounge gossip. Colleagues said you were... Veronica looks at him expectantly. MR ROOKS: �unique. [Off her still expectant look] Gifted. [Trying again to satisfy her] Unsettling? VERONICA: I was hoping for delightful, but what can you do. They laugh. VERONICA: So... MR ROOKS: My f*ring, yeah, um. It was an all girls' school on the conservative side. I had the temerity to suggest U.S. Imperialism wasn't necessarily a good thing. They thought I was trying to turn their daughters into little beret-wearing, clove-smoking Bolsheviks. VERONICA: Were you? MR ROOKS: Nyet. VERONICA: That's it? MR ROOKS: Well, that, and I was driving an '89 Harley. Didn't really endear me to the administration. VERONICA: Thanks, Mr Rooks. MR ROOKS: Do svidaniya, Veronica. Cut to Carrie at her locker as Veronica corners her. VERONICA: I'm giving you another chance. Drop the complaint against Mr Rooks. CARRIE: Yeah. I remember when I was in love with him too. VERONICA: Did you ever consider that I just really dislike you? CARRIE: [Sarcastic] Wow! Does that mean you won't be signing my yearbook? Carrie walks off but Veronica isn't finished. VERONICA: You're still in Mr Rooks' class. You must not be too shook up. CARRIE: I need his class to graduate. They pause in the middle of the hallway. CARRIE: And he'll be the one leaving... soon. VERONICA: All this because he gave you a C on your paper? You'd destroy him? CARRIE: Destroy him? From where I stand, he's become more popular than ever. I'm the bitch that everyone hates. Are you interested in details, Veronica? Can I help enrich your fantasy life? He says baby a lot when he touches you. His sheets are black, silk. His mood music is side two of the Rolling Stones' "Tattoo You". He'll tear up as he tells you the story of his ex-wife leaving him. You'll turn to jelly. VERONICA: Yeah, I have that same "Sweet Valley High" book. You said you spent the night in a hotel with Mr Rooks on April 23rd but there's a problem with that story, isn't there? CARRIE: Why don't you tell me? It's obvious you're dying to. The school bell rings. VERONICA: All right. The problem with that story is that you were at an overnight track meet in Sacramento that weekend. You were part of the winning 1,600 metre relay. People say you're fast. Veronica stalks off and leaves Carrie, looking uncomfortable. Cut to Veronica, in a hospital-like gown and her jeans, sitting on an examination table, clutching it round her. Dr Levine enters. DR LEVINE: Sorry to keep you waiting. I'm always busy at the end of the day. Ah, so those sniffles, they were just light allergies, not uncommon. VERONICA: So I can put my shirt back on? DR LEVINE: Uh, sure, yes, of course. Levine leaves. Cut to a fully dressed Veronica who makes her way to the reception area and slips into the bathroom without the receptionist seeing her. VERONICA VOICEOVER: One problem with doctors, besides their fetish for making you wait half-naked in cold rooms, is they won't just let you ransack their files, even if you ask real nice. So someone like me has to resort to methods the insurance companies would probably not support. Out in reception, Dr Levine leaves. DR LEVINE: Goodnight, Nancy. DOCTOR'S RECEPTIONIST: Goodnight. The receptionist turns off the lamp and picks up the keys. She hears something from the bathroom and goes to investigate. The door is locked. She knocks then opens it with a key. Finding nothing, she leaves. Veronica opens the cupboard under the sink from the inside. VERONICA VOICEOVER: Okay, yes, I am petite and it does come in handy every now and then. Cut to Veronica going through Dr Levine's files. She finds Duncan file. Cut to her completing photocopying of the file and putting the copies in her bag. As she puts Duncan's file back, she spots another file of interest - Abel Koontz's file. She takes it out. VERONICA VOICEOVER: I'm generally pretty cool with coincidence� Someone enters and Veronica races away, closing the file drawer. VERONICA VOICEOVER: �but when Abel Koontz turns out to share a doctor with the Kanes, that's too much for me to ignore, even if it means getting caught. The cleaner who arrived makes her way down a corridor and opens a door. She is startled. CLEANER: Wha-? Veronica is sitting back on the examination table, clothed in the gown in the place of her shirt again.. VERONICA: Is the doctor here? 'Cause I've been sitting for like an hour. Cut to the school board hearing. Veronica enters the room, taking a photo. MR ROOKS: This experience has ruined me. I mean the story's in the newspaper. My peers in the faculty lounge stop talking when I enter. The chairman of the proceedings, Jessica Fuller, sits in the middle of a tall curved desk up on a dais, other members of the board on either side of her including Edward Reed, Jean Horton and Pat Bryant. JESSICA: Mr Rooks, do you have any guess why Miss Bishop would file this grievance? In front of the board, tables are set in a courtroom fashion, with Carrie and her mother on one side and Rooks on the other. MR ROOKS: Carrie is a solid B student in my class. She made it very clear she needed an A. Rooks looks over at Carrie who shakes her head. MR ROOKS: But the-the work just didn't merit it. Cut to Carrie telling her story. CARRIE: My dad left my mom last year and� I was pretty lost. Mr Rooks started giving me rides home from our mock UN meetings and we'd just talk. He said that we had a lot in common, that we'd both been abandoned by people we thought loved us because of his wife. At first we just kissed, but... it went beyond that. When I told him I thought I might be pregnant, he just blew me off. When I saw him flirting with other girls, I just decided, I guess this is what he does. And I couldn't let him get away with it again. JESSICA: These are very serious charges, Carrie. Is there any proof you can offer beyond your testimony? Carrie looks back at Veronica and seems to abandon the diary. However, she pulls out a cell phone. CARRIE: He sent me text messages all the time. April 9th: Let's meet for tutoring. Clothing optional. April 14th: I miss your scent. Call me. April 29th: Come to school without your underwear. You'll be rewarded. Jessica gestures for Carrie to bring the phone to her. She does. JESSICA: They're addressed to SK. CARRIE: He used to call me Sweet Knees. He always wanted me to wear knee socks. JESSICA: I'm not sure we have proof that Mr Rooks actually sent you these messages. CARRIE: h*t the call-back button there. She does and Rooks' phone rings. Veronica gets up and quietly approaches Clemmons who is sitting amongst the few spectators. VERONICA: Mr Clemmons, can I borrow your cell for a minute? My car broke down in the parking lot. He is suspicious, and reluctant, but hands over the phone. Cut to outside the room as Veronica punches the keypad. Cut back to the proceedings. JESSICA: Mr Clemmons, what can you tell us about your interaction with Mr Rooks that might be relevant? CLEMMONS: Well, he's a very popular teacher. Veronica creeps up to Rooks and whispers in his ear. CLEMMONS: The student body has voted him best teacher three of the four years he's been with us. JESSICA: Thank you, Mr Clemmons. As Clemmons returns to his seat, Veronica hands him his phone. MR ROOKS: Um, Mrs Fuller, if I may? Could I ask you to get out your own cell phone and, uh, check the messages? Jessica looks at her fellow board members. PAT BRYANT: It's all right with me. She gets out her phone. Rooks looks back at Veronica who gives him an encouraging nod. MR ROOKS: Now, just check and see if you have messages. JESSICA: I have three new messages. MR ROOKS: Can you read 'em out loud? JESSICA: The first one says: True pirates share their booty. The second: I'll be your little spoon. And finally: Vice principals make the best lovers. Veronica nods her satisfaction as Clemmons sinks in his seat. MR ROOKS: Mind hitting redial? Clemmons phone rings. He pulls it out of his jacket pocket and switches it off. MR ROOKS: I think we have to conclude that either the two of you are having an affair... or that it's extremely easy to create false text messages on someone's cell phone. The board gazes at him. Veronica is well pleased. Cut to later as the board resumes their seats. JESSICA: In a situation like we have here today, the burden of proof is on the accuser. We find no conclusive evidence to substantiate the claim that these alleged encounters ever happened. Mr Rooks will continue on as a teacher at this school. Carrie is gutted but seems philosophical. Rooks looks back at a contented Veronica. Cut to Rooks opening his front door, chewing. It's Veronica. MR ROOKS: You didn't have to come all the way over here. VERONICA: I know but I felt really stupid getting out of there with your phone. Sorry. She hands him a cell phone. He takes it. MR ROOKS: Well, I appreciate you hooking me up with password protection. VERONICA: That's what I do. MR ROOKS: Hey, you want some pizza? It just got delivered. They had a two-for-one deal. I'm swimming in it. VERONICA: Um... one slice. I have this newspaper work night thing. She enters and looks around. VERONICA: Nice. You must have a gay friend. MR ROOKS: No, I literally duplicated a page from the "Z Gallery" catalogue. Something to drink? VERONICA: Ah, whatever you're having. Diet anything is good. Can I use your bathroom? MR ROOKS: Sure, down the hall. Veronica heads up a small corridor, slowing to look at pictures of Olivia on the walls. Music starts playing as he passes his open bedroom door. The sheets on the bed are black. The lyrics kick in. SONG: Sometime I wonder why VERONICA VOICEOVER: Is that Mick Jagger? It's the Rolling Stones with "Worried About You" off the "Tattoo You" album. SONG: You do these things to me Sometime I worry girl, ooh Veronica turns on her heel and heads back to Rooks. VERONICA: You know, I just looked at the time. I have to get back to the journalism room. Rain check on the pizza? MR ROOKS: Absolutely. VERONICA: See you tomorrow. Veronica leaves. Cut to the journalism room where Veronica is at one of the computers. VERONICA VOICEOVER: Best way to stop wondering if your favourite teacher was trying to lure you between his black silk sheets? Research the mystery condition that's causing your ex-boyfriend and possible half brother to take Oxcarbazepine. She uses "PlanetZowie" Search Engine and types in the drug. A Google-like page comes up with a number of entries, showing it as an anticonvulsant for seizures and epilepsy. VERONICA VOICEOVER: Hmm, it's a drug used to treat type IV epilepsy. Symptoms include hysterical, violent, emotional fits that can't be controlled and are often are accompanied by complete blackouts and loss of memory. Unnoticed by Veronica, Duncan approaches. DUNCAN: Whatcha doing? Veronica hurriedly clicks a couple of times on the mouse. VERONICA: Googling myself. Like I'm the first. DUNCAN: [Crouching down next to her] Find out anything interesting? VERONICA: There's a Veronica Mars in Vermont who sells pinecone porcupines. Duncan laughs. He glances at the papers at the side of her, the first of which is a large photo of Carrie. He picks it up, revealing that underneath is the photocopy of his medical file. Veronica grabs something and covers this while Duncan looks at the photo. VERONICA: Do you know where we keep last year's newspapers? DUNCAN: In the supply cabinet. Why? VERONICA: I want to see who won last year's District Extemporaneous Speaking Competition. DUNCAN: Okay... why? VERONICA: I want to know if the winner had sweet knees. Duncan laughs. DUNCAN: I give up. Duncan stand and wanders away. Cut to Veronica in the hall, on her cell. OPERATOR: What city? VERONICA: Neptune. I need a listing for the Knight family. OPERATOR: Ninth street? VERONICA: Is there more than one? OPERATOR: No, there's not. VERONICA: Then that would be it. OPERATOR: Please hold for your number. Cut to Veronica approaching a door. She rings the bell. Susan Knight answers. SUSAN: Veronica Mars? VERONICA: Carrie's story is true, isn't it? It just didn't happen to her. She copied your diary, and it was your cell phone she showed in court. You got together with Rooks the night you won the Extemporaneous Speaking Competition? SK was you, Susan Knight. Susan steps out from behind the screen door. She is obviously pregnant. SUSAN: My parents disowned me. I wouldn't tell them who the father is because I knew if I did, they would press charges for statutory r*pe and I don't-I don't want that. VERONICA: There's something I'm not getting. Why would Carrie tell your story? SUSAN: Because she thought what he did was wrong. Do you know when I told Mr Rooks I was pregnant; he gave me $500 and told me I should go take care of it? It made her crazy there were no consequences for what he did and meanwhile, I had to run out of town in shame? Look, it made me crazy too, but... I can't come forward. I'm just not that brave. VERONICA: You have no idea. People have put her through hell, and she just took it. SUSAN: [Confused] She said most people were supportive of her. VERONICA: They weren't�we weren't. [Getting out her phone] Carrie just went to the mat for you. [She punches in a number] One phone call and you can make it all worth it. I just happen to have the school board president's cell phone number. Veronica passes the phone to Susan. Susan takes it and looks at Veronica. Cut to Neptune High. Carrie is again sitting alone, eating her lunch. Veronica approaches. VERONICA: I went to see Susan. I'm sorry. CARRIE: A lot of good that does me now. Weevil calls out to her, accompanied by a younger student. WEEVIL: Yo, V. You might want to talk to this freshman. He's the one who's been sh**ting his mouth off about Logan's mom. VERONICA: Hope you don't mind telling that story one more time. Cut to Logan entering a classroom. LOGAN: Hey. You paged? He joins Weevil, the freshman and Veronica at a table where Veronica is sitting in front of a computer. VERONICA: It seems Hart here has something to show us. Spill. HART: Me and my friends were filming out by the bay. We were making this w*r movie, "Storm on the Beach." It's just on high def, but it's pretty cool. It's these two brothers who get sent to w*r and- VERONICA: Don't care. Point? VERONICA: We were editing it together, and we noticed something. Hart puts a disk into the computer. The sounds of g*n f*re come from the screen. VIDEO #1: Over there! Over there! VIDEO #2: I see him! Oh! Ugh! Guys dressed in combat gear are playing soldiers. The Coronado Bridge si in the background in the distance where something can be seen moving. HART: Did you see it? LOGAN: Yeah, it sucks, and? VERONICA: Rewind it. Play it frame by frame. He does. HART: There! Check out the right side of the bridge. What is appears to be a body is clearly seen falling from the bridge. WEEVIL: Holy... Logan is in shock. Veronica shuts her eyes. HART: The video's time stamped 4:37 P.M. Exactly the time when... [looking over at Logan] she supposedly jumped. VERONICA: This footage better never make it out into public consumption. WEEVIL: Don't worry about my boy, Hart. [Hand on Hart's neck, close in his face] He knows if that happens his last movie will be a snuff film. And he'll star in it, right? Come on. Weevil throws Logan a sympathetic glance as he and Hart exit. Logan takes a few paces, eyes fixed on the screen. VERONICA: I'm sorry. LOGAN: [Softly] Yeah, so am I. Veronica drops her head. Logan turns and walks slowly out of the room, stumbling as he does. Veronica's cell phone rings. She gets it out of her bag and looks at the display. VERONICA: Logan! She jumps out of the chair. Cut to the outside of the school. Logan is walking in a daze. VERONICA: Logan! Logan. [Reaching him] Your mom's missing credit card was just used. Logan takes a minute to believe it then regains hope. Cut to the history classroom as the students wait for their teacher. Clemmons enters. CLEMMONS: Quiet down. Quiet down, please. I have an announcement to make. I regret to inform you that Mr Rooks tendered his resignation this morning. I will be taking over the teaching duties in this class until a replacement can be found by the administrat- Clemmons pauses as Rooks enters the room, walks to his desk and picks up a box of his things. On his way out, he glances at Carrie and Veronica but gets no mercy. He walks on and Carrie and Veronica look at each other, Carrie smiling and barely nodding at Veronica. Cut to Veronica at Mars Investigations, packing up her bag at her desk. Keith walks towards her. VERONICA: Mr Rooks resigned today. KEITH: Honey? If I were in trouble, I'd want you on my side. VERONICA: Well, that's where I'd be. I'll be home for dinner. Your messages are on your desk. Veronica leaves, Keith gazing after her. Cut to the prison where Koontz is sitting behind the visitors glass, waiting for Veronica to sit down and pick up the phone, which she does. KOONTZ: So. What would you like to know now, Veronica Mars, intrepid girl reporter? VERONICA: Nothing. This time I just want you to know what I know. She holds up his medical records. VERONICA: You're dying, Abel. Abel loses his smirk. You knew you were dying when you confessed. You didn't k*ll Lilly Kane. You're just somebody's patsy. Veronica hangs up the phone, staring defiantly at him. VERONICA: Guard! Veronica goes, leaving Koontz stunned and worried. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x14 - Mars vs. Mars"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars� Duncan Kane. He used to be my boyfriend. Duncan is kneeling next to Veronica in journalism class (from 114 "Mars vs Mars). Then cut to scene of Veronica deliberately ignoring Duncan (from 109 "Drinking the Kool-Aid"). VERONICA VOICEOVER: Then one day, with no warning, he ended things. Is Duncan my half-brother? Cut to Meg and Veronica outside their lockers (from 108 "Like a Virgin"). VERONICA: Meg, you're the last good person at this school. Cut to Meg in the car park outside school (from 108 "Like a Virgin"). MEG: You do have friends, Veronica. Cut to Veronica and Leo at the Sheriff's Department (from 114 "Mars vs Mars"). VERONICA: Lilly Kane was my best friend. Did you know that the� Cut to Clarence Wiedman entering his office (from 111 "Silence of the Lamb"). VERONICA: [Offscreen]�head of security at Kane Software was the one that made the tip call that got Abel Koontz arrested? Cut to Lianne standing outside a stadium (from 105 "You Think You Know Somebody"). LIANNE: Veronica, I know you have a million questions but everything will make sense when the time is right. Cut to Aaron and Logan in Aaron's bedroom (from 113 "Lord of the Bling"). AARON: Have you heard from your sister? LOGAN: She sent a telegram. Cut to Aaron and Logan about to go out the front door (from 113 "Lord of the Bling"). AARON: I know you blame me for your mother's death. Cut to Duncan and Logan in Logan's bedroom (from 113 "Lord of the Bling"). LOGAN: They didn't find a body because she's not d*ad. Cut to Lynne's car abandoned on Coronado Bridge (from 112 "Clash of the Tritons"). VERONICA VOICEOVER: I guess I should be grateful that my mother didn't leave her car on a bridge. Cut to Veronica speaking to Logan at the door of the Mars' apartment (from 113 "Lord of the Bling"). VERONICA: Logan, what are you doing here? LOGAN: I want you to find my mother. End previously. Open in the outdoor area of Neptune High School. The camera pans round slowly against a babble of high school conversation, on subjects including a wrestler and Danielle Marcos who should have got a room. There is a large, gaily painted banner over the door into the school reading: Total Eclipse of the Heart. The camera finds Veronica, sitting at one of the tables. Sitting at right angles next to her is Logan. Veronica is inspecting a record she is holding in her hand. VERONICA: Your mom had fourteen credit cards in her name at the time of her disappearance. [Showing the paper to Logan, pointing to the reference] This is the only one that's been active. No-limit platinum card. LOGAN: [Examining it] Be my mom's w*apon of choice. VERONICA: This is also the only one that is still registered under her maiden name, Lester. Maybe it's just a coincidence. LOGAN: Or maybe she's trying to hide, huh? Veronica nods. Logan expels his breath and gives a half smile as he looks away. Veronica has the record in her hands again. VERONICA: It's hard to know for sure. [Looking a another page] There's only been one purchase so far, a rental car. [Logan looks down at what she's found] There was no surveillance tape from the point of sale but I ordered a copy of the card holder's signature. It might take a couple of weeks. LOGAN: [Urgently] What kind of car? VERONICA: [Reading] Benz. Red� convertible. Logan takes this in. He reverts to gazing into the distance. Veronica isn't sure what else to say. VERONICA: I-I'll let you know if she strikes again. LOGAN: Yeah. Veronica has the record, grabs her shoulder bag and rises from the table. Logan sits back for a second, then follows. Cut to the school corridor. A large cutout is being carried across the screen. Behind it Logan and Veronica walk side by side. As the cutout clears the screen, Logan pulls up to a halt and turns to Veronica. LOGAN: Hey, Veronica, uh� Thanks for helping out with this. With a quick glance round, Logan puts his hand on Veronica's arm, kneads her arm a couple of times. Veronica looks up at him and is feeling the sympathy. VERONICA: [Nodding her head gently and smiling] I know what it's like. Logan stares at her for a moment, then returns the small smile, nods, then moves off, hands in pockets. Veronica marvels at the exchange with a smile and a shake of the head before heading into the room where the cutout was heading. It's a large room, the site of the dance advertised on the banner. People are moving chairs and decorations. Someone is up on a ladder. Duncan, with clipboard, is directing operations. DUNCAN: [To the girl up the ladder] Don't be stingy with the glitter. Remember. It's an eighties dance. Veronica, looking up at the decorations as she walks forward, comes into his field of vision. DUNCAN: You know, if I didn't know better, I'd swear I just saw my best friend [pointing out to the corridor] ask you [pointing at Veronica] to 'Total Eclipse of the Heart'. Duncan grins. VERONICA: [In her best breathless girlie speech] No, no one's asked. But I'm pining away by the phone waiting for that special boy to call. DUNCAN: Hm. [Playfully] You never know. VERONICA VOICEOVER: Come on, Duncan [as Duncan deals with something else]. You know as well as I do, my heart was totally eclipsed long ago. Flashback to long-haired Veronica and Duncan at a dance. They are dancing closely together, Veronica's hands on Duncan's neck and arm. "Just Another" by Peter Yorn, their song (from 101 "Pilot"). SONG: You and I, we're two of a kind VERONICA VOICEOVER: I mean, sure, once upon a time that special boy did call� SONG: I hate to say it, but you'll never relate VERONICA VOICEOVER: �and the spring dance was the crowning moment of my fairy tale-esque teen girl life. SONG: What makes you tick? It makes me smile... VERONICA VOICEOVER: But now I know better. It felt like love but maybe it was just- MEG: [Offscreen] Veronica! Just as they are about to kiss, Veronica is rudely dragged back to the present. Duncan is standing with her again. Meg races over. VERONICA: Hey! MEG: [Ignoring Duncan] Hey. I really need to talk to you. VERONICA: [To Duncan] Sorry, [taking Meg's arm in hers] girl emergency. Duncan shrugs with a 'no problem' gesture. VERONICA: What's up? As Veronica leads them away, Duncan gazes after them. MEG: [Grinning] I think I have a secret admirer. As Meg says this, Veronica's mobile starts ringing, She reaches into her back pocket to retrieve it. VERONICA: [Impressed] Ooohh. Veronica opens the phone and answers it as they continue walking. VERONICA: Hello. [Pause, then impatiently] Hello. [Another pause and Meg looks concerned] Oh hi, nice breathing. Yep, just keeps getting better and better. [To Meg] Has your secret admirer been calling you all week and hanging up without speaking? MEG: No. VERONICA: [Ending the call] Hmm, lucky you. So tell me about it. Flashback. It's dark. Meg, dressed in her cheerleader's outfit, is dozing on the bus. MEG: On our way back from our last away game, [waking at the sound of her phone] I got this weird text message. On Meg's display is written: I think UR kewl. MEG: So I looked around and saw two guys on their cell phones. [Considering a jock type at the front of the bus] Caz is always flirty with me but that guy would flirt with a trash can if it had boobs. [And then a quieter guy in the back] Then there was Martin. He's sweet but a little moony, if you know what I mean. Cut to the present. Veronica and Meg are now stopped outside the dance room. VERONICA: Or it could be some maladjusted freshman who likes to lurk outside your bedroom window with binoculars and a bag of pork rinds. Meg nods and giggles. MEG: [Begging, cheerfully] Come on, Veronica. You gotta help me find out who it is. This could turn out to be my soul mate. Veronica smile sceptically. Cut to Mars Investigations as Veronica enters the outer office. VERONICA VOICEOVER: When I've had my fill of soul mates, glitter and puppy love, I always find a private detective's office a refreshing change of pace. Veronica dumps her bag and peeks round at her father's office, the door of which is partially open. Keith has someone with him but rises from his desk. KEITH: Here's my assistant now. Keith comes out of his office, leaving the client there. KEITH: [Whispering, then quietly] Hi. I'm swamped with this insurance fraud thing but we could use this fee. Can you take her information, charge her a straight 75? Shouldn't take more than a half hour online. VERONICA: [Nodding] Sure. KEITH: Thanks. VERONICA VOICEOVER: [Grabbing her bag to get paper out] Nothing soothes the nausea, headache and occasional dizziness of a romance overdose like a glimpse of the aftermath. The custody battles, the affairs and� Veronica enters the office. There is a woman sitting opposite Keith's desk. Veronica heads round to sit at the desk. VERONICA: �what I'm guessing is a trophy wife looking for her golden parachute. KEITH: She'll take your info and I'll get right on it. Keith leaves. VERONICA: So, how can I help you� Miss� CATHERINE: [Distressed and with heavy Russian accent] Lenova, Cat-ta-rina Lenova. I made mistake. Involving love. I didn't know what a good thing I had and-and I lost him. You must help me find him. He was my soul mate. Veronica looks resigned. Opening credits. Camera is behind Veronica showing Catherine beyond the picture that Veronica holds in her hand. It is of a man kneeling down next to a dog. CATHERINE: Ah, zat's Tom. Veronica puts the photo down. CATHERINE: Two years ago I came here from Brask in Russia to meet zis man. VERONICA: Like a mail order bride thing? CATHERINE: Not mail anymore. Internet, um, we exchange message and, uh, I came to Chicago as his fianc�. VERONICA: [Taken aback] That's a brave move. CATHERINE: Not if you've seen Brask. [Laughs] All the boys there, as zey say, are beautiful, like a princess. Maybe I am expecting a prince. When I meet Tom, I am disappointed; he's not what I imagine. I-In his picture he was not, um, how you say� um� Catherine draws the flat of her hand a few inches above and over her head, back and forth and whistles and clicks trying to get the word. VERONICA: Bald. CATHERINE: Yes. Before we are married I had zee cold feet, so I, ah, I leave him after some time here, alone, I-I realise I made mistake. He is good man and he is gone. I look it but, but with him changing his name� VERONICA: [Alert] Why would he change his name? CATHERINE: He does plays in Chicago. H-He always talk about come to California, be an actor. VERONICA: What's wrong with Tom? CATHERINE: To- oh, his last name, ah, c-r-u-z. I-I guess it's too much like zat actor, you know� Tom� VERONICA: Cruise. Yes, I see the problem. Ah, what makes you think he's here? CATHERINE: Za last I hear from him, several months back iz zis postcard. The title of the postcard is 'Surfing - California Style'. It bears a Neptune postmark dated Feb 2005. VERONICA: [Reading the handwriting] "Catherine, Thank you for the good days, but I need to move on. I won't be in touch again." [Pointing at the postmark but missing the date] Postmarked Neptune, California. All right, well this shouldn't be too hard. Ah, $75 and Mr Mars should have something for you in a couple of days. Cut to the Mars' apartment. Wallace is in the background, sitting on the couch and watching TV. Veronica is in the foreground, using the laptop which is set up on the counter in the kitchen. VERONICA: [Exasperated] How hard can it be to find an actor named Tom Cruz? WALLACE: Tom Cruise? Not as good a private eye as I thought. VERONICA: No. C-R-U-� never mind. OK [lowering the laptop cover], I'm hanging out. [She flounces down in the armchair] Hey, you're on the basketball team, right? WALLACE: You obviously haven't seen us play. I am the basketball team. VERONICA: Can you do something for me? WALLACE: [Not best pleased] You just stopped hanging out again. VERONICA: It's a favour for Meg. She's got this secret admirer; he's been text messaging her. You know Caz and Martin on the team? [Wallace nods] How 'bout you sneak a peek at their cell phones and see if they dial Meg's number? WALLACE: [Exasperated himself] What is it with you girls and your girly-girl drama? What are you now? A love detective? VERONICA: Wallace, [leaning over to him] if you do this for me, we'll be best friends forever. [Pleading] Come on, don't you want us to be BFF? WALLACE: [Resigned] All right, all right. But the next time we hang out, you gotta actually hang out. Wallace downs a large potato crisp and returns his attention to the TV. Veronica smiles widely in fond triumph. Cut to the school. It is day. Veronica rounds a corner by a heart shaped wall decoration. She stops, surprised. Meg, wearing her cheerleader gear, has a rather stunning bouquet sticking out of her locker which she is smelling. VERONICA: Secret admirer strikes again and the plot thickens. MEG: [Holding up a card that says GO!, with a grin] He wants me to go to the dance. Veronica grabs the card. MEG: I'm dying to know who it is. VERONICA: [Examining one of the flowers] Purple faced monkey orchid. Native to the King Leopold range in the Australian outback. My deduction? [With dramatic mystery] Your secret admirer is an aboriginal tribesman� MEG: Uh-huh. [Laughs] VERONICA: �who shops [holding up the card] at Manny's Flower Hut. Veronica pockets the card and gets out her cell, lining up to take a picture. MEG: Uh-huh. What are you doing? VERONICA: In the detective business, we call this a clue. MEG: What about the text messages? VERONICA: I've got my best man on it. Cut to Wallace lounging, playing a game on his phone, in a nearly empty bus. As soon as the last two leave, Wallace darts up and searches one of the kit bags. Cut to outside where Meg is walking up towards the bus, arm in arm with another cheerleader. Caz diverts her from her colleague by putting a hand on her arm. CAZ: Ah, Meg, Meg. I'm actually, uh, throwing a rage at my house tomorrow night and it should be pretty kick-ass. Wallace is still searching the bag and pulls out a jock strap. As he holds it out distastefully� CAZ: Hey dude! What the hell are you doing? Wallace is at a loss. Cut back to Veronica's desk at Mars Investigations. Catherine is there seated opposite her. VERONICA: Miss Lenova, Mr Mars was unable to find any trace of Tom. I'm really sorry. CATHERINE: Iz zere nothing more he can do? VERONICA: Well, he's done all the routine searches, um, you could hire him full time, it's $250 a day, plus expenses. CATHERINE: [Opening her handbag] I pay, whatever it takes. VERONICA: Mr Mars is the best in the business. [Catherine writes a cheque] So can you tell me anything else about him? CATHERINE: He just� zis wonderful man. He-he not the most handsome or-or rich but he-he's sweet and-and-and kind and-and, oh he make me laugh. [Laughs] VERONICA: I actually meant, um, like his hobbies or interests, details like that, other than acting. CATHERINE: He like da, um, hockies. Um, I-er, he play guitar but not very well. Um, he like-he like detective movies. Uhh, Chinese food, da, like that? VERONICA: Like that. Veronica makes a note whilst Catherine finishes writing the cheque and tears it from the book. CATHERINE: Please. [Passing the cheque] Ask Mr Mars to work as fast as he can. VERONICA: I'm sure he'll come through. Cut to later. Catherine is gone. Veronica is on the phone. VERONICA: [In New Yorkish accent] Hi, I'm looking to place a casting notice and I need this filled as soon as possible. I'm looking for an ordinary guy type, medium height and build, dark hair and a little thin on top and he must be able to play hockey and play the guitar. [Pause] Right. And here's the fax number you can send those headshots. Cut back to the apartment. A photo is printing from the fax machine but it is not Tom Cruz. Veronica is standing over the fax, waiting for it to complete. There's a sharp knock at the front door and it opens before Veronica gets to it. It's Wallace. She smiles at him briefly and returns her attention to the faxed photo. Wallace is not happy and drops his bag on the small coffee table. WALLACE: About this secret mission. VERONICA: What'cha got? WALLACE: [Crossly] A reputation as a jock-sniffer. You can be your own FF. I'm retired. [Of a number of faxed photos spread over the kitchen counter] What's all this? VERONICA: Casting call for Tom Cruz with a zee. Apparently, he has changed his name. Somehow (iffy edit) Wallace has picked up the photo of Tom and the dog and is looking at it. WALLACE: Damn, this dog is a freak show. [Flipping it to show Veronica] He oughta be in show biz. Veronica grabs it and looks more carefully. VERONICA: You think that's some kind of rare breed or something? WALLACE: That or a drunk dingo had a three-way with an ocelot and a porcupine. Veronica's mobile rings. She puts down the photo, grabs the phone and sits at the counter. VERONICA: Hold that thought. [Checking the text message.] Hello, no-limit platinum card. WALLACE: How many cases you working on here, Rockford? Veronica is pulling up some information on her laptop. She spots something. VERONICA: Twelve hundred bucks? Veronica dials a number on her cell. LOGAN'S VOICEMAIL: This is Logan with today's inspirational greeting: the future belongs to those who believe in the beauty of their dreams [Veronica rolls her eyes] - Eleanor Roosevelt. Leave a message. VERONICA: Hey. Call me when you get this. There's been another charge on your mom's credit card� at the Sunset Regent. Veronica terminates the call, deep in thought. Cut to Logan, in the lobby of the hotel, just at the long end of a pace. He huffs in impatience. Veronica arrives from behind him, running up all girlie. VERONICA: [Loudly] I know I'm late. Sorry, honey. She stretches up and plants a kiss on his cheek. Logan is taken aback. VERONICA: [Softly] So I talked to this guy on the phone. Let me handle it, he's a bit prickly. Veronica grabs Logan's arm and marches him up to the hotel receptionist's counter. HOTEL RECEPTIONIST: [British and pompous with it] May I help you? VERONICA: You may. My fianc� and I are looking for a honeymoon suite. HOTEL RECEPTIONIST: [Smarmy and insincere] Oh, how wonderful. [Bringing out some pictures] These are our more affordable packages. The rooms run $350 for a courtyard and $450 for poolside. On the weekends of course, it's a two night minimum. VERONICA: Of course. Here's a little bit more what I had in mind. Veronica, sporting a huge, sparkling, engagement ring, pulls a wedding album out of her bag. It is stuffed full of pictures taken from magazines. She flicks through. VERONICA: �just� Logan is appalled and impressed. LOGAN: Wow, sugarpuss, you've certainly been a busy little bee. [They giggle at each other, then to the receptionist,] Ah, she's a keeper. HOTEL RECEPTIONIST: [Taking much more interest now] Um, these are our luxury suites. He produces a file with better pictures and hands it to Veronica. She flicks through that. VERONICA: Ooh. Nope. No. Uh, ick. [Pointing to the one she was looking for] Well, how much is this one? HOTEL RECEPTIONIST: Ah, yes. Our Princess Suite. Twelve hundred a night. It has a hot tub, 360 degree view and, um, private elevator access. VERONICA: [To Logan] Ah, yummy... LOGAN: [Hope makes him almost unintelligible] Yeah. VERONICA: [Touching his arm] Let's take a look, hon. HOTEL RECEPTIONIST: I apologise but the suite's currently occupied. VERONICA: Like literally occupied, because we could just poke our heads in. HOTEL RECEPTIONIST: Um. I'm sorry but our guest has insisted on her privacy. LOGAN: [Convinced he's found his mother] Could we maybe just call up to the room? HOTEL RECEPTIONIST: [Obsequious] Oh, I'm afraid that's not possible. I-I assure you we will afford you the same privacy, should you choose to stay with us. VERONICA: [Smiling but defeated] Hmm. Veronica collects her 'wedding book' and she and Logan head for one of the plush couches. VERONICA: All right, stay put. I gonna go talk to the maintenance guys. LOGAN: No, I think I can handle it from here. VERONICA: No, I can get them to unlock the service elevator and we can just- LOGAN: Naw, I've got a better idea. I'll just sit right here. [Sits on a couch in view of the lifts] Until my mother walks out of that elevator. Veronica sees he is determined and is sympathetic. VERONICA VOICEOVER: As a plan, a bit low concept for my taste, but Logan seems primed for a stake-out and I've got a pair of elusive Romeos to track down. Cut to the picture of Meg's flowers on Veronica's cell. MANNY: [Offscreen] Yeah, I-I believe I do recognise my handiwork� The camera shifts to show a man holding Veronica's phone. Manny appears to have been smoking some of what he has been growing. He looks like a cross between an old biker and an old hippie and talks, or rather growls, like an old surfer dude who got h*t in the head on the big waves once too often. Throughout, he is eager to please. MANNY: �yeah, yeah. He closes and returns the phone to Veronica. VERONICA: You maybe� remember who bought it? MANNY: Yeah, yeah. Unusual order. Most kids order straight up, like roses and baby's breath. No damn imagination. But this kid, he, you know, he's thinking outside the box, you know. VERONICA: I-I mean, what he looked like. MANNY: Ah, ha, yeah, right. He's not a bad looking kid. Kinda medium sized, you know. He's got that look, you know, that� [Manny does a sort of clueless robot geek move difficult to describe] � look, you know. VERONICA: [Confused] What look? MANNY: [Repeats it] You know, kinda that, duh, high school kid look. VERONICA: [None the wiser] OK. Uh, thanks a bunch, Manny MANNY: Yeah Cut to Wallace looking in a dog encyclopedia. WALLACE: Mexican hairless. What's the point of having a dog if it's bald? What are you gonna pet? Skin? As the camera pulls back and around, he and Veronica are at her desk at Mars Investigations. VERONICA: [Firmly] Stay on task, Wallace. The phone rings. Veronica answers. VERONICA: Mars Investigations. Cut to Keith in his car. KEITH: Hey, honey. Why did I just get a voicemail from this Russian woman asking how I'm doing with her case? I thought you dealt with that. Cut back to Veronica who is at her laptop. KEITH: [Offscreen, on telephone] My plate is full with this insurance fraud thing. VERONICA: Uh, I'm still dealing. [She's uploaded the picture of Tom and the dog and is enlarging it.] Turns out it was a little more complicated. KEITH: [Offscreen, on telephone] Veronica. Don't waste your time on this. If the computer search� Cut back to Keith. KEITH: �didn't do it then just tell her we're too busy. Cut back to Veronica who is continually to enlarge the photo, centring on the dog's collar. VERONICA: She agreed to the daily rate and we can always use the money. I mean, wouldn't it be cool to have glasses in the kitchen that didn't have the Hamburglar on them? Wallace chuckles. KEITH: [Offscreen, on telephone] Forget about the money. VERONICA: I just thought it would be nice if, instead of breaking people up, we brought them together for once. In the photo, Tom is fingering a tag on the dog's collar. Veronica enlarges more and more to read the tag. KEITH: [Offscreen, on telephone] Honey, we're private investigators, not the frigging Love Boat. VERONICA: Dad, I'm almost there, I just need to track down� One final enlargement and she's got it. VERONICA: Steve! KEITH: [Offscreen, on telephone] Steve? That's our guy? VERONICA: No, Steve's a dog. Wallace has found the breed in one of the books and holds it up for Veronica to see. WALLACE: It's a Catahoula Leopard dog. Cut to Keith. KEITH: Who the hell names a dog Steve? Cut to Veronica. VERONICA: Tom Cruz? Cut back to Keith who crumples in his seat. KEITH: [Shaking his head.] Don't forget. You're a high school girl. Do some high school girl things now and then. Cut to Veronica. VERONICA: Relax, Dad. I'm cutting pictures of Ashton out of Teen People as we speak. Cut to Keith. He spots a man in a neck brace walking along the street. KEITH: You better be. Gotta run sweetie. Keith closes up his cell and watches the man as he licks his ice cream. Keith gets out of the car to follow the man. Two men in another car watch him. Cut to Veronica. She has a list of specialist dog vets open and is going through them. TELEPHONE: Exotic Animals Hospital. VERONICA: I'm calling about a Catahoula Leopard dog named Steve. TELEPHONE: Uh, nope, not here. VERONICA: Sorry. TELEPHONE: Pet Hospital. VERONICA: Hi, I'm calling about a Catahoula Leopard dog named Steve. TELEPHONE: Brought in last week? VERONICA: Yes! Right. Uh, I met Steve on a dog beach a while back and, well, I have a Leopard dog, Lulu and I was looking to breed her and it seemed like she and Steve has some real chemistry. Ah, I know you probably wouldn't give me the owner's name and number but I was wondering if you might call him and see if he would talk to me? My name is Veronica, you can reach me at- TELEPHONE: We've got caller ID. VERONICA: Caller ID. How do we ever get by? Thanks. Veronica looks up at the clock on the wall. It is 4:07. She grabs her cell and dials. VERONICA: Hey Meg, it's Veronica. Would you mind leaving a little early for the party so I can make a stop. [Pauses to listen] No, nothing major. [Pauses again and the other phone rings.] Ok, I gotta run. I'll see ya. Hello? TELEPHONE: Sorry, the dog's owner said no. VERONICA: Oh, I see. Well, it was a long sh*t anyway. Thanks. Veronica and Meg are entering the Sheriff's Department. VERONICA: This'll just take a minute. MEG: I still don't understand what we're even doing here. Veronica does a um-um cough to get Leo's attention. He's on the phone. He waves and Meg gets it. MEG: Ah-ha. It all seems clear now. [She smiles] VERONICA: [Protesting] This is just business. MEG: [Not believing a word of it] Ah-huh. Veronica leaves Meg and walks to Leo's desk just as me puts down the phone. LEO: Miss Mars. You have something else to confess? Leo is smiling broadly as he walks to the front of his desk and leans on it. VERONICA: I'm just here for a little favour. What is that? Veronica points. On a clipboard attached to a pillar, there is a sketch of Veronica, with horns. LEO: Oh, we have the sketch artist up from San Diego. Meg is observing all of this carefully. LEO: Figured I'd test him out. He's not bad. VERONICA: I don't have horns. LEO: [Checking] Yeah, I guess not. Memory really plays tricks on people. A man comes from round the pillar. KARL: Hey, Veronica. VERONICA: Hey Karl. KARL: Long time, no see. What do ya think? He points proudly at his sketch of her. VERONICA: Um, it's great. I finally feel [with air quotes] wanted. KARL: Right. Say hi to your dad for me. VERONICA: [To Leo] I'm just here for a little favour. You guys can get phone records, right? LEO: We can get anything. We're cops. Pine Veterinary Clinic? VERONICA: I need to know what numbers they called between four and four ten today. LEO: [Reluctant] I don't know, Veronica. VERONICA: Leo, there is a long and proud history of mutual back scratching between cops and private dicks. LEO: So when do you scratch my back? VERONICA: Well maybe I'll see you tonight when you and Sacks bust this party we're going to. She spins round and walks away. LEO: I'm looking forward to it. She looks back smiling and then joins Meg go on their way. MEG: My, Veronica, he totally wants to serve and protect you. VERONICA: Please Meg. We're looking for your man tonight. MEG: Mm-hmm, mm-hmm. Cut to a party. The music is "Waiting" by Taxi Doll. Veronica and Meg enter. VERONICA: OK, the game is afoot. They walk in and Meg removes her sweater. They look around. VERONICA: Nice house. Caz comes up behind them. CAZ: Oh, you like? MEG: Your folks must be really laid back. Caz is standing next to a portrait of a middle-aged couple. He looks at it and back at the girls. CAZ: Oh, these aren't actually my parents. This isn't my house house. CAZ: It's one of the model homes in my old man's cheesy new sub-division. SONG: Remember when I looked at you with a frown And then you showed me your crown and make me smile Veronica and Meg exchange a look. CAZ: But would you girls like a drink? SONG: I wouldn't sing for all the courage and tears Caz escorts them to the heart of the party. MEG: Umm, I'm fine. CAZ: Yeah, you are super-fine. Caz accompanies this comment with a finger-g*n. SONG: And I've forgotten how fierce it felt to fly. VERONICA: A soda? CAZ: You know, I think we're fresh out but, um� SONG: Another road that gently bends at our feet Has given up to the street, we are making a ride. Caz points to the beer on tap. Meg follows him to the beer while Veronica hangs back and watches. CAZ: So did you get a chance to go to the game last night? SONG: You know I've been waiting way too long, so long MEG: I was cheering. On the sidelines. SONG: I've been waiting alone MEG: Because [with air quotes] I am cool. SONG: For this I've been waiting much too long, so long CAZ: Oh, yeah, yeah, yeah. Totally spaced. SONG: And now the waiting is done. Caz turns back to brag with some people behind him. CAZ: Hey, remember when I jammed it over that Long Beach party guard? Meg looks back at Veronica. A little longingly, like 'get me out of here'. CAZ: Knocked his wreck-specs off! As Caz high-fives with his mate, he spills her beer all over Meg's dress. She gasps. CAZ: [Burping] Sorry. SONG: Remember when I took your handful of hope You showed me how to provoke more in this world. I can't explain, you answered more than a prayer Meg heads to the kitchen area to try and repair the damage. Martin is propped up against the counter. She looks in a cupboard for something to wipe it off with. MARTIN: You won't find anything in those cupboards� SONG: You put a smile in my ear, a simple thought to attain. MARTIN: �it's a fake house. MEG: Uh, right. MARTIN: So I see you got Caz's little game recap, huh. SONG: Now we go our veins are running with start MEG: Yeah, like all over me. SONG: And you have given me heart, we're doing it right. Martin hands her a balled up sweater. MEG: Oh, no, no, no. I don't want to ruin your sweater. MARTIN: No, it's not mine, it's Caz's. Go crazy. SONG: You know I've been waiting way too long, so long VERONICA: [Offscreen] Hey Martin� Veronica comes forward to take the opportune moment. VERONICA: Can I borrow your cell phone? MARTIN: Sure. Martin give Veronica his phone. She walks off, immediately trying to see if he called Meg. SONG: I've been waiting alone For this I've been waiting much too long, so long The display warns that the battery is low and that the phone is powering off now. VERONICA VOICEOVER: Oh, you have got to be kidding me. DUNCAN: [Offscreen] Hey. Duncan comes into view. DUNCAN: Do you know what's going on with Logan? SONG: And now the waiting is done. VERONICA: What do you mean? SONG: And so you are bringing back something that I have learned DUNCAN: Well, he's camped out in a hotel lobby in LA. VERONICA: How do you know that? SONG: What've I've been missing all along. DUNCAN: I just talked to him. VERONICA: He's still there? SONG: And baby you know you've got and I will give you what I have VERONICA: Uh, I'll take care of it. Veronica leaves Duncan standing and a bit perplexed. She heads back to Martin. VERONICA: Martin. See tosses his phone and he juggles to get hold of it. Veronica heads for the exit and is intercepted by Meg. SONG: MEG: There you are. Did you find out anything? I'm totally confused. Ok. Granted, I would look good on Caz's arm but do you have anything available in sensitive or charming. VERONICA: I can check in the back. MEG: Good. VERONICA: Um-hmm. SONG: You know I've been waiting way too long, so long VERONICA: I'm so sorry Meg, I have to run. Can you find a ride home? MEG: Yeah, I'll be fine. SONG: I've been waiting alone Veronica hurries to the door but stops and turns back and points at Meg. VERONICA: [Superfly style] No, you'll be super-fine. MEG: Oh. SONG: For this I've been waiting much too long, so long Meg pulls the finger-g*n and click-clicks with her tongue. Veronica goes and Meg looks round, a little worried. Cut to the Sunset Regent in LA. Logan hasn't moved and is sprawled out on the couch. A lift bell sounds and time speeds up as people pass and use the lifts. Logan has on leg up on the coffee table and is leaning against some pillows, with another blanketing his legs. Legs of a different sort approach him. HOTEL RECEPTIONIST: I'm sorry. But the lobby's reserved for hotel guests only. (Eek, bad continuity moment as Logan is now in a different places on the couch and bounces between the two different sh*ts) Logan hardly registers the man. Without taking his eyes off the lifts, he reaches into his pocket and pulls out a credit card. LOGAN: So book me a room, Jeeves. The receptionist takes the card. LOGAN: Bring me a room service menu while you're at it. Veronica arrives in the lobby and sees him. She signs. She walks over and sits on the coffee table in front of him. He barely registers her presence. She sighs heavily. VERONICA: You know you can't sit here forever. [Getting her phone] What do you say we smoke her out. [On mobile] I'd like to report my card lost. My name is Lynn Lester. Cut to later. Veronica is now sitting on the couch next to Logan, who is looking down at his loosely clenched hands. A lift bell is heard but Logan, presumably weary of disappointment, doesn't look up. Veronica does and pats his arm and points. A woman's leg and back are seen. She's wearing a black coat, hat and sunglasses. She goes to reception. LOGAN: That's her. Logan rises from the couch. LOGAN: Mom? Logan rushes towards the woman. She turns around and removes her sunglasses. It's not Lynn. TRINA: Oh, hey, Logan. Veronica has come up behind Logan. She keeps her distance. TRINA: Did you just call me Mom? You okay, brother? [Matter of factly] You know Mom's gone, right? LOGAN: Wow. You're supposed to be in Australia. TRINA: Yeah, well that didn't work out. [Sees Veronica] Veronica, hey! VERONICA: [Uncomfortably] Hello, Trina. TRINA: So, is the whole brat pack here? What is this, like, like, prom night. You guys get a room here for some after-party. [Conspiratorially] Oh, hey. Oh. I've been kinda outta the loop lately. Are you two- LOGAN: Stop! You shut up. You're wearing Mom's clothes, you're wearing Mom's hat. TRINA: She was your mom, my step-mom. The lady who liked to parade though the house in a string bikini, whenever I had a boy over. LOGAN: Yeah, well to be fair when didn't you have a boy over. TRINA: Oh, you� Trina leans forward to slap her brother, he blocks it with his hand. LOGAN: Dad could've used you there. TRINA: [Laughs] So now you're worried about Dad's welfare. Isn't he the big bad wolf? Logan shakes his head and mouths "No" to his sister but she ignores him and presses on. TRINA: Cigarette burns and broken noses. Oh, the stories you used to tell. Veronica is troubled by this. LOGAN: Wow, we should get together and do this more often. TRINA: Yeah, well, you're in luck. I'm heading home now. I guess some accountant finally cancelled Mom's cards. LOGAN: But if you're coming home, who will play d*ad Hooker Number Two on CSI this week. How will you get your attention fix? TRINA: Maybe I can be the ring girl at one of your bum fights. As they get really bitchy with each other, Veronica steps forward to intervene. She grabs Logan, steps around him to put herself in between and addresses Logan. VERONICA: You know what? Shall we get going, Logan? Logan is still staring at his sister and not responsive to Veronica. Trina gets all girlie friendly. TRINA: Veronica, look at you. All grown up. Hey, we should hang out when I'm in town. VERONICA: OK. Yeah. Logan, come on. Let's go. Veronica leads him away. TRINA: See ya guys. Drive safe. Trina turns momentarily to reception and then walks away. Logan turns to watch her and Veronica tries to lead him away again. He doesn't resist when she grabs his arm and pulls him round. He shakes his head as they take a couple more steps and then breaks down. They stop. Logan leans forward with his hands on his thighs. Veronica is concerned and uncertain what to do. Logan cries, Veronica clears her throat. She pats his back as he stands up again but he can't stay there and leans down again. Veronica's hand is on his back, rubbing. Logan leans into Veronica. LOGAN: She� Logan's head rests against Veronica's breast and she brings her other arm around his head and cradles it. There's a bit of a rough cut to Logan, now clutching Veronica who holds his head close to her and rubs his back. She nearly loses her balance as Logan goes down on his knees but she doesn't change her hold. He weeps. LOGAN: She's gone. She's gone. Veronica makes soothing noises although she is not comfortable with the situation, her face registering a mixture of sympathy and shock. Cut to Keith, driving and speaking on his cell. KEITH: Yep, I got some pictures. Mr Neckbrace with a former lawyer, Joe Allen, who was disbarred last year for repping a fake accident ring. As he listens, Keith sees the same car that contains the men who were watching him earlier in his rear view mirror. KEITH: Hey, you got any other guys working this case, maybe drives a silver Chevy? I keep seeing it behind me. No, no, no, it's nothing. So I'll send the pictures when I get back. Okay. Bye. Keith pulls into a hotel with valet parking. The valet opens his door. VALET#1: Good morning sir. KEITH: Hey. Thank you. The valet gives him his ticket and Keith walks quickly into the hotel. The silver Chevy pulls up at the hotel and are seen by a second valet. Two mean looking men get out. VALET#2: Here you are sir. The two men take their ticket and approach the entrance. They split up to look for Keith. He watches and evades them, then goes back out to the car park. The second valet has just parked it and walked away. He jemmies their car and quickly gets into the driver's seat although he leaves the door open. He looks around the car then reaches over and opens the glove compartment. He finds what looks like travel documents. Cut to Keith approaching his car valet. He laughs out loud. KEITH: The wrong place I guess. You know which hotel has the medical supplies convention? VALET#1: Um-um KEITH: Nah, anyway. I'll just take the keys� one right there. Thanks. Have a good day. Keith heads for his car, punching a number in his cell as he goes. VALET#1: You too, sir. KEITH: Hey, it's Keith Mars. I got a name check to run. [Consulting his notebook] Yevgeni Sukarenko, all right? Cut to Manny's flower shop. Veronica and Karl, the sketch artist are rounding the corner. VERONICA: Thanks for doing this, Karl. KARL: Yeah, no problem. Manny is at a table, planting up. KARL: Is this the guy? VERONICA: This is Manny. Manny, this is Karl. He's gonna help you with your� recall problems. MANNY: [Not optimistic] Yeah, good luck. KARL: [Holding out his hand] Don't worry, Manny, I'm a professional. Karl thinks better of it as Manny, being dirty, is reluctant to take his hand. KARL: Right. [To Veronica] I'll fax the results to your place. VERONICA: [Leaving] I owe you one. Cut to Veronica entering Mars Investigations as her cell rings. Veronica checks caller ID before answering. VERONICA: Well if it isn't my local policeman. LEO: You got a pen handy? VERONICA: Always. What do ya got? LEO: Three outgoing calls between Pine Veterinary between four and four ten. I got a Fred Ellis, John Frampton and a Carla Stern. Veronica writes them down. VERONICA: You're a prince, Leo. LEO: Yeah, I'm writing that down. VERONICA: I'll talk to ya later. Cut to Veronica looking at the photo of Tom and the dog as she watches a house in a wet street from her car. VERONICA VOICEOVER: So it seems that saying about people resembling their pets is true. Fred Ellis was as old and droopy as his Basset Hound and single mother, Carla Stern was a d*ad ringer for her Pomeranian. Two strikes. So it all comes down to John Frampton bearing a slight resemblance to his� The dog from the photo exits the house first. VERONICA: �Catahoula Leopard Dog. Veronica gets her camera ready. A man follows the dog out. It's Tom Cruz. Veronica snaps away, checks the viewfinder and gives a satisfied smile. Cut to Veronica at Mars Investigations. She has the photos on her laptop and is looking at them as she is on the phone. VERONICA: Catherine? It's Veronica in Mr Mars' office. It's good news. He found Tom. CATHERINE: [Offscreen, on telephone] Veronica, thank you. It's a miracle. VERONICA: You have a pen? CATHERINE: [Offscreen, on telephone] Of course, please. VERONICA: So the address is- Keith hurries to the desk and cuts Veronica off. VERONICA: Dad, what are you doing? Keith holds up a picture of the woman she knows as Catherine Lenova. KEITH: This isn't Catherine Lenova. It's Yellana Sukarenko. [Holding up two more pictures] Yevgeni and Sergei Sukarenko, Russian mob from Chicago. Anthony Thomas Cruz worked for their father. Turned State's evidence and put him away. He's not a long lost love, Veronica. He's in the witness protection programme. Veronica looks stunned. The phone rings. She stares from it to her father. Cut to moments later. The phone is still ringing. KEITH: Just like we said. VERONICA: Mars Investi- Catherine. I'm sorry, I got excited and dropped the phone. [She clears her throat] You still have your pen? Okay, the address is [reading from a post-it as Keith sits on the desk in support] 124 Driftwood Terrace. [Pauses to listen] Right. [Pauses again] Of course. [And again] It's no problem. [And one last time] Buh-bye. KEITH: It's good work, honey. Veronica seems sad. VERONICA: So, what's gonna happen? KEITH: Don't worry. I'll take care of it from here. Keith slides off the desk and heads out as Veronica is contemplative. Cut to the Sukarenko brothers leaving their car in a suburban area. They enter the house they have parked in front of. The house is empty of furniture but they hear a blender or ice dispenser. As they make their way in, armed, they pass the portrait of the middle-aged couple. This is the same house as the Caz held his party. They get to the kitchen and see a man who is looking in the refrigerator. They point their g*n at the man who face is hidden behind the door of the fridge. YEVGENI SUKARENKO: Do svidaniya, Mr Cruz. It's Keith. KEITH: [Cheerfully] Oh! Prevet! There's the sound of running feet. The men are surprised. LEO: [Offscreen] Put down� Leo comes into view, pointing his g*n at them. He is wearing a b*llet proof vest. LEO: �your g*n, now. [As other deputies arrive from concealment around the house] Get your hands on your head, get your hands on your head. The men are disarmed. As Leo puts his g*n back in its holster, he looks at Keith. LEO: Prevet? KEITH: It's Russian for hi. I looked it up. Cut to Veronica opening the door to the apartment. It's Meg. She is dressed as Molly Ringwald's character in the prom scene in "Pretty In Pink". She is carrying another outfit on some hangers in one hand and what looks to be a heavy carrier bag and a wrist corsage in the other. MEG: Hey! VERONICA: Meg, I am so sorry. She comes in and sets down the bag. MEG: What for? VERONICA: I told you I was gonna find your secret admirer before the dance and I haven't come through, I� it's just been a million other things I've been working on� MEG: [Putting down the outfit] Forget it, forget it. I don't even care anymore. Meg is still carrying a wrist corsage. MEG: Oh, here. She puts it down on the counter between them. MEG: You can have it. It's the flowers he sent me. Supposed to be our signal tonight or something. VERONICA: Thought you were excited about it. MEG: Truth is, I'm not sure I wanna go out with Caz. And Martin's nice but not� I just don't want to hurt his feelings. VERONICA: Hmm. How come you're all dolled up. MEG: Now who says I need a date to go to the dance. VERONICA: Oh. Right. You� go girl. MEG: I'm taking you. She points at Veronica, grins and giggles. Veronica looks a little stunned. "Euro Trash Girl" plays as camera cuts to later. In Veronica's closet, she is dressed and her hair is crimped. Meg is spraying copious amounts of hair spray. Veronica is early Madonna. MEG: Okay. Veronica coughs from the hairspray. Meg adds a bit more for good measure. Veronica moves into her room as Meg chases her with the hairspray. MEG: Well, what do you think? VERONICA: I look like Manilla Whore Barbie. MEG: Hmm. VERONICA: Oh. The fax machine rings and Veronica runs to the living room leaving Meg stranded with her hair spray. MEG: No, no. Where are you going? Don't you dare run away on me. VERONICA: Just business. Veronica waits by the fax. VERONICA VOICEOVER: Come on, lover boy. Show us your face. She collects the fax, looks at it and her face drops. Meg comes into the living room. MEG: What is it? VERONICA: Nothing. Veronica folds the fax. VERONICA: Come on, let's go. We're gonna be late. Veronica and Meg hurry out but the camera pans down to the fax that Veronica has slipped into the bin. It is a sketch of Duncan. Cut to the dance. People are tawdry. It's eighties gear. Veronica and Meg stand in the middle of it all, bemused. The music is "One Thing Leads to Another" by the Fixx. SONG: The deception with tact, just what are you trying to say? MEG: Wow. Eighties fashion. SONG: You've got a blank face, which irritates MEG: Grody to the max. VERONICA: Don't spaz. SONG: Communicate, pull out your party piece VERONICA: Aren't you totally stoked to go to this thing. MEG: Oh, for sure. SONG: You see dimensions in two MEG: I just didn't know the dance would be such a major couple-o-rama. VERONICA: What happened to all the girl power? SONG: State your case with black or white VERONICA: The we-don't-need-dates resolve. SONG: But when one little cross leads to sh*ts, grit your teeth MEG: Reality has set in. Forgive me, gal pal. I'm weak. SONG: You run for cover so discreet, why don't they: Do what they say, say what you mean One thing leads to another You told me something wrong, I know I listen too long But then one thing leads to another. Meg smiles and Veronica looks at her with affection. She makes the decision. She takes the corsage out of her bag and slips it onto Meg's wrist. MEG: What are you doing? VERONICA: You'll thank me later. Veronica turns around and goes to leave the room. Meg calls after her. MEG: Where are you going? VERONICA: My work here is done. MEG: But you'll miss your big surprise. VERONICA: I'll live. The Fixx gives way to Cyndi Lauper's "Time After Time". SONG: Lying in my bed I hear the clock tick and think of you Caught up in circles confusion - is nothing new Veronica carries on and Meg smiles as she watches her go. Veronica turns around and gestures with her head for Meg to look behind her. Meg does. Duncan is dressed as Duckie from "Pretty In Pink" and smiles at her. Meg looks back at Veronica. It is a questioning look. Veronica continues to smile, passively. Duncan holds out his hand to Meg. DUNCAN: Would you care to dance? SONG: Flashback - warm nights - almost left behind Meg takes his hand. She looks back at Veronica one last time, mixed concern and gratitude then disappears into the dancing couples. Veronica's smile fades. VERONICA VOICEOVER: Between getting fooled by the Russian bride and finding out that Duncan has the hots for Meg, SONG: The drum beats out of time - VERONICA VOICEOVER: I've had my fill of surprises tonight. SONG: If you're lost you can look - and you will find me time after time If you fall I will catch you - I'll be waiting time after time She appears to hold back a sob as her twists round and exits rapidly. She is on the verge of tears. She heads for her car. VERONICA VOICEOVER: J Geils was right. Love stinks. You can dress it up with sequins and shoulder pads but one way or another you're just gonna end up alone at the spring dance strapped into uncomfortable underwear. SONG: You said go slow - I fall behind the second hand unwinds - Veronica, alone in her car, lets go and sobs. A figure appears at the side of the car and knocks on the window. It's Leo. Veronica opens the door. LEO: What's wrong, Veronica? SONG: If you're lost you can look - and you will find me time after time If you fall I will catch you - I'll be waiting time after time He hands her a corsage. She takes it, smiles weakly and gets out of the car. LEO: Are you ready for a� a total eclipse of the heart? SONG: If you're lost you can look - and you will find me time after time Smile widens as she appreciates the corsage. Cut to the dance. Now it's Spandau Ballet with "True". SONG: Huh huh huh hu-uh huh I know this much is true Huh huh huh hu-uh huh Meg and Duncan are dancing close together. Leo and Veronica join the couple-o-rama. Veronica puts her arms around Leo's neck. LEO: You look beautiful. SONG: I know this much is true With a thrill in my head and a pill on my tongue dissolve the nerves that have just g*n Listening to Marvin (all night long) This is the sound of my soul� Veronica smiles and they dance. Veronica looks over at Duncan and Meg. Meg's head rests on Duncan's chest. Veronica returns her attention to Leo. Duncan opens his eyes and looks over at Veronica. He watches as Leo's hands stroke Veronica's waist. His expression is difficult to read and after a moment, he returns to Meg. Both couples dance. Logan, drunk and trouserless in his guise as the Tom Cruise character in "Risky Business" appears on the stage. He's also wearing sunglasses. He is boorish to the max. LOGAN: I love the eighties. LEO: Heads up. Risky business at 12:00 SONG: This is the sound Logan takes the short jump off the plinth and tries to rally support. LOGAN: Come on everyone. Let's wang chung tonight. SONG: Always slipping from my hands, Being a coupley affair and a slow number, nobody's interested and they start complaining. LOGAN: What, everybody wang chung tonight. SONG: Sand's a time of its own Duncan and Meg have stopped dancing, as have many others, watching Logan make a fool of himself. He is starting to get aggressive and getting aggression back. LOGAN: Wang chung or I'll kick your ass. Everybody! [Logan loses the humous and gets tetchy] Don't touch me, dude. SONG: Take your seaside arms and write the next line Oh I want the truth to be known Huh huh huh� He stumbles out of the room. LEO: Every class has one. VERONICA: I cannot escape Tom Cruise. Veronica and Leo follow him out. Cut to the corridor. Veronica and Logan are fumbling as Leo observes. VERONICA: Come on Logan, just give me your keys. Leo, can you follow us in your car? Leo nods as Veronica searches Logan for his keys and he twists away, as far as he can as Veronica has him up against a door. LOGAN: No. No! No. No. [He points at Leo and giggles] 'Cause tonight I'm gonna party like it's 1999. [His voice drops and he points at Leo again] Hey, who's this dude. VERONICA: As I have told you now three times, this is the friendly officer of the law [Logan giggles] who is going to overlook your underage public drunkenness. LOGAN: [Of Leo's outfit] Crockett or Tubbs? TRINA: [Offscreen] Logan, when did you stop wearing pants? The three of them look round. Trina is standing in the corridor. LOGAN: [Unhappy] What are you doing here? TRINA: My first night back home and I get the call, come get Logan, he's wasted. It's like I never left. [Of music coming from the dance] Is that Kajagoogoo? LOGAN: There's no point you going in there, Trina. Entertainment Tonight is not covering it. TRINA: Bummer. Well I guess I'll just drag your sorry little self home. Logan is not steady on his feet and Trina pulls on his sleeve to head him in the right direction. He throws her hand off. LOGAN: As long as you let me puke in your car. TRINA: Of course, just like old times. Logan looks back at Veronica then follows Trina and they leave. LEO: A promising young man. VERONICA: Thanks for showing up tonight. I assume I have Meg to thank for getting you here. LEO: She called… VERONICA: Um LEO: …but I came because I wanted to see you. You wanna go back? VERONICA: Ah, no, here's not so bad. [Pause] Are you going to kiss me? LEO: I was thinking about it. Leo leans forward, takes her by the waist and they kiss. They both come out of it smiling. VERONICA: Cool. Veronica's cell rings. VERONICA: Hello? It another call where no one speaks. LEO: Your other boyfriend. VERONICA: No someone keeps crank calling me. LEO: Star 69 them. VERONICA: I do but it just rings and rings. LEO: [Taking the phone] I am a deputy sheriff, allow me. Leo dials *69 and the phone rings. LEO: [Into telephone] I hear you're bothering my girl, VERONICA: [Grabbing the phone] Who is this? Why do you keep calling me? MAN ON TELEPHONE: This is a pay phone. You must be talking about that blonde lady. VERONICA: Blonde lady? A-a pay phone where? MAN ON TELEPHONE: Sage Brush Cantina, Barstow Veronica shuts off the phone. VERONICA: Uh, raincheck? Veronica gives Leo a quick kiss and runs out, leaving him baffled. LEO: What? Cut to day. Veronica is in a rental car. She pulls up to a bar in the middle of nowhere. A country track is playing. SONG: That warm breeze is running over me Every now and then, I begin remembering That warm breeze keeps twisting memories Veronica enters. SONG: And I wonder if it's ever gonna end A man and woman are playing pool. WOMAN: Call. The woman gives Veronica a hard look and passes her. SONG: I don't think I'm over you quite yet Veronica looks around. She sees a woman sitting at the bar. SONG: Yes there are things a heart can't just forget She approaches her. It's Lianne. She looks a mess and sounds drunk. SONG: That warm breeze is running over me VERONICA: Mom! It takes her a moment to focus and recognise her daughter. LIANNE: Veronica. SONG: Every now and then, I begin remembering LIANNE: Oh, my god, no. No, please. Lianne is distressed. Veronica tries to take her mother's hands to lead her out. Lianne resists and knocks over some glasses. VERONICA: I'm gonna get you out of here. LIANNE: No! SONG: That warm breeze keeps twisting memories LIANNE: No. I can't be seen with you. They are gonna hurt you. VERONICA: Mom, I know who's doing it. I know who's blackmailing us. You're safe now. Lianne fights to get away and for a moment Veronica loses her. SONG: And I wonder if - She looks up and is horrified to see Clarence Wiedman's reflection. The music cuts off. Veronica turns in time to see him exit the bar. Lianne can't be seen but as the screen goes dark…. LIANNE: Veronica. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x15 - Ruskie Business"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars Veronica watches from her as Jake Kane knocks on the door of room 6 at the Camelot Motel (from 101 "Pilot"). VERONICA: [Offscreen] What do you think Mom was doing at the Cut to Veronica at the apartment having meal with her father (from 103 "Meet John Smith"). VERONICA: the Camelot motel with Jake Kane? KEITH: Veronica. Please. LEO: [Offscreen] I know all about Cut to Veronica and Leo at the Sheriff's Department (from 114 "Mars vs. Mars"). LEO: your dad and the m*rder investigation. VERONICA: No you do not. Lilly Kane was my best friend. LEO: A guy confessed. He said ... Cut to Veronica and Koontz at the prison from the same episode. LEO: he did it. VERONICA: You're dying, Abel. You did not k*ll Lilly Kane. You're just somebody's patsy. VERONICA: Did you? Cut back to Veronica and Leo from the same episode. VERONICA: How did the head of security come to Kane Software? Cut to Meg and Veronica (from 115 "Ruskie Business"). MEG: I think I have a secret admire. Cut to Veronica at the dance nodding to Meg that it's okay that her admire is Duncan. VERONICA VOICEOVER: J, Geils was right, love stinks. Cut to Veronica pulling up at the Sage Brush Cantina in Barstow, then to Veronica in the bar, finding Lianne from the same episode. VERONICA: Mom. Cut to Veronica stumbling from her mother, only to see Clarence Wiedman. End previously. The music in the scene is the Notwist's "Pick Up the Phone". SONG: You know this place, you know this gloom? We've been here before. Pick up the phone and answer me at last. Today I will step out of your past. Veronica enters her room and looks round frantically and thoroughly. VERONICA VOICEOVER: I looked for my mother for the better part of a year. I doubt that Clarence Wiedman just happened to find the same night. He did not know where to find my mother. He knew where to find me. She looks up in her box and picks a box, which she examines. VERONICA VOICEOVER: I never donated to the Wildlife Alliance, yet I kept that stupid pencil sharpener they smell. Veronica throws down the box and grabs a panda-shaped sharpener from her desk. Veronica examines it, then breaks it. There is a listening device inside. Veronica stares at it. . VERONICA VOICEOVER: Wiedman was listening when I booked my flight to Barstow. I should have left the ball but I did not want my mother to see me for the first time. It seemed important at the time. She takes it out of where she is in the panda's head. She flashes back to the Sage Brush Cantina in Barstow when Veronica found her mother. Her mother is trying to get away from her. VERONICA: I know who's doing it Mom, I know who's blackmailing us. Veronica struggles with Lianne and seesaw Wiedman. . VERONICA VOICEOVER: He had to have seen me. He knows I've made contact. Wiedman exits the bar. Lianne stumbles and knocks over a flesh. LIANNE: I'm fine, I'm fine, I'm fine. Honey, just please go. Please go, baby. Veronica direct her mother on the bench seat of a small table. Veronica goes round the table on the other side. VERONICA: I have been searching for you for a year. I'm not going anywhere. Veronica grabs her mother and hugs her hard. Lianne hugs back. LIANNE: [Whispering] Oh, god, I've missed you so much. [Pulling out of the hug] But this is bad. This is very bad, you should not be here. VERONICA: [Tearfully] Neither should you. LIANNE: I'm trying, though, I'm trying to protect you and I can not. I can not. It's just so hard. Lianne weeps in Veronica's arms. Veronica calls out to the waitress wiping at table. VERONICA: Can we get some coffee over here please? She nods and goes off to get the coffee. VERONICA: It's okay. Mom, everything is gonna be okay. Lianne smiles hopefully through her tears. Veronica returns to the present and the chaos of her searched room. She still has the bug. VERONICA VOICEOVER: Clarence Wiedman was listening when I booked my flight to Barstow yesterday morning. Veronica has got the bug on her desk and holds a statue of a Polynesian-like man, ready to crush it. VERONICA VOICEOVER: I can only hope he's listening now. Veronica breaks as she has a thought. VERONICA VOICEOVER: Or maybe, I want him listening. She puts the statue down and replaces the bug in the head of the panda. She reassembles the sharpener and places it on her desk. She breathes heavily. Cut to a basketball rising and descending into the hoop, while "A Chorus Line" by Ultramagnetic MC's plays. WALLACE: Now that was just racy. It was Wallace's sh*t and he is practicing in the gym. Another lad fetches the ball and returns it to him. WALLACE: Respect the jumper, Jack. Respect the jumper. Kid's got rank. JACK: Enjoy this moment, 'cause it's over now. WALLACE: I've space and opportunity. Wallace bounces the ball, ducks and dives and passes Jack, sinking another hoop. WALLACE: [Lording it over Jack] Ooo. That's your jock back there. Veronica is sitting on the floor of the gym, watching and eating an apple. Some books are spread in front of her. VERONICA: Do you need to jump back and kiss yourself? 'Cause I can wait. Wallace grimaces at her and then he and Jack knock knuckles. WALLACE: Good practice, good practice. Wallace and Jack head for the changing room. Cut to Veronica and Wallace walking down the corridor. Wallace is being fessed by passing jocks BOY # 1: Yo, bro! BOY # 2: Wallace, my man! Wallace and the boy high-five. BOY # 3: Hey, what's up Wallace. WALLACE: Good game. BOY # 4: Wassup, player? WALLACE: Um-um-um hmm. Wallace and the boy pound fists. Veronica sees all this with increasing fun. VERONICA: [Putting on her best female voice fan] They like you! They really like you! A girl is walking towards them by smoldering hots for Wallace. NADINE: Hi Wallace. WALLACE: Hi. Wallace turns out to watch his walk on by. VERONICA: Who's the hoochie? WALLACE Nadine? She's in our grade. See, you need to socialize more, that's your problem. VERONICA: [As if receiving a revelation] Wait. That's my problem? WALLACE: Yeah, I know. This school has not always been that great to you. VERONICA: The gentleman has the gift for the understatement. WALLACE: I-I'm just saying BOY # 5: Huuhh! A big lad walks straight into Wallace. This is a fun thing and Wallace returns the favor. WALLACE: Huuh! I've got a few people around here. They seem pretty cool. Maybe this school is not as bad as you think it is. They are saying that Wallace and Veronica run straight into the sight of Duncan and Meg. Duncan is holding his hands on his chest and their heads are close together as they lean against the lockers. Veronica is not happy. VERONICA: They seem friendly. She looks for her locker against the lovebirds as Wallace looks back at them. There is a tap on her shoulder. CLEMMONS: Veronica. My office. Now. Clemmons walks off leaving Veronica with Wallace. VERONICA: I love this school. Cut to Clemmons office. CLEMMONS: [Closing the door] When we arrived this morning, we discovered that Polly was gone. VERONICA: Missing or pthwt? Veronica makes the cut-throat sign for d*ad. Clemmons, as he heads behind his desk, is a little appalled. CLEMMONS: Missing! VERONICA: Someone stole our mascot? Clemmons nods and starts pacing behind his desk. Veronica throws up her hands. VERONICA: Well, let's get it. You [air quotes] I'm suspended or expelled, tarred, feathered- CLEMMONS: Excuse me? VERONICA: I did not take the bird. CLEMMONS: I'm not accusing you. I'm asking for your help. [Leans over her] I want you to find Polly. Veronica can not quite believe her ears. Opening credits. Back in Clemmons office, Veronica is open-mouthed as she listens. CLEMMONS: [Very serious] You know how to control the rivalry between Neptune and Pan High is. It used to be a toilet paper with a lot of things [with heavy sigh] escalated. If this is not resolved quickly and discreetly, things could get ugly. We do not really have the money to hire a professional but we have some skills. VERONICA: I do. CLEMMONS: And what do you normally charge for something like this? VERONICA: A lot. Yeah, it's gonna set you back. CLEMMONS: How far back? VERONICA: Personal letter of recommendation. I'll write it, you'll sign it. My own parking space and a separate locker, preferably in the east hall. CLEMMONS: The letter and the locker, fine. But you're not getting your own parking space. VERONICA: Can you get me out of PE? CLEMMONS: No. VERONICA: How about a few excused absences? CLEMMONS: How about one? VERONICA: I'm thinking three. CLEMMONS: Miss Mars ... VERONICA: You're the one with the missing bird. CLEMMONS: Fine. Two. Veronica holds her hand to shake the deal. CLEMMONS: And this is, obviously, a confidential matter. VERONICA: [Confidentially] It'll be our little secret. With a barely disguised grin, Veronica rises and heads for door. Just before exiting, she turns and gives Clemmons a "there, there, I'll take care of it" nod of her head. Cut to Wallace and Veronica at their lockers. Veronica's new locker is next but one to Wallace's. She is sorting through some books in her locker. Wallace is leaning against the lockers, eating a biscuit. BOY # 6: [Offscreen] Good game, Wallace. Wallace acknowledges the praise. Jack heads towards the top of the screen. He shouts as he passes by. JACK: Yo, Wallace! You hear some guys from the pan high stole our parrot? Do not take this lying down. WALLACE: They stole Polly? JACK: Gone. VERONICA VOICEOVER: I guess the secret's out. VERONICA: WALLACE: I have plenty of free time as an office help. Me and Polly, we bonded. It'll eat right from my hand. BOY # 7: [Offscreen] What's up Wallace? A hand comes out of the crowd to pat him. Wallace beams. WALLACE: I must say, I'm a little touched. You picked the locker next to mine. VERONICA: This is prime real estate. Wallace Fennel adajacent? Wallace pulls out of his locker box, about the size of a shoe box, decorated in school colors. WALLACE: I'm telling you. This school is so much better than my old one. Look at this. Wallace opens the box Veronica what is inside. There is a small stuffed frog in there, with some cookies. VERONICA: Wow, your own cookies? WALLACE: Snickerdoodles. And they just appeared in my locker, just like that. Open my locker, bam. Homemade. Yet another student high fives Wallace as he passes. WALLACE: cookies. Veronica laughs. She is enjoying his pleasure. WALLACE: And that's not all. VERONICA: ['Can it get any better?' fashion] A peeled grape? Veronica slams shut her locker and looks down on the words on the box as Wallace points out them. WALLACE: [Reading] "Go Wallace, we love you, you rock." Wallace, keeping hold of the box, slams his locker shut and they move down the hallway. VERONICA: Wow. A snack and an ego stroke. I wish I was a baller. DUNCAN: [Offscreen] Great game the other night, man. Duncan, holding Meg's hand, is intent on congratulating Wallace. Meg is not so comfortable with the moment. DUNCAN: Eighteen points, eight assists. WALLACE: On the streets, we call those dimes. VERONICA: Streets! You live on the corner of Pleasant Valley and Marigold. Wallace takes a little umbrella at Veronica's sabotaging of his cred. MEG: Hey, did you cut your hair? Veronica is still smiling when she asks me to go to the camera. VERONICA: No, I'm growing it out. Veronica's reaction has not escaped Meg and she quickly say her hands from Duncan's. MEG: Wel- anyway, it looks great. VERONICA: Thanks. DUNCAN: We gonna b*at Pan, man? WALLACE: Bet on it. Duncan gives Wallace a handshake and the couple moves on. VERONICA: Can I just do something? Veronica Wallace pats hard on the back. Wallace laughs despite the biscuit filling his mouth. VERONICA: Why does everyone keep doing that to you? Seriously, it's like you're made of velor or something. From behind them, one of the basketball team run by. TEAM MEMBER BASKETBALL: Wallace, you coming or what? Wallace breaks in their strolls and turns to Veronica. WALLACE: I was gonna go hang out with some of the guys on the team at lunch. VERONICA: [Sarcastically] And ruin the sanctity of our lunch duo? You know that will send me crying to the bathroom. WALLACE: Come hang out. VERONICA: [Skeptical] At the cool jock table? Me? WALLACE: Come on. They're all right. VERONICA: Thanks, but I have other plans. Wallace nods, a little sadly but not surprised. He walks backwards away from her, leaving her alone amid the hubbub of the school hallway. Cut to another school, another planet. Veronica is a pink jacket, a white t-shirt and a short plaid plaid. The hair, it is curly. She is climbing some outside steps. VERONICA VOICEOVER: High Pan, the Un-Neptune. Just 15 miles away but there are those inland, there are no yacht clubs and no $ 5 million homes with coastal views. The parking lot is full of American-made cars from the nineties and vending machines do not carry Orangina. Cut to a large, indoor cafeteria. VERONICA VOICEOVER: People here hate Neptune as much as I do. Veronica, carrying a tray, looks around the cafeteria. VERONICA VOICEOVER: Go to any High School in America and you can tell who the popular kids are. GOTH STUDENT: Who's that? VERONICA VOICEOVER: They travel in packs of the biggest, the shiniest, and the prettiest. Veronica spots the jocks and one of the jocks spots her. VERONICA VOICEOVER: And much like wolves, they're always on the lookout for new meat. Having found her target, Veronica adopts a more girlie demeanor and pauses to show she's looking for somewhere to sit. The jock does not disappointment. RICHIE: Got some room over here! VERONICA VOICEOVER: Whoever said it was a man who had no idea how easy it is sometimes to be a girl. Veronica smiles as one of the jocks leaves to make room for her. The jock who called her over, who, surprise, surprise, is called Richie, stands as she comes over and sits down opposite him. VERONICA: I was doing the first day scout. Where to sit, where not to sit. RICHIE: This is a good choice, I promised. [Holding out his hand] I'm Richie. Veronica shakes his hand and records that his jacket is marked with the number thirteen. VERONICA: Uh-oh. Thirteen. Is it my unlucky day? RICHIE: Hardly! It's your first day and you're already at the cool table. This is Curtis. A black guy in another jock jacket sitting next to Richie shakes her hand. CURTIS: How you doing. Richie points to the guy sitting next to Veronica. RICHIE: And that's Zeke. ZEKE Hey. VERONICA: Hi. I'm [long pause] Betty. So, you guys all play basketball? RICHIE: Curtis and I do. ZEKE: I'm a team manager. Which is like being on the team. RICHIE: Which is like being near the team. VERONICA: I love basketball. I-I'm kind of a freak when it comes to sports. I totally get into it. RICHIE: Are we talking face paint? VERONICA: Face painting, hair streaking the color of the school. At my old school, I was horny. Richie double-takes and Curtis chokes on his drink. VERONICA: [Hurriedly] We were the Rhinos. I was the mascot. RICHIE: And what school was that? VERONICA: Riverdale. Richie does not get it (note: Betty, Veronica and Richie). RICHIE: Never heard of it. Oh, but hey, did you guys hear? Someone stole the Neptune parrot. The crowd around the table react excitedly. VERONICA: Parrot? And you thought rhino was weird? ZEKE: Well, they're the Pirates. So, you know, their mascot's parrot. It's yeah. RICHIE: Whoever stole it is my hero. Neptune High sucks. Believe me. VERONICA: [Genuinely] Oh, I do. RICHIE: We b*at them every year. ZEKE: That was then, this is now. I tell you, that Fennel kid is amazing. VERONICA: [Momentarily dropping out of character for pride] He is? Really? RICHIE: We're not gonna lose. I guarantee it. All right? We got something special for our sleeve for Neptune. KID: Hey Richie! A younger boy runs up to the table. KID: You're not gonna believe this. They've got our goat! There are cries of "What?" and the like from around the table. RICHIE: What? KID: Neptune, man, Billy stole! It's so on! The kid runs off again at the table steams at the news. VERONICA VOICEOVER: A day in the life of a human google. Always in search mode. One moment tracking down the absurd, parrots and goats, metaphors for a school pride I do not possess Cut to the Sheriff's Department. VERONICA VOICEOVER: and an hour or two later, going after the appalling, the m*rder of a teenage girl. Sheriff Lamb takes an annual marlin fishing expedition. I can not let the opportunity go to waste. As Veronica goes for a cup of coffee, she flashes back to the bar in Barstow. Lianne's coffee is being poured into a cup. WAITRESS: Just let me know if you need something else. Lianne shakily slurps down to gulp. She puts her cup down with both hands and turns to her daughter, grinning ruefully. LIANNE: How's my makeup? [She laughs and then more sombrely] I wish you were not seen me like this. VERONICA: You should have seen me last night. I was wearing blue eyeshadow. We had an eighties dance at school. LIANNE: Oh, that sounds fun. Was that fun? Veronica does not lose her stricken look. LIANNE: Well, I guess things do not just stop, do they. [Softly] There's still birthdays and dances and Christmas. VERONICA: No, there's really not. LIANNE: [Giggles] Do you remember what time you want to shave your hair like Cyndi Lauper? - VERONICA: [Earnestly] I know about you and Jake Kane. I wanna know what was between the two of you. Were you so adamant that Jake for Lilly's m*rder because you still had feelings for him? LIANNE Oh Veronica. VERONICA: Tell me. LIANNE: Jake was innocent. VERONICA: How do you know that? LIANNE: I just know that. VERONICA: Like in your heart because you love him? Veronica's eyes are filled with unshed tears. LIANNE: [Matter-of-factly] No. Because I was with him at the time of the m*rder. We were in a hotel room at the Neptune Grand. Shocked, Veronica takes a deep breath and falls back against the bench. Cut back to Veronica at the Sheriff's Department, remembering this as she stands with her coffee. Leo comes up behind her. LEO: Just so you know, in my mind that daydream was about me. VERONICA: Oh yeah? LEO: I was a little surprised you in full armor but, whatever. [He laughs] So what can I do for you? VERONICA: Ah, I need a favor. A big one. Veronica leads Leo to a more private spot. Leo glances back at his colleagues LEO: Please say you need me to take care of a parking ticket for you. VERONICA: I need you to get questioned from Lilly's m*rder investigation. Leo glances out again and sighs heavily. Cut to Mars Investigations. Keith comes out of the kitchen with a cup of something hot that he is stirring. Veronica is doing the filing. KEITH: You got a weird call yesterday. The bank wanted to let you know you were overdrawn. I thought you were squirreling away all that college money. VERONICA: Must be a mistake. Forgot a decimal or something? Gold I blew it on ladies and horses. KEITH: You'd tell me if there was a problem, right? VERONICA: I tell you everything. Keith smiles and pats her on the shoulder. He heads for his office. VERONICA VOICEOVER: Maybe not everything. Keith turns on his way and walks backwards from his before going into the office. VERONICA VOICEOVER: There are some things you're better off not knowing. Cut to the bar in Barstow. VERONICA: Guess you could not tell Dad you were in a hotel with your ex. LIANNE: It was not like that. VERONICA: I do not matter what it's like, Mom. LIANNE: I just went there to talk to him. VERONICA: All Starbucks were closed. LIANNE: Well, it had to be in private. [A little slurred] Everything is not so easy to explain, Veronica. VERONICA: [Impatient] Could you just try? Do you think maybe I could have some real, actual answers? You left us. LIANNE: Well, a few days before, I was in your room putting the laundry. Your phone rank, the machine got it. I heard Celeste's voice. VERONICA: Celeste Kane was leaving me a message? LIANNE: She said she had important information involving me and her husband. [Snorts] Things she thought you ought to know. She did not want you to see Duncan. So I called Jake, I put him to the Neptune Grand and I told him to tell his wife to back off. [Off Veronica's look, whispering, urgently] I was protecting you. Cut back to Mars Investigations as a teary-eyed Veronica slams the filing drawer closed and swivels around toward the exit. Cut to Pan High. Richie and Zeke are arguing on their way into the cafeteria. RICHIE: Uncool, Zeke, uncool. ZEKE: It's not like that. See, now, no matter what, after the game, I'm gonna be happy. They pass "Betty" who clocks their conversation. VERONICA: What's wrong, guys? RICHIE: Well hey, Betty. I just learned that Zeke here bet $ 200 on Neptune. ZEKE: Richie! They're 14/6, we're 6/14. I mean, there's no line. I'd be crazy to pass this up. RICHIE: [Sitting] They were favored last year and we b*at them. ZEKE: Okay, all I'm saying, [sitting] is I'm not one. There is a bookie that set up camp at Rest Stop Veronica also pulls up to continue listening. ZEKE: fromand from what I hear, everyone from Neptune and everyone here are gonna go out and put money on Neptune. VERONICA: RICHIE: It's halfway between here and Neptune. It's like a cross between Inspiration Point and Tijuana. It overlooks the ocean, people go there to park. More guys sell stuff out of their trunks. You can get your hands on anything - beer, weed, p*rn, car stereos. That's what I'm told. The conversation is interrupted by the excitement of the crowd at the arrival of another student, Wilson. There are lots of shouts of congratulations and applause. RICHIE: What is that all about? Why is everyone clapping for Wilson s*ab? ZEKE: Dude, he's one that stole the parrot. He's showing everyone this picture he has saved on his phone with himself and the parrot. Veronica gives a satisfied smile as she watches Wilson. RICHIE: I'm gonna go shake that man's hand. See, Zeke. That's Pan pride. Richie and Zeke head off for Wilson. Veronica follows them. Before they reach him, a cafeteria, a pulling a low, flat trolley is a large gift-wrapped box. RICHIE: What's that? VERONICA: Is this a big drop off point? Richie examines the large gift tag attached. RICHIE: [Reading] "To Pan High Cafeteria, Good Appetite, Love Neptune." Richie lifts off the lid and the sides fall away to reveal a large quantity of what appears to be wrapped meat, the wrapping being stamped "100% GOAT MEAT". We are going to eat meat patties and goat's bell. The students gasp. ZEKE: They butchered Billy. Veronica looks like the students react with horror. Cut to outside the school where Wilson is still basking in his newly-found popularity. Veronica runs up from behind him. VERONICA: Wilson! WILSON: Hello? VERONICA: [In full Betty simpering mode] I hear you're the guy to see about seeing a parrot. WILSON: Man. Word really gets around, does not it? Like Wallace, Wilson is subject to congratulations by back patting, this time from a student passing behind them. Wilson looks round smiling then returns his attention to Veronica. WILSON: You're the new girl, right? VERONICA: Word does get around. WILSON: You want to see the parrot, huh? VERONICA: I do. I just think that's so cool that anyone would do that. I mean, what do you know? WILSON: [Breathed out] Yeah. They've come to a halt in front of some outdoor lockers. Wilson shows Veronica his cell. It is a picture of him and a parrot. VERONICA: How'd you get your hands on it? WILSON: [Opening his locker] I just walked into the school, I was a student there and nobody asked me anything. Veronica notes his locker combination. VERONICA: That's so brave. [Pure Veronica] Can not believe that worked. [Back to Betty] Wilson? WILSON: Yeah? VERONICA: I hope this is not going forward but I'm planning on heading to Rest Stop 15 later, you know, to check it out. I was wondering if you'd be my tour guide. Show me around? Wilson is stunned silent at his luck and can only rapidly nod his head. VERONICA: Meet me up there? Veronica hands Wilson his phone back. He puts his jacket in his jacket. VERONICA: O'clock oven. Do not be late. Veronica playfully presses a finger on Wilson's nose. She has turned this boy to jelly. He grins and shuts his locker, then grabs his backpack, not able to tear his eyes away from her. She does a flirty wave at him. He waves back, walks backwards and, as he rounds a corner, straight into a group of students. WILSON: Sorry. As soon as it's clear, Veronica opens Wilson's locker. She searches the jacket and grabs the phone. She finds the picture. VERONICA: Bingo, Betty. [She dials] Hey it's me. [Pause] No, it's not my phone. Listen, I'm sending you a picture. [Pause] You wish. What are you doing later? [Pause] Ever hear of Rest Stop 15? [Pause] Why does not that surprise me. Cut to Rest Stop 15. The Donnas play "Fall Behind Me" in the background. SONG: I can not believe she bought it She was too close and she caught It had a point of making you forget it When you skip steps on the way up You're gonna fall behind me You're gonna cry and beg for mercy You're not ready baby And you got it now I'm getting to know her You're not ready to get away from it You're gonna cry and beg for mercy You're not ready baby And you got nothing on me There are cars parked everywhere and lots of singles and couples milling around. One couple is kissing, another walking and talking. One car with doors and windows closed has wisps of smoke escaping. The car door is open and smoke for the driver coughs. Someone is buying some stereo gear from the boot of a car. Wilson arrives, leaving his car in the midst of all this. He gets out and goes looking for "Betty". A couple of guys are throwing a football around. Wilson walks and turns, searching. He does not see Weevil coming up by the shoulder. WEEVIL: Hey there, buddy. Looking for love in all the wrong places? Weevil keeps a firm grip of Wilson. WILSON: [Intimidated] Who, me? I'm a no one. WEEVIL: Where's the bird, Wilson? I'm almost bursting with Pirate pride here. Weevil wanna punch a cr*cker. WILSON: What bird? WEEVIL: You want to think about that answer, man? Weevil Wilson shakes and turns Wilson to face him. He now has him by the scruff of the neck. WILSON: All right. Look, I know what you're talking about but I did not take the parrot, I swear to god. WEEVIL: Someone's going to HE-double hockeysticks. WILSON: That's not Neptune's mascot in the photo. It's from a pet store, okay. I heard that somebody took the mascot. E-everybody was making such a big deal out of it. Look, they all thought it was so cool. WEEVIL: Wait a minute. You went to a store and took a picture of yourself? WILSON: [Weakly] Yeah. All right? WEEVIL: That's with you and your partner. Go home. Weevil tosses Wilson aside. WEEVIL: Get out of here. Wilson drives off as Veronica comes from behind a car. WEEVIL: No more favours for you. Now I feel bad for this kid. VERONICA: If it's any consolation, I hate myself. PAN HIGH JOCK: [Offscreen] Hey! A white pick-up pulls into Rest Point 15, a high jock at the wheel. PAN HIGH JOCK: [To Weevil] Are you the guy? WEEVIL: Probably. The jock pulls to a stop. PAN HIGH JOCK: Hey, can you put me down for a hundred on Neptune? Weevil takes his hand out for the cash Veronica comes up behind him. The jock recognises her. PAN HIGH JOCK: Hey, Betty. Veronica gives a little wave and a rueful smile as Weevil looks at her. WEEVIL: Why do not you excuse us? Betty. We're doing some business here. Veronica nods and turns and walks away, glancing back at the transaction as she does. VERONICA VOICEOVER: Lucky for me Cut to Mars Investigations. Veronica enters and falls on the small couch in the outer office. VERONICA VOICEOVER: Family business. When Dad lost his job as a sheriff, he told me that he was going to stay in Neptune and he would try to make it a private investigator. That was the last straw for Mom. LIANNE: [Offscreen] Honey, I'm not feeling too great. Cut to Barstow. Lianne is pouring sugar into her coffee. VERONICA: You should have something to eat. LIANNE: That's not gonna do it. I just need a little sip of something. VERONICA: [Shaking her head] No. LIANNE: Honey, my head is pounding. It's like tangled and- VERONICA: I do not want you to, Mom. I want you to keep talking to me. What did you say about Celeste's call? LIANNE: I do not know, nothing but I Lianne gets up from the table. Veronica follows and holds onto her arm to swing in front of her. VERONICA: What happened with Jake? LIANNE: I do not know, I just, I want to make her back off. Lianne still wants to get to the bar Veronica will not move out of her way. VERONICA: How did you convince him? LIANNE: It's very complicated Veronica, I do not know how to explain VERONICA: [Desperately] Just tell me the truth! How did you convince him? LIANNE: I told you that I was trying to make you feel good again, I had a paternity test done and take him for millions. Veronica stares at her mother. VERONICA: [Voice breaking] So you know, then? Are you sure that test will prove that Jake's my father? LIANNE: [Pause] No. VERONICA: Will it prove that Dad is? Veronica is nearly hyperventilating. LIANNE: [Crying] I do not know. Distressed, mother and daughter stare at each other. Cut back to Veronica on the couch at Mars Investigation. Steps are heard at the door. Veronica looks up. It's Leo, in uniform. He comes in, smiling broadly. He hands her a gift-wrapped box as she sits up on the couch. LEO: [Sitting down with a heavy sigh] How's that for inconspicuous? They do not teach you at the academy by the way. Veronica opens the box. It is filled with tapes. LEO: That's on me. VERONICA: [Sincerely] Thank you. LEO: Yeah. That's not going to be good enough. Veronica looks at him, surprised. LEO: I hate to break you but I'm pretty sure that aiding and abetting qualifies me for a dinner date. VERONICA: Actually, it qualifies you for dinner and a movie, but you are not sohot, so LEO: Damn. They both laugh. VERONICA: Hey, do you know anything about sports betting? Veronica Leo as he leans back. LEO: A little. VERONICA: Why would a bookie take bets on a team to win straight up, no line, if one team is heavily favored? LEO: H-he would not. A bookie usually tries to find a line in the money. They make their money on commission. If a bookie accepts that they are all on one side of the line, he's well, he's going to make a k*lling or he's gonna get k*lled. VERONICA: Why would he risk it? LEO: I do not know. Maybe he knows something that people are betting, do not. Veronica takes this in. Cut to High Neptune, outdoor eating area. Veronica is sitting at one of the tables with Wallace, Jack and a couple of other guys from the basketball team. She is eating from a small box of grapes. JACK: Four years I've been going here and we've never beaten these guys. This most definitely is our year. WALLACE: You gonna eat those? Wallace grabs the box of grapes out of his hands. WALLACE: I gotta go get a book out of my car. Wallace grabs an apple from Jack's tray and puts that in his pocket. JACK: Wallace! Wallace grabs has a second unclaimed apple, again stuffs it in his pocket. WALLACE: Catch up with you guys later. Finally Wallace grabs a small bag of crisps as he jumps up from the table and hurries away. Veronica looks after him suspiciously. Cut to Wallace walking up beside some school buses. His sixth sense gives him a break and he turns round. Veronica is behind him. WALLACE: Why are you following me? VERONICA: You say following, I say taking a walk with a friend. I'm just curious to know where you're going with the apple, the potato chips and the grapes. WALLACE: Forgot about that third eye. VERONICA: So what'cha up to? Veronica catches up with him and walks on with him. WALLACE: Trust me, you do not want to know. VERONICA: Oohh. I hate to know things. Please tell me that's not done with Polish hookers. The camera twists to show their destination, a brightly painted van. Wallace smiles and opens the back doors. Inside, among chaos, is the goat. Wallace raises his hands to his head, looking at the mess. Veronica looks disbelieving at the goat and then at Wallace. WALLACE: [Getting into the van] Oh, man, what is with you? VERONICA: You stole a goat? WALLACE: They stole our parrot. Matter of principle. Unlike you, I have some school pride. VERONICA: And a goat crapping apples in the back of your buddy's van. Congratulations. WALLACE: [To the goat] Will you quit it? Veronica laughs at Wallace 's efforts to stop the goat nibbling further on the van' s soft furnishings. WALLACE: Well, this is what high school is all about. Having some fun, you know, messing around. Wallace sits back in exasperation. WALLACE: This was Jack's idea. I got stuck with the damn thing. I had it in the house and it's everything, the rug, the sofa, my Air Jordans. VERONICA: And he lived to tell the tale? WALLACE: I do not know what to do with it. It's driving me crazy. VERONICA: Bad, kidnapped goat! WALLACE: That's it? You're not gonna offer me any help? Veronica smirks, shakes her head, turns and walks away. DUNCAN: [Offscreen] Cut to Duncan in the school journalism / offices of the school paper. He has a pile of letters in his hands. DUNCAN: "Plenty of material for the" Letters to the Editor "page. [Reading] "Polly's kidnapping is more than just a juvenile school prank. Duncan hands the letter to Veronica who is perched on the desk. VERONICA: Wow. Polly wanna payback. DUNCAN: There's about twenty more just like it. Another girl, who will be named Arriana, walks towards the peer and clears her throat. ARRIANA: And now for an opposing view. [Handing a letter to Veronica] A little something for the uninformed masses. Arriana leaves. VERONICA: [Reading] "Maybe the people who think that the person who has been polly is so awful should stop and think about the person who is pregnant." Duncan comes round to Veronica. VERONICA: [Reading] "I only hope whoever took that beautiful bird had the decency to set her free." Veronica breaks to look at Duncan who snorts. VERONICA: [Reading] "And if Polly really loves them, she'll fly back to them." Veronica hands the letter to Duncan and gets off the desk to gather her bag. Duncan leans back to where Veronica was just sitting. DUNCAN: I think she's one of those SAAC girls. VERONICA: Yeah, that's gonna need a little more explanation. DUNCAN: Uh, Students Against Animal Cruelty. They threw the bucket of blood on the homecoming a couple of years ago for wearing fur. VERONICA: Bucket of blood. Have we learned nothing from "Carrie"? Duncan laughs as veronica exits. Cut to the Mars family kitchen. Veronica is baking while she listens to the interrogation tapes through headphones. KEITH: [We're typing] Jake, you know, it's routine. JAKE: Well, I already told you, Keith. I was at the Neptune Grand with Celeste. Cut to the interrogation room. KEITH: What were you doing? JAKE: You're kidding. Keith does not respond except to sit down opposite Jake at the table and look at him passively. JAKE: [Heavy sigh] I was in a room with my wife. What do you think I was doing? Come on, you know what it's like when you've got kids. Privacy just goes out the window. This is something that we do from time to time. KEITH: So you've done this before? JAKE: Yes. KEITH: So you have received, to verify that this is something you do. JAKE: [Agitated] I mean, this is insane. You should be looking for Lilly's k*ller, not grilling me. Cut back to Veronica. She is sprinkling cinnamon on a ball of dough in her hand, intently listening. KEITH: [On tape] Were you making love? JAKE: [On tape] Private, do not you think? KEITH: [On tape] Under the circumstances, no. Cut back to the interrogation room. Keith adjusts the tape machine. KEITH: How long did you make love for? JAKE: I'm not answering that. KEITH: You were in a room for two and a half hours. How much of that time was spent making love? JAKE: Well, I do not remember exactly. It was a while. KEITH: So what did you do when you first got into the room? JAKE: I do not know. We settled in. He gives an uncomfortable chuckle. KEITH: What does that mean? You took off your shoes, your tie JAKE: No, II put on the TV. KEITH: What was on the TV? Jake leans forward. JAKE: Why are you doing this Keith? KEITH: I'm just asking questions. Not even hard ones. JAKE: We put on the TV for noise background so we could get right to it. Okay? Now do you want a, uh, play-by-play? Cut to Veronica. She is placing a tray of cinnamon covered cookies in the oven and getting a tray of cookies already cooked. Wallace is standing by the open door of the apartment. WALLACE: It must be some good music. Veronica looks up as she places the tray on the counter. WALLACE: I could've painted the living room, you would not have noticed. I left my algebra book over here. Wallace rescues his book from a small bookcase. WALLACE: So, maybe you were right about the goat. Wallace sweaters out the chair the other side of the counter and sits down. He sees the hot, fresh baked cookies and grabs one, juggling it in his hand. He takes a bite, throws the biscuit back on the tray and tries to blow the heat out of his mouth while consuming the biscuit. Daylight finally dawns. WALLACE: Wait a minute. These are snickerdoodles. You're the one who's been making my spirit boxes? VERONICA: I used to be on pep squad, remember? WALLACE: [Laughs] But you think this stuff is stupid. VERONICA: You do not. Wallace goes to grab another one. Veronica slaps his hand. VERONICA: Hey, you wanna open your locker tomorrow and find an empty box? Wallace holds up his finger to indicate "only one" and melts his hard heart with his puppy dog ​​eyes. Veronica smiles and he grabs the one he started back again, still trying to eat it despite how hot it is. WALLACE: Um-um-um, the girl can bake. VERONICA: That she can. Hey, are you picking your mom up from work today? WALLACE: Yeah. VERONICA: Can you do me a favor without asking any questions? WALLACE: Is not that the bedrock upon which our friendship was founded? Veronica goes into the lounge area and picks up a large plant that she gives to Wallace. VERONICA: When you're at Kane Software, go to Clarence Wiedman's office. Put this on his assistant's desk. It's from her secret to admire. WALLACE: Um, um, should I wait for a tip? Cut to Veronica who is now dressed up to go out for the evening. As she applies her lip gloss, she listens to another tape. CELESTE: [On tape] I do not understand why you could not talk at the same time. KEITH: [On tape] I'm sorry, Celeste, it's department policy. Cut to the interrogation. KEITH: How long were you in the hotel? CELESTE: Two and half hours. KEITH: That's just what Jake said. CELESTE: Well we were there together. KEITH: Can I get some water or something? CELESTE: [Weary] No, KEITH: Celeste, it's just routine. You do not have to worry. Just answer the questions. CELESTE: If it's routine, then just talk to Jake. I do not understand why you have to talk to me. KEITH: The two of you were together in the room? CELESTE: Yes. KEITH: And what did you do when you got there? CELESTE: We had some champagne. On the patio. KEITH: From room service. CELESTE: No, we brought it from home. KEITH: Do you usually bring your own champagne to the Neptune Grand. CELESTE: We do not usually have to stay at the Neptune Grand. S-special opportunity. KEITH: Do you remember what was on TV that afternoon? CELESTE: Trust me, Keith, we were not watching TV. Cut back to Veronica, absently applying this blusher. Keith comes in. KEITH: [Doing Bogart] Grab your lip gloss and your pepper spray, sweetheart. Your date's here. Veronica removes the headphones, turns and smiles at her father. Cut to the restaurant. A small light jazz combo plays. Veronica and Leo enter. LEO: In my culture, Chinese food is always followed by gelato. VERONICA: I do not remember you brokering in a dessert stop. LEO: Getting out of the car was a tacit agreement. They kiss. WAITRESS: Right this way. VERONICA: Breath mint, smooth. LEO: That's all I wanted. The waitress shows them in the middle of the restaurant. Veronica does not notice, at the table against the wall, nearest her table, Meg and the Kanes. MEG: Veronica? Veronica turns her head and sees them. MEG: Uh, hey. Meg gets out of her flesh and walks over to Veronica. MEG: Look at you, you look gorgeous. Meg gives Veronica a sweeping hug. It is apparent that Veronica is not so much enthusiastic about the idea of ​​hugging Meg. Meg senses it too. She steps back. MEG: Hey, Leo. You know Duncan, right? LEO: No. DUNCAN: Yeah, uh, no. Hey. Duncan stands and Leo shake hands. LEO: How ya doing? There's an awkward silence. VERONICA: Th-uh, these are Duncan's parents, Mr and Mrs Kane. Jake and Celeste are sitting on the bench against the wall and so do not rise. Leo bends over the table to shake Jake's hand. JAKE: How ya doing? LEO: [To Jake] How's it going? [To Celeste] Hi. MEG: Hey, well, um, enjoy. Everyone returns to their seats. LEO: [Quietly, as they sit] Maybe we should find something a little cosier. VERONICA: It's fine. WAITRESS: Good evening. The waitress hands them menus. Veronica looks over at the Kane table. Celeset is glaring at her. LEO: Are you sure this is okay? VERONICA: It's perfect. Cut to Barstow. Lianne is having a cigarette and Veronica lean against the building. LIANNE: the day Lilly died, round the exact time, actually, Jake and I were in that motel room. Out of nowhere, Celeste bursts in. She'd been following Jake around. She's screaming, saying these horrible things, I just got out of there. VERONICA: You do not see them again? LIANNE: No. Well actually, I went to the ladies room in the lobby and when I came out, I saw Celeste storming out of the lobby. Veronica rests her head on Lianne's shoulder. LEO: [Offscreen] You see anything you like? Veronica is brought back to the restaurant. She is directly in charge of Leo in response to his question. VERONICA: [Genuinely] Yes I do. Veronica smiles and looks at the menu before her thoughts at the Kanes. VERONICA VOICEOVER: Celeste told my father she was in the hotel with Jake for two hours. [Celeste glances at Veronica] The way my mother tells it, she was there for 20 minutes, tops. So what if Celeste say my mom in the lobby? What better way to control my mother than have Clarence Wiedman take pictures of me in a r*fle-sight. Maybe it was not a paternity issue. [Veronica catches Celeste's eye again] Maybe it was an alibi issue. Maybe it was both. Cut to Neptune High. The Neptune High channel is on again, featuring a female student broadcaster. Veronica enters a classroom. It is peopled with SAAC girls. TV: Bear ot ot ot ot ot::: Big Big Big Big Big Big Big Big Big Big Big Big Big Big And on a more serious note, the SACs are coming up Arriana is lecturing one of her group. ARRIANA: I do not want to hear about your protein deficiency, Marsha. You eat eggs, you might as well eat baby. VERONICA: Arriana? Hi. I just wanted to let you know, I really liked your letter. ARRIANA Really? Arriana huffs as she turns to look at Veronica. Veronica is wearing a jacket with fur trim on the collar. Arriana's lackeys around her are supercilious. VERONICA: Yeah, really. Veronica gets the hint and removes her jacket. She puts in the desk behind her. ARRIANA: I'm sorry. I have a hard time believing that someone who was a coward so she could wear butch boots cares about a parrot. VERONICA: My boots are not butch. ARRIANA: But they are leather. VERONICA: Let me cut to the chase. Do you know anything about Polly? ARRIANA: Yeah. I know that she is better off in a cage. VERONICA: Is it better off scrounging for food when it's used to having it provided for her? Arriana is not listening. She is smirking as she watches something going on behind Veronica. There is much excited whispering. SAAC GIRL # 1: Come here. SAAC GIRL # 2: Do it. Put it under there. Veronica looks behind her. Two of the girls have her jacked in a paper guillotine and are about to slice off the fur collar of her jacket. VERONICA: It's fake fur, you freaks. Veronica rescues her jacket as she's checking it, the broadcast is interrupted by static. The screen clears to reveal Pan High gym, from the head of Pan painted on the floor and Polly in her cage. A pair of shoes can be seen before the camera up to reveal a hooded man. TV: Bwha-ha-ha-ha-ha. Greetings from your masters at Pan High. If Wallace Fennel plays in tomorrow night's game, Polly the parrot will die. We are going back to your regular scheduled program. The screen goes static for a moment and then the female broadcaster returns. TV: by the Dance Committee and a school wide vote will choose the winner. Cut to the outside area. Weevil and some of his boys are lounging on the bottom of a terrace wall. Veronica is at the top of the world and we are down to whisper in Weevil's ear. VERONICA: How's our feathered friend? WEEVIL: Excuse me? VERONICA: You took the parrot, did not you? You're taking the money on a team everyone thinks will win. Why would you have that unless you knew that Wallace, our best player, would not play? WEEVIL: You know, I always knew you for me. VERONICA: I'm gagging on the inside. WEEVIL: Come on, Veronica. Do I look that smart? I'm just a simple bookie. Veronica rolls her eyes. WEEVIL: I got both sides of the line covered. And ask yourself this. Why would I help you find the parrot if stealing the parrot was my secret plan, huh? Weevil shakes his head and wanders off. Cut to Wallace at his locker. He slams it shut, turns, and slides down the wall to sit against the lower locker. Veronica joins him. WALLACE: This just sucks. VERONICA: I have to say, it really does. WALLACE: Coach called me to his office and said I should play. All the guys want me to play. But my playing is not really a big deal. Jack's good. He was a starter last year. VERONICA: What do you want to do? WALLACE: You know I want to play. But it's not worth Polly's life. I can not do it. I can not play. VERONICA: Would it cheer you up if I brought back the goat? WALLACE: [Smiles] Yeah, it would. Cut to Meg bent over a computer keyboard. Veronica enters. VERONICA: I need your help with something. MEG: Hey. Um, sure. Whatever you need. VERONICA: How was your broadcast interrupted? MEG: I do not know. When there's no breaking news, we record the show the night before. VERONICA: So, who did it come in? MEG: They must have. Wow. We actually kinda just had a conversation. Veronica takes a deep breath. MEG: See, that's what you do now. [Sighs heavily] You take that deep breath like you're preparing for battle or something. VERONICA: [Abrupt] I was just breathing. Veronica backs away from Meg and heads for the door. MEG: I want everything to be okay between us. VERONICA: It is. We just run in different circles. MEG: It does not have to be like that. VERONICA: It does. I'm not prepared for forgive and forget, I can not just start chumming around with people who have been ignored and mocked me for a year. That's just not me. MEG: Well, we can have our own circle without them. VERONICA: Maybe. Veronica smiles a little. Cut to a computer screen. Meg and Veronica are looking at the broadcast of the hooded man and Polly. VERONICA: Well, whoever they are, they've done a stellar job at concealing their identity. Jacket, mask, gloves. No visible "Hello, my name is" sticker. MEG: Hey, maybe there's something on the floor? It's really shiny, maybe there's a reflection. Meg expands part of the picture. VERONICA: Wait a sec, what's that? MEG: What? VERONICA: On the sneaker. MEG: I think it's just dirt. Or maybe not. The number thirteen can clearly be seen on the sneaker. Meg and Veronica look at each other VERONICA: I need a basketball program. Meg nods. Cut to outside the gym. The game is starting soon. Clemmons is hanging around. He hears a concussion and a bleating goat. Veronica walks with the parrot in its cage in one hand, the goat lead in the other and the envelope between her teeth. She heads for Clemmons as the crowd responds. PAN HIGH STUDENT: Good job, Betty. CLEMMONS: Who is this Betty? Clemmons takes the parrot and the envelope. VERONICA: Beats me. There's Polly and mascot bonus. And those are some photos for Coach. CLEMMONS: Who had Polly? The High Pan High School Basketball Team has arrived at the roaring of the High School Pan. VERONICA: Give me one sec, okay? Veronica walks over to them. RICHIE: Betty, you made it. VERONICA: Richie, you're a really great guy and if the kids are at that school, I'd wanna be popular. I know that sounds weird but it's a huge compliment. So good luck tonight. You're gonna need it. Wallace Fennel has a k*ller crossover. But it's really his sweetness and purity of spirit that makes him unbeatable. Veronica smiles serenely and turns to walk away. Richie looks confused. PAN HIGH JOCK: [Offscreen] What did she just say to you? RICHIE: Beats the hell out of me. Veronica heads back to Clemmons goal passes, heading for Neptune's team. They are all kitted out to play Wallace has his track on his gear. He is giving Jack a pep talk. VERONICA: You better warm up, Fennel. WALLACE: You got Polly back? VERONICA: I kinda rock. [To Jack] I know what you're thinking Jack. Aarrgh. Whoever made it death thr*at video forgot to cover the number thirteen on his sneakers. Wallace and the rest of the team listen with growing consternation and mutterings. In the meantime, Clemmons and the coach are examining the photos. VERONICA: There are two thirteens following up tonight. Your Pan Counterpart believes that a kid named Wilson stole the parrot. JACK: Why would I steal our own parrot. VERONICA: Easy. With Wallace sitting out, you'll be back to being a starter. As a point guard, you can control the score of the game. You know, like you did last year when you h*t those two free throws in the final minute. How much money did you make against your own team last year? JACK: You went in my room? I mean is not like breaking and entering or something? VERONICA: I told you I was a cheerleader and we needed Polly for the game tonight. She let me in. JACK: She's crazy man. COACH: Picture of the Pirate Trophy Pride next to the parrot, Jack. VERONICA: You're the guy covering all of Weevil's bets. There are dollars of dollars bet on this game. You're pretty screwed here, Jack. JACK: Guys. CLEMMONS: Come with me, young man. JACK: Wallace, man. Wallace, disappointed, shakes his head as Clemmons take Jack away. He looks up at Veronica and smiles his gratitude. COACH: Okay, Wallace, you're in. WALLACE: Yes sir. Wallace strips down to his playing kit, excited. The team file into the gym. COACH: Let's go, let's go, let's go! VERONICA: Go kick some ass, Air Fennel. They tap fists and Veronica pats him on the bottom as he enters. Veronica turns away from the gym and pauses. VERONICA VOICEOVER: Ah, the big game. Another high school that makes me want to eat rocks. Being surrounded by screaming, foam-fingered spirits freaks who hate me hardly sounds thrilling goal for Wallace, this is his shining moment. So what's it gonna be girlie girl? She comes to a decision, turns into the gym. Cut to Veronica's room as she enters and sits at her desk. VERONICA VOICEOVER: I've been working almost every day since I started working for Dad. I know I can not count on college money and know it can not be offered. It's gone now. I had a year at San Diego State, a year at Stanford and a semester at the Sorbonne. Lets hope it's worth it. Cut to a center rehab. Veronica is signing a consent form. REHAB RECEPTION: We want you to pay in full upfront. Veronica gets out of her check book. Lianne is sitting behind her. She rushes up to Veronica. LIANNE: Wait. Wait. I had a- This- I do not need you to- This is not right, Veronica VERONICA: Mom LIANNE: I can figure this out. I can kick this on my own. There is nothing that can not do me. I do not want you to have to do this. VERONICA: [Tearfully] I want you to come home. I miss you. LIANNE Okay. Okay. They hug. LIANNE Okay. Veronica writes the check. Blend to Veronica in her room. VERONICA: Dad, can you come in here for a minute? Keith enters and stands at the door. KEITH: I really need to get you there. [Holding up a newspaper] Looks like Neptune b*at the hell out of Pan last night. VERONICA: Yeah. I want you to answer me something, honestly. KEITH: Sure, honey. Keith comes into the room and sits. VERONICA: Do not get mad and do not blow me off, just answer me, please. KEITH: Okay. VERONICA: Why would a person agree to confess to a m*rder he did not commit? KEITH: Veronica. Veronica 's eyes plead with him. He gives a heavy sigh. KEITH: Money, a lot of it. VERONICA: But if you're not going to spend money, what does it matter? KEITH: Well, maybe there's someone else. Someone you care about who will be around after that person. Veronica nods. Her father sighs heavily again, then gets up from the flesh and leaves the room. Veronica picks up the bug. VERONICA: Wait, Dad, you know what? I think I know who's collecting the money from Abel Koontz's confession. VERONICA VOICEOVER: Now we'll learn how to follow suit if my special rubber tree is delivered to the desktop of my choice. Veronica is wearing an earpiece. WIEDMAN: [Through earpiece] Lois. Get me Amelia DeLongpre. LAWS: [Through earpiece] Yes, Mr Wiedman. Veronica uses Zowie Planet search engine and types in "Amelia DeLongpre" and "Abel Koontz". VERONICA VOICEOVER: Let's see what the connection is between Amelia DeLongpre and Abel Koontz. VERONICA VOICEOVER: What do you know. In the entire internet universe, there's only one document that peers them. The entry is from the Neptune Register, dated May 23, 2001 concerning Stella Koontz, aged 78. VERONICA VOICEOVER: [Reading] "She leaves behind her Abel Koontz of Neptune and granddaughter Amelia DeLongpre. " Abel Koontz has a daughter? End.

{"type": "series", "show": "Veronica Mars", "episode": "01x16 - Betty and Veronica"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars� Keith stands over Lilly's body and Veronica runs up to see (from 101 "Pilot). VERONICA VOICEOVER: It's been a year and a half since my best friend Lilly Kane was m*rder. Cut to Weevil in Rebecca's office (from 112 "Clash of the Tritons"). WEEVIL: I never would have hurt her. Cut to Veronica listening in the car. VERONICA VOICEOVER: Lilly and Weevil? Cut to Veronica searching through Dr Levine's medical records (from 114 "Mars vs Mars"). VERONICA VOICEOVER: So what is the mystery condition that's causing your ex-boyfriend and possible half-brother to black out. Cut to Duncan standing over Veronica at the computer from the same episode. Cut to Veronica and Leo in the same episode. Cut to Wiedman walking to his office (from 111 "Silence of the Lamb"). VERONICA: Did you know that Clarence Wiedman, Head of Security at Kane Software, was the one that made the tip call that got Abel Koontz arrested? Cut back to Veronica and Leo (from 114 "Mars vs Mars"). Cut to Veronica talking to Koontz in prison. VERONICA: You're dying, Abel. Cut back to Veronica and Leo. VERONICA: Did you know that there's a traffic ticket that proves that Lilly's time of death is three hours off? Cut to Veronica, and Duncan behind her, watching Jake and Celeste (from 110 "An Echolls Family Christmas"). VERONICA VOICEOVER: Jake and Celeste. Either of them could have gone home on their own and k*lled Lilly. JAKE: What did you do? End previously. The scene opens from where it left on in 116 "Betty and Veronica", with Veronica looking at the Neptune Register obituary for Stella Koontz. VERONICA VOICEOVER: So Abel Koontz has a daughter. And now Clarence Wiedman knows that I know. But what do I really know? That Jake Kane bought a dying man's confession? That the Kane family needed a fall guy? Amelia DeLongpre. Veronica opens "Private Eyez" and searches for Amelia. VERONICA VOICEOVER: She's the one person who can prove my theory. I have to track her down before Clarence Wiedman finds her and�Loyola Marymount? What do you know? She lives in LA. Veronica grabs her keys, bag and coat and races out of her room. Cut to a student working on her bed, books spread about her. There is a firm knock at the door. COLLEGE STUDENT: [Without looking up] Hello? The knocking continues. With a hint of frustration she goes to the door. WIEDMAN: Hello. Ms DeLongpre? COLLEGE STUDENT: Uh, who are you? WIEDMAN: I'm looking for Amelia DeLongpre. COLLEGE STUDENT: I'm-I'm sorry. She left about five minutes ago with some friend of hers. WIEDMAN: Could you describe this friend? COLLEGE STUDENT: Tiny, blonde, cute as a bug. Cut to the college parking lot where Veronica is leading Amelia towards her car. It's night. AMELIA: I'm sorry. I don't think I can do this. I don't even know you. VERONICA: Your father's attorney, Clif-Mr McCormack sent me to get you. We found some new evidence, evidence that may prove your father is innocent. AMELIA: What? VERONICA: [Opening the car door] Amelia, get in the car. If you don't get in the car, you're putting yourself in danger. AMELIA: I haven't spoken to my father in years. I don't understand. VERONICA: You're a thr*at to the Kane family now that you know about the payoff. AMELIA: What payoff? VERONICA: You just told me you're receiving millions in Kane Software stock. AMELIA: But mom said that was an out of court settlement. VERONICA: [Urgently] It's not a settlement. It's a payoff. For pleading guilty to the m*rder of Lilly Kane. Your father is innocent. Cut to the front of the Ocean Beach Hotel as Veronica's car pulls up. Then to a room inside as they enter. VERONICA: Not exactly the Ritz but hopefully you'll only be here for a couple of days. AMELIA: [Looking around] Exams are next week. One dank room is as good as the next. You know, I think this might actually be perfect. VERONICA: Before you dive in, you need to call your mother and have her overnight the Kane settlement documents right away. Tell her to pay in cash and make sure she uses a fake name. AMELIA: What will those prove? VERONICA: They'll prove your father's being paid to take the fall. And don't use your cell phone. Use this [handing her a cell]. It's not traceable. AMELIA: Okay. But I have to be able to take calls from my boyfriend. Unless you also want the police, marines and the National Guard out looking for me. I'll check the caller ID. Only him. No one else. VERONICA: No one else. And Amelia? He can't know your location. Veronica heads for the door. AMELIA: Veronica? VERONICA: [Pausing at the door] Yeah? AMELIA: Have you�have you seen him? You know, in prison? VERONICA: Yeah. AMELIA: How�how is he? VERONICA VOICEOVER: Dying. But if you know that, it's doubtful you'll help me. VERONICA: He's doing fine. Opening credits. Cut to a teacher handing out test papers and closing the classroom door, bearing a notice: Testing In Progress - Quiet Please. Veronica passes the door as she walks down the hallway. VERONICA VOICEOVER: As if I didn't have enough stress in my life, today marks that orgy of tension known as midterms. Veronica pauses on hearing and seeing a student kicking her locker in frustration. VERONICA VOICEOVER: Some handle it better than others. Cut to a part of the classified ads in a newspaper. The focus is on a phone sex ad: I'm Miss Sabrina. The only thing I won't do�is say no. SABRINA: Top right. Yes, that's my face that you see on a phone sex ad. The camera pulls back to show the girl who was kicking her locker is now standing at the front of a classroom, speaking to a teacher who is holding the newspaper. She is covered in grim. SABRINA: I was getting phone calls for this all night long. I got zero sleep and my dad's a doctor, we can't just unplug the phone. DICK: [Coughing his words] I've been bad. There are titters and smirks in the classroom. The teacher throws Dick a warning glance. SABRINA: And this morning, someone let the air out of my tire. It's not fair. TEACHER: Of course, Sabrina. We'll find a time for you to take the test la- HAMILTON: Oh, wait. What happened to you're late, too bad, no exceptions. TEACHER: Mr Cho? When someone personally att*cks you, we'll talk. Go to the library, we'll reschedule. SABRINA: Thanks. As Sabrina leaves, Hamilton Cho leans forward in his seat to whisper to Dick in front of him. HAMILTON: How 'bout, when my mom's elected school board president, we'll talk. Dick laughs. Cut to the girls restroom. Veronica is washing her hands. Sabrina marches in. SABRINA: Veronica? I heard this was kind of like your office. I need your help. VERONICA: A little club soda on the sleeves? SABRINA: This is because I had a flat. I had to change it myself and there was no hole, somebody just let the air out. Do you know Caz Truman? VERONICA: Basketball player, drives a Yukon? SABRINA: Yeah. I broke up with him two months ago and since then he's been harassing me. This is just the latest of these so-called pranks. I hear that you do things. I need you to make him stop. VERONICA: Gee, I'd love to help Sabrina but I have midterms of my own. SABRINA: This is important. I'll pay you. Every night when I'm trying to study there's some new catastrophe. VERONICA VOICEOVER: I am broke and Amelia's hotel room is seventy bucks a day. VERONICA: Are you sure it's Caz? SABRINA: Oh, this is so Caz, totally immature. Here. [She hands Veronica cash] I can give you a hundred now and four more when you prove that it's him. And the sooner the better because I already have to reschedule my AP history test. Sabrina stalks out of the restroom. Veronica counts the money. Cut to the school parking lot. Veronica is perched on the window frame of her car. She looks around until she sees Caz, whereupon she hops down and keeps pace next to him.. CAZ: Veronica Mars. What do you want? VERONICA: [Rapidly] Caz, I'm kind of busy so let's play this at fast forward. I ask you to stop harassing Sabrina Fuller. You deny it. I eventually catch you. You're suspended, dropped from basketball and made the subject of a news blurb that everyone chuckles at in the papers. So stop harassing Sabrina, okay? CAZ: Look, I'm not harassing Sabrina. They've reached Caz's Yukon and he opens the back before turning to her. He loads his stuff in. VERONICA: Caz! Did you listen? The flat tires, the escort ad, the midnight crank calls- CAZ: Wa-wa-wait. She said I did this? We-we've had problems but no way. I would leap off the roof of that school if she asked me, you know. VERONICA: Very caring gesture but- CAZ: I swear it wasn't me. [Closing up the car] Now, I'm late for the gym but when you catch whoever did this, you tell me, okay, 'cause I will smash his face in. I mean, seriously. Caz gets into the car. VERONICA VOICEOVER: Why is it that the Caz's of the world are forever in transit between romantic failure and the gym? Cut to Veronica's laptop screen. It is headed: Lilly Kane m*rder Investigation. The desktop is a picture of Lilly and Veronica taken at the Kanes on the night of the limo party. There is a choice of four folders: crime scene, interview transcripts, suspects and timeline. Veronica has h*t the file for suspects. That brings up further folders in the names of Abel Koontz, Jake Kane, Duncan Kane, Celeste Kane, Logan Echolls, Eli 'Weevil' Navarro and Clarence Wiedman. VERONICA VOICEOVER: Sabrina says Caz strikes only at night. That gives me a couple hours before I need to get over there. Time enough to prepare my case for Amelia, prove to her that her father is allowing himself to be ex*cuted in order to make her wealthy. Veronica is working seated on the small couch in Mars Investigations. The phone on her desk rings and she rises to answer, leaving her laptop open on the table by the couch. VERONICA: Mars Investigations. MR WILSON: Is Keith Mars available? VERONICA: No, he's in a meeting. Cut to Keith, sitting back in his chair. KEITH: You want me to find a call girl for your husband? Keith's client is a middle-aged red-head who, according to IMDb is called Mrs Drake. MRS DRAKE: Yes. He likes blondes. KEITH: Look, I don't know if you were looking for pimp in the phonebook and just stopped at PI- MRS DRAKE: I want her to take him to a motel and when he's in a compromising position, you get the... what's it called? The, um- KEITH: Money sh*t? MRS DRAKE: Exactly. Prenup violated. Settlement for me. Bonus for you. KEITH: Sounds sweet. But if we go by the letter of the law, it's entrapment. Veronica knocks softly then opens the door. VERONICA: Dad, Mr Wilson is asking about- MRS DRAKE: The law? Look, if you don't want to do it, I'll take my business elsewhere. [Standing] Perhaps Mr Vincent Vanlowe isn't as interested in the letter of the law. KEITH: [Standing] Yeah, well, just know if you go with Mr Vanlowe there's every chance you'll get the Vinnie classic. MRS DRAKE: And what does that mean? KEITH: That means, Vinnie goes to bust your husband, gets his proof then goes back to him and says for double her money, I'll tell the wife you're a choir boy. Keith hands the unhappy Mrs Drake her papers back and she leaves. He and Veronica share a look which includes Veronica rolling her eyes. She goes back into the main office. Logan is sitting on the couch, looking intently at the laptop. LOGAN: What is it with the Mars' family? Veronica races to the laptop, slamming it shut, grabbing it and taking it back to her desk. LOGAN: God, Veronica, and you really believe Lilly's m*rder was some sort of vast conspiracy? VERONICA: I don't know what you saw. LOGAN: A file on Duncan. VERONICA: [Seriously] There's a file on everyone. LOGAN: [Standing] Yeah. It's thorough. And I'm glad my alibi held up. VERONICA: Out of the country. Two eye witnesses, it's airtight. LOGAN: [Standing in front of Veronica's desk] Hey, what do you think Lilly would make of you investigating all the people who loved her? VERONICA: [Sombrely, pointing to her chest] I loved Lilly. Maybe if I didn't I'd be able to drop this. Veronica sinks into her chair. Logan watches for a moment then takes something out of his pocket. LOGAN: Okay, I just came to give you this. He holds out a folded cheque. LOGAN: Hey, thanks, for, uh, you looking for my mother. Veronica takes the cheque and gazes at it. VERONICA: Your mom was always nice to me. Veronica folds the cheque and carefully tears it up. Logan is surprised then gives a half smile. He turns and leaves the office. VERONICA VOICEOVER: Way to think it through, Veronica. Ripping up Logan's check was a noble gesture but who's going to pay for Amelia DeLongpre's hotel room? Cut to Amelia's hotel room. She is sitting on the bed looking through some papers. Veronica is crouched by the television which is showing Harry Hamlin aka Aaron Echolls in "Clash of the Titans" as he puts a beast to the sword. VERONICA: Is this movie pay-per-view? AMELIA: I don't understand. These shoes. VERONICA: [Joining Ameila on the bed] These shoes were photographed in Lilly's room a couple hours after the m*rder. The same shoes were found two months later on your father's houseboat. Someone had to plant them there. AMELIA: And you're sure that it was the Kanes who framed him? VERONICA: Who else had the money and influence to pull it off? AMELIA: [Moving to the window] I just can't imagine someone m*rder their own family. VERONICA: All three of the Kanes falsified their alibis. AMELIA: When I was really young, my dad�he was a normal dad. But when Jake Kane cheated him out of his streaming video patent, it just, it changed him. He'd lock himself in his office for weeks, not even speak to me or my mom. Said he was gonna create a program that would put Kane out of business but of course, nothing ever came of that. One day my mom brings him a cup of coffee and�she spills it all over his work. He backhanded her. We left the next day. Mom divorced him. [Returning to sit on the bed] Can I ask you something? VERONICA: Sure. AMELIA: Why do you think the money's coming to me? VERONICA: I think i-� it's his way of saying, you know, that he's sorry. Amelia sobs. Cut to Veronica heading up the path to a house. She pauses to note a pickup truck slowly passing the house. She knocks on the door which is answered by a little girl. VERONICA: Hi. Uh, I'm looking for Sabrina? Cut to Jessica Fuller, last seen in 114 "Mars vs Mars". She is quizzing her daughter, Sabrina. SABRINA: Order, genus, species. JESSICA: And the kingdoms are? SABRINA: Fungi, plantae, animalia, uh, monera� Veronica arrives at the doorway. JESSICA: Oh, hello. SABRINA: It's Veronica. I said that I would tutor her. Veronica is a little offended. JESSICA: Just don't forget about your own studies. SABRINA: Don�t worry, mom. Se mi trattiene la chiudo nella la cantina. [Translation: "If she stays too long I will lock her in the basement."] JESSICA: Ma potrebbe stappare il buon vino. Meglio tentare per la soffita. [Translation: "But she could open the good wine. It better be the attic." They laugh] I�m late to meet your father. Lynn is sleeping so keep it down. Jessica exits leaving Veronica to take her seat opposite Sabrina. VERONICA: You forgot protista. SABRINA: I didn't forget, you interrupted. What do you have? VERONICA: Caz Truman denies it. I put a tracker on his car just in case. Otherwise, we just wait to see if something happens. SABRINA: There is no if. Something happens every night. VERONICA: Well, that's why I'm here. Cut to later. VERONICA: [Looking at her computer screen] Yukon's still in the garage. Veronica gets up and goes to the window. The pickup truck, which runs nosily, passes again. The phone rings and Veronica hurries back to answer it, getting the caller ID number as she goes. VERONICA: Hello? Yes, this is Miss Sabrina. [Tapping the number into the computer.] Bad boy, well� [reading off the screen] Mr Greeley of Encinitas. Twenty grand on credit cards, two divorces and a repo'd Sebring. You have been a bad boy. Miss Sabrina commands you. [Holding the phone away from her ear] Put your pants back on and get a job. Veronica hears the truck again and goes back to the window. VERONICA: Do you know anyone with a yellow truck? SABRINA: No. Why? Veronica sees a pram. VERONICA: Is that yours? Cut to outside. The driver of the pickup truck brakes hard when the pram rolls in front of him. Veronica runs up to the window and shines a torch in his face. It's Caz. VERONICA: Hello, Truman. He is chagrined. Cut to inside the house. SABRINA: Caz, it's over. Why can't you just act like a mature adult instead of- CAZ: Baby, it's not me. I'm innocent. VERONICA: Caz, you were lurking. The innocent rarely lurk. CAZ: No, I wasn't lurking. The-the thought of somebody messing with you made me nuts. I-I was watching the house figuring I could catch the guy, be the hero, get you back. SABRINA: What is with the junkie old truck? CAZ: It's the gardener's. S-so Sabrina, I would never hurt you. You know, if you asked, I would jump off the roof. SABRINA: Can I get you to stop that? VERONICA: [Impassively] Ask him to jump. There is a knock at the door. Everyone gets up to answer. SABRINA: The door? Who's knocking on my door at eleven o'clock? There is a small group of ravers at the door, including one in a "Cat in the Hat" red-striped hat. RAVER: [In party mode] Let's get this party started, whooo. VERONICA: You're in the wrong place. RAVER: Have you consider that maybe you're in the wrong place? He has a flyer in his hand. Veronica reaches forward and grabs it. VERONICA: [Reads] Keep it rolling all night. 23 Emperor Court. CAZ: W-where did you get that? RAVER: Sultans of Acid. The guy was handing them out. Said we'd all be rocking and rolling. The door is slammed in his face. Cut to Veronica at the Ocean Beach. She is laden with two grocery bags. She knocks on the door to Amelia's room. VERONICA VOICEOVER: Sultans of Acid yielded nothing but hundreds of spaced-out weirdoes who couldn't answer a simple question. Complete d*ad end. AMELIA: [From inside] Who is it? VERONICA: It's me. Amelia opens the door with the chain still on and checks. On seeing it is Veronica, she opens the door. VERONICA: I brought some brain food. AMELIA: Snowballs! Cut to the room and Veronica and Amelia sitting on the bed. AMELIA: Oh, I talked to my mom. Sorry I freaked out. She was just visiting her sister in Squirrel Point. She says she's gonna mail that stuff tomorrow. VERONICA: Great. AMELIA: Veronica? Could you arrange a visitation with my dad? For the first time I can remember, I really want to talk to him. VERONICA: [Nervously] Yeah. Sure, uh, it may take a few days. VERONICA VOICEOVER: Just long enough to get the proof of the Kane payoff. Cut to Mars Investigations. KEITH: Shouldn't you be getting ready for your Achiever Dinner? VERONICA: Scholastic Excellence, I will. VINNIE: Miss Mars. Vinnie Vanlowe enters. He is overly jolly and sleazy. VERONICA: Mr Vanlowe. VINNIE: I, uh, hope you're not thinking of dying that hair because when you come work for me, you'll find that straying husbands are most likely to chase skinny blondes. [Laughs] No, I'm kidding, of course. They'll chase anything. But seriously, don't dye that hair. KEITH: [Coming out of his office] No hair advice for me, Vinnie? VINNIE: Actually Keith I was just coming by to say thanks. You know, uh, once you set up shop here, I got a little nervous, um, a former detective, sheriff, uh, law enforcement machine, hitting the Neptune PI scene, working the whole B-movie, back alley vibe. Clients love that. I thought I was toast but here we are sending each other referrals. KEITH: Referrals? Did I send you a- VINNIE: Red-head, with the husband problem. KEITH: Ahh, right. I wasn't actually referring so much as warning. VINNIE: I was thinking, uh, we might work together, you know, juggle some cases, maximise the market. KEITH: Actually, Vinnie, we're not- VINNIE: Ah, you're on the fence, okay, okay, okay but I have ten cases, five hundred a day, I can't handle them all. I'll farm them to you for three, I'm talking no-brainers, free of major ethical issues. Easy money. Win-win. Just saying. Think it over. Vinnie shows off a pack of his cards and throws them on Veronica's desk. He leaves. Veronica examines the cards. Vinnie's name (Vincent Vanlowe, PI) is written on the outline of a g*n with a comic femme fatale gazing out from the side. KEITH: Get ready for your dinner. VERONICA VOICEOVER: I've been dreading it for weeks. Two hours at the Kane estate� Cut to night, outside the front of the Kane house. Veronica approaches. VERONICA VOICEOVER: �with the top five ranking juniors and seniors trying not to gag as they talk about the scholarship they're offering in Lilly's name. She rings the bell and waits. VERONICA VOICEOVER: It's been a year and a half since I stood outside this door and watched my best friend's body carried away. A year and a half's worth of questions only I know and only someone in this house can answer. Jake and Celeste are smiling as they come to the door. Their smiles fade. JAKE: Veronica, I didn't, uh� [cautious smile] welcome. VERONICA: Thank you, Mr Kane. CELESTE: Come in, the others are already here. Celeste walks off as Veronica enters, Jake holding the door for her. Cut to inside. Veronica turns down a drink from a waiter and sees Jake and Celeste in another room. The appear to be arguing. VERONICA VOICEOVER: It's hard to be back knowing what I know now and not wonder. Celeste Kane has plenty of reasons to hate me. The camera cuts in the way it does for flashbacks but the lighting is such to show that this isn't one - it is a scenario that Veronica is imaging. VERONICA VOICEOVER: And before Lilly died I got the distinct impression she'd learned one of her mother's reasons. Lilly is lying on a sunlounger, reading a magazine. She is in her pep squad gear. Celeste is heading purposefully towards her. VERONICA VOICEOVER: Maybe Celeste over reacted. CELESTE: Lilly, she cannot come back here, ever. LILLY: Chill out, Mommie dearest. That's no way to treat your stepdaughter. Celeste turns away in disgust. Lilly appears behind her, taunting. LILLY: I think Duncan might have already slipped Veronica a bit too much of the old Kane hospitality. Celeste turns and slaps Lilly hard. Lilly retaliates with an even harder one, spinning Celeste who picks up what looks like a cross between a brick and a tile from a small garden table as she turns. She hits Lilly with it and Lilly lies d*ad. Cut back to Jake, Celeste is smiling broadly. JAKE: I am proud to announce an annual award in the name of our daughter. Starting this year, Neptune High's Valedictorian will receive a full-time scholarship to the university lucky enough to have him or her. So, best of luck to this year's seniors. May the best scholar win. [There is a smattering of applause] And, for next year's seniors, I only hope that this adds to your fantastic motivation, although, uh, I might add that we'll be paying for one of this year's junior honourees either way. Duncan is seated in an armchair in front of where his parents are standing and Jake pats his shoulder. VERONICA VOICEOVER: He doesn't look like a k*ller but you don't get to run a Fortune 500 company without a k*ller instinct. Cut to scenario. Jake is marching down the poolside. VERONICA VOICEOVER: And what if Lilly finally succeeded at getting her parents' attention. A shirtless Weevil is lying on the sunlounger, Lilly on top of him, rocking back and forth, and they are kissing passionately. LILLY: You're blocking my sun. JAKE: Who the hell are you? Lilly gets off Weevil and the sunlounger. WEEVIL: Me, I'm-I'm no one, I-I was just going. Weevil gets up. Jake puts a hand on his shoulder. JAKE: You were having sex with my daughter? WEEVIL: Not right now. Jake grabs Weevil by his head. JAKE: [Raging] You think you can make a fool out of me? LILLY: Daddy, stop it. Lilly tries to intervene and Jake thrusts her away, hard. She flies into the hard table, hitting her head. Lilly lies d*ad. Jake turns back to Weevil, holding him by the ear. JAKE: Breathe a word and I promise you, you'll take the fall. Cut back to the dinner as Jake is shepherding everyone to the table. JAKE: Come on over here, let's chow down. It's rack of lamb tonight. LILLY: Veronica. Come on, dorkus. Veronica sees ghost Lilly run past the door towards the pool. She follows. She finds Lilly on one of the sunloungers. LILLY: My god, worse party ever. What are you doing at nerdfest. VERONICA: I had to come back. Something's wrong, they're hiding something. LILLY: Please. Veronica. They have their faults but they are hardly m*rder. Wow, you've got some imagination. VERONICA: Then who did it? Lilly just smiles. Veronica is startled by a voice behind her. DUNCAN: You okay? She swings around. Duncan, hands in pockets, joins her, gazing at the spot where Lilly died. DUNCAN: So, who are you hiding from? VERONICA: No, really, I was just� DUNCAN: Relax. I come here sometimes too. To think about her. At first I begged my parents to sell the house. Couldn't even walk by this spot, imagining the last thoughts that went through her head. But now, it's kind of nice. Peaceful. When I'm here, I feel like she's still with me. Come on, inside. We don't bite. Duncan gives her a big smile and a chuckle. Veronica follows after a look back. Cut to school, the outdoor eating area. Sabrina is crying. Veronica joins her at her table. VERONICA: What's wrong, Sabrina? SABRINA: I�was just exhausted. All of this crap. I got an 86 on the AP Bio exam. VERONICA: AP Bio is a k*ller, a "B" isn't- SABRINA: I lost it, the top GPA, the Valedictorian spot. VERONICA: Because of one test? SABRINA: I had a hundredth of a point lead and now I'm a hundredth behind. [Nearly hysterical] Why have you gotten him to stop? VERONICA: Sabrina, it's not Caz, I'm sure. Wait, who's in first place now? SABRINA: Um, [[pointing] him. VERONICA: Hamilton Cho? SABRINA: Yeah. Cut to the outside of Cho's Pizza, Home of the Peking Duck Pizza. VERONICA VOICEOVER: Since I'm checking on new GPA champ, Hamilton Cho, I might as well expand my gastronomical horizons. Cut to inside. Hamilton is working behind the counter. HAMILTON: I'm actually a little hurt this is your first Cho's pizza, Veronica. VERONICA: What can I say? I lack pizza imagination. So, hear you got into Oxford. Congrats. HAMILTON: Yeah, sweet. If I can come up with about a billion dollars or so. VERONICA: Well. I hear you've edged into the lead for Valedictorian now. If you don't blow it in the next nine weeks, that Kane scholarship will pay for Oxford entirely. So, Sabrina� HAMILTON: Ah, the teenage witch. VERONICA: You don't like her. HAMILTON: Do you? Does anyone? VERONICA: She's had it pretty tough this week. HAMILTON: Boo hoo. You know how many breaks she's had? She got AP credit for a school sponsored trip to Rome. Her mom is the School Board President. I mean, how can I compete with that? I work twenty hours a week, no tutors, it's just the way it is here. [Hands Veronica her pizza] Money talks, etcetera, etcetera. You know what I'm talking about. Hamilton's father hands him a delivery order. JIM CHO: Hamilton. This order's ready. HAMILTON: Gotta run. [Puts on his delivery cap] Pop, I'll be back in ten. VERONICA VOICEOVER: Of course I agree, Hamilton. The world is unfair. That's why I don't feel good about putting a tracker on your car. Cut to the door of the Mars apartment. Someone is trying the handle. Keith, coming out of the bathroom and in his dressing gown, sees and jerks the door open. It's Wiedman. KEITH: Can I help you? WIEDMAN: Mr Mars. KEITH: I'm sorry, I didn't hear you knock. I must have been in the shower. WIEDMAN: Hmm. KEITH: Well, come on in, I'll fix you a cup of coffee. It's been a while. WIEDMAN: It has. KEITH: What brings you to my door? WIEDMAN: Looking for someone. [Shows Keith a picture of Amelia] Her name is Amelia DeLongpre. KEITH: Geez. You mean the head of a corporate security team came to a little old PI like me? I'm flattered. I'm two fifty a day. WIEDMAN: I had thought maybe you knew already where she was. Company has some important information for her. We thought perhaps�she might even be staying with you. KEITH: In my two room apartment. Well take a look around, Clarence. God's honest truth, I don't know who that woman is or why I'd have her stashed here, but knock yourself out. Are we done here, then? Keith opens the door. WIEDMAN: Thanks for your hospitality. Wiedman leaves. Cut to the door later as Veronica enters with Backup. Keith is sitting in the armchair. KEITH: Guess who stopped by today? VERONICA: If you say Josh Hartnett, I'm gonna be so bummed. KEITH: Clarence Wiedman. He's the head of security for Kane Software. And for an hour after he left I sat here wondering. What did I stumble on that has them so rattled that they'd send over their top guy? [Veronica sinks onto the sofa] I wasn't sure what it was but I was proud. Clearly I was making them nervous. Then it occurred to me. I didn't stumble on anything. I haven't touched the case in months. Nope, I'm not scaring the Kanes. My seventeen year old daughter is. VERONICA: I know who he is. He's looking for Abel Koontz's daughter. KEITH: Of course, she changed her name. She's the one getting the payoff. And you know where Amelia is. [Angry] Do you have any idea how dangerous it is, what you're doing? VERONICA: [Desperately] I'm protecting her so that the Kanes can't get to her and cover up the money trail. KEITH: Well who's going to protect you, Veronica? Understand me. That family will do anything to make that evidence go away. VERONICA: She's willing to help us, Dad. She's already agreed to turn over the phoney patent documents, that's as much of a smoking g*n as we're gonna find. KEITH: That girl must really love her old man if she's trading three million bucks for three months of his life. VERONICA: You know about Abel- KEITH: Stomach cancer? All right Veronica. New game, new rules. [Keith moves over to sit next to her on the couch] I told you a long time ago to drop this case- VERONICA: Dad, I won't- KEITH: I know. Just listen. You have to promise me that you'll be more careful. That means no more surprise visits from Clarence Wiedman. I just can't make myself more clear. VERONICA: I'll promise. KEITH: All right. I found a cell phone record showing that Jake Kane called Clarence five minutes before he arrived home the night of the m*rder. So when Jake's alibi went all to pieces and I started to question the coroner's time of death, the core body temperature just didn't match the rest of the timeline. VERONICA: You think Jake called Clarence Wiedman after he discovered Lilly's body? [Keith nods] To do what? KEITH: Whatever needed to be done. Cut to Veronica in her car. It's night and Backup is sitting in the seat next to her. VERONICA VOICEOVER: Clarence Wiedman. Ex-army intelligence, ex-FBI, ex-god knows what else. Probably a good man in a bad situation. Cut to another scenario. This time, Lilly is already d*ad and Jake is sobbing over her. He is on his cell phone. JAKE: C-Clarence. I need your help. Within the same scenario, Clarence arrives at the Kane's front door with a large bag of ice thrown over his shoulder. Jake and Celeste meet him. WIEDMAN: [Coldly] Mr Kane, listen to me. I need you to go to the trunk and get the rest of it. And then we need to decide which one of you found her. Now show me the body. Cut back to Veronica in the car. Her cell rings. VERONICA: Hello. Cut to Sabrina. She is lying in bed with a pillow over her head. A car alarm can be heard. SABRINA: Veronica? Now it's this car alarm. It's been going off outside of my window for the last two hours. We called the police twice. It just stops right before they get here. Cut to Veronica who over at Cho's. Hamilton can be seen, studying, through the window. VERONICA: Well, it can't be Hamilton. He's been at Cho's all night. SABRINA: [Screaming] Veronica. I can't take this anymore. Are you gonna help me or what? VERONICA: Get out. Go find the car and take down the licence plate. I'll see what I can do tomorrow. Veronica puts up the phone. VERONICA VOICEOVER: In the meantime, I need to find out� Cut to an empty classroom as Veronica pulls Logan in. VERONICA VOICEOVER: �when a certain ticking time b*mb is set to go off. VERONICA: [Defensively] I'd like to know when you plan on telling Duncan and everyone how I'm psycho or, at least, unhealthily obsessed. I'd like to be prepared. LOGAN: You know, something's been bothering me. About Duncan having whatever he has, that weird kind of epilepsy. Are you sure? VERONICA: About that? LOGAN: Yeah. VERONICA: Yeah. LOGAN: I've know him since kindergarten, why didn't he ever mention it to me? Logan sags against a desk. VERONICA: I don't think he or his parents wanted anyone to know. I think they still want him to be president some day. LOGAN: Does that mean that he has, like, fits or something? VERONICA: Possibly. Other times the att*cks might manifest themselves as hysterical laughter or uncontrollable crying. Or a blind rage. [Veronica can see this in particular has an impact on Logan] Does any of that sound familiar to you? Logan, still perched on the desk, slides closer to Veronica. LOGAN: [Softly] I'm only telling you, okay. Veronica nods. LOGAN: Last year when� [looks heavenward and sighs heavily] I was over at their place, I heard s-screaming from the next room. I heard Duncan's voice and thought someone had broken into the house and when I got there, I found him on the floor and he-he had his hands around his dad's throat. And I tried to pull him off. An-and all of a sudden he went limp and he was Duncan again. VERONICA: What did Jake say to you? LOGAN: Nothing. We helped Duncan to his room and it was over. I tried talking to Duncan the next day at school but he acted like he didn't remember a thing. VERONICA: When Lilly died? LOGAN: No. [Slowly standing and looking down at her] It was the week you guys broke up. [Pause] It's weird, huh? Logan leaves, sparing her a brief glance back when he reaches the door. Cut to Veronica at her desk at Mars Investigations. She is checking out information on her computer. VERONICA VOICEOVER: Despite serious sleep deprivation, Sabrina remembered to get the plate on the offending car. An '83 K-car registered to Debra Villareal who's touring Europe [a glitch as the screen says Omaha, NE] as "Jasmine" in "Aladdin on Ice". So what's her K-car doing parked outside the Fuller residence? I doubt it's coincidence that Debra Villareal was once married to Vinnie Vanlowe, Private Eye. Veronica picks up the telephone. SABRINA: Hello? VERONICA: Sabrina, hi. I need to borrow some of your spirit week stuff. Cut to the outside of Vinnie's office. His logo is two g*n in the shape of a "V". Cut to inside. VERONICA VOICEOVER: I'm not an expert on the male mind so maybe someday someone can tell me what it is about chrome, glass and fake black leather that are supposed to represent masculinity. A woman in her fifties or sixties is manning the front office desk. MRS VANLOWE: Ah, can I help you? VERONICA: [Brightly] Yes! You can help me by asking if Mr Vanlowe has a second to see Veronica Mars and you can help Neptune High by buying cookies for our spirit week. MRS VANLOWE: Oh, Vinnie loves these mints. I'll take one. VERONICA: If you buy two, you get a spirit pin. MRS VANLOWE: Oh, I have to have a pin, here. That's ten. [she fusses] Go Pirates. VINNIE: [Calling from the inner office.] Ma, I told you a million times, if you don't order extra mayo on the tuna it gets all cr- Vinnie, wearing a false moustache, comes to the door of the inner office. He sees Veronica. VINNIE: Why Ms Mars. So, uh, what can I do for you? They go into the office and sit. VERONICA: Couple of things, actually. VINNIE: sh**t. VERONICA: First, my dad just wanted me to come by and say he is unable to take you up on your offer. He says thanks anyway and in the spirit of mutual co-operation, he wanted to give you this. Hands over a pen. VINNIE: Mars Investigation address and phone right there on the pen. Class. [He tosses it onto his desk] So what's the number two thing? VERONICA: I was hoping maybe you could tell me who hired you to harass Sabrina Fuller. VINNIE: Sabrina Fuller. Doesn't ring a bell. I don't believe I know such a person. VERONICA: See, I think that you do. Either that or your ex-wife really hates academic achievers. VINNIE: My ex-wife, Brenda? VERONICA: No. VINNIE: Masako! VERONICA: Debra. Guess she's been having some trouble with her K-car? Vinnie rolls his head. VINNIE: Uh, well I don't know anything about that, I mean, I wish I can help you but I can't. As you can see, I'm in the middle of a [holding up his lunch] job here, so if you don't mind. VERONICA: Sure. [Rising] Just trying to help a friend out at school. No big deal. VINNIE: [Walking her to the door of the inner office] Well, tell your dad, thanks for the pen. VERONICA: Sure. And you-you've a little something on your face. VINNIE: What? Potato chip? Veronica grasps one end of the moustache and pulls, ripping it off. She leaves. VINNIE: That is not cool. Cut to outside Vinnie's office. Sabrina is waiting in Veronica's car as Veronica climbs in. SABRINA: So what did you find out? VERONICA: Nothing, but I sold two boxes of cookies. SABRINA: You found out nothing. So, what is the point of us even doing this? Veronica uses the keyboard on the laptop. Vinnie's voice rings out. VINNIE: Why didn't you tell me you got thin mints? Come in here. VERONICA: That's the point. Just wait. VINNIE: Yeah, uh-huh, cute. Hey, ma, whose that band I like, ooh, yeah, Hall and Oates. John Hall and Daryl Oates. That-that one song. [Singing] Private Eye, I'm watching you� Sabrina and Veronica look up at his window, Vinnie is performing for them, using the pen as a microphone. VINNIE: �and I see your every move. Yeah, Veronica Mars, I'm watching you, Private Eye. I'm watching you. [Speaking] Hall and Oates, Veronica. They wrote the song and now you're living it. How's it feel? [Singing again] Private Eyes, watching you, [slapping his bum] watching your every move, baby. Private eyes, Veronica Mars. Vinnie holds the pen out of the window and pretends to be struggling to hang on to it. VINNIE: [Tossing it out the window] Oops. SABRINA: Now what are we supposed to do? Veronica is busy on the keyboard. VERONICA: Sabrina, give me a little more credit. She has activated the camera in the Pirate pin. MRS VANLOWE: Vinnie, did you get that- What are you doing? VINNIE: Did you bring the mints? We need to get rid of that K-car. Call Gary and have him tow it. Get Jim on the horn. MRS VANLOWE: You wanna pizza? You just ate. VINNIE: Ma, it's j-it's business. SABRINA: What? VERONICA: Sabrina, I know who did it. Cut to the Kanes house where Veronica sits on a large couch with Hamilton and his father. Jessica and Sabrina sit on another couch and in chairs facing them all are Jake and Celeste Kane and Mr Clemmons. JIM CHO: My son never had a fair chance. I didn't give him the same advantages as the kids he has to compete with. JESSICA: You want us to believe getting a private eye to harass my daughter is acceptable just because we happen to have money? JIM CHO: But my son didn't have anything to do with this. He's worked so hard and he deserves- JAKE: All right, look. Well, it just seems like a mess. But, uh, under the circumstances, assuming that, uh, Hamilton and Sabrina finish the year one-two, we are willing to split the scholarship this year. I mean, if that's acceptable to the two of you. Hamilton looks hopeful. JESSICA: No. The honour of Valedictorian belongs to my daughter. And so does that scholarship. JIM CHO: Mrs Fuller, please. JESSICA: There's one agreement I'm prepared to make. This young man will remove himself from the Valedictorian race and we won't press charges. CLEMMONS: Mrs Fuller, is that the only solution that you would consider? Can we- HAMILTON: Naw, I'll do it. [Standing] What the hell? JIM CHO: Hamilton, no. VERONICA: Hamilton, this is ridiculous. They can't force you to do this. HAMILTON: [Standing] They just did. Come on, Dad. Cut to outside. Veronica catches up with Hamilton. VERONICA: Hamilton? I'm so sorry. HAMILTON: Ah, it's not your fault. VERONICA: What are you going to do now? HAMILTON: You know, work two jobs, take out loans. State school. Twenty years from now, she'll be working for me. VERONICA: And Oxford? HAMILTON: Proust is still Proust. Even at UCLA. VERONICA VOICEOVER: Life is fundamentally unfair. It takes real talent to make unfair seem cool. Hamilton Cho. Proof that kids love their dads, no matter how badly they screw up. It's the exact kind of love I'm banking on from Amelia DeLongpre. Cut to Loyola Marymount. A male student walks along in the night. Wiedman exits his parked car to approach him. WIEDMAN: Excuse me. Listen, do you happen to have a cell phone on you? I gotta call Triple A. Cut to Veronica on her cell phone. VERONICA: Hello? AMELIA: Veronica. VERONICA: Hey, Amelia. AMELIA: The papers came. VERONICA: Oh, thank god. I-I'll be right by to make copies. How are you holding up? Cut to Amelia sitting on the bed at the hotel. AMELIA: Tired of trying to concentrate on Plato and, all I can think about is what I'm gonna say to my dad when I finally see him. [Her other cell phone rings] Oh, it's my boyfriend. See you soon. [Answering the call] Hey, sweetie. WIEDMAN: Miss DeLongpre? Don't hang up. My name is Clarence Wiedman. The woman you're dealing with isn't who she says she is. Cut to Mars Investigations. Veronica is at her desk, Keith is in his office. VERONICA: Dad, we've got it. Amelia has the settlement papers at her hotel. KEITH: Good work, honey. Let's go. Veronica and Keith leave the office. Cut to them arriving at the Ocean Beach and then of them at the door to Amelia's room. Veronica knocks. Getting no response, she uses keys to enter. Clarence Wiedman is in the room, putting some papers in a briefcase. There is no sign of Amelia. WIEDMAN: As it turns out, I won't be needing your services, Keith. VERONICA: Where is she? WIEDMAN: Gone. VERONICA: You took her? WIEDMAN: She took herself. Miss DeLongpre was particularly upset with you, Miss Mars, for failing to mention her father's declining health. KEITH: [Softly] Let's go, honey, come on. VERONICA: Where? WIEDMAN: Where would you go if you had your own Swiss bank account? Thank you for bringing Amelia to Neptune, Miss Mars. She just finalised her father's settlement with Kane Software. Upset, Veronica spins round and rushes out. Keith follows more slowly. Cut to Mars Investigations. Veronica is sitting on the floor, back against the wall, in Keith's office by the door to the safe. It is dark, with no lights on. VERONICA VOICEOVER: What do you do when the best chance you've had at cracking the case, packs up her suitcase and heads to Biarritz or St Tropez or wherever rich people disappear to? Keith enters and turns on the lights. KEITH: Oh, hey honey, what are you doing on the floor in the corner? VERONICA: Dad, I- KEITH: Well, don't sit on the floor. [He pulls her up] Take the chair. [He couches down to the safe door] I changed the combination on this thing, you know. [Dialling the combination] 41-54-17. Keith opens the safe and gets the Lilly Kane m*rder file. VERONICA: Random numbers? Just like you said. KEITH: 415 and 417. Flight numbers. Our honeymoon, your mom and I. I never can remember the random ones. Keith plonks the file on the desk. Cut to later as they discuss the case. VERONICA: Obviously, Jake and Celeste lied about their alibis but what made you think they were involved in covering up Lilly's death. KEITH: When the call came in that Lilly had been found, I was the first one at the scene. Flashback to the Kane house the night of the m*rder. Keith is questioning Jake and Celeste. Duncan is sitting in the front hall, rocking. KEITH: How long had you two been home before you discovered her body. JAKE: Five minutes, um, ten, maybe. I-I-I knew the kids were home so I decided to check for them out at the pool and that's, um, that's when I found�and that's when I, uh, that's when I found�oh. Keith glances at Duncan. KEITH: And where was Duncan at that moment? CELESTE: He was-he was showering. He, uh, b*at us home but he hadn't gone out to the pool. Keith hears the buzzer of a clothes drier finishing. KEITH: You doing some laundry? Neither of the Kanes has an answer. KEITH: [Offscreen, present day] The Kanes had two full-time housekeepers. My guess, they hadn't done their own laundry in a very long time so give me one good reason why they would start a load of laundry the night they found their daughter bludgeoned to death. Cut back to Mars Investigations. Keith looks sympathetically at his daughter. KEITH: Honey, it was a soccer uniform I found in the dryer. VERONICA VOICEOVER: Duncan and Lilly were so different. They didn't always like each other, but they always loved each other. He never would have hurt her. Flash to another scenario. Lilly is lying on her stomach on the sunlounger. But what if emotional turmoil, the same kind that drove him to att*ck his father, turned Duncan into someone else entirely. A shadow falls over her. LILLY: You're blocking my sun. Lilly looks up just as Duncan goes to strike her. She screams. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x17 - Kanes and Abel's"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars� At the rehab centre, as Veronica signs the cheque, Lianne tries to stop her (from 116 "Betty and Veronica"). LIANNE: I can do this. I can kick this on my own. There is nothing twelve weeks in here can do that I can't do myself. VERONICA: I want you to come home. I miss you. At Mars Investigations, Veronica slams shut her laptop to stop Logan from seeing more (from 117 "Kanes and Abel's"). LOGAN: God, Veronica. VERONICA: I don't know what you saw. LOGAN: A file on Duncan. Later at Mars Investigations, Veronica and Keith discuss the Lilly Kane m*rder from the same episode. VERONICA: Obviously Jake and Celeste lied about their alibis. What made you think they were involved in covering up Lilly's death? Flashback to Keith at the Kanes on the night of the m*rder as he hears the buzzer of the dryer from the same episode. KEITH: Doing some laundry? The camera focuses in turn on each of the Kanes. Switch back to Keith. KEITH: Honey, it was a soccer uniform I found in the dryer. End previously. Open outside the front door of the Mars apartment. Veronica and Leo are kissing. They break, Leo's hands still resting on Veronica's waist, hers on his arms. LEO: Any chance I'm ever gonna get to see the inside of your apartment? VERONICA: And what, exactly, are you hoping to see? Our good china, the screening room? LEO: Wanted to get a really good long look at your bedroom ceiling. VERONICA: Wow! College girls must be easy. LEO: This is my 'A' material. They swoon. VERONICA: My dad's home. I saw his car outside. LEO: But he's cool with us, right? VERONICA: Like, has he made a couple of remarks about the 29 month age difference? He has. On the other hand, he likes the fact that you carry a g*n. Not so much that he's okay to sleepover but, yeah, he likes you. Leo gently strokes Veronica's hair. LEO: I'll call ya tomorrow. VERONICA: Later, deputy. LEO: Later. Leo exits and Veronica enters the apartment. She sees Keith. VERONICA: Ah, the pretend-to-be-digging-in-the-fridge-rather-than-spying-on-your-daughter ploy. Bravo. KEITH: Veronica, we need to talk. VERONICA: [In southern drawl] He's a fine gentleman, pa. He'll come up with the dowry to marry me, just you wait. KEITH: But seriously, folks. Sit down. Veronica plonks herself down on the stool at the kitchen counter. KEITH: I know how uncomfortable you are with the idea of me dating and I've done everything in my power to respect that, but�your mom's been gone for over a year now. VERONICA: [Worried] You met someone? KEITH: I have. But I didn't want to say anything until I was sure I had feelings for this person. A-Alicia and I talked about it and- VERONICA: [Shocked] What? Who? Alicia? [Incredulous] Wallace's mom? Cut to the Fennel house. Wallace jerks up from leaning over the bathroom sink, toothbrush still in his mouth. He is horrified. WALLACE: Say what? ALICIA: Well, from your reaction I'd say your heard me just fine. Cut back to an open mouthed Veronica. Opening credits. Scene opens at Neptune High. Wallace and Veronica are sitting at one of the outside tables. They are not comfortable with each other and are silence for an age. VERONICA: On the bright side, if our parents get hitched, we could have bunk beds and stay up all night talking. WALLACE: [Not amused] You're truly sick. VERONICA: I've always wanted a little brother I could dress up like a little doll. WALLACE: Yeah? See how that works out for you. Wallace stacks his books and stalks off. Veronica watches him go, a sad look on her face. As she looks down at the table, she sees someone has written "KillemAll.net" on it. She looks a little concerned and glances around. Cut to Duncan entering the journalism class. Veronica is already there, seated at the large central table. Duncan smiles and touches her arm as he passes her, heading around the top of the table. Veronica watches him. VERONICA VOICEOVER: Dear Seventeen Magazine. How can I tell if the super cute boy in my class likes me? Duncan has reached the top of the table where Logan is sitting on the table. They exchange playful punches. Veronica continues to muse as her eyes follow Duncan. VERONICA VOICEOVER: No. Scratch that. Dear Seventeen. How can I tell if the super cute boy in my class k*lled his own sister? MS STAFFORD: [Offscreen, clapping] Come on, buckaroos. At the front of the class is the new, extremely chirpy, journalism teacher, Ms Stafford. MS STAFFORD: We're burning daylight here. Veronica glances at Duncan with a bit of an eyeroll. The corners of Logan's mouth turn up and Duncan stares at Ms Stafford sceptically. MS STAFFORD: [Offscreen] So a new edition of the "Navigator" comes out tomorrow and we're still short on articles. Logan takes his seat at the top of the table, next to Veronica. MS STAFFORD: Let's do something fun. Logan shares a conspiratorial grin with Veronica. DUNCAN: How about something on oxycontin replacing ecstasy as the drug of choice for high school students. Veronica nods at Duncan, impressed. MS STAFFORD: I'm sure your parents don't want to read about drugs at the school where they sent their precious little ones. VERONICA: I'm sorry. I thought the newspaper was for the students. MS STAFFORD: Where's your Pirate Pride, y'all, lots of good stuff happens here. Veronica looks a little depressed and sighs, Duncan leans back in his chair, disgusted and Logan just keeps grinning. MS STAFFORD: [Offscreen] Did you know that Madame Rousseau's been teaching French here for forty years now? [Onscreen] Maybe someone could do an in-depth profile. LOGAN: A loving tribute to a sadistic crone. The students, including Veronica, laugh. MS STAFFORD: The janitors work so hard and no one even pays attention to them. Maybe we could do something on them? STUDENT: [Snidely] Maybe. Further discussion is cut short by the f*re alarm. Duncan throw his hands up. DUNCAN: Oh, what is with these f*re drills? This is the third one this week. LOGAN: [Quietly, to Veronica] Maybe we should do a story on oxycontin use in the administration office. Veronica laughs again. MS STAFFORD: Okay, Pirates. Single file. Straight line. At the front of the room, Ms Stafford is handling the drill in pep squad manner, a fact not lost on Logan. He jumps up enthusiastically. LOGAN: Heads up, chests out, big smiles. Ready? Okay. The students file out. In the corridor, Veronica leads Duncan, Logan, the other students out as Ms Stafford catches up with her. MS STAFFORD: You know what? There's a good story for you, the f*re drills. VERONICA: A f*re drill story! Someone alert the Pulitzer Committee. MS STAFFORD: You'll find a way to make it interesting. I believe in you. Duncan, close behind them, smiles. Ms Stafford rushes on ahead as Duncan pulls next to Veronica. DUNCAN: Not exactly Ms Dent, is she? VERONICA: Not even close. She was overly peppy as my pep squad advisor, as a journalism teacher, she's a nightmare. DUNCAN: Lots of stories about bake sales and blue ribbons. VERONICA: Why, oh, why did Ms Dent let herself get knocked up? Cut to Mr Clemmons at the open drawer of a filing cabinet. VERONICA: [Offscreen, in hard-nosed journalist mode] So what's the skinny on the f*re drills, Mr C? Faulty hotplate in the faculty lounge? As Clemmons digests the less-than-welcome questions, the camera pans out to reveal Veronica sitting in front of his desk. VERONICA: Gremlin gumming up the works? CLEMMONS: No, we're simply following the district-wide policy for mid-semester f*re drills. We've let ourselves get a bit behind. VERONICA: Really? Because if memory serves, it was like one or two a year. There have been three this week alone. CLEMMONS: [Closing the drawer and heading back to his desk] I'm sorry there's not a more entertaining explanation. It's just district policy. [Sitting] Now if you'll excuse me, I have some paperwork to catch up on. He looks at her impatiently. Veronica exits. Cut to Ms Stafford at her desk in the journalism room. Veronica enters. MS STAFFORD: How's the story coming? VERONICA: I'm bl*wing the lid off the f*re safety policy. Hey, do you know how I can find out what the official district mandate is? MS STAFFORD: Have you spoken to Miss Roush? She's the Assistant Superintendent; she's definitely your source. [Checking her notebook] Um, I think I've got her number. Here. VERONICA: [Pointing to the phone on Ms Stafford's desk] May I? MS STAFFORD: Of course. Ms Stafford leaves Veronica to it. She perches on the desk and dials. The phone is answered by a woman with a distinctive, raspy voice. MISS ROUSH: Ellen Roush. VERONICA: Miss Roush, this is Veronica Mars. I'm doing an article for the "Navigator", the school paper at Neptune High. MISS ROUSH: How can I help you? VERONICA: I just wanted to clarify something. How many f*re drills does the district mandate each semester? MISS ROUSH: Just one is our policy. Cut to Veronica in a school hall empty save for Corny, who is staring blankly into his locker. VERONICA: Something wrong, Corny? CORNY: Yeah, I came to get something out of my locker but I can't remember what it was. Mmrraa. [Turning to Veronica] Hey I was thinking of busting out of here. Maybe go to White Castle. Wanna come with? VERONICA: There's no White Castle in Neptune. CORNY: It's kind of an expression. Veronica looks up, over Corny's shoulder, at the sounds of doors opening. CORNY: What's wrong? Corny looks round to see a security man with a dog entering the school. CORNY: Oh, crap! Corny takes a small bag of what is obviously illegal substances from his locker and sticks it down the front of his trousers. He closes his locker and, scared shitless, walks away from the thr*at only to walk straight into two more security men with dogs. VARIOUS SECURITY: Here. Okay, well, I'll check that door. Much to his relief, they ignore him as they pass on either side of him. VARIOUS SECURITY: How's she holding up? Veronica is intrigued and takes photos of the security men. Cut to Clemmons office. CLEMMONS' ASSISTANT: Excuse me, Mr Clemmons? [Pointing to the phone on his desk] That's Ellen Roush from the district office. Clemmons is uncomfortable as he picks up the phone. CLEMMONS: Hello. TELEPHONE: Van, I received a call from a very pushy student of yours who's doing a newspaper story. CLEMMONS: Yes, I know the girl that you're talking about. She should never have called you. TELEPHONE: Well, she did and she has quite a fresh attitude. CLEMMONS: Yes. I spend half my waking hours trying to keep her out of my hair. TELEPHONE: Mr Clemmons, she gave me the impression that you've been exceeding your f*re drill limits. CLEMMONS: No, uh, look, I've been trying to keep this under my hat but we have had a series of b*mb thr*at and as a precautionary measure, I brought in the b*mb squad. Cut to the other end of the conversation. It's Veronica in the journalism room, imitating Ms Roush. VERONICA: Well that's very disturbing news, Mr Clemmons. Please let us know if there's anything we can do. Veronica cuts off the phone and ponders. Cut to a mock up of the front page of the "Neptune High School Navigator". The headline reads: b*mb thr*at Force Evacuations. It is set against a graphic of a clock and dynamite upon which the headline and two photos, one of the security men and their dogs, the other of students pouring out of the school, are superimposed. It has some editing marks in red. Ms Stafford is holding it, sitting at the large table in the journalism room. Veronica and Duncan are standing behind her, on either side of her. MS STAFFORD: You're positive about this, Veronica. VERONICA: Mr Clemmons confirmed it. It's accurate. MS STAFFORD: But is it responsible? DUNCAN: This is exactly what newspapers are supposed to do. MS STAFFORD: Then what are we waiting for? We're burning daylight here. Cut to after the publication of the "Navigator". Students are reading about it, talking about it, worried about it and Veronica catches various conversations as she heads down the hallway. VARIOUS STUDENTS: It's crazy. Are you kidding me, I mean, is this supposed to be real? Dude, it's right on the front page. Are you staying? Are you kidding me? I'm going home. I'd rather not be here when the school blows up. I'm going with you. Dude, this is serious. WALLACE: You won't believe how insane the administration office is. Wallace comes up behind her. WALLACE: Phones ringing off the hook. Parents going off on Clemmons. He wants to see you in his office, by the way. VERONICA: He does? I'm beginning to think he has a crush on me. Cut to the newspaper headline which is dropped to reveal a very unhappy Clemmons, tearing a strip off Veronica and Ms Stafford. CLEMMONS: Let me be clear as I explain something. The Neptune "Navigator" is not the "Washington Post". You don't have carte blanche to print whatever you choose. MS STAFFORD: Was story inaccurate? CLEMMONS: That's not the issue. VERONICA: It's not? CLEMMONS: No, it's not. Our very real duty to protect the student body trumps your non-existent right to a free student press. MS STAFFORD: But Mr Clemmons, isn't a newspaper supposed to be- CLEMMONS: And what exactly is your journalism background, Ms Stafford? MS STAFFORD: I was on my high school year book staff. CLEMMONS: Then what do you say we play to our strengths and stick to pictures of smiling kids engaged in the multitude of enriching activities that Neptune has to offer. And Veronica, who was this highly placed source in the administration that confirmed your story? VERONICA: Um, that would be you. CLEMMONS: I most certainly was not. VERONICA: [Imitating Ellen Roush again] Mr Clemmons, the fresh girl gave me the impression you had been exceeding your f*re drill limits. Clemmons leans back in his chair, appalled. VERONICA: Where are the thr*at coming from anyway, a student? CLEMMONS: Veronica, I did not invite you in here for a follow up interview. This is a disciplinary meeting. You should feel lucky that you're not suspended. VERONICA: Maybe you'd be doing me a favour. CLEMMONS: And Ms Stafford. You need to use better judgement in the future. No more stories on this subject. Am I understood? MS STAFFORD: Completely. CLEMMONS: I may have made a mistake in allowing a pep squad advisor to substitute for a journalism teacher. Cut to Veronica's English class. Mrs Murphy paces a room that includes Norris Clayton and, seated next to him, Ben, who is drawing in a notebook. MRS MURPHY: Who would like to compare the character of the three Karamazov brothers? I'd like to hear from someone who hasn't spoken today. Ben? BEN: I didn't read it. I thought maybe I'd wait for the mini-series. Veronica looks over at him. MRS MURPHY: I don't know where you expect to end up in life with your attitude, Ben. BEN: Well, I wouldn't worry about it Mrs Murphy. It doesn't matter. In the end we all wind up in the same place. Six feet under. The class fills with whispered responses as Ben glances at an approving Norris. Veronica is not so impressed and stares hard at him. She then looks up and sees another student, Pete, who shakes his head. Cut to the Mars apartment. Veronica gets two cans of drinks from the fridge and walks uncomfortably back towards her room. She is uncomfortable because Keith and Alicia are sitting close to each other on the couch, Keith's arm around Alicia, watching an old black and white movie, "Storm Warning" on tv. TV: "And that doesn't include your plan. Your plan m*rder him, you know." "It was an accident. We're all sorry about it. You have to think of all the good that came out of it�" In Veronica's room, Wallace is pacing. WALLACE: What's happening? VERONICA: [Handing Wallace one of the cans] They're still watching a movie. He has his arm around her. WALLACE: Uh, he's not�groping her or anything, is he? VERONICA: [Retaliating] No, but earlier I saw him cutting a hole in the bottom of his popcorn bucket. WALLACE: That's not funny. VERONICA: Yeah, well my dad's not a groper. WALLACE: Do you think they're serious? What does your dad say? VERONICA: That's the good thing. We don't have to worry. It won't last long. It can't. WALLACE: What does that mean? VERONICA: My mom's in rehab. When she gets cleaned up, she's coming home. WALLACE: And where does my mom fit into that plan? Veronica shrugs. WALLACE: So, I guess she's just a placeholder then? Somebody to keep your dad from being lonely until the woman who dumped him decides she's ready to come back? VERONICA: What do you expect me to say, Wallace? This is my family. Two minutes ago, you didn't want them dating either. WALLACE: Yeah, I probably wish Mom would've found a guy who wasn't my best friend's dad, but�Mom hasn't found a decent guy since my dad died and if she's just gonna get b*rned, I need to tell her right now. VERONICA: You can't. WALLACE: Why not. VERONICA: Wallace, wait, do me a favour and just wait a few weeks. WALLACE: I gotta say, Veronica. I'm getting a little tired of doing you favours. Unhappy and angry, Wallace heads out to the living room. He stares for a moment at Keith and Alicia, comfortably cosy together. TV: "You always said that what happened to one of us happened to us all." "Get away from me." ALICIA: [Softly] She's like the, the private witness. KEITH: I don't know. TV: "�figure it out Bits�" WALLACE: Hey, we need to get going. TV: "Think it over." ALICIA: Honey, we're still watching the movie. Keith and Alicia look up at him, surprised. WALLACE: It's getting kind of late. TV: "Oh, Hank, Hank." Alicia glances up at Keith, both understanding. ALICIA: Okay. Cut to Alicia and Wallace walking outside, heading for the car. ALICIA: Did you and Veronica have a fight? WALLACE: No. ALICIA: I know this is uncomfortable for you. But I'm counting on you to be mature about this. Stopping at the car.. WALLACE: I am. I'm just looking out for you. ALICIA: Well, you don't have to, 'cause I'm a big girl. WALLACE: Yeah, I do. There's something you need to know. ALICIA: Wallace. WALLACE: Just listen. ALICIA: I don't want to hear it. WALLACE: Well you need to hear it. ALICIA: No, I don't. What I need is for you to see how happy I am. This is the first time that I actually feel at home in this town. Keith is a very good man and that is all I need to know right now. Let me have this. Please. Cut to Veronica at school, walking down the hallway. She can hear Pete's voice and on rounding the door, can see Pete in deep discussion with Mac. She waits a bit before interrupting. PETE: Wait, how can you even have an opinion on Ubuntu if you haven't tried it? Two six kernel, Live CD, they even had GNOME 2.O the day Warty Warthog came out. MAC: I'm sorry. I'm perfectly content with OS X. I have all the awk/grep-ance that I want without any need for that pitiful font de-uglification. PETE: But the fonts are de-uglified and it's free. You know, fine, you know, live in the dark ages. MAC: I know what I like and I like what I know. VERONICA: Hey, that iPod Mini is something else, isn't it? MAC: Hi, Veronica. VERONICA: Hey. I'm sorry to interrupt. Mac, would you mind taking a look at my computer? I can't get it to boot up. MAC: Sure, um, could I take it with me though, I gotta boogie. VERONICA: Yeah, everything important is password protected. MAC: Like I really care who you have a crush on. Mac exits. PETE: Hey, Veronica, can I talk to you about something. VERONICA: Yeah, sure. PETE: I have some information for you. Confidential information. VERONICA: My favourite kind. PETE: It's about your story, about the b*mb thr*at. VERONICA: Yeah? PETE: Well, it got me thinking. The other day I was riding my bike to school and I passed by this vacant lot and I saw Norris and that new kid, Ben. They were throwing tennis balls at stray cats. VERONICA: Uncool, but�I don't get it. PETE: [Dramatically] The tennis balls were exploding. Veronica closes her locker and waits as Wallace arrives and opens his. VERONICA: Hey, last night, you said something. Am I really your best friend? WALLACE: Who else you seen around? Veronica smiles broadly. WALLACE: [Without looking at her and smiling despite himself] Quit smiling at me. Veronica lets out a soft laugh. Looking beyond Wallace, she sees Ben and Norris. VERONICA: Hey, what do you think of this new kid, Ben? Heard anything? WALLACE: You're unbelievable. VERONICA: Why? What makes you say that? WALLACE: 'Cause you want me to go get his file, don't you? Veronica smiles guiltily. WALLACE: You're so predictable. VERONICA: It's for the greater good, Wallace. Doesn't he look like total b*mb thr*at material. WALLACE: I'd check out his friend. Clemmons made him turn his shirt inside out. VERONICA: Why? What'd it say? WALLACE: "k*ll 'em all. Let God sort 'em out." Wallace shuts his locker and leaves as Veronica continues to watch Ben and Norris. Cut to Veronica at a computer. She pulls up KillemAll.net. To the accompaniment of a demonic laugh, the screen shows a countdown. VERONICA VOICEOVER: Forty six hours, fifteen minutes�until what? Cut to lunch. Wallace is at a table with some of the other basketball players. Veronica, at a table by herself, watches, in a bit of a hump. Duncan and Meg pass and on seeing Veronica, Meg brings them to a stop. MEG: Veronica's sitting by herself. DUNCAN: No, Meg. MEG: Come on, be nice. Virtually dragging Duncan behind her, Meg approaches Veronica. MEG: Hey, you mind if we� VERONICA: Yeah, sit. Carlita, Biff, Rocco, make some room. Imaginary friends. Meg sits next to Veronica. Duncan sits opposite Veronica but will not look at her and is clearly very unhappy. MEG: So the whole school is talking about your article. You think the thr*at are real? VERONICA: Let's hope not. Ice cold fries, anyone? Veronica smiles at Duncan who resolutely refuses to look at her or engage. MEG: No, thanks. So, ar-are you working on any interesting cases with your father? VERONICA: Well, that Maltese Falcon is still eluding us, but I'm not allowed to talk about the cases. A confidentiality thing. MEG: Duh. Course. Meg laughs. Veronica looks over at Duncan and comes to a decision. VERONICA: You know, there is one case that's sort of interesting. I'll just leave out the names. Successful entertainment attorney, divorced his wife, owed her like half a million dollars in alimony and child support money, literally erased himself off the face of the earth. MEG: How do you go about doing that? VERONICA: First, you get your hands on all the cash you can. Using cash is key. Ditch your cell phone for a pre-paid jobber, move around in a rental car paid for with a debit/credit card and a fake driver's license, cross over the border if possible. If you're really adventurous, you buy an old passport off eBay and do an extreme makeover on it. DUNCAN: Excuse me. Duncan picks up his books and walks away. VERONICA: Ah, the shop talk buzz k*ll. MEG: It's not you. He's been acting weird all day. Well, I'll catch you later. Meg exits. Veronica looks over to another table, where Norris and Ben are in deep conversation. VERONICA VOICEOVER: Ben and Norris. Is it possible these two are just biding their time, waiting for the moment they can blow the school sky high? Norris earned his reputation as a thug and bully back in junior high. Flashback. Post-Lilly, pre-r*pe Veronica is staring at Duncan, sitting at an 09er table with Logan. A spitball lands on the book open in front of Veronica. She brushes it away and look at another 09er table next to Duncan from where the spitball has come. Another boy from that table blows another spitball, this one landing in her hair. She runs her fingers through her hair, trying to get rid of it . VERONICA VOICEOVER: But, I have seen another side. Norris approaches the 09er table. He takes the loaded straw of the one who last taunted Veronica and spits the ball into the 09er's face. Norris drops the straw, leans over the table and glares. The 09er leaves. Norris looks over at Veronica and smiles a little. She responds in gratitude. Cut back to present. VERONICA VOICEOVER: So let's check in, see where his head space is these days. Veronica approaches Norris and Ben. VERONICA: Hi. I'm doing a poll for the Neptune "Navigator". BEN: [Sarcastic] Wow, how vital. NORRIS: What's the question? VERONICA: Okay. World w*r III starts tomorrow. You can share your b*mb shelter with three other people. Who would they be? BEN: You know what? I actually think I'd be a casualty of w*r so I don't think the question really applies to me. NORRIS: Bruce Lee, Joe Strummer, Sam Kinison. VERONICA: They're all d*ad. Okay, other. In the school hall, Wallace catches up with Veronica. WALLACE: You could have sat with me. VERONICA: I thought you were making a point. WALLACE: I wasn't. There's no school file on Ben. VERONICA: Strange. WALLACE: Maybe he's too new. [Pulling it from under his jacket] I got you Norris's file. VERONICA: You're saintly. WALLACE: I get the top bunk. Veronica inspects the file. She frowns. VERONICA: Suspended for violent behaviour a bunch in middle school but that's what I thought. But nothing since high school. WALLACE: Maybe he's trying to keep his record clean. 'Cause he's planning something big. VERONICA: That's scary. [Genuinely] Hey, Wallace, thanks. For what it's worth, you're my best friend too. WALLACE: I'm glad you found your mom and got her some help. Should have told you that sooner. VERONICA: I should have told you that sooner. They bond. Cut to Veronica as she enters the darkened journalism room. Duncan is staring at a computer screen. He turns his head slightly to see who has entered and then turns back to looking at the screen. Veronica leans against the central table. VERONICA: That was either a really poor warm welcome or an excellent cold shoulder. DUNCAN: Logan told me you've been carrying on your own investigation of Lilly's m*rder. That you have files of everyone in your computer. VERONICA: That's true. DUNCAN: Is there a file on me? VERONICA: There's a file on everyone who was connected with Lilly. DUNCAN: What does mine say? He turns to look at her. VERONICA: It says that you have Type IV epilepsy, that you have mood swings, violent outbursts, that you're taking medication. DUNCAN: How do you know that? VERONICA: Doesn't matter. DUNCAN: It does matter. [Standing, angry] You've been prying into my private life. If I wanted you or anyone else to know about that, I would have told them. Who the hell do you think you are? Duncan storms off but doesn't make the door before Veronica speaks. VERONICA: I am Lilly's best friend. He turns back to look at her again. Their voices are increasingly loud as they argue. DUNCAN: Lilly is d*ad, her k*ller is in jail. VERONICA: Abel Koontz didn't k*ll Lilly. DUNCAN: He confessed. VERONICA: He was paid to confess. DUNCAN: Oh my god. I mean, do you even hear yourself? Who would pay? Duncan turns to go again but then stops as he realisation strikes him. DUNCAN: Us. Of course. You think someone in my family paid him. Now why would they do that, Veronica? VERONICA: I don't know. DUNCAN: To protect�me? Again he goes to leave the room until stopped short by Veronica's next question. VERONICA: Do you remember what happened that day? He is slow to turn around. DUNCAN: [Quietly] You think I k*lled Lilly. [Much louder, very angry and upset] How could you think that, even for a second? Duncan has marched right up to Veronica. VERONICA: Duncan, calm down. DUNCAN: [Screaming] What, do you think I'm gonna have another episode and k*ll you too? Veronica is shocked by not more so than Duncan, who blinks and becomes confused and terrified. He runs out of the room. Cut to Veronica, very thoughtful, as she comes back out to the lunch area. She can hear Norris and Ben have their own argument. NORRIS: All you talk about is g*n. All you're talking about here is death, heavy metal music and b*mb and stuff like that. BEN: It's no big deal. Just relax. NORRIS: But I can't keep hanging out with you if you're gonna keep doing that. BEN: Fine. NORRIS: Fine. BEN: Fine. Ben leaves Norris at the table. Veronica follows Ben. VERONICA VOICEOVER: A girl must prioritise. Wallowing in the grief of betraying an ex-boyfriend or following the guy most likely to blow up Neptune High. Ben gets in his car and Veronica hurries to get into hers. VERONICA VOICEOVER: Hell, give me a stick of gum to chew and I'll do all three at once. She pulls out. Cut to her parked outside the Camelot. VERONICA VOICEOVER: The Camelot Motel, premium accommodations for adulterers and rent by the half-hour hookers. Now it appears to be the destination of choice for teen Kazinski. Veronica takes pictures as Ben comes out of the motel and gets in his car. She slides down in her seat as he passes her. Cut to a large car park at a garden centre. Ben is seen with a trolley-load of fertilizer, heading for his car. He loads the back of his vehicle as Veronica watches and snaps. In the course of loading, Ben moves a large g*n. VERONICA VOICEOVER: Oh my god. Veronica snaps away until her cell phone rings. She puts down the camera, glances at the caller ID and gives a wry grin. VERONICA: Yeah? Logan is outside the school. LOGAN: Hey, it's Logan. Hey, uh, just a-a heads up for you. Duncan knows about your files. VERONICA: He knows because you told him. LOGAN: [Uncomfortable but laughing] Well, yeah, I mean, what was I supposed to do? He's my best friend. VERONICA: Yeah, well, he took my head off. You would have loved it. Have you talked to him since school let out? Veronica is startled by the sound of her passenger door opening. She gasps, seeing a g*n in Ben's belt and drops the phone. VERONICA: [Loudly] Oh my god, what do you think you're doing? BEN: Let's go for a ride. Logan is still listening. Cut to Veronica's car pulling out and then into the car. BEN: Make a left at the next stop. VERONICA: Where are we going? BEN: Well, you should know. You must have followed me there. VERONICA: The Camelot? BEN: Yep. I'll say this, Veronica. You're a pesky one. You're screwing everything up. VERONICA: Listen, I really think you're making a mistake, I don't know anything. BEN: Quiet. I-I-I need to think for a minute. Cut to the Camelot. Ben has a firm grip on Veronica's arm and, though she is reluctant, forces Veronica up the steps to the balconly of the motel second level. VERONICA: My dad's a private detective. If I don't check with him after school, he freaks. There will be people looking for me, armed people. BEN: I wanna show you something. Without slowing, Ben reaches into his back pocket. VERONICA: Why can't we do it someplace public. Frappacino anyone, my treat? They've reached the balcony, Ben still firmly holding Veronica. BEN: I know you think you're being a hero, but a lot of people might die 'cause of you. Logan, waiting at the top, behind the corner made by a room, punches Ben, who never saw it coming. Ben goes down and Veronica is thrown forward. The wallet that Ben retrieved from his pocket is also thrown forward. As Logan grabs the supine Ben and punches him a couple more times, Veronica looks at the wallet. VERONICA: Logan, stop. Logan stops and Veronica holds out the wallet which is in fact a badge. VERONICA: He's a federal agent. Cut to a room in the motel. Ben is gingerly touching his jaw, seated on the bed. Logan is watching him like a cat from the corner, flexing his used fist. Ben looks at him and Logan, glancing in at Veronica wetting a towel in the bathroom, moves to another corner. Veronica comes out and hands the towel to Ben who holds it up to his busted lip. VERONICA: You're undercover at Neptune High? BEN: [Looking at Logan] Is it all right if he goes outside? I'd like to talk to you. LOGAN: Dream on, Jump Street. I'm not leaving you alone with her. Veronica walks over to Logan. VERONICA: [Softly] Logan, he's the real thing. Just give us a minute, all right. Logan looks a moment longer at Ben, a nasty smirk on his face, then complies. LOGAN: Fine. Don't close the door all the way. Yeah, I'll be right out here. Logan exits the room to wait on the balcony. Veronica closes the door behind him but leaves it a little open and returns her attention to Ben. VERONICA: So why Neptune? BEN: Well, part of my job at the A*F is monitoring internet traffic. Norris kept a website that was�troubling. We discovered countless emails he'd sent to other students, lots of red-flag words. VERONICA: Red-flag words? BEN: Retribution, b*mb, arsenal, g*n show, fertilizer, Waco, Columbine. We think that he's the leader of scores of likeminded misfits who are waiting for his signal to att*ck. VERONICA: Is this signal a countdown clock? Ben nods. VERONICA: If he's such a thr*at, why haven't you brought him in yet? Having too much fun smarting off to teachers, cat k*lling, kidnapping. BEN: Cat k*lling? VERONICA: I hear things. BEN: If there's been any cat k*lling, Norris has acted solo. It makes sense though. Ben stands and takes the towel back to the bathroom. BEN: Sociopaths normally get their start taking out their aggression on animals. VERONICA: Why don't you just pick him up? BEN: [Leaning against the bathroom door, arms folded] Oh, I will bust him. Be sure of that. I've got more arrests on my record than any A*F agent my age, ever. Failure's not an option. VERONICA: Wow. BEN: Problem. If we pick him up now, we can hold him for 48 hours, then we either have to charge him or release him. Now I either need evidence that he's hoarding banned w*apon or I need to get my hands on the list of the names of the people he's been corresponding with. VERONICA: Why are you telling me all this? BEN: [Fingering his jaw] I need your help. I need you to get close to him. VERONICA: Isn't that your job? BEN: I pushed him too hard. Spooked him. Now I'm screwed if I don't get him off the streets by tomorrow. I've been to his house but I haven't been in his bedroom or the garage. VERONICA: And how do you expect me to swing an invitation to his bedroom and/or his garage? BEN: Easy. He likes you. VERONICA: He likes me? "Likes me" likes me? Ben comes into the room and stops in front of Veronica. BEN: Yeah, he's mentioned it on more than an few occasions. Veronica, your school needs your help. Your government needs your help. If you need an in, he loves talking about his ancient w*apon collection. From outside the room, the door opens as Veronica steps out onto the balcony. "Momentary Thing" from Something Happens starts up as she pulls the door to behind her. She walks up to the waiting Logan, the look on her face soft and grateful. LOGAN: You okay. VERONICA: Um-hm. She stands in front of Logan and he leans back against the wall. She pauses and the lyrics kick in. SONG: She's cutting off her hair again� Veronica leans forward to kiss him. Wherever she intended, she actually kisses him on the corner of his mouth and Logan instinctively puckers his mouth, surprised. He straightens, staring down at her intently. Veronica, equally surprised, stares back and then shakes her head in disbelief at what she has done. SONG: �Says "This is all of me". Veronica turns to walk away. Logan reaches out and takes her arm and as she spins round, he lowers his head to kiss her. She meets him in a long, hard, passionate kiss, their arms pulling each other close, their hands uncertain, the full length of their bodies leaning into each other. The music swells. SONG: �After all, well, isn't this just a momentary thing It's not like it's permanent or any heavy thing� They break the kiss and for a brief moment continue to hold each other. They part a little further, Veronica's face is a mix of wonder and disbelief, while Logan's eyes dart over her features as if etching them in his soul. SONG: �Shut me up, I guess, I guess, I guess� Logan's hands are on Veronica's waist and as he starts to gently circle his hands, the movement seems to alert him to the uncertainty of her reaction and he drops his hands awkwardly. Veronica is brought to her senses by this and turns, hurrying away. Logan nearly takes a step forward to follow before thinking better of it but his eyes never leave her as she makes her way down to her car. SONG: �Stirring me up, yes, yes, yes� At the car, Veronica pauses, looking up at Logan whose stare has lost none of its intensity. With something between a shiver, a shudder and a shrug, Veronica gets in her car and drives out of the motel, Logan gazing after her. SONG: �'Cause we'll get along, yeah, we'll get along- Cut to Veronica exiting her car in front of a modest house. She goes up to the door. Cut to the hallway of Norris's home as he and Veronica head for his bedroom. VERONICA: Thanks for doing this, Norris. My dad's really been struggling with this case. NORRIS: It's no problem at all. VERONICA: I brought some pictures of the stolen w*apon if that helps. Veronica is startled to see that Norris's bedroom door is padlocked. NORRIS: [Unlocking the padlock] My parents are a little nosy. VERONICA: It's probably more effective than the "Mind Your Own Beeswax" sign I have on my door. Although it does have a picture of an angry kitty on it. Veronica wrinkles her nose and pulls her hand into a claw. It's lame and she knows it. Norris gets the door open and they both enter his room. A life sized poster of Bruce Lee graces the door. He has w*apon all over the room, on the walls, on display stands, leaning against bookcases. Veronica's eyes widen. NORRIS: So, this is my w*apon collection. VERONICA: You must feel really safe at night, when the dragons come. Uh, here are the pictures. Veronica hands Norris a photo album. NORRIS: Do you, uh, wanna sit down? VERONICA: Are you kidding? I wanna look at these w*apon. They're so pointy. Norris sits down at his desk, in front of his laptop. He pulls up a page: Dragon Slayer. Veronica is looking at a long sword leaning against the bookcase. VERONICA: This one's very "Braveheart". NORRIS: [Chuffed at her recognition] That's a replica of William Wallace's sword. I've seen that movie like 50 times. VERONICA: A-anything you recognise? NORRIS: Yeah, the Tachi Sword. I'll write down the price. VERONICA: [Spotting his computer] Is that wireless? NORRIS: Yeah. My dad's a programmer over at Kane Software, so we get all the latest technology. We were one of the first household in the country to have Wi-Fi. [Referring to one of the pictures in the album Veronica produced] I have a replica of this. [Pointing to an empty space on the wall behind him] It's, uh, it was right over there but I think it-I think it fell. VERONICA: I'll look for it. VERONICA VOICEOVER: Now if I were a pipe b*mb, where would I be? Veronica moves to the wall, against which Norris's bed rests. She bends down and feels under the bed. She pulls out a magazine. It is "Taut Blonde". VERONICA VOICEOVER: Great! I'm his type. She quickly pushes it back under the bed just as it occurs to Norris that he might have things that he wouldn't want her to see. He turns to look at her. NORRIS: Ah, actually, don't even worry, I'll find it later. VERONICA VOICEOVER: Maybe he keeps his arsenal in the garage. So how do I get into the garage without playing dungeon with this whack job? Veronica picks up a throwing star.. NORRIS: Uh, you ever throw one? VERONICA: Can't say that I have. NORRIS: I got a target in the garage if you wanna try it. VERONICA VOICEOVER: Huh. That was easy. I think it, it happens. Veronica smiles and nods. Norris is thrilled by her interest. Cut to the garage. Veronica is poised to throw the star. VERONICA: Detention? Me? I think not, Mr Clemmons. She throws. The star hits the hand of a target. VERONICA: Try filling out that form left handed. How come these are rubber? NORRIS: Um, they're just for practice. Uh, next time, I'll let you try a real one. VERONICA VOICEOVER: Am I crazy or is b*mb boy flirting with me? VERONICA: No question about it, the Japanese have the coolest w*apon. Veronica spots a chest at the side of the garage and opens it. VERONICA: Shall I just put these in here? NORRIS: [Scarily approaching and standing over her] No, you can just hand them back to me. [Happily] My dad said that if I keep my grades up, I can tour Japan this summer. You know there's a Kurasawa retrospective over at the Paragon this weekend. You think, maybe you'd like to go? [On Veronica's stare] It's cool. It can just be like�a friends thing. Veronica smiles and nods. Cut to outside Norris's house, where Veronica uses her (? So what did she give Mac?) laptop in the car. VERONICA VOICEOVER: Okay, I came up empty on the w*apon search but there's one place I can check for his address book. If I can access the Clayton family wireless system from out here, I'm gold. Veronica manages to link to the Clayton Wi-Fi. VERONICA: Exxxxcellent. She grabs her cell and punches in a number. MAC: [Offscreen] Hello? VERONICA: Hey, Mac, it's me. I need you to walk me through something. MAC: What did you ever do before you met me? VERONICA: Ever see the first ten minutes of "2001: A Space Odyssey"? It was a lot like that. Mac smiles but does not respond. VERONICA: [Explaining further] Monkeys clubbing each other- MAC: No, I�I got it. VERONICA: Mac, if you were planning the Apocalypse on Friday, would you ask someone out on a date for that weekend? MAC: Me? That's the only way I'd ask someone out. Veronica spots Pete, heading for the house next door to Norris. MAC: [Offscreen] Veronica? Pete turns and spots Veronica. MAC: [Offscreen] Earth to Mars. Pete waves and Veronica gives a small wave back. She is thinking. MAC: [Offscreen] Dude, where'd you go? Pete enters his house. Cut to Veronica's bedroom. She has some school records spread on the desk. She is using the phone. VERONICA: [Urgently] Norris, pick up, pick up, pick up. It's Veronica. [Pause] Okay. If you get this, call me before tomorrow. Veronica opens her laptop. The demonic laugh rings out for the KillemAll.net page, the count down showing 18 hours, 8 minutes and 34 seconds. Cut to Veronica exiting her car in the school parking lot. Norris has also just arrived. NORRIS: Hey. I got your message late. VERONICA: Listen, something's up. Ben isn't who he says he is and he thinks you're behind the b*mb thr*at. As Veronica talks, a blacked out SUV pulls up behind him. Agents get out. From behind Veronica, Ben gets out of a parked car. BEN: Don't move. Put your hands where I can see 'em. Drop the keys. Norris stretches out his arms and drops his keys. VERONICA: This is crazy, you have the wrong guy. It's a joke. A hoax. BEN: I have a warrant to search your vehicle. NORRIS: Fine. Search away. One of the A*F agents picks up the keys and opens the boot of Norris's car. It is full of bags of fertilizer, a large g*n resting on top. AGENT: There you go. Ben looks at Veronica in triumph. BEN: A hoax, huh? NORRIS: That's not my stuff, man. BEN: Cuff him. NORRIS: He lying, that's not my stuff. The agents circled round Ben move in. AGENT: Hands behind your back. NORRIS: I didn't do this. VERONICA: You set him up? BEN: Step back, please. [Louder, to the crowd] People, this is a crime scene. Veronica gets out her camera as Norris is led into the SUV, shouting his innocence. NORRIS: He's lying to you. Veronica takes pictures of events. Cut to Veronica in the journalism classroom, at a computer, flipping through her photos. VERONICA VOICEOVER: Agent Ben used me. I know it. Ten to one he planted the r*fle and fertilizer in Norris's trunk while I was inside playing with throwing stars. All I need to do is prove it. She comes across the pictures of Ben loading his car with fertilizer. VERONICA VOICEOVER: Gro-Time Fertilizer? Ms Stafford walks the room as Veronica uses her phone. PETE: Hello. VERONICA: Pete Kamiski please. PETE: Speaking. VERONICA: Pete, it's Veronica Mars. Got a minute? PETE: Yes, yeah. VERONICA: Tomorrow, we'll be publishing a story in the "Navigator" that says you created false internet traffic through Norris Clayton's wireless internet accessible to you because you reside within a hundred feet of the Clayton house. PETE: What? VERONICA: The story goes on to say that you created the Killemall dot net website with its countdown clock and called in the b*mb thr*at to the school in order to implicate Norris even though there was never an actual b*mb. Additionally, you lied to this reporter about Norris and a young A*F agent k*lling stray cats. Would you care to comment on this story? PETE: Are you crazy? Do you think this is something I just do for kicks? VERONICA: You did it because you were the frequent victim of Norris's bullying you in junior high. He was expelled once for holding you down and letting a tarantula crawl across your face in earth science and again for taking your lunch money. [Pause] Pete, still there? PETE: Every day. VERONICA: Excuse me. PETE: He took my lunch money every day before we got on the bus. For two years I scrounged off my friend's plates. I finally told my dad. You know what he said? He said, "Be a man. Just pop him in the mouth once, son, and he'll back off." So I did. I popped him. Norris sent me to the hospital. You wanna know what my dad said then? VERONICA: What? PETE: He said he'd wished he'd had a son. Pete hangs up and Veronica sadly puts down the phone. MEG: Veronica? She turns and sees Meg at the door. She gets up and follows Meg out into the corridor. Meg is tearful. VERONICA: Meg, what's wrong? MEG: You haven't seen Duncan tonight, have you? VERONICA: No. He never showed�which is weird. MEG: He's missing. His parents think he may have run away. VERONICA: What? Why would they think that? MEG: His mother says that yesterday he withdrew ten thousand in cash from the bank. No one's seen him since. VERONICA: That's�bizarre. MEG: Yeah. I don't understand it, I mean, what would make him do that? Cut to Veronica and Ms Stafford in the journalism classroom. MS STAFFORD: So the A*F agent set him up? VERONICA: The photos show clearly that the same fertilizer bags I saw the agent purchase where the ones found in Norris's car and the same with the r*fle. MS STAFFORD: Well, I guess we have no choice but to print it, do we. VERONICA: I was thinking about that. Maybe I could take this story down to the city paper, see if they'll publish it or maybe just put it on a website. MS STAFFORD: What fun would that be? Cut to Wallace reading the "Navigator", the headline of which reads: b*mb thr*at Hoax: A*F Arrests Wrong Student. He drops the paper and joins Veronica walking down the hall. WALLACE: In case you were wondering, Mr Clemmons? Not pleased. VERONICA: I've lost sleep over it. WALLACE: Did you have to mention Norris's school records? Someone could have put two and two together. VERONICA: They will have to really speak sharply to me before I reveal my sources. Wallace laughs as Veronica heads into the journalism classroom. As she enters, Veronica's smile fades and she stops short when she sees Logan. They hold each other's gaze for a long moment until Logan breaks by looking down. He looks up at her again. Veronica is not giving anything away. Ms Stafford walks into the classroom. MS STAFFORD: Listen up everybody, I have an announcement. Veronica pulls her gaze from Logan and walks along the wall of the classroom, looking now at Ms Stafford at the front. MS STAFFORD: I just heard that Norris Clayton is being released later today. Veronica casts another glance at Logan before resting against one of the side desks. Logan sits at the large central table, watching Ms Stafford. MS STAFFORD: The charges have been dropped thanks to a certain high school newspaper's front page story. Veronica sneaks another look at Logan. MS STAFFORD: [Sadly] And I'm sorry to report that today is my last day teaching at Neptune High. Veronica is deeply affected by this announcement. MS STAFFORD: It's been a real kick working with all of you. Ms Stafford looks directly at Veronica, who smiles in response, showing genuine respect. MS STAFFORD: Now, I'd appreciate it if you could work independently. Your sub will arrive shortly. The camera follows Ms Stafford out into the hallway. Behind her, she hears Veronica's voice from the open classroom door. VERONICA: Okay buckaroos, we're burning daylight in here. We need stories. Who's got something? Ms Stafford grins. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x18 - w*apon of Class Destruction"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars� Veronica and Leo kissing outside the Mars apartment (from 118 "w*apon of Class Destruction"). VERONICA: Later, Deputy. Veronica and Keith in the apartment from the same episode. VERONICA: Have you met someone? KEITH: Alicia and I talked about it- VERONICA: Wallace's mom! Veronica kisses Logan and is kissed by Logan on the balcony at the Camelot from the same episode. Cut to Aaron and Logan in their funeral suits (from 113 "Lord of the Bling"). AARON: I know you blame me for your mother's death. Cut to Logan and Trina at the Sunset Regent (from 115 "Ruskie Business"). TRINA: She was your mom, my stepmom. LOGAN: Dad could have used you there. TRINA: So now you're worried about Dad's welfare. Cut to Aaron throwing Logan onto the sofa (from 106 "Return of the Kane"). Then back to Veronica's reaction to what Trina is saying to Logan (from 115 "Ruskie Business"). TRINA: [Offscreen] Isn't he the big bad wolf? Cigarette burns, broken noses� Cut to Weevil in Rebecca's James office and Veronica listening in her car (from 112 "Clash of the Tritons"). WEEVIL: I never would have hurt her. VERONICA VOICEOVER: Lilly and Weevil? Cut to Duncan and Veronica in the journalism classroom (from 118 "w*apon of Class Destruction"). DUNCAN: Lilly is d*ad. Her k*ller is in jail. VERONICA: Abel Koontz didn't k*ll Lilly. DUNCAN: You think I k*lled Lilly. Cut to Meg talking to Veronica in the school hallway from the same episode. MEG: You haven't seen Duncan tonight, have you? He's missing. End previouslies. Open in Mars Investigations. Veronica is pacing behind Weevil who is sitting on the visitor's side of her desk. VERONICA: [Reading] Bob sells a house for $136,000. If he makes 5% commission for every house he sells, how much money did Bob earn on this sale? WEEVIL: All I know is, if your boy Bob only gets 5%, um, he's pushin' the wrong product. Veronica sits next to Weevil on the same side of the desk. WEEVIL: I get something to write with here? VERONICA: [Picking out and handing him a pencil] First fundamental of fundamentals of math? Always carry your writing utensil. Weevil takes it and prepares to write, left-handed. WEEVIL: Um-hmm. So I heard, uh, Duncan Kane took off, huh? VERONICA: I believe the official story involved a sick relative in Chattanooga, but, yeah, he took off. Weevil looks at Veronica, waits. WEEVIL: Hmm. Well the word is he bolted 'cause you accused him of k*lling Lilly. VERONICA: Well, word is wrong. WEEVIL: Hm. But, you don't think they got the right guy. Keith walks into the office and stops short at the door when he spots Weevil. KEITH: Hey, honey. [Coming closer] Eli. WEEVIL: Sheriff. An uncomfortable silence ensues as Keith stares down at Weevil and Weevil stares steadily back at him. Veronica glances from one to the other. VERONICA: I'm just giving Weevil a refresher for his quiz tomorrow. The silence continues until Weevil makes a move. WEEVIL: Well, I guess I'm refreshed. See you at school. Weevil gathers up his books, nods at Keith and leaves. Veronica leans back in her chair and folds her arms. KEITH: Honey, do I need to recap my Concerned Dad lectures? [Taking Weevil's seat] No running with scissors, no candy from strangers, no smartening up the local criminal element. VERONICA: He helped me out in the past. I'm just returning the favour. KEITH: What say you call it even. VERONICA: I'll be at home. [Getting up and leaving] With the only sane member of the Mars family. KEITH: The one who eats from the garbage and keeps bringing me d*ad birds? VERONICA: [From the door] That's the one. Veronica goes out the door and Keith sighs heavily. Cut to a barking Jack Russell terrier tied up outside a house. It is night. Inside the house, Mandy is reading Judy Blume's "Forever". She looks up at the sound of the dog and behind her towards the door. She rolls her eyes, puts down the book and heads for the door. Before she gets there, the bark turns to a single yelp and then silence. She runs. Outside the dog is gone. MANDY: [With increasing desperation] Chester! Chester, come here boy. Come here, baby. [Running around the large garden] Chester! Chester! Chester! Cut to Neptune High School. Veronica slams shut her locker door and turns. Logan is standing in front of her. VERONICA: [Startled] Oh! Hey. LOGAN: Hey. LOGAN: So, uh, what do you think? VERONICA: Like...in general, or is there a specific arena in which you'd like my opinion? LOGAN: Do you think Duncan, uh, is just cooling off or is he, like, holed up in some hotel room pouring peroxide on his hair and trying to file his fingerprints off? VERONICA: Honestly, I have no idea. Veronica turns to walk away. Logan follows. LOGAN: I got the call from Celeste today wanting to know where, uh, I thought he might've gone. VERONICA: What'd you tell her? LOGAN: The truth. That I don't know. They stop and look at each other for a moment. Then Logan raises his eyes and points towards the ceiling in well-timed anticipation of the bell, which rings right on schedule. He grins. LOGAN: See ya. Veronica gives a pained little smile and Logan turns and walks away. Veronica turns and walks slowly on, letting out her held breath. VERONICA VOICEOVER: All righty, Logan. We'll just skip over the two minutes in heaven we had. You wanna pretend it never happened? No argument here. My lips, for all intents and purposes, are sealed. Veronica purses her lips. Her attention is drawn to Mandy who is putting up lost dog notices. Someone has stuck one of her notices onto her back. Veronica pulls it off and Mandy spins round.. VERONICA: Sorry. MANDY: Oh. VERONICA: This was on your� MANDY: Thanks. [As Veronica walks away] You're Veronica Mars, right? Veronica turns back reluctantly. VERONICA: Sometimes. MANDY: Do you think I could, like, hire you, or something? To help me find my dog? VERONICA: That depends. Was he cheating on you? [Off Mandy's confused look] Lost dogs aren't really my speciality. MANDY: Oh. Okay. Well, thanks anyways. Mandy is abject and turns, head down, and walks away. Veronica gazes after her and changes her mind. VERONICA: You know maybe I could make a couple phone calls, uh, maybe help with signage. Mandy beams. Wallace runs into sh*t. WALLACE: Excuse me a sec. He puts his arm around her shoulders and leads her away from Mandy. WALLACE: Breaking news. Record this date in history. First time Wallace Fennel got the 4-1-1 before the little birdy got it to you. They stop. VERONICA: Do I have to tip you over or are you gonna spill it on your own? WALLACE: Clemmons just got a call. Weevil broke into the Kane house last night. Neighbourhood security patrol caught him in Lilly Kane's bedroom. Veronica can't believe it. Opening credits. Open on an exterior overhead sh*t of the Sheriff's Department. Cut to inside as Veronica approached Leo at the counter. VERONICA: [Softly] Hi. How are ya? LEO: Better. Now. I haven't heard from you in a couple days. About to show up at your place with my tools of restraint. VERONICA: Wouldn't recommend it. Dad usually likes to have a guy to dinner at least once before he cuffs me. LEO: So what can I help you with, Miss Mars? My schedule? Sure. I'm off Thursday and Friday. VERONICA: Um, I'm actually here to see Weevil. Do you think I could get a minute with him? Leo looks back towards the cells. LEO: What is it about bad boys? VERONICA: [As Leo leads her to the door to the cells] Um, tattoos, leather, parole violations. Total good-girl bait. LEO: I'm doomed. VERONICA: Hey, you were here when Weevil was brought in, right? What did they find on him? LEO: The bad-ass standards, $0.17, a couple of condoms, a pen Veronica slips her bag off her shoulder and hands it to Leo. He opens the door for her. Cut to the cells. Weevil is lying on one of the cots. WEEVIL: Do you have that nail file and the J-Lo poster I asked for? Veronica sits in the chair outside the cell. VERONICA: Why were you in Lilly's room? WEEVIL: What better house for some B&E? VERONICA: I know about you and Lilly. I know about the letters. WEEVIL: Yeah? [Sitting up, a bit pissed off] Well, whatever you know, that's not all there is to it. VERONICA: [Standing] I tell you that I'm close to finding Lilly's k*ller and two hours later, you're breaking into her room. What do you expect me to think? WEEVIL: [Angry] Look, I told you what I was doing there. Now if you don't wanna believe me, that's on you, okay? You gonna help me or not? VERONICA: No. Veronica turns and gets to the door leading out of the cells. WEEVIL: All right, all right, hold on! Weevil stands and moves to the edge of the cell. Veronica stops by the door and looks back. WEEVIL: Diamond ring. VERONICA: You broke in to steal a ring? WEEVIL: I was trying to get it back. It-it's my mother's and she was saving it for me as an engagement ring. At one time I was dumb enough to think I wanted Lilly to have it. VERONICA: Find it? WEEVIL: No. Look, uh, the Kanes want me crucified for this and now that I'm 18... VERONICA: Good-bye juvie. Hello community soap. WEEVIL: [Whispering] Yeah. Cut to a new lost dog notice rolling off the printer at Mars Investigations. Mandy takes it and compares it with her effort. MANDY: Now I see how crappy mine was. VERONICA: It was heartfelt crappy. So tell me more about the night Chester disappeared. Your front gate was open? They move to and sit on the small couch. MANDY: Oh, not mine, the McDades. I baby-sit their son Ryder twice a week. They let me keep Chester in their yard. VERONICA: How far do you live from them? MANDY: Far. I'm more like an 02er. VERONICA: So, you put up flyers. Did you check the pound? MANDY: Well, I called and I left them my number. VERONICA: You should go down there. Give 'em a flyer. If they meet you, they're more likely to remember you and Chester if he comes through. Cut to an exterior of the Echolls family home. A worker cleans the pool. Inside, Aaron is sitting on a couch covered in leopard print throws. He is reading Hermann Hesse's "Siddhartha". Trina walks into the lounge, carrying a script. AARON: Sweetheart. Stay close, okay? Barry's gonna be here any minute. TRINA: [Sitting next to him, grinning] Research for your next role? AARON: No, Phil Jackson gave me this. He said it would change my perspective. TRINA: Maybe you could option it. AARON: Nobody seems to believe me. Not even my own children. I'm done acting, Trina. It's behind me now. TRINA: What if something so great came along. Logan enters, carrying his books and checking his watch. AARON: There is nothing greater than living in the moment, being here with the ones I love. That's my job now. Lynn's death was my wake up call. Having dropped his books, overhearing throughout, Logan joins them in the lounge. He smirks and holds out his hands in classic "setting scene" style. LOGAN: Push in on our hero. Natural light frames his handsome, weathered face as he passes sage advice to his doting daughter. The music swells. [Imitates Yoda as Trina rolls her eyes] Important your family is. Hm, hm. Logan against the arm of a second couch and lets himself fall back onto the couch. TRINA: But Daddy, there's this terrific part. [Logan laughs] It's the villain in this independent feature my boyfriend Dylan's producing, "Escaping Your Past". You'd be perfect. Two days work. AARON: Whoa, whoa, whoa. Hold on, Trina. Thank you for thinking of me, really, [Logan laughs again] but, but this, this is what I want to be doing now. Logan can't stop laughing as the doorbell rings. Cut to the three Echolls sitting around a table. The lawyer, Barry Randall is sitting at the top of the table. BARRY: I'm not sure if you're aware but Lynn updated her will a few weeks before her�death. Aaron, you were removed. AARON: Hm. Well I didn't know that but, uh, well, doesn't surprise me. LOGAN: It's cool, Barr. Dad's accountants didn't give Mom much of an allowance. Aaron is not impressed with his son. BARRY: All right, I'll skip to the relevant paragraph here. [Reading from the papers in front of him] To my son Logan, I bequeath my art collection as well as all of my personal effects in the house. In addition I leave him the balance in my investment account, held with JP Morgan, totalling $115,000. TRINA: And me? She took me out too? BARRY: I'm afraid you were never in it. Trina looks shocked and sighs heavily. Cut to Veronica and Mandy at the dog pound. They hand a flyer over to the man at the counter. VERONICA: We're looking for a lost Jack Russell terrier, Chester. Any chance he's come through? JW: Pure breed Jack. Hadn't come through. Sorry. Another dog pound worker comes through from the back. HANS: Veronica Mars? J-dub, this is the coolest girl in Neptune High. Uh, she was gonna get expelled for planting a spy cam in the teacher's lounge but she had so much dirt, they just let her off. JW: Is that so? MANDY: Have you seen my dog? Veronica hands him a flyer. HANS: Um. Uh, man, no. Aww, I wish I had though, what a cutie. Keep an eye out, okay? VERONICA: We'd really appreciate that. Thanks� HANS: Hans. VERONICA: Hans. Hans exits as Mandy turns to Veronica. MANDY: You really hid a camera in the teacher's lounge? VERONICA: I have no idea what he's talking about. MANDY: Um. They leave the pound. Cut to the Echolls family kitchen. A chirpy Trina, with plate in hand, bears down on Logan, standing and looking at his books on one of the counters. TRINA: Good morning, bro. [Holding out the plate] Pop tart? LOGAN: Taking it[] Hm, a tart from a tart. Logan takes a bite. TRINA: He of the sickle wit. Can I ask you something? Logan, still chewing, uses his thumb and forefinger to pretend to take something from his now closed mouth. LOGAN: Hm. Will you look at that? There was a string attached to my pop tart. He tosses the imaginary string over his shoulder. TRINA: Yeah, well, I'm in a little bit of a jam. I could use a loan. Logan makes a display of hitting a button on his watch, which pings. LOGAN: Twelve hours to h*t me up for my d*ad mother's money. Hm, I wonder who had that in the pool? TRINA: You know I wouldn't ask if it wasn't important. LOGAN: Oh, I do. I do. TRINA: Could I just borrow�ten grand, just for a little while. LOGAN: [Incredulous] Ten grand? TRINA: Will you just hear me out, please. My boyfriend Dylan spotted me some cash a few months ago and�now he's bugging me about it. I-I can't get him off my back. LOGAN: [Smirking] Did you try standing up? TRINA: [Sarcastically] Thanks. Knew I could count on you. Trina stalks off. Cut to Veronica and Mandy entering the school. VERONICA: This afternoon we should post at the pet stores. Pet owners are more likely to call with any tips. Mandy's cell rings. She takes it from her pocket and answers it. MANDY: Hello? [Pause, then excited] Yes I did. [Pause, then really excited] Oh, you have? Her joy quickly turns to pain as she takes the phone from her ear and puts it back in her pocket. VERONICA: What happened? MANDY: Nothing. Someone was just playing a stupid trick. A crowd of boys further down the hall are laughing and barking, one in particular, who is holding up and waving his cell. MANDY: Lenny Sofer. I had a crush on him last year. I put his picture in my locker. I never told him but somebody did. He's gone out of his way to be mean to me ever since. Lenny barks again, entertaining himself and his mates. Veronica, riled, fixes Lenny with a hard stare and heads for him. MANDY: Oh, Veronica, please, don't worry about it. Really, it's not worth it. VERONICA: Oh, it's so worth it. [To Lenny] You prank-call Mandy? LENNY: What if I did? VERONICA: Well, I want to congratulate you. [Holds out her hand] Shake your hand. [They shake hands energetically] Congratulations! You've been named the world's biggest cockroach. This award is given in recognition of your unparalleled lack of decency and humanity. Bravo! You're gonna die friendless and alone. The boys around him do the crowd equivalent of an 'ouch' as Veronica turns away from him. LENNY: Hey, everybody knows you're the biggest- Veronica turns back to face him. By now, a fair sized crowd has gathered round to watch. VERONICA: Shut up! If I want you to speak, I'll wave a snausage over your nose. If you use Mandy again to try to convince yourself that you're not a loser, I will ruin your life - got it? [With feeling] You got it? LENNY: Okay, geez. Lenny is crushed. Veronica marches off until Mandy speaks to her. MANDY: I can't believe you did that. VERONICA: [Harshly] I can't believe that you didn't. If you want people to leave you alone, Mandy, or better yet, treat you with respect, demand it. Make them. Veronica spins around and races off, leaving a beaten but ponderous Mandy behind. Cut to the Mars apartment. Backup greets Veronica as she comes in. VERONICA: Hey, buddy, you wanna go outside? Okay. Her cell rings and she answers. VERONICA: Hello. HANS: Veronica, it's Hans at the pound. I've got some bad news. Cut to Mandy, Veronica and Hans at the pound. HANS: One of our guys found Chester by the side of the highway on his way in last night. He'd-he'd been h*t by a car. They had to put him down. I found this, saved it for you. He hands Mandy Chester's collar. Mandy is devastated and Veronica is sad. Cut to the beach. Veronica and Backup jump over the small wall onto the pavement. Veronica gazes at the notice board. VERONICA VOICEOVER: Backup and I walk by here almost everyday. [Collecting notices] This used to be covered with band flyers and surf boards for sale. Now every inch of space is covered with lost dog notices. Cut to Mars Investigations. Veronica is calling the numbers on the notices she took from the beach. The first offers a reward of $750. VERONICA: Hi. I was calling about your missing Yorkie? [Pause] Oh, you did. Great. How did you find him? [Another call] Three weeks. No, I haven't seen him, just a concerned dog lover. [Notwithstanding that the flyer sets a reward of $50] How much is the reward? [And another, the flyer of which refers to a seven year old spaniel with a reward of $100] Hi, is this Bridget? [Pause] Hi, I'm calling about your toy Spaniel, Louie. Is he still missing? [Pause] I'll definitely be on the lookout for him. Good luck. Veronica puts down the phone and looks at the notices. She writes $1000 on a sheet of paper, cuts it out and puts it over the $100 on Bridget's poster for Louie. VERONICA VOICEOVER: Only the owners who've offered big rewards have gotten their dogs back. What happens to the dogs who don't bring a high enough price? Do they end up like Chester, just left by the highway somewhere to die? The pen she is using runs out. She goes into Keith's office to find another. VERONICA VOICEOVER: I can't do anything for Mandy but if someone is stealing dogs in Neptune, they need to be brought down, hard, then beaten with some sort of tyre iron, and dumped into the nearest body of water. As she checks Keith's desk and finds a pen, the door to Mars Investigations can be heard opening and closing. Veronica is however startled by a voice from Keith's door. CELESTE: What did you say to Duncan? Where is he? VERONICA: Excuse me? CELESTE: I think you know why he left. In fact, you're probably the reason he left. What did you say to him, Veronica? VERONICA: Let's start with what I didn't tell him. I didn't tell him that his mother thr*at to k*ll me. I didn't tell him that his mother drove my mother out of town. CELESTE: [Walking into the office] I know you think I hate you but I don't. I just can't stand to look at you. Every time I see you, I see everything that's wrong in my life, in my family. Keith enters the main office and can immediately hear Celeste's voice. CELESTE: I see my husband's infidelity, your mother in his office, in his hotel room. I see your father trying to destroy us. Keith enters his office. KEITH: What are you doing here? Keith walks straight past Celeste to stand behind Veronica. CELESTE: I�needed to ask your daughter a few questions. KEITH: You don't need to ask her anything. You just leave her alone. CELESTE: You don't scare me, Keith. If you were such a great detective, you would have seen what was going on right underneath your nose. Celeste turns and walks out. Keith looks upset. The phone rings and Veronica races out to catch up with Celeste as Keith deals with the call. VERONICA: Wait. KEITH: [Offscreen] Mars Investigations. VERONICA: I'll help you find Duncan if you drop the charges against Weevil. CELESTE: You want the intruder caught in Lilly's bedroom released. I'm sure I should be surprised but I'm not. VERONICA: Nothing was stolen, nothing was damaged. I might have an idea where Duncan went, that's my offer. Celeste looks down, in every sense, at Veronica for a moment then wordlessly leaves the office. Cut to the notice board at the beach. Veronica staples the new Louie dog notice to the board, the reward now reading $1000. VERONICA VOICEOVER: Truth is, I have no idea where Duncan might be but she doesn't know that. As for the whereabouts of lost dogs, let's see who bites when I increase the reward exponentially. Cut to the Echolls family kitchen. Logan is getting a late night snack which he brings over to the counter. He leans down over the counter to eat when Trina walks in, wearing sunglasses and limping. TRINA: Is Dad still at dinner? LOGAN: Yeah. But he's not far. I'm sure if you really tried you could blow smoke up his ass from here. Trina passes him and goes to the ice maker behind him. Logan glances at her. LOGAN: Hey Trin, if you take your top off before you get on the mechanical bull, you won't fall off. Trina doesn't respond. Logan loses the smirk as he realises something is up. He straightens up as she passes by him again. LOGAN: What happened to you? TRINA: Nothing. Logan grabs the sunglasses off of her face. She has a black eye. Trina tries to snatch them back but Logan holds them up, out of her reach. TRINA: Don't you have some homework to do, little brother? Logan drops his arm and she grabs the sunglasses. She turns to walk away. He follows. LOGAN: That wannabe producer boyfriend do this to you? She stops but does not turn and does not answer. LOGAN: What's his name, Dylan? Dylan what, what's his last name? She faces him. TRINA: It doesn't matter. LOGAN: It does now! Tell me. TRINA: You've made it clear that you have no interest in my problems, Logan. Don't be wishy-washy. It's so unattractive in a guy. She walks away. Cut to Neptune High School as Wallace and Veronica come out to the outdoor area, carrying lunch trays. WALLACE: I walked in on 'em making out on the couch last night. She was sittin' on his lap. VERONICA: Hey, hey, hey! No discussing parental PDA at lunch! It's your rule! WALLACE: Sorry. I can't be the only one with that image b*rned in my brain. I had to share. As they sit at a table, Veronica's cell rings. VERONICA: Hello. [Pause] Yes, this is Bridget. [Pause] Wonderful! [Pause] Yes, the reward is still a thousand dollars. [Pause] How 'bout this afternoon. [Pause] Great, um, I'll send my brother to meet you. Dog Beach, three o'clock. [Pause] Thanks, buh-bye. Veronica puts the phone away. WALLACE: So I'm your brother? VERONICA: I didn't mean brother like, brother. I meant brother like... [doing a funky head wave] you know. Cut to the park by the beach. Wallace is waiting with an envelope. A white van pulls up and a man gets out of the passenger side. He has Louie. WALLACE: Yeah, I know. And where are you gonna get a thousand bucks? If you rollin' like that, you really been holding out on a brutha. MAN: T�, [Translation: You] eh...lost dog. WALLACE: Sure did. Hi there Louie. How you doin' boy. I missed you. Oh yes, I did. Where was he? How'd you find him? MAN: No hablo ingles. [Translation: I don't speak English] WALLACE: Oh. All right, then. Wallace hands over the envelope and the man hands Wallace the leash. The man checks the envelope. WALLACE: Thanks man. MAN: Gracias. [Translation: Thanks] WALLACE: Come on. Wallace walks off with Louie and the man heads back towards where the van dropped him. Before he gets there, Backup races to him and brings him down. The man shouts and screams. MAN: �Ah, ah, aaahh! �Ay, Dios m�o! Perro... �Ah, ah, ay! �Ay! Qu�teme el perro. �Ah, mi zapato! �Ayuda! Ay, mi zapato, ah, zapato, agh, ah... [Translation: Oh, my god! Dog! Take the dog away from me! Ow, my shoe! Help! Shoe!] Wallace walks off with Louie and the man heads back towards the van. Backup races to him and brings him down. The man shouts and screams as Backup gets his shoe off. VERONICA: Oh Backup. I'm so sorry. He just ran from me, that's so weird. Veronica acts to try and help and eventually gets Backup back on the leash. MAN: Est� loco el perro. [Translation: The dog is crazy.] VERONICA: Sorry. The man gets up and runs away. Veronica watches and pulls out the envelope containing the money that she has pick pocketed. VERONICA VOICEOVER: Tag, you're it. Now it's time to play follow the dog thief. Cut to Veronica's laptop, open in her car. She has also put a tracker on him. VERONICA VOICEOVER: Hm, you're walking. Veronica drives off to follow. She pulls up outside a retail warehouse wehre the man is explaining what's happened to him. MAN: La chica suelte el perro, se agarra a mis zapatos entonces se agarra a mi-mi-mi pierna... y no me solt�. Adi�s amigos. [Translation: The girl releases the dog, he grabs my shoes then he grabs my-my-my leg... And he didn't let me go. Goodbye, friends] He moves off, around the corners and Veronica follows on foot with Backup. As she rounds the corner, the man, now talking to a group of around ten men. He spots her and starts shouting at her. MAN: You! T�! �T� tienes mi dinero! �Dame mi dinero! �D�melo! Necesito el dinero para llevar al otro hombre, entonces le puedo exigir mi pago. [Translation: You! You! You have my money. Give me my money! Give it to me! I need the money to take it to the other man so I can demand my payment] Others have joined them in support of their friend and Veronica is surrounded by about twenty men. VERONICA: Oh crap. MAN: Dame mi dinero. [Translation: Give me my money] VERONICA: No, no, no, no. You stole the dog. MAN: I no steal, no. I no steal, no, no, no� All the men are denying her charge and talking at once. Backup barks and Veronica reaches into her bag. VERONICA VOICEOVER: And it's time for the international language of... She pulls out and sets off a klaxon. The man cringes back and the talking stops. ANOTHER MAN: �Ay! �Ay, Dios m�o! [Translation: Ow! Oh, my god!] VERONICA: Okay, now who stole the dog. MEN: �Qu�? �Qu� dice? [What? What is she saying?] MAN: El hombre de los perros, el hombre de los perros. [Translation, Dog man. Dog man.] VERONICA: A dog man? Does he drive a white van? Do you know him? MAN'S FRIEND: Si, white van. el hombre de los perros. A veces nos contrata. [Translation: Yes, white van, he hire us sometimes] VERONICA: Do you know his name? �Su nombre? [Translation: His name?] MEN: Nooooo. MAN'S FRIEND: No pero, pero tiene un van as�, con las muchachas bien... [Translation: No but, but he has a van this way, with the chicks well...] He accompanies his words with the international gesture for big tits. The men laugh appreciatively. MEN: �Ja, ja, ja, ja!. VERONICA: Sure. Let's play dirty charades with the gringa. The man who returned the dog mounts a saw horse and starts to buck on it, slapping his rear, again to the amusement of his friends. MAN: �Me entiendes? �T� conoces? [Translation: Do you understand me? Do you know?] VERONICA: Okay, ah, Muchas gracias. [Translation: Thank you very much.] MAN: No est� ilegal. S�lo trabajamos, �s�? [It's not illegal. We just work, don't we?] MEN: Si! [Translation: Yes!] VERONICA VOICEOVER: So there's a dog man who hires these guys to return dogs. He drives a white van, or maybe a white horse, and he likes to spank busty women. Basically, that's any male living in Neptune. Cut to Wallace and Louie approaching a house. He rings the bell. WALLACE: Come on, Louie. All right. All right now, please be hot, grateful, single� A middle-aged woman answers the door. BRIDGET: Oh! WALLACE: Hi. I was wondering if you lost Louie. BRIDGET: Oh, you found him. WALLACE: I sure did. BRIDGET: Thank you so much. The woman is overjoyed. Cut to Neptune High carpark. As Veronica walks along, she passes a white van. She turns to look at it and spots the mudflap which has a nude on it. Louis XIV's "Marc" starts up as her interest in the van mounts. VERONICA: Hello, ladies. Veronica looks at the back window. There is a sticker for "All Country KBXE" which includes a cowboy on a bucking bronco. She peers into it. Cut to Hans getting into the driver's seat. He is startled when he goes to adjust the driving mirror as Veronica is now sitting in the back of the van. HANS: What the� VERONICA: You k*ll dogs? HANS: What are you doing in my van? VERONICA: I know what you're doing. You're kidnapping 09er dogs, holding them at the pound and then waiting for the offer of a big reward. HANS: You break into my van and you're accusing me of stealing. VERONICA: So I guess when Mandy and I came looking for Chester, you realised you screwed up, dognapped from a poor girl. So you just cut your losses and threw him to the side of the road. HANS: Actually, I rounded up 101 of them. Some crazy lady's makin' a coat. Now get out of my van, you lunatic. VERONICA: How old are you, anyway, Hans? HANS: Eighteen. Why? VERONICA: Community soap. Veronica gets out of the back of the van, straight into Weevil. WEEVIL: Always gettin' out the back of some dude's van, aren't you? VERONICA: You're out. WEEVIL: Yeah. How many get-out-of-jail-free cards do you have up your sleeve, anyway? VERONICA: Pretty sure that was my last, so you might keep your felonies to a bare minimum. WEEVIL: I am what I am, V. Leopard, spots, you know what they say. Weevil walks on past and she twists round to watch him go. Cut to Mars Investigations. Logan walks in. Veronica is at her desk drinking from a small bottle of water. VERONICA: Hi. LOGAN: Hey, I need your help. VERONICA: Would it be weird for me to start my own drinking game? Like I have to do a sh*t every time someone asks for my help? LOGAN: I need you to track down Trina's leech-of-the-week boyfriend. VERONICA: Why? What'd he do? LOGAN: He b*at her up. Veronica looks horrified and puts down the water. LOGAN: I plan on returning the favour. All I know is his first name, Dylan and he's producing this steamer. Logan slaps the script Trina had earlier on the desk. Veronica picks it up and looks at it for a moment. VERONICA: Easy. Cut to Trina, applying makeup to her black eye. There is a knock at the door and Aaron pops his head around. AARON: Hey. Going out? TRINA: Oh, not at the moment but just in case, gotta have the game face on. Camera's prying eyes are never far away. Aaron comes into the room, closer to her. AARON: Hm. Hey, what do you feel like for dinner? I think I'm gonna cook. TRINA: Yeah, I'm not really hungry. AARON: Are you okay? TRINA: Just boyfriend stuff. No big deal. AARON: You know even if it's a small deal, um, you can always talk to me about it. TRINA: Well, I-I sorta got his hopes up about you doing his movie. And now the financing is falling through and he's freaking out. AARON: Trina, you gotta talk to me before you go making promises to anybody. TRINA: Dad! I so don't care about Dylan. This is me thinking about you. This is a career defining moment you're passing up. I mean, hello, Travolta, "Pulp Fiction". AARON: Really. It's that good? TRINA: It's better than that good. AARON: Well, I guess I better hear about it then. Why don't you have your boyfriend come by later. Trina jumps into Aaron's arms and gives him a big hug. TRINA: Oh. Thank you so much, Daddy. AARON: Hm. Trina races off. Aaron looks thoughtful. VERONICA: [Offscreen] Hi, I'm calling from Todd Russell's office� Cut to Logan watching Veronica while she continues an ongoing phone call. VERONICA: �at CAA. He read your script, "Escaping Your Past" and he went nuts over it. Have you sold it yet? Really? Who's producing it? [Logan smiles proudly at her] Is that G-o-r-a-n? Great. I'm sure he'll want to speak with him. Maybe we can get you guys a deal. Okay, we'll be in touch. Thanks. Bye. [Hangs up phone] Dylan Goran. Veronica types into her laptop as Logan comes round to her side of the desk and leans down over her to see. LOGAN: Is there really an agent named Todd Russell at CAA? VERONICA: There could be, maybe. [Logan laughs] Looks like Trina's Romeo has had a little trouble with the ladies. Two women have filed restraining orders against him in the last five years. Logan straightens and pulls his cell out of his pocket. He punches in a number. LOGAN: Dad, hey, I need Trina. It's important. Cut to Aaron, in the Echolls family kitchen. He is balancing his cell between his ear and his shoulder as he prepares red peppers. AARON: Oh, hey son. She's in the shower. Her boyfriend's coming over later to pitch me a part in his movie. Cut back to Logan as he moves around the desk. LOGAN: Aren't you retired? I thought you were reconnecting with your family. Cut to an unimpressed Aaron. AARON: [Coldly] Trina is family, I'm helping her out. It's what dads do. Aaron drops the phone from his shoulder. LOGAN: Oh listen. Trina's boyfriend, he's got- Aaron doesn't here as he cuts Logan off. Cut back to Logan. He hears the dial tone and snaps his phone shut. LOGAN: Dylan's on his way to the house. And Dad's cooking for him. Cut to the Echolls patio. Aaron is cooking on a large, permanent, barbecue. Trina arrives with Dylan, sleaze personified. TRINA: Dad. This is Dylan Goran. Dylan, my father, Aaron Echolls. DYLAN: Mr Echolls. It's a pleasure. I'm so glad you decided to meet. AARON: Please, call me Aaron. Hey, taste this for me, will ya? Aaron holds out a piece of meat on the end of a large Kn*fe. Dylan takes it and eats it. DYLAN: Umm, umm. Perfect. AARON: Nya, not quite. So, Dylan. Tell me about this part. DYLAN: You'd be playing a h*t man. A junkie h*t man. TRINA: It's only two days of work, three tops. You'd be in and out. If you said yes, they'd have a green light. AARON: Hm. A strung-out h*t man, huh? DYLAN: With a conscience. He's on the junk because he's tormented. It's the only way he can get out of his head. Escape the pain. AARON: You know, it sounds a lot like my old man. He used to b*at me and my mom and then�try to drink the demons away. Aaron cleans the Kn*fe and puts it down. DYLAN: Yeah, yeah. It's a lot like that. You could definitely draw from that. Aaron puts his arm around Dylan and walks him up the patio. AARON: Yeah, hell, yeah. He used to b*at my mom 'til she passed out. Then she'd cake makeup all over her face, wear dark glasses around the house but, you know, I could always recognise the signs. Then, finally, I got the courage up to try and stop him, [Aaron stops] but, man, I'm just a scrawny little kid, he's built like a wall. Dylan, now facing Aaron, is becoming increasingly less confident and comfortable. AARON: He put a cigarette out on my hand. Said, "Nice try, kid." Hey, you know you can still see the scars. Look. Aaron holds up his hand close to Dylan's face. Dylan doesn't look. DYLAN: Wow�wow. AARON: You see 'em there? Forced to, he looks. DYLAN: Uh, no. I don't. AARON: Come on, it's right there. Right there. With that, and to the strains of Dean Martin's "That's Amore", Aaron grabs Dylan's face and pushes him further up the patio. TRINA: Daddy! AARON: Think you could h*t my daughter, huh? TRINA: Daddy, no! AARON: My daughter! Aaron pushes him and Dylan falls flat on his back. SONG: When the moon hits your eye like a big pizza pie. Dylan scrambles up and Aaron punches him and throws him across the patio. TRINA: Daddy! SONG: That's amore. TRINA: Daddy, stop! Trina tries to grab Aaron's arm but he rips it out of her grasp. He heads for Dylan who gets up and tries to run past. Aaron pushes him into a pillar and punches him again. SONG: When the world seems to shine like you've had too much wine, that's amore. TRINA: Daddy! SONG: Bells'll ring, ting-a-ling-a-ling and you'll sing "Vita bella". Aaron grabs an unlit tiki torch. As Dylan tries to run again, he swings it and slams it into Dylan's legs, bringing him down again. Aaron drops the torch and kicks Dylan hard. TRINA: Daddy, no! Aaron picks up a trash can and throws that down on Dylan. Dylan again tries to scramble away but is caught. Aaron punches him hard enough to send Dylan flying into the table, bringing everything down. SONG: Hearts'll play, tippi-tippi-tay, tippi-tippi-tay like a gay tarantella. When the stars make you drool joost-a like pasta fazool, that's amore. Aaron picks up a wicker chair and throws it at the back of the running Dylan, bring him down near the doors to the house. Aaron approaches him, pulling off his belt and proceeds to b*at him with it. TRINA: Daddy, no! SONG: When you dance down the street with a cloud at your feet, you're in love. Logan races through the door from the house, Veronica right behind him. Both are shocked. Aaron, out of breath, looming over Dylan, pauses the beating. AARON: Oh, hey son. How was school? Dylan groans at his feet and turns over to lie on his back. SONG: When you walk in a dream� AARON: Hey, you know what. I considered your offer. I think I'm gonna pass. SONG: �but you know you're not dreaming, signore. AARON: Logan. Will you see this young man to his car, please? LOGAN: I'll be happy to. Trina and Veronica both stand motionless and shocked. Cut to the front of the Echolls house as Dylan drives off. Veronica and Logan walks back towards the house. SONG: 'Scusa me, but you see, back in old Napoli, that's amore. VERONICA: Wow. LOGAN: [Proudly] Father knows best. They walk in silence for a moment then Logan glances at Veronica. LOGAN: Do you think Lilly loved Weevil? VERONICA: I don't know. Um, Lilly never mentioned anything to me about Weevil. I was wondering when you were gonna ask me about that. LOGAN: Yeah, well. I don't know. When he's caught in her bedroom, you know, I guess you gotta think. They have arrived and stopped outside Logan's SUV. They face each other. VERONICA: You're handling it a lot better than I thought you would. LOGAN: I loved Lilly and Lilly loved guys. VERONICA: Logan, you know that she- LOGAN: You know, she used to say that her [clears his throat] her parents worshipped Duncan and tolerated her. And if she couldn't please 'em, she was gonna go out of her way to piss 'em off. Weevil must have been perfect for that. VERONICA: I know Lilly loved you. LOGAN: Well, it's just not like I loved her. It's okay. No, uh, you know, it kinda let's me off the hook, you know, I-I don't know, I don't have to feel guilty anymore. VERONICA: Feel guilty about what? LOGAN: Moving on. They stare at each other for a moment, then Logan reaches out his hand and touches her cheek as he steps forward to kiss her. She is accepting and they kiss passionately. They break, Logan resting his forehead on hers. VERONICA: What are we doing? LOGAN: [Smiling, whispers] No idea. They kiss again and start laughing in the midst of it and break. VERONICA: We need to talk about this. LOGAN: I know. I kn- He laughs again. VERONICA: Maybe we should just keep it to ourselves for a while and see what happens. LOGAN: Meet in mop closets? Pass each other secret notes in the hallway? Something triggers in Veronica's mind. It shows on her face and Logan notices, pulling back a little, but doesn't say anything. When she looks up at him again, he puts his forehead back on hers. LOGAN: Come on, I'll drive you home on the back streets. They smile and Logan opens the door for Veronica. She gets into the car. Logan closes the door and walks around the front of the car to get to the passenger. In the meantime, Veronica has a flashback to herself and Lilly in the back of the car. LILLY: [Laughs gaily] Oh my gosh, look what I found in my cereal box this morning. It's a spy pen. VERONICA: What's a spy pen? Lilly pulls off a part of the pen showing the hidden message compartment. VERONICA: How covert ops of you! LILLY: I'm gonna use it to pass secret messages to all of my lovahs. VERONICA: This is going to be a very busy little pen. Flashback ends and Logan is now in the driver's seat. LOGAN: You okay? Veronica nods at Logan who starts the car. Cut to a library. Mandy is reading a book standing amongst the shelves. Veronica comes up behind her. VERONICA: Hi. MANDY: Hi. VERONICA: I'm going down to the city pound tonight. You wanna come with? MANDY: What? Why? VERONICA: Because I believe that guy Hans and those guys from the pounds are dog-napping pure breed dogs from the 09er zip and holding them there until the owners offer rewards. I plan on proving it. MANDY: Do you think there's a chance Chester might still be there? VERONICA: I wouldn't get my hopes up. Listen, it's stupid and if you don't want any part in it- MANDY: I'm in. Veronica smiles. Cut to Leo, pouring out some coffee at the Sheriff's Department. He looks up and smiles when he sees Veronica. VERONICA: I need to talk to you. LEO: Me. Finally, me. VERONICA: I can't date you anymore. Leo's grin is slow to fade. LEO: Huh. Whoa, okay. VERONICA: Trust me, you don't want to date me. I'm a train wreck. Seriously. The-the first guy I ever loved just dropped off the face of the earth, probably because of something I said, and the last guy I dated turned out to be a drug dealer, and I just made out with my d*ad best friend's boyfriend, who, incidentally, I hate. So. Train wreck. [Sincerely] But, Leo, you are the sweetest- LEO: Please. Don't tell me how sweet I am. Leo moves over to his desk and Veronica follows. VERONICA: Well, you're also seriously hot so you'll be single for about three and a half seconds. LEO: See. Now that's more helpful. VERONICA: I'm sorry to dump this on you. I just�I genuinely care about you and I wanted to be honest. LEO: So, my response is supposed to be what? Thanks? VERONICA: Probably sh**t a bit, huh? He snorts and nods. VERONICA: You could tell me that you understand. LEO: And that we could still be friends? VERONICA: That'd be cool�'cause I need to follow this confession by asking for a favour. Leo can't believe it and then can't help himself and laughs. Cut to the outside of Balboa Animal Control, the dog pound. Leo bangs on the doors. LEO: Open up, Sheriff's Department. JW unlocks and opens the door. Leo steps in past him, followed by Veronica, Mandy and Wallace. LEO: We need to take a look around. JW: What for, look her dog's not here. LEO: Take us to the back, now. JW: You wanna show me a warrant? LEO: What are you kidding me? This is a public county building, you're a county employee, I'm a county deputy sheriff. Don't make me wake up a judge. JW: Come on. Cut to inside the pound with Wallace leading the group past cages of barking dogs. Wallace spots a room and heads for it. JW: Like you were told, missy, your dog's d*ad. He's not here. WALLACE: Well, what's in this room here? LEO: What's in that room? WALLACE: It's locked. JW: It's where we keep dogs with serious contagious diseases. You go in there you could infect other- LEO: We'll risk it. JW: Your dog's not in there. Cut to inside the locked room as Mandy enters first and the rest follow. Veronica pulls out the flyers she took for the notice board. VERONICA: Well, lookie here. It's Bucko and Rufus and Shakes and Lola. MANDY: He's not here. Chester's not here. VERONICA: I'm sorry. LEO: You have the right to remain silent. Mandy hurries out of the room as Leo cuffs JW. LEO: Anything you say can and will be used against you- JW: Wait, you cannot prove that I had anything to do with this. LEO: Please. Resist arrest, please. They hear a scream. MANDY: [Offscreen] Look at me. VERONICA: Come on. Veronica and Wallace race out of the room. In the outer room, Hans is on the ground, a taser on his neck. He groans. Mandy is wielding it. Veronica races in and tries to pull Mandy off which she finally succeeds in doing. MANDY: That was my dog, you k*lled my dog. Do you see what you did? VERONICA: Stop, stop. Hey, hey. MANDY: He was my best friend. VERONICA: Stop, stop. HANS: He's not d*ad, I swear. Please stop. VERONICA: He's not d*ad? HANS: We sold him. We sold the dog when we couldn't get a reward. Cut to Leo putting Hans into his car. Mandy and Wallace walk on and Leo approaches the waiting Veronica. VERONICA: Thank you, Leo. LEO: Forget about it. It was fun. VERONICA: Can I ask you kind of a weird question? LEO: Do you ask any other kind of questions? VERONICA: You said Weevil had a pen on him when he was arrested. Are you sure it wasn't a pencil. LEO: It was definitely a pen. Pretty girlie one too. Big, pink, plastic. So much for your bad boy. Cut to the Mars apartment. Keith is in Veronica's bedroom and collects a hair from her brush which he places in a small vial marked VM#2. He carefully adjusts the brush to its original position. Cut to him in the bathroom. He pulls out a hair from his head and places it in a vial marked KM#1 and adds it to the other in some box packaging. He closes the box, which is addressed to the Dna Testing Division of Unified Genetics, 10248 Saro Parkway. The front door opens and Keith quickly places it in his case. He leans against the bathroom door. KEITH: Honey. I know you don't always have a curfew these days but you're starting to make me look bad. VERONICA: So, you knew Weevil stalked Lilly. You questioned him. What convinced you he wasn't the guy? KEITH: We searched him, his home, DNA, all that stuff, nothing came up. He also had an airtight alibi. I'll show you. They move into Keith's room where he gets a large box for the top of his closet. VERONICA: All this time you've had Lilly Kane research in a box marked "Playboys" in the closet? KEITH: Well, I figured it'd be safe there. It's the closed files, it's just the non-essential stuff. VERONICA: You think you're slick, don't you? KEITH: Only 'cause I am. Okay, Weevil was on community service detail. A dozen people saw him from 8am to 2pm. His time card confirms it. He holds up the timecard. VERONICA: And now that we know that Lilly's time of death is well after four? KEITH: The Kanes covered up Lilly's m*rder. We know that. You think they'd go through all that for someone like Weevil? Cut to Veronica and Mandy walking up a path. Mandy holds back. VERONICA: You've come this far. Mandy walks forward and rings the doorbell of the house to which the path leads. A woman answers. MANDY: Hi, I'm Mandy. I think my friend Veronica talked to you earlier. Chester barks from inside the house and runs out. They reunite. MANDY: Chester! Oh! Oh, hello. Cut to Neptune High. Veronica leans against a wall until she spots Weevil. VERONICA: Weevil, the night you broke into the Kanes, I gave you a pencil. You were found with a pen. There was no ring, was there? You found exactly what you were looking for. He pulls Lilly's spy pen from his shirt pocket. WEEVIL: You mean this? You can have it. VERONICA: Any messages inside when you found it? Messages from you, perhaps. WEEVIL: Now if I told you, it wouldn't really be a secret message pen. Would it? Veronica stares at him, troubled. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x19 - Hot Dogs"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars� Duncan and Veronica in the journalism classroom (from 118 "w*apon of Class Destruction"). DUNCAN: You think I k*lled Lilly. VERONICA: Duncan, calm down. DUNCAN: Why, do you think I'm going to have another episode and k*ll you too? Outside the journalism classroom later, in the hallway from the same episode. MEG: You haven't seen Duncan, tonight, have you? He's missing. His parents think he may have run away. Keith and Alicia cuddle on the couch at the Mars apartment watching an old movie from the same episode. VERONICA: [Offscreen] You didn't want them dating� Veronica and Wallace in Veronica's bedroom from the same episode. VERONICA:�either. WALLACE: Yeah, I probably wish Mom would've found a guy who wasn't my best friend's dad. Veronica and Logan outside the Echolls house (from 119 "Hot Dogs"). VERONICA: I know Lilly loved you. LOGAN: Well, it's just not like I loved her. I-I don't know, I don't have to feel guilty anymore. VERONICA: Feel guilty about what? Veronica and Logan kissing. VERONICA: What are we doing? LOGAN: [Softly] No idea. End previously. Open on a stuffed Garfied, stuck on the inside windscreen of a car. Car horns are blaring and people are shouting. Cars are queued in the Neptune High car park. The music is "Gold Rush" by Kissinger. SONG: Fever, fever, high school bell But the pageants never panned out well Until doctor, doctor build your best Now a rainbow ends on both your breasts And there's a gold rush, gold rush baby You're the gold rush, you're a gold rush girl And there's a gold brush, gold rush baby You're the gold rush girl, gold rush girl, yeah. Now I could leave these years behind And spend my life down in the mines Where pick and I'll get one by one They all melt when the work is done But it's a gold rush, gold brush baby I'm a gold� One of the basketball players heads up the queue of cars to see what the problem is. BASKETBALL PLAYER: Later. He passes by the souce. The LeBaron has died and Veronica is trying to pull a rubber tube stuck to part of the engine. She is stuggling. Dick and his friend Beaver, accompanied by Logan, who is cutting into an apple with a small Kn*fe, walk up to her. DICK: Uh-oh, someone's got her eye on that Miss White Trash title. BEAVER: Yeah, you know you got a solid effort in the talent competition, but I'd like to see that car up on some cinder blocks. LOGAN: Guys, come on, huh. Covering for Logan's failure to respond appropriately, Veronica takes over. VERONICA: I know. Guys, come on, the talent is making a grilled cheese sandwich on the engine block. [Grabs Kn*fe out of Logan's hand] Guys, come on, you can't put your car up on blocks in the yard if you don't have a yard. [Cuts the free part of the tube away and attaches it to another part of the engine] You know, I think I can do both sides of this little act now. [Starts the car] So, how 'bout next time, you don't bother. I got it covered. She throws the Kn*fe back at Logan, who catches it and smirks. They exchange a look before the boys wander off and she closes the bonnet. Cut to a skateboarder as he barrels down a path by the school. He passes a couple in deep conversation. This is Tad and Carmen. TAD: So that's it? I mean just like that you flush a two year relationship down the toilet? CARMEN: No, Tad, it's�We've been going out since I was a freshman an-and I just feel like- TAD: What did I do wrong? CARMEN: Nothing. It's just�you're graduating in a month and... TAD: And what? What, you don't trust me? What with college and all that? CARMEN: Tad, I just can't imagine doing the whole long distance thing. TAD: But it's only for a year. CARMEN: No, it's four years at the Academy and then four years of the Navy and I don't know. Tad pulls a cd out of his pocket. TAD: Look. Look, just listen to this, please? CARMEN: I don't want another mix. He slides it between the books she is holding, pressed against her chest. TAD: It's something I wrote for you on my guitar. CARMEN: Look, a song isn't going to make it better, Tad. It's over. She turns and starts to walk away. TAD: Before you go, [she pauses] there's something you should see. She turns back as Tad gets out his cell phone. CARMEN: You're not gonna change my mind. Tad punches some buttons and the sound of Carmen laughing and moaning can be heard. He holds up the phone so she can see the small screen. She is horrified. Cut to Veronica's bathroom office. Carmen is staring in mirror, wiping tears away. Veronica is standing next to her. CARMEN: I don't even remember doing it. I must have been wasted. I-I would never do something like that. It's totally disgusting. VERONICA: You mean, you two having sex? CARMEN: Worse. I'm skinny-dipping in some hot tub and�I have this�popsicle and I� VERONICA: Do you think he's serious? CARMEN: I don't know. When I said I wanted to break up, he was just�but I can't take the chance. I need you to get me that phone, Veronica. You can do that, can't you? VERONICA: Oh, yeah. Bank on it. Opening credits. Veronica's bathroom office. She and Logan are kissing passionately. They do a standing roll from one side of the sink area to the other, never breaking apart and Logan lifts Veronica onto the counter. He pulls back and drops his head with a heavy sigh. VERONICA: What? I blockaded the door. I hung an "Out of Order" sign. Logan has a huge grin on his face. He shakes his head. LOGAN: No, this is wrong. [He looks around] I mean a boy in a girl's bathroom, it's just- VERONICA: So wrong, it's right? LOGAN: [Whispers] Yes. They kiss again until Logan pulls back and sighs again, this time more serious. LOGAN: I'm sorry about Dick and those guys. VERONICA: Dick and those guys don't bother me. Veronica grabs Logan's shirt as he laughs softly.. LOGAN: Besides, you and I have to keep up appearances because Duncan is gonna come home some day�and [resting her hands on his shoulders] I don't want him to hear about us, this, from someone else. Logan nods then looks at his watch. He expels another heavy breath. LOGAN: I am beyond tardy for my physics class. Logan leans forward to kiss her quickly, then grabs his books from the other sink counter. LOGAN: If I remember right, time travel is not yet possible. Logan performs a silly little skip and heads for the door. Veronica jumps down from the counter and follows him. VERONICA: So try petty corruption. Logan peers out of the bathroom as Veronica, now behind him, reaches into her back pocket and pulls out a pad of slips. LOGAN: Hm? VERONICA: Tardy excuse slips. Date-stamped. Untraceable. I know people. Veronica pulls the bathroom door open slighty and peers out. Logan moves behind her to look. Veronica puts on an OMG face but then drops it as she turns to face Logan and leans back against the wall next to the door. VERONICA: It's clear. Logan stands over her, hand on the door. VERONICA: Good luck in physics. Veronica grabs his shirt and pulls him in for a kiss but then, just as they are about to, starts speaking again. VERONICA: Remember, [Logan laughs as does Veronica, then they complete the kiss] force equals mass times acceleration� LOGAN: [Kissing her again] Mmm. VERONICA: �light is a particle that can exhibit properties of a wave� Logan kisses her a couple more times before straightening up and looking down on her. LOGAN: I'd learn more staying here with you. He moves in to continue the 'lesson' and is again within millimetres of her mouth when she pushes him away. VERONICA: I have things to do. Logan laughs again. He kisses her cheek, then opens the door and strides off, tapping the "Out of Order" sign as he goes. Veronica sighs. VERONICA VOICEOVER: Like cool down. She heads over to her bag on the counter and pulls out a cell phone. VERONICA VOICEOVER: I made a promise to Carmen. Thank god for disposable cell phones. Cut to the school hallway. Veronica and Wallace walk along together. VERONICA: No offence but you look odd. WALLACE: I just watched our parents cuddle on the couch last night. My eyes�they burn. VERONICA: Any idea what our parents do Mondays and Wednesdays from six to ten that requires an overnight bag? WALLACE: As far as I'm concerned, they play bingo at the VFW. That's my story, I'm sticking with it. VERONICA: Best way to deal with things like this? Pretend they don't exist. [Handing him a slip of paper] Do you mind calling this number halfway through sixth period? WALLACE: Sure, all right. They don't exist? VERONICA: Deal. They pause and Veronica spots Tad. VERONICA: Hey, you mind helping me with a bump and bait here? Wallace nods as Veronica hands him a cell phone. She starts talking loudly and walking backwards towards the oncoming Tad. VERONICA: [A la Valley girl] So I was all no way and he was like, yeah, way and- Tad walks into Veronica as he passes her. He turns to face her. VERONICA: I'm so sorry. Wallace drops the phone into his backpack. TAD: Watch what you're doing. VERONICA: Okely-dokely. Wallace and Veronica smile. Cut to Veronica entering a classroom. She has a cell phone to her ear and is in Valley girl mode again. VERONICA: [Excitedly] He did not say that. Uh-uh. Uh-uh. [Gasps] Uh-uh. Tad is sitting at one of the desks. The teacher at the front of the class is unimpressed with Veronica's entrance as she puts her bag down on one of the empty desks. MR WU: Excuse me! What do you think you're doing? VERONICA: [Into the phone] Okay, ciao for now. [To Mr Wu] This is like study hall, right? I was excused from gym class for, um, personal reasons. MR WU: Are you not familiar with the school's cell phone policy? He holds his hand out for the phone. Veronica gives it to him. VERONICA: [Testily] All right, all right, take a pill. MR WU: You can pick this up after school. Veronica returns to and sits at her desk and holds out her hands in a "whatever" gesture. Cut to Wallace in a different, darkened classroom, where some dull educational film is playing.. FILM AUDIO: We can it symbiosis. That literally means living together. Wallace has his phone in his hand under his desk and is punching in a number. Back in study hall, a cell rings. MR WU: Tad, I believe your bag is ringing. Some of the class giggle while Tad picks up his bag from the floor beside him and retrieves his phone. He finds it and opens it. Mr Wu holds out his hand for it. TAD: What? Give me a break, it's not even on. MR WU: I know you know the policy Mr Wilson, because you just saw a demonstration. I'm an equal opportunity confiscator. Tad, pissed off, takes the phone to Mr Wu as Veronica observes with a look of satisfaction. Mr Wu places Tad's phone in a drawer. Cut to a different classroom, a lab. Veronica collects her paper and approaches the teacher. VERONICA: Ms Dunne? I volunteered to separate the recycling from the cafeteria trash this afternoon. Can I be excused from class early? The clueless Miss Dunne nods and takes Veronica's paper. Cut to the hallway. The bell rings and Veronica runs to study hall. Mr Wu is still at the teacher's desk of the now empty room. VERONICA: Hi! I'm here to get my phone back. He opens the drawer. Veronica grabs Tad's phone. MR WU: Consider this a warning. Next time, I'm keeping it and you'll just have to gossip with your friends with two cans and string. VERONICA: I'm not sure what that means but I'm totally warned, I swear. Veronica runs out of the room, bumping into Tad coming in. She flies. He approaches Mr Wu who looks up. MR WU: Ah, yep. Mr Wu opens his drawer. Tad puts his hand in the drawer, reaching for his phone and realises that it is not there. TAD: Wait, this isn't mine. Mr Wu, disinterested, does that "I don't know" hum and returns to his papers. Tad thinks for a moment, then clues in. TAD: Veronica Mars. Cut to Mars Investigations. Veronica puts her stuff on her desk as Keith, feet on his desk, viewing his computer screen, calls out to her. KEITH: Hey, honey, how's school? VERONICA: You know. Mean kids and different teachers. Crumbling infrastructure. [Heading into his office] So, why are you smiling? KEITH: 'Cause I'm savouring the irony. Imagine the Mars family sending our heir, Veronica, to an Ivy League college with money from the bounty on the Kane heir. Veronica looks over his reclined body at the screen. It is a "Missing Persons Links" page setting out details of missing persons and rewards. Duncan Kane is top of the list. Details listed include age (looks like 18), date of birth (looks like 19 February 1987), hair (brown), eyes (blue), height (looks like 5"11') and some further details. There is a picture of him and under it, the amount of $50,000.00. Also on the list id Eckwood Solomon 111 (reward $10,000.00) and Aaron Garrison Jr. VERONICA: [Reads] For information on the whereabouts of Duncan Kane. [Amazed] Fifty grand? Not bad. KEITH: Money for nothing. That's your first two years right there. VERONICA: It might not be as easy as you think. KEITH: Come on, honey, Duncan Kane? A sheltered rich kid who has maids fold his underwear? I think I'll be able to track him down. I'm only worried about beating the other pros. Yeah, he's a big fish in a very small barrel. Keith looks up at his daughter and catches the doubt in her face. KEITH: What is it? VERONICA: You know that entertainment lawyer you've been looking for all year? KEITH: Yeah. VERONICA: Well, I was telling Meg about how hard the guy's been to find and all the tricks you use if you want to disappear and Duncan was sitting right there, listening. But, looking on the bright side, all those other professionals probably won't find him first. KEITH: What did you tell him? VERONICA: Use cash, don't use a credit card, don't use your own car, you know. KEITH: The basics. VERONICA: I might have mentioned something about recycling passports on eBay. Keith looks resigned. VERONICA: [Enthusiastically] But, come on, Dad, with your expertise and my can-do spirit, we can do it. Family project. The door to Mars Investigations can be heard opening. VERONICA: I have a friend who can play the eBay angle, might be able- Veronica finally hears the humming of "Our Love Is Here to Stay" coming from the outer office and pauses, looking up. A contented and happy Alicia appears at the door of Keith's office. ALICIA: [Lovingly] Hello, Mr Mars. [To Veronica, friendly] Hey, Veronica. How's school? VERONICA: [Embarrassed] Hi, Miss Fennel, it's fine. Keith, sporting a grin, stands and moves to the door, grabbing a bag on the way. He kisses Alicia on the cheek. KEITH: We'll be back around eight or so. VERONICA: Where you going? KEITH: Out. Why don't you get started on that passport thing? Keith and Alicia leave and Veronica sighs. Cut to later. Veronica is working on her computer when Carmen enters. CARMEN: So. Did it work? VERONICA: Success. Veronica hands her Tad's phone. CARMEN: Oh, thank you, thank you, thank you. You didn't watch it, did you? Veronica shakes her head and Carmen sinks into the chair in relief. CARMEN: You saved my life, Veronica. VERONICA: Look, Carmen, just because we got the phone, doesn't mean the video's d*ad. You gotta know it's impossible to destroy a digital file with any kind of certainty. CARMEN: Tad isn't really a think ahead kind of guy. Carmen looks down at the phone then grabs a heavy based sculpture on Veronica's desk and smashes the phone. Veronica smiles broadly. CARMEN: That felt good. VERONICA: Justice is served. On her computer screen, Veronica has the PryingEyez screen in the background but was actually doing an email to Wallace entitled: History Project Due. As she glances at her screen again, she receives an email. The message is: Nice try. VERONICA: It's just a message from Top g*n. CARMEN: That's Tad. Carmen comes around to Veronica's side of the desk and looks over her shoulder as a video file loads. It is Carmen and the popsicle. Carmen turns off the screen. CARMEN: Oh my god. Cut to Neptune High School, outside. Veronica and Mac walk along. VERONICA: So the thing is figuring out if any passports were sold on any of these auction sites and shipped anywhere near Neptune. MAC: Man, Veronica. Have you ever asked for help for anything normal? VERONICA: What fun would that be? MAC: All right, well, I'll get back to you. VERONICA: Thanks a zillion, Mac. Mac goes into the school as Veronica pauses outside, seeing Carmen wrapped in Tad's arms. VERONICA VOICEOVER: So Carmen's back with Tad. It's either that or he sends the video to the whole school. Weevil, Felix and a few of the other bikers pass Veronica. WEEVIL: Now that's a shame. Neighbourhood girl like that, wasting her assets on a white boy. FELIX: Isn't that that chick you had a crush on in eighth grade? Too bad you ain't rich. And white. 'Cause damn is she fine. In another area, there is a poster for: Get Marooned, Junior/Senior Prom, $75/ticket, $150/couple. Seth gazes up at it then turns to speak to a fat girl. SETH: Get marooned. Great. Another island-centric prom theme. Another year of double digit IQed jocks laughing at their own jokes about getting laid as freshman hula girls put flowers around their necks. Tad, Carmen and Tad's friend overhear. TAD: I don't see anybody forcing you to buy tickets, q*eer-bait. SETH: I'm sorry, am I giving away your best material, uh? TAD'S FRIEND: Isn't the, uh, gay prom next Friday in the Dog Beach men's room? Approaching Tad and slapping his arm. SETH: So I guess I'll see you there, sailor. A crowd is starting to form and they laugh. Tad gets in Seth's face. TAD: What'd you just say to me, Boy George? SETH: Come on. The Navy? "Cover my back, wingman!" "The rear admiral wants us to pound away with the ten-inch g*n!" I mean, isn't just joining the Navy alone gay enough to get you thrown out of the Navy. More laughter. Tad has no answer. TAD: The prom is supposed to be for traditional couples, man. TAD'S FRIEND: Oh, come on. What's more traditional than fairies and fat chicks? That hits Seth a bit and the crowd laughs. Someone gives a "ooo" as in suggesting a knockout punch. VERONICA VOICEOVER: Now why would Carmen want to dump such a charmer? Cut to later. Carmen and Veronia walk along in the school grounds. CARMEN: One day and I already feel like I need a long hot shower. I don't know how long I can keep this up. VERONICA: What you need is an exit strategy. CARMEN: You know what's going to happen, Veronica? I gonna end up a downloadable national joke. You know, right up there with Paris Hilton or that "Star Wars" kid. I-I'll be the video that everyone emails their friends, you know, just google popsicle girl and there I'll be for the rest of human history. And I can't stop him. VERONICA: Unless you had something that would ruin Tad back. You know, get your own A-b*mb and it prevents him from launching a first strike. Mutually Assured Destruction. CARMEN: You're not gonna find any dirt on Tad, if that's what you mean. VERONICA: Beyond his penchant for amateur underage p*rn? Leave that to me. I just need to know that you're willing to get your hands a little dirty. If it makes you feel any better, he didn't really leave you much of a choice. They pause. CARMEN: Tad used to be different. I mean, he was the first boyfriend I ever had. He was the first guy I ever slept with. VERONICA: First guy who got you drunk and took dirty pictures of you. You still want to date him? Then let's get this over with. CARMEN: What do I do? VERONICA: You invite Tad for a romantic afternoon on the Neptune boardwalk. Cut to the LeBaron pulling into Weevil's uncle's yard. Weevil walks up as Veronica gets out of the car. WEEVIL: What are you doin' here? You miss me? VERONICA: Alternator trouble. Think your uncle can return the LeBaron to all its original glory? WEEVIL: He could get it ready for Daytona if you pay him enough. VERONICA: That won't be necessary. Weevil pulls her aside. WEEVIL: Come 'ere. The word is the Kanes are offering a nice little reward to find Duncan. VERONICA: You pick up some leads when you broke into the Kane house or were you just covering your tracks? You used me. WEEVIL: Yeah, well. We're always owing each other favours, aren't we? Don't give me that look. If you really thought I'd hurt Lilly you'd have a homing device on my ass already. I just heard something I thought might be worth, say, uh, 10% of your finder's fee. VERONICA: Ten per cent? Depends on what that something it. WEEVIL: How 'bout a certain spoiled white boy bought a crapped out Impala from my uncle's friend a few weeks back. VERONICA: Eight per cent, if it pans out and you throw in that alternator. WEEVIL: All right. Veronica walks out of the yard just as Logan's SUV pulls up outside. She is on the phone. VERONICA: Hey, Dad, you got a pen? [Pause] A '69 Impala. California license plate 6GU C788. [Veronica, wedging the phone between her ear and her shoulder, lets herself into Logan's car]] And he bought it for eight hundred cash a couple weeks ago. Right. Bye. LOGAN: It's always business with you. Cut to the Echolls house as Veronica and Logan, wrapped in a kiss, burst in. Still kissing, Logan swirls Veronica around and into the room. She laughs, they kiss a little more, then break. LOGAN: So the place is ours. Dad's at class [kissing her forehead] and Trina's at an extremely important purse store opening in Beverley Hills[kisses her cheeck]. VERONICA: Your Dad is taking classes? Logan pulls away. LOGAN: Yeah, [gestures] exploring the world outside himself. [Heading for the mantelpiece] All part of the [he combines a throw and a kick to emphasise] new Aaron Echolls. Spanish, ceramics, Tae Kwan Doe and today, [reaches and leans against the mantelpiece] glass bl*wing with Silvio Pirelli, [looking at a glass piece on the mantelpiece] master of Old World crystal. [Veronica has followed him and reaches the mantelpiece, staring at the glassware] Nice, huh? Just two lessons. VERONICA: And he made a bong? LOGAN: An urn for my mom. You know since there was no body and thus no ashes, he filled it with sea water, 'cause she jumped into the ocean, get it? [Moving forward to put his hands on Veronica's waist.] At least it gets him out of the house. They kiss and spin again, this time into the middle of the room. Veronica laughs and they move towards the couch. They pause. VERONICA: Hey, do you think this thing�will ever get more normal? Logan kisses her cheek then leads her to the couch. Veronica drops her bag and they both sink onto the sofa, facing each other. LOGAN: What, like will we ever hang at the mall and hold hands and buy each other teddy bears with hearts that say "I wuv you bear-y much"? VERONICA: Yes, exactly that. Except I want my bear won through some sort of demonstration of ring tossing ability. LOGAN: [Softly] Well, secrets are kinda hot, too. Logan leans in to kiss her, pauses, then darts forward for her lips as he bends her down into the couch, Veronica's arms going around Logan. A few seconds of heavy making out is interrupted by the sound of Aaron clearing his throat. They both look up, gasp and Logan stumbles off the couch as Veronica sits up. Aaron is bringing in a bag of groceries. AARON: Oh, I'm sorry. Well, I didn't realise you had company. Hello, Veronica. Veronica gives an embarrassed little wave. LOGAN: I thought you were out. AARON: Yeah, well, Silvio cancelled so I, [takes parcel from grocery bag] I grabbed some swordfish, I thought I'd try that Lime Tequila Marinade. [Puts parcel in fridge] You know, uh, I think I'll get out of your guy's hair, uh, there's chips if you're hungry. Blue corn, really good. Aaron backs out. Logan, leaning over the back of one of a pair of armchairs, puts his head in his hands. LOGAN: Oh my God. Did I just get caught by my dad making out on the couch? VERONICA: Yeah, you got caught by your dad. I got caught by the star of "Breaking Point" and "Beyond the Breaking Point". That's weird. [Feeling her teeth with her lips] Um, and I have lipstick on my teeth. Veronica stands and heads for the bathroom. Logan watches her go and expels his breath. In the bathroom, Veronica checks her face and exits, just as the doorbell ring. She pauses when she hears Aaron's voice. Aaron enters with Dick and Beaver. AARON: Logan! Look who showed up. Dick and, um� BEAVER: Ah, Kes. DICK: Beaver. LOGAN: [Standing] Beav! DICK: This is why you couldn't surf? You had something to do on the couch? Dick and Beaver sit in the armchairs as Veronica backs away. LOGAN: I'm sorry, dude, [gazes in Veronica's direction] I just� Dick spots Veronica's bag. DICK: Dude, you got a chick here? LOGAN: No, that's Trina's. She's without her lip gloss. It's possible she's suffering out there. Aaron, who can see Veronica, sees her slip out another way and grasps the situation quickly. He reaches for the bag. AARON: Oh, right, and, uh, I'm supposed to take that to her. A look of understanding passes. LOGAN: Yeah. Actually I was-I was going to go with you. DICK: Dude, no way! You already blew us off in the water. [Logan stares longingly at the direction his father is walking] We got business to discuss. This weekend. Mexico. Annual surf and chick fest. [Veronica, now in another room, listens uncomfortably] Beav talked to these cheerleaders� BEAVER: Yeah, it turns out they have a retreat outside Rosarito and they just got second in this regional contest. DICK: Beers, waves and weak-willed cheerleaders right next door. LOGAN: [Softly and without enthusiasm] Sweet. Aaron reaches Veronica, holding her bag. AARON: Looks like Logan is gonna be stuck for a while. [Offers up the bag] Ride home? Veronica nods. Cut to Aaron's car. The music is Lobo's "Me and You and a Dog Named Boo". SONG: Me and you and a dog named Boo, Travellin' and livin' off the land. Me and you and a dog named Boo, How I love bein' a free man. Now, I can still recall the wheat fields of Saint Paul, And the mornin' we got caught robbin' from an old hen. Old MacDonald made us work, but then he paid us for what it was worth, Another t*nk of gas and back on the road again. Me and you and a dog named Boo, Travellin' and livin' off the land. Me and you and a dog named Boo, How I love bein' a free man. Now, I'll never forget that day we motored stately into big L.A. The lights of the city put settlin' down in my brain. Though it's only been a month or so� Veronica sits in embarrassed silence as Aaron drives. AARON: So, how are you Veronica? VERONICA: Embarrassed. [Gives a little laugh] Uncomfortable. AARON: Ohh, don't be. I was a teenager once. Th-the thing I really want to ask�how's Logan. VERONICA: I think he's�coming to terms. AARON: He was such a good kid. When Lilly died, he became� VERONICA: Difficult? AARON: [Laughs] Well, maybe it's in the genes. I can be difficult from time to time. But whatever, I don't know if you guys are serious or, um, casual or, or just talking but [touching the side of his nose] your secret's safe with me, you know? Look, I just appreciate whatever you're doing to help him through it. VERONICA: Sure. The car pulls up at the side of the road. VERONICA: Thanks. AARON: Veronica. She pauses. AARON: I'm glad you two are together. I like what I see in him when he's with you. Veronica smiles and gets out of the car and Aaron drives off. VERONICA VOICEOVER: The talk with Dad. I guess that means my relationship with Logan is officially off the ground. Just in time for Tad and Carmen's relationship to crash and burn on the boardwalk. Cut to Tad and Carmen on the boardwalk. The music is "Finding Out True Love Is Blind" by Louis XIV. SONG: Ah chocolate girl, you're looking like something I want Ah and your little Asian friend well she can come if she wants I want all the self conscious girls who try to hide who they are with makeup You know it's the girl with a frown with the tight pants I really want to shake up Hey, carrot juice, I wanna squeeze you away until you bleed (finding out true love is blind) And your vanilla friend, well she looks like something I need (finding out true love is blind) Wind me up and make you crawl to me Tie me up until you call to me Wind you up and make you crawl to me Tie you up until you call to me Wind you up and make you crawl to me Tie you up until you call to me Ah brown girl with those with the hot pants shaking that thing on the street (finding out true love is blind) Yeah and the short girls with the way they crawl knocks me off my feet (finding out true love is blind) And all the tough girls who never want me to see them cry (finding out true love is blind) (finding out true love is blind) Tad hands Carmen some cotton candy. He sips from a straw in a plastic cup he holds. TAD: Jeez! How much vodka did you put in this thing? They pick out some headgear and take them up to the Viking-helmeted vendor. VENDOR: Hi. They pay and head for a photo booth. Tad, in a bee hat and Carmen with flower face pose in the booth as the camera clicks. Later, along the boardwalk, Carmen stops outside a tattoo parlour. CARMEN: How much do you love me? Cut to later. Tad's shirt is tied round his waist, leaving him in his wifebeater. He has a square of gauze taped to the back of his shoulder. TAD: I don't know what it is about you Carmen that makes me feel plumb loco. CARMEN: Do you wanna try something really crazy? I want you to go talk with Seth. Carmen looks over his shoulder and Tad turns to see Seth walking along the boardwalk. TAD: Why do you need fashion advice? CARMEN: I heard from that drama chick, Gina that he has the best X in school. I don't know, I thought, maybe on prom night, you'd wanna experiment with me after the dance? TAD: This is why I love you. [Kisses her] Be right back. Carmen's smile drops when Tad leaves her. Cut to Tad walking across an area free of other people. Tad runs to catch him. TAD: Hey, Seth, hey�ah� Tad grasps Seth's hand in a handshake. Veronica, complete with a baseball cap pulled low, takes photos of the encounter from the car. Cut to her bedroom. The photos are on her screen. VERONICA: All we need now is a soundtrack. [To Carmen, nervously standing] Be natural. Be intimate and let Tad do the talking, [hands her a phone which is attached to the computer] he will tie his own noose, guaranteed. [Carmen punches in the number] Home stretch, girlfriend. CARMEN: Hey, Tad. I had such a great time today. Cut to Tad, still in wifebeater, sitting up on his bed. TAD: Me too, baby. I wish I had you here right now though in my bed. I can't wait until after prom for our little, ah, erotic experiment. Cut back to Carmen. CARMEN: I had no idea that you'd be so into dropping X together. TAD: [Offscreen] Are you kidding me? Cut back to Tad. TAD: I've always been curious. Yeah, I was just always worried about my parents, you know, or the Naval Academy. They'd kick me out if they ever found out. Cut back to Carmen. CARMEN: Well you sure you're ready for me? Cut back to Tad. TAD: Big time. Cut back to Carmen. CARMEN: Nighty night. She turns off the phone and turns to Veronica. CARMEN: So how was that? VERONICA: That was a little scary. So remember, we'll meet for lunch tomorrow? And don't forget Tad. Cut to Veronica in the kitchen as Keith briskly enters their apartment. KEITH: Hi honey. VERONICA: Good news, it's Chicken Kiev night and this time- KEITH: Next time. [Carrying his bag] I gotta run. VERONICA VOICEOVER: The mystery bag. On a Tuesday? My own dad has lost total libidinal control. VERONICA: Are you sure? There are some important teen issues we could discuss. KEITH: Ooh, the car Duncan bought? Just got a tip. It was spotted outside Tijuana. Yale, baby. Keith exits as Veronica stares after him. Cut to Tijuana, with various street scenes. KEITH: [Offscreen] He's in room what? In the middle? Cut to Keith handing cash to a man. INFORMANT: Mucho. KEITH: Gracias. INFORMANT: Andale. The man walks away and Keith heads towards some small houses, outside of which is parked a b*at up Impala. Cut inside one of the houses as Keith knocks from outside. KEITH: [Offsceen and in hokey Mexican accent] Room service. [Entering] It's about time you came home, Dunc- The naked woman in the bed gasps and tightens the covers around her. KEITH: Duncan, what are you� A man comes out of another room, putting on his shirt. It is the shirt of a policeman. The man looks at Keith quizzically. KEITH: The, uh, car out front, the Impala? MEXICAN POLICEMAN: Eh, Impala, si. Is yours? Cut to Keith driving back, speaking to Veronica on the cell phone. KEITH: It's a bust, sweetie. The car was abandoned outside the bus station, a case of beer in the seat and a sign in Spanish saying: Free Car. A decoy. Maybe Duncan's smarter than I was giving credit. Cut to Veronica in the hallway at Neptune High. VERONICA: Well he did ace his PSATs. So I'll see you at home for dinner? KEITH: [Offscreen] Raincheck, honey. Alicia and I- VERONICA: Are going out, right. I'll see ya when I see ya. Veronica closes the phone and enters a classroom. VERONICA: You busy? Mac is alone in the room, gazing at a computer screen. MAC: Still working on that passport thing. Check it out. I just found Mr Heinrich's posting on the Neptune Swingles site. Veronica leans forward to see. VERONICA: Ooo, Larry, bowm-chicka-bow-bow. Mac laughs. MAC: What do you need? VERONICA: Ah, along the same lines. How long does it take you to create a highly incriminating, thoroughly libellous, sexually explicit website? MAC: Uh... forty-five minutes, give or take? I'll get started on it as I'm done reading about how Mr Heinrich's interests include [reading] horseback riding on the beach, hot tubbing with special friends and [air quotes with her fingers, replicating what's onscreen] "sensual" charades. VERONICA: Oh, thanks Mac. That's a mental image I'll carry with me to the grave. Seth comes up behind Veronica and glances at the screen. SETH: Is that my math teacher? VERONICA: [Handing her an envelope] Here's the a*mo. Seth here will help you with the rest. Seth and Mac smile at each other and return their attention to the screen as Veronica exits. Cut to later. Tad approaches Veronica and Carmen, sitting on a bench, waiting for him. TAD: What are you doing here? VERONICA: I'm here to offer you a deal. TAD: I want my cell phone back. VERONICA: Course. Veronica takes the smashed phone, kept together in a plastic bag, out of her bag and tosses it to Tad. VERONICA: Next order of business, you and Carmen are broken up, effective immediately. TAD: Whoa, what about yesterday? The boardwalk? My tattoo? CARMEN: It's called pretending. I don't love you anymore. And you can't blackmail me into it. TAD: Look Carmen, I swear, I never wanted to hurt you. You made me do it. And look, if you make me do it again- VERONICA: She'll hurt you worse. Veronica opens her laptop and sets it on the bench. Tad's awful singing sounds out from a webpage, "Our Precious Secret". SONG: Our mothers and fathers just can't understand. So we follow the rainbow, to an uncharted land. Then you'd be my sunshine on a rainy afternoon- Two photos of Tad and Seth predominate. The filmstrip taken at the photo booth has been doctored to replace Carmen's head with Seth's. TAD: What's that? VERONICA: It's Seth'S web page devoted to your forbidden love. Beautiful song you wrote for him. TAD: It's a bunch of crap. You guys just faked that with Photoshop. No one's gonna believe this. VERONICA: Huh? Oooh. Veronica teases the pointer down to the symbol. SETH: [From the computer screen] Hey, Tad. TAD: [From the computer screen] I can't wait until after prom for our little, ah, erotic experiment. SETH: [From the computer screen] Why didn't you tell me you were into guys? TAD: [From the computer screen] Are you kidding me? I've always been curious. Yeah, I was just always worried about my parents, you know, or the Naval Academy. They'd kick me out if they ever found out. Veronica switches off the screen. CARMEN: Seen enough? TAD: Whatever, who cares about what this school thinks about me. I'm gone in a month. VERONICA: Actually, I was able to get the email addresses of every Plebe at Annapolis. On press of a button and each of your new classmates will have the link to this very special website. The navy's got that don't ask, don't tell thing. If we tell, they're gonna ask. Mutually assured destruction. Think hard, Tad. Veronica stands and passes Tad. TAD: Look, Carmen. CARMEN: I don't ever want to speak to you again. Carmen walks past him as he stares after her. Cut to Veronica, standing in a queue for the school bus. LOGAN: [Offscreen] Ah, mass transit. Veronica looks up to see Logan, sitting on the bonnet of the LeBaron, swinging its keys in his hand. LOGAN: But why take the bus when you can drive your very own rustbucket? I had my dad's driver pick it up. [Knocks on the bonnet] Full of fresh stolen parts, ready to go. He throws her the keys and she catches them. She joins him on the bonnet. VERONICA: Wow, I'll just try to keep this little gesture in mind this weekend when you and Dick and the Beaver are off getting blasted and scamming cheerleaders. LOGAN: Yeah...yeah. Actually, I had to tell Dick I'm not available, 'cause I have other plans. VERONICA: There are cheerleaders with low self-esteem available domestically? LOGAN: Are you free Friday? Maybe we could go out. VERONICA: Here? In Neptune? What about our little secret? LOGAN: Well, [sliding off the car] I thought we'd try a practice run in Catalina Island. So what do you think about us skipping school on Friday for a little ride on Dad's boat? Dinner and a movie? VERONICA: I'll pencil you in. LOGAN: So it's, uh...what is the word? A date? VERONICA: Nice of your dad to let us use his boat. LOGAN: Yeah, yeah, I think he actually likes you. When he heard that stuff about your parents, I think he felt- VERONICA: What? What stuff? DICK: [Offscreen] Logan! Logan and Veronica look over towards Logan's parked car where Dick and Beaver are waiting. DICK: What the hell, man? LOGAN: Just, uh, there was something in the paper he saw, I don't know. Logan heads for his car. Turning and walking backwards, he holds his hand out to indicate the number five, smiling. LOGAN: So tennish, Albacore Club, slip five. He walks away as Veronica smiles. Cut to her desk at Mars Investigations. She is searching through papers. She eventually finds a legal notice: Notice of Service. Seeking Lianne Mars. Please contact this number immediately, legal proceedings have g*n in your name. 555-0166. VERONICA: Oh my god. VERONICA VOICEOVER: Seeking Lianne Mars. Please contact this number immediately. Legal proceedings have g*n in your name. Veronica picks up the phone and dials. Cut to Loretta Cancun at the Sheriff's Department. She is not happy and letting Cliff know it. LORETTA: I know what entrapment is. CLIFF: Actually, Loretta, I don't think you do. [His cell rings and he answers] Yeah, it's Cliff. Yes, I'm always available for you. LORETTA: This is entrapment. Oh, and if that's Tamara, tell that bitch she can beg all she wants, I'm testifying. CLIFF: Miss Cancun, please, you're not helping yourself. Cut to a worried looking Veronica. CLIFF: [Offscreen] Veronica, what do you need? VERONICA: Why would someone place a notice of legal proceedings in the classified section? Cut back to Cliff. CLIFF: Well, it could be anything. Could you be more specific? Cut back to Veronica. VERONICA: Like, say, a man seeking the whereabouts of a woman. Cut back to Cliff. CLIFF: Could be child support, uh, civil suit, divorce. [To Loretta regarding paperwork he has glanced through] You just sign right here dear. Cut back to Veronica, distraught.. VERONICA: Divorce? Cut back to Cliff. He reads what Loretta has put on the form. CLIFF: "Screw you, pig." Nice. Okay, like a big girl now? Loretta casts him a filthy look. CLIFF: [To Veronica] Yeah, California law, you have to run a notice for� Cut to Veronica, now wide-eyed with panic. CLIFF: [Offscreen] �seven days before you can file for divorce on grounds� Cut back to Cliff. Loretta starts throwing things. CLIFF: �of abandonment- Cliff sighs heavily. CLIFF: I gotta run, V. Cliff puts down the phone and stares balefully at Loretta. Cut back to Veronica. She pulls up the Neptune Register on her screen and counts the number of ads. They appear from 21 to 26 April. VERONICA VOICEOVER: One, two, three, four, five, six. One more day before whatever is happening happens and Lianne Mars returns clean and sober to a home that no longer has a place for her. Veronica picks up the phone again. TELEPHONE: Classifieds. VERONICA: Hi. This is Veronica, Keith Mars' assistant who placed a legal notice at the start of the week. Well, Mr Mars' legal situation has changed and he won't be needing to run the ad tomorrow. TELEPHONE: Good thing you called, we're an hour from deadline. Uh, if you could just confirm Mr Mars' address, credit information and Mr Mars' account password, we'll take care of that for you. VERONICA: [Whispers] Account password. VERONICA VOICEOVER: Of course, they have to have something sensible like a password to prevent people like me from doing what I'm trying to do. TELEPHONE: Miss- Veronica hangs up. She thinks for a moment, then races out. Cut to Veronica in the car. The tracker is working. VERONICA VOICEOVER: I might feel a little uncomfortable about tracking my dad's cell phone if he hadn't done it to me first. It leads her to the Hotel Dunes. VERONICA VOICEOVER: A hotel. Great. Suddenly I'm feeling a little queasy. Cut to the hotel receptionist dealing with Veronica's enquiry. HOTEL RECEPTIONIST: I'm sorry. We have no one under Mars or Fennel staying with us. VERONICA VOICEOVER: And trying all the Mr and Mrs Smiths is out of the question? VERONICA: Thanks anyway. Veronica turns away, dejected. As she leaves, she hears Louis Armstrong singing "Our Love Is Here to Stay" from one of the function rooms and goes to the door. A number of couples are ballroom dancing, including Keith and Alicia, who are enjoying themselves immensely. SONG: In time the Rockies may crumble, Gibraltar may tumble They're only made of clay. But our love is here to stay. Ella Fitzgerald picks up in the duet as Veronica, upset, stares at Keith and Alicia. SONG: It's very clear, our love is here to stay. Not for a year but ever and a day� VERONICA VOICEOVER: Okay, Dad, I get it. You're happy. Veronica turns and walks away. Cut to Neptune High. Veronica joins Carmen. VERONICA: Good morning. CARMEN: It is good, isn't it. As they pass a group of guys, one of them calls out. JERK: Hey, Carmen! Carmen and Veronica stop and face the group. CARMEN: Hi. JERK: I was wondering if you were hungry. CARMEN: No. He pulls a popsicle out from behind him. JERK: 'Cause I thought you might want to suck on my popsicle. The guys laugh. Carmen and Veronica are both horrified. VERONICA: Tad pressed the button. Cut to Weevil, Felix and some of the bikers walking along the hall inside the school. Felix is watching Carmen's video on his cell phone. CARMEN AUDIO: What if somebody catches us? TAD AUDIO: No one is gonna catch us. FELIX: No way! Man you really did miss out. That Carmen is freaky. Weevil grabs the phone out of Felix's hand. WEEVIL: [Angry] Hey, what's wrong with you, man, where'd this come from. Cut to Veronica walking into a nearly deserted classroom. Carmen is crying, her head buried in her arms on one of the desks. Veronica sits next to her. VERONICA: Hey. I saw your car was still in the lot. CARMEN: I was waiting for the rest of school to leave so that I could�sneak home without being assailed with any frozen desserts. Although, I'm sure my parents have already seen the video by now, so I'm not exactly sure where I'm planning to hide. Somewhere they don't have computers. VERONICA: I can't believe he did it. CARMEN: Imagine my surprise. You know what? Screw it. I'm still glad that I dumped that idiot loser�crapface. I'd rather the whole world think I'm trashy than have a guy like Tad think he can push me around. At least now it's over. No more waiting for the b*mb to drop. VERONICA: That's right. No more waiting. Time to strike back. Veronica unfolds her laptop on the desk. It is set up to send emails to 1032 recipients. CARMEN: Mutually assured destruction. VERONICA: The honour's yours. Carmen uses the pad to move the cursor to the forward button. She shakes her head and moves it to delete. She deletes the em CARMEN: Thanks anyway. VERONICA: You can't let him get away with it. CARMEN: Tearing Tad down isn't gonna make me feel any better. Carmen stands and goes to leave. VERONICA: Carmen, I can't stress enough- She looks back at Veronica. CARMEN: Sorry, Veronica, I guess revenge just isn't my thing. Veronica stares after her as she departs. She closes her laptop then hears Carmen's audio coming from the other side of the room. CARMEN AUDIO: What if somebody catches us? Two young kids are watching and giggling over the video. TAD AUDIO: No one is gonna catch us. Veronica marches over to them and leans down behind them. VERONICA: It's all fun and games until one of you gets my foot up your ass. The kids are scared and scramble. KID: [Whispers] Come on, let's go. Veronica sits down in front of the screen as Carmen laughs and moans. She watches a little and is shocked by what she see. VERONICA: Oh my god. Behind Carmen and her popsicle can be seen a string of outdoor lights. VERONICA VOICEOVER: I remember those stars and Chinese lamps. In fact, they're about the only things I remember from that night. A year and a half ago. Shelly Pomeroy had a party. Flashback to Veronica, drugged, passing the hot tub as she makes her way to the sun lounger. Cut back to Veronica. VERONICA VOICEOVER: Could it be the night Carmen gave her boyfriend a sex show in the hot tub that she can't remember was the same night that I was drugged and r*ped in a guest bedroom? Cut to Mars Investigations. Veronica enters and sees Keith, sitting at her desk. The paper is still opened at the classifieds as she left it the night before. KEITH: I know I should have told you. VERONICA: No. Your life is your business. KEITH: I just felt after a year of not knowing I wanted options. If I ever decided to move on, serving notice is just a first step and if I think I might take another�no more surprises, I promise. VERONICA: I just want you to be happy, Dad, and I realise that may involve surprises. Keith smiles and heads into his office. Veronica lets out a deep breath. From behind her, Mac enters the office. MAC: Roberto Nalbandion. VERONICA: Who's Roberto Nalbandion? MAC: I have no idea. VERONICA: Okay, forgive me if as of yet, I'm unimpressed. MAC: I don't know who he is but I do know that someone purchased his Argentinean passport off of eBay and had it shipped to the airport at Marriott. Keith, interested, wanders back into the main office. VERONICA: Dad, this is Mac. She knows her way around a computer. Mac, my dad. MAC: Hi. KEITH: Hi, so. Argentina. [With South American flair] Roberto Nalbandion. [To the sound of a flamenco guitar, Keith tangos back into his office] It's great. Mac and Veronica laugh. Veronica heads round to her side of the desk. MAC: So, the bounty on Duncan, what's my share? Eight, ten. Veronica holds out a $10 bill. VERONICA: Ten, but you drive a hard bargain. MAC: I meant percent. VERONICA: You'll get your cut. New question. Is there anyway to figure out when a video was recorded on someone's cell phone? MAC: Sure, every MPEG has an embedded time stamp. VERONICA: Okay. Carmen's video. I've got it up on the screen. MAC: Sure. No problem. Mac joins Veronica on her side of the desk and sits at the screen. She punches a few keys and pull up the details of the video: popsicleKisses.mov. Kind - Quick Time Movie, Size - 7MB on disk (7,427,697 bytes), Where - Desktop, Cases Carmen, Created: Sunday, December 7, 2003 3:23 AM, Modified - Sunday, April 24, 2005 8:33 PM. MAC: It says the image was captured at 3:23am, December 7th 2003. I can't believe that butthead sent it out. [Looking up, noticing the shock on Veronica's face] What, does that date mean something? VERONICA: [Lying] Nothing. VERONICA VOICEOVER: Only that Carmen and I don't remember the same night. Cut to Alicia at Kane Software. She is talking to Keith on her cell as she walks. ALICIA: No, I just have a meeting. [Checks her watch] Well, you have until 5:30 to decide chicken or fish otherwise you lose your right to complain. Bye Keith. She switches off the phone and enters a conference room. The room is dark. ALICIA: You wanted to see me, Mr� Wiedman is sitting at the top of a large table, in the shadows. WIEDMAN: Clarence Wiedman. I'm with security here, Mrs Fennel. I wanted to talk to you about Keith Mars. ALICIA: What? WIEDMAN: I know you've been seeing Mr Mars for the past couple months. What you may not know; he is a man with a known grudge against the Kane family and this company. I'm gonna have to ask you to stop seeing him if you wanna avoid problems with your job here. ALICIA: Look, Mr Weed, or wh-whatever your name is. I have been a perfect employee since the moment I stepped through that door and I have never done anything to raise questions as to my dedication to my job. The idea that you can tell me what I can and can't do with my personal life�well, Clarence� He holds up something. WIEDMAN: Mrs Fennel. You know what this is? This is an electronic eavesdropping device. A bug. I found it in that houseplant [points behind him] which has been in my office for the last several weeks. You know who delivered it? [Alicia shakes her head] Your son, Wallace. Like I said. You really might want to reconsider your relationship with Mr Mars. Cut to early morning at Neptune High. Veronica is in jeans, ready for her day on the boat with Logan. She walks across the deserted outside area. VERONICA VOICEOVER: An hour early to school is pretty brown-nosey, but even at Neptune yachting is not a recognized excuse for a late English report. She slows when she spots Tad, naked, duct taped to the flagpole as Wallace was in the pilot. He has the word "Scum" across his chest. VERONICA: How's it hangin', Tad? Let me guess: uncomfortable? TAD: I guess you and Carmen got those bikers to put me up here. VERONICA: I had nothing to do with putting you up here. But [reaches into her back pocket and pulls out her Kn*fe] I might be convinced to help you get down. TAD: What do you want from me, bitch? You destroyed my life. You took away the only person that I ever loved. VERONICA: I don't recall forcing you to send that video. TAD: No, she did. She left me. VERONICA: And what good did sending it do? TAD: Who's gonna wanna touch her now? You know, if I can't have her, no one can. VERONICA: You are so lucky she has a better soul than I do because I would have taken you down with me. TAD: So what are you gonna cut me down if I apologise, is that it? VERONICA: Nope. [Getting up on the plinth] I just want a simple answer to a simple question. Who gave you the rohypnol the night of Shelly Pomeroy's party. Yeah, I know. You roofied your girlfriend. "Class" with a capital "K". TAD: I-I don't remember. VERONICA: In about five minutes, people are gonna start showing up for school and unless you want your [points with her Kn*fe hand at his genitals] little business to be the first thing they see, you're gonna tell me who gave you the roofies. TAD: There weren't any roofies. It was GHB. It was Logan Echolls. He gave it to me. Veronica is shocked and temporarily frozen. After a moment, she walks behind Tad. TAD: Oh, thank you. VERONICA: This might sting a bit. Veronica pulls the gauze from the back of Tad's shoulder. Tad groans. Veronica, leaving him duct taped to the flagpole, leaves. TAD: Look, Veronica. Come back here. [Shouts] Veronica, please! Don't do this. Oh, this isn't over, Veronica Mars! The camera closes in on the tattoo, a large heart with the name Seth across it. Cut to Logan on the boat at the Albacore. "Crimson and Clover" by Tommy James and the Shondells plaintively sounds. SONG: Ahh, and I don't hardly know her But I think I could love her Crimson and clover Yeah, my mind's such a sweet thing I wanna do everything What a beautiful feeling Crimson and clover Over and over Logan is watching out for Veronica. He checks his watch and lets out a deep breath of frustration. He goes to the back of the boat where he has set up champagne and some food. He opens the champagne, anger showing in his face and takes a large swig once the fizz that covers his hand dies back. He sets the bottle on the table and sits back on the seat. The camera pulls back. Logan is very alone. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x20 - M.A.D."}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars� The morning after Shelly Pomroy's party, Veronica lifts off the covers and sits up, picking her knickers up off the floor (from 101 Pilot). VERONICA: [Offscreen] I need to report� Veronica and Inga from the same episode. VERONICA: �a crime. LAMB: [Offscreen] Is there� Cut to a new scene of Veronica walking from Shelly Pomroy's the morning after. She passes her car. Written on the windscreen, on the passenger's side, is the word "SLUT" with an arrow pointing to a large circle over the driver's side. On the back window: ABEL IT Should've BEEN HER LAMB: �anyone in particular you'd like me to arrest or should I just round up the sons� Cut to Lamb's office (from 101 Pilot). LAMB: �of the most important families in town? Cut to Clarence Wiedman holding up a bug for Alicia to see (from 120 "MAD"). WIEDMAN: You know what this is? [Alicia shakes her head] A bug. I found it in that houseplant. You know who delivered it? Your son. Cut to Mars Investigations from the same episode. VERONICA: Fifty grand? Not bad. KEITH: Money for nothing. VERONICA: It might not be as easy as you think. KEITH: Duncan Kane? I think I'll be able to track him down. Cut to Logan and Veronica outside the Echolls house (from 119 "Hot Dogs"). LOGAN: I loved Lilly and Lilly loved guys. It's okay. I don't have to feel guilty anymore. VERONICA: Feel guilty about what? Cut to them kissing from the same episode. VERONICA: What are we doing? Logan laughs. Cut to Veronica questioning Tad as he's taped to the flagpole (from 120 "MAD"). VERONICA: Who gave you the rohypnol the night of Shelly Pomeroy's party. TAD: It was Logan Echolls. Cut to Logan, waiting in vain for Veronica from the same episode. End previouslies. Open with caption: Havana, Cuba. Varoius scenes of life in Cuba narrow to a caf� and a waiter who passes a man whose face is obscured by a broadsheet newspaper, "The Globe and Mail". As he folds the paper down, it is revealed to be Duncan, with a beard. He hears a voice. KEITH: Buenos dias Duncan is surprised to see him sitting at his table. KEITH: I know. Of all the countries under military dictatorship in all the world. DUNCAN: So did they give you the jet to take me back home? Or am I supposed to click my heels? KEITH: It's a hell of a job you did with the fake passport, by the way. DUNCAN: Do you think I k*lled Lilly? KEITH: I don't know who k*lled your sister, Duncan. I only know it wasn't Abel Koontz. DUNCAN: I know it wasn't me. Cut to a painted surfboard, being lovingly stroked, in the back of a pickup. DICK: Randy just finished shaping it for me. Double concave bottom with the sweetest little rocker through the tail. Dick is showing off the board to Logan.. LOGAN: Ooh and you dinged it your first time out? DICK: [Horrified] What? [Not amused at Logan's joke] Dude, so not laughing. This is my child. LOGAN: Okay, dude, the thought of you breeding�ahh. [Spots Veronica] Mazel tov. Logan runs and skips to catch up with her. She ignores him and hurries away. LOGAN: Hey, Veronica. Hey, will you stop for two seconds? Weevil steps in Logan's path, preventing his from following her. WEEVIL: You see when they run away like that, it's kind of a hint they're not interested. LOGAN: Look, you do not want to start with me today, paco. WEEVIL: Are you sure? It was in my day planner under goals. LOGAN: How is this your business? WEEVIL: Well I'm just looking out for Veronica. So if you think you're going to lay a hand on her the way you did Lilly... LOGAN: Don't you even say her name. WEEVIL: Actually, she kind of liked it when I said her name. Logan pushes Weevil in the chest. He stumbles back, smiling and not phased at all. LOGAN: You think she had any real interest in you? You're a pork rind. You're what people grab when they're stoned and just want garbage. WEEVIL: What makes it worse? Thinking she had feelings for me, or that she was using me for sex? Logan grabs Weevil's leather jacket and pulls him close. LOGAN: [Softly, dangerously] You stay away from Veronica. WEEVIL: I'm not the one she's running away from. The pissing contest is interrupted by the coach. COACH: Gentlemen... Logan turns his hold on Weevil to adjusting his jacket. WEEVIL: Thanks. Cut to Veronica having a shower. She hears Backup barking. Cut to her in her bathrobe, comforting Backup. VERONICA: What is it, buddy? Hey, what is it? She checks the door, looking behind the blind over the window in the door. Logan is outside. She gasps and pulls back, not sure what to do. LOGAN: I'm not leaving. She takes a deep breath and opens the door. VERONICA: It's kind of a bad time. LOGAN: Okay. So I should come back when, never? That work for you? She stares at him. LOGAN: What did I do, Veronica? Can you just tell me so that I can a-a-apologise or explain?! VERONICA: Explain. Okay. Explain to me why you were the one with GHB the night of Shelly Pomeroy's party when someone drugged and r*ped me. VERONICA: Explanation? Apology? LOGAN: You were r*ped? Logan leans forward as if to hold her. VERONICA: Okay, don't! Seriously! He holds back. LOGAN: What happened to you? VERONICA: You tell me. LOGAN: Wait. Wait a second, you think- VERONICA: I was told you were the one with the drugs. LOGAN: Yeah. I got some Liquid X when I was in Tijuana with Luke and Sean. We were just gonna have some fun. VERONICA: Fun? Like sex with unconscious people fun? LOGAN: No, fun like go to a rave fun. VERONICA: Oh. Okay. You've convinced me. Bygones. LOGAN: What can I do? What can I do to make it better? VERONICA: I'm going to find out who did this to me and I'm going to make them pay. Even if it was you. Logan, upset, stares at her. VERONICA: Sorry. I have to go throw up now. Veronica shuts the door in his face. Opening credits. Open on Neptune High. Veronica slowly walks up the school hallway, then pauses. VERONICA VOICEOVER: As a rule, people that hate you aren't that helpful. There were about a hundred people at Shelly's party. Ninety-eight of them would walk over my corpse for free gum. [Walks forward] My 09er resources are limited but I do have a few people I can count on. She approaches Meg, standing at her open locker. MEG: Um, can we skip English today? I have some sort of Hemingway related narcolepsy. You start talking about "The Sun Also Rises" and I start falling asleep. VERONICA: Don't blame Papa, blame Mrs Murphy's monotone. Hey, you were at Shelly Pomroy's end of the year party, right? Meg is wary. MEG: Uh, yeah, yeah for a little while. VERONICA: Did you see me there? MEG: Why? VERONICA: I just want to know, my memories a little fuzzy about that night. MEG: Yep, maybe that's a good thing. VERONICA: So you did see me. MEG: For like a second. I was with Cole and we were just leaving. Flashback to Shelly Pomroy's party. Meg approaches Cole. MEG: I didn't even say goodbye to Shelly. COLE: You talk to her like fifty times a day, come on. They look over at the sound of a crowd, whooping it up. COLE: Unless you want to stick around for some body sh*ts. Veronica is on the sun lounger, a crowd gathered round her. Logan has poured salt on her chest and put a piece of lime in her mouth. Another boy is leaning over her, licking off the salt. MEG: Someone should help her. COLE: Come on, let's go. I'm not ending the night with Veronica Mars puking in my car. MEG: We can't leave her like that. Cole looks over at the scene and sees someone push the boy off Veronica. COLE: Look, someone's got her. Meg looks back. Veronica's rescuer has got her off the sun lounger. Logan complains. LOGAN: Hey, dude, you can't be the cavalry and the martyr... Meg shrugs and leaves with Cole. Cut to the present as Meg walks away from her locker. VERONICA: You don't know who helped me? Meg shakes her head. MEG: No, so that's your big high school related embarrassing moment. Everyone's got one, right? You got to let it go. You'll make yourself crazy. Meg wanders off as Veronica, with furrowed brow, ponders. Cut to an airport. A small private jet is being met by Celeste Kane and Clarence Wiedman. Duncan exits and walks towards his mother as Wiedman heads towards the plane. PILOT: Watch your step sir. As Duncan is greeted by his mother with a kiss, Keith disembarks and is met by Wiedman. WIEDMAN: Mr Mars, well done. KEITH: Thanks. WIEDMAN: Well done. Maybe your daughter has a future in travel planning. KEITH: And if she gets a discount and I travel the world, I'll be sure to send you a postcard. You can hang it in your cell. Keith pats Wiedman on the arm then walks towards Celeste. CELESTE: Keith, thank you. I don't know what we would have done. KEITH: I'm happy everything worked out. I know you're anxious to get home so just stop by the office when it's convenient and we'll finish up. CELESTE: Finish up? KEITH: I'm referring to the reward. CELESTE: You might want to speak to your daughter about that. Veronica and I had an arrangement. You just met her end of the bargain. Celeste half-smiles and turns, getting into the car. She closes the door. CELESTE: You have no idea what the past few weeks have been like. [Handing Duncan a bottle of water] Next time you run away, take your medication with you. Celeste hands Duncan a bottle of pills. He takes them unenthusiastically and stares at them for a moment. He looks out of the window. DUNCAN: Empty stomach. Celeste sighs. Cut to Neptune High, the outdoor area. Veronica approaches Luke, sitting at one of the tables. VERONICA: Remember when I saved you from drug dealers and I said I may call upon you for a favour someday. LUKE: You didn't say that. VERONICA: It was implied. Veronica sits opposite Luke. LUKE: [Laughing] Okay, what can I do you for. VERONICA: Nice. Uh, I heard you went to TJ with Sean and Logan and scored some GHB. LUKE: Wow, that was like, ah, that was like a year ago. I don't have any now. VERONICA: I was gonna spike your juice box and have my way with you. Luke laughs again. VERONICA: What'd you do with it? LUKE: [Quickly] Nothing. Honestly, I-I didn't do anything, I gave it away. VERONICA: Who'd you give it to? LUKE: Um, Dick Casablancas. Flashback to Shelly Pomroy's party. Luke, Sean, Dick and Casey are toasting with sh*ts. They look over and see Beaver, talking initimately with a girl. DICK: Look at that. Beaver's getting all the lovin', Dick's flapping out in the breeze. LUKE: Please, you have like the hottest girlfriend ever. DICK: Much like fake boobs, you know. Great to look at but they don't do as much as you'd like them to. SEAN: Wait'll you get a couple of drinks in her. DICK: She's on fricking Atkins. Did you guys get some stuff in TJ? SEAN: I'm saving it for a special occasion. And this isn't it. Dick looks over at Luke who just laughs. Madison appears in the middle of them. MADISON: [Crossly] Who invited Veronica Mars? Huh? Dick starts to rub her shoulders. DICK: Why do you let this stuff get to you? Look at you, you're all tense. She grabs his hand and thrusts it away. MADISON: Can you not be all over me for five seconds? She eye rolls, turns and stalks off. The other guys laugh. Dick holds out his hand to Luke. LUKE: All right. Luke hands Dick his GHB. Return to the present. VERONICA: So Dick drugged Madison? LUKE: Well, he-he asked for two doses and I, so I just, I figured he was gonna take one and ask her to take the other one but, um, I'm pretty sure she didn't. VERONICA: How do you know that? LUKE: You're not gonna like this part. Flashback to the street outside Shelly Pomroy's party. Luke, still drinking is past Veronica's parked LeBaron when another car pulls up in front of it. Madison, now in jeans, jumps out of the car and races to the LeBaron with an aerosol can in her hand. MADISON: Stringy haired white trash. She starts to spray the LeBaron's windscreen. LUKE: [Offscreen] As I understand it, GHB is supposed to make you nicer. Cut to the present. VERONICA: Why would Madison do that? LUKE: Uh, I don't know. 'Cause she's a horrible human being? Cut to a girls' bathroom. Madison, now a brunette, is preening in front of the mirror. Veronica appears in the mirror, standing behind her. VERONICA: You can keep asking, but you're not the fairest, trust me. MADISON: I can tell you who the pastiest is. What's the deal, can't buy bronzer with food stamps? VERONICA: You wrote slut on my car last year at Shelly's party. Why? Madison turns and faces Veronica. MADISON: Because whore had too many letters. VERONICA: I have never done anything to you, up 'til now. MADISON: Whatever, Veronica. VERONICA: Oh, like what? MADISON: How 'bout making out with my boyfriend in front of an entire party. [Off Veronica's disbelieving look] I guess I shouldn't take that personally, though, huh? You pretty much made out with everyone. VERONICA: I don't believe you. MADISON: Are you kidding? Flashback to Shelly Pomroy's party. Casey is on a couch, Dick leaning over him, shaking hands. Playing in the background is Saucy Monky's cover of "I Touch Myself". Veronica, in party animal mood, races up behind Dick. CASEY: What's up Dick? How's it going? VERONICA: [Singing] �anybody else� She grabs Dick, spins him round and dances up close and personal. VERONICA: �When I think about you I touch myself. She pushes him down onto the couch, falling on top of him, She runs her fingers through his hair. VERONICA: You have the best hair. DICK: You like that, huh? Veronica kisses Dick. Madison watches in horror. Dick spots Madison when he comes up for air. DICK: Come on, that's not cool. He pushes her away and Veronica crawls over him to land on top of Casey. VERONICA: You think that's cool though don't you, Case? She kisses Casey. Cut to the present. Veronica cannot believe what she is hearing. VERONICA: I made out with Dick and Casey? MADISON: Please. You made out with the garage door. And don't even start with the "I was so wasted". VERONICA: I wasn't drunk, I was drugged. Someone put GHB in my drink. Madison is momentarily stunned, then sceptical. MADISON: Yeah. Cut to Veronica arriving outside the door to the Mars' apartment. She pauses when she hears Alicia's raised voice. ALICIA: [Offscreen] She could have gotten me fired, Keith. How is that not a big deal to you. In the apartment, Alicia is facing Keith over the kitchen counter. KEITH: I didn't say it wasn't. ALICIA: She put a listening device in a plant, had my son deliver it to my place of business! KEITH: And she has her reasons. ALICIA: Her reasons? She's seventeen! KEITH: She's not your average seventeen year-old. ALICIA: Well, how can she be when you treat her like she forty. Veronica enters the apartment. VERONICA: Mrs Fennel. I-I'm so sorry but Clarence Wiedman knew that I would- KEITH: Veronica. VERONICA: Just let me explain. KEITH: No, you just give us a minute. VERONICA: Dad, if I could just explain. KEITH: [Sharply] Veronica, go to your room, now. Veronica stares at her father in surprise. He doesn't back down and she complies, heading for her room. VERONICA: Fine. But he bugged me first. Veronica goes to her room and Alicia looks at Keith. ALICIA: He bugged her first? Cut to later. Veronica is lying on her bed, listening to music. There's a soft knock at the door. She takes out the earplugs as Keith enters. KEITH: Duncan's okay, he's back home. [Sitting on the bed] His parents are gonna keep him home a couple of days, let him rest. VERONICA: I'm so sorry, Dad. KEITH: Stop, it's okay. VERONICA: It's my fault. I'm the one who gave Wallace a bugged plant. KEITH: Veronica. Did you make some kind of deal with Celeste Kane that I don't know about? VERONICA: I�told her I'd look for Duncan if she released Weevil. KEITH: Well, she said she wouldn't pay the reward. She said that we're even now. It's ridiculous of course, they'll pay. She's just enjoying the moment. VERONICA: She's a witch. KEITH: Veronica. What if you started looking for another job? Selling clothes or something. VERONICA: What? KEITH: I just can't help think that�your life would be better if you weren't working for me. VERONICA: [Sits up] Are you kidding me? You're the best father in the world. I mean, come on, look at me. I'm healthy, happy, good grades, all my own teeth, [gnashes her teeth to illustrate, then leans back slightly to raise up one foot, rotating at the ankle] fancy shoes. She drops her foot back on the bed VERONICA: [Sincerely] I never would have gotten through this past year if it wasn't for you. KEITH: If it wasn't for me you wouldn't have to. Veronica furrows her brow. Keith leans forward and kisses it, then leaves. Cut to Neptune High. Casey is walking through the car park. Veronica joins him. VERONICA: Hey, stranger. CASEY: What's up Veronica? VERONICA: Kind of an awkward question. Do you remember Shelly's end of the year party? I know it was a while ago. CASEY: Not really. Look, I've gotta get some stuff done before class. See you around, okay. bl*wing her off, Casey speeds ahead. VERONICA: Oh yeah. I was just wondering how you've been, you know, without your grandmother. Casey turns back and walks back to her. CASEY: I've been good. Got my priorities in check. No more throwing my family's money at strangers so I can eat S'Mores and listen to bad folk music. What was the awkward question? VERONICA: Did I h*t on you at Shelly's party? CASEY: [Thinks] No. VERONICA: Did it get ugly at Shelly's? CASEY: [Smiles] Oh, yeah. Flashback to Shelly Pomroy's party. Dick is dancing to the Saucy Monky track. Veronica, out of it, stumbles into him. He grabs her. DICK: [Singing] I don't want anybody else. When I think about you, I touch myself. Dick, gripping Veronica's hands, runs them over his chest. He then pulls her down on top of him onto the couch. Veronica tries to get up, her hand in his hair for leverage. DICK: You like grabbing hair, huh? That's nice, huh. Dick kisses her. Madison stares at them with horror. Dick spots her and breaks off the kiss. He pushes her onto Casey. DICK: Why don't you go see Uncle Casey. CASEY: Oh, no thanks. I like mine to be able to stand on their own power. Casey pushes her off and to a standing position. Cut to present. VERONICA: Well, I'm gonna go drink some bleach now. CASEY: You know, just a thought. If you don't remember much about that party, maybe you should leave it that way. VERONICA: Can I guess that means you saw something else? Casey's expression is affirmative. Flashback to Shelly Pomroy's party. Dick is feeding Veronica a sh*t."I Like That" by Houston with Chingy and Nate Dogg is playing in the background. VERONICA: I have to go home. DICK: You are home. SEAN: See there's your pool and your hot tub and your big mansion. Veronica is on the couch again with Dick next to her. Beaver and Sean are behind and Shelly is sitting facing her. SEAN: And here's a hot foreign exchange student who's been living with your family. Now, [pouring another sh*t down her] I know you've had your eye on her and that's okay, it's perfectly natural. Shelly is all up for kissing Veronica. CASEY: [Present day, offscreen] Some of the guys thought it would be cool to see you make out with Shelly. Cut to present day. VERONICA: They were feeding me sh*ts? CASEY: Guess they were afraid you were sobering up. Casey walks off. Veronica takes a shuddering breath. Cut to Veronica at her locker. Everything from it is on the floor and she is wiping down the inside. Wallace passes her, glancing at the pile on the floor and heads for his own locker. Veronica withdraws her hand, holding a very dirty cloth, from her locker and turns to Wallace, nose wrinkled. VERONICA: Ugh. This is why I need to keep my walkie-talkies in my car. Muck. WALLACE: Really? The dirt? See, I find I hardly need my walkie-talkies at school at all. But that's me. VERONICA: Wallace. I'm so sorry I had you bug Kane Software. I honestly thought no one would find out and if I knew that your mom was gonna get in trouble- WALLACE: Stop! I'm not stupid. I know I wasn't just delivering a plant. I could've said no. Wallace opens his locker, with something on his mind. WALLACE: You know, I do these things for you and I never ask you why. VERONICA: I know. WALLACE: You know why? Because I know you would never tell me. VERONICA: I'd do the same for you. WALLACE: Logan Echolls used one of the absence slips I took for you. VERONICA: You checked the absence slips? WALLACE: You, I do favours for. My friends, I put my butt on the line for. That guy doesn't even know my name. You wanna tell me why I'm helping him out? VERONICA: You're not. WALLACE: You sure about that? VERONICA: I needed him for something with his mother's case. I-it was just loose ends and stuff. That's it. Wallace knows she's lying. WALLACE: Thanks. Now that I have all the details, I don't feel like such a chump. He snaps his locker shut and walks away. Veronica gazes after him guiltily. Cut to a classroom. Sean is seated the wrong way astride a chair, hugging the back. Another student is standing in front of them and they are talking. Veronica hurries in, grabs a chair and swings it to abut it to Sean's at the same time physically pushing the other student away. She sits astride the chair, arms folded on the back of it, nose to nose with Sean. SEAN: What? VERONICA: I'm just thinking of all the ways I can destroy you. SEAN: Well you sitting there grinning is kind of torturous. VERONICA: So Shelly Pomroy and I were thinking of getting together later for a little girl-on-girl, you wanna come with? Sean is distinctly uncomfortable. VERONICA: Wow. You know, when you're about to soil yourself, you get a little twitch right in your eye. SEAN: I have no idea what you're talking about. VERONICA: Sure you do. And unless you want me to tell one of my favourite local deputies that you were the one with GHB the night of Shelly's party, I know you were feeding me drinks. SEAN: Look, I wasn't feeding you drinks. It was Dick. He's the one that you should be talking to. Flashback to Shelly Pomroy's party. Dick is carrying Veronica into a bedroom. He drops her onto the bed. Sean and Beaver are behind him. DICK: Dum-dum-de-dum. BEAVER: Dick. DICK: What? Dick sits next to the unconscious Veronica. BEAVER: You're gonna hurt her or something, man. DICK: Oh, I'd hurt her. You, she might not even notice. BEAVER: It-this is-this is so not even funny. DICK: What's the problem? BEAVER: Like you're-like you're serious? I mean this is you trying to get me to do something stupid that you can laugh at me. DICK: She's actually kinda hot. When she's quiet. Perfectly cute piece of ass. Ready and willing. Dick pats the bed. Beaver heads towards the bed. BEAVER: She's not willing, Dick, she's unconscious. Dick stands as Beaver sits on the bed. DICK: It's kinda the best you're gonna do, bro'. You're not real big with the sober chicks. BEAVER: Fine, just go, all right? DICK: That's my boy. Dick gives Beaver a hard head pat. He holds out some condoms. DICK: Make sure you suit up. You don't know where she's been. Dick throws the condoms onto the bed. Beaver reaches for them as Dick and Sean leave the room. Cut to the present. SEAN: Your issues with Dick and Beaver, not me. They were horrible to you. VERONICA: Well, I'm just sorry you had to witness it. That must have been awful for you. Cut to Dick's surfboard, resting just in front of the LeBaron's offside front wheel. The engine is idling, Veronica at the wheel. Dick approaches. VERONICA: Hiya, Dick. How's it going? DICK: Angry[] What the hell are you doing? VERONICA: Um, trying to get your attention. Dick makes to move to rescue his board. Veronica stops him by revving the engine. He sees that the board is leaning against the curb. DICK: Got a couple questions for ya. DICK: You're frickin' nuts, you know that? VERONICA: Insulting me right now seems like a good plan, how? DICK: [Holding his hands up in resignation, casting a glance at his board] What do you want? VERONICA: Answers, and quickly. Did you give me GHB the night of Shelly's party? DICK: What? No. I'm not even the one who had it. Veronica revs the engine again. DICK: I mean, I got some, but I didn't give any to you. I swear on my life. VERONICA: See, when you say that, it makes me hope you're lying. I know you brought me into the guest bedroom for Beaver. DICK: More like, I found you in the guest bedroom. Flashback to Shelly Pomroy's party. Veronica crawls towards Beaver, sat at the edge of the bed. VERONICA: Beaver, don't go, you said you were gonna stay here with me. Dick pauses as he walks past the open bedroom door. BEAVER: Yeah, well, I'm here, I'm staying�Veronica, I'm here� VERONICA: Well why don't you come back here? It's an awfully big bed. Veronica, holding his hand, lies down on the bed, pulling Beaver towards her. She gives him a "come hither" finger. Cut to present. VERONICA: Are you freaking kidding me? How 'bout reality, Dick. DICK: What? I'm just telling you what I saw. I didn't drug you. Don't go blaming me because you got all wasted and slutty. With a look that could k*ll at Dick first, Veronica puts both hands on the wheel and surges forward. The surfboard is smashed to smithereens. Dick is not happy. Cut to Beaver closing his locker to find Veronica leaning against the next door locker. Beaver looks heavenward and like a frightened rabbit. VERONICA: Beaver. Damn, you don't look happy to see me. BEAVER: How's it going, Veronica? VERONICA: Really well! I just found out that the dream I had where I was locked all alone in a bedroom with you was reality. Care to share some details, lover? BEAVER: Nothing happened. Beaver tries to move away but Veronica stops him. VERONICA: Actually, something did happen. And I might not remember the details, but I sure as hell remember the morning after. BEAVER: Look, I swear to god, I didn't touch you, Veronica. Okay, I mean, Dick, he was, he was all on me to and there was, there was this girl, this, this freshman, her name's Cindy and she's kind of�well, she's easy, you know and me and her, we were, we were supposed to�I don't know, Dick, Dick, he set something up okay and then, and then she was all over Logan and then she left early with him. Veronica seems both relieved and disturbed at this. VERONICA: Yeah, it sucks to be you. And? BEAVER: And then Dick, he brought me to the guest room with you. I just wanted him to leave me alone. Flashback to Shelly Pomroy's party. Veronica lies unconscious on the bed, Beaver sitting near her head, Dick near her legs. Sean stands watching. Dick's hand is on Veronica's leg, pushing up her dress. DICK: You need me to get you started? SEAN: Hey, I can draw you a diagram. BEAVER: That's cool. Beaver puts his hand over Dick's, stopping his progress. BEAVER: You just, you just go, all right? I, I got it. DICK: That's my boy. Dick leans over and tousles Beaver's head, getting off the bed. BEAVER: Yeah. SEAN: Make sure you suit up. Sean holds out the condoms and throws them on the bed. SEAN: You don't know where she's been. Dick and Sean leave. Beaver pulls Veronica's dress back down. BEAVER: Veronica, you okay? Beaver looks at her for a moment, then, holding his hand to his mouth, he rushes out of the room, throwing up outside in front of Carrie Bishop and another girl. Cut to the present. BEAVER: It was my big night. I don't know, I supposed to lose my virginity, instead I�hurl on Carrie Bishop's shoes. Nothing happened. Really, I mean, I-I swear on my life that the last time that I saw you, you were passed out on that bed. VERONICA: Well, hey. Thanks for leaving me there. Veronica punches him on the arm, hard. Cut to Mars Investigations. Veronica has emptied her desk all over the floor and is cleaning one of the drawers. VERONICA VOICEOVER: The whole ritual cleaning thing is textbook for a reason. For a couple of minutes, you're in control and everything's the way it should be, at least on the surface. Keith observes her silently for a moment. KEITH: You see another special on dust mites? VERONICA: They're disgusting, they're everywhere, and they must be destroyed. KEITH: I have any messages, or did you boil them? VERONICA: Just a fax. [Hands him a fax] Apparently that package you've been waiting for is in Vegas. Is it a white Bengal tiger? KEITH: No, it's the entertainment lawyer I've been tracking for the past year. My source in Vegas spotted him. I'm gonna have to leave as soon as possible. Maybe you want to stay with a friend or something? VERONICA: [Standing and facing him] And miss an opportunity to have the apartment to myself so that I can raid the liquor cabinet and watch Skinemax? No, wait, I'm a girl. I'm gonna do my homework, secure all the locks, brush, floss, and crawl into bed with an overly protective pit bull. [Kisses his cheek] You don't have to worry about me. Keith is not convinced. Cut to the Echolls home as Logan enters. Aaron is in light mood, cooking in the kitchen. AARON: [In French accent] Ah! Especially for you tonight, I am making what will be known from now on as "Aaron's Extra Special Crab Cakes." Ha ha! LOGAN: I'm sure I'll thoroughly enjoy them. Right up until my oesophagus closes up, cuts off my air supply, and I shuffle off this mortal coil. Aaron pauses, confused. LOGAN: Perhaps my last words will be "Great crab, Papa." [Off Aaron's blank look] I'm allergic to shellfish. AARON: Of course. I forgot. LOGAN: You didn't forget. You never knew. AARON: I did, I-I-I just got you confused with Trina, that's all. LOGAN: I'm the one allergic to shellfish. Trina's the one allergic to work. AARON: You know, somehow you got it in your head that I don't know a thing about you. Well, I got news for you: I'm your father. I raised you. I know plenty. LOGAN: Well, then, round one of "How well do you know your son?" When is my birthday? Aaron huffs derisively but has to guess. AARON: February. LOGAN: Wow. Well, you got a vowel right. Disappointed, despite the expectation that he wouldn't know, Logan moves off. Aaron, now angry, follows him, grabs him and spins him round to face him. AARON: You know, I have been pretty tolerant of your wiseass remarks but you are pushing it. Logan looks down at Aaron's grip. Aaron releases him and puts a hand on is shoulder. AARON: Look, does it matter�that I'm trying? I mean, does that count for anything at all? LOGAN: Yeah, You're accumulating points. You've almost won the wet vac AARON: I'm committed to this family, Logan. I'm committed to you. You'll see that. LOGAN: Well, you've got limited time 'cause let's face it, my eighteenth birthday, whenever that is, Mom's inheritance comes through and it's bon voyage. Logan leaves Aaron thinking about that. Cut to a coffee shop. Veronica is sitting at the counter and Carrie, serving behind the counter, walks over. CARRIE: What can I get for you? VERONICA: I'll have a hot chocolate, cr�me brulee and some answers if you can give me about two minutes. CARRIE: I'm kind of in the weeds. VERONICA: Here's the thing. Do you remember Shelly's party last year? CARRIE: Yeah. VERONICA: I don't. At least, not between passing out in the back yard and waking up the next morning in the guest room. I think you probably saw me. CARRIE: I saw you. Flashback to Shelly Pomroy's party. Veronica is in the guest room on the bed. Someone is on top of her. She is pulling off his wifebeater and he is reaching under her dress and pulling off her knickers. Carrie passes the open door. CARRIE: Oh, god. Shut the door next time. She shuts the door as the two continue to make love. Cut back to Veronica's shocked face in the present. Cut to the Kanes' front door. Veronica, upset and hugging herself, rings the bell. Duncan, still with his beard, opens the door. VERONICA: [Voice trembling] Welcome back. So Carrie Bishop said that you and I were in bed together the night of Shelly Pomroy's party last year. Care to elaborate? Duncan is taken aback. DUNCAN: What? What are you talking about? VERONICA: I wanna know what happened. DUNCAN: Do you know how wasted I was at Shelly' party? I-I barely even remember it. The whole night's a blur. VERONICA: That's kind of a thing with you, huh? Carrie said she walked into the guest bedroom and you were naked and on top of me. DUNCAN: I can't believe this. VERONICA: You were the one that r*ped me. DUNCAN: I r*ped you! Veronica starts to cry. DUNCAN: So�I'm a m*rder and a r*pist now. Veronica is sobbing heavily now. Duncan comes out from the doorway to confront her. DUNCAN: What are you doing? Why are you acting like this? Why are you acting like you weren't there? VERONICA: [Incredulous] What? DUNCAN: You were there too, you know. I-I thought we had some unspoken rule, like we're never gonna talk about it but now I r*ped you. Flashback to Shelly Pomroy's party. Duncan wanders into the guest room and sees Veronica. He collapses onto the bed, sitting next to her. He starts to stroke her face. She rouses. VERONICA: Hmm, you're here. She sits up, smiling. DUNCAN: [Softly] Hi, baby. VERONICA: Miss you. Veronica puts her arms around him and they fall back on the bed together. Cut to present day. DUNCAN: You don't remember. It's kind of a bad feeling, huh. VERONICA: [Distraught] Then why did you leave me there? If it was so tender, and loving, why did I wake up by myself searching for my underwear? DUNCAN: Because I had to get out of there! VERONICA: You had to? DUNCAN: Yes! I woke up, I, I saw you there, I realized what I did... Flashback to Shelly Pomroy's party. It is morning and Veronica is asleep in the bed. Duncan raises up from the other side of the bed on one elbow and sees her. He gets out of bed quietly. VERONICA: [Offscreen] What did you realize was so bad? What did you do? DUNCAN: [Offscreen] I slept with you! VERONICA: [Offscreen] But it was consensual, right? DUNCAN: [Offscreen] Yes. Cut to present. VERONICA: Then what about that is so wrong? DUNCAN: [Screaming] Because you're my sister, and I knew it! E-even after my mother told me, I tried to just cut you out of my life. I loved you! I tried not to, I tried not to, but it won't go away! Veronica is sobbing uncontrollably. She looks around and sees Celeste close by, watching them. Veronica looks back at Duncan, then turns and then runs as Duncan sinks down to his knees. Cut to Veronica sitting outside Wallace's house in the LeBaron. She is still upset, though not crying, or moving. Wallace comes out, runs to the car and leans in on the passenger. WALLACE: I was about to call the police on you, stalker. As he talks, she starts to break down. Wallace shows tremendous concern. Cut to later and to the two of them sitting on Wallace's bed. VERONICA: This is so not an "I told you so," but do you see why I kinda keep things to myself? I think I can go home now. WALLACE: Maybe you should just stay here. VERONICA: No, I feel better. Of course, you feel worse. WALLACE: No, I don't care about me. I just wish I could do something. Or say something. VERONICA: You don't have to say anything. That's kind of the good part. Veronica reaches for and opens her laptop. VERONICA: You say I never tell you anything when I ask for favours? WALLACE: Yeah. You so don't need to worry about that right now. VERONICA: I'm not worried. Here's everything there is to know. Veronica puts the computer on his lap. It is set on her "Lilly Kane m*rder Investigation" screen, with the files on show: Crime Scene, Interrogation Transcripts, Suspects and Timeline. Wallace looks at her and smiles. Cut to later as Veronica leaves Wallace's bedroom. She pauses at the entrance to the kitchen where Alicia is making a sandwich. VERONICA: Don't tell me Wallace still has you cutting his crusts off? ALICIA: How are you, Veronica. VERONICA: Sorry. I'm really hoping you won't hold my dad responsible for my boneheadedness. He's the best guy ever, you see that, right? You guys are really good together. ALICIA: I know. VERONICA: You make him so happy. ALICIA: I'm afraid I didn't make him too happy before he left for Vegas. I think I might have ruined things. VERONICA: Trust me; I know how he feels about you. He's not going anywhere. Cut to the Vegas skyline. A phone rings and a woman answers. TELEPHONE: Hello, who am I talking to? Keith responds from his hotel room. KEITH: Hi. Is this Cheyenne? CHEYENNE: You know it, baby. Keith has a magazine open on his lap advertising her services: Cheyenne. Not An Agency. (702) 555-0161. Las Vegas' Only 'Double-Duty' Escort. Private Shows. Parties. Special Occasions. Experienced Escort. Mastercard. VASI. Lic. #2012872213 KEITH: I'd like to set up an, um, an appointment. Cut to the Mars' apartment. Veronica and Logan are on the couch, facing each other. VERONICA: I'm so sorry. I know now it wasn't you and I'm sorry I accused you. LOGAN: It's fine. You okay? VERONICA: It's not fine. I'm really sorry. LOGAN: Veronica. All I care about is you. Okay? Did you find something out? VERONICA: Yeah. LOGAN: Well, do you want to tell me about it? I mean, you-you don't have, you don't have to tell me anything. I'm just here for whatever you need, okay. VERONICA: I was drugged but I wasn't� LOGAN: Yeah. VERONICA: I was with Duncan. Logan is stricken by this. VERONICA: Apparently we ended up in the guest room together and he was wasted and I was�out of it�and I guess our feelings and nature� LOGAN: [Whispers] I'm sorry. VERONICA: I'm just glad you're here. Cut to Las Vegas. Keith opens his hotel room door to Cheyenne. CHEYENNE: Well, hello to you. KEITH: Come in, come in, please. She sashays in and Keith closes the door. KEITH: Look, can I get you anything to drink? Are you hungry or anything? CHEYENNE: I think not having to buy me dinner first is kind of the point. [Sits on the bed] Why don't you come sit over here with me and relax, okay? KEITH: Well, maybe we could go sit out on the balcony. CHEYENNE: You're still gonna be married on the balcony. [Walking over to him and stroking his chest] Now. I want you to tell me exactly what you want. That one thing you can never get the little woman to do. And we'll start there. She pulls him towards the bed and they sit. KEITH: Actually, I'd like to start by talking about Abel Koontz. Cheyenne is not happy. KEITH: Miss Collins, my name is Keith Mars. I'm a private investigator from California. I've been looking for you for a year. I know you were with Abel Koontz at the time he supposedly m*rder Lilly Kane. CHEYENNE: I don't know what you're talking about. KEITH: I think you do. There's a phone record, Cheyenne. Abel called the same number at the same time every week, it was a standing appointment and by the time I traced that number back to you, you'd moved on to Seattle, San Francisco, Aspen and I bet I know why. CHEYENNE: I packed up my whole life to get away from this and you have to come find me. KEITH: An innocent man's life is at stake. CHEYENNE: [Standing] He confessed. For whatever reason. If I come forward, I'll be the most famous working girl on the planet. I have a five year old son who thinks I'm a stewardess. KEITH: A girl was m*rder. Don't you think the person who k*lled her should be the one in jail. Cut to the Echoll's front door. It's night and the house is in darkness. Logan and Veronica can be seen approaching through the glass. LOGAN: My dad thinks he's a gourmet. Humour him. Ah, so now he's going to make us eat to candlelight tonight. They pause at the door. LOGAN: Okay, showtime. They kiss and then back into the door, still kissing. The light comes on. AARON: [Joyously] Surprise. The room is decorated for a party. It is full of stunned and silent 09ers. Logan and Veronica are shocked. Soft noises of disapproval and surprise go round the room. Dick whispers to Beaver BEAVER: [Loud whisper] Wow. Duncan is in the room, leaning against a pillar, with Meg. He and Veronica, who is still in Logan's arms, stare at each other. Aaron breaks the ice by approaching the frozen couple. LOGAN: So is this party nine months early or three months late? AARON: I got a lot of lost years I gotta make up for. This is my way of getting started. LOGAN: It's a good call. Logan walks in front of Veronica to the other side of her. He holds out his hand to her. She takes it. Duncan watches as Meg watches him, her face showing her concern. Logan and Veronica walk further into the room. Dick approaches Logan to whisper in his ear. DICK: Dude, what the hell are you doing? Please tell me this is like, some new reality show called "My Skank". Veronica hears and looks down. LOGAN: Goodbye, Dick. DICK: What? LOGAN: Get out of my house. You have a problem with Veronica, you leave. Actually, you have a problem with Veronica, you're pretty much d*ad to me, so just, like, evaporate or something, I dunno. Dick, surprised, backs away as a buzz goes round the room. LOGAN: That's kind of a general invitation. If you don't like my girlfriend then� Duncan reacts and Veronica gasps and looks back at him. LOGAN: �just start heading toward the rectangle with the knob. MEG: [To Duncan] Are you okay? Duncan pushes himself off the pillar with a heavy breath and walks to the door. Logan tries to talk to him. LOGAN: Look, Duncan, listen, I wanna� Duncan doesn't stop and goes out the door. Logan sighs heavily and leans against the door. Veronica moves into the room and comes across Madison, holding two drinks. MADISON: So. Are you like dating Logan now? VERONICA: Yes, Madison. MADISON: Do you think his dad's gonna do another movie soon or what? He's way too cute to become a has-been. [Offering her one of the drinks] You want one. They said it was sugar-free but, I don't know. Veronica takes it cautiously, smiles and heads over towards Meg, standing by the pillar. Meg moves forward to warn her. MEG: You don't want to drink that. VERONICA: Why? MEG: I'm betting Madison gave you a trip to the dentist. It's her thing. She does it to people who she doesn't like. She spits in the cocktail and calls it a trip to the dentist, 'cause we're in eighth grade. Cut to Veronica grabbing Madison's arm. MADISON: Ow. What are you doing? VERONICA: Did you give me a trip to the dentist the night of Shelly's party? MADISON: What? Hello, I have no idea what you're talking about. VERONICA: Did you spit in your drink and give it to me at Shelly's? MADISON: Like I was the only person's spit you had in your mouth that night. Flashback to Shelly Pomroy's party. Dick walks over to Madison with a drink for her. He kisses her and hands her the drink. She gets it to her lips and pauses. MADISON: Regular soda? Why didn't you just fill the cup with lard? She starts to put the drink down but then sees Veronica. She spits in the drink and holds it out in Veronica's path. Cut to the present. VERONICA: You have no idea what you did to me. MADISON: Oh my god! I spit in your drink. You are like so scarred for life. Madison walks off, completely unrepentant and without a clue. Outside, Duncan walks slowly to his car. He opens the driver's door but it is locked. He looks for his keys but doesn't have them. He tries the door again with increasing agitation and starts punching and kicking it. He picks up a shovel from a wheelbarrow behind him and with a cry, smashes the window. He beats the door some more, this time with the shovel. Meg comes running out. MEG: Duncan! Duncan, what are you doing? Stop that. Duncan pays no attention and keep hammering away at the door. MEG: This is about Veronica, isn't it? You're still in love with her, right? Answer me. Duncan doesn't hear her and having dropped the shovel, he continues to kick the door. Cut to the rather sombre party. Aaron is showing a couple out. AARON: Thanks for coming guys. I hope you got something to eat. Behind him, Veronica stands alone, her face in her hands. Logan walks to her and holds out his hands. They exit out the back, hand in hand. They head towards the pool house. Logan skips down a step and turns back to swing Veronica down off it. Logan does a little skip as the walk on. They enter either another part of the pool house or a guest house or bedroom. The room is dark. There are curtains on the glass doors with the faces of the Echolls family. LOGAN: Now, see, why can't it just be like this? [Kisses her] Why do there have to be all those other people in this world? Logan kisses her again and pulls her towards the bed. VERONICA: What are you doing? Logan sits back onto the bed, pulling her with him. LOGAN: You're too short. She moves to sit on his lap. LOGAN: It means I level the playing field. They kiss and Logan slips Veronica's jacket off her shoulders. VERONICA: Is this where you take all your conquests? Logan laughs and falls onto the bed. LOGAN: Nope, only the short ones. Veronica leans over to continue kissing him. After a moment, Logan calls a halt.. LOGAN: Hey, I have to tell you something. Veronica isn't interested and kisses and teases him.. VERONICA: I'm sorry, we're past the confessional portion of this program. We're on to the make out. LOGAN: Listen, Veronica, stop, She stops and looks down at him. LOGAN: I gotta�I have to tell you something about Shelly's party. Flashback to Shelly Pomroy's party. . "Kingdom of Chemicals" by Sean Dailey plays. Logan is the one orchestrating the body sh*ts. He sprinkles salt over her and puts the lime in her mouth for another guy to enjoy. LOGAN: [Laughing] There you go, go for it. GUY: Here you go, sweet pea. Logan whoops as the guy takes his time getting the lime from her mouth. Cut to present. VERONICA: I know about the salt lick. I gonna choose to think of it as one of those not real things. LOGAN: There's more. Flashback to Shelly Pomroy's party. Duncan arrives and pushes the guy off Veronica. DUNCAN: What the hell are you doing? She can barely sit up, you freak! LOGAN: Wait dude, you can't be the cavalry and a martyr, man. Pick a side. DUNCAN: Leave her alone. Logan opens a capsule of GHB and puts it in a drink. He walks over to Duncan and the completely-out-of-it Veronica. LOGAN: [Repentant] Hey, I'm sorry, dude. You know, man, you're, I mean, you're totally right. It's no way to have fun, huh? He hands Duncan the laced drink. LOGAN: Cheers. Duncan stares at Logan and the drink for a moment then smiles and accepts it, taking a drink. Logan walks away. Cut to the present. Logan is propped uo on his elbows and Veronica is still sitting upright across his lap. LOGAN: I just wanted Duncan to have some fun. You know, he barely even smiled since Lilly� VERONICA: You didn't know what would happen. LOGAN: I'm the one who's responsible for what happened to you. And I can't take that I hurt you like that. I can't take that I hurt you when all I want to do is protect you. Veronica's response is force him back to a prone position with her kiss. After a moment with her on top of him, he holds her away. LOGAN: I want you to trust me. VERONICA: [Softly] I do. They kiss some more. LOGAN: Okay. I don't know about you, but I could use a refreshment about now. VERONICA: Hmm. Veronica rolls off him onto the bed. Logan gives her a quick kiss and rolls off the bed. He gets a small screwdriver from a drawer and proceed to unscrew a small vent from the wall. Veronica recognises something. VERONICA: You learned that from Lilly. LOGAN: No, Lilly learned that from me. He removes the vent and takes something from behind it. LOGAN: It's almost endearing that I need a key to the liquor cabinet, don't you think? Veronica smiles. Logan uses the key but it snaps off in the lock. LOGAN: Wow, just wild, huh? Veronica nods. Logan walks around the back of the bed and holds his hands out for her. Kneeling on the bed, she scoots over and they kiss. LOGAN: I'll be right back. Two minutes? VERONICA: Hmm-hm. LOGAN: Okay. He pushes her flat down onto the pillows with another kiss. She playfully pushes him off and he exits. Veronica lies back on the pillows, looking up at the ceiling fan. She notices the fan has a line running from the ceiling to a bookcase. She looks more closely at the fan and sees an aperture. She investigates bookcase, which slides apart to reveal a video recorder and two screens, both trained on different views of the bed. She looks back at the bed, then goes over to it to check what the screens show. She is horrified. Cut to Weevil as Veronica runs up to him. WEEVIL: You okay. VERONICA: Thanks for coming to get me. He gives her a helmet and she climbs on the back of his bike. Cut to Veronica outside the Mars' apartment. She enters. VERONICA: Honey, I'm home. Veronica is stunned to see Lianne, sitting with Keith. LIANNE: So am I, honey, so am I. End.

{"type": "series", "show": "Veronica Mars", "episode": "01x21 - A Trip to the Dentist"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars� Duncan reunites with his mother on the tarmac and Keith talks to Celeste (from 121 "A Trip to the Dentist"). KEITH: Stop by the office and we'll finish up. CELESTE: Finish up? KEITH: I'm referring to the reward. CELESTE: Veronica and I had an arrangement. Duncan and Veronica at the front door of the Kanes home in the same episode. DUNCAN: I'm a m*rder and a r*pist now. Cut to Duncan waking up in bed with Veronica from the flashback in the same episode. DUNCAN: I slept with you. Cut back to Duncan and Veronica at the front door of the Kanes home in the same episode. VERONICA: Well what about that is so wrong? DUNCAN: 'Cause you're my sister. Cut to Keith in Las Vegas with Cheyenne from the same episode. KEITH: I know you were with Abel Koontz at the time he supposedly m*rder Lilly Kane. Cut to Keith and Alicia cuddling on the Mars couch (from 118 "w*apon of Class Destruction"). WALLACE: [Offscreen] You think they're serious. Cut to Wallace and Veronica in Veronica's bedroom from the same episode. VERONICA: It won't last long. My mom's in rehab. Cut to Lianne sitting with Keith at the Mars apartment (from 121 "A Trip to the Dentist"). VERONICA: When she gets cleaned up, she's coming home. Cut to Weevil confronting Logan from the same episode. WEEVIL: If you think you're going to lay a hand on her the way you did Lilly... LOGAN: Don't you even say her name. Cut to Veronica and Logan in the pool house from the same episode. VERONICA: You learned that from Lilly. LOGAN: No, Lilly learned that from me. Cut to later in the pool house when Veronica finds the videotaping equipment from the same episode. End previously. Open with a sh*t across the cubicles of a newspaper office. The camera pans down to Lloyd, cynical newspaperman who leans back in his chair, his hands behind his head. LLOYD: Now, let me make sure I'm hearing this correctly. Abel Koontz couldn't have k*lled Lilly Kane because at the time of the m*rder, he was in the company of Miss, um� The camera reverses to show Keith and Cheyenne standing in from of him. CHEYENNE: Cheyenne. LLOYD: Cheyenne. KEITH: Deborah Collins, yes. LLOYD: [Sighs] Keith, even if I did believe your story which, at the moment I don't, there's no way top brass would risk a story like this. If is turned out to not be true, we'd become a national joke. CHEYENNE: Well, we tried. Cheyenne turns as if to go but Keith puts a hand on her arm and stops her. KEITH: It is true. I'm serving up the story of your lifetime, Lloyd. LLOYD: Look, Keith, I can't risk my career because of testimony, all due respect, of a hooker. KEITH: Well, there's more, a lot more. Keith gets a file from his case and hands it to Lloyd. KEITH: You read it. If you think there's merit, talk to Miss Collins here. Lloyd takes the file, still sceptical. KEITH: Thanks. Lloyd looks resigned. Keith gives Cheyenne a comforting touch then leaves. Cheyenne, fed up, looks back down at Lloyd who sighs heavily. Cut to Keith coming up to the door of his apartment. He has some mail and looks at one particular envelope. It is from Unified Genetics and marked: Results Confidential. He stares at it for a moment and is about to open it when he hears the sound of laughter coming from the apartment. He puts the unopened envelope into his pocket and enters the apartment. Veronica and Lianne are chopping the accoutrements for tacos. They both have a spoon in their mouth and are giggling. VERONICA: Hi Dad. This is so stupid. LIANNE: No, I'm telling you. No tears. Keith, the radio, like old times. [To Veronica, re the spoons] It works, see. Keith turns on the radio. Connie Francis sings "Where the Boys Are". SONG: Where the boys are Someone waits for me A smilin' face, a warm embrace Two arms to hold me tenderly Where the boys are, my true love will be He's- Lianne responds to the music choice by calling out to Keith. LIANNE: Keith, tacos. Veronica stares at her mother. LIANNE: What? VERONICA: It's just funny to me how you always have to have your music match your meal. LIANNE: It is called setting a mood. VERONICA: Of course. LIANNE: Connie Francis is spaghetti bolognaise with a crusty bread and a nice Chianti. [Off a look from Keith] Uh, sans the Chianti. VERONICA: Okay, say we were having hot dogs and Tater Tots? LIANNE: Late seventies southern rock, Skynyrd, maybe Creedence. VERONICA: Pork chops. LIANNE: Country, old school. KEITH: Unless it's fried, then it's Elvis, the early years. Lianne raises a bottle of water to Keith in agreement, then drinks from it. Keith goes back to the radio and changes the music to "La Bamba". SONG: Por ti sere Por ti sere Bamba bamba Bamba bamba KEITH: There you go, how's that? LIANNE: Perfect. Cut to Keith, sitting in his office at Mars Investigations. He stares at the envelope from Unified Genetics and then opens it. He is nervous but opens out the sheet therein and reads. The door to Mars Investigations closes behind his visitor. CLIFF: [Offscreen] Tell me this is a joke. Cliff saunters in from the outer office. CLIFF: You want to sue the Kane family. Keith stuffs the results back in the envelope as Cliff takes a seat. KEITH: Yes. CLIFF: Please tell me there's another Kane family in town. Maybe a Boris and Gilda Kane? KEITH: They'll settle. CLIFF: Oh, they will. Well, that's good to hear. Seems like you have this pretty well sewn up. Anything you need me to have notarised? Cut to a newspaper which carries the front page headline: Eyewitness Steps Forward: Escort claims she was with Koontz at time of Kane m*rder. The camera moves up to show that Dick is reading the story on the inside pages, with Beaver looking over his shoulder. They are outside Neptune High. BEAVER: [Concerned] There's phone records, man. An-an-and how do you-how do you explain the shoes, huh? DICK: It doesn't mean jack. You need to chill out, Beav, right now. To the grave, man, that's what we said. Beaver is not convinced. Cut to inside the school as Wallace, reading from the newspaper, and Veronica walk down the hallway. WALLACE: [Reading] Since his removal from office, Keith Mars, the ousted sheriff, has tirelessly and single-handedly continued his own investigation, despite being shunned by the community at large. VERONICA: You'd think it might be gross to read a love letter to your dad, but I kind of enjoy it. WALLACE: All I know is if I were him right now, I'd be I-told-you-soing all over Neptune. Veronica looks up at the sound of students greeting each other and sees Logan. She forcibly veers Wallace and herself off course, into the girls' bathroom. WALLACE: My blonde-pulling-me-into-the-girl's-room fantasy? Ruined! Veronica looks at Wallace. VERONICA and WALLACE: [Simultaneously] Do me a favour? Wallace grins. VERONICA: Go outside and tell me when Logan's gone. WALLACE: Okay. How much longer do you think you can avoid him? Wallace exits as Veronica leans back against the door. Cut to Alicia with Keith at Mars Investigations. Both are upset although Keith, unlike Alicia, is managing to hold back tears. KEITH: I mean, believe me, the last thing I want to do is hurt you. If there's a chance to keep my family together, I have to take it. I just don't know what else to say. ALICIA: You're really doing this? Is it really what you want? Keith doesn't respond but looks despondent. Alicia strokes his arm, lets out a sob and turns to run from the office. As she is exiting, Veronica enters and Alicia pauses a moment to look at her and then goes on. Veronica looks at her father. VERONICA: Everything okay? KEITH: Oh, it's fine. I just had to tell Alicia that my situation is changed. VERONICA: Sorry. I know how much you care about her. KEITH: Yeah. VERONICA: She's got to understand, though, right? I mean with Mom coming back? KEITH: Yeah. They hug. Cut to the Kanes. Jake and Celeste are working on a seating plan at the kitchen counter. Celeste is seated at the counter on one side whilst Jake is standing on the other, mixing a drink. JAKE: Don't seat the entertainment people next to the corporate people. Right? Let's keep it civil. CELESTE: Jake, honey, when did we become Republicans? JAKE: We haven't, we're, uh, we're going with the flow. Besides the, uh, governor's, uh, very popular and, uh, honestly, it's going to be good for business. And his social policy- CELESTE: No. Just�spare me. Duncan enters with a newspaper in his hand and stands next to Jake. DUNCAN: So, anyone read the paper today? Garfield. I mean, will he ever learn? Oh yeah, and there was this other thing. I guess Abel Koontz didn't k*ll Lilly. Let's open the floor for discussion on that one, what do you say? CELESTE: It's hogwash, Duncan. It's an invention of Keith Mars. The woman was a prost*tute, for god's sake. DUNCAN: [Angry] Stop! Quit lying to me. JAKE: Duncan, please. DUNCAN: Dad, I can't take it anymore. All the lies. Does anyone ever tell me the truth? Ever? You treat me like I'm six years old, you always have. JAKE: You wanna know, Duncan? You want to know everything? CELESTE: Jake, no! DUNCAN: Yeah, I wanna know. JAKE: You did it, son. You had a fit. You k*lled your sister. Duncan can't believe it. Flashback to the scene of Lilly's m*rder. Celeste calls from the house. CELESTE: Duncan. Duncan, come inside. Duncan is down by the pool, in his football gear, cradling Lilly. Jake joins Celeste and they look at each other in confusion. JAKE: Duncan! Jake and Celeste race towards their children. JAKE: Duncan! Duncan turns his head. His face is covered in Lilly's blood. Celeste screams. Lilly is d*ad. Both crouch down next to Duncan and Lilly. JAKE: Lilly? Jake stares at his son. Cut to present as Duncan stares at his father. The doorbell rings and Celeste exits to answer. Jake puts his hands on Duncan's shoulders. JAKE: Look, it was an accident, Duncan. We know it was. You didn't know what you were doing. You loved your sister. We've done this for you, son, so you could have a future. Jake pulls the distraught Duncan into a hug. Duncan cries. Celeste calls out from the doorway. CELESTE: Keith Mars is suing us. We've been served. Jake looks over at her a little disturbed by her lack of appreciation of his current priorities and returns to try to comfort Duncan. Cut to Neptune High. Veronica is working in the darkened journalism classroom. Beaver enters. BEAVER: Hello? VERONICA: Beaver? BEAVER: It's, uh, it's Cassidy. My real name's Cassidy. VERONICA: What can I do for you Cassidy? BEAVER: Well, there's something that you should know, it's for your own good. VERONICA: Spill. BEAVER: Well, the weekend that Lilly was k*lled, me, Dick and Logan, we were down in Mexico, surfing. VERONICA: I know this. BEAVER: Yeah, well Logan, he, uh, he got-he got all worked up, you know, talking about how he that Lilly was seeing somebody new. VERONICA: Yeah. BEAVER: So he got up early that morning, the day that Lilly was m*rder, he drove back to Neptune to see her. Veronica is horrified. Cut to Keith's office. VERONICA: [Flatly] Beaver said that Logan had bought Lilly a sh*t glass that he found in a tourist shop down there. KEITH: Does that seem odd to you? VERONICA: Not that odd. Lilly collected sh*t glasses. Beaver said it said "I got baked in Ensenada" and she would have loved it. KEITH: [Concerned] Are you all right, honey? VERONICA: Yeah, just�Logan. Keith has a light bulb moment. KEITH: Baked in Ensenada! Veronica! Cut to them in the main office, papers strewn everywhere. "Bad Boyfriend" by Garbage starts up. SONG: C�mon baby be my bad boyfriend So ripe so sweet come suck it and see But watch out daddy I sting like a bee I know some tricks i swear will give you the bends C�mon baby be my bad boyfriend I�ve got something special for my bad boyfriend Keith is reading one of the files. VERONICA: What are you looking for? KEITH: This. It's an inventory of everything in Lilly's bedroom, everything in Lilly's car. sh*t glass. Baked in Ensenada. It's here, it was in her car. You know what this means? VERONICA: Means Logan found Lilly. Cut to Neptune High. Logan is at his new, upper locker as Veronica comes into view further up the hallway. They stare at each other for a moment then her returns his attention to putting his books in his locker. SONG: I�ve got something special for my bad boyfriend Veronica plasters a smile on her face and walks up to him. VERONICA: Hey. Logan looks up, then looks around. LOGAN: Oh. I exist? Thought I felt different today. VERONICA: I've been avoiding you. LOGAN: Really? I hadn't noticed. VERONICA: I'm sorry. I freaked out. That night in the guest house, we were like crossing over into something and I-I don't know, all of a sudden I just felt really weird and guilty and I started thinking about Duncan and about Lilly and�it wasn't the easiest night to begin with. LOGAN: [Softly] I know. VERONICA: I just couldn't deal. LOGAN: Well, you could've told me. No, I mean even if you just said I can't deal but you bolt and you dodge me for a couple days� VERONICA: It's what I do. When things get out of control, I need to be alone. LOGAN: [Looking away from her] Listen, you know, I am freaked out, too, you know, this whole Abel Koontz thing. Veronica drops the fa�ade and stares hard at him. LOGAN: Knowing what we do about Duncan. I don't want to believe it could have been him but it's-it's like the only thing that makes sense, right? VERONICA: I don't know. LOGAN: I have this feeling that things are gonna get really bad. VERONICA: Yeah? LOGAN: [Looking at her again] Don't run out on me again, okay, I mean, if you need to do whatever, you just let me know. VERONICA: I need to do whatever. Logan sighs, disappointed and returns to his book. VERONICA: Just for a couple of days and then I'll be back to normal or as close to normal as I can get. Logan stares at her for a moment. LOGAN: Okay. He leans forward, kissing on the forehead, shutting his eyes. LOGAN: You know where to find me. Veronica is uncomfortable and Logan walks away. Veronica uses her cell phone. VERONICA: It's me. I just ran into Logan. I know, I know. I couldn't help it. He's trying to pin it on Duncan. Any news on Tijuana? Cut to Keith. KEITH: The Border Patrol got back to me. Logan's car crossed the border at 8:57am on the day Lilly was m*rder. Beaver was telling the truth. Cut back to Veronica who is standing outside an empty classroom. VERONICA: He had plenty of time to get back to Neptune and k*ll her. Cut back to Keith. VERONICA: [Offscreen] Okay, I'll see you later. KEITH: Hey, are you okay? Cut back to Veronica. VERONICA: No, I'm fine. KEITH: [Offscreen] Love you. VERONICA: Love you to. Veronica finishes the call. There are footsteps behind her. The classroom wasn't empty after all and Weevil appears from around the corner of the door. VERONICA: That's not what it sounded like. WEEVIL: It sounded a lot like Logan k*lled Lilly. These rich boys think they can get away with anything, don't they. Weevil wanders off. Cut to a conference room. Cliff and Keith are on one side of the table and Celeste and Barry Randall, last seen in 119 "Hot Dogs" are on the other side. CLIFF: Miss Mars may have agreed to help find your son but it was Mr Mars, a licensed private investigator who located him and ensured his safe return. CELESTE: I'd be happy to give Mr Mars a cheque right now. KEITH: And the condition? CELESTE: Veronica relinquishes any future claim to the Kane estate. BARRY: Contracts are prepared; all we need is your daughter's signature. Barry hands a file to Keith, which Cliff intercepts. CLIFF: Future claims? So what, she slips and falls outside Kane Enterprises; tough toenails? KEITH: Yeah, I guess now is a good time to protect your assets with the Abel Koontz witness coming forward. CELESTE: I'm sure you'll encourage your daughter to do the right thing. KEITH: Oh, believe me, I'm willing to make this deal. Cliff, recognising that there is subtext, has no blooming idea what it is and stares from one to the other of them. KEITH: But I'll let Veronica make the decision�once I figure out how to explain it to her. CELESTE: Keith, we both know your daughter knows exactly why she's being asked to sign this. And we both know it's better for everyone if she does. Cliff remains flummoxed. Cut to Keith, sitting on the couch in the darkened outer office of Mars Investigations. He is reading the contract. Veronica enters. VERONICA: You're not trying to burn a hole through a stack of paper using only the power of your stare again? KEITH: Hey, sweetheart. Have a seat a minute; I have to talk to you. Veronica sits next to Keith and turns her body to face him. KEITH: I met with Celeste Kane today. VERONICA: She's paying you double and sponsoring our club membership? KEITH: Well, she actually agreed to pay up but only if you sign this contract that says that you'll never sue them again. She wants you to waive any claim on the Kane fortune. Veronica looks at the contract and with no hesitation, picks up a pen and signs the document. Keith watches her. She notices. VERONICA: What? Was I supposed to sign in blood? KEITH: [Barely containing his emotions] Do you know what you just signed away? VERONICA: There's nothing that I want from them. KEITH: Nothing. You didn't sign away a thing. Keith pulls the paternity test result from under the contract. KEITH: Veronica, I am without a doubt your father. Veronica gives a great sob and after a second with her hands to her face she reaches out for her father. They hug fiercely, Keith with tears watering his eyes. Veronica laughs and sobs at the same time. VERONICA: Oh! Yeah, you are! KEITH: You think that charm of yours is learned behaviour? That's genetics, baby! Veronica grins through the tears and kisses Keith. She looks at him fondly then gasps and slaps a hand on his brow. VERONICA: I say we put a dent in that fi'ty grand and celebrate. KEITH: Actually, honey, this new information we have on Logan, his alibi is completely blown. I think we can finally go to the authorities. Veronica maintains her smile but is clearly affected by this. She nods VERONICA: Um-hm. Keith strokes her hair. Offscreen a doorbell rings. Cut to outside the Echolls' home where two cars from the Sheriff's Department are parked. Cut to inside as Aaron answers the door to Sheriff Lamb and two deputies. LAMB: Afternoon, sir. AARON: Sheriff. Can I help you with something? LAMB: You can show me to your son's room. [Holding up a warrant] We're gonna need to search it. AARON: What do you want with my son? LAMB: Some new information has come up regarding the Lilly Kane m*rder case. We're gonna follow up. Routine. Lamb presses past Aaron into the house, his deputies following. AARON: Whoa, whoa, whoa. You can't just barge in here! LAMB: Now, come on now. What? You've been in like, what, thirty cop movies? [To the female deputy] Hey, make sure you check the air conditioning vents. DEPUTY: Got you, boss. LAMB: [To Aaron] Our snitch says these crafty little buggers today; they hide things in the vents. AARON: Wait a minute, wait a minute. W-where's my son? Cut to Neptune High as Logan exits the school, heading across the car park. Weevil is waiting for him and starts to follow him, dropping a steel pipe from his sleeve into his hand. He is about to strike when Deputy Sacks and another deputy appear from behind the school bus. SACKS: Logan Echolls? Weevil pulls back. LOGAN: Yeah. What's going on? SACKS: We'd like you to come with us down to the station, please. We have a few questions we'd like to ask you. Weevil walks off as Logan is taken away. Cut to an interrogation room at the Sheriff's Department. Lamb and Logan are seated on opposite sides of a small table, alone. LAMB: [Tapping the table for emphasis] You said you were in Mexico the day of Lilly's m*rder. Why? LOGAN: How many episodes of "NYPD Blue" did you have to watch to get the finger tapping down? LAMB: I asked you a question. LOGAN: And I ignored it and moved on. Keep up. Logan snaps his fingers. LAMB: Do I look like I am playing around with you? LOGAN: So how 'bout that phone call, huh? LAMB: [Whispers] Whoops. LOGAN: What, you didn't read the manual? Okay, I get a phone call, it's the law. LAMB: Your daddy's already sending a lawyer. Logan, grinning, holds up his cell. LAMB: [Indulgently] Go ahead. Logan gets up with a laugh and moves to the corner of the room to use the phone. He punches a button. LOGAN: Hey, it's me. Cut to Veronica at home, getting a drink out of the fridge. LOGAN: [Offscreen] Hey, I'm in kind of a jam. Yeah, I'm here at the lovely sheriff's department, being grilled� Cut back to Logan. LOGAN: �without representation I might add. Hey, do you think, uh, you could track down my father, maybe work some of that Veronica magic that gets people out of these things? Cut back to Veronica who pauses. VERONICA: [Slowly] Sure. I'll do whatever I can. Cut back to Logan. LOGAN: Thanks. Well, I'd love to chat, but I have a guest. Logan glances at Lamb who looks amused. LOGAN: Talk to you later. Cut back to Veronica who is frozen. VERONICA: Okay, bye. Veronica stares vacantly as she lets the phone drop from her ear. Cut back to the interrogation room where Lamb is laughing. LAMB: You called Veronica Mars. LOGAN: Yeah. What's it to you? LAMB: Ah, it's funny, that's all, I just�I mean, she's the one who came to me with information about you. Logan is gutted and his heart breaks. Cut to later, Lamb's office as he enjoys his lunch. Deputy Sacks knocks and pokes his head round the door. SACKS: Keith Mars, line two. Lamb punches a button on his desk phone and leans back in his chair, still chewing. LAMB: Keith. What can I do for you? Cut to Keith at the apartment. KEITH: The Echolls kid. What'd you find out? Cut back to Lamb. LAMB: Among other things, I'm pretty sure� Cut back to Keith. LAMB: [Offscreen] �he's dating your daughter. Keith is thunderstruck by this. Cut back to Lamb. LAMB: That, uh, girl of yours� Cut back to a concerned Keith. LAMB: [Offscreen] �she's pretty hard-boiled, huh? KEITH: Logan. Where is he now? Cut back to Lamb. LAMB: We let him go on account we didn't have much to hold him on. He lawyered up. Cut back to Keith. LAMB: [Offscreen] You know the deal. Keith disconnects and drops the phone on the kitchen counter. Lianne is wiping the surface behind him. KEITH: Lianne, where's Veronica? LIANNE: She took Backup out. Keith ponders for a moment, then rises from the counter stool. Cut to Veronica and Backup on the beach. She walks past a group of people, one of whom has a surfboard. She pauses to get something from her bag as the group behind her breaks up and moves away, exposing Logan, hidden behind the surfboard. LOGAN: So, I guess we broke up, huh? Veronica looks behind her fearfully. She walks forward quickly. He follows. VERONICA: What do you want me to say, Logan? LOGAN: "Logan, I'm gonna go home and put my head in the oven because I can't go on living knowing what a heartless BITCH I am." Something like that! Logan has moved in front of her, stopping her progress. VERONICA: So you're saying you want me d*ad? LOGAN: [Matter-of-factly] Yes. He steps closer to her, clearly upset and on the verge of tears. VERONICA: One word from me and Backup goes for your throat. Logan glances down at Backup, then back at Veronica, and smiles, losing his angry tone which is replaced by with a sad, resigned one. He looks down at Backup again. LOGAN: Is that what you'd do, boy? You'd tear out my throat? On "tear out my throat", he directs himself to Veronica, significantly. He bends down and strokes Backup's head, baring himself to the dog. LOGAN: Who's a man k*ller, huh? Who's a man k*ller? Backup is friendly and licks his face. Logan chuckles then looks out over the beach, still kneeling. He sniffs back the tears. LOGAN: You know, I, [he lets out a deep sigh] I knew Lilly was seeing someone. It was driving me crazy. When I left for Neptune, I didn't know if I was gonna scream at her for treating me like dirt or beg her to take me back. He looks up and Veronica. He sniffs again then rises to his feet. LOGAN: And I saw her at the carwash. VERONICA: [Suspiciously] I didn't see you there. LOGAN: Well, I just parked across the street and watched her. And this feeling came over me, you know, I don�t�I don�t know how to describe it but I just knew it was over. So I sat in my car and I wrote this note to her, explaining it. VERONICA: Did you give it to her? LOGAN: Yeah, I left it in the car. VERONICA: With the sh*t glass. LOGAN: Yeah, with the sh*t glass. You know, if you read that letter, you'd know I'd never hurt her. There is the sound of a car horn and both look over at the source. It's Keith who gets out of the car and starts running across the sand towards them. KEITH: Hey! Get away from her! You get away from her, now! Veronica is relieved. Logan looks down for a moment then gives one of his twisted smiles of inevitably. LOGAN: I keep thinkin' that things can't get worse, you know? [He backs away from her] You know what? [To Keith] She's all yours. Keith reaches Veronica and puts his arm around her. Logan walks away. KEITH: You two are dating? VERONICA: Not anymore. Keith takes Backup's lead and steers Veronica back towards his car. Cut to Veronica in her room, in front of her laptop, staring into space, deeply saddened. From the laptop, "Wannabe" by the Spice Girls is playing. SONG: I wanna, I wanna, I wanna really really really wanna zigazig ha. If you wanna be my lover, you gotta get with my friends, Make it last forever friendship never ends, If you wanna be my lover, you have got to give, Taking is too easy, but that's the way it is. So here's a story from A to Z, you wanna get with me you gotta listen carefully, We got Em in the place who likes it in your face, we got G like MC who likes it on an� Easy V doesn't come for free, she's a real lady, and as for me..ah you'll see, Slam your body down and wind it all around Slam your body down and wind it all around. If you wanna be my lover, you gotta get with my friends, Make it last forever friendship never ends, If you wanna be my lover, you have got to give, Taking is too easy, but that's the way it is. If you wanna be my lover, you gotta, you gotta, you gotta, you gotta, you gotta, slam, slam, slam, slam Slam your body down and wind it all around. Slam your body down and wind it all around. On the screen, Veronica and Lilly are jumping around, singing along. VERONICA VOICEOVER: Dad says that though his deputies found the sh*t glass Logan left for Lilly, the break up letter Logan says he wrote was never discovered. If Lilly wanted to keep it a secret, I have an idea where she would have kept it. LILLY: [Offscreen] Veronica, you have to check this out. Flashback to Lilly's room as Lilly and Veronica lounge on the bed. "Wannabe" is still playing in the background. LILLY: That guy I met in Italy last summer? VERONICA: Yeah? LILLY: He sent me some pictures. Lilly has moved off the bed and grabbed a chair which she set under the air condition vent. VERONICA: Doing some rewiring? LILLY: Celeste is a bit on the nosey side. VERONICA: Yuck. Lilly retrieves something and heads back to the bed. LILLY: Tell me about it. I'm getting even, though. I left phone numbers on matchbooks for Tyrone and Leroy and Chico around the room. Give the woman a little drama in her life. VERONICA: Wait...who's Tyrone and Leroy and Chico? LILLY: Beats me, but they seem to really upset Mom. Veronica looks over Lilly's shoulder at the photographs in her hands. VERONICA: Lilly, those are naked photos. LILLY: They certainly are. They giggle. Cut back to Veronica staring blankly at the laptop. VERONICA VOICEOVER: If Lilly kept Logan's letter, that's where she would have hidden it. Now, what does one wear to meet the governor? Cut to later in Veronica's bedroom. She has clothes strewn around and is dressed in the outfit of a waitress. She is just finished donning a really bad black curly wig and puts on spectacles. Satisfied she heads for the kitchen, checking her phone as she goes. She reaches into the fridge and absently grabs her mother's water bottle and takes a swig. She chokes and spits out the vodka. Cut to her on the phone. VERONICA: Hi, the number to the Hazelwood Facility in Soquel? Cut to the Kanes reception. Waiting staff are wandering around with trays of canapes, serving the guests. Celeste is doing hostess duties, charming a male guest. CELESTE: Wouldn't plan it without you, of course. [To a hovering waitress] Dear, just take it over there. We'll talk to you later. As Celeste moves off, Veronica, her face hidden from Celeste by the tray she carries, makes her way through. GOVERNOR SCHWARZENEGGER: [Offscreen] The crab puffs are fantastic. Veronica continues to thread her way through. WAITER: Smoked salmon, and the same� She reaches the door to Lilly's bedroom, just off from the reception. She dumps the tray on a small table but it is not far back enough on the table and falls to the ground with a loud clatter. She goes back to pick up the tray. Cut to her entering Lilly's darkened bedroom. She sees the vent and heads for Lilly's desk, turning on a small lamp. She pulls a screwdriver from her pocket and the desk chair, moving it under the vent. She notices that one of the screws is partially undone. The door of Lilly's closet behind her moves but she does not notice. She continues the job, removes the screw and starts on the second screw when Duncan bursts into the room. DUNCAN: Who the hell are you? What are you doing in here? Duncan tackles her off the chair as she whips off the wig. VERONICA: Duncan, Duncan, it's me. DUNCAN: Veronica! What are you doing? VERONICA: I'm looking for something. DUNCAN: Well, shouldn't you be looking in my room, I mean, that's where all the clues would be, right? Yeah, yeah, [grabs her by the arms] come on. You didn't put on a whole costume an-and sneak into my house, just to leave empty handed. VERONICA: Duncan, stop. Veronica is struggling to free herself. DUNCAN: No, come on let's see what you can find out. Really, I want you to. Find out everything. Uh, maybe I left a confession on my Etch-A-Sketch. Duncan lets her go. VERONICA: Duncan, Duncan, calm down, okay. I don't think you k*lled Lilly, Duncan. I think Logan did. DUNCAN: No, no way. VERONICA: He wasn't in Mexico the day she was k*lled. Dick and Beaver lied for him. [From the closet, everything can be heard.] He came back early because he found out Lilly was seeing someone, Weevil, I think and he admitted that much, but he said he wrote her a letter on the day she died that would prove his innocence. I remembered Lilly used to hide things in her air vents. Duncan, shocked by what he is hearing, gazes up at the vent. DUNCAN: Let's see what's in there. Veronica returns to the vent and completes removal of the grate. She reaches in. DUNCAN: Well? She holds out three tapes. VERONICA: There's just these. She hands them to Duncan who studies them as Veronica replaces the grate. DUNCAN: I've got a camera we can play 'em on. They leave Lilly's room and a shadow moves in the closet. Cut to Duncan's room. He adjusts the television, then stands back with Veronica and presses the remote. The tape starts. It's the same room in the pool house that Veronica found the videotaping equipment in 1.21 "A Trip to the Dentist". DUNCAN: Where's this? VERONICA: Logan's. The pool house. Lilly appears on screen. VERONICA: That's her pep squad outfit. This�this is the day she died. LILLY: Come here, lover. Time to earn your keep. Lilly lounges back on the bed, looking up. Like Veronica, she spots the camera in the fan and the one in the statue at the head of the bed. DUNCAN: What? The tape cuts out. VERONICA: See the other tape. Duncan goes to the camera and swops tapes. DUNCAN: This one's dated October 1st. He returns to Veronica's side and point the remote. This time. Lilly is lying on top of someone in the bed. Duncan is uncomfortable but forces himself to watch. After a few different camera angles, the someone's face appears on screen. VERONICA: Oh my god. DUNCAN: Mr Echolls? Duncan freezes the tape on Aaron as he knowingly poses for the camera. Veronica and Logan are both shocked. Veronica flashes back to the carwash. LILLY: I've got a secret. A good one. Veronica races back to the present and starts to hyperventilate, stepping back to sit on the bed, her mouth agape. DUNCAN: Veronica? Duncan sits next to her. VERONICA: I know what happened. I know what happened. Flashback to Lilly at the pool house on October 3rd, lying on the bed, looking at the fan. She spots the camera and investigates, finding the videotaping equipment. LILLY: [Whispers] Oh, you dirty dog. Lilly takes the tape in the machine and the ones left lying on top and exits. Aaron makes his entrance through the Echolls family curtains. AARON: [Sing-song] Lilly. He sees she's gone and sees the bookcase open, exposing the cameras. He checks and discovers the tapes gone. Cut to Lilly driving home, running a red light and amused by the whole thing. Cut to her in her room, stashing the tapes in the vent. She then grabs a magazine and a bottle of screenblock and exits her room. Cut to Aaron, coming around the corner of the house to the pool area where Lilly has set her things down of a small table. AARON: I want those tapes back! LILLY: Mr. Echolls, hi! Sorry, Logan's not here. AARON: I am not playing with you. LILLY: Oh, really. Well, you're usually very interested in playing with me. AARON: Lilly, give me the tapes, now. LILLY: Like, what, you don't see yourself enough on film? AARON: I want those tapes, you stupid little bitch. Aaron is now furious and grabs her arm. Lilly breaks free. LILLY: Oh, I'm the stupid one? Well, now you can just watch the tapes on "Access Hollywood" along with the rest of America. Lilly dismisses him and turns her attention to readying herself for sunbathing. Aaron picks up a large, heavy ashtray from the table and swings hard just as Lilly looks up at him. He connects and Lilly, d*ad, goes flying. Aaron walks over to her, sees what he's done and looks around in a panic. He wipes the ashtray with his dark t-shirt and throws it in the pool. He runs off. Lilly lies there until Duncan comes home. He sees her and races to her. DUNCAN: Lilly! Lilly! Oh my god. Oh my god. No, no, no, Lilly, He reaches her and cradles her body, burying his face into her hair, smearing himself with her blood. DUNCAN: Lilly. Lilly, Lilly, come on. Come on. Lilly, wake up! Lilly, wake up. Wake up. My god, wake up. Lilly, wake up. Celeste and Jake come out of the house at which point Duncan is in shock and rocking with Lilly in his arms. They run to them. Celeste screams. JAKE: Duncan! Duncan, what have you done? What you done? Lilly! Honey, baby. What have you done? What have you done? Jake grabs the front of Duncan's shirt. CELESTE: No! JAKE: What did you do? CELESTE: No! JAKE: Honey, honey� Cut back to Duncan and Veronica. DUNCAN: Could he really do it? VERONICA: He's psychotic. I watched him b*at a guy into a bloody mess and then ask Logan how his school day was. He beats Logan, you know? Duncan nods. DUNCAN: He's here. Now. He came to meet the governor. Veronica grabs the tapes. VERONICA: I have to get these tapes to my dad. Will you help me? You keep Aaron in your sight at all times until I call you. DUNCAN: Yeah, of course. Veronica reaches the door. Duncan stands and calls after her and she pauses. DUNCAN: Hey! Be careful, okay. Veronica walks a short way back into the room. VERONICA: My dad had a paternity test. [Smiling] I'm not your sister. Duncan does a double take. Veronica gazes at him a moment longer then hurries away. Cut to her heading for her car, speaking on her cell phone. KEITH: [Offscreen] Hi, sweetheart. VERONICA: Dad, it's Aaron Echolls. He did it. Cut to Keith at the apartment. VERONICA: [Offscreen] I have video of Lilly in his bed on the day she died, they were having an affair. KEITH: Where are you? Cut back to Veronica. VERONICA: I'm just leaving the Kanes. Cut back to Keith. KEITH: No, you stay put. I'll be right there. VERONICA: [Offscreen] No Dad, he's here. Cut back to Veronica. VERONICA: He's talking to the governor. Duncan's gonna keep an eye on him, I'll be home in� Cut back to Keith, very concerned. VERONICA: [Offscreen] �ten minutes. KEITH: All right, you come straight home, you don't stop for anything. VERONICA: Okay. Cut back to Veronica as she disconnects the call. She punches in another number, never slowing her pace. Cut to the night skyline with the Coronado Bridge in the foreground. Garbage returns with "Bad Boyfriend". SONG: I�ve got a fever Come check it and see There�s something burning and rolling in me We may not last but we�ll have fun till it ends C�mon baby be my bad boyfriend I wanna hear you call out my name I wanna see you burn up in flames Keep you on ice so I can show all my friends Ah, c�mon baby be my bad boyfriend Logan is teetering on one foot on the edge of the bridge rail. He has his flask sprinkles some of the contents onto the water below, watching with fascination. He ignores the ringing of his cell phone from his car, abandoned behind him on the bridge. His answer machine starts. LOGAN: You've reached Logan and here's today's inspirational message: Adversity is the diamond dust with which Heaven polishes its jewels. Veronica disconnects in frustration. Cut back to Logan. He takes a swig from the flask as motorcycles approach and pull up around his car. He looks over with amused interest as Weevil takes off his helmet. LOGAN: [Laughing and drunk] Seriously, what do you-what do you think you can do to me, huh? WEEVIL: [Not amused] I'll think of something. Logan turns, still balanced on the edge, and takes up a �Matrix� pose, beckoning Weevil to bring it on. Cut to Veronica, driving in her car. Her cell rings. VERONICA: Hey. Cut to Duncan, in a panic. DUNCAN: I can't find him. Cut back to Veronica. VERONICA: Did you ask around? Cut back to Duncan. DUNCAN: I've been asking everyone but no one knows where he is. Cut back to Veronica. VERONICA: Thanks, well�call me if you find him. Cut back to Duncan. DUNCAN: Let me know when you get home, okay? VERONICA: Okay. Cut back to Veronica. VERONICA: Bye. Veronica disconnects and tosses the phone onto the passenger seat. She continues driving down the dark road. She looks in the rear view mirror and as she passes through moonlight, Aaron's face appears in it. She screams and fights to keep control of the wheel. Aaron leans forward from the back seat. AARON: Keep driving. Veronica is terrified, each breath a strangled sob. She goes to grab her bag on the passenger seat but Aaron snatches it away from her. AARON: Nuh, uh, uh, uh. Driving. Aaron r*fles through the bag and finds the tapes. AARON: Oh. I've been looking for these. He sits back in his seat. Veronica tugs on her seat belt to lock it, then swerves and crashes into a tree. Both are unconscious. Veronica's phone is ringing. Her eyelids flicker. Cut to Keith who gets Veronica's answer message. VERONICA: [Offscreen] It's Veronica. Leave me a message. Keith worriedly puts down the phone and checks his watch. LIANNE: Is everything okay, Keith? KEITH: Yeah, it's fine. I'll be back soon. He grabs his jacket and leaves. Cut to Veronica regaining consciousness. She jerks her head up from the steering wheel and sees Aaron, throw into the front seat, his head resting on the dashboard. Sobbing, she gingerly reaches into his pockets and retrieves the tapes. Her phone is on the floor under him and she carefully reaches down, underneath his body, to grab it. Aaron coughs and she jumps, pulling her hand back. She gets out of the car and looks around, She sees the lights of a house nearby. She runs towards it. She reaches the front door and knocks frantically. VERONICA: Hello! Hello! Is anyone home? Help me, please! Hello? She turns to run to the side of the house, glancing back at the crashed LeBaron. The passenger door is now wide open and Aaron is gone. With renewed fear, she runs round the side, dropping one of the tapes in an old washing machine and another in a barrel. She gets to the back of the house. VERONICA: Hello? [Crying] Is anyone here? She looks around for something to throw at an upstairs window but settles for the third tape. It lands on the roof of the veranda. She backs up to see it, nearly falling off the decking over a steep drop. She grabs the banister and sees a light come on upstairs. She runs to the sliding glass door of the house, banging on it frantically.. VERONICA: Hello? Let me in! Let me in! Please, open the door. Please, let me in. The curtain is pulled back and a man appears at the door. VERONICA: Please, please let me in! There is a thump and the man seems to disappear, the curtain falling back. The door slides back, the curtains opens and it's Aaron, fist aimed directly at her. All is blackness as Veronica comes to again, sobbing. Aaron's voice crackles out. AARON: [Offscreen] Veronica? You're an odd duck. Hey, how many teenage girls keep walkie-talkies in their car? Aaron's left her with a walkie talkie which when activated, casts a red light. Veronica is entombed in a some kind of container, with little room to move. She tests out her prison. There's no way out. VERONICA: What have you done to me? AARON: [Offscreen] Veronica, dear. Where are my tapes? Cut to Aaron. He is sitting on top of Veronica's prison, a discarded refrigerator. AARON: I'll let you out as soon as I have my tapes back. Cut back to Veronica, still testing the container. VERONICA: No, thanks. Honestly, I feel safer in here. Cut back to Aaron who jumps off the fridge. The back porch is a veritable junkyard. AARON: Well you know, you shouldn't. Aaron finds a can of petrol. Cut to Keith, driving on the dark road, peering left and right. Cut back to Aaron as he pours the petrol all over the fridge and makes a trail along the porch. AARON: You wanna know something about Joan of Arc, Veronica? Huh? God didn't really talk to her. Uh-uh. It's true, I saw it on TV. You know, it was one of those historical forensics programmes. And they decided she had a brain tumour. b*rned alive. What a waste. She thought her death meant something. But all it meant was she was crazy. [Whispers evilly] Think about that. Veronica. Where are the tapes? [Screams] Where are the tapes? Cut to Keith getting out of his car. He has found the LeBaron. He looks around. Cut back to Aaron. AARON: [Whispering again] Veronica, where are the tapes, Veronica. [Screams] Where are the tapes? [Screams and kicks the fridge] Where are the tapes? You know, Lilly never told me where the tapes were hidden either. I-I kinda think there's a cautionary tale in that, Veronica. Something like I'm not going to let a seventeen year-old piece of ass [Screams] ruin my life! Veronica sobs. Aaron paces then hears her on the walkie talkie. VERONICA: [Offscreen] They're on the roof, I put 'em on the roof. Please let me out of here. Aaron climbs up to the roof. He finds the tape Veronica threw up there and then hears Keith calling out. KEITH: Veronica! Veronica! Keith appears under Aaron on the porch, g*n drawn. VERONICA: [Offscreen] Dad? Keith hears her from the walkie talkie and looks up. Keith sees Aaron on the roof, but it's too late. Aaron leaps from the roof onto Keith, and they tumble into some lawn chairs. Getting up, Keith immediately grabs Aaron in a headlock, but Aaron struggles, propelling them both into a barbecue grill. Inside the refrigerator, Veronica listens to the sounds of the men fighting. Aaron smashes a bulb on Keith's head and breaks free, and now he has the upper hand. He throws any object he can find at Keith, who tries to dodge but ends up taking quite a few hits, including several by a large toy pony. This is just as brutal as Aaron's att*ck on Trina's abusive boyfriend in 119 "Hot Dogs", but without the ironic musical accompaniment. As Keith is kicked to the ground, Veronica can only listen. But now it's Keith's turn to use an unconventional w*apon: a crutch. He whacks Aaron with it before pressing it against his chest and using it to push him into some shelves. Throwing the crutch away, Keith finally uses his hands, and Aaron follows suit. The men grab at each other's faces for a few moments before Aaron punches Keith in the stomach, throws him into the shelves, and then tosses him onto the ground. Veronica gasps, not knowing who's losing the fight now. It looks to be all over for Keith as Aaron raises a piece of wood to deliver the final blow, but Keith quickly grabs a metal rod from the ground and hits him in the part of his anatomy his action figure doesn't have. Aaron falls, as any man would, and Keith punches him in the face to finish him off. Well, one more time won't hurt. Hey, let's go for three. But it's Aaron who has the last laugh. Calmly taking a lighter out of his pocket, he flicks a flame into life and tosses the lighter away. The gasoline lights immediately and Veronica is now trapped inside not just a refrigerator, but a flaming refrigerator ringed with flames on the porch. Keith rises to his elbows AARON: [Laughs] She's in the fridge, Keith. You might want to check up on her. Veronica bangs on the inside of the fridge, crying and choking. Keith races to the fridge but is beaten back by the flame. Aaron scurries away. KEITH: Hang on, honey. Keith holds up his arms to protect himself but his arms and legs are already on f*re when he gets to the refrigerator and lifts it to release Veronica. She rolls out, choking and coughing. Keith stumbles back and falls into the flames. Veronica pulls him up and past the ring of f*re onto an unaffected part of the porch. He is ablaze and falls again. She looks round frantically and finds a tarpaulin which she uses to b*at out the flames. She cries and holds him. VERONICA: I love you. I love you so much. I knew you'd come, I knew you'd save me. Dad. Keith is in bad shape and can only try to breathe. Cut to Aaron, who has made it back down to the road. He finds Veronica's bag still in the LeBaron and grabs keys out of it. He runs to Keith car and gets in the driver's seat. He puts the keys in the ignition but pauses� BACKUP: Grrrr.... Backup is in the back seat, his head coming forward between the bucket seats in the front. He goes for Aaron's right arm. Aaron struggles and finally wrenches himself free, jumping out of the car and slamming the door behind him. The window isn't open wide enough for Backup to pursue, so he barks at Aaron, staggering disoriented in the road. Aaron hears something, looks up and�bang, he's knocked over by a large van bearing the company name Thomas and decorated by a lilly in full bloom. He flies over the side of the truck and is left lying in the road, badly hurt. The driver screeches to a halt and gets out of the van, heading towards him. DRIVER: I'm sorry, man, I didn't see you, you were in the middle of the street. Oh my god, you're Aaron Echolls. AARON: [In a stuttering whisper] Help me. The driver bends down to him. VERONICA: [Offscreen] Don't touch him. The driver looks over his shoulder and sees Veronica, pointing Keith's g*n at Aaron. VERONICA: Do you have a cell phone? DRIVER: [Offscreen and awed] Yeah. VERONICA: Call 911. We need an ambulance, the police and the f*re department. Cut to an overhead of the scene, later. Ambulances and police vehicles are present. RADIO: Rescue one. Engine five one respond. What's your ETA? Keith is being wheeled past f*re engines on a gurney. Veronica is at his head. VERONICA: You mean the world to me, do you understand that? Are you listening to me? KEITH: Hey, who's your daddy, huh? VERONICA: [Half sob, half laugh] I hate it when you say that. Keith groans and smiles. Near one of the ambulances, the man from the house is being treated for the head wound Aaron caused. Aaron himself is still on the ground but he is on a stretcher and hooked up with neck brace and oxygen. A deputy stands over him. DEPUTY: Aaron Echolls, you have the right to remain silent. Anything you say will be used against you in a court of law. You have the right to an attorney. As Aaron is read his rights, Jake and Duncan pull up in a Range Rover. Lamb and another deputy watch as he heads towards Aaron. DEPUTY: [To Aaron] If you can't afford an attorney, one will be appointed to you. Do you understand these rights? Duncan makes to run forward with his father but Jake puts out his hand, making it clear that Duncan should stay where he is. Jake races to get to Aaron. JAKE: You k*lled my daughter. You k*lled my daughter� A couple of deputies rush to intervene. DEPUTY: Sir! JAKE: �and you're gonna pay for it. I'll watch you frying. I'll destroy your family and everyone you ever loved. You k*lled my daughter! The deputies have to work hard to force the increasingly agitated Jake back. LAMB: Jake Kane. JAKE: You k*lled my daughter! I'll watch you fry, Aaron. LAMB: You are under arrest for obstruction of justice. You have the right to remain silent. Jake is taken back, struggling, towards his own car. Veronica watches. JAKE: My daughter, my daughter. My daughter, my daughter. Duncan and Veronica share a long look across the chaos. Cut to the hospital as Veronica sits by Keith's bed. INTERCOM: Harriet Monk, physiotherapy. Dr Harriet Monk, physiotherapy. Veronica is looking pretty beaten up, the bruise of Aaron's punch to her face starting to darken. A doctor enters the room DOCTOR: He'll be fine. VERONICA: When? DOCTOR: Eventually, just be patient. And you need to get some rest. VERONICA: I won't let him wake up and find himself alone. DOCTOR: Is there anyone that we can call? Veronica thinks for a moment then nearly smiles. Cut to her entering the apartment. Lianne, looking at what appears to be an account book in Keith's room, runs into the lounge. LIANNE: Honey? What happened? Are you okay? Where's your father? Lianne goes to touch Veronica's bruise but Veronica pushes her arm away. VERONICA: He's in the hospital. LIANNE: What? VERONICA: He's gonna be okay. LIANNE: What, Veronica, what happened? VERONICA: [Voice wavering but strong] It's over now and I'll tell you the rest in the morning. But first I need you to pack. LIANNE: What? What do you mean? VERONICA: You can't be here when dad comes home. LIANNE: Veronica. VERONICA: [Upset] I know, Mom. I know you're not through drinking, I know you didn't even finish rehab. You checked yourself out and that was my college money. I bet on you, and I lost. I've been doing that my whole life. And I'm through. Veronica walks past Lianne, who spins her round to face her. LIANNE: Veronica...it's not easy. VERONICA: [Equally upset] I know it's not. Veronica removes her mother's arm from her own and turns to go to her bedroom. Cut to Keith waking up at the hospital. A hand is resting gently on his shoulder. KEITH: Hey you. Alicia is in the chair next to his bed and smiles. She leans over close to him. ALICIA: Veronica didn't want you to be alone. Cut to Veronica who lays down on her bed, exhausted. Cut to Lianne, in her coat. She unzips one of the pockets of Keith's briefcase and takes out the cheque for $50,000. She takes and, with her suitcase, leaves the apartment. Veronica sleeps and Cotton Mather's "Lily Dreams On" plays. SONG: Lily I hope you picture me in your dreams Put down your King James Bible, You don't need no kings Close you eyes, baby I'll dry mine Echoes through the phone Far from this, Lily dreams on Think back to fields of Catherine, you used to play I swore I heard you laughing And almost say Veronica dreams. She and Lilly drift on lilos in a pool filled with floating lilies. All is serene and blue green and cream and both wear pink bikinis. VERONICA: Isn't it better, like this? LILLY: So much better. VERONICA: This is how it's supposed to be. LILLY: Totally. VERONICA: This is how it's gonna be. From now on. Right? Lilly? LILLY: [Sighs deeply] You know how things are gonna be now, don't you? You have to know. VERONICA: [Hopeful] Just like this. Just like this. LILLY: Don't forget about me, Veronica. Veronica is alone in the pool. A tear runs down her face. VERONICA: I could never. There's a knock at the door. Veronica wakes and looks at the clock. It shows 3:07. It is not clear whether it is am or pm. She opens the door slowly and smiles fondly. VERONICA: I was hoping it would be you. Fade and end.

{"type": "series", "show": "Veronica Mars", "episode": "01x22 - Leave It to Beaver"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars… Veronica and Duncan watch the tape of Lilly and Aaron in 122 Leave It to Beaver. VERONICA: Oh my God. DUNCAN: Mr. Echolls? VERONICA: I know what happened. Flashback to Aaron k*lling Lilly. VERONICA: [offscreen] He's psychotic. Weevil confronts Veronica after learning that she suspects that he k*lled Lilly. WEEVIL: These rich boys think they can get away with anything, don't they? The PCH biker g*ng come across Logan, perched on the edge of the Coronado Bridge. LOGAN: What do you think you can do to me, huh? WEEVIL: I'll think of something. At the Kane residence, Veronica pauses before leaving to take the tapes to her father. VERONICA: My dad had a paternity test. I'm not your sister. While driving, Veronica screams when Aaron pops up in the back seat. AARON: Keep driving. Aaron interrogates Veronica who is trapped in the refrigerator. AARON: Veronica, where are the tapes? Keith arrives at the scene. Veronica screams as the fridge fills with smoke. Keith goes into the f*re to rescue her. Veronica cries over the body of her injured father. VERONICA: I knew you'd come; I knew you'd save me. End previously. INT – THE HUT – NIGHT. Three customers enter the coffee shop and approach the hostess desk. Veronica is the hostess. VERONICA: Table for three? CUSTOMER: Uh-huh. CUSTOMER: Mm-hmm. VERONICA: Right this way. CUSTOMER: Uh-huh. Veronica picks up menus from the hostess desk and leads the customers to their table. VERONICA VOICEOVER: Normal. That's the watchword. Sounds good, doesn't it? Music: Breathin’ by Asylum Street Spankers LYRICS: Is it hard to love you, baby? Well, I’d say the answer’s no ‘Cause I’ve been something of a fool at this so as far as these things go, It’s as easy as a-b-c, it’s like learning how to count You know that loving you is just like breathin’ in and breathin’ out. It’s not something that I can just decide that I no longer do You know I couldn’t help but love you even if I wanted to It’s an involuntary reflex, of that I have no doubt You know that loving you is just like breathin’ in and breathin’ out. Like the sun it rises every day and sets when you need coats And just how springtime always rolls around when wintertime is done Like the birds and bees instinctively know what it’s all about You know that loving you is just like breathin’ in and breathin’ out. It’s just something about the way you touch me when we’re all alone It’s a something in your smile that thrills me straight through to my bones And it’s just something in the way you make me scream you make me shout. You know that loving you is just like breathin’ in and breathin’ out. Like breathin’ in and breathin’ out Like breathin’ in and breathin’ out Like breathin’ in and breathin’ out VERONICA VOICEOVER: Senior year begins tomorrow and all appears hunky dory. Best friend? Check. Boyfriend? Check. Lilly's k*ller behind bars? Check. Veronica seats the customers at their table and passes out the menus. VERONICA: A waitress will be right with you. She walks back to the hostess desk. VERONICA VOICEOVER: Normal job, just like other people my age. I just wish fewer of my classmates showed up here. One of those classmates, Kelvin Moore, enters the Hut. Veronica and he meet at the hostess desk. VERONICA: Kelvin Moore. One? KELVIN: [hesitant] Ah, I need your help, Veronica. VERONICA: In finding a table? I'm your girl. KELVIN: Hey, I just got kicked out of athletics for my entire senior year. I failed the mandatory drug test. VERONICA: So what's new Kelvin? You failed it last year too, if I remember correctly. KELVIN: Yeah, but I'm clean now for going on ten months. Veronica holds out her hands. VERONICA: Give me your hands, look into my eyes, and swear to that fact. Kelvin puts his hands into hers, and looks into her eyes. KELVIN: Veronica, I swear that there is no possible way I could have failed that drug test. Veronica gives the appearance of being in deep thought. VERONICA: Hmm. KELVIN: So am I lying? She shrugs. VERONICA: I don't know. KELVIN: [laughing] Then what was all that for? VERONICA: I just wanted to see if you'd do it. You were very convincing, but I don't do that kind of work anymore. Veronica starts tidying the hostess desk. KELVIN: So who's supposed to help me out then? She shrugs again. VERONICA: Encyclopedia Brown? I hear he's good. KELVIN: I guess it's true what they say about you then, huh? VERONICA: [peeved] Probably, but you're going to have to narrow it down for me. KELVIN: [derisive] You're a 09er now. You went and landed yourself some rich boyfriend. A-a-and last year was just some-some big old act for you. You gotta pick sides in this town these days. You picked yours. Veronica opens her mouth as if to answer, but says nothing. KELVIN: Figures how none of the rich kids failed their drug test now, huh? Well, I gotta jet. See you around Veronica. You sleep well. Kelvin backs out of the entryway and leaves. VERONICA: [sarcastically] What, no biscotti? She stares after him. VERONICA VOICEOVER: Yeah, kind of bitchy, I know, but Kelvin's a bully. I'll sleep just fine. Veronica’s words don’t quite match her bothered expression. CUTE AS A BUG MANAGER: Veronica! Come here, check it out. Veronica walks over to the manager, who points the remote up at a television above the bar area. JULIE CHEN: Now, I can remember the intensive… CUTE AS A BUG MANAGER: Your dad's on television. Veronica and the manager watch. Keith, in San Diego is on “The Scene,” being interviewed by Julie Chen, in New York. Both are shown in boxes under which a tickertape runs: …kes a no g*n offensive policy. Weather: Phoenix AZ High 103 Low 84. Miami, FL High 93 Low 81. NewYork, NY High 84 Low 75. Seattle, WA High 63 Low 53, Los Angeles, CA High 86 Low 67. U.S News: United States Senate votes yes on more military aid in Iraq and yes on more… JULIE CHEN: ...coverage of the Lilly Kane m*rder, the press made you out to be some kind of Barney Fife character. Keith grins. JULIE CHEN:Are you feeling a sense of redemption? As Keith responds, he is given the whole screen and the description: Keith Mars. Co-Author, Big m*rder, Small Town. KEITH: A sense of relief would probably be more accurate. Um, I'd be lying if I said I didn't have days, weeks even, of doubting myself. Julie Chen asks another question as Veronica goes into a reverie. VERONICA VOICEOVER: Ah yes, the book. Dad didn't want any part of it, but given the medical bills, Dad's convalescence, and Mom running off with fifty grand, he had to listen when the crime reporter from the San Diego Tribune secured a book advance for his story. Back on the screen, Keith continues to tell his story. The tickertape has gone backwards, repeating the end of the weather and the start of the news on the Senate’s vote. KEITH: What I did know was that Mr. Kane was lying about the circumstance of his daughter's... CUTE AS A BUG MANAGER: Your dad's hot! Veronica throws her a WTF? look. On the television, Julie Chen, with her own name bannered across, is now in full face. The tickertape: …lion dollars. World News: Uganda Senate decides on aid for malnutritioned tribes in territories. Japan military takes a no g*n offensive policy. Weather: Ph… JULIE CHEN: Take us back to that night three months ago, the night Aaron Echolls was captured. You were nearly b*rned alive rescuing your daughter. Keith struggles to hold back his emotion. VERONICA VOICEOVER: Come on, Dad, just lay it out there for her: father crawls through f*re to save daughter, father rushed to hospital, daughter's night? Just beginning. Pause music: Breathin’ by Asylum Street Spankers. FLASHBACK: INT – MARS RESIDENCE – NIGHT. Veronica is woken by a knock at the door. She checks the clock. It is 3:07. She gets out of bed and opens the door. VERONICA: I was hoping it would be you. There is no response. The person has his back to her. Her soft smile turns to one of concern, either because of his failure to turn around and respond or because in the darkness, she initially thought it was someone else. VERONICA: Logan? He slowly turns around. His face is a bloody mess. LOGAN: Hey, Veronica. She gasps at what she sees. He stumbles into her. VERONICA: Logan, what happened? She holds him. Cut to later. Veronica is sat on the couch. Logan lies in her lap, his legs extended along the couch. One arm and his feet dangle off the side. Veroncia is gently wiping away blood. Logan struggles to talk. LOGAN: They got me alone on the bridge. VERONICA: Who's they? LOGAN: Ahhh, it was Weevil and all the PCHers. FLASHBACK WITHIN FLASHBACK: EXT – CORONADO BRIDGE – NIGHT. Logan is balancing on the bridge’s edge. Weevil takes off his helmet and watches him from his bike. LOGAN: Seriously, what do you--what do you think you can do to me, huh? WEEVIL: I'll think of something. VERONICA: [offscreen] What were you doing there? On the bridge, Logan does his Matrix bring-it-on gesture. LOGAN: [offscreen] Having a drink? Well, what do you think, Veronica? I mean, you'd broken up with me; you accused me of k*lling Lilly. Weevil gets off the bike, as does Felix. Weevil marches towards Logan. He looks over as a car honks as it passes. Logan takes the opportunity to land the first blow and kicks Weevil hard in the head. Weevil goes down with a groan. Logan jumps up and down on his narrow perch. LOGAN: Whoo-hoo. One down. FELIX: Oh, son. Logan looks over at Felix, the smirk momentarily fading. FELIX: You don't know what you just did. Logan laughs. Felix leads the bikers as they grab him and pull him off the ledge. BIKER: Get him, man. Logan is pulled back and thrown onto the ground. Felix and the other bikers, of which there are five, commence beating and kicking him. He doesn’t fight back and does little to protect himself. Eventually he stops moving. This doesn’t stop the beating. END FLASHBACK WITHIN FLASHBACK. FLASHBACK: INT – MARS RESIDENCE – CONTINUING. VERONICA: You’re lucky you're alive. Veronica strokes his hair. Logan doesn’t respond for a moment. He glances up at her then returns to staring up at the ceiling. LOGAN: Yeah, well, that's one way of looking at it. Logan gives a deep sigh. VERONICA: What is that supposed to mean? FLASHBACK WITHIN FLASHBACK: EXT – CORONADO BRIDGE – NIGHT. Logan is still on the ground, just coming round. DRIVER: [offscreen] Are you okay? Just lay there; I've called an ambulance. Logan wipes blood from his eyes and looks up. His vision is still blurred. He sees a man standing over him as his vision clears. DRIVER: Why don't you do me a favor and drop that Kn*fe. LOGAN: Huh? Logan looks down at his hand. He is holding a Kn*fe. There is a small pool of blood under it. He looks past his hand. Felix is laying a little way from him. He is d*ad, his pale shirt stained with blood from a s*ab to the chest. VERONICA: [offscreen] Oh my god, Logan. END FLASHBACK WITHIN FLASHBACK. FLASHBACK: INT – MARS RESIDENCE – CONTINUING. Logan looks up at Veronica, wide-eyed. LOGAN: No, but I didn't s*ab him, Veronica. VERONICA: [quickly] I believe you. LOGAN: I threw the Kn*fe in the water and I-I got in my car and drove. Veronica closes her eyes and takes a deep breath. VERONICA: [gently, but urgently] Logan, there's something that you need to know about your dad- LOGAN: Aaron Echolls? Charged with m*rder? It's all over the radio. Logan breaks with shuddering sobs. Veronica holds him a little closer. He groans as he cries. There is a knock at the door. They both glance up at the door. Cut to Veronica opening the door again. It’s Leo. LEO: [gently] Hey Veronica. She stares at him. LEO: I'm looking for Logan Echolls. Saw his SUV parked out front. I know he's here, uh...this would be better for everyone. Veronica sighs and pushes the door further open so Leo can see Logan, still laying on the coach. Leo drops his head then looks up at Veronica. He sees the bruise on her cheek. He reaches out and puts his hand on the side of her neck, leaning in to get a better look. He strokes her gently as he enters the apartment and walks over to Logan. Veronica doesn’t turn around to watch, instead sagging against the door, sad. LEO: You have the right to remain silent. Anything you say can and will be used against you in a court of law. END FLASHBACK. INT – THE HUT – CONTINUING. Resume music: Breathin’ by Asylum Street Spankers. Veronica and the manager are still watching Keith on the TV. VERONICA VOICEOVER: Suffice to say, I've got plenty of material for any back-to-school what-I-did-last-summer essay I'm asked to write. Veronica takes the remote from the manager’s hand, points it at the screen and switches the television. She hands the remote back and walks away. The manager has the hump. CUTE AS A BUG MANAGER: I was watching that. End music: Breathin’ by Asylum Street Spankers. EXT – NEPTUNE HIGH SCHOOL (NHS) – DAY. Veronica, with a new, chocolate-colored bag, walks past one of the notice boards. Various posters fill the boards and the sides of the school, including one that says “Seniors On Track!” Wallace is coming up fast behind her. VERONICA VOICEOVER: Here it is, senior year. A fresh start. Try not to screw it up, Veronica. Wallace catches up and keeps pace beside her. VERONICA: Seniors rule! Veronica body-checks Wallace but he is not in as good a mood as Veronica. WALLACE: Hey. You didn't call me back last night. Veronica throws her arm around him. VERONICA: Don't go getting all girl on me. WALLACE: Man, I got kicked off the basketball team. Veronica stops walking and then so does Wallace. VERONICA: What? Wallace turns back to face her. WALLACE: I failed my drug test. I'm booted from athletics for the whole year. VERONICA: You don't do drugs. WALLACE: No duh, Sherlock. And it wasn't just me. Five of us total failed--and Jimmy Day, our starting quarterback, he passed it. And everybody saw him blazing one up down on the boardwalk. VERONICA: I heard no 09ers failed it. WALLACE: Think it's a conspiracy? VERONICA: This is Neptune. Nothing happens accidentally. WALLACE: [sighs] Well you were wrong about the drug test. One 09er did fail. VERONICA: Who? WALLACE: You're not gonna believe it, either. VERONICA: I'm not the one who's easily shocked. WALLACE: Meg. Veronica is shocked. VERONICA: Meg? Veronica begins to walk away, shaking her head and thinking. WALLACE: So you'll help? Wallace follows her. VERONICA: Do you even have to ask? They walk on. VERONICA: Just when I think I'm out, they pull me back in. Opening credits. EXT – NHS, LUNCH AREA – DAY. Veronica and Wallace come out of the school, carrying their drinks. They pass another banner on the school wall, “Welcome Class of 2006.” WALLACE: So you're standing there in nothing but a jock. They hand you this little itty-bitty cup. You go into the stall; you do your business. Then as you watch, they seal it with this piece of tape. And then they make you sign the tape. VERONICA: And then what? WALLACE: Then they send it to a lab. And if the seal is broken, the lab is supposed to reject it. They sit at an empty table. VERONICA: So there's no way anyone could have switched the samples. WALLACE: Nope. Veronica pulls her bag up onto the table and starts looking through it. VERONICA: Hey, what period do you have office aide this year? WALLACE: Believe it or not, I didn't sign up for a second year of office aide. VERONICA: Yeah, that doesn't work for me. WALLACE: Well you can take that up with Moms. She had these crazy ideas about me having a well-rounded education. But don't underestimate me. He holds up a key. WALLACE: The master key. Veronica takes the key, pleased. Wallace scoots closer over to her, pulling out a slip of paper. WALLACE: Yeah, and I got all the administrative passwords I could get my hands on. Veronica grabs the paper. VERONICA: Ooo, you're good. WALLACE: You know, you know. I get all my criminal tendencies from you. So how you gonna go at this? VERONICA: Try to figure out what the connection is between all the people that failed the test. Got any enemies you know about? WALLACE: Well, there's the Klan. VERONICA: This is not really their MO. WALLACE: I guess that leaves everybody that hates you. Veronica gives him a rueful glance. Wallace grins and Veronica pouts prettily. Wallace looks around. WALLACE: So where's your boyfriend? I expected to be ignored at lunch today. VERONICA: He's skipping the first couple of days of school. He's visiting his dad. WALLACE: Well, why would he want to do that? Wallace gets up from the table, grabbing his bottle of drink. VERONICA: That's what I said. WALLACE: Later. Wallace exits, leaving Veronica to ponder. VERONICA VOICEOVER: I'll say this: there was something much easier about having a secret relationship. But I guess, from now on, that's next to impossible. FLASHBACK: INT – THE HUT – DAY. Veronica checks some customers and then walks towards the manager. CUTE AS A BUG MANAGER: That guy over there asked to sit in your section. You know him? Veronica looks over and sees Duncan sitting at one of the tables. She smiles. VERONICA: Yeah, I know him. CUTE AS A BUG MANAGER: Okay. She walks over to his table. VERONICA: Hey. DUNCAN: Hey. VERONICA: I haven't seen you around this summer. DUNCAN: Yeah, it's been kind of complicated. You know, parents on trial, Mom and Dad finally had enough. They've moved up to the Napa house for the duration, at least ‘til this blows over. VERONICA: But you're staying here? DUNCAN: I don't want to transfer to a new school for my senior year. I have the Presidential Suite at the Neptune Grand. Duncan waggles his eyebrows and Veronica smiles. VERONICA: Of course you do. The manager appears at her elbow. CUTE AS A BUG MANAGER: Veronica, your boyfriend's here. Veronica is a little uncomfortable as she turns and sees Logan waiting near the hostess desk. He sees Duncan and moves in a little further. She turns back to Duncan. DUNCAN: Latte, when you get a minute? VERONICA: Okay, yeah. Duncan watches as she approaches Logan. Logan watches him watch. VERONICA: Hi. LOGAN: Hey. VERONICA: Hey. Logan is still pretty b*at up, his face bearing bruises. He looks down at her as she rises up on her toes to give him a quick kiss. He is having none of it and deepens the kiss until she pulls away. LOGAN: Hey, babe. He strokes her cheek. VERONICA: Hi. END FLASHBACK. EXT – NHS, LUNCH AREA – CONTINUING. VERONICA VOICEOVER: Logan and Duncan don't speak anymore. I guess that's what happens when your best friend starts dating your ex. Now, where was I? Veronica turns around and sees Kelvin at a table behind her, laughing with some other students. VERONICA VOICEOVER: Oh yeah. Who's out to get Neptune's top athletes? Veronica grabs her bag and her bottle of water and joins Kelvin, sitting down at his table. VERONICA: Kelvin, I've had a change of heart. KELVIN: Oh yeah. I, uh, heard your beard Wallace got nailed too. So, uh, I guess that changes everything now, huh? VERONICA: I guess so. So, and I mean other than me, can you think of anyone who would want to do this to you? KELVIN: Nuh--people love me. VERONICA: No, they don't. You pick on the weak and helpless. KELVIN: I call a geek a geek, if that's what you mean. But now that I think about it, there was this one kid who swore he'd ruin my life but, he doesn't have the cajones, trust me. VERONICA: Who? Veronica reaches down into her bag. She pulls out her camera. KELVIN: This kid, a h*m*. They call him "Butters." You know, he was climbing the pegboard in gym class before PE last year, trying to show off. He pissed me off. VERONICA: So? KELVIN: So I pantsed him. It was hysterical. VERONICA: Wow, you're cool. Veronica takes a picture of Kelvin and on the flash, the scene cuts to later. Veronica is now talking to Jilly Ho. JILLY: My dad's getting sued by Boatloads of Fun Corp. Veronica is still carrying the camera. VERONICA: They don't sound fun at all. JILLY: Yeah. My dad brokers vacation property down in Cabo. He leased a beach house to a group of families that call themselves "Boatloads of Fun." You know, Steve Wacker's friends and that crowd? Well, the roof leaked in one room. So now they're demanding all their money back. Veronica takes another picture and does another time jump forward. She and Viet Nguyen are walking towards the lunch area from the car park. Veronica’s bag is on her shoulder. VIET: You know Jennings Crawford? VERONICA: Who doesn't? Veronica reaches down in the bag for her camera. VIET: I b*at him out for number one singles last year. He threw a fit. His parents even tried to have Coach Hart fired. There was a school board meeting and they brought in Ille Nastase to testify that Jennings was a better tennis player. It was crazy. VERONICA: Hmm. Veronica takes his picture. VERONICA: Thanks. Viet walks away. VERONICA VOICEOVER: There used to be one 09er girl I could call "friend." Veronica looks up and sees Meg, disposing of her lunch debris at a large trash can in front of one of the Welcome signs. VERONICA VOICEOVER: She was the one of her kind who actually treated me like a human when no one else in that crowd did. When Duncan broke up with her, she blamed it on me. Things have been chilly, at best, ever since. Veronica, determined, approaches Meg. She adopts a cheerful demeanor. VERONICA: Meg, hey. Senior year, huh? We're almost done. Meg is very unwelcoming. MEG: Did you want something? VERONICA: Well, I heard that you were kicked off the cheerleading squad. MEG: Yeah, but you know me, I'm a major stoner. It was really affecting me too. I was like, [in cheer rhythm] "Let's go, let's go, L-E-T-S...duh...." VERONICA: Can you think of anyone who might have done this to you? MEG: Well there is this one person. I used to think she was a friend but, ah, but yeah, yeah now that I think about it, she'd have no reservations and she definitely has the talent to pull it off. Let me know if you have any luck tracking her down, okay? Meg walks away from Veronica. INT – NHS, HALLWAY – DAY. The school has introduced security scanners at the entrance, staffed by two security guards. Students have to pass through the scanners to enter. Veronica sets of the scanner and her bag is searched by the guards. VERONICA VOICEOVER: The metal detectors are new, but they come as no surprise. Veronica sets of the scanner and her bag is searched by the guards. GUARD: Can I see your bag? The guard does a quick search. VERONICA VOICEOVER: Tensions in Neptune are the highest they've ever been between the haves and the have-nots… GUARD: Go ahead. The guard returns her bag and Veronica continues on her way. VERONICA VOICEOVER: …09ers and non-09ers. And guess who the lightning rod is? FLASHBACK: EXT – SHERIFF’S DEPARTMENT – DAY. Logan, in a suit, is being led by lawyers through a hostile crowd on the steps of the building that houses both the sheriff’s department and the court. Journalists shove mics in front of his face and the crowd is braying. Signs are held up by some of those in the crowd: “Justice Now,” “And Justice 4 All,” “And Justice for All.” Logan is a little shell-shocked by it all. VERONICA VOICEOVER: The passing motorist who probably saved Logan's life called 9-1-1, then he left the scene before the police arrived. The Kn*fe that k*lled Felix was never found. Logan's high-priced lawyers crushed the PCHers who testified against Logan at preliminary hearing. "Weren't they there, after all, to k*ll Logan?" "Didn't Logan have the bruises and broken ribs to prove it?" "If Logan did s*ab Felix, wasn't it self-defence?" Logan finally reaches the limo at the foot of the steps and is pushed inside. Veronica is there, watching him, a little wary. Logan is still staring at the angry crowd. He looks scared and bemused in equal measure. VERONICA VOICEOVER: The DA decided he didn't have enough evidence to convict, so six weeks after he was arrested, Logan walked. As the limo sets off, Veronica places her hand loosely on top of his, resting on his thigh. He doesn’t looks at her. VERONICA VOICEOVER: And the town went crazy. Another rich kid getting off scot-free. END FLASHBACK. INT – MARS RESIDENCE – NIGHT. In her bedroom, Veronica marks a whiteboard on which she has put the names and photos of the four students who failed their drug tests – Kelvin, Viet, Jilly, and Meg. Under each is the sporting discipline – football, tennis, volleyball, and cheerleading. She has just added Wallace’s picture and is writing his name under it. Wallace comes into view from behind the board as he paces. WALLACE: You know what else I found out today? This failed drug test goes on my permanent file. Any college I apply to is gonna see it. VERONICA: Well, if you would have taken another year of office aide, we could have done something about that file. Veronica writes “Basketball” under Wallace’s name on the board. WALLACE: Yeah, 'cause this is my fault. Did you learn anything today? Veronica finishes her task with satisfaction and recaps and restores the pen to the bottom of the board. VERONICA: Kelvin Moore, while giving up his pot-smoking ways, has not giving up being an obnoxious jackwad. He pantsed that h*m*, Butters? WALLACE: Yeah, I was there. VERONICA: You were? WALLACE: Yeah, it was in the gym after a spring sports pep-rally. A few of us were there, even some cheerleaders. I have never seen somebody blush like that. People were laughing. Butters was swearing at everybody. He said he was gonna get even. VERONICA: Cheerleaders. Was Meg there? WALLACE: I think she was. Wallace walks around Veronica to look at the board. WALLACE: Viet was there. Jilly Ho was there. VERONICA: Try and remember. Were you one of the ones laughing? WALLACE: What can I say? It was fuuh-nny! He laughs. Veronica is disapproving. WALLACE: It was-. He thinks better of it. Cut to them as they head into the lounge of the apartment. VERONICA: I'll talk to Butters tomorrow, get this sussed out. WALLACE: Hey, did you know that you're my hero? They hear the front door open. WALLACE: Mr Mars, I saw you on TV last night. A slimmer Keith enters and gives a little head bow as he closes the door behind him. KEITH: Wallace. Keith puts down his bag. VERONICA: I know a twenty-four-year-old floozie who thinks you're hot. KEITH: This floozie, did you get her digits? WALLACE: Hey, alright, now don't make me have to go home and tell my momma. KEITH: Wallace, your mom and I have an understanding. VERONICA: You do? KEITH: Yes, and it's this: I behave myself and she doesn't leave me. So please, tell her nothing… He puts his hands together in prayer. KEITH: …other than I worship the ground on which she treads. Wallace is sufficiently grossed out to hasten his exit as Veronica laughs. WALLACE: I'm leaving now. KEITH: "Ground on which she treads." You might want to write that down. Wallace turns back from the door to reassure Keith. WALLACE: Got it. KEITH: Night. Keith shuts the door behind Keith and walks towards Veronica, who has moved to the kitchen. KEITH: So, senior year. How was your first day of school, honey? VERONICA: Great. I b*at up a freshman, stole his lunch money and then skipped out after lunch. KEITH: What, no premarital sex? VERONICA: Oh, yeah, yes. But don't worry, Dad, I swear you're gonna like these guys. KEITH: That's my girl. He reaches for her. VERONICA: I missed you. He pulls her into a close hug and kisses the top of her head. KEITH: Aw, I missed you, too. Now where's my turkey pot pie, woman? Veronica smiles. INT – NHS, HALLWAY – DAY. Veronica spots the person she is looking for. She walks towards a rough-looking boy at his open locker. VERONICA: Butters? VINCENT: [bitterly] “Butters” is the name of the weak loser suck-up on South Park. “Butters” implies soft, fat-- VERONICA: But oh, so delicious. VINCENT: Vincent is my given name. VERONICA: I hear you were pantsed in gym last spring, Vincent. VINCENT: Are you requesting a private viewing? VERONICA: And now, the guy who pantsed you, and all the people who might have chuckled, end up kicked off athletics for the year. Curious. VINCENT: Justice. It can be a bitch. VERONICA: So you got even? Is that it? VINCENT: It looks that way. VERONICA: You're playing a dangerous game. Kelvin will take your head off if I tell him you're the reason he's off football this year. Vincent looks over her shoulder and smirks. VINCENT: You know what? I don't think he will. Hey, Pop. Striding past Veronica is Clemmons. CLEMMONS: Son. Clemmons doesn’t slow, but he glances down at Veronica. She exhales and looks up at Vincent, who is smug, arching his eyebrows. Veronica just barely shakes her head is disgust. INT – NHS, ADMINISTRATION OFFICE – NIGHT. The janitor disappears around the corner of the hallway as Veronica and Wallace approach the door and enter the office. They head for the door to Clemmons office. (Has he switched offices with the counselor?). Veronica opens it with the key. INT – NHS, CLEMMONS OFFICE – CONTINUING. A picture of Vincent graces Clemmons’s desk. Veronica and Wallace check behind them as they sneak in and shut the door. WALLACE: Permanent files are in that brownish-beige filing cabinet. VERONICA: I can't believe after a year of working here, you don't know the make and model of the filing cabinet. Veronica digs a large bunch of keys out of her bag. WALLACE: Yeah, it is hard to believe. Usually, memorizing that information is the first thing I do when I enter a room containing a filing cabinet. VERONICA: Well, get comfortable, then, Mr Sarcastic, because this might take a while. Unless... Veronica moves over to Clemmons’s desk to check the drawers. WALLACE: Hey, I can't believe you didn't know Butters was Clemmons' kid. VERONICA: He was a freshman. I make it a point not to know freshmen. She opens a drawer and bingo. She grabs the key and holds it up to Wallace. VERONICA: Scary, isn't it? The lax security? Veronica heads back to the filing cabinet. VERONICA: What if someone was trying to alter your permanent file? WALLACE: We're trying to alter it, right now. Veronica gets the cabinet open. VERONICA: Alter it back, there's a difference. Wallace joins her at the cabinet as Veronica pulls out a file. WALLACE: "Alter it back." Cool. I was wondering where we were drawing that ethical line this year. Veronica looks through the file. VERONICA: And there it is. Veronica heads to Clemmons’s desk and sits down. VERONICA: The way I imagine it, the results were all overnighted to Mr. Clemmons, but before the elder Clemmons reviewed them, Junior got in and forged the negative results. I just need to get my hands on them to prove it. Can you pull a couple of other negative results for me to compare them to? Wallace nods and digs into the files. Veronica turns on the desk lamp, pulls out a small magnifier and sets to work. Through the magnifier, she inspects the print on the Wallace’s test result which reads, in red, “Subject tests positive for marijuana use.” Another test reads, in black, “Subject tests negative for all illegal substances.” Some time has passed when Veronica raises her head from the papers she has been examining. WALLACE: Anything? VERONICA: Nothing. There's no way this could've been altered. Different color inks, full sentences, I thought it might just be a checkmark but there's no eraser marks, no whiteout, and both hand-signed by… She peers closely at the slip of paper she holds. VERONICA: …Jim Chimery. WALLACE: Jim Chimery? VERONICA: That's the guy's name, the lab tech who signed off on the results. WALLACE: So there's no alterations, there's no forgery. VERONICA: So it appears. WALLACE: So I'm screwed, basically. VERONICA: Unless the results were accurate. WALLACE: [in faux-Jamaican accent] Yah, mon, maybe I smoke so much ganga I don't even remember doing it. VERONICA: What if you did ingest an illegal substance but it was such a mild dose that you weren't even aware of it? Eat any mystery brownies lately? WALLACE: Spirit bo--. Spirit boxes, the day of the back-to-school athletics banquet there were spirit boxes in our lockers. There weren't any brownies in there, but there were cookies. VERONICA: Did you eat one? WALLACE: I ate six. Wallace grins. VERONICA: That's my Wallace. Veronica starts to pack up. VERONICA: Well, can you meet me at my house in, say, twenty minutes? I'm gonna stop at the drug store first. WALLACE: Nah, I'll just follow you. You don't want to go out alone. Wallace takes the files back to the cabinet as Veronica stands and closes up her bag. VERONICA VOICEOVER: No, I guess you don't. You never know what might happen. After the DA decided not to press charges against Logan, Neptune became a different place. FLASHBACK: EXT – SUNSET CLIFFS APARTMENTS – NIGHT. Logan’s Xterra is parked. Music: The Change by Jon Dee Graham LYRICS: Do you see the change in me? I’m not the same as I used to be. Look in a mirror, but I don’t see. Do you see the change in me? I don’t sleep like I used to do. Lying there the whole night- Inside the car, Veronica and Logan are making out. She has her hands on either side of his neck and his hand trails up to her cheek. Veronica pauses. VERONICA: I should go, because my dad is probably watching us through a telescope. She looks over her shoulder and Logan’s eyes follow her gaze. LOGAN: [whispers] He's probably impressed with your virtue. She giggles. He goes to kiss her again but she continues the theme, looking back again. VERONICA: And that telescope is mounted on a r*fle. Logan stares out at where Keith is imagined to be and after a pause, holds up his hand, fingers spread wide. LOGAN: [whispers to the imaginary Keith] Five more minutes. Veronica giggles again. LOGAN: He should feel lucky. I mean, you could be out here with some pretty-boy jerk just looking to get laid. He swoops down again but she pulls back. VERONICA: Wait. What are you saying? You're not pretty? Logan stares down at her for a moment, suddenly serious. LOGAN: Ah, what I'm trying to say is I'm in love with you. Veronica looks up at him, eyes sparkling, a little disbelieving. She laughs and brings her hand up to the back of his neck. VERONICA: The things guys will say to get past second base. She pulls him into a kiss, shaking her head a little. They sink down into the seat, Logan’s body over Veronica’s and continue to make out. They are interrupted by the sound of a motorcycle coming to a stop outside and both look up although they don’t rise. There is a bang and an expl*si*n of glass, and they both cry out. Logan brings up his arm to protect himself and Veronica underneath him. They jerk up and stare at the departing bike. END FLASHBACK. End music: The Change by Jon Dee Graham. INT – MARS RESIDENCE – NIGHT. Veronica knocks gently on the door of her small en suite bathroom. VERONICA: Are you done yet? Wallace is inside. WALLACE: [offscreen] It is never going to happen if you keep doing that. Veronica grins. VERONICA: I see. Stage fright? I'm making you nervous. Veronica consults the box as she moves away from the door. VERONICA: Well, according to the box, we only need a few drops and it'll test for cocaine, steroids, pot-- Keith enters the room. KEITH: What's up, honey? VERONICA: Wallace is having a little trouble giving me a urine sample. Keith sighs as he stares down at his daughter. KEITH: Can't you talk on the phone and paint your nails like other girls? VERONICA: I mean this is a health-class project. Come on, you're a man. Can you give him some pointers? Keith is resigned and walks over to the door. KEITH: Wallace? WALLACE: [offscreen] Yep. KEITH: Have you tried turning the water on? WALLACE: [offscreen] Mm-hmm. KEITH: Also, pinching your own nipples can sometimes work. Keith rubs his nipples through his shirt. WALLACE: [offscreen] Ahhh! Man! Keith laughs as Veronica pulls him away from the door and pushes him out of the room. VERONICA: Gross. KEITH: Honey, it works. VERONICA: I can barely even look at you now. KEITH: I can't believe how squeamish you are. VERONICA: Eyahh. Veronica gives the vomit-inducing groan as she slams the door on her father. A little later, she sits at her desk looking at the result as Wallaces watches. VERONICA: You're clean. WALLACE: [proudly indignant] Of course I am. VERONICA: If you didn't test positive, that means Butters didn't lace the spirit cookies and we're back to square one. How do you figure it? Veronica moves from the desk to stand with Wallace, looking at the whiteboard. WALLACE: You're the expert. I'm just standing here thinking it's gonna be a bad year for Neptune athletics. Every player on this list is a starter, a star player. VERONICA: Do you know who the people are who are gonna start with all of you out suspended? WALLACE: Yeah. My backup is Bob Patton. Veronica grabs the whiteboard’s pen and starts to write under each student as Wallace identifies the substitutes. WALLACE: Jennings Crawford will go back to being first singles, taking Viet Nguyen's spot. Uh, Shanee Fauver will replace Jilly Ho. And Steve Wacker will take Kelvin's linebacker spot. VERONICA: "Wacker"? Really? And Shelly Pomroy was bumped up from JV cheerleading to take Meg's position. Veronica has a thought as she stands back. VERONICA: Dad? WALLACE: What are you thinking? VERONICA: It's probably nothing. Keith joins them in Veronica’s bedroom. KEITH: You beckoned? VERONICA: If I know the name of a corporation, how do I find out the names of its shareholders? KEITH: You get the strangest homework in health class. VERONICA: Can you keep your trap shut if we tell you why we need it? Wallace starts looking nervous. VERONICA: No running off and telling your girlfriend. Keith struggles to keep a straight face. KEITH: Agreed. VERONICA: Wallace has been kicked out of athletics for his entire senior year for failing the mandatory drug test, but Wallace is clean. Veronica holds up the tab. VERONICA: See for yourself. She waves is under his nose. It’s his turn to go squeamish. KEITH: Hey, man, I don’t...I-I'll take your word for it. VERONICA: But we don't think Mrs. Fennel ever need know if we just get it cleared up quickly. As Veronica is talking, Wallace shakes his head in agreement and ends with a throat slice. WALLACE: You know what my mom is like. Keith laughs and heads for Veronica’s computer on her desk. KEITH: What's the corporation name? VERONICA: Boatloads of Fun Corp. He starts to type. KEITH: You want the names of the partners? VERONICA: Yeah. KEITH: Billy and Mary Jo Patton, Larry and Nancy Crawford, Milt and Milly F-over, Fo, uh, Mike and Lill Wacker, Esther Pomroy, and there's one more, Walt and Bunny Day. As Keith reads out the names, Veronica underlines the matching names on her whiteboard. WALLACE: Wait, what do they have-- VERONICA: Jimmy Day's parents. Our starting quarterback. Well we know why he passed his drug test. We got them. INT – NHS, JOURNALISM CLASS – DAY. Veronica and Wallace sit at the central table. They talk softly as there is a teacher behind them and other students milling around. VERONICA: The way I figure it, the only way they could pull it off is if they bought off someone at the testing facility because the samples went in clean and the results weren't altered once they got here. WALLACE: So what's the plan? VERONICA: We're gonna scare ‘em. WALLACE: And how's that gonna help me? VERONICA: Well, it'll be fun. Behind her, the teacher gets up from her desk. VERONICA: I'm gonna send an e-mail to each partner at the Boatloads of Fun Corp today, sort of an I-Know-What-You-Did-This-Summer kind of thing? Tell them that Jim Chimery wants to meet with them, talk about a new financial arrangement. WALLACE: Jim Chimery, the lab tech. You think he's the guy? VERONICA: I don't know. It doesn't matter. It's gonna scare them regardless. Wallace nods behind Veronica as the teacher approaches. MS DUMASS: Veronica, did you bring your permission slip? VERONICA: Yes I did. Veronica hands over a slip of paper. MS DUMASS: Thanks. The teacher wanders off. WALLACE: New journalism teacher. VERONICA: Yeah. She seems alright. She's taking anyone from newspaper, yearbook, and the broadcast news class who wants to tour Shark Field tomorrow. WALLACE: Wow. I can't believe you're going. VERONICA: I like baseball. WALLACE: Yeah, but you don't like people. VERONICA: I love people. I'm a people person. I'm just a normal teenage girl going on a normal school field trip. WALLACE: Right, I know. "Normal" is the watchword. He grabs his bag and grins at her as he goes. INT – NHS, HALLWAY – DAY. Veronica marches purposefully down the hall. She slows when she notices something ahead. BIKER: Check it out, check it out. It is Weevil and three of the bikers, standing and talking in the hall. They spot her and stop talking. Weevil turns his head and his eyes follow her as she passes. It would appear that they aren’t friends anymore as Veronica passes by quickly and wordlessly. VERONICA VOICEOVER: I suppose it's true. In Neptune these days, you're forced to choose sides. FLASHBACK: EXT – NHS, CAR PARK – DAY. Veronica and Logan are walking. Veronica’s hand is on Logan’s arm as he holds his backpack in one hand and rummages through it with the other. VERONICA VOICEOVER: Logan had to take summer school after he missed all his finals due to his own arrest, as well as his father's. I'd come down to school just to have lunch with him. He slings the pack onto his shoulder and as Veronica takes his free hand in both of her own. LOGAN: My sister's negotiating with networks to sell her version of the Aaron Echolls story. I think the sticking point is she's insisting she play herself. Producers, on the other hand, are insisting on Tara Reid. VERONICA: Trina wasn't even around. LOGAN: Who do you suppose cares? I've always wanted a TV movie version of my life. Hey, think they can get Tom Welling to play me? Logan makes a soaring gesture. VERONICA: Dream on. Veronica mocks with a smile. In front of them, Dick and Beaver get out of an SUV, pulled up at the back of the Xterra. DICK: Logan! And Logan's special lady friend who I approve of whole-heartedly and without reservation. Beaver is opening the back of the Casablancas vehicle. VERONICA: Dick. Hey, Cassidy. CASSIDY: What's up, Veronica? LOGAN: Boys. Dick opens the back of the Xterra. DICK: Got the supplies. Enbom and Rams are gonna meet us at the Sac-N-Pac. Cassidy and Dick start to load gasoline into the back of the Xterra. LOGAN: Uh, can't we do this later? VERONICA: What's all the gasoline for? Logan clears his throat. LOGAN: We're gonna... go k*ll the grass on the Pan High football field, spell out "Pan Sucks." DICK: Which it does. Veronica looks at Dick, then beyond him at Beaver. Beaver looks away uncomfortably. END FLASHBACK. INT – NHS, HALLWAY – CONTINUING. VERONICA VOICEOVER: The next day, the community pool at the city park somehow caught on f*re. The city had to close it down for the rest of the summer. Of course, all the 09ers have pools in their backyards. Veronica leaves the school building, past the metal detectors. EXT – CASABLANCAS RESIDENCE – DAY. A body takes a long jump into a swimming pool, tucking his body for entry into the water. The splash disturbs the sun-bathing Logan and Dick. DICK: Don't make me go in there and get all "Ordinary People" on you, Beav. CASSIDY: The older brother drowns, dumbass. DICK: [to Logan] What's the dealio, bro? You ever showing up at school? Logan grabs the cushion he is leaning against and pulls it out from behind his back. LOGAN: Ah, what for? You know, no one seems to care. I'm practically an orphan. I can do whatever I want. Logan twirls the cushion and then holds it on the top of his head. From the house, Kendall Casablancas, a stunning and statuesque brunette, emerges in a black bikini, her robe open and flowing behind her. She holds a margarita. Logan and Dick are transfixed as she sashays towards them. KENDALL: Welcome home, children. How was school? Logan drops the cushion strategically to his lap. KENDALL: Who wants a Rice Krispie treat? Beaver, fresh out of the pool, joins them as he towels himself off. CASSIDY: Ah, gee, Mom, you're the best, but I'll pass. KENDALL: Mmmm. CASSIDY: You’ve met Momsie, right? DICK: The club, the clambake, remember? God, you're ret*rd. CASSIDY: Yeah, you know it's a miracle that I managed to score 400 points higher than you on my SATs, huh? KENDALL: Now, boys, you don't want me to tell your father you couldn't play nice. Logan holds up his hand. LOGAN: Uh, I want a Rice Krispie treat. KENDALL: Go make it yourself, then, kid. Do I look like a cook? Kendall puts down her drink next to Logan and removes her sunglasses. She walks away from them, dropping the robe so the boys get a good look at her ass. Logan watches. Kendall steps out of her wedges at the side of the pool and steps in. The boys watch appreciatively, Logan’s cushion still balancing on his lap. Beaver looks down at them in disgust. CASSIDY: You guys are twisted. LOGAN: [to Dick] So, where did your dad meet her? DICK: She was a Laker Girl, and you know my dad, he has good seats. CASSIDY: A certain Laker All-Star's wife had her fired. Didn't like the look of her. DICK: [to Logan] So what are you doing tonight, bro? Logan’s managed to lose the cushion. LOGAN: Well, as much as I enjoy the company of men, I've got other plans tonight. Logan makes a hand gesture known as the Shocker (look it up). Dick mimics it. DICK: That, I can respect. They bump their posed hands and then return to watching the swimming pool. INT – THE HUT – NIGHT. Veronica is working again. A couple approach the hostess table. MAN #1: Um, we're, ah, meeting someone here. The name's Chimery? Veronica grabs a couple of menus. VERONICA: Oh yeah. Right this way. She leads them to a table. Three other couples are already there, filling the table. They all look worried. The newly-arrived couple stop as the occupants turn doleful gazes on them. MAN #1: [uncomfortably] Hello. VERONICA: Are you guys expecting more people? Because we can move you to a bigger table. Veronica hands them the menus and walks away with a smile. She is using an earpiece and can hear their conversation. WOMAN #1: Walt, what have you gotten us into? MAN #2: We need to stay calm. WOMAN #2: How much is this Mr Chimery requesting? MAN #3: Is that the Mars girl I've heard so much about? Veronica reaches a table at the side. Clemmons is also listening to their conversation through an earpiece. VERONICA: Heard enough? CLEMMONS: I believe I have. Veronica smiles down at him. The manager approaches from behind her. CUTE AS A BUG MANAGER: [in girlie, dancing mode] Veronica, your boyfriend's here. Veronica walks back towards the door, smiling fondly and all but jumps into the arms of…Duncan. They kiss DUNCAN: Hi. VERONICA: Hi. They kiss more deeply. EXT – NHS, CAR PARK – DAY. Veronica is waiting in front of a school bus, looking out for Duncan. He sees her and grins. VERONICA VOICEOVER: So yeah, my love life got a bit complicated this summer, but it sorted itself out nicely. She grins back. Duncan heads for her. LOGAN: [offscreen] Ah, young love. Veronica turns and looks behind her. Logan is leaning against the bus, watching. Duncan reaches Veronica and they grasp hands and walk towards Logan. DUNCAN: You're coming on the field trip? I figured you and the other Jets would be rumbling with the Sharks. LOGAN: Cool it, Action. I think I'm gonna pass on the field trip, but ah, call me when you get home, and tell me all about it. VERONICA: Let's just get on the bus. LOGAN: [to Veronica, softly] Hey, wait. I'm gonna miss you. Veronica and Duncan hurry past him as Logan drops his head, then looks up to follow their progress onto the bus. Veronica watches him as she makes her way through the bus, Duncan behind her. Logan walks along the bus but glances back and, knowing she is watching, he gives her a wave. From behind them, a girl looks to get past and Duncan has already moved in to make way. GIA: Excuse me. VERONICA: Sorry. Veronica and Duncan walk further up to find seats. VERONICA VOICEOVER: Did I mention that he didn't take the breakup that well? FLASHBACK: INT – MARS RESIDENCE – NIGHT. Veronica is facing Logan as they sit on the couch, holding both his hands. VERONICA: I kept thinking that if I just stuck by you, that you'd get past this-this phase and you'd be you again. Logan swallows hard. LOGAN: Are you breaking up with me? VERONICA: [emotional] I can't stay with you. Not with you and your toadies cruising around at night and hatching plans, refusing to let everything get back to normal. Someone's gonna get k*lled, Logan. LOGAN: Someone already has, did you forget that already? And most of the people in this town think I did it. Logan shifts up to sit on the arm of the couch, becoming increasingly emotional. LOGAN: Those people you call "toadies" are my friends; they've got my back. VERONICA: [urgently] It's not about protection, Logan. It's about pride. Logan puts his hand to his forehead, hardly believing what he is hearing. VERONICA: And, the thing that I can't stand is that…I'm pretty sure there's a part of you that's having fun with all of this. LOGAN: Fun? Fun? Now, he really can’t believe it. He sh**t up and starts to walk away, but stops and angrily spins round, hitting out at a lamp next to the couch, smashing it. Veronica jumps back in her seat, startled and frightened. LOGAN: [angry and shouting] My mom is d*ad! My girlfriend is d*ad! My dad is a m*rder! And the only person I still care about is dumping me. You think I'm having fun? Keith storms in. Logan doesn’t notice. LOGAN: Answer me, okay? Just tell me the-- Keith grabs Logan from behind in an arm lock and pushes him against the wall. He holds him there. Veronica, breathing heavily, watches unhappily. KEITH: You don't talk to my daughter that way. You're leaving now and you're never coming back. Veronica turns her eyes away, takes a deep breath and drops her head. END FLASHBACK. >INT – SCHOOL BUS – DAY. Duncan takes hold of Veronica’s hand in her lap. He gives her a consoling and understanding look. Dick is sitting in the seat behind them and Beaver is in the seat behind Dick, his arms thrown over the seat towards the others. Sitting alone, behind Beaver, is Meg. DICK: Miss Dumbass. MS DUMASS: It's "Dumazz," Dick. DICK: Well, my name's pronounced "Re-shard" and it stinks back here. I think someone died. MS DUMASS: You're free to sit closer to the front. Dick looks at the people in the front and thinks better of it. DICK: That's okay. I don't think that's gonna help. Thanks anyway. Dick looks over at the other side of the bus. The girl who passed Veronica and Duncan earlier smiles at him. DICK: [to Duncan] Hey, who's the lovely young flower blossoming into womanhood? DUNCAN: Let me guess: you want to pluck her. Cassidy and Dick are grinning and Veronica shakes her head. EXT – CASABLANCAS RESIDENCE – DAY. Leaving the car parked outside the front of the house, Logan bounds to the door. He knocks. Kendall answers, dressed in a red silk robe. LOGAN: Hey, ah, can Dick and Beaver come out and play? She smiles broadly. KENDALL: Let's see if we can find them. She spins round, leaving Logan to follow. INT – CASABLANCAS RESIDENCE – CONTINUING. He steps in and watches as she walks away. She pauses and throws off the robe. She is naked underneath. She looks back at him. KENDALL: Coming? LOGAN: We've got to stop meeting like this. Logan shuts the door, lifts his eyebrows and follows. GOODMAN: [offscreen] Why do I love baseball? The homerun, the long ball. INT – SHARKS FIELD – DAY. Goodman, in baseball uniform, is speaking to the field trip students in the owner’s box, overlooking the diamond. GOODMAN: I'll admit it. I'm no purist. Give me an 11 to 9 slugfest and I'm in heaven. CASSIDY: Ah, so that's why Sharks pitching sucks. Most of the students laugh, although Meg, sitting in the front row, does not. GOODMAN: That's exactly the reason. CASSIDY: Okay. GOODMAN: See, I spent all my money on hitters. I want to see the ball going out of the yard. Now, I know some of you. I even coached a few of you back in Little League. I wanted to host this little afternoon outing for one specific reason. Veronica, sitting in the second row with Duncan, casts a glance at him. He waggles his eyebrows. GOODMAN: As many of you know, I'm running for Mayor of Neptune. And I thought it was important as a mayoral candidate, my daughter, Gia, attend the public high school in Neptune. The girl from the bus smiles and waves. GOODMAN: Her favorite class at Country Day was newspaper. So, I thought I'd invite the journalism classes out and give Gia a chance to make some new friends. Dick, sitting next to Gia, leers. DICK: Hello, friend. GIA: Hello. Gia rises and goes to stand next to her father. GIA: Okay, so far, working. GOODMAN: Yes. GIA: Okay, just so everyone knows, I don't always dress like this. Veronica cocks her head forward, in a “Say what?” way. GIA: I didn't know if you guys were doing, like, relaxed beachy, or the West Coast wannabe East Coast urban, so, FYI, it’s not a statement. I'm just doing the new-school blend-in thing. Veronica and Duncan share a glance as Gia returns to her seat. GOODMAN: My daughter, she's a cool kid. Play nice. Later, Duncan is helping himself to food from a buffet. DUNCAN: It's like, you know, what Willie Wonka would be like if he owned a professional baseball team. Veronica glances over at a display of Goodman’s Little League pictures and trophies. There is a signed bat at the centre of the display. VERONICA: You never played Little League? DUNCAN: Oh, well, Mom was afraid a ball would h*t me in the face. Dad was afraid it would interfere with Mock UN and I was afraid I couldn't h*t a curveball. VERONICA: I'm afraid you're gonna get love handles if you eat all that. DUNCAN: I have an excellent metabolism. VERONICA: Well then, it's official. I hate you. Duncan laughs. Veronica spots something. VERONICA: Oh, check it out. They look through the window to the balcony outside and see a man, apparently angry, approach Goodman. TERRENCE:...you did this to me. GOODMAN: What? Duncan recognizes the man. DUNCAN: Wow. In the flesh. Goodman is placatory. GOODMAN: It's alright. Come on, I'll introduce you. He pulls the man into the room. GOODMAN: Hey, g*ng, special guest. The greatest Shark that ever played the game, back when we had pitching to go with our hitting, future hall-of-famer, Terrence Cook. Everyone claps. GOODMAN: They love you, man. Dick comes over to Duncan and Veronica. DICK: Hey, we're not taking that t*nk-ass bus back to Neptune. My dad's sending a limo. Would you and your girlfriend, whose quick wit I find enchanting, like to take the trip back in style? Miss Dumbass said it was cool. DUNCAN: Hell, yeah. Veronica gives Duncan a baleful look. His eyes plead. VERONICA: [reluctantly] Fine. DICK: Cool. VERONICA: I feel dirty. DUNCAN: "Dirty," one R or two Rs? VERONICA: Mmm. Duncan kisses Veronica on the forehead then starts on his large plate of food. Veronica watches Dick approach Meg on the balcony. It is obvious that he is asking Meg to come in the limo but that Meg, on being informed that Veronica will be in the limo, declines. VERONICA: All right, Duncan, I can't take this anymore. I'm gonna go try and talk to Meg one more time. You ride in the limo because I think it's gonna be easier if we're not together. DUNCAN: You don't owe her anything. You didn't do anything to her. VERONICA: You are so not a girl. Duncan laughs. Veronica notices the man Terrence approach the buffet table. She turns to him. VERONICA: Excuse me, Mr Cook? TERRENCE: Yes ma'am. VERONICA: I just wanted to say…you are my dad's favorite baseball player ever. He keeps your rookie card vacuum-sealed inside a safe. TERRENCE: Well, that is an honor. You tell him thanks for me. He shakes her hand. VERONICA: When my dad finds out about this, he's not gonna let me wash this hand. TERRENCE: So, who's your favorite player? VERONICA: Ummm... DUNCAN: Tell him. Be honest. TERRENCE: It's Johnny Damon, isn't it? VERONICA: He's so pretty. Behind her, Duncan snorts out a laugh. EXT – SCHOOL BUS – DAY. The bus drives up the road. INT – SCHOOL BUS – CONTINUING. Veronica makes her way forward and spins into the seat in front of Meg, turned to face her. Meg looks at her warily. VERONICA: Hey. So, I hear you're back on the cheerleading squad. That's great news. MEG: [disingenuously] Oh, oh yeah, that's right, I-I forgot. I’m-I'm supposed to pay you or something, right? Meg searches through her wallet. VERONICA: Never mind. Veronica turns in her seat. Meg collects her things and moves to the back of the bus. VERONICA VOICEOVER: The way she's acting, you'd think I seduced Duncan on their wedding day. That's not how it happened. Music: Long Time Coming by Delays. LYRICS: Tore it up and walked away Why'd you wanna go do that for? Threw your Lego in the lake Why'd you wanna go do that for? And you're a long time coming A long time coming home Do you see me reeling off the lines I've seen your, I've seen your eyes. And you're a long time coming A long time coming home Do you see me reeling off the lines I've seen your, I've seen your eyes. How can you grow old You were my triumph? How can you grow old You were my triumph? And you're a long time coming A long time coming home. FLASHBACK: INT – THE HUT – VARIOUS. A montage of scenes starts. Veronica hands Duncan a take-out coffee; Veronica shows some people to a table and smiles over at Duncan who is reading while sitting on a small couch. VERONICA VOICEOVER: Duncan said he'd been visiting the Hut every day before I ever took a job there. True or not, he showed up almost every day I worked there this summer. They exchange smiles when Duncan clears a table for her when she’s busy; they sit at a table together sharing cake. END FLASHBACK. INT – SCHOOL BUS – CONTINUING. Veronica looks back at Meg, now several rows back on the bus. VERONICA VOICEOVER: I heard through the grapevine that Duncan broke up with Meg on the last day of school. Whether that had anything to do with learning we weren't half-siblings, I don't know. You'd have to ask him. I was with Logan and I was absolutely faithful. Duncan and I didn't get together until my eighteenth birthday, weeks after Dad threw Logan out of the apartment. FLASHBACK: INT – THE HUT. Duncan sits at a small table with a book. He leaves the table and Veronica clears it. She finds a small gift Duncan has left, a gold box tied with a red ribbon. Veronica opens it to find a fortune cookie. She breaks the cookie, reads the message and races after Duncan, catching him at the exit. She says a few words, he smiles and they kiss, long and hard. END FLASHBACK. INT – SCHOOL BUS – CONTINUING. VERONICA VOICEOVER: I'm sorry Meg is hurting, truly sorry, but I can't say I have any regrets. End music: Long Time Coming by Delays. EXT – GAS STATION – DAY. The bus pulls into the station. INT – SCHOOL BUS – CONTINUING. Ms Dumass stands at the front of the bus. MS DUMASS: Five minutes, people. EXT – GAS STATION – DAY. Veronica comes out of the gas station with a bottle of water. She heads for the bus. LILLY: [offscreen] Veronica. Veronica whips round and sees Lilly, in her pep squad uniform, running down past the corner of the station. LILLY: Come on, dorkus. VERONICA: Lilly? Veronica runs around the corner. She sees Weevil, fixing his bike. WEEVIL: What are you doing here, huh? Shouldn't you be running for Homecoming Queen or something? VERONICA: I'm safe standing here, right? I mean, you're not gonna sh**t me, are you? INT – SCHOOL BUS – CONTINUING. The journalism teacher boards the bus. MS DUMASS: All here? MALE STUDENT: Yeah. FEMALE STUDENT: Yeah. Meg, sitting at the back of the bus, can see that Veronica is still outside, talking to Weevil. She takes a moment, then gives a tight smile. MEG: All here. EXT – GAS STATION – CONTINUING. Veronica’s back is to the bus as she talks to Weevil. WEEVIL: So, did you like your taste? Your little year of living dangerously? Did you get your fill? As soon as they'll have you back, you go running to the 09ers. And as a little bonus, you give it up to the richest boys in school. Wow. Well, I'm sure their sheets are clean. VERONICA: You don't know anything about me. And you don't know anything about them. WEEVIL: [angry] Yeah, I do. I know that Logan k*lled Felix. And he got away with it because he's rich and he's white. VERONICA: Six guys jumped Logan. They broke his ribs. They gave him a concussion. Yet somehow he managed to wrestle away one of their knives and s*ab Felix? You didn't see it. You were out cold. WEEVIL: So I guess, Felix s*ab himself. VERONICA: Well, somebody s*ab him. WEEVIL: My boys? Nothing goes down in the club without my say-so. VERONICA: So I guess you know about the g*n blast that almost k*lled Logan and me? Bikers ride up, blow a hole through Logan's car. Weevil doesn’t have an answer. Behind Veronica, the bus sets off. VERONICA: You sure you're still in charge? Veronica hears the bus and turns to watch it go. She runs forward but is too late. She looks back at Weevil who, smirking, gets on his bike and rides off. Left stranded, Veronica pulls out her cell phone. VERONICA: Hey, Wallace, whatcha doing? The bike can still be heard in the vicinity and stops ahead of her. VERONICA: Never mind. WEEVIL: [offscreen] Hop on. Veronica catches the helmet that is thrown at her. Music: Ashes by Embrace. LYRICS: I've waited, and given the chance again, I'd do it all the same, but either way I'm always outplayed, up on your down days I left it the right way, to start again Now watch me rise up and leave all the ashes you made out of me When you said that we were wrong, that life goes on, you blew me away I sink like a stone, I lost my control. EXT – ROAD – DAY. Veronica is on the back of Weevil’s bike. From the distance, they can see smoke on the road ahead. As they get nearer, they see road work signs and a limo, pulled up at the side of the road, with people streaming out of it. Weevil pulls up in front of the limo, whose driver is on a cell phone. Veronica scrambles off the back of the bike and runs along buffers at the side of the road, on the edge of a cliff. She passes behind Dick and Beaver, who are looking over the edge and reaches a breach in the buffers. GIA: [crying] It just went straight off the cliff. It didn't even slow down. They're all d*ad. Veronica looks at the scene in shock. Duncan runs to her. DUNCAN: Veronica! GIA: They're all d*ad. Duncan checks that she’s real and holds her. VERONICA VOICEOVER: This is Neptune. Nothing happens accidentally. Below, debris swirls in the water. End. Executive producer: Rob Thomas (who is a god). End music: Ashes by Embrace.

{"type": "series", "show": "Veronica Mars", "episode": "02x01 - Normal Is the Watchword"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars… Veronica’s welcoming expression as she stands at her door turns into one of concern in 201 Normal Is the Watchword. VERONICA: Logan? Logan, beaten and bloody, turns and falls into her arms. VERONICA: Logan, what happened? Cut to the Coronado Bridge. Logan challenges Weevil. LOGAN: What do you think you can do to me, huh? WEEVIL: I'll think of something. Felix and the other five bikers pull Logan off the edge of the bridge. A little later, Logan is on the ground. He sees Felix’s body. VERONICA: [offscreen] Oh my God, Logan. At the Mars residence, Logan looks up at Veronica as he lies on her lap. LOGAN: No, but I didn't s*ab him, Veronica. VERONICA: I believe you. Logan emerges from the court into an angry crowd. In the car with Veronica, he is shell-shocked. VERONICA VOICEOVER: Logan's high-priced lawyers crushed the PCHers and the town went crazy. Logan and Veronica are interrupted during a make-out session in his car when a g*n blast from a motorcycle shatters the windows. Cut to Veronica and Logan, facing each other while sitting on the couch at the Mars apartment. LOGAN: Are you breaking up with me? VERONICA: Someone's gonna get k*lled, Logan. Logan smashes a lamp and Veronica jerks back in fear and shock. Cut to Neptune High. Logan leans against the bus, mocking Veronica as she waits for Duncan. LOGAN: Ahh, young love. Logan faces Veronica and Duncan by the bus. VERONICA: Let's just get on the bus. LOGAN: Hey, wait, [to Veronica] I'm gonna miss you. Veronica and Duncan, having boarded the bus, watch Logan outside as he waves. VERONICA VOICEOVER: Did I mention that he didn't take the break-up that well? Kendall Casablancas comes into sh*t, resplendent in black bikini, hot pink robe and Margarita. LOGAN: [offscreen] So where did you dad meet her? DICK: [offscreen]She was a Laker girl and you know my dad… Logan and Dick watch Kendall appreciatively from loungers at the side of the pool. DICK: …he had good seats. Cut to the Sharks Field. Veronica watches Dick invite Meg to return to Neptune in the limo. VERONICA VOICEOVER: The way she's acting, you'd think I seduced Duncan on their wedding day. Veronica faces Duncan. VERONICA: I'm gonna go try and talk to Meg one more time. DUNCAN: You don't owe her anything. You didn't do anything to her. Woody Goodman campaigns for the youth vote. GOODMAN: I thought it was important as a mayoral candidate that my daughter, Gia… Gia, sitting amongst the other students on the field trip, gives a little wave. GOODMAN: …attend the public high school in Neptune. Cut to the bus. Meg sees Veronica talking to Weevil at the gas station where the bus has stopped. MS DUMASS: All here? MALE STUDENT: Yeah. MEG: All here. Veronica misses the bus. Cut to her catching a ride with Weevil and their coming across the scene of an accident. The limo has stopped before them. Veronica runs to the edge. GIA: They're all d*ad. It just went straight off the cliff. They're all d*ad. Duncan holds Veronica as she stares over the edge. End previously. INT – THE HUT – DAY. A display of cakes and pies is being considered by Veronica, bent down at the door to the refrigerated unit. VERONICA VOICEOVER: If a school bus, traveling forty miles per hour… Veronica takes one of the pies and brings it up to the counter. VERONICA VOICEOVER: …drives off a cliff and plunges ninety feet into the jagged coastline… She places a slice of pie onto a plate. VERONICA VOICEOVER: ...how many seconds did the six high school students, their teacher, and bus driver have to contemplate the fact that they're about to die? Veronica grabs the pie and the slice. She puts the pie back in the unit. VERONICA VOICEOVER: Two Mississippis' worth of screams, life flashes, and prayers, maybe? Veronica hands the plate over to one of the waitresses. VERONICA VOICEOVER: But if anyone used that time to make a deal with his maker, only one of them was heard. Duncan descends the stairs into the coffee shop as Veronica settles at the front desk. VERONICA: How's Meg? DUNCAN: The same, unconscious but hanging in there. Veronica turns and addresses the waitress. VERONICA: Hey, Cindy. I'm gonna take my break. Can you watch the front? CINDY: Okay. Veronica takes Duncan’s hand and leads him over to behind the counter. DUNCAN: You have to stop torturing yourself. VERONICA: I'm not torturing myself. I'm experiencing an appropriate degree of guilt. DUNCAN: There's no crime. This isn't your fault. Unnoticed by both, Jackie Cook, imperious and impatient, approaches the counter, arms folded. She listens with barely disguised disdain. VERONICA: If it wasn't for me, Meg would've been in the limo. She'd be home. She wouldn't need a machine to breathe. DUNCAN: You're not the only one she was avoiding. Veronica worries her necklace. VERONICA: Yeah, I was. Jackie huffs and leans forward, trying to attract attention. VERONICA: If I wasn't with you, Meg would've been. And she'd be safe. Jackie clears her throat loudly. Veronica and Duncan give her their attention. JACKIE: When you guys are done breaking up, can I get a macchiato? VERONICA: I'm actually just the hostess, but I c-- JACKIE: Look, I don't care if you're the house magician. Can you just make me a macchiato? Veronica walks closer to the counter, staring at Jackie. She holds out her hands and makes a “Poof” gesture. VERONICA: You're a macchiato. Veronica turns her back on Jackie, who looks at Duncan. JACKIE: You know you can do better, right? Veronica swings her head back round, seriously offended. INT – SHERIFF’S DEPARTMENT – DAY. Lamb is facing nine members of the press (including the man who nearly spoke to Veronica and Weevil at the party in 110 An Echolls Family Christmas, who holds a microphone for KQUA). The lead reporter is Lee Ann Kim, real life San Diego TV news anchor/reporter from KGTV 10. REPORTER #1: Will any sort of bus maintenance records be made public? Several parents have questioned the district's commitment to providing new, well-maintained busses in a town where only kids from the poor side of town take the bus. Lamb stands behind the counter, his deputies watching from behind him. LAMB: The bus driver was from that same side of town. Maybe they should think about that. Woody Goodman is at the back of the reporters, watching. REPORTER #1: So, is the bus driver the focus of your investigation right now? LAMB: Are we looking at-at Doyle? Of course. Have we uncovered information that concerns us? Yes. REPORTER #2: Such as? LAMB: Such as…a history of mental illness, a history of marital problems. We know that Ed Doyle was prescribed an anti-depression medication and that prescription was never filled. There was also one previous attempt of su1c1de. REPORTER #2: And there were no drag marks or skid marks at the scene? LAMB: There were not. REPORTER #1: So, just to be clear, you are investigating the possibility that Doyle drove off the cliff to commit su1c1de? LAMB: We are investigating all possibilities. Lamb ends the conference by walking away as the reporters call out more questions. Goodman looks around at the babbling, unhappy reporters and doesn’t look overly impressed with Lamb’s abrupt departure. EXT - NHS, PARKING LOT, DAY Veronica approaches the parking lot driving a true vision of automotive excellence. Last seen disabled on the roadside with a bashed-in front end, the black LeBaron has been restored to its original glory and will, for another season, convey our Veronica from stake-out to school, from the Coronado to the Camelot, from the beach back to her bedroom. (Hm, wonder which of us wrote that bit?) A Channel 5 Action News truck is parked outside the school and many small groups of students are speaking to camera or reporters. The LeBaron threads its way through them and through the barbed-wire topped gates to student parking (permit required), waved on by a security guard. VERONICA VOICEOVER: Since the bus crash, reporters have laid siege to the school, all looking for those students who want their name in the paper or face on TV so badly that they're willing to pimp out their memories of our d*ad classmates to anyone who asks. INT – NEPTUNE HIGH SCHOOL (NHS), GIRLS BATHROOM – DAY. Veronica enters, ignoring the “Please do not flush any objects down the toilet!” sign and the “I *heart* Drina” that someone has written on the wall, going straight to the sink to wash her hands. As she dispenses the soap and looks up in the mirror, she sees a girl, arms folded and dressed in black, leaning against the wall behind her. JESSIE: G’morning. Veronica doesn’t waver from her task, but does look uncomfortable. JESSIE: You know who I am, right? VERONICA: [carefully] I do. JESSIE: Just out of curiosity, did you know who I was last week? VERONICA: Nope. JESSIE: Your dad drives one bus off a cliff and your days of being under the radar are over. Veronica rinses her hands and turns to face Jessie. VERONICA: I'm sorry, did you want something? JESSIE: [strained] Yeah, so I need proof that my father didn't k*ll himself. Um, I have a mother and a little brother and we've become accustomed to having a place to live and, like, food. Insurance companies don't pay if they decide it's su1c1de. VERONICA: Jessie, I wouldn't even know where to start with that. I mean, how do you prove that someone didn't k*ll themselves? JESSIE: If I knew, I wouldn't be waiting for Veronica Mars in a bathroom. VERONICA: I'm sorry. I can't. Veronica disposes of her paper towel and hurries away. Jessie, leaning against the sink, watching her go, gives a resigned, sarcastic smile. JESSIE: Great. Because "I'm sorry" is so helpful. As Veronica reaches the door, another girl enters, followed by three friends. She sees Jessie and goes straight in for what she thinks is the k*ll. SHELBY: [sneeringly] Jessie, you know, if my dad k*lled a bunch of people I went to school with, I don't know if I'd have the nerve to show my face at school. With hardly a breath, she spins around to face Veronica. Her voice turns nauseously obsequious. SHELBY: Hey, Veronica, are you and Duncan coming to Logan's "Life's Short" party? It's gonna be-- Jessie steps forward, pulls the girl’s arm to turn Shelby to face her, and punches her. Shelby’s friends twitter. FRIENDS, VARIOUSLY: Argh! Shelby! Are you okay? Shelby’s friends attend to her as Veronica jumps forward, holding Jessie’s arms. VERONICA: Okay, I'll help you, but you must chill. Veronica looks down at Shelby and back at Jessie. She drops Jessie’s arms and gestures “Okay?” with a nod. Opening credits. EXT – CLIFFTOP – DAY. At the site of the bus crash, a man in a loud Hawaiian shirt struggles to light a votive candle at a makeshift memorial. “Never Forget!” is sprayed in large red letters on the buffer in front of which he kneels. Someone has etched “Not Fair” into the buffer and written “Jimmy” under a heart. On top of the buffer is a bunch of flowers and a small plaster or granite cherub. Leaning against it are remembrance cards and a large piece of paper on which is written “Neptunes Angels” in large green letters. Many have signed the paper, some leaving messages like “Rest in Peace” or little drawings, as well as their name. Any reference to who is being mourned here, unless it is Jimmy, is obscured. Veronica bends down to shield the wick so the man in the Hawaiian shirt can light the candle. MAN IN LOUD HAWAIIAN SHIRT: Thanks. As he looks up at her, more remembrance cards are seen and another note written on the buffer. It’s too small to be sure, but it could include “PCH” which might suggest this is a memorial to a biker. The man swallows and looks back down at the collection. Veronica stands. As she does, more memorials are seen, more flowers, more candles, balloons, more messages: “RIP,” “Why?” “We’ll Never…” “…Will…ways…ber” VERONICA VOICEOVER: I don't even know what I'm looking for. Skid marks the sheriff's department missed or purposefully overlooked? The camera pulls back to reveal a number of people milling around the site. One woman is crouched down at the memorial next to the Hawaiian-shirted man, under a large cuddly stuffed dog that has been placed on the buffer. A couple stands between her and the man, looking down at the tributes. VERONICA VOICEOVER: There's nothing here to help Jessie. There's nothing here to help anyone. Jessie stands off to the side, near the LeBaron, arms crossed protectively in front of her. She walks forward as Veronica approaches. MOURNER: Yeah, but I can’t believe it still. JESSIE: I guess my dad doesn't…rate a votive candle. VERONICA: This doesn't mean anything. JESSIE: Come on, if you were on that bus, you would want your pile to be the biggest. Jessie says this loudly enough to attract attention. The mourners, including ones beyond the man in the Hawaiian shirt, stare at her in shock. Only the man in the Hawaiian shirt doesn’t react, his eyes trained out over the cliff. VERONICA: [gently] Come on, there's nothing here. Veronica leads Jessie away. EXT – BASEBALL FIELD – DAY. A Little Leaguer in an orange-shirted baseball uniform swings at a ball. In the background is the sounds of kids playing ball. The camera moves up to reveal Woody, supervising and talking to Keith. GOODMAN: Neptune: cleaner, safer. That's my entire platform. I'm running for county supervisor because I care about this town, Keith. It's my home. Dakota! DAKOTA: Yeah? GOODMAN: You're stepping in too soon. DAKOTA: Okay, Coach. The Little Leaguers all appear to be white. At the side of the field is another group of boys, not in uniform, of a variety of races. They complain. NON-09ER KID #1: Come on, man, when you gonna get off the field? NON-09ER KID #2: Yeah, it's our turn. NON-09ER KID #3: Man, we up now. NON-09ER KID #4: What's going on, man? NON-09ER KID #5: This is stupid, man. NON-09ER KID #6: It's 11:05. You guys are supposed to be off the field. 09ER KID: Wow, you can tell time! NON-09ER KID #7: You all gotta go! Oblivious, Woody continues to talk to Keith. GOODMAN: You know what the key element to my safer plank is? KEITH: I don't. GOODMAN: Having an effective sheriff in office. Keith, I want you to run for Sheriff. Keith’s eyebrows rise skeptically. GOODMAN: I'm prepared to use all my resources to support your candidacy. KEITH: Mr Goodman-- GOODMAN: Woody. KEITH: Woody. Out of curiosity, where did you stand when I was removed from office? GOODMAN: I signed the petition to get rid of you. I'm admitting right now that I was wrong. We had a good thing going with you as sheriff. And there's a whole community, I believe, that realizes that now. Behind him, the kids waiting decide to take matters into their own hands and walk onto the diamond. NON-09ER KID #6: Come on, guys, let's go play. Things deteriorate at the Little Leaguers refuse to give way. Pushing and shoving ensues. Keith notices. KEITH: Hey Woody. The melee is centred on the pitcher’s mound and Woody races over there as Keith stands back and watches. GOODMAN: Hey! Break it up. Break it up, come on. Hey! Break it up. Break it up, fellas. Come on now. There's enough daylight for everybody. Woody restores order as the boys crowd around him. GOODMAN: I apologize, boys, I see I let things run over. Sportsmanship! That's what it's all about, isn't it? ONE OF THE BOYS: Yeah GOODMAN: That's what separates us from the animals. That and, uh, opposable thumbs. Alright, boys, clear the field. You guys have a good workout. Cheers. Woody ushers the Little Leaguers off the field. GOODMAN: Come on, hustle it up. You wanna make the big leagues? Keith, you think about what we talked about and maybe get back to me by the end of the week? KEITH: Of course. GOODMAN: Great. Come on, you guys. Let's go, hustle up, hustle, hustle, hustle. Hustle, come on, now. Keith watches them leave with a smile on his face. INT – MARS RESIDENCE – DAY. Veronica lifts a frying pan from the stove to the counter. She serves Keith what looks to be a cross between scrambled eggs and an omelet. The television is on in the background. VERONICA: I believe, and correct me if I'm wrong, that Woody Goodman is what some people might call a shoo-in. KEITH: He is unopposed. VERONICA: So he's basically guaranteeing you a victory? What is there to think about? KEITH: Elections aren't that easy, Veronica. VERONICA: Sure they are. Couple of catchy bumper stickers, your handsome mug plastered on all the benches in Neptune. Done and done. KEITH: Elections dredge up ugliness, and I don't want to subject you to that again. TV REPORTER: Duane Andrews was... VERONICA: You want to protect me? Run for Sheriff. TV REPORTER: ...the last person Ed Doyle spoke with before driving off the Pacific Coast Highway. Keith and Veronica turn their attention to the television, to the extent of getting up from the counter and standing in front of the TV. A clerk in a convenience store is featured. He is wearing a tasteless sweatshirt that has a yellow school bus, topped by a halo and wings, under which is written, “We’ll never forget.” DUANE: He was kind of a weird duck, I mean, you could tell that right off the bat. Guy comes in, buys a couple of things, pays, goes to leave, then stops, right? Then comes back to the counter, all serious-like, picks up one of these. He picks up an item and holds it up to the camera. DUANE: Okay, you guys see that? It's a St Christopher medal. My man pays for it then throws it out, just like that. TV REPORTER: Neptune's local sheriff's office... Keith shakes his head and puts his arm around his daughter. KEITH: [emotional] I can't imagine where I'd be if you had gotten back on that bus. He kisses the top of her head, both in affection and relief. VERONICA: You’d be sad for a while and then you'd probably turn my room into some sort of sewing nook or yoga studio. KEITH: [seriously] You don't have to make a joke, you know. VERONICA: Sure I do. Veronica pulls herself out of his hold and heads for her room. She slows then swings around. VERONICA: You know, I wonder else the bus driver bought. The couple things the clerk mentioned, well what if it was No-Doz or Red Bull? That would tell us that he's sleepy, right? And if he fell asleep, that would explain why there are no tire marks. KEITH: Veronica, you can't try to make sense out of this. VERONICA: [sadly] I know the bus driver's daughter. I think a little rhyme or reason would probably make a big difference to her. KEITH: [whispering] Yeah. INT – NHS, HALLWAY – DAY. Veronica is at her open locker. Ashley Banks is a couple of lockers along, opening it and talking cheerfully to an 09er friend. ASHLEY: At least everyone we know got off the bus, except Meg. Veronica looks over at her, disbelieving. ASHLEY: [snidely] You think her face will be, you know, normal? Ashley’s friend giggles. Veronica, looking upset, closes her locker then grabs the door of Ashley’s locker, which Ashley has just opened, slamming it shut and storming past her. ASHLEY: What a bitch! Veronica is clearly pissed off as she walks quickly up the hall and into Duncan. He puts his arm around her and walks with her. DUNCAN: Hey. Been looking for ya. He notices that she seems upset. DUNCAN: What's wrong? Veronica doesn’t respond. DUNCAN: [jokingly] You've been listening to Radiohead, haven't you? That's it! I'm putting you on a strict Nelly diet. Veronica comes to a halt and whips round to face him. VERONICA: [angry] And how should I be feeling? Happy? Like you? Duncan looks at her for a moment, then backs away, his hand held up in a “I’m not touching this” way. He turns and hurries away. INT – COOK RESIDENCE – DAY. Terrence Cook, bag in hand, stands at the door to his daughter’s room, leaning against the door with a sigh. She is in bed. She looks at him. JACKIE: I think you missed the boat on the watching-me-sleep years. TERRENCE: It's eight o'clock, when do you plan on getting up? JACKIE: The plan was two hours ago; the reality is another forty minutes. TERRENCE: No, no, we're not gonna play this game again, Jackie. You cannot miss another day of school. JACKIE: Even if I have cramps, you know, from my monthly? TERRENCE: Jackie! JACKIE: Wow, that was pretty fatherly, almost sounded like you've been saying my name in exasperation for years. TERRENCE: Alright, how about we try this… He drops his bag and walks further into the room. TERRENCE: …you can get your ass out of that bed right now, or you can go back to New York, and explain why you're there to your mom. Jackie sits up in bed. JACKIE: So, this is how it's gonna be? Clean your room or you can go back to New York? Get straight As or you can go back to New York? TERRENCE: Yeah, this is how it's gonna be and you can also add, "Speak to your father with the respect he deserves or you will go back to New York" to your list. Jackie salutes him, with attitude. TERRENCE: I'll be back in two days. You can reach me on my cell if you need anything. He holds out car keys. JACKIE: Mmmm, these don't look German. TERRENCE: You're not taking the Porsche. You take the Bronco. He drops the keys on the bed. EXT – NHS, CAR PARK – DAY. Jackie pulls into a parking spot in a Porsche. She gets out, looks at her watch and hurries on. INT – NHS, CLASSROOM – DAY. Wallace is sitting behind Cathy Westcott who is talking to Beth, sitting next to them both. He’s finding the chattering about one of the d*ad students distasteful. CATHY: Cervando was just an exceptional person, you know? I-I guess you never met him because you're new, but you would've loved him. I mean, he was this bad-ass PCH biker and he was on the Honor Roll. BETH: They didn't give him a hard time? CATHY: Well, I guess at first, but then they learned to respect it because that was the kind of person that Cervando was. Wallace crinkles his face in repugnance. That look changes dramatically when Jackie walks into the room. Jackie hands a slip of paper to the teacher, with attitude. The teacher reads it, leaving Jackie standing at the front of the class and Wallace checking her out with something like awe. Jackie notices and smiles. The teacher hands her back the piece of paper. MRS STEWART: You should take this to the attendance office. JACKIE: And where's that? Wallace’s hand sh**t up. WALLACE: Mmmm! He grins broadly. INT – NHS, HALLWAY – DAY. Wallace escorts Jackie to the administration office. JACKIE: Thanks for taking me. I don't know what I would've done, this school is sooo big. WALLACE: You know, I'm just trying to be a nice guy. JACKIE: How's that working out for ya? WALLACE: I'm getting about three hallways' worth of quality time. I'm gonna say it's going pretty good. JACKIE: Look, I haven't dated a guy in high school since the eighth grade. WALLACE: I'm an old soul. Seriously, these eyes have seen things. Did I mention I'm a nice guy? JACKIE: Ah, "nice," the great panty-dropper. WALLACE: Okay, I'm not that nice. JACKIE: Oh yes you are. WALLACE: How do you know? JACKIE: 'Cause, I haven't tried to make out with you yet. WALLACE: Oh, you're one of those, only like the bad boys. Why do all the hottest girls always have a daddy complex? JACKIE: [annoyed] Daddy complex? Jackie halts just as they get to the door of the administration office. Wallace turns round to check out why they’ve stopped. WALLACE: What? I was kidding. JACKIE: I met you about three seconds ago and you've already got me analyzed. Get over yourself. She storms past him towards the administration office door. WALLACE: [sincerely] Jackie, I'm sorry. I was kidding. She stops at the door, her back to him and her arm up on the door jamb. She turns her head to look at him and smiles in a mercurial change of temper. She giggle snorts. JACKIE: A “whatever, bitch” and a 180 back to study hall, and we could have had something.. Wallace’s face goes from consternation to a smile. INT – CASABLANCAS RESIDENCE – DAY. A naked foot protrudes from the top of a couch. There is panting. The camera rolls along the couch to reveal Logan and Kendall. While the couch blocks the view of the lower half of their bodies, it doesn’t hide their movements. They are having sex, with Logan on top. LOGAN: Afternoon delight? He rises up on fully extended arms above her before descending again and continuing his movements. LOGAN: Whoo, considerably better than fifth-period English. KENDALL: Ah, you need to not remind me you're in high school. There's an ick factor. LOGAN: Is that so? KENDALL: Yeah. School in general, not very hot, unless I'm wearing a naughty schoolgirl uniform. [whispers] Then it's very hot. LOGAN: Mmm, I'm sure it would be for the three seconds you had it on. KENDALL: You know, you’re my first younger guy. LOGAN: Oh, it is an honor and a privilege. EXT – NHS, CAR PARK – DAY. Duncan approaches his car and sees Veronica who is waiting for him. VERONICA: I suck. DUNCAN: I was just trying to make you feel better. I'm struggling with all this too. VERONICA: I know. I know. Veronica pulls him into something of a desperate kiss and then hugs him. VERONICA: I just have all these conflicting emotions. Grief, for everyone who died and everyone who lost someone. Guilt, about Meg. The one that kills me, joy, because I'm alive. And by all rights, I shouldn't be. DUNCAN: Veronica, it's not your fault. VERONICA: I'm afraid that line only works in "Good Will Hunting". Duncan laughs, followed by Veronica. Duncan strokes her arm. INT – CASABLANCAS RESIDENCE – DAY. Logan and Kendall have moved to the floor, sitting upright in each other’s arms. Logan is kissing her neck. LOGAN: Being with a younger guy must suck. Kendall laughs and Logan returns his attention to her neck. KENDALL: Hold it. Hold it. A car door slams outside. KENDALL: Someone's home. They scramble. The front door opens and Big Dick Casablancas enters, followed by Dick and Cassidy. CASABLANCAS: Never, ever let that country club valet touch the car. It comes back with a scratch every time. Alright? Casablancas moves to the lounge, followed by the boys. KENDALL: Oh my god! Kendall is on the couch, in her robe, painting her toenails. KENDALL: You scared me. CASABLANCAS: Hey. Casablancas leans down to give her a kiss. KENDALL: Hi. CASSIDY: Hey, ah, why is Logan's truck in the driveway? KENDALL: Uh, because there's water in the pool? He's upstairs waiting for you. You know, and I'd really rather your friends not just show up whenever they want. The boys head out to find Logan. Kendall calls after them. KENDALL: I'm not running an orphanage here. She looks up at her husband, who shrugs. Upstairs, in Dick’s bedroom, replete with guitar and surfboard, Logan, now completely dressed, is playing a video game. He glances at the boys as they enter, then returns his attention to the game. LOGAN: Dude, why is your step-mom such a bitch? Cassidy walks between Logan and the screen. Logan kicks him out of the way. LOGAN: Hey, get, get out. I mean, seriously, a guy asks for one sandwich. Dick and Cassidy settle on either side of him. Casablancas wanders into the room. CASABLANCAS: Hey, Logan. How's everything going? LOGAN: Really well, thanks for asking, Mr C, and you? CASABLANCAS: Excellent. LOGAN: See, you had to one up me. CASABLANCAS: Listen, don't worry about Mrs Casablancas. You're welcome here anytime. You like to bust chops. I respect that. LOGAN: Hm, thanks. CASABLANCAS: Hey, ah, Dick Junior and I are going over to the f*ring range tomorrow. Interest you in a little target practice? LOGAN: Oh, as long as I'm not the target. Logan holds out his hands. Casablancas makes a finger g*n and sh**t, then laughs. Logan’s smile fades as Casablancas leaves the room. CASSIDY: Okay, so I guess I'll just stay here and knit something. Logan gives his head a rub, which Cassidy waves off. EXT – NHS, CAR PARK – DAY. Wallace, carrying his sports bag, approaches Jackie, who is leaning against the Porsche looking miserable. WALLACE: Detention and you locked your keys in your Porsche. Bad first day? JACKIE: Someone h*t my father's car. The offside rear has been swiped, breaking the light and damaging the bodywork around it. WALLACE: Ahh. JACKIE: And if that isn't bad enough, they left a fake note. Jackie hands Wallace, written on a piece of paper from a narrow notebook. WALLACE: [reading] "People are watching me leave this note. I'm sure it looks like I'm leaving my insurance info. I'm not." That's just mean. JACKIE: This is exactly what my father's expecting. WALLACE: I can help, I mean, if you want. Jackie is skeptical. WALLACE: I can! JACKIE: Like how? WALLACE: I know someone, trust me. Gonna track this scumbag down. Wallace gets his cell out of his bag and starts to dial. INT – CONVENIENCE STORE – CONTINUING. Veronica is in Duane Andrews’ store and is horrified by the merchandise that has been produced in the wake of the bus tragedy. The logo is as Duane was wearing before: a yellow school bus flying with large wings topped by a halo. There are key chains and buttons and coasters and stickers and mugs and sh*t glasses and T shirts and caps. Over the radio, in this scene and in all subsequent scenes in the store, the radio is on, playing one song. Music: Magic Bus by the Who. LYRICS: Every day I get in the queue (Too much, Magic Bus) To get on the bus that takes me to you (Too much, Magic Bus) I'm so nervous, I just sit and smile (Too much, Magic Bus) Your house is only another mile (Too much, Magic Bus) Thank you, driver, for getting me here (Too much, Magic Bus) You'll be an inspector, have no fear (Too much, Magic Bus) I don't want to cause no fuss (Too much, Magic Bus) But can I buy your Magic Bus? (Too much, Magic Bus) Nooooooooo! I don't care how much I pay (Too much, Magic Bus) I wanna drive my bus to my baby each day (Too much, Magic Bus) I want it, I want it, I want it, I want it ... (You can't have it!) Threepence and sixpence every day Just to drive to my baby Threepence and sixpence each day 'Cause I drive my baby every way Magic Bus, Magic Bus, Magic Bus ... I said, now I've got my Magic Bus (Too much, Magic Bus) I said, now I've got my Magic Bus (Too much, Magic Bus) I drive my baby every way (Too much, Magic Bus) Each time I go a different way (Too much, Magic Bus) I want it, I want it, I want it, I want it Every day you'll see the dust (Too much, Magic Bus) As I drive my baby in my Magic Bus (Too much, Magic Bus) Veronica’s cell rings. She answers, her voice quivering in anger and distress and revulsion. VERONICA: Hey Wallace. EXT – NHS, CAR PARK – CONTINUING. Wallace plays Veronica and tilts his head the way she does when she wants a favour. WALLACE: Whatcha doing? INT – CONVENIENCE STORE – CONTINUING. VERONICA: Remembering why I'm a misanthrope. They're selling souvenirs, Wallace… EXT – NHS, CAR PARK – CONTINUING. VERONICA: [offscreen]…bus-crash souvenirs. Wallace’s face drops as he recognizes how upset she is. WALLACE: You okay? INT – CONVENIENCE STORE – CONTINUING. VERONICA: Yeah, I'm fine. What did you need? EXT – NHS, CAR PARK – CONTINUING. WALLACE: Don't worry about it. I'll take care of it myself. See you tomorrow, alright? INT – CONVENIENCE STORE – CONTINUING. VERONICA: Yeah, okay. Veronica switches off the phone. EXT – NHS, CAR PARK – CONTINUING. Wallace does the same and looks down at it with concern. JACKIE: So? Wallace turns to face her, changing his expression to a grin. WALLACE: It's all good. I'm on the case. INT – CONVENIENCE STORE – CONTINUING. VERONICA VOICEOVER: Now, how to convince this spotlight-loving bozo that I'm his friend. Please let Ed Doyle's last meal be super-caffeinated, give me something good to tell Jessie. Duane is behind his counter, still wearing his sweat shirt. There is more “We’ll Never Forget” merchandise and a sign, “We Do Not Make Change. Don’t Even Ask.” VERONICA: Hey, you're the guy from the news, right? DUANE: I am, man, did you see that? Check you out. Let me ask you a question, I look fat to you? 'Cause I was watching it on the news and I was like, "Damn, I look fat." Then I read something online says, like, the camera adds ten pounds. I was thinking maybe it was them, but just in case, though, I started a diet regiment this morning. VERONICA: God, that must have been so freaky to be the last one to talk to the bus driver. DUANE: It was weird. VERONICA: Just thinking about him standing here is like...just so cool! I-or maybe you think that's weird, I don't know. I'm kind of into the macabre. DUANE: Yeah, you're one of those freaky sex and death type kids, aren't you? We've been getting a lot up here lately. Boss tells me to throw them out, but I'm like "No way, man." Goth money spends just as well as, uh...non-Goth money, so. But if we've been getting a lot of Munsters in here, I'd say that you're the Marilyn, hon, 'cause you're...pretty. Veronica simpers coyly. VERONICA: Thanks. Okay, would you think I'm sick if I asked for the last meal the bus driver ate? DUANE: I would, but you wouldn't be the first, you know. You'd be like the ninety-seventh person that asked for it. Veronica’s disguise slips a little as her true feelings show at that piece of news. VERONICA: Really? Luckily, Duane is not paying attention as he moves to get her a slushy. DUANE: Yeah. Let me tell you something, if I was gonna do a kamikaze, you know, off a bridge with a bus full of kids and stuff, convenience store would not be the site of my last meal. I’d want to—I’d want to eat something on the brink of extinction, you know? Like the last emu, or meerkat. Veronica throws him an astonished look. (Note: Duane’s next line was cut from some broadcasts.) DUANE: I bet they'd go down smooth. It would definitely not be a Monster Glug, right, and a bag of peanuts. A buck ninety-eight, hon. Veronica throws him the money. VERONICA VOICEOVER: Slushy and peanuts? DUANE: Thanks. VERONICA VOICEOVER: That tells me nothing. Veronica notes the “No change” sign and, sitting immediately underneath, a plastic box full of plastic St Christopher medals, on sale for twenty-five cents each. Duane counts out her change. DUANE: Three-oh-two. One, two, three. There you go. She picks up a St Christopher medal. VERONICA: And I can't leave here without one of these. She hands over a dollar bill. DUANE: Mm, St Chris. Hope it helps you. It didn't help him. Veronica clocks the “No change” sign again. Duane gives her the change. DUANE: There you go. VERONICA: Thanks. DUANE: Be careful going around those cliffs. Don't pull a bussie, please. You're too cute to die. Veronica looks down at the change in her hand. VERONICA VOICEOVER: "No change, don't ask," huh? Wait… She looks up and sees the pay phone in the corner. VERONICA VOICEOVER: …Ed Doyle's saint toss wasn't a sign he was turning his back on God. He just needed change for the phone, so he bought the cheapest thing he could find. But who did he call and why doesn't anyone know about it? End music: Magic Bus by the Who. INT – SHERIFF’S DEPARTMENT – DAY. Veronica approaches the counter, newspaper in hand. Sacks is on duty but doesn’t look up. Veronica stares at him for a moment, then slaps the newspaper and her arms down on the desk, which does get his attention. VERONICA: Either I am getting stealthier or your hearing [whispering] is not what it used to be. SACKS: What do you want, Veronica? VERONICA: I'd like an application. He snorts. SACKS: Right. He goes back to his paperwork. Veronica holds up the newspaper. VERONICA: It says right here you're looking for a part-time receptionist. SACKS: Why aren't you in school? VERONICA: Job hunting on my lunch break. I have excellent time-management skills, I'm also great with people and I have [soothingly] a very soothing phone voice. SACKS: You're serious? VERONICA: As a code three on a one-eighty-seven in a res. dist. Sacks is a little bemused but reaches under the counter for an application form. Veronica smirks and grabs a pen from the counter. Sacks hands her the form which she takes. VERONICA: Is there some place quiet I can fill this out? Cut to Sacks showing her into an empty interrogation room. She sits at the table and makes to start completing the form until Sacks shuts the door, leaving her alone. She goes into her bag and gets her notebook. She grabs the telephone receiver. VERONICA VOICEOVER: Few people have quick access to pay-phone records. On the short list, the police. VERONICA: Hi, this is Deputy Ann Shaughnessy from the Neptune County Sheriff's Department, I need a number and an address for a call placed last Wednesday between 4:15 and 4:30 PM. EXT – NHS, CAR PARK – DAY. A group of four boys are playing Hacky Sack. Wallace approaches. WALLACE: What's up, man? HACKY SACK PLAYER: What's up? Wallace joins them for a brief round. WALLACE: I always see you guys playing Hacky Sack over here after lunch. Chip? Wallace gives him a pack of Nachos Whiffies. The Hacky Sack player examines it appreciatively. HACKY SACK PLAYER: Sure, nice. WALLACE: Hey, my friend's car got slammed the other day, I was wondering if maybe you saw something. HACKY SACK PLAYER: Yeah, the Porsche? WALLACE: You saw it? HACKY SACK PLAYER: Yeah, man, that was rough. This chick just came out of nowhere, slammed into it. Just pow! WALLACE: Know who it was? HACKY SACK PLAYER: Some blonde chick. She had a nice ass, but I never seen her before. WALLACE: See, but now if that's all you got, I gotta go look at every decent-assed blonde chick in this school. The Hacky Sack player laughs. HACKY SACK PLAYER: Ah, she was driving a green car, if that helps. WALLACE: Thanks. Wallace backs away. INT – SHERIFF’S DEPARTMENT – DAY. Lamb enters the main area. He is looking sour. He checks his watch. Sacks, pouring himself a cup of coffee, spots him. SACKS: You'll never guess who's in the interrogation room right now filling out an application. Lamb stops and turns to face him, somewhat irritable. He makes a show of thinking hard. LAMB: You're right. I'll never guess. Who? SACKS: Veronica Mars. Lamb’s face takes on a panicked and horrified look. LAMB: You left Veronica Mars in there alone? He races to the interrogation room. Sacks watches him go, still bemused. In the interrogation room, Veronica is still on the phone. VERONICA: I got it, thanks. She puts the phone down just as Lamb opens the door. She puts her notebook away as he stares hard at her. LAMB: What are you up to, Veronica? VERONICA: The last question, actually, "Why do you want this position?" Honestly, and really tell me the truth, how much of an ass-kiss would I be if I admit it's to be close to you? Lamb is not amused. He walks around to her side of the table, bends down, grips the chair and pulls it hard out from under her. Veronica rises and walks towards the door. VERONICA: Seriously, why do birds suddenly appear every time you're near? Lamb shakes his head. EXT – NHS, LUNCH AREA – DAY. Spread out over one of the tables are sheets of papers with lists. There are a couple of year books, one of which is open at a page of many photographs of students. Wallace is showing Jackie the fruits of his labours. Behind them, some students are seen wearing the bus tragedy merchandise. WALLACE: So I got the basics from the stoners, right? Used my attendance office connections, don't ask, and I got a parking permit list. Name, bam! Plate number, bam! I got the car make and color of every student's car parked at Neptune High. Weeded out the dudes, and then...wait for it...cross-referenced to the yearbook to eliminate all the non-blondes. And yeah, then there were four. JACKIE: So you've located the bitch. Wallace, who was standing over Jackie, moves round to sit next to her at the table. WALLACE: I'm in the whittling stage right now. It's a process. I checked out two suspects. One's been driving her mom's blue Dodge all week and the other one's car is mint. JACKIE: My father's coming home tomorrow. WALLACE: It'll be fixed by tomorrow. JACKIE: Yeah but when the credit card bill is due I won't be able to pay it and I'll have to go to him. WALLACE: Look, you will have your money by then. I'm telling you, I will find her. I promise. Wallace Fennel is on the case. You know what that means? JACKIE: That Wallace Fennel wants to get in my pants? WALLACE: And? What else? JACKIE: That's all I've got. WALLACE: It's already solved. There's only one girl left on the list. Jackie smiles sweetly at him. EXT – NHS, CAR PARK – DAY. Wallace is running his hand along the bumper of a green car, license 2ITA336. It’s a “Yundai” (and this week’s missing letter is “H” or is it?). A girl walking with crutches approaches. JANE: What are you doing? Wallace straightens up quickly. WALLACE: Jane! What did you do to yourself? JANE: I, ah, had knee surgery. WALLACE: Oo, ouch. When? JANE: About a month ago. I-I didn't think you knew who I was. WALLACE: What? Are you kidding? JANE: No, I mean we had Spanish together all last semester and you never said two words to me. In English either. Wallace is getting a little uncomfortable that Jane is coming on to him. Behind her, a geeky looking boy carrying books drops them into her car. Jane looks round to see what Wallace is looking at. JANE: Oh, that's Bob. He's my friend. Kind of my chauffeur-friend right now, but, um… She hobbles closer to Wallace. JANE: …he's just a friend. Wallace laughs self-consciously. INT – DOYLE RESIDENCE – DAY. It’s a very small apartment. Jessie hands Veronica an iced tea. JESSIE: Yes, there's sugar in here. We like our iced tea to come from crystals. VERONICA: It's fine, thanks. Jessie starts taking apples out of a paper bag. JESSIE: So, um, my dad calling someone is a good sign then, right? VERONICA: It might be. Do you recognize the name Cotter? The address is from your apartment complex. Did your dad ever hang out with any of the neighbors? JESSIE: No. VERONICA: I went by there earlier, but no one was around. I'll stop by again later. The doorbell rings. Jessie goes to answer. It’s Lamb with two deputies. LAMB: Is your mother home? Veronica, looking at pictures on a shelf, whips round. JESSIE: No, she's picking up my little brother from day care. LAMB: I have a search warrant. Veronica sighs. JESSIE: What for? Lamb and the deputies have entered the apartment. Lamb sees Veronica. LAMB: Looking for evidence. su1c1de is a crime. su1c1de that takes the lives of six others is m*rder. What are you doing here, Mars? He smiles tightly. VERONICA: Jessie's a friend. Lamb starts looking through the Doyle family mail. Veronica throws a sympathetic look at Jessie. INT – sh**ting RANGE – DAY. A g*n is aimed at a target, a half-body picture of a man. Two sh*ts h*t the representation in the head. It’s Casablancas sh**ting and the next three sh*ts h*t the middle of the chest. Casablancas smiles, satisfied. In the next booth, Dick, holding the g*n on its side, gangsta-style, sh**t eight sh*ts off rapidly. They go all over the target, none hitting the chest or head. Cartridges ping as they h*t the floor. Dick looks at his g*n, as if it is responsible for his poor aim. Logan is in the next booth. LOGAN: Well that'll slow him down. Logan pushes the safety glasses straight, takes single-handed aim and takes two sh*ts which h*t the chest area but not the centre. He grips the g*n with both hands and takes two more (slight glitch as the target shows three more sh*ts taken). One is in the head, the others in the chest area again. Logan blows the top of the g*n. Casablancas comes up behind him. CASABLANCAS: You ever sh**t before, son? Logan, jumpy around Casablancas, turns to face him. He pushes back the ear defender from one ear. LOGAN: Oh, uh, no. CASABLANCAS: It's a good way to let off some steam, but when you're at the point where you want to sh**t someone, you want to take him down, you don't want to wing him. Casablancas points at the target. CASABLANCAS: Heart and head, that's where it counts. LOGAN: Hm, ain't that the truth? CASABLANCAS: You need focus, precision, the ability to only think about the task at hand. When I'm working, my family doesn't exist. Dick grins. CASABLANCAS: Does that sound awful? LOGAN: Mm, no. CASABLANCAS: It's not, because when I'm with my family, work doesn't exist. Casablancas spins the chamber of his revolver. LOGAN: Hmm. I think my father has a similar philosophy. CASABLANCAS: Yeah? LOGAN: Yeah. Of course, he's a m*rder, so...yeah. Casablancas thinks about that for a moment, then laughs. CASABLANCAS: Yeah. He pats Logan on the arm and returns to his booth. Dick joins Logan. DICK: Hey. We should have some chicks over tomorrow night. Dad's got this banquet at the Neptune Grand and he's forcing Kendall to go with him. Dick is fiddling with his g*n. Logan reaches down and engages the safety. LOGAN: Dude, have you forgotten I live alone. DICK: Yeah, but only psycho chicks want to go out at Casa de k*ller. That hurts. Logan disguises it with a laugh but he is deeply affected by it. As Dick walks away, Logan twists back round and without hesitation and in a smooth movement, takes two-handed aim at the target and sh**t. It hits the chest, d*ad-centre. INT – SAC-N-PAC – NIGHT. In the background, a couple of people talk. MALE VOICE: What did she say? Did she say Duper-Duds? FEMALE VOICE: Out back. Veronica joins Wallace, leaning on the counter, reading the Neptune Register. The headline is “Traffic Fatalities Rise Again.” Another story is “Lifeguards face dire shortage.” VERONICA: I need a job where I get paid to read the personals and drink slushies. WALLACE: Did you see this? It's about Cervando. The Neptune Register is fifty cents. The newspaper is dated September 24, 2005 and the email address is www.neptuneregister.com. The story Wallace is reading is next to the lead story, “Biker with a Brain. Honor roll g*ng member’s passions were billiards and biology. By Diane Ruggiero. Senior Staff Writer. Among the Neptune High School students k*lled in the recent bus crash was an unlikely honor roll member. Cervando Perez, 17, a long standing member of the local PCH motorcycle g*ng, is remembered by his classmates as one who defied stereotypes. ‘Cervando wept the first time he saw ‘Stand and Deliver’,’ recalls classmate Cathy Westcott. ‘It was so sweet. He wanted to be just like Jaime Escalanto. Perez, whose academic…biology and calcu-” VERONICA: If I die unexpectedly, do me a favor. Veronica puts her hand over Wallace’s. VERONICA: Go on Oprah and tell the world I loved kittens. Wallace sniggers. VERONICA: [reading] "Cervando wept the first time he saw ‘Stand and Deliver’." Where do they even get that stuff? WALLACE: There was this new girl in class just soaking up the drama. She probably couldn't wait to talk to reporters. MALE VOICE: Is that Diane or is that his girlfriend with him? FEMALE VOICE: {}. INT – COTTER APARTMENT COMPLEX – NIGHT. There is a knock. Jeff Cotter opens the door. It’s Veronica. COTTER: Yeah? Veronica takes a breath to start but he anticipates her. COTTER: Wait, let me guess, Save Our Beaches, right? VERONICA: Jeff Cotter? COTTER: Yeah. VERONICA: My name is Dawn, Dawn Lamb, assistant to the District Attorney. Did you know Ed Doyle? COTTER: Um, he was the bus driver in that accident, right? VERONICA: Yes. COTTER: I've heard of him, you know, from the news. I-I think he lives around here too. What's this about? VERONICA: Ed Doyle placed a call from a convenience store pay phone to your apartment about fifteen minutes before the bus went over the cliff. Last Wednesday, 4:05 PM? COTTER: Yeah, I was in New York on Wednesday, I just got back this weekend. Hey Carla, sweetheart, come here. Cotter is joined at the door by his wife (who is a cross between Sarah Jessica Parker and Lianne Mars). COTTER: She's saying that-that the bus driver guy, the guy from the accident, he called here last week. CARLA: Who? VERONICA: Ed Doyle. Were you home last week between four and five PM? CARLA: Yes. But I-I don't know what you're talking about. Wait, I did get a wrong number last week, it, uh, might have been Wednesday. Veronica’s cell phone starts to ring. She grapples for it and looks to see who it is. VERONICA: Thank you. Sorry to bother you. COTTER: No problem. Cotter shuts the door as Veronica takes the call. VERONICA: Jessie, what's up? JESSIE: [offscreen, upset] You can stop whatever you're doing. VERONICA: Why? INT – DOYLE RESIDENCE – CONTINUING. JESSIE: My...father k*lled himself. INT – COTTER APARTMENT COMPLEX – CONTINUING. JESSIE: [offscreen] The sheriff found his su1c1de note… INT – DOYLE RESIDENCE – CONTINUING. JESSIE: …saved on his computer. INT – COTTER APARTMENT COMPLEX – CONTINUING. Veronica sighs. INT – DOYLE RESIDENCE – DAY. Jessie opens the door to Veronica. VERONICA: I just wanted to check in. RANDI: [offscreen] How can you cry about him? Veronica looks over at the harsh voice, raised to a young boy. RANDI: You think he cared about either one of us? He left us with nothing and-- Jessie races over to the couch on which her brother is cowering and crying. JESSIE: Mom! RANDI: What? Randi looks over at Veronica who drops her head. RANDI: I think we can stop worrying about appearances. Randi snatches up a laundry basket and leaves the room. Jessie comforts Bruno. JESSIE: Hey, you know not to listen to her when she's like this, right? BRUNO: I don't know. JESSIE: Daddy was sick. He was in a lot of pain. BRUNO: Where-where was it? Jessie doesn’t know how to respond. JESSIE: It's...h-hard to explain. Veronica swallows. BRUNO: Can I go play outside now? JESSIE: Yeah, just stay in the yard, okay? Bruno leaves and Veronica joins Jessie on the couch. Jessie pulls a folded piece of paper from her pocket. JESSIE: Maybe, uh, he'll feel better when he's older and he can read this. Sheriff was kind enough...to print it out and fax it over. Jessie opens it out and reads. JESSIE: "I'm sorry to leave you this way, but I truly believe in my heart that it's for the best. I can't go on like this. I can't stay just for the kids, even though they mean more to me than anything. This isn't good for them." You know, my mom was right for a change, better off without him. There’s a shout from another room. RANDI: Jessie! Jessie exits. Veronica picks up the paper and has a thought. INT – SAC-N-PAC – NIGHT. Wallace is stacking shelves. A middle-aged man, Bernie, approaches. BERNIE: Slow night? Wallace doesn’t interrupt his work. WALLACE: Ah, not bad. BERNIE: No? WALLACE: Busy enough to not get bored, slow enough to do my homework. BERNIE: I used to work nights at the store when I was in high school. Wallace stops stacking and gives the man an odd look and nods. BERNIE: Sweet gig. You go to Neptune High? WALLACE: Yeah. BERNIE: Ah, must be rough. Anyone close to you involved in that crash? WALLACE: No. BERNIE: Good. Thank god. Still, you probably knew some of the kids, right? WALLACE: You looking for a story? Bernie smiles and pulls out his notebook. BERNIE: Well, you got something? Wallace looks at the notebook. He reaches forward and grabs it. WALLACE: Can I see this for a minute? The paper is narrower than usual notebooks. He tears off the top sheet and hands it back to Bernie. WALLACE: I've never seen notebooks like this. BERNIE: Reporters all use them. Easy to hold and write at the same time. So, ah, you said you knew some of the kids. WALLACE: No, I didn't. The man gives Wallace a “You got me, kid” look. INT – COTTER APARTMENT COMPLEX – NIGHT. Veronica knocks on the door. Carla answers. VERONICA: One quick question. If Ed Doyle dialed the wrong number, why was it a four minute call? Carla, clearly distressed, searches unsuccessfully for an answer, tears welling in her eyes. VERONICA: [gently] I read his su1c1de note today. And I have a theory. He wasn't planning on k*lling himself, or a busload of kids. He was planning on leaving his wife, I'm guessing for you. Carla struggles with her emotions. Music: On Your Porch by the Format. LYRICS: I was on your porch, The smoke sank into my skin So I came inside to be with you. Well my dad was sick And my mom she cared for him Her love, it nursed him back to life. And me I ran, I couldn’t even look at him For fear I’d have to say goodbye. And as I start to leave, He grabs me by the shoulder and he tells me What’s left to lose, you’ve done enough And if you fail, well, then you fail but not to us ‘Cause these last three years, I know they’ve been hard, But now it’s time to get out of the desert and into the sun Even if it’s alone. I was on your porch, The smoke sank into my skin. Carla loses the battle with her feelings and gestures for Veronica to enter. CARLA: [whispering]Come in. Veronica enters and Carla shuts the door. INT – THE HUT – NIGHT. Carla is sitting at one of the small tables. VERONICA: Carla, this is Jessie. Jessie is pleased to be meeting Carla and stays standing. Carla looks up at her and swallows hard. CARLA: You look just like your picture. JESSIE: That's why they call them "pictures." CARLA: Your-your dad…talked about you all the time. JESSIE: [sarcastically to cover her upset] Yeah, sorry, can't say the same. CARLA: We were in love, your dad and me. Jessie snorts, shakes her head and looks away. CARLA: He called to say that he'd see me later. He didn't mean to drive that bus off a cliff. He-he just couldn't bring himself to leave you and your brother. He didn't want to leave you with your mother. Jessie, who has been looking at anything but Carla since she said they were in love, stares at Carla now. Carla holds her gaze and slowly, Jessie relents. She sits down opposite Carla at the small table. She’s cautious and still suspicious, but willing to listen. CARLA: Now, I wish I was…less understanding, because I never really got to be with the man that I loved. Veronica has been observing throughout. VERONICA VOICEOVER: You know the charge that goes up your spine at moment of epiphany? It just h*t me. I'm not gonna let the list of things I want to do before I die turn into a list of regrets. INT – NEPTUNE GRAND HOTEL, HALLWAY – NIGHT. Duncan opens the door of the Presidential Suite and grins. DUNCAN: You came. Veronica, nearly in tears, runs into his arms and holds him tightly. Duncan is surprised. DUNCAN: Oh, hey. INT – NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE – NIGHT. Veronica kisses Duncan urgently. As her desperation mounts, Duncan lifts Veronica and carries her to the bed. He places her down gently, never breaking contact. The camera pulls back to the Mona Lisa pillow at the bottom of the bed, amongst other paraphernalia from Italy – a model Leaning Tower of Pisa, a model of Michelangelo’s David, a miniature gondolier. Later, the deed done, Duncan lies on his back in the bed, Veronica’s head resting on his chest. He kisses her forehead and they engage in a little role-reversal. DUNCAN: [girlie] What are you thinking? Veronica smiles and glances up at him. VERONICA: [butch] You know, I was trying to remember the over-under on the Ohio State-Texas game. Stroking her arm, Duncan laughs but looks grossed out when Veronica pretends to hock a loogie on his chest. DUNCAN: Oh, god. They laugh. They hear a thump. It’s followed by groaning and more, rhythmic, thumping. Veronica lifts her head. VERONICA: What is that? The activities of the occupants in the next room become clear. VERONICA: Ohhh. She cuddles back down onto Duncan’s chest. DUNCAN: Mmmmaybe we did it wrong. Veronica gives an embarrassed little laugh. DUNCAN: Uh, so, what's the protocol here? I mean do I bang my fist on the wall? Call the front desk? VERONICA: Attempt to out-moan them? Veronica looks up at Duncan. He laughs but doesn’t take the hint. DUNCAN: There's really only one thing to do. Duncan reaches to the side of the bed and picks up a remote. Veronica lays her head back down and smiles indulgently. The TV comes on. DUNCAN: Spectra Vision. Loud. Later, as Duncan sleeps, Veronica, fully dressed, gathers her things and leaves. INT – NEPTUNE GRAND HOTEL, HALLWAY – NIGHT. Veronica steps out of the Presidential Suite, still pulling on her boot. As she finishes, she turns at the sound of another door opening. Her face registers her shock. It’s Logan. He’s leaving the next room, jacket in hand. He sees her, his own shock and hurt clear but only for a second as he recovers quickly. LOGAN: [offscreen, Yoda-style] Hmmm… Veronica drops her head, unable to look at him. LOGAN: [offscreen]…what's different about you? Veronica looks up. Logan walks towards her as he slips on his jacket. LOGAN: Did you cut your hair or something? He stops close to her, leaning back against the wall, bending down and bringing up his foot to tie his shoe laces. Veronica stares at him. LOGAN: Uh, FYI, if the cuddling is the best part, he didn't do it right. Logan smacks his lips in a mock kiss. Veronica is still standing in stunned silence. Logan finishes with his shoes, stands and walks past, casting a hard glance at the door to Duncan’s suite. Once he is gone, Veronica can finally move. She pulls out her cell and dials, staring at the door to the room Logan came from, room 1147. OPERATOR: Directory assistance. VERONICA: Neptune Grand on Fifth Street. OPERATOR: One moment. MALE VOICE: Neptune Grand. VERONICA: Room 1147 please. As the phone rings in the room, a shape can be seen through the frosted glass. KENDALL: Hello? Before Veronica can say anything, Duncan’s door opens. Shirtless, he looks out into the hallway. DUNCAN: Why didn't you wake me? VERONICA: I have about fifteen minutes 'til my dad activates the homing device in my molar. DUNCAN: Mmmm. They kiss and Veronica leaves. He watches her go. Music: ? by ?. LYRICS: Did you find that you {put it around} my heart Did you find that you’re working it out now Did you find that you wasted all my time I don’t want no little Miss Kid-Around Can’t find, no, nothing like my own Too bad you’re little Miss Been-Around Did you find that you {put it around} my heart. When you come around {} it’s all the same {} love, but you don’t {} Feel disgusted now, it can never be the same But you don’t know why. Did you find that you {put it around} my heart Did you find that you’re working it out now Did you find that you wasted all my time I don’t want no little Miss Kid-Around Can’t find, no, nothing like my own Too bad you’re little Miss Been-Around Did you find that you {put it around} my heart. INT – CASABLANCAS RESIDENCE – NIGHT. Cassidy has fallen asleep in front of the television, a bowl of popcorn in his lap. A surfer surfs on the TV. Casablancas and Kendall enter, back from a function for which they’ve dressed up. He motions her to be quiet. She smiles as her husband creeps up on his son. He forms his hand into a fist and plays Anthony Perkins from “Psycho,” s*ab down while emulating the music from the shower scene. CASABLANCAS: Whee-whee-whee. Cassidy jerks up with such v*olence that the popcorn bowl goes flying. Casablancas laughs, pleased with himself. Kendall giggles in the background. CASABLANCAS: Gotcha. Cassidy lies back with his hands on his head, still shaking and not at all amused. Casablancas runs up to Kendall and pulls her at the waist, directing her out of the room. Kendall stands firm and he goes out without her. KENDALL: Ohhh, ah, make sure you really clean that up because, uh, if we get bugs, I'm gonna be pissed. Kendall leaves the room, leaving a disgruntled Cassidy to clean up. As he picks the popcorn up from the floor, he reaches for some from under the couch. He feels and picks up something else. It is an empty condom packet – Live Large. He stares at it, then in the direction his father and stepmother left. End music: ? by ?. INT – SHERIFF’S DEPARTMENT – DAY. Woody comes out into the hallway where Keith is waiting. GOODMAN: Hey, Keith. You're looking for me. KEITH: I am. GOODMAN: Alright, good. h*t me with some good news. Lamb enters from the same door as Woody did. Woody pauses, waiting for him to pass behind them. Lamb gives them a hard, suspicious look before going on his way. KEITH: I appreciate the offer, Woody, but I've decided not to run. GOODMAN: No. KEITH: Good luck with the election and you can count on my vote. GOODMAN: You change your mind, you give me a call. KEITH: I feel pretty good about the decision. GOODMAN: Fair enough. Woody offers his hand and they shake. GOODMAN: You take good care, Keith. KEITH: Always a pleasure. GOODMAN: Alright, man. KEITH: Alright. Keith sets to leave, passing pictures of the old county building that housed the sheriff’s department (eg. in the pilot). He pauses to listen to a conversation taking place ahead of him. JESSIE: Just listen to me for two seconds. I've been here for three hours, you can talk to me for one minute. Lamb is getting himself a drink from a dispenser. Jessie’s pleading does not divert him. JESSIE: My father did not k*ll himself. LAMB: We have the note. We have the physical evidence. The case is closed. JESSIE: Open it back up. Keith watches sympathetically. JESSIE: That wasn't a su1c1de note. Hey, he was leaving my mom for another woman. I have proof. Lamb bangs on the dispenser and gets his drink, ignoring her. JESSIE: Listen to me. You have to give another press conference, okay? Please, I have a little brother. He's eight. He needs to know that my father didn't k*ll those kids. LAMB: Sorry about your loss. The case is closed. Lamb goes into the main office, leaving Jessie in the hall. Jessie groans and kicks the bench. Keith carries a deep frown. EXT – NHS, CAR PARK – DAY. Wallace and Jackie wait, leaning and sitting respectively on a car. JACKIE: What are we doing? WALLACE: Exercising patience. Just wait for it... Beth, the girl from Wallace’s class, gets into a green car. WALLACE: …wait for it...and go. Beth gets out of the car again, seeking out the note on her windscreen. JACKIE: Wait. She's the one? WALLACE: My plan is unfolding, just-let's just be impressed and watch it play out. Beth looks over at Wallace and Jackie. Wallace waves at her. Jackie slides off the car, ready for a fight. JACKIE: Thanks, but I got it from here. WALLACE: Whoa, whoa. Do you want your dad to hear you got into a catfight the first week of school? Beth approaches Wallace and Jackie. BETH: You have my sparkplugs? WALLACE: You have your insurance information? With ill grace, Beth reaches into her bag and gets out her information, thrusting it at Wallace. WALLACE: Paper bag, back seat. Beth gets the bag from the back seat while Wallace writes down the insurance details. She waits impatiently for him to finish. WALLACE: Thank you. She snatches them back and flounces away. WALLACE: Chances of her knowing how to replace a sparkplug? JACKIE: Chances of me running into her in the girls' locker room and unleashing my own brand of justice? WALLACE: Slim. She doesn't go here. She's a reporter. Think Drew Barrymore in “Never Been Kissed.” Hey, if Drew's in it, I seen it. As they watch Beth trying to replace her spark plugs, two security guards approach her and ask her to accompany them. WALLACE: I let Clemmons know we had an imposter on campus. Another thing you should know about me: I like my gratitude in small doses, spread out over time. Jackie holds out her hand for the insurance information. Wallace passes it over. She leans over and kisses him. Veronica can be seen beyond them, pausing. Jackie backs away. JACKIE: I may have to reconsider my stand on nice guys. She turns and heads for her car as Veronica joins Wallace. VERONICA: Umm, who was that kissing you? WALLACE: That was Jackie. VERONICA: Oh. Wallace laughs at the “Jackie O” reference as Veronica gives him a “not her” look. INT- MARS RESIDENCE – DAY. Keith is grating. VERONICA: Hey. How did Woody Goodman take the news? KEITH: Pretty well, actually. VERONICA: Wasn't bummed? KEITH: Nope. VERONICA: Then he's crazy. KEITH: I told him I'm running. VERONICA: Oh my god! Music: Where Is My Mind by the Pixies. Veronica flies at him for a big hug. VERONICA: Oh, that's great. That's great. I feel safer already. Keith looks at her fondly, then examines her face more carefully. VERONICA: What? KEITH: You look different, that's all. Veronica throws a concerned look and embarrassed smile at her father. VERONICA VOICEOVER: Okay, I know my father is a brilliant detective with a keen intuition and a finely-tuned BS detector, but there is no way he can tell that I've had sex. Right? EXT – BEACH – DAY. Sheriff’s department vehicles are pulled up and a number of deputies mill around, some close to the water. Lamb is crouched down by a body. It’s the Hawaiian-shirted man whose wick Veronica shielded at the crash site. Lamb checks his pockets and his pants. He looks up at one of the deputies. LAMB: Hey, check this out. With his gloved hands, Lamb opens out the hand of the d*ad man. Written on his palm, in large black unsmudged letter is “Veronica Mars.” End.

{"type": "series", "show": "Veronica Mars", "episode": "02x02 - Driver Ed"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars… Veronica races to the edge of the cliff in 201 Normal Is the Watchword. GIA: It just went straight off the cliff. They're all d*ad. At the bottom of the cliff, the debris floats in the water. Duncan holds Veronica. Cut to the Mars residence in 202 Driver Ed. VERONICA: I wonder what else the bus driver bought. Well what if it was No-Doz, or Red Bull? KEITH: Veronica, you can't try to make sense out of this. Veronica shields the wick for a man in a Hawaiian shirt to light a votive candle. She surveys the scene. VERONICA VOICEOVER: I don't even know what I'm looking for. Skid marks the sheriff's department missed, or purposefully overlooked. There's nothing here to help anyone. Jackie gives Wallace a kiss. VERONICA: [offscreen] Who was that kissing you? Jackie gets into her car, giving a wave. WALLACE: That was Jackie. Veronica, with barely disguised dislike, stands with Wallace and watches Jackie leave. VERONICA: Oh. Logan and Kendall are naked in the middle of the Casablancas lounge, sitting up and in each other’s arms, kissing. KENDALL: Hold it. They look up in the direction of the front door. KENDALL: Someone's home. Cut to Kendall, lightly robed, nail polish spread out before her, welcoming her husband home with a kiss. KENDALL: Hi. Cassidy and Dick watch. CASSIDY: Ah, why is Logan's truck in the driveway? KENDALL: And I'd really rather your friends not just show up whenever they want. At the park, Goodman addresses Keith GOODMAN: I'm running for county supervisor because I care about this town, Keith. I want you to run for Sheriff. Keith cooks at the Mars residence. KEITH: I told him I'm running. Veronica holds Keith’s arms, post-hug. VERONICA: I feel safer already. At the beach, the body of the Hawaiian shirted man is examined by Lamb. LAMB: Hey, check this out. He opens out the man hand. Written on it is “Veronica Mars.” End previously. INT – NEPTUNE HIGH SCHOOL (NHS), HALLWAY – DAY. Students traverse the hall in different directions. VERONICA VOICEOVER: Senior year. College applications due in three months, scholarship applications in six. Veronica appears from around the corner. As the other students walk as normal speed, Veronica’s walk is filmed in slow-motion as she heads for a classroom door. VERONICA VOICEOVER: Since most of my extra-curricular activities cannot be divulged under state law, my guidance counselor strongly suggested I indulge in a little resume packing. So as of now, Veronica Mars… Veronica reaches the door and opens it. INT – NHS, CLASSROOM – CONTINUING. VERONICA VOICEOVER: …is a Future Business Leader of America. She walks forward into the room, smiling at the teacher as she passes him. He makes his way to the from of the room. POPE: Okay. He claps to bring the class to order. His smile beams out to the room. POPE: I'd like to begin our local profile series by introducing the CEO of Casablancas Enterprises, Mr H Richard Casablancas. He points to his desk against which Big Dick Casablancas is leaning. The students, their desks arranged in horseshoe fashion around the room, applaud. The students include Logan, Cassidy, Dick and Duncan. There is an empty desk next to Duncan. There are various whoops and woos and shouts with the applause. STUDENT: All right, Mr Casablancas. Veronica makes her way around the horseshoe, behind Logan and Cassidy, heading for Duncan. Dick looks up at her as she passes. She pauses. DICK: Uh, sure you're not looking for the Future Bootlickers of America? Veronica gives a “You’re so funny” laugh before she moves on. VERONICA VOICEOVER: So what am I doing in Neptune High's own little billionaire boy's club instead of joining French Club or Model United Nations? Veronica settles into the desk next to Duncan, setting her bottle of water and packaged salad onto its surface. VERONICA VOICEOVER: I blame my billionaire boyfriend, Duncan Kane. She turns to Duncan and they kiss. VERONICA: [whispers] So who are we exploiting now? DUNCAN: The workers. They kiss again. VERONICA: [a la “The Simpsons” Mr Burns] Eggs-cellent. Veronica waggles her fingers. Duncan laughs. Logan reacts to their cooing in disgust. LOGAN: And now I've lost my appetite. He drops his burrito onto the tray on his desk. Duncan and Veronica both make faces equivalent to an eye-roll. Around the room, various chattering is continuing. STUDENT: Yeah, thanks. STUDENT: Is that sharpened? STUDENT: Yeah. At the front of the class, Casablancas is ready to start his talk. He glances at Dick, whose wave and smile he acknowledges. Cassidy smiles and gives a little wave, which Casablancas ignores. Cassidy’s smile fades. CASABLANCAS: Good afternoon. Uh, I'm here to talk to you kids about the real estate business. Now, uh, there's nothing wrong with stocks or bonds or pork bellies or whatever else, but when I put my money into something, I like to see what I'm getting, I’m gonna kick the tires if you will. LOGAN: Mmm-hmm. CASABLANCAS: Of course, uh, most people can't just plop down a hundred and thirty seven million dollars for an office building in downtown Tokyo. On a screen behind him, a presentation is in progress and a large office building is displayed. CASABLANCAS: That's where real estate investment trusts… On screen, the picture gives way to a graphic. It is headed “Casablancas REIT Enterprises.” Underneath the heading “Real Estate Investment Trusts” is set out the following: Benefits of an REIT: • Avoid double taxation from property exchanges • Pool resources with other investors • s*ab, less fluctuations vs. personal ownership • 90% of net income goes to you, the investor • Directly own income-generating property • Professionally Managed by Casablancas Enterprises • No landlord duties or obligations • Low share price ($50/share)* • Diversifies portfolio *As of 11/2004 On the right hand side, under the heading “Casablancas REIT Performance vs. Leading U.S. Benchmarks,” are listed Casablancas REIT and three comparators, NASDAQ Composite, S&P 500 and Dow Jones Industrial, all colour-coded, over an empty bar graph with a scale of 0-15 rising in increments of 3.75. CASABLANCAS: …or REITs, come in. Casablancas advances the screen and the bar graph appears, showing Casablancas REIT with a figure of 13.2, NASDAQ Composite with 10.4, S&P 500 with 8.7 and Dow Jones Industrial with 7.5. Appreciative noises come from the students. CASABLANCAS: A single fifty dollar share in my company-- POPE: Fifty-two sixteen, to be precise. CASABLANCAS: Very good. Allows your average Joe to pool his resources with other investors and own a piece of that tower...and these condos...and this hotel. The graphic blends through pictures of large, modern buildings. STUDENT: Nice. Veronica flips through the brochure, lingering on a picture of the Sandpiper Luxury Hotel and Resort. It comprises two multi-storey buildings set in a palm-trees-and-beach paradise. CASABLANCAS: But, forget the eye-candy. Here's a chart of our market capitalization versus earnings over the last two years. The new “Market Capitalization vs. Earnings” bar chart shows figures for 2003 and 2004, with earnings significantly higher. 2004 is an improvement on 2003. CASABLANCAS: Now, how’s that look? LOGAN: Awesome. Veronica, still scanning the brochure, looks up and over at Logan and the other 09ers. VERONICA VOICEOVER: It looks like it's always looked. The rich get richer, and everybody else hopes for scholarships. EXT – NHS – DAY. Veronica exits the school, followed closely behind by Cassidy. CASSIDY: Hey, Veronica? VERONICA: Hey Beav, er, ah, I mean Cassidy. He walks along with her. CASSIDY: I think it's cool that you're joining FBLA, what, you being a girl and all. VERONICA: And a poor one at that. Cassidy pauses as Veronica mounts some steps. CASSIDY: May I talk to you for a sec? VERONICA: You are talking to me. Veronica pauses and looks back at him. CASSIDY: About my dad? I'm worried. You know, he might-- She laughs and continues on her way up the steps. VERONICA: Seemed to me he was doing just fine for himself. Cassidy runs up the steps to keep up with her. CASSIDY: No, look, it's not money, okay? Well it is--it is money, but it's my stepmom, she’s a gold-digger and it's obvious to everyone else in the world except for my dad. All she does is spend his money. They pass one of the “Welcome Class of 2006” banners displayed over the empty lunch area. VERONICA: Unfortunately, there are no laws against exploiting rich and horny middle-aged men. They pass by another banner: Pirate Pride? Support Your Teams. CASSIDY: Yeah? Well, the prenup doesn't allow her to cheat on him either. I found a condom wrapper in the couch. VERONICA: Hardly a smoking g*n, given your brother's proclivities. Another banner calls for Yearbook Volunteers, asked to sign up in room 113. CASSIDY: Look, it's just a hunch, okay, but I'm willing to pay you a lot of money to back it up with hard proof. Veronica pauses and turns to face Cassidy. VERONICA: Define "lot." CASSIDY: Five hundred for a picture of Kendall violating her prenup. VERONICA: Thousand. CASSIDY: Okay. Cassidy takes a piece of paper from the stack of books he is carrying and hands it to her. CASSIDY: That's her schedule. Good luck. She gazes after him as he goes. VERONICA VOICEOVER: Well, I just might be a Future Business Leader of American yet. EXT – NHS, CAR PARK – DAY. Veronica saunters past one of the school buses, number 188l, manufactured by Thomas, as she considers the list in her hand. VERONICA VOICEOVER: Ten o’clock, brunch with the girls. Twelve o’clock, pilates class with Lorenzo and three o’clock, spa reservation for shiatsu massage, organic enzyme facial and, I'm willing to wager, a sunshine colonic. Ah, maybe I should consider a career as a Neptune trophy wife. She puts the list in her bag and slows and stops as she see something in front of her. That something is Deputy Sacks, leaning against his sheriff’s car. SACKS: Sheriff wants to ask you some questions. VERONICA: My answer was final. I will not go to prom with him. Sacks opens the front passenger door of his vehicle. SACKS: Now. Veronica holds out her hands, wrists together. VERONICA: Deputy Sacks, take me away. INT – SHERIFF’S DEPARTMENT – DAY. Veronica and Lamb are in one of the interrogation rooms, staring at each other across a table. Veronica has her arms folded whereas Lamb is sitting back, arms laid out along the arms of his chair, holding a metal mug in one hand. The table is bare except for a file, in front of Lamb. The silence goes on. Lamb raises the mug to his face, pauses, then takes a drink. He takes the liquid through his teeth then drops his arm. LAMB: So, I guess you know why you're here. You wanna tell me about it? Veronica stares at him a moment longer. VERONICA: [Seriously] Okay. She leans forward, putting her elbows on the desk and takes a deep breath. VERONICA: I confess. She pounds her fist on the table and looks to the heavens. VERONICA: God, you're good! Lamb isn’t amused. Veronica sits back in her chair, her arms still folded across her body. VERONICA: I have no idea why I'm here, but I'm sure my dad was interested to know why you hauled his daughter in and subjected her to the crime-busting stare for no apparent reason. Lamb, who had been balancing his chair on two legs, surges forward, the front legs of the chair thumping down on the floor. He brings his mug down onto the table with equal emphasis. LAMB: He didn't need to know that you were here. You're eighteen now, kiddo, you're an adult. VERONICA: Well that makes one of us. So are you gonna tell me why I'm here or should I just sit back and enjoy your impression of a mildly-constipated David Caruso. LAMB: What can you tell me about your relationship with this man? Lamb slides the file to Veronica. She opens it. The top sheet is a mug sheet for David “Curly” Moran, the man from the bus crash site who turned up d*ad on the beach. Standing just under six foot, Moran’s description and criminal record are set out under pictures of his front and right half-body profile and his fingerprints. The card he holds in the pictures marks him as 1836352. VERONICA: Ah yes, I remember that summer. He was a roadie for Whitesnake; I was singing back-up for Boyz II Men. They said it would never work, but-- LAMB: I'm glad that you find this amusing. Mr David "Curly" Moran. You've never seen him before in your life? Veronica lays down the rap sheet and picks up the next item in the file. It is a picture of Moran, in another loud shirt, posing on a motorcycle. The photo is tagged with the crime number (A123-561) and his name. Veronica recognises him with something akin to shock. VERONICA VOICEOVER: Somewhere, those million chimps with their million typewriters must have finally written "King Lear"… FLASHBACK: EXT – BUS CRASH SITE – DAY. Veronica stands looking over the cliff. Beyond her, Moran is knelt down by one of the temporary tributes, trying to light a votive candle. VERONICA VOICEOVER: …because Sheriff Lamb is actually right about something. Veronica looks over and sees him struggling to light the candle. VERONICA VOICEOVER: I have seen this man before. Veronica goes to him, bends down and cups her hand at the side of the candle to shield it. There is nothing written on his left hand. He lights the candle and looks up at her. There is no apparent recognition. MORAN: [gruffly] Thanks. END FLASHBACK AND RETURN TO SHERIFF’S DEPARTMENT. Veronica stares down at the picture of Moran. Lamb sees that she recognises him. LAMB: So you have. I thought so. He reaches to his side and pulls out a small, clear evidence envelope. LAMB: Missing an earring? The earring is a square on square shape, covered in diamond or diamond-like chips. It is similar, if not the same as the earring Weevil was wearing in 201 Normal is the Watchword. Lamb drops it on the table. VERONICA: I'm not exactly a diamonds kind of girl-- LAMB: It was found outside the Road Hog, biker bar up the PCH, last place Curly here was seen. VERONICA: Again, what does this have to do with me? LAMB: It seems that Curly had your name on him. VERONICA: On him? Lamb pulls another file from the side and tosses it in front of Veronica. She opens it quickly. There are more photographs, the first is an overhead of the body, and the second is a close-up of his left hand on which is written “Veronica Mars.” LAMB: This body washed up on the beach...beaten to death. Lamb rises and leans over the table, looming over Veronica. LAMB: Amusing, huh? Veronica stares up at him, not amused. Opening credits. INT – MARS RESIDENCE – NIGHT. A Kn*fe cuts a rare steak into strips. Alicia holds a large glass of wine as she talks to Keith from her perch at the kitchen counter. ALICIA: So he was serious about wanting you to run. KEITH: Why not? I'm a good candidate. I've been sheriff before. I know where the office is. Keith finishes slicing and fetches an open bottle of red wine from the other side of the kitchen. KEITH: I look great in the hat. And I am a local celebrity, you know, with a book currently hovering at number ninety-seven on the New York Times best sellers list. He fills Alicia’s glass. ALICIA: Ninety-seven? KEITH: Um-hmm. ALICIA: So is that good or bad? Keith picks up his own glass of wine. KEITH: Well, as we say in the book biz, it's sort of okayish. But they believe in it... They take sips of their wine. KEITH: …so I'll probably be flogging it until someone famouser than Aaron Echolls m*rder someone. And speaking of which, I've got a signing this weekend and how do you feel about a romantic get-away? Chicago. You, me, and Chi-town, the Windy City, the City with Broad Shoulders where the fog comes on little cat feet. What do you think? ALICIA: Well, this business about the cat feet sounds intriguing. KEITH: Oh, it gets better. They're putting me up at the Rossmore Hotel and there's a nightclub at the top with this great jazz place. How great would that-- Alicia is hesitant. ALICIA: Mmmm. KEITH: What? I thought you liked jazz. Is it Kenny G? He ruined it for you? Alicia laughs. ALICIA: No. It's very perfect. She cups his face in her hands and they kiss. Veronica enters from outside and is grossed out. VERONICA: Ahh, child in the room, hands at your sides, please. KEITH: Hey, honey, just in time for steak. VERONICA: I had a bite, thanks. Veronica passes them, heading for a cupboard. KEITH: You okay, sweetie? VERONICA: I'm super. Thanks for asking. KEITH: That’s what I like to hear. She gets out a glass and pours herself some water from a filter jug. Keith and Alicia continue to gather their dinner together. VERONICA VOICEOVER: I know. And that's why you're not gonna hear about the d*ad man with my name on his hand, because I like being able to leave the house without an armed escort. Veronica downs her drink and hightails to her bedroom. VERONICA: Okay, feel free to make out now. In her bedroom, Veronica researches on her laptop at her desk. She has four windows open on her screen. The bottom most is a Planet Zowie (Google equivalent) result page of images of Kendall. On top of that is a PryingEyez.com page with Moran’s details. Overlaying it is a copy of Moran’s rap sheet. Topping them all is a headshot picture of Kendall. VERONICA VOICEOVER: Don't they make a cute couple? Veronica brings the Planet Zowie page to the top. There are eight images fully visible. VERONICA VOICEOVER: Kendall Lacey Casablancas, nee Lacey Shifflet. Veronica clicks on and brings up another headshot, one that looks like a high school yearbook picture. VERONICA VOICEOVER: Just another Arizona State dropout turned… She brings up a picture of Kendall with three black musicians. The file name identifies them as Town Posse. VERONICA VOICEOVER: …feature music video background dancer turned… She clicks on the picture of Kendall in cheerleading outfit and pose. VERONICA VOICEOVER: …Laker Girl, living off a ten-thousand dollar a year salary, a purse full of credit cards and a string of baller boyfriends. Veronica moves on to a wedding picture – a full body sh*t of Kendall and Big Dick Casablancas against a lake, Kendall’s wedding dress train pooled at their feet. She then brings up a close sh*t of the happy couple. VERONICA VOICEOVER: Until a twice-divorced white knight swept her away to bimbo paradise. Veronica brings up the PryingEyez page. VERONICA VOICEOVER: And for a "True Hollywood Story" without the happy ending, David "Curly" Moran. Moran’s details include his social security number (972-15-3139), date of birth (October 6th, 1958) and his most recent address: 673 Casabian Apartments, Neptune, CA 91091. A previous address (689 Gregory Lane Apt 2C, Los Angeles, CA 91241) is also listed. VERONICA VOICEOVER: One-time stunt-man who crashed his career in the eighties. Just remember kids, crystal meth and precision driving don't mix. His criminal record is displayed: 07-04-1997 – as*ault – Los Angeles Supe… 02-01-1997 – DUI (Alcohol) – Los Angeles 11-18-1986 – Possession w/Intent to Sell System – Imprisonment (3 years – San Qu… 08-23-1984 – Possession w/Intent to Sel… Court – Fine ($300) Probation (1 year) 04-05-1982 – DUI (Methamphetamine) – S… License Suspended The Division of Motor Vehicles also records his two DUI convictions. VERONICA VOICEOVER: Between the three-year stint at San Quentin for as*ault and washing up on the beach with my name on his hand, Curly made his living at... Last Employer: Symbolic Motor Car Company, 7734 Convoy Drive, Neptune, CA 90927. Phone: (619) 555-0137. VERONICA VOICEOVER: ...Symbolic Motor Car Company. Veronica makes a note of the name and address. VERONICA VOICEOVER: A compelling life-story to be sure, but what does any of it have to do with me? And why would this man have my name magic-markered across his hand? Did I get really drunk at a biker bar? Veronica’s bedroom door opens and Keith enters as Veronica quickly closes the lid of the laptop. KEITH: So what's up, kiddo? VERONICA: None of your beeswax. Keith folds his arms and looks down at her, smiling. VERONICA: All right, I'll show you...but you're gonna have to answer a couple of my questions first. Keith beats his chest with his fists. VERONICA: Sit down, King Kong. Keith collapses into the chair with something of a flourish, holding out his arms in a “Here I am” gesture. VERONICA: So, now that you've filed the official divorce papers from mom, [conspiratorially] are you taking Wallace's mom to Chicago to propose to her? KEITH: Honey... VERONICA: Don't think I won't r*fle through your luggage for that ring. KEITH: There is no ring. VERONICA: Promise bracelet? Pre-engagement pendant? Earrings? Anything that according to the hip-hop cognoscente can be qualified as "bling." KEITH: Honey, can't a guy just take his special lady friend on a romantic-- VERONICA: No. KEITH: Veronica, I promise, as soon as Alicia and I know what the next step is, you'll know what it is. Okay? VERONICA: Okay. Then I have something to admit. Keith leans forward. Veronica lifts the top of the laptop, showing him the screen. VERONICA: I love unicorns. Her screen wallpaper is full of unicorns. Keith just stares. VERONICA: What, dad? Girls are crazy about unicorns! She points to one, her face going all babyish. VERONICA: Ohh. Music: I Turn My Camera On by Spoon. LYRICS: I turn my camera on I cut my fingers on the way On the way. I'm slippin away I turn my feelings off You made me untouchable for life And you wasn't polite It h*t me like a tom You h*t me like a tom On, on and on I turn my camera on the tom I turn my camera on the tom On and on I turn my camera on The camera stay on EXT – NEPTUNE STREETS – DAY. Kendall gets out of her black Mercedes convertible, carrying a purse and a large black bag. An iPod Shuffle hangs from her neck. She hands her keys to a valet. VERONICA VOICEOVER: Another thing girls love are Jimmy Choos, Dolce & Gabbana, and convertibles that cost more than the Gross National Product of Sri Lanka. Veronica has her camera trained on Kendall as she watches from the car. VERONICA VOICEOVER: If she's a gold-digger… INT – GYM – DAY. Kendall swans past people working on equipment. Veronica follows, camera in hand. VERONICA VOICEOVER: …she's doing a pretty bad job of hiding it. But it sure makes my job easier. Tailing young Mrs Kendall is about as hard as hard as following Malibu Barbie to the beach house. Veronica slips behind a glass brick wall to observe Kendall at she sits at a small, high table. A waitress brings Kendall a drink and cake. Veronica takes pictures. VERONICA VOICEOVER: So far, Kendall is only guilty of violating her Atkins diet. A man in sweats joins Kendall. He is also carrying a large black bag which Kendall taps. She smiles. VERONICA VOICEOVER: Now we're talking. Veronica snaps away, taking pictures of the man paying for Kendall’s food and drink as she smiles up at him. EXT – NEPTUNE STREETS – DAY. Kendall and the man, each holding black bags, talk. Veronica emerges from behind a bush a takes another picture. The valet arrives with his car and he opens the door for Kendall to get in. EXT – HOTEL – DAY. Veronica is in her car, still taking pictures. VERONICA VOICEOVER: Ahh, the inevitable. Kendall and the man are on the outside walkway of a motel, heading for room 304. VERONICA VOICEOVER: Sorry elder Dick, looks like your too-good-to-be-true bride is too good to be true. Hope you like cheap hotels, hot-stuff, 'cause that's all you'll be able to afford when all this is over. From inside the room, Kendall goes to close the curtain. End music: I Turn My Camera On by Spoon. The picture segues seamlessly to… EXT – NSH, LUNCH AREA – DAY. …Veronica looking at the picture before slipping it and the rest back into an envelope. Wallace joins her at her table. WALLACE: What are you looking at? VERONICA: Just...tawdriness. Veronica watches Wallace take his lunch out of a paper bag. The first thing he takes out is a pudding cup. WALLACE: What are you looking at now? VERONICA: The opposite of tawdriness. [in baby voice] Wallace and his pudding cup. WALLACE: Yeah, Mom seems to forget I'm not five anymore. VERONICA: Well who can blame her? [in baby voice again] Wallace and his-- Veronica halts as she sees Wallace waving frantically at someone behind her and turns to look. It’s Jackie. VERONICA VOICEOVER: And his new pal, the hot bitchy transfer from New York. I guess he really isn't five anymore. Wallace notices his friend’s lack of enthusiasm. WALLACE: Wh-- You met Jackie, right? VERONICA: I didn't realize you were lunch buddies. WALLACE: I'm going for lunch buddies with privileges. Help a brother out. VERONICA: Well if you wanna play in her league, you'd better hide your little pudding. Wallace grabs the pudding cup and hides in on the bench. He sees that Veronica is sceptical. WALLACE: Hey, I like her, okay? Retract claws. Veronica holds out her hands, spreading her fingers. VERONICA: Claws, what claws? JACKIE: Hey, Wallace. Jackie sits next to Wallace (fortunately on the side opposite the pudding cup). WALLACE: Hey, Jackie. You guys met. VERONICA: Yes, actually, she requested I step outside my job description at Java the Hut the other day. JACKIE: Hey, I'm sorry about that. I forgot to leave the New York attitude in New York. Veronica nods, still not warming to the girl. WALLACE: So, how you doing? JACKIE: Awful. No matter how many schools I get kicked out of, I can't seem to escape this thing. She throws a copy of Jane Austen’s “Pride and Prejudice” (Enriched Classic version) onto the table. JACKIE: Six-hundred pages of pasty white chicks cat-fighting over some stick-up-his-butt dude's [using air quotes and an English accent] prospects. WALLACE: Hey, I got the Cliff Notes. Only eighty pages. You can borrow it sometime, if you want, or something. JACKIE: Even one page of this pre-Victorian corset crap puts me to sleep. Why can't we read Burroughs or something? VERONICA VOICEOVER: All right, brother, prepare to be helped out. VERONICA: Ah, Duncan and I were gonna rent the BBC series of it. We can fast-forward through the corsets and the bitching, and Colin Firth is in it, if you guys wanna join. WALLACE: Hot damn! Colin Firth is in it. Jackie laughs. JACKIE: [dismissively] Yeah, sure. Wallace gives Veronica a wink. INT – JAVA THE HUT – NIGHT. Veronica shows a couple to a table. VERONICA: Someone will be right with you. CUSTOMER: Thanks. Veronica hurries away, passing a waitress. She points to the table. VERONICA: Table one. WAITRESS: Sure. She continues on to Cassidy’s table. She hands him the envelope with the photos. VERONICA: I guess that hunch was a good hunch. He takes out the pictures and goes through them. The last picture he looks at shows the motel room’s curtains closed. CASSIDY: Damn, that's cold, she's doing it on one of my dad's own properties. This isn't enough. They could be doing anything behind that door. VERONICA: Oh, you sweet simple boy. CASSIDY: I'm serious, okay? There's no clause in the prenup against her swapping gym-bags with some cheeseball. VERONICA: What would she... Surprised, Veronica picks up the pictures, not having realised before that Kendall and the man had swapped bags. CASSIDY: God, she's probably stealing from my dad too. VERONICA: All right, easy, Chief. I'll get you the money sh*t. First I need a hundred dollars. CASSIDY: What for? VERONICA: Expenses. Veronica hands Cassidy her own iPod Shuffle. VERONICA: Can you load Kendall's music onto that? Cassidy, dour, examines the iPod. INT – MARS RESIDENCE – NIGHT. At her desk in her bedroom, Veronica takes a new iPod Shuffle out of its packaging and sets about taking it apart. INT – SYMBOLIC MOTOR CAR COMPANY – DAY. From inside, Veronica can be seen exiting the LeBaron which she has left outside the large doors into the workroom. There are pictures on the wall of the workroom, between the large doors, including a picture of a blonde with a mechanic, standing in front of a red sports car. Veronica enters, passing a white Lamborghini Gallardo with the trunk lid open. Another Lamborghini is up on a ramp and there’s a green Bentley Continental in the corner. VERONICA VOICEOVER: If Curly Moran worked here, I can pretty much assume he wasn't interested in me because of my car. As she walks further in, she sees a wheeled workstation with the name “Moran” painted on it. VERONICA VOICEOVER: And I don't suppose he left a bunch of helpful clues just lying around. Veronica starts looking at the workstation. MECHANIC: Is that your car? Because we don't service those here. VERONICA: No, actually. I called earlier, Curly's niece? Maybe he mentioned me, Veronica Mars? MECHANIC: No...but you're just in time. He pulls up a box. MECHANIC: We're about to trash this stuff. You can take it if you want it. VERONICA: So he never...said anything about Veronica Mars? MECHANIC: Curly didn't say much as a general rule. Sorry, kid. The mechanic leaves her to it. VERONICA VOICEOVER: Not a particularly sentimental bunch here at the garage. Veronica looks in the box. A baseball bat sticks out from it and on the top is a girlie calendar “Lube-Tube: Hotrod Hotties Calendar 2005” from Heindrich Oil Filters. VERONICA VOICEOVER: So no information, but I am now the proud owner of an oil filter-themed nude calendar. Veronica puts the calendar aside and picks up some framed, autographed photographs. The first is of Moran with the same woman and reds sports car as is displayed on the wall, although there with a different mechanic. On Moran’s picture, she’s written “Thanks for the Hot Rod. Peace. Tiffany.” VERONICA VOICEOVER: Curly with bimbo... The next picture shows Moran with a tall black man, Moran’s arm stretching to rest on his shoulder as they shake hands in front of a black sports car. The message is “Yo G. You da money. Cristopher.” (Missing “H.”) The man looks a little like Terrence Cook. VERONICA VOICEOVER: Curly with sports star... Veronica takes the picture from the top to reveal the final photograph. The sports car is red but it’s the people that stops her in her tracks. It’s of Moran with Aaron Echolls. The message reads: All these years still on “The Long Haul” Always your pal, Aaron Echolls. VERONICA VOICEOVER: And what's this? It looks as though Curly and I have a friend in common. INT – NHS, CLASSROOM – DAY. Duncan enters the FBLA classroom, one hand holding his lunch tray, the other holding Veronica’s hand. Veronica is distracted as she is led by Duncan. VERONICA VOICEOVER: Maybe it's just a coincidence: an ex-con shows up with my name on his hand when I'm the key witness in his benefactor's m*rder trial? Logan is already seated at one of the desks, eating his lunch. He looks up at them. VERONICA VOICEOVER: And maybe it’s another coincidence that Curly Moran was following me that day on the cliff. But I doubt it. Duncan, noticing that Veronica’s mind is elsewhere, stops and looks down at her. DUNCAN: Hey, what's on your mind? VERONICA: Just...fine European automobiles. DUNCAN: Since when have you ever thought about fine European automobiles? VERONICA: Ever since I became a Future Business Leader of America. Duncan laughs and continues around the room to the last two free desks, one on either side of Logan. In anticipation, Logan picks up his lunch and moves to the far desk, leaving them two desks next to each other. Without looking at them, he gestures “There” with a flourish. Veronica ignores him, taking the desk furthest from him but Duncan gives him a hard stare and just barely shakes his head before sitting at the desk between Logan and Veronica. POPE: Congratulations, FBLAers. You are now worth exactly one million dollars. LOGAN: What? STUDENT: All right! LOGAN: You mean I've lost money? Heads will roll. Logan throws another piece of food into his mouth. POPE: I assume that you have all heard about my stock market game, in fact, I think many of you have played before. Over the course of the school year, each club member will control a virtual portfolio. Now, you may invest your money any way you see fit, as long as it's legal. Pope points at Dick. DICK: Dude, dog racing is totally legal. POPE: But, hardly lucrative, as I recall from your performance last year. The student with the most valuable holdings at the closing bell on June first will claim a prize more valuable than money. A small shiny plaque with his or her name on it and all attendant bragging rights. There are giggles, groans and whoop-de-dos from the students. Some clap and whistle. Pope approaches the presentation screen. He pulls up a graph headed “2004-2005 F.B.L.A. Portfolio Race.” Figures from $600,000 to $2,300,000 run along the y-axis and what are probably time intervals run along the bottom x-axis. All the lines start at $1,000,000 and most traverse the chart within close proximity to their starting point. One line performs significantly better, a steady rise showing up to the top figure. POPE: All right, for those of you who are sh**ting for full-on Warren Buffet status, there is a cash prize... He pulls what looks to be a dollar bill out of the breast pocket of his shirt and waves it. POPE: Ooo...for the student who can b*at the SNP average. DUNCAN: Standard and Poors? POPE: Samuel Nelson Pope, yours truly. Pope taps the screen on the top performing traverse on the graph. CASSIDY: Wow. Well, what'd you invest in, Mr Pope? POPE: Well, take a look. He points the remote at the screen and brings up a pair of pie charts under the heading “Mr. Pope’s Portfolio.” For 2003-2004, it shows: Mutual Fund 15%, Blue Chips 26%, Int’l Funds 12%, US Bonds 5%, CASE 10%, T-Bills 33% (which makes a pie plus 1%). For 2004-2005, it shows: Mutual Fund 12%, Blue Chips 18%, Int’l Funds 7%, US Bonds 2%, CASE 45%, T-Bills 15%. (which makes a pie less 1% - 1% must have strayed into the wrong chart.) POPE: I haven't made too many changes since last year. I tend to be more conservative than my students, primarily because I use this model for my own 401(k). LOGAN: How much real money did you make? POPE: Suffice it to say, ah, precisely enough to retire in exactly nine months. Pope points the remote at the screen again which superimposes “Case: Casablancas Inc, Real Estate Investment Trust” over the pie charts. There are murmurs of appreciation in the classroom. STUDENT: Oh, man! DICK: Dad's pulling in thirty-five percent returns? Dude, I'm the one that's retiring. POPE: I'll alert the dog track. There’s laughter. POPE: As for myself, uh, at the end of this year, I'll hang up my stock market spurs, buy some cozy T-bills, and literally, sail off into the sunset. He taps a picture on the bulletin board behind his desk. It is of a sailboat. DUNCAN: Cool. STUDENT: Great. DUNCAN: Is that a Swan 40? POPE: Yeah, nice, huh? From 1971. I, ah, I would have retired earlier, but actually the, uh, the restoration's been tricky. We had to reseal the hull twice. LOGAN: Didn't plug her right the first time, huh? Logan smirks, then, quite deliberately looks at Duncan. Dick laughs and nods, apparently understanding an inference to Veronica. It takes him a moment, but when Duncan does, he explodes. He sh**t up and over to grab Logan. INT – NHS, HALLWAY – CONTINUING. The boys spill out of the classroom, Duncan running Logan into the lockers while Logan beats on his back. Logan twists and they both h*t the lockers hard, each having hold of the other’s jacket. Duncan swings Logan back round into the lockers and lets his fist fly. Duncan blocks it with his arm but the momentum takes them both down and sounds of their grappling continue to be heard. INT – NHS, NURSE’S OFFICE - DAY. Duncan sits at the end of a cot, Logan at the end of an examination table, next to it. Both have injuries to their hands. Duncan has a bloodied noise and there is grazing around Logan’s left eye. The school nurse finishes her administrations to Duncan’s hand. NURSE: Well, I can tell you one thing: whoever it is you're fighting over, she won't be very impressed by this. And you're done. I believe the principal is waiting for you. I'll be back for you. The nurse leaves and Duncan stands, grabbing his jacket. He starts to make his way out. LOGAN: Actually, I disagree with Nurse Ratched, I think Veronica would have been quite impressed. Duncan pauses and turns back to Logan. LOGAN: Probably a little turned on too. DUNCAN: Careful, Logan. You're exposing your soft underbelly. LOGAN: My underbelly is rock-hard. It can go all night. DUNCAN: You lost her; I didn't steal her. Logan jumps off the end of the examination table. LOGAN: Oh, hell with Veronica. She's in the rear-view mirror. Where were you this summer, man? DUNCAN: What do you mean? LOGAN: [angry] Oh, remember, there was this little situation? I was accused of m*rder? I am the eye of a storm and I never heard from you. It is a w*r out there and you're on the sidelines? Do you remember when you used to have my back? DUNCAN: Yeah, wait, I do remember this summer. LOGAN: Yeah. Logan turns and leans against the partition between the cot and the examination. DUNCAN: I was dealing with this thing, what was it? Oh, yeah, I remember now. Duncan walks up close to Logan. DUNCAN: Your dad m*rder my sister. Logan doesn’t looks at him, staring into space and swallowing. The nurse re-enters. NURSE: The principal's waiting, young man. Duncan turns and walks towards the door, past the poster of an apple “Manufactured by Mother Nature.” Logan looks at his back. LOGAN: [more softly] I hate him too, you know. Duncan stops but doesn’t turn around. He sighs and leaves as Logan places himself back on the examining table. The nurse wheels her chair closer to him and starts to apply antiseptic to his hand. She looks up into his face and hesitates. NURSE: I'm sorry, does that sting? Logan’s eyes are filled with tears. He looks away. INT – NEPTUNE GRAND, PRESIDENTIAL SUITE – NIGHT. Duncan, Veronica, Wallace and Jackie are watching what purports to be “Pride and Prejudice.” (Would a clip of the right music have cost that much?) Duncan has his arm around Veronica, who is gently stroking his bandaged hand. He laughs. DUNCAN: Veronica, it's no big deal, just what guys do sometimes. VERONICA: I don't think Colin Firth gets into these pointless fisticuffs. A p*stol duel, maybe, but... WALLACE: I realize I'm not an nineteenth-century British woman, but I just don't get that Colin Firth thing. DUNCAN: I think it's less him they're after and more the mansion with the matching swans. JACKIE: No, it's him. Last year I dated this actor, big mistake by the way, but he did this play in London, and he was at the after-party. I'm no nineteenth-century British woman either, but if [English accent] Mr Darcy would have asked, he would not have needed swans. Jackie carries on much to the admiration of Wallace and the entertainment of Duncan. Veronica’s face shows her antipathy pretty clearly. VERONICA VOICEOVER: And so it's gone all night: how Jackie met Colin Firth, how Jackie got herself thrown out of St Paul's Prep for borrowing the dean's car, how Jackie got bored with Manhattan and flew to Paris with her boyfriend for her birthday. JACKIE: ...get a guy who knows how to wear a Saville Row suit, it's... VERONICA VOICEOVER: How can Jackie stand the non-stop excitement of being herself? Later, as Veronica dries her hands in the bathroom, Wallace enters. Veronica doesn’t turn around, instead talking to his image in the mirror. WALLACE: So...she's cool, huh? Laughter comes from the main room. VERONICA: Is there such a thing as too cool? WALLACE: What do you mean? VERONICA: I mean... She turns and faces him. VERONICA: …are you sure there's not a more you kind of girl at Neptune? WALLACE: So, what, you think she's out of my league? You think I'm too small-time for a girl like that? VERONICA: [quickly] Wallace, no, that's not what I mean. WALLACE: Then what did you mean? VERONICA VOICEOVER: What did you mean, Veronica? VERONICA: I mean...I think you're out of her league. But if you want to slum it a bit, maybe I'll help her out with you. I used to have an in with Wallace Fennel. I could put in a good word. JACKIE: [offscreen] What's going on? Jackie comes in and Wallace widens his eye in warning at Veronica. JACKIE: I thought only girls went to the bathroom together. VERONICA: Just a little personal grooming chat. Wallace wanted to know what kind of hair styles drives girls crazy. A happy Wallace runs his hands a few inches above his hair. Jackie reaches her hands up to his head. JACKIE: Personally, I'm a sucker for the wild look. She runs her fingers through his hair and growls like a tiger before kissing him. DUNCAN: [offscreen] Hey, you're missing it. Some guy just touched Lizzie's glove. VERONICA VOICEOVER: Retract claws, Veronica. Veronica steps around the cooing couple, leaving them in the bathroom. Later, Wallace helps Jackie on with her jacket as Veronica touches Duncan’s bandage again, smiling. JACKIE: God, that's only half of it? I should've just read the book. Thanks so much, you guys. That was fun. Duncan is at the door, holding it open. DUNCAN: Sure. Great meeting you, officially. JACKIE: Thanks, Veronica. I'll see you at school. Veronica, a strained smile on her face, nods. WALLACE: We should get together Friday and finish it. I hear there's a bitching chase scene at the end. VERONICA: I can't. I gotta work JACKIE: Yeah, I'm busy too. We'll find another night. WALLACE: All right. Wallace and Jackie head for the door. VERONICA VOICEOVER: I can hardly wait. The fake smile drops as soon as they pass. WALLACE: All right man. Duncan pats Wallace on the back as he goes, and closes the door to the suite. VERONICA VOICEOVER: I'll see if I can clear my calendar. Duncan walks back to Veronica, oblivious to Veronica’s feeling on the matter. DUNCAN: She's cool. VERONICA VOICEOVER: Oh, yeah, way cool. Duncan kisses her. INT – GYM – DAY. Bottoms jiggle on elliptical trainers. VERONICA VOICEOVER: Kendall Casablancas is one of the most energetic trophy wives I've ever seen. Kendall, in tight purple spandex shorts, is working hard on hers. VERONICA VOICEOVER: In and out of every high-end store in town without standing still long enough to let me make my move. Veronica is on the trainer next to her, an iPod in her hand and headphones in her ears, looking at the iPod quizzically. She looks over Kendall, also listening to her iPod. VERONICA VOICEOVER: Not standing still, but this is probably the best chance I'm going to get. Veronica jumps off the trainer and approaches Kendall. VERONICA: Hi. Veronica talks. Kendall notices her out of the corner of her eye but can’t hear her until she stops and takes out her headphones. VERONICA: I'm really sorry to bug you. I noticed we have the same iPod. KENDALL: [sarcastically] Wow, what are the odds? She stares at Veronica, somewhat impatient. KENDALL: Can I help you with something...before my heart goes out of the red zone? VERONICA: Oh, totally. No, this'll just take, like, a second. Um, it's just, I think my player is acting funky, and I'm not sure if it's my player or my headphones, and I don't want to borrow my boyfriend's headphones… Kendall waves her hand in the “wind it up” gesture. VERONICA: …because he has, like, major earwax and that would be totally gross, so could I-- KENDALL: Borrow mine? VERONICA: Yeah. KENDALL: All right, just, you know, make it quick. My ass needs some major work here, okay? Kendall hands Veronica her iPod. Veronica plugs her earphones into Kendall’s iPod and listens. VERONICA: Well, the headphones aren't broken. Kendall doesn’t really want to know. VERONICA: I love this song. KENDALL: I love it too. [pointedly] I love how it keeps my heart rate in the red zone. VERONICA: What else do you have on here? Veronica shuffles the music. Kendall has lost all patience and holds out her hand for her iPod. VERONICA: Oh. Sorry. Veronica takes her earphones out of Kendall’s iPod but before handing it over, she pulls a switch and gives Kendall back the iPod Veronica had. VERONICA: Well, I guess mine's busted. Veronica exits, but comes back. VERONICA: And, your ass looks totally awesome, by the way. That placates Kendall somewhat. KENDALL: Huh. EXT – BEACH – DAY. Veronica is standing by a lifeguard station, next to a surfboard. It’s the same surfboard Dick had in his room although he is not seen on the beach. Veronica watches Kendall and the man she met before as they walk towards a room at the same hotel that they went to before. VERONICA VOICEOVER: You gotta admire a girl who sticks to her schedule. Lunch...bag switch...followed by illicit sex at one of her husband's numerous hotels. She takes another picture. VERONICA VOICEOVER: Bingo. She pulls her phone out of her bag and punches in a number. CASSIDY'S MESSAGE: Hey, leave a message. VERONICA: Hey, Beaver, it's Veronic-- Sorry, Cassidy. It worked. Steal it back and meet me before closing tonight. See ya. Veronica takes another picture, this time of the name of the motel. It’s called the Sandpiper Hotel. VERONICA: Sandpiper? Veronica reaches into her bag and pulls out the Casablancas REIT brochure. She looks again at the picture of the Sandpiper. It is very different. VERONICA VOICEOVER: I don't know what's going on with this hotel, but it's pretty clear someone, somehow, is getting screwed. EXT – COUNTY COURTHOUSE – DAY. The County Courthouse is the same building that houses the sheriff’s department. The camera slowly zooms in towards the building. VERONICA VOICEOVER: Kendall's special someone went straight from the motel to the bank, Kendall's gym bag in hand. Next stop, a strange one, the county courthouse. INT – COUNTY COURTHOUSE – DAY. The man walks towards the entrance to the sheriff’s department. VERONICA VOICEOVER: Any change this gigolo is turning himself in to the sheriff? He walks past. Veronica, following, pauses at the entrance then continues on behind him. She sees him go through a glass door marked “Jack Montana County Assessor.” VERONICA VOICEOVER: What kind of business does he have with the assessor? And is our assessor's name actually Jack Montana? Veronica goes through the door. An elderly secretary works at a desk in a front office. VERONICA: I need to know that man's name, where did he go? SECRETARY: Are you looking for someone? VERONICA: The guy who is meeting with the assessor h*t my car in the parking lot and I need to get his name. SECRETARY: I'm sorry, you must be mistaken. VERONICA: Lady, my dad will k*ll me. SECRETARY: I can assure you. There is no one in Mr Montana's office except Mr Montana. VERONICA: Dark hair? This-this tall? SECRETARY: Mr Montana. Veronica has an “Eureka” moment and turns and leaves. INT – NHS, CLASSROOM – DAY. Pope is crouched down at a low shelf when Veronica knocks and enters. Pope stands. VERONICA: What can you tell me about real estate fraud? POPE: Well, provided your interest is purely academic, uh, there's really not a lot to say. Which is not to say it doesn't exist. But, ah, it's pretty hard to fleece people since generally they don't buy property sight unseen. He goes to sit at his desk. VERONICA: Except in the case of a REIT. POPE: True, but there's still multiple safeguards in place. Uh, a local assessor, for instance, makes sure that all properties are sold for fair market value. VERONICA: So even if you bribed the assessor, you'd have to find a really unsuspecting buyer? POPE: Well, I suppose you could borrow against an inflated property, to buy more property, and then inflate its value, and so forth and so on. VERONICA: Like building a house of cards? POPE: Yup, I suppose it might work...until somebody sneezes. VERONICA: Sell your Casablancas stock. POPE: What? VERONICA: Mr Casablancas is artificially driving up his company's value. POPE: Ho-how do you--- Veronica pulls out the brochure and lays it on Pope’s desk, open at the picture of the Sandpiper Hotel. VERONICA: Because I have seen the fabulous Sandpiper Hotel...and there's nothing fabulous about it... She lays on top of it the picture she took at the beach. VERONICA: …and it's not worth nearly sixty-million dollars. Pope, concerned, holds up both to look more closely. POPE: This has to be a mistake. VERONICA: It's not a mistake. I've checked. This isn't the only one. Pope gets up from his desk and walks slowly towards the bulletin board and the picture of his boat. VERONICA: And the buyers in the most recent sales? Shell companies controlled by Casablancas Enterprises. It is a house of cards. And someone's gonna sneeze on it. Me. Mr Pope, dump your stock. POPE: You don't dump it, Veronica. You sell it...to somebody else. I'd just be sticking some other sucker with the consequences. I don't think I can live with that. Veronica collects the brochure and the picture. VERONICA: Then I guess you won't be taking an early retirement. Pope nods sadly. Veronica leaves. Pope turns to the board and takes down the picture of the boat. EXT – CHICAGO – NIGHT. Some light easy listening/jazz plays (piano, bass and drums). INT – ROSSMORE HOTEL – CONTINUING. Keith and Alicia are sitting together in a booth, his arm resting on her shoulders, her hand in his, enjoying the music. ALICIA: So what do you think the kids are doing right now? KEITH: As long as they're not in jail or setting anything on f*re, I kind of don't care. I am running for sheriff. It would look bad if Veronica got arrested. ALICIA: Do you really want it back? The sheriff, all the politics? KEITH: Yeah, I do. I like being that guy. I'd love to have underlings and deputies other than my daughter. She's really no good at wrestling the hopped-up meth-heads into the back of the car. ALICIA: How do you think she's gonna handle it? KEITH: Are you kidding? Veronica's the one who talked me into running. ALICIA: Wow. KEITH: Mm-hmm. She holds up her glass. ALICIA: Like I said, you got my vote. KEITH: Oh, I'm counting on it. They clink glasses and sip. The combo finishes the piece and Keith and Alicia clap with the other guests. Alicia looks at Keith, puts her arm around him and pulls him in for a kiss. ALICIA: You wanna get out of here? KEITH: Mm-hmm. Keith nods enthusiastically and Alicia laughs before kissing him again. ALICIA: Mm-hmm. They leave, passing a bar with people on stools. A man sitting at the bar sees them coming towards him. GUY: Cheri? Hey, Cher? Alicia sees him and nearly stumbles, but carries on past, ignoring him. The man watches them. Alicia hurries down some steps into one of the lifts. The man comes after her. GUY: Hey, Cher! The lift doors close just as he reaches them. KEITH: You know that guy? ALICIA: No. KEITH: Cher. You get that a lot? Alicia laughs uncomfortably. ALICIA: More than you think. Do you know how to make a minibar martini? KEITH: Are you kidding? I invented the damn things. Upstairs, the man watches the lights on the lift Keith and Alicia are on. He notes that it stops on the third floor. Cut to reception. GUY: I need a name from you...a couple, a white guy, black woman, staying on the third floor. CLERK: I'm sorry sir, but we don't give out names of guests staying at the--- The man shows a badge. GUY: Just find the name. The clerk nods and checks the computer. LARS: [offscreen, singing] I sigh for Jeannie… INT – JAVA THE HUT – NIGHT. It’s Karaoke Night and Lars, Meg’s co-anchor from 108 Like a Virgin is serenading his sweetheart who is the only one to appreciate his strangled and out-of-tune rendition. LARS: [singing] …with the light brown hair, floating like a zephyr on a soft summer air. He holds the last painful note, his eyes tear-filled. LARS: I love you Jeannie. People clap politely. KARAOKE MC: Thank you, Lars. Lars, everyone. And now, Courtney. Veronica hurries through with her laptop, passing Courtney sitting at the counter on a stool, talking to a girl. KARAOKE MC: Courtney, you wanna come up here? Courtney rises and heads for the small stage. COURTNEY: Nice one, Jeannie. [offscreen] Strapping young lad. Jeannie and Lars kiss. Back on stage, Courtney gets philosophical. COURTNEY: Young love, so beautiful. But you know, even young love has a dark side, so let's not lose perspective. AUDIENCE MEMBER: Yeah Courtney COURTNEY: [singing] Love hurts, love scars, love wounds and marks Any heart not tough or strong enough To take a lot of pain, take a lot of pain. Love is like a cloud, holds a lot of rain. Jeannie is deeply affected by Courtney’s rendtition. Lars is not so happy to have her attention diverted. COURTNEY: [offscreen, singing] Love hurts On stage, Courtney croons. COURTNEY: Oooh, love hurts. Veronica reaches Cassidy and slides in next to him. Courtney continues to sing in the background. COURTNEY: [offscreen, singing] I’m young, I know, but even so I know a thing or two I learned from you. I really learned a lot, really learned a lot, Love is like a flame… Cassidy holds up the retrieved iPod as Veronica opens up the laptop. CASSIDY: Ta-da! Nice work with the camera, by the way. I couldn't even find the lens. Veronica takes it from him and plugs it into the laptop. VERONICA: That's the idea. This might take a little while. A panel with sixteen pictures appears. The first twelve are of Jack Montana. The last four are of Logan but neither Veronica nor Cassidy appear to notice. CASSIDY: Two thousand pictures. VERONICA: One every fifteen seconds. Veronica clicks on something which brings up many, many more pictures of Jack Montana. She clicks on one. This brings up a “Duplicate Photo” screen, the question “Would you like to import the following duplicate photo?” and options. Veronica selects “Import” and a slide show of the pictures starts. CASSIDY: My dad is gonna k*ll that guy. Veronica speeds them up. Jake Montana seems to be spending his time with Kendall completing paperwork. CASSIDY: What are they doing here? VERONICA: There's something I need to tell you about your dad, Cassidy. Cassidy looks up. CASSIDY: Hey, Veronica, you've got customers. VERONICA: Okay, I’ll be right back. Veronica leaves Cassidy with the computer. COURTNEY: [offscreen, singing] It burns you when it’s hot. Love hurts. Ooh, love hurts. VERONICA VOICEOVER: How do I break this to you, kid? You hired me to protect your old man from a gold-digging wife and I wind up proving that they're both gold-digging Casablancas Enterprises investors for millions. I get the distinct feeling that "sorry" won't cut it. Veronica approaches the hostess desk. She sees that her customers are Jackie with a man with whom she seems quite intimate. Courtney is still in song. COURTNEY: [offscreen, singing] Some fools think of happiness. Blissfulness. Togetherness. Some fools fool themselves I guess. They’re not fooling me. Veronica pointedly clears her throat. JACKIE: Oh, hey, Veronica. VERONICA: Hey, Jackie...and...Random Dude. JACKIE: Dave, this is Veronica, the girl I was a total bi-atch to. We'll just take that table over there. You look pretty busy. VERONICA: Yeah. Veronica watches them walk to their table with a look of distaste. VERONICA VOICEOVER: You look pretty busy yourself. Too busy for Wallace, definitely too busy for me. Veronica heads back to Cassidy but slows as she gets closer. COURTNEY: [offscreen, singing] I know it isn’t true, know it isn’t true. Cassidy is gone, the laptop open, a picture on display. COURTNEY: [offscreen, singing] Love is just a lie, made to make you blue. Veronica sits with shocked disbelief. It’s Logan taken his shirt off. Kendall can be seen as a reflection in a mirror, unbuttoning her blouse. Veronica runs through the next two pictures as Logan get closer to Kendall. COURTNEY: [offscreen, singing] Love hurts. Oooh, love hurts. Ooooh. And finally to the last, after the iPod is discarded and points at the ceiling. Veronica looks to the side of the laptop. The iPod is gone. INT – NHS, HALLWAY – DAY. Dick, in his “I Have Candy” t-shirt, is at his locker. Veronica approaches. VERONICA: Where's your brother? DICK: He didn't come to school today. VERONICA: Have you seen Logan? DICK: No, he didn't come to school today either. I thought it was just a coincidence, but now that I think about it... Dick puts his fingers to his mouth in faux terror before smirking. He slams his locker shut and walks away. Veronica pulls out her phone. She dials but is interrupted by Wallace and Jackie. WALLACE: Hey, Veronica. So you in? We're doing it. VERONICA: And what is "it"? WALLACE: P and P, baby, “Pride and Prejudice.” Second half, it's going down tomorrow night. JACKIE: I hear there's a bitching chase scene at the end. VERONICA: [pointed] Really, and you're not...busy? JACKIE: No, I'm totally free. WALLACE: So, great, it's on. I can't wait. Lizzy getting busy with Colin Fizz-irth. So you coming? VERONICA: Yeah, I just have to check something. WALLACE: All right. Wallace and Jackie leave and Veronica finishes dialling. INT – ECHOLLS RESIDENCE – CONTINUING. In Logan’s bedroom, the phone rings on his bed. LOGAN: Ah, sweet son of man, saved by the bell. He reaches for the phone but Kendall, who is on top of him, snatches it away. Logan falls back down on the bed as she checks the caller ID. KENDALL: Veronica. LOGAN: Mmm. KENDALL: Is my little boy cheating on me? He stretches up to try and grab the phone but Kendall pulls it out of his reach. LOGAN: It's just someone from school. KENDALL: Ooo, a schoolgirl. LOGAN: Yeah. KENDALL: Should we invite her over? I got a boy-toy, a girl-toy might spice things up a little. This time he grabs it, turning it off and throwing it too the floor. LOGAN: I can handle the spice department, thank you, very much. KENDALL: Oh, really? LOGAN: Really. Logan pulls her down as she laughs. INT – NHS, HALLWAY – CONTINUING. Veronica gets Logan’s answer machine. LOGAN'S PHONE MESSAGE: This is Logan with today's inspirational message. "To love and win is the best thing. To love and lose, the next best." William M. Thackeray. She hurries down the hall. EXT – NEPTUNE STREETS – DAY. The LeBaron races down the road, passing a diner. From the door of the diner, the man from Chicago exits, with a cup of coffee. He walks round to the side of the diner to where there is a pay phone. He grabs the phone book and finds the right page. His finger travels down the names (see http://www.marsinvestigations.net for the list – I’m spent) until he finds Alicia’s name (2414 Rialto Way. Tel: 619 555 0104). He tears the page out of the phone book. EXT – ECHOLLS RESIDENCE – DAY. Veronica, having parked the LeBaron outside the front door, marches up to the house. She rings the bell but gets no answer. She looks round the back and sees Logan’s Xterra. INT – ECHOLLS RESIDENCE – DAY. Veronica has found a way in and opens the door into Logan’s bedroom. The shower can be heard running and then stopping. The room is a mess with bedding and clothes thrown about willy-nilly. A standard lamp is tipped against the wall and a smaller one is on the floor. Veronica walks over towards it. A door creaks and Logan enters from the bathroom, a towel around his waist preserving his modesty. He carries a smaller towel. He pauses only for a moment, then wanders into the room. Veronica turns and sees him, then turns back and picks up a small table lamp from the floor, setting it back on the bedside table. VERONICA: I love what you've done with the place. LOGAN: Yeah. Yup, now you know what you were missing. Logan does a little “ta-da” gesture with his hands. VERONICA: Is your girlfriend still here? LOGAN: Girlfriend? Girlfriend, I don--no, uh, you have to be a little more specific. VERONICA: Let me clarify, the one's whose husband is gonna break you in half… Logan takes a deep breath at this and grins. VERONICA: …when he finds out that his son's old Cub Scout camporee buddy is secretly plowing his wife? LOGAN: Ahh-ha, that one is less a girlfriend and more a...playmate, kind of. VERONICA: [cold and angry] I hope you're scared on the inside, Logan. What if I had been Mr Casablancas? What would you have done then, huh? Just standing here in your towel and your room still reeking of bimbo? Logan, either not appearing or refusing to appear to be anything but amused by the whole thing, falls back on his extensive store of pop culture references to “I Love Lucy.” LOGAN: I suppose I would have had some 'splaining to do. Veronica is not in the mood. VERONICA: God, what a cliche! Poor little rich boy with a death-wish. And I used to think that it was bad luck that landed you in danger… Logan swallows, that point hitting home. VERONICA: …the Kn*fe fight on the bridge and the drive-by in your car. But no, now I see you actually enjoy it, don't you, Logan? LOGAN: Well, then I guess I should feel grateful for having such a devoted ex-girlfriend looking after me. He’s back to careless sarcasm and brings the small towel from around his neck to the top of his head. LOGAN: My very own guardian angel. VERONICA: [frosty] Don't flatter yourself. The only reason I came here is so I won't have to feel responsible. LOGAN: Yeah, what, responsible for what? VERONICA: For taking pictures of you and Kendall playing house. Don't take it the wrong way, Logan, it was a job, nothing more. Veronica marches to the door. LOGAN: Right, and so you storm out in a burst of professionalism. Veronica whirls back to face him, backing out of the room. VERONICA: I suggest you start locking your doors. She slams the door shut and strides down the hall, which still bears Aaron Echolls memorabilia such as a poster for “Hard Ball.” She rounds the corner, glances at a wall and comes to a sudden halt. VERONICA: Oh, my God. There are posters on the wall, including one for “Crimson Dawn,” “Fierce Instinct” and “The Long Haul.” There are three more posters above these and another to the side on which can be seen “Reality Bites” and “Will reality TV really sell?” It is the poster for “The Long Haul,” (a John Enbom film) on which the credits are set out across the bottom corner that has stopped Veronica in her tracks. The credits read: In association with Klemmer Productions…Botall-Stars Pictures. Starring Aaron Echolls, “The Long Haul,” Alicia Roldan, Sam Barrie, James Dirk. Written by Marcus Silva, Jim Hunsaker, Stunt Coordinator David Moran. Music by Stacey Fields, Directed by John Kretchmer. VERONICA VOICEOVER: I must have walked down this hall a hundred times during my summer with Logan. What was it Aaron wrote to Curly on that picture? "All these years, still on the long haul"? "The Long Haul." That's not some kind of macho expression, it's a movie. The 1982 thriller that introduced a young action star named Aaron Echolls, featuring a signature stunt where a truck is sent veering over a bridge, a stunt supervised and performed by David "Curly" Moran. Logan, now dressed, eating an apple, joins her. LOGAN: Ah, if this is what you call storming out, I'm not sure you understand the concept. Veronica hurries away. INT – CASABLANCAS OFFICE – DAY. Casablancas sifts through the pictures of Logan and Kendall. CASABLANCAS: Where the hell did these come from? Cassidy is standing next to him, leaning over his desk, looking behind his shoulder. CASSIDY: I'm sorry, Dad, but I-I couldn't let her do this to you any longer, you know? So...yeah, so I hired someone. CASABLANCAS: Private investigator? CASSIDY: Yeah. Music: Smoke It by the Dandy Warhols. Casablancas rises from his chair and grasps Cassidy’s arms. CASABLANCAS: Oh, son. Casablancas hurriedly grabs his briefcase and shoves some files into it. CASSIDY: Wh-wh-what are you gonna do? Casablancas ignores his son. A voice sounds over the intercom. INTERCOM: Mr Casablancas? Some gentlemen from the SEC are here to see you. Casablancas clutches his briefcase and races out of his office. He points to his staff as he bolts across the premises. Cassidy follows, bemused. CASABLANCAS: Shred it. Shred everything. Shred everything. Empty your files and start shredding. Right. Now. Start. Shredding. Start. Now. Open your desks, get all the papers out, do it, right now, do it. VARIOUS WORKERS: Pull it all out. All the files. All of them, let's go! Can you give me a hand? Just do it. The staff run around like lunatics to do as instructed. Cassidy watches this all with concern. He looks back and sees two officious-looking men walking through the office. Looking forward, Cassidy sees his father has disappeared. Cassidy is close to tears. EXT – CASABLANCAS OFFICE – CONTINUING. Casablancas is on the roof and runs to the topmost section and into a waiting helicopter. The chopper takes off. INT – NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE – DAY. Duncan is watching television. There is a knock at the door. TELEVISION:...on your phone plan, I can't b*at it. I tried all the others and there was always some surprise...going over on your minutes. He opens it to Veronica, who hurries into the room. DUNCAN: Hey. Did you hear about Dick's dad all over the news? Veronica stops but doesn’t turn around. VERONICA: It was me. DUNCAN: What? Veronica, what are you... She turns to face him. VERONICA: [upset] The bus crash. It was meant for me. They all died because of me. Duncan isn’t sure what to make of this. Veronica starts to cry and leans into Duncan’s arms. End music: Smoke It by the Dandy Warhols. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x03 - Cheatty Cheatty Bang Bang"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars… Veronica runs towards the site where the bus drove off the cliff in 201 Normal Is the Watchword. GIA: It just went straight off the cliff. They're all d*ad. Duncan holds Veronica as she looks down at the wreckage. Cut to Java the Hut, behind the counter in 202 Driver Ed. DUNCAN: This isn't your fault. VERONICA: If it wasn't for me, Meg would have been in the limo. She wouldn't need a machine to breathe. Cut to the lunch area at Neptune High, as Jackie approaches Wallace and Veronica, from 203 Cheatty Cheatty Bang Bang. WALLACE: You met Jackie, right? VERONICA: I didn't realize you were lunch buddies. WALLACE: I like her, okay? Cut to Java the Hut, as Veronica sees to Jackie and her "friend." JACKIE: Hey Veronica. VERONICA: Hey Jackie and Random Dude. JACKIE: This is Veronica, the girl I was a total bi-atch to. Cut to Lamb examining Curly Moran's body at the beach in 202 Driver Ed. LAMB: Hey, check this out. "This" is Curly's hand on which is written "Veronica Mars." Cut to the Sheriff's Department where Veronica is being questioned in 203 Cheatty Cheatty Bang Bang. LAMB: Mr David "Curly" Moran, never seen him before? VERONICA VOICEOVER: I have seen this man before. Flashback to the makeshift memorial for the victims of the crash at the site. MORAN: Thanks. Return to the interrogation room as Veronica looks at the picture of her name on Curly's hand. VERONICA VOICEOVER: Why would this man have my name magic markered across his hand? Cut to Symbolic Motor Car Company, as Veronica looks at the picture of Curly and Aaron Echolls. VERONICA VOICEOVER: What was it Aaron wrote to Curly on that picture? All these years... Cut to the poster of "The Long Haul," hanging on the wall at Logan's house. VERONICA VOICEOVER:...still on "The Long Haul." Featuring a stunt performed by David "Curly" Moran. Cut to the Presidential Suite at the Neptune Grand. VERONICA: The bus crash, it was meant for me. Cut to Chicago, as the lift doors close on Alicia and Keith at the Rossmore Hotel, cutting them off from the man chasing them. CARL: Hey, Cher! KEITH: You know that guy? ALICIA: No. End previously. INT - MARS INVESTIGATIONS (MI) - DAY. The office is littered with posters, including one that says "Vote Keith Mars - Balboa County Sheriff," and stickers for Keith's campaign. On some of the posters, a "logo" is present, three seven-point stars with the middle one filled in. Veronica is at her desk, on the telephone. VERONICA: Hi, can you tell me if Meg Manning has been moved from the intensive care unit? An-and what are the visiting hours? Veronica makes a note. VERONICA: Thank you. As she puts the phone down, a woman marches in, all of a-flutter. VERONICA: Can I help you? JULIE: I need to hire a detective. VERONICA: Right place, wrong day. Ah, we're not usually open on Sundays. JULIE: This is kind of an emergency. I need to investigate my boyfriend...or, I guess my potential fiancé now that I found an engagement ring in his gym bag. VERONICA: You found it in his-- JULIE: I need some serious, serious answers. VERONICA: I can take down your information and make sure Mr Mars gets it first thing. The woman takes a seat opposite Veronica. JULIE: His name is Collin Nevin. Veronica writes down the name. VERONICA: Okey-dokey. Start with the basics. Our standard package, your garden variety background check, criminal record, aliases. JULIE: I need way more than that. VERONICA: Well, there's our premium package. Mr Mars’ll get to know a few friends, chat up an ex or two. JULIE: Which is exactly what I'm afraid Collin's doing. Look, Collin lives off a trust fund. He has a lot of free time. I'd like to know how he spends it. VERONICA: Well, there is our silver package. JULIE: What's the silver package? VERONICA: Premium package plus surveillance, phone records, email monitoring. It's basically an all-access pass to what he's doing when you're not looking. JULIE: I'll take it. Her cell beeps. JULIE: Oh...it's him. He thinks I'm at yoga. She hands Veronica a card. VERONICA: Great. Ah, well, Mr Mars will review your case, Miss Bloch, and he'll be in touch tomorrow. Julie Bloch heads for the door just as Keith enters. VERONICA: Ah, man of the hour. Keith Mars, Julie Bloch. Julie shakes his hand. JULIE: Looking forward to working with you, Mr Mars. She exits, leaving Keith a little bemused. KEITH: Huh! Nice. He closes the door behind him. KEITH: Jumpy fiancée? VERONICA: [enthusiastic] Jumpy potential fiancée...with cash to burn. She practically handed me a blank check. KEITH: You're supposed to be here organizing the office, not soliciting clients. Maybe you haven't noticed, I'm running for sheriff? I can't even get to the cases I already have. VERONICA: Well maybe I could help. Just with the little stuff, nothing that requires body armor. KEITH: Veronica, you don't work here; you work at Java the Hut. VERONICA: Yeah, that tip money's gonna pay for Stanford. KEITH: No, but the Kane Scholarship will, so use your nights to study. Now please, call Miss Jumpy and tell her I can't take this case. Veronica slaps down her pen, sighs loudly and picks up the phone. Keith watches her for a second, then heads for the kitchenette, looking back to make sure she is doing it. VERONICA: Julie, hi. It's Veronica from Mars Investigations. I'm really sorry, but Mr Mars is unable to take on any new cases at this time. Recommendation? Ah, Nick Harris Detectives is always good. Keith nods his approval in the kitchenette as he pours himself a coffee. VERONICA: If you're looking locally, Vinnie Vanlowe is a respected detective. Keith puts the pot down hard and looks back at his daughter in disbelief. The camera pulls closer to the phone in Veronica's hand, close enough to hear the dialing tone. VERONICA: I'm really sorry about this Julie. Uh, I hope it all works out. We wish you the best. Veronica puts the phone back on the receiver. She casts a glance at her father and, once his back is turned, rips the sheet of paper on which she wrote Julie's information from the pad, folds it and puts it, with Julie's card, into her back pocket. VERONICA VOICEOVER: The only way I'd ever make two grand in a week working at the Hut is if they installed a pole. Dad might be too busy for Miss Brightside but I think I can pencil in some time to make a couple quick G's. INT - JAVA THE HUT - DAY. At two of the small sofas, Veronica, not in uniform, sits with Julie, coffees on the table between them. VERONICA: Mr Mars thought that due to the nature of your case, it might be beneficial for you to have a detective of the female persuasion. JULIE: Aren't you awfully young to be doing this? VERONICA: It's amazing, I never get tired of that question. Julie, why do you suspect that Collin is up to something? Veronica gets out another pad, ready to take notes. JULIE: My family is wealthy, like, very. I tend to fall for guys who nail the girl who's teaching my spin class while letting me pay his rent. Money isn't supposed to matter, so I'm letting Collin think I'm regular old middle class. VERONICA: I see. Well, is there something that's prompting your concern right now? JULIE: Phone calls...at late hours. Lame excuses for getting out of the house. Lately, it's tennis. There is a framed photo of a woman on his bar. VERONICA: Okay. Ahh, got it. I'm on it. JULIE: Thanks. INT - FENNEL RESIDENCE - DAY. Alicia carries a glass to the kitchen from the dining area, where Darrell lingers in the background. ALICIA: Wallace. Wallace is in the kitchen, at the sink. The refrigerator door is covered in Fennel family pictures. Do you have a shift at Sac-N-Pac tonight? Wallace grabs his keys and makes his way back into the dining area and the front door. WALLACE: No. [boasting] Hottest girl in school asked me for some help with the Trig. I'm gonna give her a hand. Alicia follows him. ALICIA: You need help with Trig. WALLACE: In fact, I might give her both hands. Darrell picks up his backpack and looks up at his brother. DARRELL: Are you hitting that? Wallace laughs, as does Alicia, despite herself. ALICIA: Darrell! EXT - FENNEL RESIDENCE - DAY. In the driveway, Wallace gets into his car and drives off as Alicia and Darrell come out of the house. Alicia waves at him but falters when she sees the man from Chicago drive slowly past in the opposite direction, in a white SUV. They stare at each other but he does not stop or slow, disappearing around a corner. Opening credits. EXT - RUNNING TRACK - DAY. Various people are using the track. A camera focuses on one man in particular, running in sunglasses. The camera whirs as many sh*ts are taken. Veronica is in the stands, taking the pictures. Her cell rings. She checks the number before answering. The camera switches between the two of them, with Julie coming down the stairs at her home. VERONICA: Hi, Julie. JULIE: Find out anything? VERONICA: Yep, you can rest easy. He's on his eighth lap and I'm on my way to Starbuck's, 'cause I gotta say...spying on Collin? A little boring. JULIE: I looked up his caller ID history. He's had twenty calls in the past six days from the same number. Don't you think that's odd? VERONICA: It's worth looking into. What's the number? I'll-- JULIE: I already sent it to you. Don't forget, tomorrow he has tennis. INT - MI - DAY. Keith is in his office. ALICIA: [offscreen] Knock knock. Keith looks up and footsteps sound in the outer office. Hips appear at his door, swaying, and a hand holds a paper bag. KEITH: Tell me that's a ham and cheese sandwich. Keith rises as Alicia walks into the office. They meet partway. Keith grabs the bag. ALICIA: And I almost went for the chicken salad. KEITH: Ohh, you just fulfilled one of the top ten male fantasies. Oh, yeah, a guy dreams his whole life of a beautiful woman bringing him a sandwich. Keith gives her a long, thorough kiss. She strokes his cheek as they part. Keith stuffs the sandwich in his mouth. ALICIA: Do you have a spare g*n that I could borrow? Keith freezes, sandwich still in his mouth. He pulls it out and puts it back in the bag. KEITH: That depends. Who do you intend to sh**t? ALICIA: The guy who called out to me in the club in Chicago. "Cher"? He was my old boyfriend and Cher was his nickname for me. KEITH: When we were in Chicago, I asked you-- ALICIA: I know. He caught me completely off-guard. We dated almost twenty years ago before I was married. And I was young, and naive...and he was crazy. KEITH: So where does the g*n part come in? ALICIA: He drove by my house yesterday morning. He's tracked me down. KEITH: There's no way I'm letting you take a g*n you don't know how to handle to a house with a seven year old. So, I'll give you something a little safer to curl up with at night. ALICIA: What? Keith gives her a goofy grin. ALICIA: You? He maintains his funny face. She laughs. ALICIA: What do we tell the kids? Keith waves his hand in a chop near his throat. KEITH: [whispers] Nothing. He smiles. INT - FENNEL RESIDENCE - DAY. Alicia, a little frazzled, slips a pancake from one pan into another which holds its own pancake. She takes the pan with the pancakes to the dining area where Wallace and Darrell are sitting with plates full of scrambled egg and bacon, and glasses of orange juice. ALICIA: I think I cooked these too fast. I got a late start this morning. Alicia adds the pancakes to their plates. WALLACE: Mom, you okay? ALICIA: Uh-huh. WALLACE: Why don't you just sit down and eat? There's a knock on the French doors. It's Keith with a large paper bag. ALICIA: Ahh, nice surprise. Alicia lets him in. KEITH: Good morning. ALICIA: Hi. KEITH: I was out early doing some surveillance...thought I'd stop by, say hi... He puts the bag down on the table. ...and send the Fennel men to school with a belly-full of sugar. Wallace digs straight in. WALLACE: [with mouth full]Keith Mars for Sheriff. Keith chuckles. INT - NEPTUNE HIGH SCHOOL (NHS), HALLWAY - DAY. Veronica heads for her locker. Wallace is already at his, sorting through his books. VERONICA: My dad spend the night at your place? WALLACE: Yep. VERONICA: He do the AM-donut-fake-out run? Wallace pulls the bag of donuts from his locker. WALLACE: Want one? Veronica's head does a little shake. Unseen by either, Jackie arrives and slaps Wallace on the bum. Wallace twists around, grinning as Jackie laughs. JACKIE: [shouts] Get back, ladies, he's mine! Veronica is disapproving. You really are a basketball star, aren't you, I mean I'm not just smacking the ass of some Dungeons and Dragons geek, right? VERONICA: Oh, he's a star. Just ask him. WALLACE: [to Jackie] Come on. Let's go. Wallace and Jackie walk down the hall together. Jackie puts her arm around his shoulder, stroking his hair. Wallace's arm is around her waist. Veronica, sour-faced, slams her locker shut and watches them go. EXT - FENNEL RESIDENCE - DAY. The man from Chicago creeps up to the window, peering into the house. He tries the window. The whir of a camera is heard. Keith is tucked behind a corner of the house, taking photographs. KEITH: Smile. The man stops trying the windows and turns to face him. KEITH: Oh, yeah, work it, work it. Work it. CARL: You're gonna be pulling that camera out-- He stares to walk towards Keith who pulls back his jacket to show his g*n. KEITH: Ah-ah... The man sees the g*n and stops. KEITH: ...light's much better where you're standing. The man smiles. CARL: Keith Mars, former sheriff, private detective, author. KEITH: Wow. Carl Morgan, three years Lompoc, as*ault and battery, cocaine possession, intent to sell. We should really give our publicists pats on the back. CARL: I expected you to become a problem at some point. KEITH: There's a flight to Chicago leaving San Diego at 4:45, you need to be on it. The next time I sh**t you, it won't be digitally...unless I h*t you in the finger and then we'll have a big laugh about it. Morgan laughs. CARL: Your old lady took something of mine. I'm not leaving 'til I get it back. He winks, then turns and walks away. KEITH: She's not my old lady. She's my special lady friend. Morgan doesn't stop. EXT - NEPTUNE HOSPITAL - DAY. A car pulls up outside the entrance. VERONICA VOICEOVER: Hospitals wig me out, but... EXT - NEPTUNE HOSPITAL - DAY. Veronica walks up one of the corridors, checking numbers as she goes. She is carrying a bunch of flowers. VERONICA VOICEOVER: ...I've put this off for too long. It's time I see Meg. She stops, having found the right door. She hasn't seen Duncan behind her, sitting on one of the chairs. DUNCAN: Veronica? Veronica whips around. VERONICA: [surprised] Duncan? I...didn't know you were... Duncan stands. VERONICA: How's Meg? Before he can answer, the door behind Veronica opens. A middle-aged couple exits the room. MR MANNING: [to Duncan, angry] You again. Why do you come here every day? How many times do I have to tell you? Veronica looks quizzically at Duncan. MR MANNING: We never want to see you again. Now stay away from our daughter. The woman shakes her head. MRS MANNING: [to Veronica, tearfully] And you, I mean, how can you come here? Don't you know that you presence is upsetting to us? From behind them, Lizzie Manning exits the room, holding the hand of a little girl. Lizzie is very different to the girl last seen in 108 Like a Virgin. Gone is the bleach-blonde hair, the make-up and the provocative clothes. Her mousy blonde hair is pushed back by an Alice band, her face is clean and she is in a school uniform. The little girl has either been crying very hard or she has two black eyes. She cowers behind Lizzie's skirt. DUNCAN: We care about Meg. LIZZIE: Mom, he-- MR MANNING: Quiet! If you really cared about Meg, she wouldn't have been on that bus. INTERCOM: Dr Godot, Nurses Station Three. Dr Godot, Nurses Station Three. Duncan has no answer and walks away. Veronica sets the bunch of flowers down on the chair on which Duncan was sitting and follows him. Mrs Manning drops her head and Mr Manning puts his arm around her as Veronica and Duncan walk away, down the corridor. VERONICA: You didn't tell me about-- DUNCAN: What, that Meg was important to me? INTERCOM: Dr Roberts, Floor Stat, Dr Roberts, Floor Stat. VERONICA: About her parents. Duncan pauses as Veronica walks on in front of him. He regrets snapping at her. He hurries to catch up. DUNCAN: Look, wanna go eat or something? VERONICA: Can't. Work. Gotta go watch a tennis match. Veronica hurries out, leaving Duncan standing. EXT - NEPTUNE STREET - DAY. Collin, in silver Jaguar, pulls into a driveway of a house. Veronica pulls up in the street just beyond. She photographs him approaching the front door. VERONICA VOICEOVER: Well this isn't a tennis court. What are you up to, Collin? He knocks on the door of the house, which bears the number 8520. A woman answers and greets him with a hug. Veronica takes more pictures. Collin and the woman disappear into the house. VERONICA VOICEOVER: No good, it appears. What is it with men? Never where you expect them to be. Veronica transfers the pictures from her camera to her laptop. Underneath the TZAR FX window, which is downloading the latest pictures, are a couple more windows, including an email she's already prepared, addressed to Julie Bloch, entitled "Collin: Sit down before reading." In it she says, "Attached are the photos of Collin I took today, so sorry." The latest pictures appear, numbered 24 to 36. Veronica picks up her phone and dials. JULIE: [offscreen] Hello? VERONICA: Julie? It's Veronica. Another window has appeared underneath the email, setting out Veronica's menu: Network - Perseus - MINIBITES - Desktop - veronicamars - Applications - Documents - Movies - Music - Pictures. On the right, on the desktop, she has: MINIBITES - Cases - Collin Nevin - Newspapers - Photographs - School Work. VERONICA: Can you check your email? I'm sending you some photos right now. She adds the pictures to the email. VERONICA: And do you know anyone who lives at 8520 Primrose Lane? JULIE: [offscreen] No, why? VERONICA: I'm afraid I've got some bad news and some more bad news. First, Collin's not playing tennis and second, that number that showed up twenty times on his caller ID? JULIE: [offscreen] Yeah? VERONICA: That number belongs to whoever lives here on Primrose Lane. It's where he goes instead of tennis. Did you...get the photo yet? Do you recognize the woman? JULIE: [offscreen] No, oh no. VERONICA: Julie. JULIE: [offscreen] No, no, no. VERONICA: Sh, Ju-- JULIE: [offscreen] No. VERONICA: Julie! Listen to me. Do not panic. Okay? I'll call you as soon as I know anything. Okay? JULIE: [offscreen] Okay. VERONICA: All right, bye. Music: Jealously by the Stereophonics. LYRICS: Jealousy my devil Jealousy my hell Jealousy insomnia Jealousy sleep well Veronica creeps through the bushes of the house next door, settling at a low wall close to the target house, camera in hand. VERONICA VOICEOVER: All right, Collin, just give me what I came for. You and your hot little number, deep in the throes of... Through the camera lens, she spies through the window and sees the woman carrying a tray to a table. Collin is sitting at the table, reading aloud from a book. Standing over him is a rabbi. RABBI and COLLIN: [Hebrew] VERONICA VOICEOVER: ...a Hebrew lesson? Before Veronica has a chance to process this, she hears a car race up to the house. VERONICA: Rut-roh. It's Julie in a silver BMW Z4. Her hair is in curlers and she has bleach paste on her eyebrows and upper lip. She screeches to a halt and starts to march up to the house. VERONICA: Julie, no! Veronica leaves the camera on the low wall, and races towards Julie, who is oblivious. Veronica takes a flying leap and tackles Julie to the ground. JULIE: Oh! Oh! Julie, the wind knocked out of her, lies flat on her back under Veronica who is straddling her to hold her down. VERONICA: Julie, stand down. He's not cheating on you. He's with a rabbi. JULIE: A rabbi? He's not Jewish. I'm Jewish. Veronica pauses for a moment, encouraging her to think. VERONICA: Are you there yet? Julie finally gets it, and let's her head drop back to the ground. Veronica sits up and sighs. End music: Jealousy by the Stereophonics. INT - MARS RESIDENCE - NIGHT. It's 2:25 in the morning. Veronica is lying in bed, awake. VERONICA VOICEOVER: Every day. That's what Meg's dad said. What's Duncan doing at the hospital? Her cell, placed next to her clock, rings. On the shelf above it is a picture of Lilly and on the wall to the left is a "Vote Mars for Sheriff" sticker. Veronica reaches up to the small shelf with the clock to pick up the phone. JULIE: [offscreen] Do you think he still loves her? Still in her thoughts, Veronica answers for her own dilemma. VERONICA: I don't know. She comes to her senses. VERONICA: What? Who is this? Julie is sitting up in bed. The camera switches between the two as they talk. JULIE: It's Julie. The photo of the woman on the bar? She's gotta be an ex. If he's keeping her close, do you think he still loves her? VERONICA VOICEOVER: Whoa. If I'm pondering the same question about my boyfriend, does that make me crazy too? VERONICA: Julie... Veronica sits up and twists to look at the clock. VERONICA: ...it's two twenty-seven in the morning. The silver package has its perks but post midnight girl-talk is not one of them. JULIE: What if I get an upgrade? Wh-what comes after silver? VERONICA: Psycho. JULIE: What? VERONICA: Gold. Julie, it's three thousand dollars. JULIE: What...does it include? VERONICA: Uh, we dig deeper. Three months of internet activity, heavier surveillance. We talk to consultants to set up a temptation scenario, and see if he responds. JULIE: That's perfect. That's exactly what I need. And with the gold package, can you find out who that is in the photo on the bar? VERONICA: We can find out...but...if you want my opinion, I'd say there's a fine line between looking for a problem and creating one. Good night. Veronica puts the phone down and ponders her words. INT - SHERIFF'S DEPARTMENT - DAY. Keith knocks casually on the door as he enters Lamb's office. Lamb is at his desk, a poster behind him reading: "Re-elect Sheriff Lamb. Tough on CRIME." Lamb isn't thrilled at the sight of his visitor. LAMB: Who let you into my office? KEITH: That's funny. Lamb smiles tightly at the joke as Keith drops a large photo on his desk. KEITH: I was wondering the same thing. I thought you might want to catch a bad-guy or something. Lamb, sceptical, picks up the picture. It's one Keith took of Morgan. KEITH: That's Carl Morgan, drug dealer, he's currently wanted for questioning in Chicago on an armed robbery. Lamb drops the photo on the desk and looks up at Keith. LAMB: Drug dealer. Keith nods. LAMB: For me. Keith nods more vigorously. LAMB: [snidely] It's not even my birthday. KEITH: He's buddies with a dealer I'm tracking. There's no bounty on him; nothing in it for me. LAMB: Mm, nothing but the joy of giving. KEITH: It's not a present, Sheriff. It's kind of your job...for now anyway. Lamb smiles. KEITH: Hope you're having fun. Keith exits and Lamb picks up the picture and stares at it. INT - NHS, HALLWAY - DAY. Veronica stands at her open locker, looking for something in her bag. She reaches into and busies herself in her locker. WEEVIL: Yo, Martha. Weevil has five bikers (a much scarier looking bunch than last year) in tow as he leans against the locker next to hers. WEEVIL: Heard you took a ride downtown behind a one-eighty-seven. So, did you flop for the cops or did the local Wapner hook you up with some ankle bling? Veronica isn't intimidated and slams her locker shut before facing him. VERONICA: You know the deal, cuz. Every time a kitty cries in this town, Onetime tries to put a case on me. She notices his hoop earrings. VERONICA: Speaking of bling, what's up with the hoops? If I rub your head, do I get three wishes? WEEVIL: You rub my head and you might want to make seeing tomorrow your first wish. Veronica's face falls and it is not immediately clear whether she is startled by the aggression in Weevil's response or something else. It's something else... FLASHBACK: INT - SHERIFF'S DEPARTMENT - DAY. Lamb holds up the small evidence bag holding the square diamond earring. LAMB: Missing an earring? Lamb throws it down on the table. END FLASHBACK AND RETURN TO NHS, HALLWAY. To Weevil, Veronica has spaced out. WEEVIL: You need to be alone for a second? VERONICA: Where's that disco ball you usually wear? Weevil chuckles and performs for his boys.. WEEVIL: It's probably deep in some chick's shag carpet. They laugh appreciatively. VERONICA: You think? WEEVIL: Yeah. VERONICA: 'Cause I'm guessing more like an evidence bag in the sheriff's office. Weevil takes a breath and turns to his boys, hitting fists with one. WEEVIL: I'll holla atcha, dog The bikers back away to give them privacy. VERONICA: My question, and I'm betting it's the sheriff's, is what was your earring doing at the Road Hog, in the last place Curly Moran was seen alive? WEEVIL: You know, I-I don't even know what earring you're talking about, so-- VERONICA: It's kind of like the one you're wearing in your yearbook photo. Hmm... Veronica starts punching numbers on her cell. VERONICA: ...Sheriff's Department speed dial. If this doesn't get me out of that jaywalking ticket. Hello, Inga. He puts his hand on her arm. WEEVIL: Okay. Veronica smiles and drops the phone from her ear. They start to walk down the hallway, the other bikers watching carefully. WEEVIL: A couple weeks ago, a few days before Curly beached, I got this weird call, some guy saying Curly was behind the bus crash. VERONICA: You don't know who it was? WEEVIL: They just said Curly was hired by the Fitzpatricks to get back as Cervando. VERONICA: As in the Fighting Fitzpatricks? WEEVIL: Uh-huh. VERONICA: I think my dad put, like, five of the Fitzpatricks in Chino. WEEVIL: Look, they're Irish Catholic. For every five you put away, there's ten more at home. Cervando'd been going around bragging about how he hustled Liam Fitzpatrick out of a few grand down at River Styx. VERONICA: That's a lot of info for an anonymous call. What'd you do? WEEVIL: Nothing. VERONICA: I'm sure. They pause. WEEVIL: The Fitzpatricks are meth-head lunatics, but they're not gonna k*ll a bus full of kids over three grand. Their problem with Cervando would have been solved in an alley with a baseball bat. VERONICA: Gimme your cell. He hands it over. WEEVIL: I called the mystery guy back, already, all it does it ring. On the display of Weevil's phone are two names, Dante and Hector, and two numbers, 555-0153 and 555-0179. She punches 555-0153 into her cell. WEEVIL: Look, should I be expecting a visit from Lamb? If I know I'm being brought in, I'll put on my good underwear, you know? Veronica snaps the phones shut and hands Weevil's back to him. VERONICA: You should really do that anyway. Veronica walks away with Weevil giving her a doleful look. The clock in the hall shows the time as 1:45. INT - COOK RESIDENCE - DAY. Music: Jealous Love by Robert Cray LYRICS: Seem to never, ever show And every time, a pretty girl walk by I catch you watching me, baby Out the corner of your eye. To be so sweet and yet so blind You know you're k*lling my love, baby With your jealous mind. Jealous love I wanna say it one more time Oh, you oughta trust me sometime. I'm home from work everyday on time. You've got your hand in my pocket For that number you thought you'd find. Jealous love I wanna say it one more time Oh, you oughta trust me baby. Jealous love The curtains are closed as Jackie and Wallace make out. Wallace's cell rings. He breaks off to answer it. Jackie watches him fondly... VERONICA: [offscreen] Hey, buddy, whatcha doing? WALLACE: Veronica, are you in immediate life-thr*at danger? ...until she hears who it is at which point her face tightens. INT - MARS RESIDENCE - CONTINUING. VERONICA: At this precise moment, no. INT - COOK RESIDENCE - CONTINUING. The scene continues to shift between the two. WALLACE: Then I'm hanging up. VERONICA: [offscreen] Wait, wait, my go-to temptress just canceled on me and I need an AV wizard to be my eyes and ears for a scenario I've got going down at four. As Veronica talks, Jackie pushes Wallace back against the couch and climbs on top of him. She starts nibbling his neck. He laughs. WALLACE: Hey, I'd love to help, but I've got my own scenario going on right here. VERONICA: Wallace, if you're getting all that Jackie-love with two dollars in your pocket, imagine what you'd get with, say, two hundred. Cut to a tiny bit later as Wallace puts on his shoes. Jackie is most put out. JACKIE: You didn't ask, "How high?" WALLACE: What? JACKIE: Didn't Goldilocks say, "Jump"? WALLACE: It is not even like that. JACKIE: What's it like? WALLACE: We're friends, Jackie. If she needs me, I'm gonna come through, just like she would for me. JACKIE: Right. I guess you have different rules here, where I'm from, the girl you make out with is the one you do favors for. I may have to have a chat with Miss Pixie-Stick. WALLACE: I wouldn't do that. She's not somebody you wanna piss off. JACKIE: [seriously] Neither am I. End music: Jealous Love by Robert Cray. EXT - NEPTUNE STREET - DAY. On the oceanfront, Wallace is waiting at the open boot of his car. The LeBaron pulls in behind him. Veronica gets out, dressed to seduce - a tiny tight sweater over a low-cut, clinging t-shirt, a short skirt, fishnets and boots. Her hair is in low bunches. VERONICA: Sorry I'm late... She runs over to him, as fast as her tight skirt will allow. VERONICA: [sorority voice] ...whipped-cream fight at the sorority house. They both giggle. VERONICA: Can you hand me a mike? Veronica holds out her hand as Wallace rummages in the back of the car. WALLACE: You got some place to hide it? Veronica puts the mike down her cleavage. Wallace gets the receiver and puts it in his ear. WALLACE: Do you own those clothes, or did you make a stop at Dirty Coeds-R-Us? VERONICA: Ha ha. WALLACE: And I need to be paid up 'fore tonight. Gotta make a little peace with my woman. VERONICA: Are you sure she's your woman, cause I saw her at Java the Hut the night after our double-date and...some guy was...all over her. WALLACE: Like a couple of weeks ago, when we only had like two dates. So what? VERONICA: So it's...progressed? WALLACE: Yeah, it's progressed. Have you seen her with another guy since? No. See, when you assume, you really just make a ass out of you. Wallace picks out a lug wrench and lays it by the LeBaron's front tire. VERONICA: Just stay as tight as you can. WALLACE: Just go Lolita his ass. Let me do my thing. Veronica gets a tool out of her bag and removes the valve core from the tire to let the air escape. The tire flattens. EXT - COLLIN'S HOUSE - DAY. The doorbell rings. Collin opens to door to Veronica, who is in full bimbo-mode. COLLIN: Can I help you with something? VERONICA: Please, that would be so great. Wait, do you have an accent? COLLIN: Yeah, I'm Scottish. VERONICA: Really. Like from Scotland? That's so awesome. Foreign men are so much sexier than regular men. She very obviously checks out his body. He's a little uncomfortable and raises his eyebrows. VERONICA: Oh...sorry. I hope I'm not bothering you, it's just, I got a flat and...my cell phone's d*ad and I can't find my triple-A card. Do you think you could give me a hand? EXT - NEPTUNE STREET - DAY. At Veronica's car, Collin tries to loosen the nuts. VERONICA: I tried real hard; I just couldn't get the nuts off. I think they're just...too tight. She crouches down next to him and picks up the lug wrench. VERONICA: But, I did just put lotion all over my hands so they're kind of slippery. She lets it drop between her fingers. COLLIN: You do know you've got to jack the car up first, right? VERONICA: Oh yeah, do you have a jack? Wallace is across the street, behind another parked car, videoing proceedings. Collin and Veronica stand and Veronica wipes her forehead, leaving a dirty mark. COLLIN: Oh you ah, you've got a... Collin pulls a handkerchief from his pocket and hands it to her. VERONICA: Oh, how cute are you? Veronica uses the wing mirror to wipe the mark away, making sure to bend down in such a way as to show off her ass. Wallace smiles as he gets a good sh*t of Collin checking out her ass. Veronica finishes and hands Collin back his handkerchief. COLLIN: No, keep it. Listen, ah, we could be out here all day with me doing this so, why don't I go in and call you a tow truck or something. VERONICA: Do you have a computer in there? Because I kind of need more than a tow-truck right now. I go to UCSD and I have this mid-term that if I don't turn in in about ten minutes... COLLIN: All right. Come on. Wallace continues to film as they go towards the house. He can hear Veronica through his earpiece. VERONICA: [through earpiece] Okay, come on, the accent? Wallace watches them disappear into the house. The reception on the mike falters and Wallace's face takes on a look of consternation. INT - COLLIN'S HOUSE - CONTINUING. Collin and Veronica mount steps up to the main living area. VERONICA: Are you like the catch of the year or what? COLLIN: Hardly. There's art on the walls, wood flooring and ocean views. A clock on the wall shows it's 4:10. VERONICA: Please. Oh, my girlfriend Paige would love this place. She's not my girlfriend girlfriend, she's just my friend, I mean, we share a dorm room, so, whatever, it's college right? Oh, she would really love this place. As Collin sits down on a couch, Veronica pauses and stretches to show off her body. VERONICA: I mean, who wouldn't want to wake up to this view. You should really let me know if you ever want to party with us. We're fun, double the fun. COLLIN: Oh, I don't have too many parties. I'm a pretty mellow guy. Veronica settles herself on the arm of the couch, right next to him. VERONICA: Really, you seem kind of...I don't know, wild to me, like a caged animal kind of thing. COLLIN: Oh, you'd have to ask my...girlfriend about that. My actual girlfriend. We're not just dorm mates, if you get my drift. EXT - NEPTUNE STREET - CONTINUING. Wallace is getting more and more concerned as the reception breaks up badly and he can only hear a few words. VERONICA: I...she's...pretty. COLLIN: Drop...gorgeous. INT - COLLIN'S HOUSE - CONTINUING. VERONICA: Can I ask you something? COLLIN: Sure. VERONICA: What about me? Veronica leans closer into him, starting to tumble into his lap. Collin slides along the couch to avoid her. VERONICA: I mean if the range were pretty to drop d*ad gorgeous, where would I fall? Veronica slips down into the space vacated by Collin, staying close. COLLIN: You'd fall under "knows she's gorgeous, but like to hear it anyway." Don't forget about that mid-term. Collin gets up. Veronica gives him a look of defeat, then follows. EXT - NEPTUNE STREETS - CONTINUING. Wallace is pacing and looks at his watch. WALLACE: [anxious] Veronica. INT - COLLIN'S HOUSE - CONTINUING. Veronica is at the table on which Collin's computer is situated. She takes a disc out of its cover and slides it into the machine. VERONICA: This is really sweet of you. I owe you like the biggest favor ever. Collin's computer shows on its menu: Network - The Clan - Collin - Desktop - collin - Applications - Documents. "Documents" is highlighted as is the list next to it: Downloads - Library - Mailboxes - Personal - Preferences - System - Vacation Photos - Web Cache - Work. On the desktop on the right are icons for "The Clan" and "Collin Burn Files." VERONICA: Seriously, you can ask me for anything. Veronica transfers the wholes list to the second icon and starts the process of burning 18 items to "Collin Burn Files," described as Item: "AIM Log" of which she has copied 829 KB of 35.6 MB. Time remaining is initially shown to be about fifteen minutes but then quickly corrects itself to lest than a minute in the second its taken to burn 2.2 MB. Collin is standing by a poster on the wall of the film "Matchstick Men." VERONICA: Somebody's a big movie buff, I see. Quick, favorite movie of all time, don't think about it, just answer. COLLIN: Oh, I don't know, that's...that's a hard one. This really isn't my place, actually, I'm just house-sitting for my friend. VERONICA: Your friend a big Nicholas Cage fan? Next to the poster is another, this one for "City of Angels." COLLIN: My friend is Nic Cage. VERONICA: Really. EXT - COLLIN'S HOUSE - CONTINUING. Wallace can't hear anything now and decides he has to do something. INT - COLLIN'S HOUSE - CONTINUING. VERONICA: Nic Cage, that's hot. The doorbell rings. COLLIN: Would you excuse me a second? Collin goes to answer the door. Veronica's file is nearing completion at 68.47% and she quickly runs to the top of the stairs to see who's at the door. It's Wallace. COLLIN: Hello. WALLACE: Uh, hi. Wallace sees Veronica behind Collin. She gesticulates that she needs a little longer and for Wallace to stall him. WALLACE: Would you like to help the hungry, starving children of...the world. Veronica can't believe the lameness and mouths "What?" at him. COLLIN: I'm sorry, are you selling something? WALLACE: Yes...I am. Veronica gestures to him to keep it up and that she'll right down. She races back into the bowels of the house. WALLACE: I'm selling, um, pens and candy. Veronica heads for the computer. COLLIN: [offscreen] I'll take a couple of boxes of candy. Wallace's grin at having come up with this plan falters a little when he realises he will have to produce something. He slips his backpack off his shoulder and unzips it. Meanwhile, Veronica's disc has finished burning and she grabs it. Wallace is standing with a narrow box of candy. WALLACE: All I got is this box of Ay Chihuahuas. Collin laughs. COLLIN: That box is open. WALLACE: You want a couple pens? Collin is looking very confused. He's then knocked aside as Veronica barges past him. She grabs Wallace then turns back to Collin. VERONICA: I emailed the paper and called triple-A. Thanks for your help. Your karma's golden. Ciao. Wallace and Veronica run off. Collin is bemused. VERONICA: [offscreen] Whatcha doing? INT - NEPTUNE GRAND, PRESIDENTIAL SUITE - NIGHT. Duncan is watching television. He holds his cell phone to his ear in one hand and the remote in the other. DUNCAN: I'm cramming for that Latin quiz. Can't forget about the Kane legacy. There's a knock on his door. VERONICA: [offscreen] Have you had dinner? DUNCAN: No, I'm tired of room service. He gets up and walks to the door. It's Veronica with the phone to her ear in one hand and a large bag in the other. VERONICA: Then may I suggest Dim Sum... She drops the phone from her ear and goes all sexy. VERONICA: ...and then some? Duncan laughs. A little later, Veronica is on the couch, eating. Duncan is up at the shelves on which the food has been laid out, putting more into bowls. VERONICA: I got the don't-wait-up call for the second night in a row...and if Dad can work all night with Mrs Fennel, then. Mmm. Duncan brings the food to the coffee table in front of the couch and sets them down. He sits close to Veronica, taking her plate and setting it aside. VERONICA: Hmmmm. They put their arms around each other, their free hands intertwining. DUNCAN: What if...we start the evening with "and then some" and work our way back to the Dim Sum? VERONICA: It's officially under consideration. May I ask you something first? DUNCAN: Yes to costumes. No to props. Does that cover it? VERONICA: Why didn't you tell me how often you'd visited Meg since the accident? Duncan closes down. He extricates himself and attends to the food. DUNCAN: Chinese food it is. You want one egg roll or two? Veronica can't believe it. Later, Duncan is asleep while Veronica sits up in bed, wearing a large t-shirt, working on her laptop. VERONICA VOICEOVER: Mental note: don't mention partner's ex-girlfriend if one expects to fool around. And while we're on the subject of men I failed to seduce today, time to see what Collin likes to google. What dirty little secrets are lurking in your browser history? Escort agencies...bootycall.com...Neptune Swingles? On the computer, the time is shown as 1:40 am. It's Saturday. Within a window marked "Collin Nevin Browser History," history numbers 296-299 are visible, but only three have entries. Number 297 was a one-stop search at www.planetzowie.com for Earlimart, conducted at 17:49:27 on October 10th. Number 298, he searched for proposal tips four minutes later. Number 299 was a visit to three pages on www.genealogygopher.com at 17:56:01. There, he did a visitor search for Julie Bloch. VERONICA VOICEOVER: Well look at that. Julie was so afraid to tell Collin about her family's money. Apparently he's figured that out all on his own. Cut to later. Both Duncan and Veronica are asleep. There's a banging on the door. Veronica lifts her head then sh**t up. VERONICA: Oh my God. It's my dad. Duncan, in his boxers, races out of bed and grabs his jeans. Veronica wraps the sheet around herself. DUNCAN: [calls out] Who is it? LIZZIE: It's Lizzie. Um, I really need to talk to you. DUNCAN: H-hang on a sec. VERONICA: What is Meg's sister doing here at two AM? Duncan spreads his hands to indicate he doesn't know. He hurries out to the main room. Veronica starts to follow but Duncan holds out a hand, stopping her. VERONICA: Oh, sorry, should I hide in the bedroom like a hooker? Perfect. Veronica angrily sweeps the sheet from the bed and around herself as Duncan silently pleads for her co-operation. He sighs and shuts the bedroom doors. Veronica walks back to the end of the bed and sits, fed up. Duncan goes to the door of the suite to Lizzie. Lizzie is not so dourly dressed this time, wearing something sparkly. LIZZIE: Sorry, I-I didn't know where else to go. In the bedroom, Veronica can hear them. DUNCAN: [offscreen] Is Meg alright? LIZZIE: [offscreen] She didn't wake up or anything. Duncan and Lizzie are still at the door. The camera goes to Veronica on occasion to show her reactions to their conversation. LIZZIE: My parents got a call from the school. They're going tomorrow morning to clean out Meg's locker. She kept this at school. Lizzie enters the suite and holds out a laptop as Duncan shuts the door behind her. LIZZIE: It's got everything on it. I'm sure Meg told you that my parents aren't real big on privacy. T-they go through our, our rooms, our cars, our backpacks. DUNCAN: So, you want me to hide it for her? LIZZIE: Well, whatever genius called from the office told my parents about this computer. Meg has a laptop my parents didn't know about. They're gonna wanna see what's on it. I don't have the password. But we have to get her personal stuff off this computer and put it back by morning. DUNCAN: Okay, so...what do you want me to do? LIZZIE: You're the son of a computer visionary. C-can't you do something? DUNCAN: I can burn a CD. LIZZIE: All I know is if my parents see what's on there, they'll pull the plug on Meg tomorrow. Can I use your bathroom real quick? DUNCAN: Uh, ah, not really. Lizzie opens the doors to the bedroom. She freezes when she sees Veronica. VERONICA: Hi, Lizzie. Okay, so apparently looks really can't k*ll. DUNCAN: I'm sorry, I-I didn't want you to be-- LIZZIE: Did you hear us? VERONICA: Yes. And if you'll let me, I know someone who can help. Cut to a little later. Fingers fly across the laptop's keyboard. A DOS-like list under the heading "File System Start" is on the display screen. Mac is at work, Duncan and Veronica sitting on the couch one side of her and Lizzie on the other. MAC: I have to say, it is a little comforting. I haven't snuck out of my house at three AM in a while. Nice to know I still have the chops. On the display appears: K:/*CONFIGURED*/USER/MEGMANNING/PASSWORD/LOCKED ATTEMPTED LOGIN 00.9981.2837.B K:/FIELD SOURCE REQUEST/SUBMIT/ !GENZ-HACKALGORITHM!-('ESTABLISH USERID') DEFINE-USER-WITHOUTATTCHED.SYSQ.TTF REMOVE HEADER - FAILED ATTEMPT 1 K:/FIELD SOURCE REQUEST/SUBMIT/ !FENX-HACKALGORITHM69!-('ESTABLISH USERID') DEFINE-USER-WITHOUTATTCHED.SYSQ-7789.TTF JOIN - PASSWORD STORED REMOVE FIELD STRING - SUCCESSFUL MAC: And, I'm in. Meg's background is an aquamarine flame against a blue stone-textured background. The word "hot" appears within the flame in the same blue. MAC: This is the hard drive. You want all the emails, right? LIZZIE: Mmm. On the desktop, there are two icons, "Meg's HD" and "FLASHDRV." Meg's own files include: Church - Pep Squad - Mail - Web Cache. Mac moves the mail folder to the flashdrive icon. MAC: You must have some nosey-ass parents. Lizzie laughs ruefully and looks over at Duncan, raising her eyebrows. Mac removes the flashdrive from the computer. She hands it to Duncan. MAC: And this goes...to you? Right? DUNCAN: Yeah, I guess. Duncan takes it. Cut to morning. Duncan is brushing his teeth in the bedroom, still in his robe and boxers. The flashdrive is on the table in the lounge area. Veronica comes out of the bathroom, fully dressed. They smile at each other and Duncan heads into the bathroom as Veronica comes out into the lounge area. She sees the flashdrive just sitting there. Music: So Jealous by Tegan and Sara. LYRICS: I don't know how it's become such a problem Keep you up all night if I try to remain calm How can they ask I want the ocean right now I get so jealous that I can't even work I want the ocean right now I get so jealous that I can't even work I want the ocean right now I get so jealous that I can't even work I want the ocean right now I get so jealous that I can't even work There I am in the morning I don't like what I see There I am in the morning I don't like what I see Veronica stops and looks down at the flashdrive. VERONICA VOICEOVER: Are you crazy, Duncan? Leaving this out here in the open? Do you leave heroin out when Iggy Pop spends the night? Veronica gets out her laptop and sits down. She grabs the flashdrive and plugs it into the machine. Before she can do anything else, her cell rings and she notes the number, smiling resignedly. She answers. VERONICA: Hello, Julie. INT - JULIE'S HOUSE - CONTINUING. Julie is curled up on a couch. JULIE: Was it awful? VERONICA: [offscreen] He was a consummate gentleman. INT - NEPTUNE GRAND, PRESIDENTIAL SUITE - CONTINUING. VERONICA: He didn't try to flirt. And in fact, he just told me how great you were. INT - JULIE'S HOUSE - CONTINUING. Julie looks almost devastated. INT - NEPTUNE GRAND, PRESIDENTIAL SUITE - CONTINUING. Veronica awaits her response. JULIE: [offscreen] Okay. I guess this is the moment that I officially became a jealous freak. On her laptop, the menu comes up, showing the contents of the flashdrive as "Meg's files." VERONICA: Hey, Julie, can I call you back later? Veronica switches off the phone and stares at the laptop. She cocks her head in thought, and then pulls out the flashdrive. She puts it back on the table, arranging it in the same place it was, a little proud smile on her face. It doesn't last as she wonders what she's doing. She sighs. End music: So Jealous by Tegan and Sara. EXT - FENNEL RESIDENCE - DAY. Keith comes out of the house, jiggling his keys. Someone shouts in the distance. MALE VOICE: He already left for work. Keith looks up and slows on seeing his car, parked in the street. There are wheel clamps on all four wheels. Keith is pissed off, despite the nice "Keith Mars for Sheriff" poster stuck in the Fennel's front lawn. INT - SHERIFF'S DEPARTMENT - DAY. Lamb is sitting back in his chair. The phone rings. Lamb punches a button. LAMB: It's Lamb. EXT - FENNEL RESIDENCE - CONTINUING. Keith is still standing outside the house, cell phone to his ear. The camera cuts between them. KEITH: I'm thinking I might have a boot for you too. Any ideas where I can put it? Lamb grins. LAMB: Hey, you started it with your "I found you a wanted man" BS. Lamb reaches forward and grabs a file. LAMB: You send me in to arrest Carl Morgan, AKA Nathan Woods, Chicago cop, big-time decorated detective. Keith is shocked. LAMB: Did you think I wouldn't check up on the guy, Keith? His record is one phone call away... Keith is beyond shocked, he is devastated. His hand with the phone drops down, consigning Lamb's words to the ether. LAMB: ...how stupid do you think that I am? Keith looks back at the house. INT - MARS INVESTIGATIONS - DAY. The posters and boxes of stickers have all been cleared away. Julie enters. Veronica is at her desk. JULIE: I already know it's awful if you wouldn't tell me over the phone. Veronica grabs a file and walks towards the couch. They sit. VERONICA: After a thorough investigation, Collin appears to be a loyal, committed partner without a criminal record and...his friends and exes both speak very highly of him. She hands Julie the file. JULIE: The bad news must be really bad? VERONICA: The house he currently lives in and the car he drives aren't his. He's housesitting...for Nicolas Cage. That's Lisa-Marie in the framed photo on the bar. And finally, it appears as though he did do some research into your background and he is aware that your family's wealthy. JULIE: [semi-hysterically] He went digging for information on me. I should have known. He told me he had a trust fund. He-he totally let me believe that house was his. He... VERONICA: I have some of his internet history on my computer if you want to... Keith walks in. He's not happy. VERONICA: Mr Mars, I thought you had the Kiwanis banquet. KEITH: Miss Bloch, I need to speak with Veronica for a moment. Would you mind? JULIE: Sure, I need to go stand in traffic for a while. Maybe jump off a pier. Julie is close to tears and leaves. Veronica awaits the storm. Keith closes the door behind Julie. KEITH: Another satisfied customer? Keith hands her a file from his briefcase. KEITH: Here, can you file this under "cases I don't have time for that my disobedient daughter can take behind my back"? Veronica, having taken the file and now standing, turns to Keith. VERONICA: I'm really sorry. KEITH: For what? Taking the case or getting caught? VERONICA: Okay, for both. I just thought it was crazy to pass up that amount of money and I thought I could handle it. KEITH: [angry] You always think you can handle it, Veronica. Veronica heads for her desk. KEITH: Believe it or not... She pauses, her back to him. KEITH:...at eighteen, you can't handle everything. And you don't get away with it all, either. VERONICA: I know. Keith walks towards her, pointing. KEITH: Whether it's playing I-Spy after school or staying out all night at your boyfriend's hotel room. Veronica, now at her desk, is horrified, not expecting that. She sinks down into her seat. KEITH: You're just not quite as clever as you think you are. Keith grabs his office door and enters, letting it slam behind him. As Veronica processes this, she glances at Collin's browser history on the laptop. She notices something (other than the fact that the display is now showing Saturday, 1:43 AM, whereas the office clock shows it to be 16:10) and picks up the phone. EXT - NEPTUNE STREETS - CONTINUING. Julie is in her car, now badgeless, parked at the side of the road. Her cell sounds. She wipes her nose and answers. JULIE: [tearfully] Hello? INT - MI - CONTINUING. The camera alternates between them. VERONICA: Julie, I just thought of something. JULIE: You know, you think you're dating Prince Charming...but you're really dating Prince Charming's Kato. I just called him. I ended it. It's over. She sniffs noisily. JULIE: As soon as he checks his messages. VERONICA: You broke up with him on his-- Julie, the internet search that Collin did on your family was dated five days ago. JULIE: Yeah, so? VERONICA: So you found the ring, like, two weeks ago. He-he checked into your family after he bought the ring. He was probably looking to find your father so that he could ask for his approval. I-I'll bet he didn't even know about the money. JULIE: He lied about the house. VERONICA: He told you it was his? JULIE: It was implied. He probably lied about the trust fund too. VERONICA: You didn't exactly tell him the truth either. JULIE: It's one thing to lie and say you're not rich. The other way around is way less cool. VERONICA: I think I get it now. Money matters. JULIE: Of course it matters. Veronica hangs up. INT - FENNEL RESIDENCE - DAY. Keith uses a key to enter and calls out. KEITH: Alicia, Alicia, it's me, Keith. Anybody home? There's no response. Cut to a few moments later, as Keith searches through files in a desk. He pulls out a blue file and starts to flick through it. INT - MARS RESIDENCE - DAY. Veronica is in the kitchen folding laundry. After folding a couple of t-shirts, she comes to Collin's handkerchief. It is monogrammed and she notices it for the first time. The monogram is a crest and the initials PCN. VERONICA VOICEOVER: When your mom's an alcoholic, you spend a lot of time looking at bottles. Veronica searches through the drinks cupboard. She pulls out a bottle of scotch. INT - JULIE'S HOUSE - DAY. Julie opens a box addressed to "Julie Block." (A further example of Veronica's sudden inability to spell.) She strips off the tape and opens the box, picking up an advert on top. It is for Loch Nevin single Highland malt, with the crest on the picture of the bottle matching that on Collin's handkerchief. Underneath is a letter from Veronica which Julie picks up. VERONICA VOICEOVER: Julie, I wanted you to have these. Everything Patrick Collin Nevin told you is true. He does have a trust fund, perhaps bigger than either of us imagined. The enclosed article mentions that he hates to flaunt his wealth or his celebrity friendships. Julie picks the handkerchief out of the box and gazes sadly at it. VERONICA VOICEOVER: You both wanted to be sure you were loved for who you really were. And it seems that one of you was. INT - MI - DAY. Keith pulls one of his pictures of Carl Morgan/Nathan Woods off the printer. Files are stacked all over Veronica's desk and a phone starts to ring. Keith hurries back to get the call. KEITH: Keith Mars. Mr Pasqual. Keith reaches forward, digging through the piles of files. KEITH: Yes, uh, I know, it's been a little busy here. He continues searching through, starting to hum. KEITH: Um...here we go. He pulls out a file from the stack and opens it. KEITH: I'm sorry, sir, it looks like you wife is indeed having an affair. He puts the file back, pausing to listen. KEITH: Your uncle? Missing persons case. He starts to search a different, smaller stack of files. KEITH: I'm very sorry sir. It-a-it's a little filing mix-up. You were stuck inside of Mr Pastorelli's file. He finds the file, opens it and scans it.. KEITH: Your Uncle Al is alive and well in a retirement home in Waikiki and, as far as I know, completely faithful. Keith laughs to make light of his faux-pas. KEITH: I have his number right here. INT - MARS RESIDENCE - NIGHT. Keith wanders into Veronica's bedroom, attempting to be a little nonchalant. Veronica looks up at him from her desk. Keith smiles at her. Veronica stares at him in anticipation. She cocks her head a little to encourage him to speak. KEITH: Okay. Maybe I can use your help around the office. A bit. Veronica's mouth falls open. She pushes back from her desk, making the sound of screeching brakes. VERONICA: I'm sorry. Come again? Keith doesn’t respond. VERONICA: You're never going to tell me what happened to prompt this, are you. He shakes his head. KEITH: Nope. Now, I'm just talking about a little help with research, filing, the phones--- VERONICA: I do give good phone. KEITH: It's just a couple days a week. And you're keeping your job at the Hut. VERONICA: Of course, I'll be needing a raise. Keith points at her on his way out ("yeah, that's going to happen" perhaps) and exits. Veronica returns to her laptop. VERONICA VOICEOVER: Since talking to Weevil, I've been dying to track down this mysterious tipster. Veronica is on PryingEyez, on the blank database search page. VERONICA VOICEOVER: Who knows if Weevil, or the tipster for that matter, was telling the truth? She types in a (different than she took from Weevil's phone) number = 619-555-0162. VERONICA VOICEOVER: Maybe Curly Moran was part of a plot to retaliate against a PCHer, and maybe that's exactly what someone wants up to believe. That call could have come from anywhere, a business line, a pay phone, or-- The page comes up. The number is shown to belong to Aaron Echolls of 880 Muir Street, Neptune, CA 90909. (The house number was 15663 in 106 Return of the Kane.) Aaron's SSN is 931-45-8974 and his date of birth is September 24th, 1959. Lynn is shown as deceased, with SSN 917-38-4781 and a date of birth of January 17th, 1963. VERONICA: Oh, my God. EXT - NHS - DAY. A couple of students are talking in the foreground as Logan walks out of the school in the background. STUDENT: You're, like, accepted. ANOTHER STUDENT: Hey. Veronica is waiting for him and starts walking towards him. When he sees her, he does a mock turn on his heel before pressing forward towards her. LOGAN: Okay. God, I just can't take the begging. Having put his hands on his head, he drops them to his side. LOGAN: I'll relent, just once. But, ah, no cuddling after...and I won't call you in the morning. VERONICA: Saturday, September twenty-fourth, there was a two minute and twenty-three second phone call on Weevil's cell phone made from your house. The caller claimed that Curly Moran was responsible for the bus crash. The same Curly Moran who's friends with your dad. [accusatory] Any explanation? LOGAN: My day is complete. Veronica Mars has accused me of evil. Logan accompanies this with a full dramatisation of twirling the ends of his imaginary moustache. LOGAN: Hm. Where to start? Oh yes, who the hell is Curly Moran? And how do you know he knows my dad and what conspiracy theory have you pulled out of your ass this time? Again he illustrates his last point with his hand. VERONICA: The fact, evidenced by the poster in your house, is that Curly Moran was the stunt-coordinator on "The Long Haul," starring Aaron Echolls, circa 1982. Logan nods. VERONICA: Now, September twenty-fourth? LOGAN: Like I have any idea w-- A thought strikes him and he reaches into his backpack. LOGAN: I think I do remember that night. That was the night of my Life Short party. Mm. He pulls out from his page a crumpled piece of salmon-coloured paper, stretching it out to show her. On it is written: LIFE'S SHORT _k it away like there's no tomorrow. Come - Rock out - Black out @ Logan's 880 Muir St. Sept. 20m, 9pm. Kegger. (Um, guys, the date - either a cock-up or Logan's making a mistake, deliberate or otherwise.) VERONICA: Of course, a group of lower-middle class Neptune High students plummet to their death and the 09ers throw a party. LOGAN: Hence the Life Short part. It was in their honor and in the end, it wasn't just your social betters. In fact, your pal, Weevil, and his biker boys crashed it. He moves past her, then pauses and laughs. LOGAN: Oh, and, ah... He turns back to her. LOGAN: Lamb and a half dozen deputies came by to break it up, or at least collect the kegs. VERONICA: There are five numbers registered to your house. This call came from a number I don't recognize. LOGAN: Well, gee willikers, Veronica, it sounds like you're on to something. Maybe the pool boy did it. Logan makes a big show of looking at a watch he doesn't have. LOGAN: Um. He shows Veronica his wrist and walks off. She stares after him, then turns away. INT - MI - DAY. Keith is in his office, on the telephone. In front of him are spread out various papers. The first is a Certificate of Live Birth. It shows that Cherie Parker Saunders was born on March 9th, 1968 at the Chicago Memorial Hospital in Cook County. Her mother was Chelsea Gay Saunders, aged 21, who was born in Iowa and her husband, middle name Allan, aged 26, who was born in Illinois. They lived at 3369 South Halsted, Cook County. KEITH: You don't have anything? He lifts it to reveal another document. This is a rental application for 8708 Dallas St, Chicago, Ill. 60191 for the period of May 1985 to May 1986. The rent is $1600 a month and that is due, together with a security deposit of the same amount and a credit check fee of $25.00 have to be paid up front. The application is in the name of Cherie Woods, home number 555-0193, work number 555-0105, SSN 563-13-2924, driver's license number/state A3278904, vehicle - an '83 silver Honda Civic, license plate number/state 3PRY956, CH. A previous address of 6073 Horton Drive, since June 15th 1982 is shown, vacating for school and another earlier address. KEITH: Not under "Woods" either? By 1987, she was going by Alicia Fennel. He pauses at the person at the other end of the phone talks. KEITH: Yeah, she does. What? Are you sure? Keith is very upset by what he is hearing. EXT - FENNEL RESIDENCE - DAY. Wallace, abs showing nicely, is working on his car's engine. NATHAN: [offscreen] Wallace. Wallace looks around, then stands, closing the bonnet as he does. Carl Mogan/Nathan Woods is standing by his car. WALLACE: Yeah. Who are you? Woods pulls a photograph of himself and Alicia out of his pocket. He holds it out. NATHAN: Take a look. Wallace shrugs. WALLACE: Am I supposed to know you? NATHAN: You sure are, Wallace. I'm your father. Wallace isn't sure how to react. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x04 - Green-Eyed Monster"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars… Veronica runs towards the site where the bus drove off the cliff in 201 Normal Is the Watchword. GIA: It just went straight off the cliff. They're all d*ad. Duncan holds Veronica as she looks down at the wreckage. Cut to the Presidential Suite at the Neptune Grand Hotel from 203 Cheatty Cheatty Bang Bang. VERONICA: The bus crash. It was meant for me. Cut to Alicia, waving off Wallace in 204 Green-Eyed Monster. She sees Nathan Woods drive by. ALICIA: [offscreen] He caught me completely off guard. Cut to Alicia in Keith's office. ALICIA: We dated almost twenty years ago and he was crazy. Cut to Wallace taking a phone call. WALLACE: Veronica, are you in immediate life-thr*at danger? VERONICA: At this precise moment, no. Wallace takes a phone call. WALLACE: If she needs me, I'm gonna come through, just like she would for me. JACKIE: Where I'm from, the girl you make out with is the one you do favours for. Nathan approaches Wallace. WALLACE: Who are you? NATHAN: I'm your father. End previously. INT - FENNEL RESIDENCE - DAY. Wallace enters the house and sees Alicia taking some food out of the kitchen. He sits down on a chair in the dining area, his face thoughtful. Alicia sees him and calls out from the kitchen. ALICIA: I was just gonna come outside to grab you. She grabs a dish and brings it into the dining area. ALICIA: Food is ready. WALLACE: I'm not hungry, mama. Alicia looks over at him. WALLACE: I just met somebody out in the driveway. ALICIA: Wallace, what's wrong? WALLACE: A guy from Chicago. He said he knew you. Name Nathan Woods ring a bell? ALICIA: Oh Wallace. WALLACE: Is it true? Wallace stands. Alicia approaches him ALICIA: Baby... WALLACE: No, just tell me if it's true! ALICIA: You were never supposed to see that man. Is he still here? Alicia goes to look outside but pauses when she reaches Wallace. WALLACE: That man? You gotta be kidding. Why don't you just call him what he really is? So, who we put in the ground back in Cleveland? Who-who was it I cried for all those months? ALICIA: That was your father. WALLACE: Oh yeah? 'Cos I don't see how that works, having two fathers! Wallace, angry, moves away and into the living room, sitting on the couch. Alicia follows him and sits on the coffee table in front of him. She takes a deep breath. ALICIA: Nathan Woods and I got married when I was twenty-one years old. He was-- WALLACE: A narcotics detective, yeah, he told me all that stuff already. ALICIA: No, Wallace, that's how he started out but then he went undercover on some case that he said would make his career and soon he got so deep into it, he had me fooled, unless coming home high was part of the job, unless stashing heroin and g*n under my bed was all in the line of duty? She moves around to sit next to him on the couch, putting her arm around him. ALICIA: I hate that you had to find out like this. But if you are asking me who is your real father, that's Hank Fennel. Alicia gets up and goes to a desk in the room, bending down to search through a filing drawer. Wallace stands to see what she is doing. WALLACE: What are you doing? ALICIA: I wanted to show you your birth certificate that... She can't find it and she realises that Keith took it. ALICIA: I know where it went. She slams the drawer shut, angry. She returns to stand in front of her son. ALICIA: You know that the day Hank Fennel asked me to marry him was the day that he signed his name on that piece of paper calling you his son and that is who your father was. And that's who he still is. Wallace nods and Alicia pulls him into a hug. Wallace still looks perturbed. INT - NEPTUNE HIGH SCHOOL (NHS), CLASSROOM - DAY. Mr Wu erases the words "Homecoming Dance" from the board. "Friday night. Be there" can still be seen. There is chatter behind him and a student sh**t some rubbish into a bin, basketball style, high-fiving another on his success on his way back to his seat. Wallace is sitting at his desk, in deep thought. Veronica, chirpy, enters the room and slides into the desk next to him. She looks at his apparent depression quizzically VERONICA: Can I guess? You got a sweet love hangover and you don't need no cure? Veronica is pleased with herself and grins. Wallace just looks at her, then shakes his head, not in the moment. MR WU: Can I have your attention, please? Mr Wu faces the class, leaning back against his desk.. MR WU: As you know, Homecoming season is upon us. VERONICA: [quietly] Much like the plague. MR WU: Each homeroom will nominate one boy and one girl. The top five vote-getters from each class will comprise the royalty court. Homecoming king and queen will be announced at this Friday's dance. The floor is open for nominations. Anyone? Throughout Mr Wu's announcement, Veronica glances at Wallace and sees his mood. Wallace sinks down in his seat. MR WU: Anyone? Veronica leans over to whisper at Wallace. VERONICA: You know, sometimes when I'm feeling... MR WU: Anyone? VERONICA: ...I don't know, glum? I like to get a little Pirate love. She stretches up her hand. MR WU: Veronica. VERONICA: [brightly] I'd like to nominate Wallace Fennel. There's a whoo-hoo in the class as Wallace looks at Veronica in disbelief. She is grinning ear to ear. Some of the other students shout words of support. Wallace is not happy. INT - NHS, CLASSROOM - DAY. In Mrs Murphy's room, the same process is taking place. Corny, sitting behind Logan who in turn is sitting behind Jackie, is holding up his hand. MRS MURPHY: Yes, Douglas? CORNY: I'd like to nominate Veronica Mars. In the next row are Ashley Banks, with Mandy in front of her. Their reactions to the nomination are very different. ASHLEY: [snidely] Like, ironically? CORNY: Yeah! She's bad-ass, smoking hot and overall nice to come home to. LOGAN: Hmm. Zippy the Pinhead with a smashing idea. Corny glares at Logan but some in the class giggle. ASHLEY: My ass would make a better Homecoming queen. Jackie is particularly amused by that. MANDY: We should nominate Veronica. She deserves it. Remember when she helped me find my dog? Jackie rolls her eyes. MANDY: She was totally nice to me even though we barely knew each other. Logan is becoming increasingly entertained by Mandy's sappiness. MANDY: Plus she found Polly the parrot last year. LOGAN: [in breathless imitation] Veronica Mars! Saving the world one pointless act at a time. MANDY: [to Jackie] Veronica's so good at helping people. If you ever need any help, you should ask her. Jackie snorts and laughs, unable to believe Mandy's hero-worship. She looks back at Logan and they share a smile. EXT - NHS, LUNCH AREA - DAY. Wallace is sitting at a table by himself, looking down, deep in his own thoughts. Jackie and another girl are approaching the table, talking as they walk towards him. JACKIE: Ah, wa-wa-wait. Let me get this straight. No alcohol, no dimly lit corners, and I'm not allowed to freak, grind and/or mosh. Ah-ah. What's the allure of Homecoming again? Besides the chance to wear pink taffeta and cheek shimmer. CORA: It's really all about the after party. The dance itself is more like a means to an end. JACKIE: Cora, I'm kidding, I want it all - the corsage, the photos under the balloon arch, the clandestine love-in with my age appropriate date... She finally notices that Wallace's mind is elsewhere. JACKIE: ...with the focusing problem. Hey! She snaps her fingers in his face. JACKIE: Dream Weaver! She gives a little wave. Wallace looks up at her and beyond her sees Veronica sit down at another table. WALLACE: Yeah, I'll be right back. Gotta go talk to Veronica for a minute. Wallace gets up with his lunch bag and heads over to Veronica. Jackie, mouth open, can't believe it. CORA: I saw the most fantastic dress at Miu-Miu last weekend. It was like made for you. So perfect. Jackie ignores Cora as she glares at Wallace and Veronica. VERONICA: So your biological dad is like some sort of Donnie Brasco renegade cop? So, what's your bio dad like? Wallace shushes her and looks around furtively. WALLACE: I don't know. He seems... [searching for words and failing] ...whatever. Could you just keep this to yourself? I just need to figure things out before-- They both look up as Jackie approaches the table, glaring at Wallace. JACKIE: [false jollity] What? Are you guys still planning my surprise party? VERONICA: Hi, Jackie. JACKIE: Bye, Veronica. Jackie gives Wallace a dirty look and storms off. Veronica is appalled, but recognises the jealously. Wallace gazes after her. WALLACE: I better go take care of that. Veronica gives him a sympathetic look as he goes. INT - MARS INVESTIGATIONS (MI) - DAY. Veronica enters the office to the sight of Keith's election material spread all over. VERONICA: You are aware that blanketing the electorate is like a figure of speech. Keith is in his office. He looks up and smiles at Veronica, leaning against the doorway to his office. Veronica's nose wrinkles. VERONICA: What's that smell? Keith collects some files from his desk and heads into the main office. KEITH: A buddy of mine in Sanitation called. One of his crews found those in a dumpster downtown. VERONICA: At least Lamb has the sense not to use the dumpster behind the sheriff's department. Veronica starts to flick through some of the files stacked on her desk as Keith sinks down into her chair. KEITH: Aaahhh. Look, Veronica. Keith leans back happily, putting his feet up on the desk. KEITH: Your father's campaign is riding on a gravy train with biscuit wheels. Woody's numbers guys just called to say I've got a twelve point lead. I don't need to roll around in the mud with Lamb. VERONICA: In that case it sounds like you don't need a photographer from the Neptune Navigator who knows how to sh**t your good side. Veronica frames him with her hands. KEITH: Got nothin' but good sides, baby. Veronica smiles at him, indulgently. INT - MADAME SOPHIE'S - DAY. Through a reflection, it can be seen that Jackie is having a reading by a woman holding her palms above Jackie's. MADAME SOPHIE: Your grandma wants me to remind you that you're a risk taker, with an if-it-feels-good-do-it approach to love. You're super-charged, you're wired, you're ready for action. JACKIE: That lady ought to know. She was married four times. Cut to a little later as Madame Sophie is processing payment. On the counter is a board advertising "Answers from Angels with Madame Sophie," shown on Neptune local access television, channel 11. On the wall are the paraphernalia of a psychic - a large hand, posters and cards, shelves of oils, beeswax and the like. There is a ping on the cash till. Madame Sophie walks back to Jackie waiting at the front of the counter. MADAME SOPHIE: I'm sorry, child, this card's been declined. She hands it back to Jackie who adopts a thoughtful smile. INT - NHS, GIRLS' BATHROOM - DAY. Veronica reaches into her bag for lip balm and starts to apply it. Jackie enters from behind her. She stops and Veronica sees her in the mirror. After a brief pause, Veronica holds out her lip balm to the mirror. VERONICA: Lip balm? It's a surge of lip-quenching fruit flavour. JACKIE: Wallace said I would find you here. I need to ask you something. She pauses as two girls leave the bathroom. JACKIE: I'm in some trouble. I didn't know who else to go to. Wallace said that you might help me. Veronica can hardly believe what she is hearing and turns to face Jackie, slightly raising an eyebrow. Opening credits. INT - NHS, GIRLS' BATHROOM - CONTINUING. JACKIE: Someone stole my credit card and maxed it out. VERONICA: So call the credit card company. They'll erase the charges. JACKIE: I've done that. It's not the bill I'm worried about. VERONICA: What are you worried about? JACKIE: My friend, Cora, borrows my stuff all the time. It's like she doesn't have clothes of her own and...well, I noticed my card was missing after I went shopping with her, then I found it in my car like someone had deliberately put it back. I don't want to just accuse her. VERONICA: So you want me to prove she did it? JACKIE: No, I want you to prove that she didn't. She's the only friend that I have here. I printed a list of the charges. Jackie pulls a list from her bag and passes it to her, going to stand next to her as she reads it. VERONICA: A hundred dollars for lip enhancer at Estee Lauder, twelve hundred dollars for a leather jacket at Nordstrom, five hundred dollars on vanilla scented candles at Tricky Wicks? JACKIE: Yeah, she's a full time resident at the Galleria. I think she h*t every store in the mall. VERONICA: Except for Unicornucopia. Hmm. On the list, there are dates, shop names and reference numbers (not replicated here) and purchase details: 10/14/2005 Sacks Dept: 3423 $299.36 Clothing. 10/13/2005 Conoshow Stor: 3423 $55.32 Gasoline. 10/10/2005 Consolidated Elemental Industries $93.15 10/05/2005 Sacks Dept: 3423 $259.63 Clothing 11/01/2005 iTunes Music Store - Online $26.98 Black Eyed Peas - Elephunk. She points to the entry from Consolidated Elemental Industries VERONICA: Any idea what this is? JACKIE: No. So if you were going to help me, where would you start? VERONICA: With the obvious. I'd figure out if Cora had any of the things on the list. Veronica grabs her bag and exits. INT - MI - DAY. Alicia enters, dressed in a suit. Keith smiles and walks forward to meet her. ALICIA: I'm here to pick up my papers. I'm talking about the personal documents that you stole from my house. KEITH: I didn't steal, Alicia. ALICIA: Borrowed without my knowledge, accidentally dropped into your briefcase, I don't care what you're calling it. I just want them back. Keith moves into his office and Alicia follows him. He hands her the file he took from the Fennel house in 204 Green-Eyed Monster. KEITH: Why didn't you just tell me your ex-husband was a cop? ALICIA: I was trying to protect my son. I was young and scared, and Nathan Woods was scary, violent and high. KEITH: I don't doubt that what you did was for the best. I'm just suggesting it might have been wise to let Wallace know. ALICIA: YOU are giving me parenting advice? Keith bristles. KEITH: What is that supposed to mean? ALICIA: That means that I protected Wallace's childhood, I didn't sell it out. I will not invite chaos into my house. ALICIA: Oh, come on Alicia, you invited chaos. All you did was postpone it. Alicia turns and storms out. INT - SAC-N-PAC - NIGHT. Nathan Woods enters the store, past various prices announcements: bags of savoury snacks "Priced 2 Go 99¢", cards for $2.99, "Bagels 2 dozen $5.10," "Paper products - scented bathroom tissues 12-Packs $2.54, triple-ply facial tissues - three for $1.30," "Lotto tickets." The Sac-N-Pac weekly specials include assorted MicroBrews ("Buy 6 Get 1 Free"), dog food and ice cream. He looks around. Wallace is in the store, stacking shelves. He sees Nathan. He stares at him across the store for a moment, but then ignores him and carries on working. As he stacks a shelf, Wallace starts to sing. WALLACE: [singing] Folks say Papa was never much on thinking. Spent most of his time chasing women and drinking. Mama, I'm depending on you to tell me the truth. Mama looked up with a tear in her eye and said, son Papa was a rolling stone. Wherever he laid his hat was his home And when he died, all he left us was alone. As he sings, Wallace looks at Nathan, accusing. Nathan slowly moves closer to him, a stack of letters in his hands, held together by a rubber band. NATHAN: You talked with your moms about me, huh? Wallace gives him a doleful look. NATHAN: Don't worry, I'm not here to defend myself. Wallace stops work and faces him. NATHAN: Truth is, I-I barely remember those days. So how can I blame her for running out on me. WALLACE: So why are you here? What brought you to Neptune? You've had almost eighteen years to track me down. NATHAN: You mean, she never told you then? WALLACE: Never told me what? NATHAN: I did try. For years, Wallace. It drove me crazy to think my son would grow up a stranger. Alicia's mom wouldn't tell me where she'd gone. She did promise to pass along these. He hands Wallace the stack of letters. The top one is addressed to Wallace Woods, 24x3 Pinetop Lane, Chicago, Il 60613. The return address is N Woods, 15 Tanglewood, Chicago, Il 60613. The letter is postmarked Chicago, May 1st, 2000. On the letter, and on another that can be seen in a longer envelope, are written the words "return to sender." NATHAN: Your grandma always liked me, I guess. If it weren't for her, I never would have known Alicia was pregnant. Wallace removes the rubber band and starts to shuffle through the letters. They are all similarly addressed and marked. WALLACE: Mom says she gave you a choice. She said your job or being a father. NATHAN: If she would have given me that choice, I would have chose you. INT - NHS, CLASSROOM - DAY. A circular loudspeaker sits high on the wall of the classroom. On one side of it right edge of the Flanders Fields Panoramic Poster Mural with few words of John McCrae's "In Flanders Fields" visible - "ago," "glow," "we lie." (We are the d*ad. Short days ago We lived, felt dawn, saw sunset glow, Loved and were loved, and now we lie In Flanders fields.) On the other side is part of a picture of the statue of Lincoln at Lincoln's Memorial. Under that is a small "We'll never forget" bus sticker. From the intercom loudspeaker, the camera pans down past a pair of pictures, each containing cigarette card-sized portraits of four presidents, a poster saying "Learn how laws are created," another saying "Learn how our government really works". Under the presidents is a poster about a tennis doubles tournament and on the board on the left of it is a world map. Mr Wu is busy writing at his desk, the contents of which include a small bust of Lincoln. An announcement is being made over the intercom as the students chatter. INTERCOM: The votes have been tallied and the nominees for king are: Duncan Kane, Mark Fraser, Steve Vargo, Hank Diddon and... Veronica whispers along with the announcer. INTERCOM/VERONICA: Wallace Fennel. Wallace throws up his pen amidst various shouts of encouragement. He looks over at Veronica who exaggerates a gasp. He leans over towards her. WALLACE: How many kneecaps did you break to make that happen? VERONICA: Only, like, four. The people have spoken, my friend. She punches him in the chest and he grins as he turns back into his seat. INT - NHS, CLASSROOM - CONTINUING. The announcement continues in Mrs Murphy's class. On the wall is a poster for Kafka's "The Castle," with a line from the book - "It was late in the evening when K arrived. The village was deep in snow. The castle hill was hidden, veiled in mist and darkness." On the top of a large cupboard, smaller pictures are leaned against the wall. Mrs Murphy is standing at the front of the class, listening to the announcement. INTERCOM: Lucy Franks, Josie Shelman, Emma Harris... EMMA: [offscreen, squealing] I don't believe it! Jackie is bored but Mandy is waiting is listening in nervous anticipation. INTERCOM: Liz Levine, Kate Rakes. Mandy's disappointed. Jackie smirks at her. Logan looks over in faux-sympathy. LOGAN: Mmm. Well, there's always winter carnival. He gasps. LOGAN: Veronica can be a ice princess! Jackie gasps too, leaning back to look at Logan. JACKIE: Can we skate on her? Logan smirks and is smarmy. LOGAN: I didn't hear your name called. Seems like a bit of an oversight. Jackie giggles. INT - NHS, HALLWAY - DAY. Veronica walks slowly down the hall, reading Cora Briggs's class schedule as she goes. She has K Rogers, Huffman, N. Kusak, A Zinn, I Price, J More, B Mokky and I Roger for English, Theatre Arts, World Lit, Advisory, Calculus, Civics, Science and Computer Technology respectively. She looks out over the hallway and into the journalism classroom as she passes the open door. VERONICA VOICEOVER: Talk about fashion police. I'm on a stake-out for a pair of enhanced lips, a fifty dollar push-up bra, a vintage purse and... She looks up as Cora approaches the journalism classroom. She's wearing a leather jacket. VERONICA VOICEOVER: Blingo. Why buy the cow when you can score a twelve hundred dollar calfskin jacket on your friend's credit card? Veronica deliberately walks into Cora. VERONICA: Oops, ah, I'm so sorry. Veronica makes a great show of being impressed by Cora's jacket. VERONICA: Oh my god. I love this. You have amazing taste, Cora. CORA: [surprised] You-you know who I am? VERONICA: Eighth grade badminton partner? You never forget someone you've been in the foxhole with. Cora gives a bemused grin. CORA: I guess not. Anyway, thanks. I'm just a savvy shopper. VERONICA: Where'd you get this? CORA: It's a secret. Okay, outlet mall, outside of Chatsworth. I'm going later to get my Homecoming dress. VERONICA: Can I come? Cora is taken aback, but not unpleasantly so. VERONICA: We can car pool, save a little money on gas. CORA: That's cool. VERONICA: I'll call you. They smile and nod and Cora heads into journalism class. Veronica goes to another classroom. VERONICA VOICEOVER: Though I haven't really been asked to Homecoming yet, have I? She shuts the door with an amused frown. EXT - NHS, CAR PARK - DAY. Duncan paces beside a car, working up his courage and his patter. He steels himself with a determined nod and races out from the side of the car, to catch Logan. DUNCAN: [faux-casual] So I was thinking. You're an emancipated minor, I'm an emancipated minor. Maybe we should get together Thursday night. Chug cough syrup, mug some old ladies... LOGAN: Oh, golly, I don't know. I was thinking about staying home, making a hope quilt for the lonely. DUNCAN: A little "Hot sh*ts"? Golf tourney? A little room service? Logan lets himself be persuaded. LOGAN: Ah, you're on. Duncan does a mixed chuckle/sigh of relief as Logan forms the sort of fist that guys do when they tap them in camaraderie. They move apart, but Logan looks back at Duncan, grateful they they've moved forward. Behind him, Veronica and Jackie walk past the school bus. JACKIE: So she's gotta be the thief, right? VERONICA: Well, let me just double-check before you accuse her of anything but she'd have to be pretty thick to wear stolen merchandise to school. JACKIE: Well the girl's sweet but she's not the brightest bulb on the bush. They reach Jackie's car and she puts her books in the back. VERONICA: Well, I should have a definitive answer for you by tomorrow. Jackie nods. INT - TOWN HALL - DAY. The Neptune League of Women Voters, incorporated in 1935, are hosting a debate between Lamb and Keith. A female moderator, albeit her name will prove to be Adam Levine (which is a shout-out to one of the MI.netters), and the reporter from 202 Driver Ed, stands between the two men. All three stand behind small podiums. Lamb is in full flow. LAMB: You know what else bugs me? g*ng v*olence bugs me. Illegal immigration bugs me. Drug tr*ffick bugs me. Street racing bugs me. But come election day, I am confident that the voters of Balboa County will do what is best and put "The Exterminator" back in office. There is a smattering of polite applause. Veronica is at the back of the room, setting her camera. LEVINE: Next question to you, Mr Mars. Uh, we're all familiar with your role in the Lilly Kane m*rder case. Does the nature of that crime or the conditions of your recall, colour your feelings for Neptune? KEITH: I love Neptune. I wouldn't be running if I didn't but...what does, to borrow a slogan, bug me are the subtle changes in Neptune over the last few months. LAMB: [interjecting] You mean violent crime dropping eleven percent? KEITH: I'm talking about the growing sense of resentment, of-of friction, of polarisation within our community. The sentiment is shared and there is spontaneous applause. Veronica smirks and brings the camera up to her eye. LEVINE: Well, nothing has been more divisive than the bus crash and many feel that you were quick in attributing the accident to driver error, Sheriff. LAMB: On the subject of the bus crash, it's just come to light that back in '89 then Deputy Mars pulled Ed Doyle over for driving him under the influence. He had simply decided to follow him home rather than follow procedure. Had a DUI appeared on his record, he would have never been hired by the school district. This has the desired affect as the audience reacts in shock, as does Keith. LEVINE: Mr Mars. Your response? KEITH: I'm sorry, I'm not-I'm not familiar with... LAMB: Well, it's okay, I have a copy of your patrol log if you need to jog your memory. Keith is silenced. Veronica glares at Lamb in high dudgeon. INT - BRIGGS RESIDENCE - DAY. Veronica follows Cora down a hallway, holding out her shirt which is coffee stained. VERONICA: I have the only car left in America without a cup holder so now I end up with a caramel latté Rorschach test all over my blouse. Thanks for letting me borrow something of yours. They go into Cora's room, stopping in front of her closet. CORA: No problem. Here you go. Veronica slides open the door and starts examining the clothes. VERONICA VOICEOVER: Must find stolen goods. CORA: You know the mall's in Chatsworth. No one worth knowing's gonna see you. Veronica spots a zipped up clothes cover and heads for it. CORA: Oh, no, not that one. There's nothing that you'd wanna see in there. It's just-- VERONICA: I love looking through your clothes. It's like the fashion equivalent of a skin mag. Veronica quickly unzips it. CORA: Oh, no, seriously, I don't-- Inside is a garish chicken costume. Veronica reaches in and pulls out the head. Cora is horribly embarrassed. CORA: Oh, yeah. I so did not want you to see that. VERONICA: Isn't this-- CORA: The Oh Boyo Pollo Chicken. Yep. You know, if anyone finds out about this, I'm afraid I'll have to k*ll you. VERONICA: If I tell anyone, I won't blame you. Veronica hands Cora the head and turns back to glance at the clothes again. She finds and pulls out a shirt. VERONICA: Oh. She shows it to Cora, indicating that it will do. EXT - BRIGGS RESIDENCE - DAY. The LeBaron pulls outside the house. There's a "Mars for Sheriff" sticker in the bottom nearside of the windscreen. Veronica applies the parking brake. CORA: Your dress is perfect, Duncan's gonna love it. Cora laughs and gets out of the car. VERONICA: Thanks. Outlet therapy is considerably better than retail therapy. Cora shuts the passenger door and gathers her things from the back seat. CORA: Thanks for driving. VERONICA: Bye. Cora heads for her modest, non-09er house. Veronica watches her and then turns off the engine. She pulls out her Sidekick and punches in a number. VERONICA: Oh Boyo Pollo? May I speak with the manager please? Hi, this is Mae Hadwell, I'm the Vocational Ed Co-ordinator at Neptune High. I need to verify some work hours for Cora Briggs. She pauses as she listens to the answer. She nods into the phone. VERONICA: She worked Sunday as well? [pause] Until what time? She frowns on hearing the response. VERONICA: I see. Thank you. With a puzzled look and a sigh, she punches in another number. VERONICA: Jackie, it's Veronica. There's no way Cora could have stolen your card. We're back to square one. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - NIGHT. The covers are lifted from two plates of hamburgers, onion rings, pickles and salad. Veronica and Duncan are on the couch, Veronica lying down into one corner and Duncan sitting up in anticipation. Duncan rubs his hands together. DUNCAN: Thanks, Carl CARL: Mmm hmm. Carl, the room service waiter puts the lids on his trolley and leaves. Veronica sits up to join Duncan. VERONICA: It's weird that you live here. I don't want you going all Howard Hughes-y on me. Veronica puts her arm around Duncan's neck and kisses his cheek. DUNCAN: I am not a shut-in. He holds up his right hand, in which her hand is entwined. He wiggles his fingers. DUNCAN: These nails? Neatly trimmed. Though, now that you mention it, I have started bottling my own urine. VERONICA: Ew. They both laugh as Veronica falls back onto the couch, her arm still around Duncan, bringing him down on top of her. He nuzzles her neck as she wraps her other arm around him. DUNCAN: Hey, what do you say we invite some people over here for an after party? He kisses her neck and rests his hand on her ribcage just below her unusually ample bosom. VERONICA: After party? After what? He lifts his head and looks down on her, confused. DUNCAN: The Homecoming dance? The thing after the big game? VERONICA: Oh. She kisses him. VERONICA: Tell me more of this thing you call "Homecoming." Duncan finally gets it and rests his forehead on her cheek. DUNCAN: I haven't asked you yet. VERONICA: Mmm-mmm. DUNCAN: I'm such a dope. He returns to nuzzling her neck. DUNCAN: Of course I want you to go with me. You're my woman. Veronica claps and jerks up from under him. VERONICA: See? Was that so hard? They sit up, Veronica still with both arms around his neck as she sits in his lap. Duncan rubs her back. VERONICA: Okay, I'll be needing an orchid wristlet, preferably in the fuchsia family, a Rolls Royce limo...and some Kane Software stationery. Duncan frowns and laughs. DUNCAN: Seriously? Stationery? What for? VERONICA: [Sam Spade impression] You're here for your looks. Why don't you leave the heavy thinking to me, sugarpants. She slides her legs off his lap and punches him in the stomach before leaning forward to the food. VERONICA: Now go make yourself pretty. They laugh. INT - MARS RESIDENCE - DAY. Veronica is reading the Neptune Register, dated Monday, October 24th. The headline is "Sheriff's Race Heats Up." There's a picture of Keith, Lamb and the moderator on stage, under which part of the caption can be read "...and Sheriff Lamb square off at a town hall debate." The photographers name can't be made out but it is not Veronica. There are also a couple of thumbnail pictures of Keith and Lamb. The report reads: Mars drops early lead against Sheriff Don Lamb as election nears. By Rachel Wall-Polin (another MI.netter shout-out). Associated Press. After surrendering an early lead, former Sheriff Keith Mars is now in a statistical d*ad heat with the incumbent, Sheriff Don Lamb. Following an embarrassing revelation at a scheduled debate hosted by the Neptune League of Women Voters, Mrs. Mars is in no position to falter. Touting his past experience as a competent and successful sheriff, Mars had a 17-point lead over his competitor, Sheriff Lamb. The downfall of Mars’ significant lead was the very asset he was relying on, his past. During this debate, moderator Adam Levine posed a question for Sheriff Lamb in regards to the tragic Neptune High school bus crash. Without answering Levine's question, Lamb brought to light ... .of Mars’ failure to issue a DUI to Ed Doyle on a traffic stop. Mr Mars drove the intoxicated suspect home rather than arrest him and file charges for that infraction, a requirement in the Balboa Sheriff’s Department rules of conduct. The poll, conducted after News 5 broadcast of the inflammatory statements by Lamb, was of a 200 person sampling throughout Balboa County. Mr and Mrs Manning pointed guilt towards Keith Mars, suggesting that had he stopped Doyle, their child would not be in a vegetative state. "This proves that Ed Doyle was never fit to transport children, of any age, and furthers my suspicious that he crashed the bus intentionally,” Mrs. Manning quoted from the bedside of her comatose daughter, Meg. "A full and thorough investigation must be pursued by Sheriff Lamb. I only trust that he can bring light to this ugly and dark stain covering Neptune,” Mr Manning said, adding, “If he manages to do so, he’s got my vote.” Mr. Mars refused to comment on the allegation that Sheriff Lamb brought to light during their debate, citing lack of substantial evidence and inability to recall if the encounter ever did occur. The Neptune Register is currently in the process of obtaining records from the Sheriff’s Department but so far have been unable to due to stonewalling. Balboa residents have taken a keen interest in this heated battle, since the race for Neptune Board Supervisor, a long winded label for mayor, is going uncontested, leaving Woody Goodman…. There's a second story by Diane Ruggiero under the headline "Troops target danger region" and the sub-heading "Renewed offensive begins in Iraq." A full report follows in a language other than English. Keith comes out of his bedroom, adjusting his tie. Veronica starts to read out loud. VERONICA: "After surrendering an early lead, former Sheriff Keith Mars is now in a statistical d*ad heat with the incumbent..." What do your number guys have to say about that? Keith, who has come to stand by her shoulder, sighs but does not respond. Instead, spots something in front of her than intrigues him. He reaches forward and picks up a glass or plastic rectangular cube encasing a large beetle. KEITH: Cri-me-ny. What kind of bug is that? Veronica puts down the paper and grabs it from him. VERONICA: You worry about the election, I'll worry about my bio project. She kisses him and turns away. Keith gives her a suspicious look. INT - FENNEL RESIDENCE - DAY. Alicia comes out into the dining area, tying the belt of her robe and yawning. Wallace is in the kitchen. He turns to look at her. He has the stack of letters Nathan in his hands. She stands by the door and stretches up her arms. ALICIA: What are those? WALLACE: Don't you know? It's looks an awful lot like your handwriting. He holds them out, staring at them. WALLACE:"Return to sender." Hmm. Wallace strips off the rubber band. Alicia starts to walk slowly towards him. WALLACE: Maybe we should just see what Dad has to say. It's better late than never, hm? She tries to snatch the letters from him and they tussle for a moment before the letters fall on the floor. ALICIA: Here, Wallace! She cries out as they fall. WALLACE: What were you thinking, Mom? Alicia scrambles down to pick up the letters.. WALLACE: That he was just so strung out that he'd OD and just-just forget about me? Having collected the letters, she rises, angry. ALICIA: I'm still you mother and I told you to stay away from him and I expect you to listen to me. WALLACE: You told me you gave him a choice. You lied. Wallace walks out of the kitchen. Alicia puts the letters on the counter and follows him as far as the door to the dining area, deeply concerned. INT - NHS, HALLWAY - DAY. Veronica is at her locker. Wallace leans against the lockers next to her. WALLACE: She made my dad out to be some kind of a psychopath, just to cover her tracks. If he's so nuts, how did he manage to stick with the Chicago PD all these years? VERONICA: And if he was a cop, then how did it take him all these years just to track you down. Your mom is right, Wallace. He had his chance and he passed it up. Take it from someone who knows. She slams her locker shut. VERONICA: The one who sticks with you is the one who cares. Veronica walks off, leaving Wallace staring after her. INT - SHERIFF'S DEPARTMENT - DAY. The encased beetle is dropped into a hand from its tissue lined small black box. The hand is that of Lamb who gazes at it as he throws the box to the floor. One of his election posters is on the wall behind him, saying "Re-elect Sheriff Lamb. Tough on Crime." He picks up a note, on Kane Software headed paper. (Kane Software appear to have changed their address from 10996 Somewhere to 23 Emperior Court, Neptune CA 90909 PH 555-0123 Fax 555-0124.) Printed on the note in capital letters is "Dear Exterminator, Knock 'em d*ad on election day." Lamb chortles. Sacks enters his office. SACKS: Sorry to interrupt. LAMB: Check this out. Jake Kane sent a vote of support all the way from Aspen. "Dear Exterminator, Knock 'em d*ad on election day." SACKS: Got those guys in interrogation. LAMB: They the two g*ons you picked up in Cliffside? SACKS: Yeah. You're not gonna believe the story they're trying to sell. Sacks exits the office and then turns and waits for Lamb, who is still looking at his bug. He places it on his desk. EXT - JAMES STREET - DAY. The LeBaron drives down a wide street with shops on either side, the ocean behind. Veronica holds a card in her hand, searching the shops and restaurants. She passes Tony's, a restaurant or wine bar judging for the glasses that decorate the sign. VERONICA VOICEOVER: Consolidated Elemental Industries... She passes a record shop called "Cow," the window of which is covered in posters. VERONICA VOICEOVER: ...5003 James. The first place where someone used Jackie's card. She passes 5007 and slows, seeing the neon outlined palm in the window of 5003. Sited next to Georgi's Express Subs, Madame Sophie's name is written in red in the window, under the palm and between two posters for "Answers from Angels." The board over the shop reads "Psychic. Tarot Palm Crystal Readings." Next to the door to the premises is a potted palm. Veronica pulls in to park in front of the store, which is situated opposite somebody's Chicken Kitchen. VERONICA VOICEOVER: Yeah, when I think of Elemental Industries, I think of palm readings. INT - MADAME SOPHIE'S - DAY. Veronica pushes back the hangings that cover the door and enters the shop. Her entrance has activated a bell. MADAME SOPHIE: [offscreen] I'll be out in a minute! Veronica looks around the empty shop. A table of lit large candles attracts her attention. VERONICA VOICEOVER: Vanilla-scented candles. She picks up one of the unlit ones and smells it. VERONICA VOICEOVER: Five hundred dollars' worth, perhaps? Purchased at... She looks on the bottom. VERONICA: Tricky Wicks. She casts a glance towards the back of the shop and then makes to exit. INT - MARS RESIDENCE - DAY. Jackie is sitting on the floor, leaning against Veronica's bed. Backup is lying next to her with his head resting on her leg. She is stroking his neck and he's one contented puppy. Veronica is lying on her bed, above Jackie. VERONICA: It just doesn't make much sense. How would she have gotten your card? Although I guess it's possible that Cora and the psychic were in this together. JACKIE: I know how Madame Sophie got the card. She got it from me. VERONICA: You see a psychic? JACKIE: My grandma died two years ago, and even a person pretending to be Grandma telling me everything's going to be all right gives me comfort. Jackie puts her finger to her lips. JACKIE: Shh. It's my secret shame. I'm sure you've got one. VERONICA: Remember Mamma-Max? Jackie laughs. JACKIE: The stuff from the infomercial, the cream that you rub on your chest? VERONICA: Mm-hm. In my defense, I was a freshman. JACKIE: I've got it. I know how to get even: I'm going on her show. VERONICA: She has a show? INT - COOK RESIDENCE - DAY. A Tivo now playing list is on a screen. There's a green light for "Answers from Angels" on Friday 10/21, "Celebrity Boners and Gaffes" Wed 10/19, and "Sunset and Vaughn" Sunday 10/16. There's a yellow light next to "Oh, Heavenly Barn" Friday 10/14, "Room of Evidence" Friday 10/14, "Cupid" Wednesday 10/12, and "All the Fixin's" Tuesday 10/11. "Answers from Angels" is highlighted. VERONICA: You TiVo a community access show? "Answers from Angels" starts with an audience clapping. JACKIE: Everyone at Neptune High watches it. The set comprises a small raised circular stage on which are set two chairs. Behind the stage, between two palms with eyes in their centre, is an arch through which Madame Sophie appears. Veronica and Jackie watch, curled up in armchairs in front of the television. MADAME SOPHIE: Welcome, everyone. Someone special is trying to reach you. A friend...who passed before her time. A girl, somewhat trepedatiously, joins Madame Sophie on the stage. MADAME SOPHIE: Do you know who that might be? MICHELE: [upset] I think I do. My friend Rhonda. [breaking down] She was on the bus. She cries and Madame Sophie pulls her into a hug. VERONICA: And suddenly, I have a new life's mission: destroy Madame Sophie. MADAME SOPHIE: My dear, sometimes it is... Her voice is drowned out by a firm knock on the door and Terrence Cook enters. JACKIE: Dad, you remember Veronica Mars. VERONICA: We met at Shark Field. TERRENCE: Right. Promised you wouldn't wash that hand. VERONICA: I haven't. People are starting to complain. JACKIE: What did the Sheriff want? TERRENCE: He wanted me to MC the department's charity ball. JACKIE: You're kidding. TERRENCE: Wish I was. It's nice seeing you. Terrence backs out of the room and shuts the door. Veronica and Jackie return to watching the show. VERONICA VOICEOVER: Before I left her place, Jackie and I came up with a plan to get even with Madame Sophie. INT - MARS RESIDENCE. Veronica enters her bedroom. She heads straight for her desk and the laptop. VERONICA VOICEOVER: Since she already knew Jackie, I would go on Madame Sophie's show and expose her as a fraud. Veronica sticks an ear piece in her ear. On the screen, an audio surveillance window is up, with a picture of a large beetle against grass. It is labelled "The Beetle." The detail at the bottom shows "1 item, 61.81 GB available." On the left, the menu this time reads: Network. Perseus, Desktop, veronicamars, Applications, Documents, Movies, Music, Pictures. According to Veronica's computer clock, it's Thursday at 10:58am. On the right side of the screen, her files are Perseus, Cases, something unreadable, Photography, School work and Stuff. VERONICA VOICEOVER: Terrence Cook's mention of his visit with the Sheriff reminded me: maybe it's time to check in on Neptune's finest dirty politician himself. Veronica clicks on the beetle and brings up the bug's screen, with MZ and VU scales, similar to a graphic equaliser. She listens. LAMB: [offscreen] You have to make a report on your own, sweetheart. Mm-hm. Thank you. Veronica fast forwards. FLASHBACK: INT - SHERIFF'S DEPARTMENT - DAY. A cold blue lights Lamb's office as he fast forwards in his office, signing something brought in by a deputy and talking on the phone. Still in speeded up motion, Sacks brings Terrence Cook into his office, then leaves them. END FLASHBACK AND RETURN. Veronica bends her head down, listening with careful interest. She adjusts the levels. LAMB: [offscreen] Mr. Cook. TERRENCE: [offscreen] Good to see you, Sheriff. FLASHBACK: INT - SHERIFF'S DEPARTMENT - DAY. Now at ordinary speed, the men sit down, Lamb with a sigh. Terrence looks uncomfortable. The entire scene is sh*t predominantly at angles and in close-ups. LAMB: I was thinking that you might be interested in buying some tickets to our annual fundraiser. They're ten bucks a pop. TERRENCE: You asked me to come all the way down here just to h*t me up for a donation? LAMB: I like to get to know our more notable residents -- business leaders, Hollywood types, all-star athletes -- personally. TERRENCE: Put me down for two. He rises and holds out his hand to Lamb. TERRENCE: It was real nice to meet you. Lamb doesn't move. The moment becomes awkward. LAMB: Actually, I was thinking you might purchase more like a thousand tickets. END FLASHBACK AND RETURN. Veronica's interest is piqued as she lifts her head and frowns. LAMB: [offscreen] Oh, and if you could M.C. the bachelor auction that would be great. TERRENCE: [offscreen] That's a lot of money, Sheriff. FLASHBACK: INT - SHERIFF'S DEPARTMENT - DAY. Lamb writes something down. LAMB: Yeah, that's ten thousand dollars. If my math's correct. He throws down his pen and stares up at Terrence. LAMB: Hey, it's not three million dollars. Now THAT is real money. I mean, that's the kind of money that certain people take very, very seriously. Terrence swallows hard. LAMB: Gambling debt like that and they might send some guys down to your nice, new Cliffside house to remind you payment's due. TERRENCE: What are you getting at, Sheriff? LAMB: Pretty sure I just got to it, slugger. TERRENCE: [earnestly] I never bet on baseball. Lamb grins evilly. LAMB: I got a guy in a holding cell back there, says you did favours for gentlemen who bet extensively on baseball. Lamb finally stands and looks Terrence in the eye. He puts his hands in his pockets and sighs loudly. LAMB: We both have something in common. We'd both like to see you make it into the Hall of Fame. Lamb grins again. Terrence is shocked and lost for a response. END FLASHBACK AND RETURN. It is Veronica's turn to sigh loudly. VERONICA: Say it ain't so, Terrence. EXT - NHS, LUNCH AREA - DAY. Michele, the girl whose friend was on the bus, is working while she has her lunch of hamburger, chip, crisps and what looks like a drink called "Saucy Jake." She is on her own at one of the tables. Veronica approaches her table. VERONICA: Do you mind if I sit here? Michele is a little taken aback. MICHELE: Mm-mm. VERONICA: Michele, right? MICHELE: Uh huh. VERONICA: I saw you on T.V. Michele laughs softly. VERONICA: "Answers from Angels." That was pretty amazing. MICHELE: Oh, it so was. VERONICA: The reason I wanted to talk...I'm thinking about going on the show. And...what exactly did they have you do, when you got there? Did-did someone from the show ask you who you wanted to communicate with? MICHELE: Oh. No. No, not at all. VERONICA: So nobody there knew about Rhonda. MICHELE: Well, mm, there's this one lady backstage, this other audience member, and we got to talking. VERONICA: What did she look like? MICHELE: Crazy. She chuckles. MICHELE: Big hair, rhinestone glasses. Why? VERONICA: Details, just...flush out a story. MICHELE: Before Madame Sophie contacted Rhonda, and let me know she wasn't angry at me for not picking up, I couldn't eat, I couldn't sleep... VERONICA: Not picking up? MICHELE: Rhonda called me from the bus. I was painting my nails, and I let it go to voicemail. VERONICA: You have a message from when the bus went over? Do you still have it? Michele picks up her phone, lying on her open book. MICHELE: Please, don't tell anyone I have this, Veronica. She punches some buttons. MICHELE: I wouldn't want them to...you know? She finishes and hands the phone to Veronica, who puts it to her ear. AUTOMATED VOICE: You have one saved message. RHONDA: Michele, why aren't you picking up, you big loser? I can't believe you bailed on that field trip without telling me. Hey, about next weekend -- There is a loud noise, like an expl*si*n or a tire burst. People on the bus start to scream. There is a second loud bang. RHONDA: Oh God! There is a final crash sound and then static. AUTOMATED VOICE: To delete message, press seven. To forward message, press eight. For more options -- Veronica, shocked, takes a deep, shakey breath. She drops the hand holding the phone to her lap, hiding it from Michele. She starts punching buttons. MICHELE: Hey. Are you okay? Veronica still looks shaken and swallows, and also finishes punching the phone's buttons, before looking at Michele. VERONICA: Yeah. Veronica hands Michele her phone. INT - GRAND NEPTUNE HOTEL, PRESIDENTIAL SUITE - NIGHT. Logan grabs some food from a small trolley. He sits on the floor, against the couch's matching leather coffee table/pouffe. As he starts to take off his shoes and socks, Duncan appears, sitting on the end of the couch next to him. DUNCAN: Sure you wanna do this? LOGAN: Does a bear wear a funny hat? On the television screen in front of them, the Playstation golf game "Hot sh*ts" is ready to start. DUNCAN: You know, this visit's all about mending fences, building bridges, and I'm afraid that my waxing your ass just isn't gonna help. LOGAN: Woo hoo. You talk it; let's see you walk it. Logan settles back against the pouffe with the controller in his hand and they both thrun their attention to the screen. On screen, the figure takes a swing and hits the ball. GAME: Roger that one! INT - TELEVISION STUDIO - NIGHT. Madame Sophie has a girl on stage with her and is holding her by her upper arms. MADAME SOPHIE: You'll see, honey. She pulls her into a hug. MADAME SOPHIE: You're gonna do just fine at those baton-twirling tryouts. The audience applauds, amongst them, Veronica. VERONICA VOICEOVER: Apparently, the d*ad are looking out for the shallow. I, on the other hand, am here for emotional guidance from d*ad-before-his-time Uncle Roger, who I gushed about ad nauseum to crazy big-haired lady with the rhinestone glasses. Said lady gives Veronica a little wave from her seat. Veronica reciprocates. MADAME SOPHIE: I need someone in the audience to help me do this. An "R." Someone is looking for an "R." Veronica's arm sh**t up. Cut to moments later. Veronica is now on stage. Both she and Madame Sophie are sitting in the chairs. MADAME SOPHIE: He was...special to you. Took you places. Made things for you. VERONICA: That's my Uncle Roger. VERONICA VOICEOVER: That's it, lady. Dig your own grave. Veronica is obviously sceptical and playing a part... MADAME SOPHIE: Wait. I am receiving another voice. A young woman. I see...the letter "L." She is holding out a flower, a...lily. Lilly? ...but not so much now. Veronica stares at the woman. INT - COOK RESIDENCE - CONTINUING. Wallace is watching. Jackie is snuggled up against him. Wallace raises his head with concern. INT - TELEVISION STUDIO - CONTINUING. MADAME SOPHIE: She has a message for you. Veronica is now seriously wigged out. MADAME SOPHIE: She says, you should have stayed away from her boyfriend. Veronica swallows hards. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - CONTINUING. The boys are watching too. Both look dazed. Logan looks over at Duncan, who is staring at the screen. As Logan turns back to watch the TV, Duncan takes a quick sidelong glance at him. On the screen, Veronica looks uncomfortable. INT - TELEVISION STUDIO - CONTINUING. Veronica continues to be shocked. MADAME SOPHIE: Wait...wait...she has something else to tell us. INT - COOK RESIDENCE - CONTINUING. On Jackie's TV, the camera is focused on Veronica. WALLACE: This can't be happening. Jackie glances over at him, her face unreadable. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - CONTINUING. Duncan and Logan are transfixed. MADAME SOPHIE: Something about...infomercials? Logan leans his head forward to concentrate. INT - TELEVISION STUDIO - CONTINUING. Veronica's forehead crinkles. MADAME SOPHIE: She says to be happy with your own body. You...don't need the...Mamma-Max? Veronica. The audience starts laughing. Realisation hits Veronica that she has been had by Jackie. She gives a rueful grin and nods her head. INT - MARS RESIDENCE - NIGHT. The graphic equaliser-like screen of the Beetle is back on Veronica's laptop. Lamb's and Terrence's conversation is replaying. LAMB: [offscreen] I was thinking that you might be interested in buying some tickets to our annual fundraiser. Veronica gets a disc out of one of her desk drawers. LAMB: [offscreen] They're ten bucks a pop. She slips the disc into the laptop. TERRENCE: [offscreen] Put me down for two. It was real nice to meet you. LAMB: [offscreen] Actually, I was thinking you might purchase more like a thousand. Veronica sets about burning an audio file to CD, saving it to Perseus/veronicamars/Cases/Sheriff Lamb/Beetle Audio Bug. Her phone rings. She picks it up. VERONICA: Chesty LaRue. She smiles. VERONICA: Hey, Duncan. I'm fine, I'm slathering up my boobs as we speak. Can I call you back? Okay. Hey -- do you know who's DJing in between sets tomorrow? Corny? Perfect. No, I just have a special request. Okay, bye. She hangs up the phone and retrieves the CD. On it she writes "Homecoming Request." There's a knock at the front door. Cut to a moment later as she opens the door to Wallace. WALLACE: You okay, Veronica? She lets the door swing open as she turns away and marches to the refrigerator. Wallace steps into the apartment behind her. VERONICA: [coldly angry] Compared to how your girlfriend's gonna be feeling, fan-friggin'-tastic. I hope she really got a kick out of tonight's little performance. WALLACE: What are you talking about? She was worried for you. VERONICA: If by "worried," you mean "enjoying the fruits of her evil labour," yeah. WALLACE: What? What makes you think sh-- VERONICA: The boob cream thing! She used to be the only person alive who knew about that! It's time to pick a side, Wallace. WALLACE: No, Veronica! How about you doin' me a favour for once? Wallace sighs heavily. WALLACE: I'm sure she didn't do it. Veronica's mouth falls open in disbelief at his naivety. WALLACE: But, if she did, I'm askin' you to let it go. VERONICA: You know I can't do that. WALLACE: [hotly angry] Well why does it have to be about you all the time? Look, Jackie's right about one thing... He laughs bitterly. WALLACE: ...it's your world, I just live in it. Veronica's face shows her reacting to the fact Jackie said it, rather than to what Wallace is actually saying. WALLACE: I'm askin' you for a favour, Veronica. Let it go. Don't do whatever it is you're gonna do. Have you been payin' any attention lately? I just learned my whole life is a lie. My dad isn't my dad. I've always been a shoulder you could lean on. You givin' me no time, no sympathy. Nothin'. Veronica is at an unusual loss for words. Wallace storms out, slamming the door behind him. INT - COOK RESIDENCE - DAY. Jackie is sitting in the middle of her bed, looking worried. Her cell rings. She leans over and grabs it off one of the bedside tables. She looks at the caller ID and gasps, happy and relieved. JACKIE: Wallace. INT - FENNEL RESIDENCE - CONTINUING. Wallace is at home. He leans against a door jamb. He's not happy. WALLACE: I just wanna clarify somethin'. Did you set up Veronica? INT - COOK RESIDENCE - CONTINUING. The camera continues to alternate between the two of them. JACKIE: It was supposed to be funny, a punking, that's all. WALLACE: You humiliated my best friend on TV JACKIE: Wallace...look, I feel terrible. Wallace listens, unconvinced. JACKIE: I just wanted to take her down a peg. For tattling on me for having coffee with Dave. For being the person that my boyfriend confides in, for supposably being this legendary badass. WALLACE: You have no idea what she's been through. JACKIE: I swear, Wallace, that psychic came up with the Lilly stuff on her own, I only told her about the Mamma-Max. I screwed up, okay, royally. Just let me make it up to you at the dance. WALLACE: I'm only goin' to the Homecoming dance because of that stupid election. I'm not goin' with you. The phone call is over. Jackie reaches into the drawer of the other bedside table and pull out a bottle of pills. She stares at the label. INT - MARS RESIDENCE - NIGHT. Veronica comes out of her bedroom dressed for the dance. She is wearing a deep blue velvety spaghetti strap dress with a matching cropped short sleeved jacket. Keith, sitting up at the kitchen counter slaps his head at the sight. KEITH: [emotionally] You look beautiful. VERONICA: There's something I need you to hear. Veronica turns to their phone and punches in some numbers. KEITH: If it's "Live at Budokan," I already discovered it. The code Veronica is dialling shows on the phone's display - 5550186. VERONICA: It's a voicemail from one of the students who died in the crash. She called just as the bus went over. AUTOMATED VOICE: You have one saved message. RHONDA: Michele, why aren't you picking up, you big loser? I can't believe you bailed on that field trip without telling me. Hey, about next weekend -- The recording of the loud noises and screams repeats. Keith is deeply shocked. RHONDA: Oh god! Keith actually looks close to being physically sick. AUTOMATED VOICE: To delete message, press seven. To forward mess-- VERONICA: Did you hear it? KEITH: An expl*si*n. VERONICA: Before the bus h*t the railing. The bus was sabotaged. That means Ed Doyle had nothing to do with the crash and there's still time before the election to -- KEITH: [horrified] No. Veronica stares at him, not understanding. KEITH: I'm not gonna leverage the deaths of seven people just to win an election. VERONICA: There are people out there who think this crash is your fault. KEITH: Let them think that. At least for now, Veronica. If that sound is an expl*si*n, not only were those kids m*rder, but the guilty party is still at large. That evidence can't go public if we want this investigation to stay ahead of the -- VERONICA: What investigation? You think Lamb is gonna solve this? The only way the k*ller gets put away is if you win the election. Keith understands her point but before he can respond, there is a knock at the door. Keith gets up heavily and opens the door. It's Duncan looking smooth and handsome in a suit. KEITH: Honey, you have a gentleman caller. You got the emphasis on the gentleman part, right? DUNCAN: I did. Veronica walks out onto the porch to join Duncan. She turns back to her father. VERONICA: Don't wait up. KEITH: Tell Wallace I'm pullin' for him. DUNCAN: Hm. Not feeling the Mars family love. Tough crowd. VERONICA: Oh, come on. It's like rootin' for the Yankees. Veronica turns to go, pulling Duncan with her. Keith, already heading back in, spots something on the counter. KEITH: Hey! Do you want this, Veronica? Veronica reappears at the door. He holds out the CD entitled "Homecoming Request." KEITH: Your CD? VERONICA: Um... She ponders for a moment. FADERS: [offscreen] Are you coming with me? VERONICA: ...no. INT - NHS -NIGHT. The Faders are playing live and are in the middle of "No Sleep Tonight." FADERS: You can't stop this, feeling! You can't run away! Baby I'm what's on your mind! You can't stop this, feeling! The place is rocking. Jackie is wandering about, alone and dazed. FADERS: There's no escape, No sleep tonight, you won't get no sleep tonight No sleep tonight, No sleep tonight A man comes up from behind Jackie and takes her in his arms. She doesn't seem to know where she is and stumbles back into him. FADERS: Girl you won't be sleeping Veronica and Duncan join the crowd dancing, giggling and having a great time. FADERS: No sleep tonight Do I have to spell it out in black and white Duncan spins Veronica and she comes out of it, jumping into his arms and they spin together. FADERS: Boy you won't be sleeping No sleep tonight. The mood changes as the band go into another song, "Whatever It Takes." FADERS: I've been lying here for like a million years in my bed Get up get up get up The dancers are now dancing slow, up-close and personal, including Duncan and Veronica. DUNCAN: You look gorgeous tonight. FADERS: All the time I can hear you talking in my head Shut up shut up shut up Veronica smiles and they do a little dip to spin them around. They kiss sweetly. FADERS: Everybody says I should be moving on Everybody knows I’m still waiting Veronica glances across the dancers and sees Jackie clinging onto Logan. She has her arms wrapped around his neck and appears to be kissing him. Veronica freezes. VERONICA: No. Freaking. Way. Veronica races away from Duncan, heading for them as the band plays on. FADERS: I don’t care whatever it takes to be with you. You're under my skin and no matter what I do I’m nothing without you so I'll do whatever it takes Logan isn't holding Jackie, his arms flaying somewhat. They stumble as he walks them forward towards a table. Veronica marches up to them, furious. VERONICA: Jackie? Logan and Jackie both seem somewhat out of it. Veronica wrenches them apart. VERONICA: Jackie! She grabs Jackie by the arms to turn her to face her. Jackie's eyes are very glazed. VERONICA: If you want to lock horns with me, duck and charge. But if you think I'm gonna let you break Wallace's heart for sport you have grossly underestimated my wrath. JACKIE: God, Veronica. What is your problem? You really can't make up your mind, can you? Jackie holds out her arms as she walks around Veronica, forcing her to turn towards the rest of the room to keep eye contact. JACKIE: Just pick one of them, God! How many guys here do you expect to want only you? Over Jackie's shoulder, Veronica sees Wallace. He's disappointed and devastated. He turns and walks away. Veronica pulls Jackie aside to race after him. LOGAN: So, where's the after party? FADERS: I've been thinking about how we could have done things differently Give up give up give up She reaches the other side of the room but there is no sign of Wallace. Duncan hurries up behind her. He holds her. DUNCAN: Hey. He'll be all right. She looks concerned but goes along with it and lets Duncan lead her back. FADERS: Yesterday I could have sworn I heard you-- INT - SHERIFF'S DEPARTMENT - NIGHT. The outer office is buzzing as Sacks leads Keith to Lamb's office. Sacks knocks on the door and opens it. Keith enters. Sacks walks away. Lamb doesn't get up from his chair. In front of him, his screensaver alternates pictures of indeterminate origin. LAMB: All right. What's so important, Keith? KEITH: It's about the crash. Keith had a computer disc in his hand. LAMB: Course it is. Lookin' for another book deal? KEITH: Veronica found a recording -- a voicemail from one of the victims left at the precise moment of the accident. Now, there's a noise, it sounds like an expl*si*n. Keith puts the disc on Lamb's desk. LAMB: Maybe Ed Doyle decided to, uh, blow his brains out on the way down. KEITH: Damn it, Lamb, just send it to the acoustics lab and let them decide. Lamb picks it up. LAMB: You trying to tell me that this has nothing to do with clearing yourself? Nothing to do... He throws it back down. LAMB:...with winning this election? KEITH: This is about finding out what really happened on that school bus. If I wanted to hang you out to dry, I would have brought that evidence straight to the local news station. Keith is increasing angry and frustrated as Lamb continues to sneer at him, sceptical. KEITH: And you are so making me wonder why I didn't. Keith looks down on Lamb's desk and sees Veronica's Beetle. He leans against the desk and sighs heavily. He then looks up and sees some pictures on a table behind Lamb. His apparent mood changes abruptly. KEITH: [excitedly] Is that you and the governor? LAMB: Governor? Lamb swivels in his chair to look. Keith takes advantage of his distraction and grabs the beetle. He walks out. LAMB: That's a marlin I hooked down in Cabo last year. Is your eyesight starting to fail? Lamb swivels back. Keith is gone. INT - MARS RESIDENCE - NIGHT. Keith is asleep. The phone rings. He turns on the light and answers it. KEITH: Hello. As he hears who it is, he lifts himself up on his elbow. KEITH: Alicia. I was just working up the courage to call you just to say how sorry... He's interrupted. He grabs his watch as he listens. KEITH: No, no. When did you see him last? Cut to morning. Veronica is getting her breakfast. Keith comes in from outside. VERONICA: Dad, where have you been? You were out all night? KEITH: Wallace didn't come home after the dance. Honey, I need to know if you saw him last night. Veronica is devastated. EXT - ROAD - DAY. Wallace is sitting in the passenger seat of a moving car. His cell phone rings. He looks down at it. His Sidekick displays that it is Veronica Mars calling. He doesn't answer. INT - MARS RESIDENCE - CONTINUING. Veronica leans against the wall in the small hallway. WALLACE'S VOICEMAIL: You've got Wallace. Leave a message. VERONICA: I screwed up, Wallace. I didn't mean to let you down, I just...I can't lose another friend. Please call me back. EXT - ROAD - DAY. Wallace looks at the phone again, and then drops his hand and looks out of the window. The camera moves around to show that the driver of the car is Nathan, who looks over at his son. Wallace closes his eyes to sleep. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x05 - Blast from the Past"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars… Felix's body lies on the bridge as seen in 201 Normal Is the Watchword. Cut to Logan lying across Veronica. LOGAN: I didn't s*ab him, Veronica. VERONICA: There's something that you need to know about your dad. Cut to Veronica's vision of Aaron k*lling Lilly from 122 Leave It to Beaver. Cut to the bus crash debris floating in the water from 201 Normal Is the Watchword. LAMB: [offscreen] On the subject of the bus crash... Cut to the Mars/Lamb debate in 205 Blast from the Past. LAMB: ...back in '89 then Deputy Mars pulled Ed Doyle over for driving under the influence. Had a DUI appeared on his record, he would never have been hired by the school district. Cut to the Mars's apartment. VERONICA: The bus was sabotaged! KEITH: If that sound is an expl*si*n, not only were those kids m*rder, but the guilty party is still at large. Cut to Veronica's second prison visit to Abel Koontz in 114 Mars vs Mars. VERONICA: You're dying, Abel. You didn't k*ll Lilly Kane. You're just somebody's patsy. Cut to Amelia DeLongpre from 117 Kanes and Abel's. VERONICA VOICEOVER: So Abel Koontz has a daughter. In the hotel room where Veronica stashed Amelia, Wiedman puts papers into his briefcase. CLARENCE WIEDMAN: Miss DeLongpre just finalized her father's settlement with Kane Software. End previously. INT - MARS RESIDENCE - NIGHT. The camera starts from outside, looking into the apartment through the window. There is a poster, "Keith Mars Sheriff" in the window and beyond can be seen a number of people, including Cliff McCormack, gathered there. VERONICA VOICEOVER: A week ago, I imagined this all differently. Veronica is sitting in the armchair, watching the television, arms folded and looking grumpy. VERONICA VOICEOVER: Keith Mars was supposed to ride his projected lead to a resounding victory, and me and Wallace were supposed to sneak some champagne before making slightly tipsy crank calls to former Sheriff Lamb. Keith is behind her, leaning against the wall, also concentrated on the TV. He is disappointed but resigned. Cliff, on the sofa, next to Veronica, empties his glass. VERONICA VOICEOVER: Instead, I'm riding out a nail-biter while Wallace is off finding himself with his dad in Chicago. Instead of a best friend, I've got an email address that won't write back. Keith pushes himself off the wall and addresses the room. KEITH: [heartily] Don't worry. Polls are open twenty more minutes. Keith bends down to Veronica. KEITH: We own the straggler vote. He massages her shoulder for a moment, then backs away. Cliff holds a cocktail sausage and an empty glass. CLIFF: Uh, you're out of cocktail weenies, and I'm out of cocktail. He thrusts the glass at Veronica. VERONICA: We're out of gin. CLIFF: I'm not particular. Both are diverted by the television. Veronica leans forward. NEWS ANCHOR: And our latest results now show Don Lamb nosing ahead by a percent. The group watching groans. CLIFF: Whatever it is, make it a double. Veronica snatches the glass, deeply pissed off about how events are going. NEWS ANCHOR: ...Don Lamb and challenger Keith Mars is neck-and-neck. INT - SHERIFF'S DEPARTMENT - NIGHT. The mood in the opposing camp is very different as a man approaches the front desk. The campaign workers are happy and confident of victory. NEWS ANCHOR: We show that the incumbent is edging out... Lamb is watching the TV, enjoying the moment, and chumping on a big cigar. MAN: Are you the, uh, sheriff? Lamb points to the TV. LAMB: Looks like it's gonna stay that way. MAN: I have information about that Mexican kid who got k*lled. LAMB: Felix Toombs? MAN: Yeah. I'm the one who made the anonymous call from the bridge. This gets Lamb's undivided attention. (Note that the man is not the same man seen in Logan's flashback in 201 Normal Is the Watchword, who said he had called an ambulance.) INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - NIGHT. A party is in full swing. Logan, drink in hand, backs into Dick Casablancas. They face each other, Logan looking extremely uncomfortable. DICK: Dude. My stepmom? LOGAN: I'm a total piece of crap. DICK: Better you than the cable guy, I guess. Dick punches him in the shoulder playfully. Logan gives a relieved laugh. DICK: And I'd be lying to say if I never perved on your mom while she was prancin' around the pool in that hardly-there bikini of hers. LOGAN: Great. So, no hard feelings? DICK: No, she gave me a few. Dick pauses then laughs at his joke. He play-punches Logan again. Logan isn't at all happy with the reference to his mother but, in the circumstances, is forced to let it go. INT - MARS RESIDENCE - NIGHT. Everyone is focused on the television. Keith now sits in the armchair and Veronica is on the floor, in front of the TV. NEWS ANCHOR: So, Woody Goodman is officially the Balboa County Supervisor, the position historically referred to as the Mayor of Neptune. And we're officially calling the sheriff's race: Don Lamb holds on to his seat in a real nail-biter. Groans fill the room. VERONICA VOICEOVER: And I'm officially calling life unfair. Veronica gets up. From the armchair, Keith puts on a brave front. KEITH: Well, we'll get 'em in twenty ten, folks. He starts to clap as Veronica comes to stand next to him. KEITH: Thanks for all the good work. Veronica settles on the arm of Keith's chair as he shakes hands with one of his campaign workers. CLIFF: Ah, look on the bright side: forty-nine percent of Neptune still likes you. Cliff gets up and they have a private moment. VERONICA: This wasn't how it shoulda gone. KEITH: Veronica, we did all we could. VERONICA: It wasn't even a contest until Lamb decided to make you a scapegoat for the bus crash. All we had to do was release the tape of the bus expl*si*n— KEITH: Veronica, no. It was the best thing for the investigation. Veronica shakes her head. VERONICA: The best thing for the investigation would've been a competent sheriff. Keith nods, understanding she has a point, but not persuaded that she's right. KEITH: Honey, it's over. Go on to your boyfriend's party. Cliff, having found a bottle of something with which to refill his drink, returns to his seat. KEITH: I've got Cliff to keep me company, right Cliff? CLIFF: Right. I promise to hold his hair back if he has to make sick in the toilet. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - NIGHT. Gia and Dick chat in a corner. GIA: You even know where your dad went? DICK: Let's just say I'm not at liberty to discuss. Our lawyers say if he ever sets foot on US soil he's lookin' at ten to fifteen at Club Fed. GIA: So you're all alone? Well what's that like, is it cool? Or, I guess weird. DICK: It's tough, you know, my real mom's got a new family up at Frisco, so I'm pretty much the man of the house, just tryin' to take care of Beav and stuff. Gia spots Veronica's arrival. GIA: 'Scuse me. She touches Dick's arm and then moves out of the corner to catch up with Veronica. GIA: Hey, Veronica. VERONICA: Hey Gia, have you seen Duncan? GIA: Hey, I'm sorry about your dad. It's such a drag. That other guy seems like a total knob. VERONICA: Yeah. Congrats on your old man. Guess that makes you, like, Neptune's First Daughter. Are you ready for all the parade waving and ribbon cutting? GIA: I thought I'd go more Bush twin style. You know, public drunkenness, sluttiness and minor scandals. Speaking of which, what do you think about Dick? VERONICA: Uh...Casablancas, I presume. Um, well, what can I say? She looks over at Dick. He is frantically pumping a barrel to get the last of the beer. VERONICA: Dick is just...Dick. Both look over at the sound of heavy footsteps. It's Deputy Sacks. VERONICA VOICEOVER: Deputy Sacks? Now that's ballsy: busting the mayor's kid's party on election night. Sacks heads for Logan, sitting on the sofa, drinking his beer. GIRL: What is he doing here? A couple on the sofa rise and move away as Sacks stops in front of Logan. SACKS: Sheriff would like to have a word with you. LOGAN: And I'd like to be the cream filling of an Olsen twin sandwich, but... SACKS: Will you come with me, please? LOGAN: If I'm under arrest, then do me the courtesy of making it all official-like. Logan looks over at Veronica, who is staring at Sacks with a concerned look. MAN: This is wrong, man. Sacks just shakes his head and reaches for his handcuffs. Logan jumps up and turns his back to Sacks. LOGAN: Oh yeah. SACKS: Logan Echolls. Sacks closes one of the cuffs on Logan's wrist. LOGAN: That's more like it. SACKS: You're under arrest for the m*rder of Felix Tombs. LOGAN: Whoo. I am having the weirdest déjà vu thing right now. Sacks finishes with the cuffs and lays his hand on Logan's shoulder, preparing to lead him out. SACKS: You have the right to remain silent. As Sacks pulls him round, Logan drops the act for a moment as he stares at Veronica, serious and scared. Sacks pulls him towards the door and the act is back. SACKS: Anything you say can and will be used against you in a court of law. You have the right to an attorney. Logan grins at Sacks. SACKS: If you cannot find one, you'll be appointed one by the court. As they go, Duncan, in his argyle shirt, enters, carrying bottles of whiskey. He pauses as they pass him and watches them leave, concerned. He looks at Veronica, who stares after them. Dick comes up behind Duncan and raises his arms above his head. DICK: [cheerfully] Douche chill! He grins. INT - MARS RESIDENCE - NIGHT. The supporters have gone. Glasses and banners litter the small bookcase. Keith, sitting on his bed, is on the phone. SACKS: [offscreen] Sheriff's— KEITH: Sheriff Lamb, please. SACKS: [offscreen] Hey, Keith. INT - SHERIFF'S DEPARTMENT - CONTINUING. Sacks is back at the office, sporting a Lamb campaign straw boater, the band of which bears Lamb's name. SACKS: Just a sec. Sacks turns and shouts towards Lamb's darkened office. SACKS: Keith Mars on the line! Lamb, sitting on the front of his desk, looks up at Sacks and indicates that Sacks should take a message. Lamb looks down. Logan, still handcuffed, is sitting on the chair in front of the desk. Logan looks out at Sacks, who returns his attention to the phone. SACKS: I gotta take a message. INT - MARS RESIDENCE - CONTINUING. KEITH: Just, you know...good race, and all that. The usual pleasantries. INT - SHERIFF'S DEPARTMENT - CONTINUING. SACKS: I'll pass it along, Keith. Sorry, things are just a little busy here right now. INT - MARS RESIDENCE - CONTINUING. KEITH: Following up that lead on the bus crash, I hope. INT - SHERIFF'S DEPARTMENT - CONTINUING. SACKS: Yeah. They're checkin' out the front end... INT - MARS RESIDENCE - CONTINUING. SACKS: [offscreen] ...the brakes, everything. KEITH: They brought up the bus? INT - MARS INVESTIGATIONS (MI) - NIGHT. Veronica is in the hallway outside the office, digging into her bag for the keys. VERONICA VOICEOVER: In a night of bad surprises, I have one more I'd like to prevent. She comes to a halt as she sees the body and legs of a wino slumped against a wall in a small niche. VERONICA VOICEOVER: Great. Apparently we've hired a wino to guard our door. VERONICA: Um, I don't think you're allowed to— The wino pulls himself from around the corner of the niche. It's Abel Koontz. KOONTZ: Veronica Mars. VERONICA: Abel Koontz? Veronica can hardly believe it. She steps forward. Cut to Veronica opening the office door, bearing Koontz's weight. He pulls free, using the wall for support. KOONTZ: I need your help. VERONICA: I'm trying, I just—let's sit down. KOONTZ: No—it's my daughter. Amelia, she's missing, and I need your help to find her before I die. Veronica leads him further into the room, setting off a "trap." The surprise she came to deal with is revealed: balloons and confetti fall on them from the ceiling. VERONICA VOICEOVER: Abel Koontz, bloated and reeking from rotgut wine. Surprise! Opening credits. INT - MI - CONTINUING. Koontz is lying on the small sofa. KOONTZ: Amelia signed the settlement papers with Kane Software last spring. Veronica opens a filing cabinet drawer and pulls out a Yellow Pages. VERONICA: And what was the going rate for taking the fall for m*rder? She walks back to the sofa, sitting on the arm by Koontz's feet. KOONTZ: Three million. It was for Amelia. VERONICA: You don't think making herself scarce was part of the settlement? KOONTZ: I need you to find her. VERONICA: Why should I help you? KOONTZ: Because I'm begging you. I missed her twenty-first birthday, and I won't live to see her twenty-second. Koontz is close to tears. KOONTZ: Please? Veronica hardly seems to be listening and has picked up the phone. KOONTZ: What are you doing? VERONICA: Broke or not, there has to be a hospital that will take you. [into the telephone] Hi, I need bring someone in—where is your ER entrance? KOONTZ: Forget about me. Will you help me find my daughter? VERONICA: [into the telephone] Thank you. Veronica finishes her call and looks down at Koontz. She sighs. VERONICA: Only because you begged. Come on. INT - SHERIFF'S DEPARTMENT. The camera is trained on a dirty floor. OFFICER: [offscreen] Number four, step forward! A pair of feet take front and centre. Logan is in a line-up and is seen in a flipped sh*t, his voice coming through electronically. He treats his appearance as joke, channelling Sally Field's 1985 (misquoted) acceptance speech for her Best Actress Oscar. LOGAN: Oh, wow, I'm stunned. You like me! You really like me! The camera switches to the room LOGAN: Well first, I'd just like to say the other, uh, nominees are all such wonderfully gifted criminals. And I wanna thank my agent... Lamb, smirking at the performance, knocks on the window in the door to the room. LOGAN: ...and my publicist, for always sh**ting me from the left side. Logan smiles winningly into the mirror, housing those on the other side. OFFICER: Let's go. LOGAN: [camp] Hmm. Cut to outside the line-up room. It's 9:35. Logan is sitting on a chair against the wall. A deputy watches, leaning against another wall. Lamb looms over Logan. LAMB: You might want to get a lawyer. LOGAN: What, for this charade? Just get me the first sober public defender you find in the hall, put the bail on my black AmEx, and call me a limo. Lamb leans down, getting more in Logan's face. LAMB: Actually, buddy, it's kinda hard to get bail without a hearing. And even if you make it before a judge, I draw a lotta water in town. And I got this feeling you might just get declared a flight risk. LOGAN: Hm? EXT - LOYOLA MARYMOUNT UNIVERSITY - DAY. Veronica strides across the busy campus. VERONICA VOICEOVER: Amelia held up her end of the deal with Jake Kane and vanished completely. Her paper trail dried up on May 27th, but it's been my experience that personal ties don't dry up so easily. And last I saw her, she was tied pretty tightly to a certain boyfriend. INT - LOYOLA MARYMOUNT UNIVERSITY - DAY. In one of the dorm hallways, past a large banner for something going down Monday night, Veronica approaches a door, number 38 or x38, which still bears a flier about "Open Door Week 2005" which took place on September 19-23. She knocks. The door is opened by a slightly dorky-looking guy in a t-shirt that says "France." VERONICA: Hi. Are you Mike? Cut to a little later as Mike grabs a second bottle of water from a surprisingly well-stocked fridge. MIKE: I don't know where she is. The last place I saw her was in Ibiza. He hands one bottle to Veronica who is sitting at the chair at his desk at the end of his bed. The room is a typical, if large, dorm room with posters covering the walls and CDs stacked on the desk. A small poster advertises an appearance by the Loons. One poster is a list of words (or bands maybe): "Shuddup Fool. Can't Escape. Fo' Sheezy. Camel Hump. You So Crazy. Secret Puppies. You Ain't All That. No Shiznit. {May U No Worz.} On the Two & Two." VERONICA: You mean like there's-Tara-Reid-passed-out-on-a-beach Ibiza? MIKE: Yeah. I just finished finals and she came up and said, hey, I got a whole bunch of money. VERONICA: Oh, patent settlement. It was complicated. Mike sits down on the end of the bed. MIKE: Well, we went to Europe. Ended up in Ibiza. I mean, we met fun people, we went to the beach every single day, tracked down all these cool parties on this big Ibiza website. It was cool. VERONICA: I'm sensing an until... MIKE: Well, one night we're at this club, right, one of these places that drop this foam crap on you at midnight. So we're there, we're hangin' out, they drop the foam, and...that was the last I saw of her. VERONICA: Did you check under the foam? MIKE: I had to call my parents to fly me home. It basically kind of sucked. VERONICA: Well, at least you got to go to Europe. MIKE: And all I got was this lousy t-shirt. VERONICA: So you're not...worried? MIKE: She ditched me, whatever. The girl's got three million bucks to keep her company. If she's really in trouble, she took all my phone cards, she could call me. But...I kinda doubt that's gonna happen. VERONICA VOICEOVER: Okay. Boyfriend ditched in Ibiza. Maybe Amelia's old roommate got the behind-the-scenes on that. EXT - LOYOLA MARYMOUNT UNIVERSITY - DAY. Veronica walks with Amelia's roommate, last seen in 117 Kanes and Abel's. DAWN: God, she really went to Ibiza? VERONICA VOICEOVER: Or maybe not. VERONICA: Did she contact you? Anything about where she might have been? DAWN: No, she just...you know, left. Ibiza. That is so weird. VERONICA: Weird? How so? DAWN: Well, she's hardly the Girls Gone Wild type. I practically had to put a g*n to her head just to get her to do the Greek Booze Cruise last year. Or, maybe it's true what they say: money changes people. Cut to a little later. Dawn is gone and Veronica is walking across the campus again. VERONICA VOICEOVER: Ibiza. I'd follow up in person, but Dad's pretty conservative about fact-finding trips abroad. Veronica sees a man standing at a pay phone, getting something out of his wallet and pauses. INT - LOYOLA MARYMOUNT UNIVERSITY - DAY. Veronica knocks on Mike's door again. VERONICA: The calling cards Amelia took. Did you jot the numbers down anywhere? INT - MARS RESIDENCE - DAY. Veronica is on the laptop in her bedroom. VERONICA VOICEOVER: So the thong stays in the closet and I h*t the big Ibiza website. She's on Worldparty247.com, in Forums>Europe>Ibiza 24/7. Her user name is socalRoller87. She is creating a post entitled "Missing friend: Amelia Delongpre." The message she posts is "Looking for Amelia Delongpre, in Ibiza in August. Father ill. Please IM me with any info, thanks," and includes a picture of Amelia. VERONICA VOICEOVER: It's time to see if any of the party people of Europe know where Amelia Delongpre might be. She picks up a small notebook on which is written: *Phone Cards stolen by Amelia* World Telecom - 09732261 -09736553 -19731183 -09746102. INT - SHERIFF'S DEPARTMENT - DAY. Logan is in one of the interrogation rooms, his head resting in his arms on the desk. He's in handcuffs. The door opens and he looks up. Cliff enters. Logan sits up and grins as Cliff takes the seat opposite him. LOGAN: So, my tax dollars at work. Where were you, getting thirds at the Crazy Girls lunch buffet? CLIFF: Actually, they discontinued the buffet. Some health code thing. Cliff opens his file. CLIFF: Okay, my name is Cliff, I'll be your if-you-cannot-afford-an-attorney attorney. So. What are you trying to prove? LOGAN: Um...my innocence? CLIFF: No, I mean this "poor little rich boy" stunt. Having me represent you doesn't make you look innocent. It makes you look like an arrogant jackass. If the witness's story holds, you ARE going to trial. LOGAN: Hm. The guy's lying. Cliff consults the papers in front of him. CLIFF: June 27th, you gave testimony saying you couldn't remember a thing. Now he comes forward saying he saw you, bloody Kn*fe in hand, ranting like a maniac over a d*ad body. LOGAN: And what exactly did I say, huh? CLIFF: The expletive racial expletive had it maternal expletive coming. Logan nods and shrugs. CLIFF: But wait, there's more! You then thr*at to use your father's money to have said witness k*lled. Now true or not, Logan, the Echolls name won't buy you a lot of jury love. Not to ment— Cliff is interrupted by the sound of his cell phone. He takes the call. CLIFF: It's Cliff. INT - MARS RESIDENCE - CONTINUING. Veronica is still at her desk. VERONICA: Cliffy. Need a quick favour. INT - SHERIFF'S DEPARTMENT - CONTINUING. CLIFF: No can do. I'm right in the middle— INT - MARS RESIDENCE - CONTINUING. VERONICA: Cliff, come on, you owe me. INT - SHERIFF'S DEPARTMENT - CONTINUING. CLIFF: I owe you? Who unconfiscated all your fake college IDs? INT - MARS RESIDENCE - CONTINUING. VERONICA: Who got the Lincoln out of your ex's name? INT - SHERIFF'S DEPARTMENT - CONTINUING. CLIFF: Well, who helped put that lien against... INT - MARS RESIDENCE - CONTINUING. Veronica makes a face, as if this is a low blow. CLIFF: [offscreen] ...Lee's Walk-In Donut? VERONICA: And who proved that stripper was colour-blind? INT - SHERIFF'S DEPARTMENT - CONTINUING. This does the trick as Cliff is flustered and looks for clean sheet. Logan is reading up-side down from the papers. Cliff pulls it away. CLIFF: Okay, who am I calling and what am I giving them? VERONICA: [offscreen] World-Telecom. I texted you the number I need run. INT - MARS RESIDENCE - CONTINUING. VERONICA: Nothing melts an operator's heart like an overwrought Fred MacMurray. You're a stud, Cliff. INT - SHERIFF'S DEPARTMENT - CONTINUING. CLIFF: Right. Cliff ends the call and checks his phone, holding a finger up to Logan. CLIFF: Just... Cliff dials. OPERATOR: World-Telecom. Cliff "does" Fred MacMurray. CLIFF: Hello? My...my daughter's disappeared. Logan, fiddling with the handcuffs, looks up in interest. CLIFF: She left her husband and ran off with some wild girlfriend, I think they got into some kind of trouble but I'm sure it's not her fault. Uh, the police said they were headed to Mexico, but no one's seen them. Logan grins and leans back in his chair. CLIFF: I just need to know if she's okay. Please, could you tell me if she's used her card? OPERATOR: Uh, what's the number, sir? (Note: no one of the numbers Veronica had written down.) CLIFF: Uh, oh-nine-two-two-three-three-four-six. LOGAN: Isn't that "Thelma and Louise"? Cliff shrugs. OPERATOR: Uh, yes, I have the information. CLIFF: Can you email that? OPERATOR: What's the address, sir? CLIFF: [email protected]. Logan blinks at that. OPERATOR: Yes, certainly. CLIFF: Thank you. OPERATOR: Good luck, sir. CLIFF: Bless you. Cliff ends the call. LOGAN: That daughter of yours sounds like a real handful. CLIFF: This? Is what I'm good at. Marquee m*rder cases...nah. Cliff starts gathering up his papers. CLIFF: Now Lamb wants to keep you here supposedly to ease community tensions, but really 'cause he's mean. Do the smart thing: put daddy's money to work and get a real lawyer. Or three. Cliff gets up from the table and leaves. Logan loses the attitude and sighs heavily. INT - MARS RESIDENCE - CONTINUING. Veronica has her email screen. She has three unread emails, one from mrkavalos@... "Re: Assignment Extension," one from jessica.peale... "English Homework," and the third from Alicia Roldan "Fwd: CUTE pics." She has selected to view the one from World-Telecom "World-Telecom Calling Card Inquiry," It's dated November 2, 2005 5:40:56 PM PST. The reference is Calling Card: 4473829 26378 Activated: 06/23/05 15:45:09. There follows a list of each time the card was used (date/time), the duration, the number and location from which the call was made and the number and location to which it was made. The calls start the day after it was activated from a number in New York (twice, to Las Vegas and London), from London (three times, to Las Vegas, Paris and Prague), from Paris (three times, to a local number, Las Vegas and another place that may be Prague again). The Las Vegas number is 1.6195550142 VERONICA VOICEOVER: So Cliff comes through again, but the calling card records aren't telling me anything I don't already know. Ibiza... On screen, there are more locations from which calls were made - three from Tuscany, three from Florence, three from Lisbon, followed by five calls from Ibiza. VERONICA VOICEOVER: ...Ibiza, Ibiza...Neptune? Last week? The very last call was of one minute, fifty-four seconds duration from 1.6195550172 to 1.6195550163. INT - SHERIFF'S DEPARTMENT - DAY. Lamb escorts Logan down the corridor to the cell that is opened by a deputy. Logan stops on the way to look through the window of a door. Lamb puts his hands on Logan's shoulders and steers him to the barred cell, giving him a bit of a massage and a pat as he pushes him into the cell. As the bars slide shut, Logan reaches back and pats the spot himself, just taking in the man sitting at the end of the cell before turning back to Lamb. LOGAN: [smirking] So, uh, when do I get my conjugal visit? LAMB: It's up to your new roommate. Lamb nods his head to indicate into the cell and bats his eyelashes as Logan. Logan looks around to the back of the cell. The big, burly man looks up at Logan. Lamb glances behind Logan as voice sounds out. AARON: Logan? As Lamb observes with interest, Logan turns round and stares at his father in disbelief. Cut to a little later. Lamb is gone. Logan and Aaron stand in the cell, staring at each other. AARON: What are you doing here? LOGAN: Come on, Pops. Jail's where they put accused m*rder. You remember that crap from the summer. Why are you here? A buzzer sounds, indicating the opening of the corridor door, presumably Lamb leaving. AARON: They transferred me out of County this morning. I guess our sheriff has a soft spot for family, huh? Well! Ha, guess I know what it takes to get a visit out of you. Those special times with your emancipation paperwork don't really count. LOGAN: I just need a little time to work through how you bashed my girlfriend's skull in. AARON: Look, Logan...I made an unforgivable mistake, but I am not a m*rder. LOGAN: Ohhh! So you merely plowed my girlfriend and taped it for your home collection. AARON: I don't expect any sympathy from you. LOGAN: That's good. AARON: You-you have no idea— Logan, with barely a grasp on his emotions, walks around and away from Aaron. AARON: You have no idea what actually happened that day! Logan stands by the barred window, looking out. LOGAN: Pop, I have a pretty good idea. AARON: No no, Keith Mars got it partly right. Yeah, okay, Lilly and I fought, I followed her home, but not to hurt her, I swear to God! Duncan found us. Logan does his sarcastic open-mouthed smile. AARON: He-he must've heard everything, because he was furious, he-he was out of his mind, I mean he was ranting and raving, I— LOGAN: So, what, Duncan k*lled Lilly? Wow. AARON: All I know is I got out. The next thing, it was all over the news. LOGAN: So you tried to k*ll another girl. Also a girlfriend of mine—what, to maintain your innocence? AARON: I, I just snapped. Logan, I-I lost it. But... Logan shakes his head and a despairing laugh escapes him. Aaron sighs heavily, throwing his hand in the air. AARON: You don't believe me. Why should a jury believe me? Maybe my life IS over. Logan's voice nearly cracks. LOGAN: It may be. AARON: But you shouldn't throw yours away just to spite me. The buzzer in the corridor sounds again. AARON: Come on, Logan. Let me help you. Let me call some guys down at the firm. LOGAN: They gave me a lawyer. AARON: A real lawyer, not some public servant with a mail-order diploma and a three hundred dollar suit. Footsteps come to a stop at the cell door. CLIFF: Two for five hundred, actually, but your point remains valid. You. He indicates Logan and waggles his finger, beckoning him to the door. CLIFF: You got bail. Let's go. Logan is surprised. LOGAN: Bail? What? How? You said, you said my name wouldn't buy me— CLIFF: Judge Bloom and I schvitz at the same gym. I'll be billing you for a case of cohibas and a four-handed Thai massage. There's also the matter of a two hundred thousand dollar bond, so: chip, how 'bout you thank me by takin' the old block's advice? Get a new lawyer. Logan looks at his father who nods his head. Logan thinks for a moment before looking back at Cliff. LOGAN: Well, you're kinda winnin' me over. EXT - NEPTUNE STREETS - DAY. Veronica is at a pay phone, checking the number with a slip of paper in her hand. VERONICA VOICEOVER: Being a private eye is all about connecting the dots. Sometimes, that's difficult. She turns and the camera shows she is outside Kane Software. VERONICA VOICEOVER: Sometimes it's not. When a girl goes missing after taking hush money from Kane Software, then unexpectedly reappears to use the pay phone across the street, there's only one person to talk to. INT - KANE SOFTWARE - DAY. Clarence Wiedman walks past office workers, looking fierce. He pauses when he sees the reception desk unattended. A flustered receptionist is just returning. WIEDMAN: Where have you been? ASSISTANT: Sorry, sir, someone just called and said they were towing my car. The camera shows the door of Wiedman's office ajar. (Note, this is a new office or a new door, as it is glass and not the wood seen in 111 Silence of the Lamb.) Wiedman enters his office and halts when he sees Veronica sitting in his chair with her feet up on his desk. There is a bank of security screens behind her, showing a multitude of live camera sh*ts around the building, including a person walking up a spiral staircase. VERONICA: What are you the head of again? Wiedman marches to his desk as Veronica vacates his chair. He stands at his desk as Veronica moves round to the front of it. VERONICA: This is it? I would've thought that helping your billionaire boss cover up his daughter's m*rder woulda snagged you a better office. Or at least a plaque. WIEDMAN: What are you doing here? VERONICA: I am looking for someone. Maybe you've seen her? Amelia DeLongpre? Veronica falls onto the chair at the front of his desk, arms folded. WIEDMAN: Why would you think I know anything about her whereabouts? VERONICA: Maybe because you're the person who bribed her to disappear. Wiedman sits down at his desk. WIEDMAN: If by that you mean track her down at the motel where you hid her so she could sign paperwork for a legal settlement— VERONICA: Or maybe because she popped up last week to make a call from the payphone across the street. WIEDMAN: Not to me. And what business is it of mine where she makes her phone calls? I have no further interest in Amelia DeLongpre. Now if you'll excuse me, I have to get back to work and you have to get back to minding your own business. Veronica pulls a "get you" face. Wiedman picks up his phone. WIEDMAN: Or do I need to, uh... VERONICA: No need to call yourself to escort me out. You know I know the drill. Veronica rises and exits the office. Wiedman watches her go. At the door, Veronica glances back at him with a smirk. INT - NEPTUNE HIGH SCHOOL (NHS), HALLWAY - DAY. Dick is at his locker. The inside door of his locker has "Dick!" written on it. Duncan is leaning against the next door locker, waiting for him, and playing with a small football. DICK: If you drink it, you get a shirt. DUNCAN: Why do I want a Señor Shrimp shirt? DICK: It's a shrimp and he's saying "Eat me." It's awesome, we gotta go. Dick play-punches Duncan's arm as they laugh. Weevil, with more chest tattoo than ever and leading two other bikers, intercedes as he approaches them. WEEVIL: Yeah, bro, make sure you bring cigarettes and toilet paper, 'kay? Duncan gives Dick a puzzled look. WEEVIL: You're talkin' about visiting your buddy Logan in jail, right? DICK: Uh, we were talkin' about Señor Shrimp. Duncan scoffs. WEEVIL: Well, you might wanna drop in anyway, 'cause now they got a witness to your boy killin' Felix and they're gonna hold him. Jail can be scary place for such a...sensitive boy. DICK: Wait...did I miss a state proposition or something? Is it now a crime to k*ll a Mexican? One of the bikers takes offence and points at Dick over Weevil's shoulder as Duncan leads him away. THUMPER: Man, that guy needs an ass kicking! I think it'd actually make him a better person. The group carries on down the hallway and are joined by a sour-looking Hector. WEEVIL: Hey, why the long face? Somebody rip down your J. Lo calendar? HECTOR: You didn't hear. Logan made bail in like two minutes. Walked out. THUMPER: Damn, man, you see? These white boys get away with everything. We shoulda done somethin' about that guy months ago. Weevil holds out a cautionary hand. HECTOR: Seriously, bro. People are sayin' stuff, man. WEEVIL: What do you mean, "stuff"? HECTOR: I mean, my little brother the other day asked me if it's true that PCH stands for Panty Club for h*m*. Yeah. Heard it at school. WEEVIL: Well, maybe it is time we did somethin' about Logan Echolls. Elsewhere in the hallway, at Duncan's locker, Veronica joins Duncan and Dick. VERONICA: Hey. DUNCAN: Hey! Veronica kisses Duncan. DICK: Ew? DUNCAN: So which is a better place: Chasers or Señor Shrimp? VERONICA: For what? Watching sorority girls stumble? DUNCAN: Embom is getting us new fake IDs. DICK: He got 'em, I saw 'em, they're awesome. But, I guess we're all from Rhode Island, so remember, we're tourists. Veronica gets an idea. DUNCAN: You disapprove. VERONICA: No, uh, it's awesome, I just left something. I'll see you in class? Veronica leaves them at the locker, walking away as she gets out her phone and punches in a number. VERONICA: Dawn, it's Veronica Mars. Um, so when you and Amelia went on the Booze Cruise last year she was only twenty, she must have had a fake ID. Veronica listens for a moment. VERONICA: Her cousin. And what's her cousin's name? INT - MARS RESIDENCE. Veronica is on PryingEyez. She has typed in "Margot Schnell." VERONICA VOICEOVER: Margot Schnell. The search completes. Margot's previous address is displayed as 8001 Dutch Elm Drive, Los Angeles, CA 91221. A credit report shows $500.00 - Lariat Rental Car, San Diego Airport, Ca - posted 10-27-20xx, $213.89 - Utopian Financial, New York, NY and $11,717.66 - Outstanding student loan. The record from the Division of Motor Vehicles indicates a $125 fine for speeding in LA County on 10-02-2000. VERONICA VOICEOVER: Bingo. Rented a car at the San Diego airport last week. EXT - NEPTUNE STREETS - NIGHT. Logan is in the back of the sheriff's car. Lamb is driving. LOGAN: The best thing about two days in jail? Two days' worth of Ellen on the TiVo. That's sweet viewing. Lamb isn't listening, more intent on the radio in the background. POLICE DISPATCHER: Roger that, ten-seventy up on Muir. LAMB: What's your address again? EXT - ECHOLLS RESIDENCE - NIGHT. They pull up outside the gates. There are other vehicles there from the sheriff's department. The house is in flames. Lamb gets out of the car, gazing at the scene. He lets Logan out of the back. Logan walks forward and sees the destruction. Lamb stands next to him. Logan is devastated. LAMB: That's gonna mess up your TiVo. INT - LARIAT RENTAL CAR - NIGHT. Behind the counter, Douglas finishes serving a couple. DOUGLAS: There you go. Okay. Veronica, hair in a ponytail at the back, approaches the counter. VERONICA: Hi. I'm hoping you can help me. DOUGLAS: Well, the good news is, that's just what I'm here for. VERONICA: Looks like I totally got the right guy. Veronica, turning on the charm, points to Douglas's "Employee of the month" picture behind him. He grins inanely. VERONICA: Okay, here's my thing: my friend, she rented the coolest car from you guys, and some of us were going up to see the Staind show, and I wanted to find out what it was so that I could rent one for us to roadtrip. DOUGLAS: Okay, what's the name? He starts to type at his computer. VERONICA: Margot. Schnell. Margot with a "t," Schnell is— DOUGLAS: It means fast. In German. VERONICA: Wow. You speak German? DOUGLAS: "Jawohl." [Translation: emphatic "yes"] Okay, uh, that's a LeSabre. VERONICA: And what did they call that awesome colour? It was... DOUGLAS: White? That's called white. VERONICA: Yup. DOUGLAS: Yeah. That particular car is rented right now, but I can get you a Regal with moonroof in teal for two-fifty a week, not including tax and liability, which'd be a great way to go and see Stain. VERONICA: Duh. Stain-duh. Gosh, that is more than I thought. Um, you wouldn't happen to have anything more like...forty? DOUGLAS: [severely] No. VERONICA: [abashed] Oh. EXT - LARIAT RENTAL CAR - CONTINUING. Veronica exits and walks around the corner of the building. She looks back and then takes off her jacket, changing it for another. VERONICA VOICEOVER: This routine used to be a tag team number, but with Wallace still AWOL, now it's a one-woman show. She lets her hair down. Inside, Douglas is chewing out a colleague. DOUGLAS: Okay? I'm here, I'm double me, there's two of me. Veronica watches as the co-worker slinks off and Douglas leaves the building, checking his watch and not noticing Veronica, now wearing glasses and in a different jacket with her back to him. As soon as he is gone, Veronica marches back in and rushes up to the girl. VERONICA: You have to help me. STACY: What's the problem? VERONICA: Well, to begin with, my colleague is an unbearable n*zi who couldn't find his own ass with a mirror and a miner's hat. Kinda like that guy, you know? Veronica is referring to Douglas, as seen in another "Employee of the month" picture behind Stacy. Stacy smirks. VERONICA: Long story short, I'm doing this big presentation, I'm about to crush him for the promotion, and I realized I left my laptop in the rental, and I'm totally screwed. You have to help me. STACY: Do you remember the car? VERONICA: It was a white LeSabre, I turned it in last week. Stacy uses her keyboard. STACY: Well, it's rented out now, I mean, it could be anywhere. VERONICA: You don't have a number, no... Veronica looks around. VERONICA: Um... Veronica looks down and sees one of the company's mats which advertises satellite tracking as standard equipment. She taps the words. VERONICA: OnStar! Don't you have some sort of special button, or something? STACY: We're not really supposed to do that. VERONICA: Well, the world is not supposed to be totally unfair, either, but... [desperately] this jackass can't win! As she says this, Veronica's eyes dart back to the picture of Douglas. Stacy sighs and glances over at the picture. She looks around surreptitiously before picking up the phone. Veronica's guise drops long enough for a triumphant smile. STACY: Hi, I'm calling from San Diego, uh, I'm trying to locate a car, code is nine-two-three-four-seven. Stacy listens for a moment, then holds her hand over the mouthpiece as she addresses Veronica. STACY: They're not getting a signal. It usually means they're in a parking garage or something. VERONICA: Is there anything? STACY: Has there been activity on...oh, can you give me that? As Stacy listens, she unfolds a map. She holds the phone from her ear to talk to Veronica. STACY: They did a remote unlock, which means they have GPS co-ordinates from that. She returns to the phone. STACY: Okay, thank you very much. Stacy ends the call. She shows Veronica the map. STACY: Okay. So two days ago, they were right here. VERONICA VOICEOVER: Waverley, California? VERONICA: Thank you so much. Please call if you know anything else. Veronica hands Stacy a card and takes the map. She walks away. STACY: I hope your boss gets canned. Veronica turns and grins back at her. VERONICA: Yours too. INT - SHERIFF'S DEPARTMENT. Lamb is at his desk, drinking coffee (probably) and viewing his computer screen. Keith walks in, slams the door and takes a seat in front of Lamb's desk. KEITH: So what'd you find? LAMB: I'm sorry, what? KEITH: You brought up the bus. I wanna know if your forensic guys found any evidence of an expl*si*n. LAMB: Look Keith, when you called on Tuesday night to concede—I'm sorry I missed the call, by the way—I figured you were also conceding your involvement in this case. Keith stands. KEITH: If I didn't turn over that voicemail Veronica found, that bus would still be on the bottom of the sea. LAMB: Keith. We're on it. Maybe you should worry a little less about the bus and a little more about your daughter. KEITH: What's that supposed to mean? LAMB: She didn't tell you. [enjoying himself] And you two seem so close. KEITH: [impatiently] Tell me what? LAMB: It was a couple weeks back. We had Veronica down to the station. Right. Something about her name written on a guy's hand. A guy who washed up on the beach. Forget it, she said it was nothing, so... Lamb shrugs, knowing full well that Keith is gutted by the information. LAMB: You know kids these days. EXT - PALM TREE LODGE MOTEL - NIGHT. The LeBaron pulls up at a seedy motel. Veronica drops the map and checks the GPS on her tracker. VERONICA VOICEOVER: Okay. So now I know two things: where Amelia was two days ago, and why I've never heard of Waverley, California. She drives on in to park, passing the sign offering the usual facilities: clean, non-smoking rooms, cable TV, and direct dial phones. INT - PALM TREE LODGE MOTEL - NIGHT. Veronica enters the reception room where a man even seedier than the motel is staring intently at his computer screen. He doesn't acknowledge Veronica. She peers around his monitor to see his screen. VERONICA: Actually, there's no "o" in "naughty." MANAGER: It's "knotty" with a "k" like in pine. I-i-it's research. VERONICA: Knotty schoolgirls. What will they think of next? MANAGER: You want a room? He holds up the placard that sits on the desk, citing the single room rate as $30.00. MANAGER: It's thirty bucks a night. VERONICA: Actually, I'm looking for someone. MANAGER: Well if it's me, congratulations. Otherwise, unless you get lucky at the Gas-N-Sip, your options are pretty limited around here. VERONICA: It's a friend. She probably passed through here in the last couple days. Veronica holds up a picture. VERONICA: Have you seen her? MANAGER: Yeah. Yeah, she got a room a couple a days ago. VERONICA: Can I see the room she stayed in? MANAGER: Like I said. He picks up the placard again, this time waving it gently, like a pendulum. MANAGER: Rooms thirty dollars a night. Veronica huffs but reaches into her bag for the money. Cut to Veronica opening the door to the room. It's large, with a number of pictures on the walls. Veronica looks around carefully. VERONICA VOICEOVER: You've got millions of dollars and you've been partying all across Europe. What brings you here? Having checked the bathroom, she cautiously walks towards the open closet. She jumps when her cell rings. She digs it out of her bag, checks the ID and smiles as she answers. VERONICA: Hey Dad. INT - MARS RESIDENCE - CONTINUING. Keith is pacing in Veronica's room. KEITH: Where are you? VERONICA: [offscreen] What? I'm— KEITH: [insistent] Where are you right now? INT - PALM TREE LODGE MOTEL - CONTINUING. The camera switches between the two locations throughout the call. Veronica glances around the room. VERONICA: I'm shopping in a, a funny little art gallery downtown. KEITH: Show me. VERONICA: Dad, I don't know how I'm supposed to— KEITH: Take a picture, send it to me, then I'll relax. And when you come home, you can tell me about the d*ad guy on the beach. How could you keep this from me? Veronica hesitates. VERONICA: I didn't want you to worry. KEITH: About what? What did you find? VERONICA: The guy on the beach is David Moran, a.k.a. Curly. He knew Aaron Echolls from way back. He knew how to make a bus crash. KEITH: What do you mean? VERONICA: He was a stunt man. On a movie called "The Long Haul". KEITH: It was Aaron's first big h*t. And you-you really think... VERONICA: I don't know. I don't know. [voice wobbling] But if it's true, if...Aaron was really trying to take out a witness, then that means all those kids died because of me. And trying to figure it out is the only thing keeping me from going insane crazy. Otherwise I'd just obsess about it twenty-four hours a day. KEITH: Yeah. I know the feeling. It's called being a parent. You send me that picture, and we'll talk when you get home. Veronica turns off the phone. Cut to her a few minutes later. She has placed all the pictures in the room on one wall, balancing three on top of three that are hanging. She sets the camera and poses by them. She takes the camera. A few moments later, she sits on the bed with her laptop, sending the picture. VERONICA VOICEOVER: Is this what they imagined when they invented all this technology? A digital leash for a nervous parent? Veronica sends the picture to Keith via the laptop and her Sidekick, entitling the email "Digital Leash." As it disappears from the screen, another window opens: "Found Bluetooth signal. 'Amelia's Palm'." VERONICA VOICEOVER: And speaking of technology, my Bluetooth connection is detecting Amelia's Palm Pilot. Maximum range, thirty feet. Veronica looks around the room. Cut to her returning to the manager. She grins at him. VERONICA: Sorry to interrupt the research. Is there anyone staying in the room past mine? Without taking his eyes off his computer screen, he points to the placard. MANAGER: Rooms. Are. Thirty. Dollars. Veronica stares at him, rolls her eyes and reaches into her back pocket for her wallet. Cut to her opening the door to room 109. She flicks on the light switch. It is another generously proportioned rooms. She checks it and the bathroom but finds nothing. It's back to the manager. She stands at the door. VERONICA: Can I see the room this side of mine? Again without lifting his eyes from his researches, he points to the placard. He picks it up and waves it. Cut to a moment later as Veronica enters room 111, the lamps of which are on and she views the room from the door. She exits in exasperation. EXT - PALM TREE LODGE MOTEL - CONTINUING. Veronica walks a few yards from the door and looks around. She hears the churn of the ice machine. She walks over to it slowly. She opens the cover and looks down at the ice. She reaches in, rummaging through the ice. Her rummaging reveals a hand. Veronica jerks back with a gasp and drops the cover. INT - PALM TREE LODGE MOTEL - CONTINUING. Veronica races into the first room she rented, room 110. She grabs her Sidekick and starts to punch in numbers. Behind her, Clarence Wiedman steps into the room and slams the door shut. WIEDMAN: I thought I told you to mind your own business. Veronica freezes and the scene blacks out. On return, Veronica is facing Wiedman. VERONICA: My father knows where I am and what I'm doing, he knows— WIEDMAN: I'm guessing that was her. Amelia? In the ice machine? Veronica starts to punch some more numbers into her phone. WIEDMAN: Wait. She pauses and looks up at him. Wiedman steps further into the room, sitting on the desk inside. WIEDMAN: I wasn't entirely upfront with you, the other day. Amelia signed her papers and disappeared, just like I said. I considered the matter settled, until... VERONICA: Until she made a call from the payphone across the street. WIEDMAN: No, that was the second call to arrange for the pickup. The first call was to extort an additional quarter-million from Kane Software. VERONICA: She wanted more money? She got three million bucks six months ago. WIEDMAN: I gave her the money, marked bills, under the condition that she disappear until the Kanes' legal issues were settled. But a week after she's supposed to be on a plane, marked bills started showing up here. Cut to manager's office. Veronica and Wiedman approach the desk. MANAGER: So, you did find someone at the Gas-N-Sip. And now you need a room. VERONICA: Was anyone else in here two nights ago, did you see anyone with her? MANAGER: Why? Is he missin' a friend too? WIEDMAN: Answer the question or I'll break all your fingers. MANAGER: J-just the guy she come in with. Veronica throws him an offended look. MANAGER: What? You didn't ask! VERONICA: What did he look like? MANAGER: Brown hair, medium size, a t-shirt. Veronica's face shows she knows who he is talking about. WIEDMAN: Thank you. They exit, the manager watching them go. MANAGER: You're welcome. EXT - PALM TREE LODGE MOTEL - CONTINUING. WIEDMAN: That description rings a bell? VERONICA: Yeah. WIEDMAN: I need you to take me to this person. VERONICA: But, what about— Veronica indicates the ice machine which they are passing at a brisk pace as Wiedman leads them on. WIEDMAN: No, I'll deal with the cops. All right? I need to get a better handle on this before things go too public. VERONICA: But— He leaves her standing. INT - SHERIFF'S DEPARTMENT. The door opens to an interrogation room. Aaron is brought in by a deputy. Keith is waiting, standing by the opposite wall. Aaron turns and looks at the deputy. AARON: Just two chairs? The deputy nods. Aaron turns and looks back into the room. AARON: Where's my lawyer going to sit? KEITH: Oh, it's an unofficial visit. Just me and the guard who will deny I was ever here. AARON: Ah. Aaron looks at the deputy who just barely nods in acknowledgement of the truth of Keith's statement. AARON: Well, in that case, I hope you won't mind carrying the conversation. Aaron sits down at the table in the middle of the room. KEITH: No, have it your way. You look good. What do you got goin' on? Some weights, little cardio? AARON: Well, I got a lot of free time. Aaron does a small chuckle. Keith smiles at him as he talks. AARON: I just got my psychology degree. And now I'm reading the Russian masters. Tolstoy, Turgenev, you know. So, did you come out here to talk self-improvement? Keith sits opposite him. KEITH: I'm here because of my daughter. AARON: Oh, well, now that's funny: so am I. So did you come here today to thank me, Keith? You know, for your fifteen minutes? 'Cause if it wasn't for me, no one would have bought that hack book of yours. He laughs softly. Keith's expression shows he is not amused. Aaron thinks on it. AARON: Uh...I guess you didn't come to thank me. Maybe, maybe you just came here to gloat, hm? Keith keeps his face impassive, almost curious. AARON: No, that doesn't seem like you much either. Why did you come here, Keith? KEITH: Former employee shows up d*ad, sabotaged school bus goes over a cliff, and I start to worry about Veronica's safety. AARON: [incredulous] Whoa, whoa, whoa, wait a minute. You think I had something to do with the crash? Hoo. Hoo hoo, you are priceless, Keith! You know, did they give you enough press, you'd find a way to put me on the grassy knoll. KEITH: Truth is... Keith rises to his feet. KEITH: I don't care if you're behind the crash or not. I just want you to know that if anything happens to my daughter in say, the next seventy, eighty years? You're the one who's gonna pay for it. AARON: Now, did you come all the way out here just to give me that tough guy speech? KEITH: [quietly] No, I came all the way out here to show how easily I can get to you. So just...file that away. Aaron recognises Keith's determination and stares at him as he leaves the room. A loud knock is heard. INT - LOYOLA MARYMOUNT UNIVERSITY - DAY. Mike is working at his desk. He turns at hearing the knock and looks over at the door. He gets up, walks over to the door and looks through the peephole. He grins and opens the door. Veronica is there, smiling. MIKE: Hey, what's goin' on? Between Veronica and another Loons poster Mike has on the wall by the door, Wiedman suddenly appears out of nowhere. He grabs Mike by the back of the neck and stuffs a rag in his mouth. He starts to force him across the room to the window. VERONICA: Wait, what are you doing? You said you were just gonna ask him some questions! Wiedman pushes Mike out of the window, dangling upside down (ala "A Fish Called Wanda" or "LA Confidential"), kept from falling by Wiedman's hands firmly clenching his shirt. Mike looks down, terrified. WIEDMAN: I'm gonna ask you some yes or no questions, do you understand? Mike, temporarily distracted by the ground, doesn't immediately respond. Wiedman shakes him. Mike looks up at Wiedman. WIEDMAN: Do you understand? Mike nods his head emphatically. WIEDMAN: Have you seen Amelia DeLongpre in the last two weeks? Mike shakes his head. WIEDMAN: Did you conspire with her to blackmail Kane Software? Mike's "What?" is smothered by the rag in his mouth. He shakes his head vigorously. Veronica's protestations grow increasingly panicked. VERONICA: He doesn't know anything! If he falls, he's gonna break his neck! WIEDMAN: Did you conspire with her to blackmail Kane Software? Desperate sounds come from Mike's throat as he shakes his head even more vigorously. WIEDMAN: Did you k*ll Amelia DeLongpre? Mike's guttural denial and head indicate an answer in the negative. Cut to the hallway a few moments later. Veronica, in contrast to her display in Mike's room, is cold and calm. VERONICA: Wow. Where'd you learn that interrogation technique? WIEDMAN: Harvard. That's a pretty convincing hysterical routine you got. Where'd you learn that? VERONICA: Watching cheerleading tryout results. Do you think he did it? WIEDMAN: No. No one's that good a liar. EXT - NHS, LUNCH AREA - DAY. Logan is showing off his ankle tag to Dick while they eat pizza. LOGAN: And the other sweet thing is I'm in constant video contact with Martha Stewart, right? Behind him, Weevil, Thumper, Hector and a random biker approach. WEEVIL: Hey! Logan doesn't hear and/or react and carries on his discussion with Dick. LOGAN: Kinda like a Dick Tracy kinda thing. Weevil stops in front of him, holding out a piece of paper. WEEVIL: What the hell is this, {man.} Logan drops his pizza and takes the paper. He glances at it. LOGAN: Hm. He looks up at Weevil. LOGAN: Esta? Una? He shrugs. He turns to Dick. LOGAN: What is their word for "paper"? DICK: Uh, pay-pair-o. Logan smirks at that. Weevil and the bikers are not amused. LOGAN: Okay, I'll translate, just don't tell the ESL teacher I helped you cheat. He turns his attention back to the paper. LOGAN: That's an eviction notice. WEEVIL: You bought my grandmother's house? LOGAN: That's right. Su casa is mi casa. But in my defence, Weevil, I do need a new one. Logan puts the eviction notice down on the table. LOGAN: You might have heard my former domicile was, uh, b*rned quite unexpectedly. WEEVIL: If you kick my family out— LOGAN: Oh, have it your way, we'll all live together in one big wacky sitcom family. On second thought, I'm kicking you out. And on third thought, I wouldn't live in that roach motel if you put a g*n to my— As he talks, Logan picks up his pizza, about to take a bite. Weevil snaps and shoves it into Logan's face. COACH: [offscreen] Hey! Dick and Logan get to their feet as the tension hikes up to max. Logan throws his pizza on the table and, with pizza on his cheek, faces Weevil, all twisted humour extinguished. LOGAN: I was enjoying that. WEEVIL: Not as much as I'm going to enjoy this. LOGAN: Oh yeah. Weevil goes for him and Logan reciprocates and behind them, Dick starts to in with Hector. The fight is broken up by the arrival of the teacher-of-all-traces including coach, last seen breaking them up in 121 A Trip to the Dentist. He gets between them. COACH: Hey, hey, hey! Break it up! Logan wipes the pizza off his face with his finger, licking it. COACH: Come on, guys. School is not the place for this kind of thing. LOGAN: You hear that? School is a place of learning. WEEVIL: [seething] Yeah, you might want to think what prison is a place of. The coach stares down at Weevil, his hand clenched in a vibrating fist as a gesture of telling Weevil to hold in his anger. Weevil storms off. The coach looks at Logan as he continues wiping the pizza off his face. Logan shrugs. INT - MARS RESIDENCE - NIGHT. Veronica stares sadly at her laptop. VERONICA VOICEOVER: I usually digest a week like this a little help from Wallace. I still do, but now the conversation is a bit flat and one-sided. On the screen is her email to Wallace, entitled "Where you at?" being sent on her [email protected] account. She has misspelled Fennel, adding an extra L. VERONICA VOICEOVER: "Dear Wallace. Me again, with the latest news you've been missing. Keith Mars loses sheriff's race by a nose. Logan Echolls jailed for... Veronica has a Buddy List window open although there is no chat in it and it is not possible (for me anyway) to read the name of her buddy. On her screen another window opens, inviting her to a video chat with enriqueFreaque69. Veronica accepts by clicking on the camera icon and attaching the video camera on her screen. A blonde appears in the window, speaking with a French (or Swiss or Flemish) accent. ENRIQUEFREAQUE69: Are you Veronica? Veronica expands the video picture which now includes a smaller video of herself in the corner (although this can't be from the camera attached to her screen as it shows the view of Veronica at her laptop with that camera in sh*t - whoops). VERONICA: [cautiously] Yes. ENRIQUEFREAQUE69: I saw your post on Ibiza forum. Is this the girl you're looking for? Veronica punches a few keys. She brings up a photo. Amelia is in the centre of a picture of seven people on a beach. From left to right there is a girl with a flowery sarong around her waist, a guy in sunglasses, Mike, Amelia, a guy in a yellow t-shirt with a soul patch, a girl in a blue bikini and an older guy. VERONICA: That's her, but actually, um, she's been found, but thanks— On screen, Veronica's video insert picture is now correctly from the small camera she attached. ENRIQUEFREAQUE69: Tell me she's not still with that boyfriend. VERONICA: The guy next to her in the picture? ENRIQUEFREAQUE69: Yeah. He seems cool, but I've never seen a guy lie right into your face and you'd never guess. Veronica shows concern. And revelation. INT - PALM TREE LODGE MOTEL - CONTINUING. The manager is in his usual place, glued to his computer screen. The phone rings. MANAGER: Palm Tree Lodge. INT - MARS RESIDENCE - CONTINUING. The camera continues to cut between the two. VERONICA: Hi, remember me? The blonde? MANAGER: Holy crap! You know the cops were just— VERONICA: I know. I'm guessing you're on email right now. What's your address? MANAGER: Nightman one-twenty-two at aol dot com. Veronica forwards the picture to him in an email dated Wednesday, November 9, 2005 9:25PM, entitled "Missing Girl." VERONICA: The guy in the white Buick, the night the redhead was there, is that him in the picture? MANAGER: Yeah, that's him. But he didn't have that beard thing and his-his hair was a lot shorter. Veronica looks at the picture. Mike doesn't have a beard and she realises that he is talking about the guy in the yellow t-shirt with the soul patch. Veronica lowers the phone and re-establishes contact with the French girl. VERONICA: Hi, it's me again. Amelia's boyfriend, did he have a little beard thing right here? Veronica's inset sh*t on screen is back to being one that couldn't have come from the video camera - whoops again. ENRIQUEFREAQUE69: Yeah. VERONICA: [urgently] Do you remember his name? INT - KANE SOFTWARE - NIGHT. Wiedman prowls the corridors. His cell rings. He answers. WIEDMAN: Clarence Wiedman. INT - MARS RESIDENCE - CONTINUING. VERONICA: The k*ller, his name is Carlos Mercado. WIEDMAN: [offscreen] Good. INT - KANE SOFTWARE - NIGHT. Wiedman climbs the spiral steps seen earlier on his surveillance screen. WIEDMAN: Some of the marked bills showed up at Caesar's Palace. INT - MARS RESIDENCE - CONTINUING. WIEDMAN: [offscreen] Now we have a name and a place. VERONICA: All you need, but...he's a diplomat's son, Clarence. He'll be... INT - KANE SOFTWARE - NIGHT. Wiedman pauses near the top of the stairs. VERONICA: [offscreen] ...extradited to Argentina. WIEDMAN: That depends on what happens at the casino. INT - MARS RESIDENCE - CONTINUING. VERONICA: What are you gonna do? WIEDMAN: [offscreen] You know the drill, Veronica. INT - KANE SOFTWARE - NIGHT. Wiedman looks intently around. WIEDMAN: What happens in Vegas, stays in Vegas. INT - MARS RESIDENCE - CONTINUING. Veronica doesn't respond. INT - HOSPITAL - NIGHT. Veronica walks slowly along a corridor. VERONICA VOICEOVER: So, I did what Abel Koontz asked. But how do you tell a dying man that the daughter he was looking for is gone? That the millions he sacrificed his own life to give her only led to her death? She reaches a male nurse behind a desk. VERONICA: Excuse me, nurse, um, Abel Koontz? How's he doing? The nurse checks his screen. NURSE: A day or two if he's lucky. VERONICA: [softly] Thank you. She moves away from the desk and within moments, is in Abel's room, where the time on the clock on the wall says it's 7:15. VERONICA VOICEOVER: Answer: you don't. VERONICA: She's trying to make it. They just had an early snow this year, so she's just waiting for a helicopter. Koontz is weak, lying on his bed, a tube across his nose. KOONTZ: But she's happy? VERONICA: Yeah. Hoofing the Himalayas isn't exactly my idea of a good time, but she seemed to love it. Koontz holds out his hand and after the briefest of hesitations, Veronica takes it. VERONICA VOICEOVER: In a family full of well-intentioned lies, one more won't hurt. She sits on the bed and sighs before looks down at him. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE. Veronica enters the suite. VERONICA VOICEOVER: At least, at the end of the day, I get to curl up with my adorable, honest boyfriend. Veronica smiles at the argyle-shirted body, laid out on the couch with a magazine over his head. She climbs on top of him and rests her head on his chest with a contented sigh. One of his arms, and then the other fall onto her to hold her, one hand clasping his wrist on her back. Veronica's eyes open in shock. LOGAN: It's the sweater, isn't it? Veronica rips the magazine, "Surf Life," off his face. LOGAN: Chicks can't resist argyle. VERONICA: Please let go of me. Logan unclasps his hand. Veronica scrambles off of him. LOGAN: Ever the tease. As Logan makes to get up, Veronica hears footsteps behind her and turns to face Duncan. VERONICA: What is he doing here? Logan appears next to her as he gets to his feet. He glances down at her as she stares intently at Duncan. LOGAN: Aw, didn't you hear? I'm out a house. I live here now. Veronica gives Duncan a disbelieving look. DUNCAN: Sorry I didn't tell you. Veronica is stunned and not happy. INT - GARAGE - NIGHT. A steel door opens. Keith, crowbar in hand, enters. He sets the crowbar down on the top of what looks like an old fridge and takes a torch out of his pocket. He walks forward and sees the school bus, brought up from the ocean. The bus is mangled but largely intact. Keith goes inside. He shines the flashlight around the bus from the door, and then walks in, down the aisle, looking from side to side. He's near the back of the bus, where Meg was sitting, when he hears a voice. SECURITY GUARD: Anyone in there? Keith drops. The guard outside the bus shines his torch in but sees nothing. He moves on. Keith, flat on his back, waiting for the guard to go, glances to his left, and sees something. He shines light on it. Taped under one of the seats with duct-tape is a d*ad rat. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x06 - Rat Saw God"}

foreverdreaming

VERONICA VOICEOVER: Previously, on Veronica Mars... Tom Griffith reports to Lamb in 206 Rat Saw God. DR GRIFFITH: I have information about that Mexican kid who got k*lled. I'm the one who made the anonymous call from the bridge. Logan is arrested at Gia's election night party, held in Duncan's suite. SACKS: You're under arrest for the m*rder of Felix Toombs. LOGAN: Ooh, I am having the weirdest dçjà vu. The bikers bitch as they walk down the hallway at Neptune High. HECTOR: Logan made bail in like two minutes. WEEVIL: Maybe it is time we did something about Logan Echolls. Veronica questions Weevil in 204 Green-Eyed Monster. WEEVIL: The Fitzpatricks are meth-head lunatics, but they're not gonna k*ll a bus full of kids over three grand. Their problem with Cervando woulda been solved in an alley with a baseball bat. Veronica searches for Meg's room at the hospital, not realising that Duncan is behind her. DUNCAN: Veronica? VERONICA: Duncan? How's Meg? Cut to later as the Mannings confront Duncan and Veronica. MR MANNING: If you really cared about Meg, she wouldn't have been on that bus. End previouslies. DREAM. White-gauzed and perfect, Meg faces and addresses the camera. MEG: Do you love me? Did you ever love me? On the bus, my life didn't flash before me. You did. Our first kiss. The last perfect moment we had together. Remember? On the beach. Meg, dressed in white, is sitting in a white chair. A dark figure skates past her. VERONICA: [derisory] Please. MEG: You promised me. You made promises. You could save me. All you have to do is want to. Veronica, on roller skates and dressed vampily in black, leans over Meg from the back of the chair. She addresses the camera. VERONICA: I've heard enough. Have you heard enough? MEG: What does she have? What does she have that I ha— Veronica cuts Meg off with a gag. VERONICA: Well, I'M conscious. And that's just for starters. Veronica moves past Meg, walking close to the camera. VERONICA: Is that really what you want? Teddy bears and mash notes. Grow up. [coldly] Grow up and get over it. Veronica draws back her arm, bringing it forward in a hard, backhanded slap. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE. Duncan jerks awake, confused and disoriented. He is on the sofa. Veronica and Logan are talking softly. Duncan blinks, trying to clear his head. VERONICA: [offscreen] All I'm saying is, I followed him into the cigar shop, he bought some cigars, and he left. LOGAN: {?} didn't your dad say... Veronica and Logan are leaning against the wall, near the entrance to the suite. LOGAN:...the cigar store is a front for drug dealers, I mean, that's gotta be something. VERONICA: Or not. Sometimes a cigar store is just a cigar store. LOGAN: Well I'll remember to be quippy when you're looking at twenty to life. VERONICA: Oh, you're being a jackass. Must be an even-numbered day. I do so prefer the odd-numbered days when you're kissing my ass for a favour. LOGAN: Well you find out why this plastic surgeon is trying to get me sent away for k*lling Felix and I will make sure that all even-numbered days are removed from the calendar. Veronica glances over at the couch. Duncan is gone. VERONICA: Did Duncan go to bed? LOGAN: [impatiently] Yes. And he wanted me to tell you to give me your undivided attention. Pretend for a moment that your dog's life is at stake. Hey. Hey, maybe this so-called doctor is a pipeline to prescription drugs. That's how my paediatrician lost his license. VERONICA: Well, it's pretty easy to check on something like that. In his bedroom, Duncan can hear the murmur of their continued conversation, which he ignores. He has an envelope in his hands, presumably the one he took from Meg's air vent in 207 Nobody Puts Baby in a Corner. It is a small envelope, addressed: Meg Manning 23 Emperor Ct Neptune, CA 90909. (Note: this address was used before, for the Fullers in 117 Kane and Abel's and a similar address for Kane Software in 205 Blast from the Past, where it was "Emperior.") There is a return address: Chris Talley 5344 Fauntleroy Ave Seattle, WA 98144. There is a stamp and a postmark of which "Washington" and "2005" can be made out. Duncan turns the envelope over. Written on the back is "Private and Confidential this means you!" (The envelope appeared to be blank when Duncan retrieved it from the air vent.) The envelope is unopened. Duncan casts a glance towards the lounge where Veronica and Logan continue to talk. He thinks for a moment and then puts the envelope in a drawer. VERONICA: [offscreen] I found something. LOGAN: [offscreen] What is it? Back in the lounge, Veronica has the laptop working. A screen shows a page from ethical MEDICAL.net, described as a free resource for holding physicians accountable. A menu offers the choices of EM Home, Research, Certified, Journals, Physicians and Contact, and there is a search box. The page Veronica has is headed "Latest News, November 17, 2005 Board of Doctors to Approve New Treatment for Cancer." An article by Sunil Patel (a marsinvestigations.net team member) follows: "As of late Tuesday, the preemptive [sic] approval by the Canadian Board of Obstructionists met with wide support in the adoption of the leading American Board of Doctors' recommendations for treating acute palidermal cancer growth. The controversial new treatment has received its harshest criticism from the Journal of Medicinal Maiz which contends that the Board has pushed through the new treatment for purely monetary gains and with no altruistic purpose. Read more." VERONICA: Well, the eM website lists any disciplinary actions taken against its members. Veronica is sitting on the sofa. Logan is sitting on the back of the sofa behind her, looking over her shoulder at the screen. Veronica moves to the page for Dr Griffith. He is listed as "Griffith, MD, FACS, Thomas L." It states that he is the proprietor of Neptune Cosmetic Enhancement of 6783 Highland Drive, Neptune, CA 90909, phone (619) 555-0196. There follows a list of his educational achievements, from his obtaining his Bachelor of Sciences in 1989 at State University of California to his Certificate of Microsurgery in 2000. Listed under both Education and Awards are a 2001 Citation of Achievement from the General Assembly of Surgeons in 2001 and a Humanitarian Award from Children First Medical Safaris in 2003. VERONICA: Apparently, Dr Griffith was reprimanded. The final entry is under the heading "Disciplinary Action." Dated 2003, the entry reads: "Danny Boyd v Thomas L Griffith, MD, FACS. Charge: Inappropriate off-site practice" MDM article...Sentence: Probation, $5,000 fine." VERONICA: Something about an inappropriate off-site practice. Patient's name is...Danny Boyd. LOGAN: What does that mean? VERONICA: I don't know. But I'll check it out tomorrow. EXT - NEPTUNE HIGH SCHOOL (NHS), CAR PARK - DAY. A posh car pulls up next to Weevil, who is standing next to his bike, removing his gloves. The 09er driving calls out to him. WANNA SCORE BOY: Hey man, uh, you got the stuff in yet? He gets out of the car as Weevil turns to look at him. WANNA SCORE BOY: I'm, like, wondering if I need to take my business elsewhere. WEEVIL: What stuff? WANNA SCORE BOY: I, uh, ordered an eight-ball. WEEVIL: Coke? Who am I, John DeLorian? Weevil looks around. WEEVIL: I never sold coke to you, man. Weevil suddenly grabs the boys' shirt, pulling hard enough to rip off all the buttons as he looks for the wire. WANNA SCORE BOY: Hey, this is a two-hundred dollar shirt, man. Weevil lets go, pushing the boy back a little. WEEVIL: Really? It's missin' some buttons. WANNA SCORE BOY: Hey, come on, don't jerk me around. I paid one of you biker guys. WEEVIL: Oh yeah? Describe this biker guy you paid. WANNA SCORE BOY: I dunno, he was...you know. Brown. Weevil shakes his head. He turns his attention to the hubcaps on the boy's car. WEEVIL: Hey. Those are nice rims. You know, I was thinking about gettin' me some just like those. The boy nods happily until he realises that "those" might be exactly the ones that Weevil intends to get. He backs away, triggers the car alarm and leaves. Weevil smiles a crafty smile, satisfied in how he has treated the boy. The smile fades however as he considers what the boy has said. INT - MARS INVESTIGATIONS (MI) - DAY. A couple are in Keith's office. CARLOS: Our son Marcos was one of the students k*lled in the bus crash. Keith leans forward, offering a box of tissues to the woman, who is crying softly. KEITH: I am truly sorry. CARLOS: For the past three months, we've been grieving. Tr-trying to put our lives back together again. He-he was our only child. Our pride and joy. KEITH: I can only imagine how difficult that must be. CARLOS: Then try to imagine if someone was doing their best not to let you forget. KEITH: I'm not sure I understand. CARLOS: We're being harassed, Mr Mars. Someone is breaking into our house and leaving these. Carlos puts a toy school bus on Keith's desk. KEITH: Well, that's horrible. CARLOS: We'll come home, and the house will smell like the cologne that Marcos used to wear. Marcos's pictures will be turned around in their frames. That's not the worst part. We've been getting messages on our voicemail from our son. We don't believe in ghosts, Mr Mars. Our son is d*ad. Maria sobs. CARLOS: The messages are just...nonsense. Old recordings of Marcos. MARIA: We should just take Ned's offer, Carlos, and sell the house. We have nothing keeping us here. CARLOS: We don't run, Maria. That's not us. KEITH: So, I'm assuming you want me to find out who's been harassing you. CARLOS: Oh, I know who's harassing us. I want you to find the proof. EXT - NEPTUNE STREET - DAY. Logan's Xterra pulls up in front of a house. Veronica is in the passenger seat. They both look out at a small rundown house with an old, cushionless sofa leaning against the wall. VERONICA: This is it. LOGAN: The owner of this dump sprung for plastic surgery? Logan switches off the engine, takes the keys and opens the door, starting to get out of the car. VERONICA: Hm. Uh-uh, you're staying here. Logan pauses and looks back at her. VERONICA: This takes a certain subtlety. Veronica gets out of the car. She turns back and addresses Logan through the open window of the passenger's side. VERONICA: But if I need anyone punched in the face, I'll whistle for ya. Logan isn't overly happy but sighs and remains in the driver's seat, closing the door. Veronica reaches the door of the house and knocks on the screen door. A tattooed man in a wife-beater, carrying a large can of beer, opens the door. VERONICA: Danny Boyd? DANNY: Yeah? He grins. VERONICA: My name is Laurie Zachs DANNY: Oh, I don't need to know your name, honey, just...tell me you're eighteen. He looks her up and down in a lascivious manner. VERONICA: Actually... DANNY: Oh, who's kiddin' who. Like I care. VERONICA: Okay. Uh, the reason I'm here...I was considering having Doctor Tom Griffith perform a, a surgical procedure on me and I'm one of those people who really likes to check a doctor out. DANNY: Doctor Griffith, huh? He's a good man, but I wouldn't go getting too crazy, 'cause you don't need very much work done, you know, I mean, besides the obvious. He points at her chest. VERONICA: Yeah, thanks. Um, I noticed he was given a medical reprimand for a procedure he did on you, and I just wanted to see... DANNY: He get in trouble for that? VERONICA: I'm guessing it had to do with your face. He laughs and points at his face. DANNY: Huh. You'd think, huh? No. Come on, I'll show ya. Danny steps out of the house. He heads off around the corner of the house. After a brief glance at the Xterra, Veronica follows. They pass washing hanging out on a line and a fierce pit bull, chained in the garden. They go through the back, into an alley, then through a back door. Music is blaring from the premises. There is a full skip by the back door and lots of empty beer boxes. On the wall by the door is a warning not to park (tow away). Veronica looks around warily before following Danny through the door. INT - RIVER STIX - CONTINUING. Music: Jailbreak by Thin Lizzy. LYRICS: Tonight there’s gonna be a breakout Into the city zones Don’t you dare to try and stop us No one could for long Searchlight on my trail Tonight’s the night all systems fail Hey you good lookin’ female Come here! Tonight there’s gonna be a jailbreak Somewhere in the town Tonight there’s gonna be a jailbreak So don’t you be around Tonight there’s gonna be trouble I’m gonna find myself in Tonight there’s gonna be trouble So woman stay with a friend A sign on one wall states that no person under twenty-one are allowed. Surrounding the back door through which they entered are small tri-colours of the Irish flag. On another wall, a full-sized County Wicklow flag, half blue, half yellow. At its centre is a divided dancette blue over green. Within the blue field, two oak branches are on either side of a lion guardant facing the fly, and on the green field is a white church-like structure. The words on the flag are Wicklow above the dancette and "Cill Mhantáin," the Irish name, underneath. In another corner, the walls are littered with sketches of tattoos and a tattoo artist sits under them, plying his trade. Over the bar, a sign declares that this is the River Stix, with the X created from two pool cues. The bar is dark and smoky, with people, mostly men, scattered throughout. Veronica pauses as she takes in where she is. VERONICA VOICEOVER: Great. I've walked right into the River Stix, home base for the Fighting Fitzpatricks, Neptune's first family of crime. DANNY: Come here. Danny walks further into the bar, shoving aside a man standing by one of two pool tables. DANNY: Come here. Check it out. Take a look. He taps on a stain on the baize of the pool table. DANNY: That's my blood. He giggles. DANNY: Can you dig that? Veronica looks warily from the stain to Danny. VERONICA: What happened? DANNY: It was a little barfight. Man, you should see the other guy. I got forty-five stitches. Danny pulls up the wife-beater to show off his stomach, and in particular, the deep scar of a Kn*fe slash across it. DANNY: Good as new. VERONICA: Plastic surgeon did that? DANNY: Yeah, well, I mean, he wasn't tryin' to make it look pretty, he was tryin' to stop the bleeding. Doctor Griffith's, uh... He doesn't have the words and shouts out across the bar. DANNY: Hey, Liam! Liam! A man sitting at the bar leans back to look at Danny. DANNY: What do you call the good doctor, what do you say, he's kinda like a friend of the family, type thing? Liam doesn't say anything but his eyes narrow as he sees Danny and Veronica. Danny carries on regardless, pointing back at a girl playing at the other pool table. DANNY: My niece Molly, she saw the blood, she got freaked out and she called an ambulance, I got three months in County. Veronica glances nervously at Liam who gets up from the bar and walks towards them. DANNY: I guess the doctor got in trouble too, huh? Oh well, all's well that ends well, right? I mean, it's a conversation piece, that's for sure. Danny thumps the stain as Liam approaches the other side of the pool table to them. LIAM: Who are you? DANNY: Uh, Laurie. Her name's— Liam doesn't want to hear it from Danny and addresses Veronica. LIAM: Who are you? VERONICA: Uh, I'm Laurie. DANNY: She's gettin', uh, some plastic surgery done— From behind them, Molly, who has been watching with interest, speaks up. MOLLY: Uh, her name's not Laurie. It's Veronica Mars, she goes to my school. Veronica twists around to look at Molly. MOLLY: She's Keith Mars' daughter. Veronica turns back to face Liam, playing abashed but clearly scared. VERONICA: Go Pirates. She laughs a little. LIAM: Veronica. Well, you're about to tell me the real reason you're askin' about Doctor Griffith. Liam leans forward on the pool table, thr*at. Danny, finally realising things are not as they seem, backs away slightly, moving behind her. LIAM: You lie to me again and you really will need a good plastic surgeon. Veronica gulps and nods. End music: Jailbreak by Thin Lizzy. Opening credits. INT - RIVER STIX - CONTINUING. Music: Dakota by the Stereophonics. LYRICS: Thinking about thinking of you Summertime think it was June Yeah think it was June Laying back, head on the grass Children grown having some laughs Yeah having some laughs. You made me feel like the one Made me feel like the one The one You made me feel like the one Made me feel like the one The one I don't know where we are going now I don't know where we are going now So take a look at me now So take a look at me now So take a look at me now So take a look at me now So take a look at me now So take a look at me now So take a look at me now So take a look at me now So take a look at me now So take a look at me now So take a look at me now So take a look at me now So take a look at me now So take a look at me now So take a look at me now Now Veronica's interrogation continues. LIAM: Tell me why you're here, Veronica. What? Someone send you? VERONICA: No, it's...it really is plastic surgery. I just didn't want to use my own name because it was too embarrassing. LIAM: You're a good liar. That's gonna make things so much tougher. Veronica backs away from the edge of the pool table, but Danny is waiting and grabs hold of her. Veronica twists and ducks, planting her taser in his stomach. As Danny goes down, Veronica runs. Liam pushes a stack of beers on a trolley at her. Veronica goes down. Liam walks up to her as she lies, flat on her back, waving the taser. Liam grabs her wrist and twists until she drops the taser with a cry of pain. With one hand still on her wrist, he used the other to grab her by her belt at the front of her jeans and lifts her bodily off the floor, swinging her in an arc and landing her on the pool table. One hand easily encompasses her neck. Veronica desperately tries to pull his arm away, to no avail. LIAM: Oh, all right then. That was fun! Veronica makes a choking sound. LIAM: But let's not stop there. Mark, Mark. The tattooist looks up from his work. LIAM: Bring it here. Mark (or Mock) puts the tattoo machine on a small trolley and wheels it to the pool table. Veronica is still struggling ineffectually under Liam's hold. Mark hands Liam the tool. LIAM: So what's it gonna be, Veronica? Hm? Liam holds it up so Veronica can see it and hear its buzzing. LIAM: Pink moon? Yellow stars? No? A green clover it is, then. He brings it close to her cheek. LIAM: So, I'm just gonna start in over here, and as soon as I hear something resembling the truth, I'll stop. LOGAN: Hey! Liam looks behind him. It's Logan, standing just inside the back of the bar. He is holding out his cell phone. LOGAN: I've got 9-1-1 on the line, who can give me the address here? There is laughter in the bar. LOGAN: No one? Logan brings the phone to his ear and speaks into it. LOGAN: Yeah, I've got one of those ankle monitors on, does that help? Yeah. The River Stix. There's blood everywhere. Logan folds up the phone. LOGAN: Hey Veronica, let's go. LIAM: Well, lads, let's see how much damage we can do in the next two minutes. Liam turns his head to address the bar. He does not see Logan pull out a g*n tucked into his jeans at his waist. LOGAN: Stop! Liam jerks his head around and sees the g*n, as do the others in the bar. Logan keeps the g*n levelled at Liam. LOGAN: I've had a very bad year. MAN: Easy, boy. Logan takes a few seconds to weigh Logan up before releasing Veronica. She gasps for breath and then again when she rises up and sees the g*n in Logan's hand. Veronica pushes herself off the pool table, grabs her bag off the floor and stands for a moment next to Logan, who slowly starts to back up towards the exit. MAN: Easy, Liam. Veronica races to and through the door as Logan walks steadily backwards. He and Liam exchange a look of recognition that this is not over before Logan drops his g*n arm and turns to walk out. End music: Dakota by the Stereophonics. EXT - NORMAL HEIGHTS - DAY. The Xterra pulls up in the street. Both Veronica and Logan look shell-shocked. Logan casts a concerned look at Veronica who is about to lose it. She starts to cry and leans forward, her face in her hands. Logan is abject as he stares down at her. LOGAN: Hey, it's okay. Veronica sobs harder. Logan moves to put his hand on her back to comfort her. LOGAN: Look, you're gonna be okay. At his touch, Veronica jerks up, throwing off his hand and shouts at him. VERONICA: A g*n, Logan?! A g*n? What are you doing with a g*n? You're gonna get yourself k*lled, don't you understand that? LOGAN: Look, it's...look, it's not even loaded. VERONICA: Oh, I feel so much better. Logan sighs. He pulls it out and leans over to put it in the glove compartment. LOGAN: Dick's dad gave it to me. He said given my situation... VERONICA: Given your situation, you should just move out of Neptune. Veronica gets out of the car. Logan looks straight ahead as he pulls his foot up onto the seat, exposing the ankle tag. LOGAN: Yeah, well, no can do. Veronica gives a huff of frustration and slams the door shut, marching across the street as Logan stares after her. He swallows hard and looks devastated. INT - MI - DAY. The door slams as Veronica reaches her desk, still shaken and tearful. She brings her hands to her face. KEITH: Honey! Veronica drops her hands and quickly wipes away a tear, trying to pull herself together as Keith gets up from his desk to walk to the door of his office. KEITH: Did you know Marcos Oliveres? VERONICA: Um...should I? KEITH: Yeah, he was on the bus. Keith notices her state. KEITH: Hey, are you okay? Veronica nods and sniffs. VERONICA: Tough day. But yeah, I'm fine. Um, what about Marcos Oliveres? KEITH: His parents were just in. They're suing the school district for negligence over their son's death and since they filed the suit they've been harassed. VERONICA: Harassed? KEITH: Toy buses left in their house, their son's cologne lingering in the air, phone messages from their d*ad son on the machine. VERONICA: So what, the school district administration is harassing them to get them to drop their suit. KEITH: I'm sure those school administrators are a sinister and venal bunch, honey, but in my experience, most crime is personal. Not these, these weird conspiracies. VERONICA: Well, in my experience, that is exactly what THEY want you to think. KEITH: Well, all the same. Would you mind asking around about the kid? Veronica smiles. INT - NHS, TELEVISION STUDIO - DAY. Posters and flyers cover the walls, including a Movie Club flyer advertising an Aaron Echolls marathon. Most of the students are at computer screens around the walls of the room and a few are gathered at the news desk end as the latest anchor adjusts his tie. Veronica is standing in the middle of the room. VERONICA: Marcos Oliveres. No one? No one can tell me anything? He was in this class. It's for an article for the Navigator. Veronica looks around, puzzled at the lack of response. Finally, one of the students turns from his screen. RYAN: Here's the truth about Marcos: he never said anything to anyone. He just kind of goofed off with the equipment and kept to himself. No one really knew him. STUDENT: It's true. Veronica considers this. INT - MARS RESIDENCE - NIGHT. Veronica sits in a chair, going through the yearbook. VERONICA VOICEOVER: Marcos Oliveres. Not pictured. What would it be like to be simply...forgotten? There is a ping from her computer. VERONICA VOICEOVER: Please be Wallace again, and please be more than the brush-off-y "I just need some time to think" he finally sent me yesterday. Veronica gets to her desk and looks at the laptop. She has five emails. The one showing is from Keith. "Subject: Pick up food for Backup. Date: November 19, 2005 3:26L32 PM PST. Hey sweetheart, I managed to forget some things at the store. Can you get Backup's food, some orange juice and call and let me know if you'll be home for some famous Mars-Mystery-Meatloaf. I promise not to use those onions you hate. Oh, and it won't be 'well done', unless requested of course. Love, Dad." Of the other emails, only the sender and subject lines can be seen: Weiss Ti.../please!!, Doctor/:), and kt echolls/lol ü. The final email, from ofnight, has no subject. VERONICA VOICEOVER: No such luck. Veronica opens the email from ofnight, dated the 20th at 9:34 PM and reads it to herself. VERONICA VOICEOVER: "I heard you're doing an article about Marcos. I figure you probably didn't get much information, so I wanted to send a note so at least you had one thing to quote. Marcos was great. Kinda shy, but really interesting once you got to know him. Sorry not to sign this, but I've got a jealous boyfriend who knew I..." KEITH: [offscreen and shouting] What? VERONICA VOICEOVER: "...liked him, so..." KEITH: [offscreen] This is the third time I called this week. Veronica gets up from her desk. Keith is stading in the kitchen, speaking on the phone. KEITH: I sent the damn thing back to you guys two weeks ago! Keith looks up as Veronica approaches and grins at her, giving a lie to his performance on the phone. KEITH: Look, I told the first person my name. Don't you talk to each other? You've got the serial number; you've got everything on those damn databanks! It's on the computer screen right in front of your face! It says WHAT? Keith is almost screaming at this point. He listens to the response. His manner changes abruptly. KEITH: [contrite] Oh. Sorry, my fault. Bye. Keith ends the call. VERONICA: Why must you make the tech support people cry? Keith shrugs. KEITH: Hm. I found this mp3 player taped under Mrs Oliveres' car playing a loop of her son's voice over her car radio. VERONICA: That's creepy. And...bizarre. KEITH: And it gets bizarre-er. This was paid for by the Neptune school district. Veronica nods and smiles in an "I told you so" kind of way. KEITH: You mind having a chat with the man tomorrow? VERONICA: And I'll visit tech support, too. Veronica grabs the mp3 and returns to her room. Keith grins. INT - NHS, ADMINISTRATION OFFICE - DAY. Clemmons strides through the door. Veronica hurries after him, continuing a pursuit that obviously started sometime before. VERONICA: It's just, we're doing an article for the Navigator on the parents' reaction to the bus crash. Clemmons pauses at the door to his office. CLEMMONS: Look, I'm just the Vice-Principal. Anything I say on the subject has to be cleared by the Principal, so... VERONICA: So you're just a powerless factotum and I should talk to Principal Moorehead? CLEMMONS: Yes. Exactly. Clemmons goes into his office, leaving Veronica to sigh and drum her fingers on the administration office counter. INT - NHS, PRINCIPAL'S OFFICE - DAY. Principal Alan Moorehead has a shiny name plate on a very nice mahogany or similar desk, sporting a small, expensive-looking globe pen-hold, a small cannon, what looks like a small statue of Napoleon and a leather blotter and other leather accessories. His credentials line the walls. His office is very different from Clemmons's. Moorehead himself is smooth, grey-haired and in a nice suit, a sort of Blake Carrington of Neptune High. Veronica listens carefully as he pontificates, taking notes. MOOREHEAD: It's a horrible tragedy. I sympathise with these families, I really do. We made settlement offers, but the Olivereses insist on suing. Now, if they win their suit, in the sum that they're asking for, we're talking no band, no art classes, fewer staff...so yes, we take this very seriously. VERONICA: You are aware that an mp3 player registered to the school was found broadcasting Marcos Oliveres' voice in his mother's car. Moorehead leans forward earnestly. MOOREHEAD: Now we would know nothing about that. He takes a business card out of his desk. MOOREHEAD: Now if you have further questions on the topic, I'll just refer you to the district's lawyers. He passes the card to Veronica. The card is for one Douglas Stern of Simon Stern, attorneys at law. The card is black with silver or white print. Taking up nearly half the card, on the left hand side, are the scales of justice, although the design is printed in such a way as to make it appear like the outline of a couple of pyramids. VERONICA: Simon and Stern. They're big. MOOREHEAD: As I said, we take this very seriously. INT - NHS, COMPUTER CLASSROOM - DAY. On one of the screens is a picture of the pyramids of Giza with the top of Khafre's pyramid blanked out to make it an unfinished pyramid. Over it is hand drawn a representation of the all-seeing eye. (American power in the Middle East? American vandalism in the Middle East? American money? The masons? Mars Investigations? MarsInvestigations.net? A plot point? Who knows?) Beyond the screen, Veronica is consulting tech support. VERONICA: So what I'm trying to figure out is, is there any way to tell where or when a recording was made? The mp3 plugged in, Mac moves her mouse around, staring at the screen. As it plays, Mac smiles, recognising the voice. MARCOS: [recording] Okay, folks, that's it for me, I'm out. MAC: Oh, hey, this guy? MARCOS: [recording] Don't hate me. VERONICA: You know him? MARCOS: [recording] Don't hate me, I'm trying to tell it like it is. MAC: It's Cap'n Krunk. MARCOS: [recording] Truth hurts. I'm out. VERONICA: Cap'n Krunk? MARCOS: [recording] I'm out. MAC: Yeah, he's one of the guys on "Ahoy, Mateys!" "Ahoy, Mateys!" - it's a pirate radio show, this-this weird sort of cult thing. There's these two guys, Cap'n Krunk and...Imitation Crab who just talked a lot of bizarre smack about Neptune High. If you knew about it, Cap'n Krunk's totally a star. VERONICA: Wait. We're talking about Marcos Oliveres. I can't find a single person at school who heard him talk and now you're telling me that he's the Howard Stern of Neptune High? MAC: You didn't want to get on Cap'n Krunk's bad side. He'd tear you a new one. CAP'N KRUNK: ...I'm trying to tell it like it is. Truth hurts. I'm out. Cut to a little later. Mac has pulled up the "Ahoy, Mateys!" website. In the background a theme song plays. Music: No More Guitars by the Secondhand Ska Kings. LYRICS: Goin to the club to check out the ladies Try to stay smooth but then what's the matter It's long haired dudes all playing their guitars And they're singing about how depressed all their friends are But there's no soul And that ain't— Whoever made the website was weak on grammar, making it "Ahoy Matey's." Cap'n Krunk and Imitation Crab are represented by cartoon pirate characters surrounded by nubile and scantily clad women. CAP'N KRUNK: Ahoy, Mateys! Five-forty on your AM dial. Listen, or walk my enormous plank. VERONICA: Oh, I get it. MAC: It's not all crotch-grabbing scatological man-humour. Mac moves to another screen which advises viewers to spin their dial to 520 AM Thursday nights and to "Catch all our Pirate Podcasts in archives!" MAC: There's a little something for everyone. VERONICA: Flatulent sound effects for me? MAC: And bitter tirades for me. Mac moves to another page. End music: No More Guitars by the Secondhand Ska Kings. This page list the archives: 04/28/05 006-Reasons Neptune Equals Hades 04/05/05 007-Jocks, Rocks, Docks: The Drowning 05/12/05 008-Van Clemmon's t*rture: 101 05/09/05 009-Hedonistic History of Histrionics 05/26/05 010-Why Cafeteria Food Must Be Banned 06/02/05 011-Sloot 'R You 06/09/05 012-Job Had It Good 06/16/05 013-Bully att*cks: Why They Rock 06/23/05 014-Who's Our Hottest prost*tute? 06/30/05 015-Drug Users Are Honor Students 07/07/05 016-Krunk and Crab's Dirtiest Dozen 07/14/05 017-Ms Blank: Quit Your Day Job 07/21/05 018-Nerds: Get Laid or Get Lost 07/28/05 019-Peers Show Downsides of Incest 09/01/05 020-Habitual Ditch: Escaping Moorehead's Clutches 09/08/05 021-Using Your Looks to Fail 09/15/05 022-Guide to Getting Krunked 09/22/05 023-The Losing Battle: While You'll Always Be Fat. MAC: I'll download a few episodes for you. They air every Thursday. VERONICA: What's this four-week gap here? Veronica points on the screen to the absence of shows in August, between 019 and 020. MAC: Oh, they went on a little sabbatical. VERONICA: Do you know why? MAC: I suspect to t*rture me. Then they came back and Cap'n Krunk wasn't on anymore and it blew. So I stopped listening. VERONICA: The show's still on? MAC: A bastardized sub-par version of the show's still on. VERONICA: Any way to find out where they're broadcasting from? MAC: Yes. Mac pauses, staring at Veronica, who looks quizzically at Mac's failure to proceeds, nodding her head forward in an "and...?" MAC: Sorry, I was just seeing how long we could have a conversation with your side only being questions. Veronica scoffs, in as "As if" manner. MAC: We can track the signal. VERONICA: Wow. Veronica takes a breath to ask another question, then catches herself, thinking quickly how to rephrase it. VERONICA: I'd be interested to know if you had the capabilities to track said signal. Veronica nods her head in satisfaction as Mac narrows her eyes as she stares at her. Veronica realises the justification of Mac's earlier charge and they both laugh. MAC: Look, I'm happy to be the Q to your Bond, but crime pays. Technologically-assisted mystery solving? Costs. You wanna play find the crappy radio broadcast, momma's gonna need a few things from Radio Shack. Veronica holds up her hands, part shrug, part "you got me" and nods. Mac disconnects the mp3 player from her computer. MAC: Listen and love, my friend. Veronica stands and starts to listen. CAP'N KRUNK: And here it comes, Imitation Crab. CRAB: Arrr! CAP'N KRUNK: The winner of this week's cock... The camera circles Veronica to segue to EXT - NHS, LUNCH AREA - DAY. Veronica stands listening and watching those around her. CAP'N KRUNK: ...of the walk countdown. CRAB: Don't leave 'em hanging, Cap'n. CAP'N KRUNK: It's Logan Echolls! The camera pans round to Logan, stiting with a group of 09ers, having a laugh and pizza. CAP'N KRUNK: That's forty weeks running. Rosemary's baby: the teen years. If I was his mother, I'd k*ll myself too. CRAB: Seriously, Cap'n, you name your daughter Roxie... The camera catches a well-endowed girl sitting with four jocks. CRAB: ...it's guaranteed at some point she'll be showin' her cans for cash. CAP'N KRUNK: I'm saving up for that very day. CRAB: Or get a varsity jacket and four litres of wine cooler and you can see 'em for free! The camera alights on some cheerleaders and behind them, a boy sitting on his own, watching them. CRAB: Yeah, Becker's a date r*pist, but in his defence, he's hideous and stupid, so meeting girls is hard! A girl is laughing with a boy. Her hand is stroking the inside of his thigh. CAP'N KRUNK: So it seems Taylor read the fine print on her abstinence pledge and found a few loop...something? Oh right, holes. VERONICA VOICEOVER: Cap'n Krunk bagged on everyone at school. So what if someone found out? Suddenly I've gone from trying to find out if anyone might have it in for Marcos to wondering if there's anyone at school who doesn't. CAP'N KRUNK: Duncan Kane. Duncan is also sitting on his own. He gets up to leave, in his own little world and not seeing Veronica. She watches him. CAP'N KRUNK: He can't be that rich and that pleasant without harbouring a dark secret. What do you think, Crab? Serial m*rder? Puppy strangler? VERONICA VOICEOVER: Girlfriend ignorer? What's gotten into Duncan? INT - NHS, HALLWAY - DAY. Duncan's Ramones sticker seems to have made its way to Veronica's locker as it is in full view as she changes over some books. She's about to close her locker when a hand grabs the door. LOGAN: Hey, any news on nip/schmuck? VERONICA: It's pretty clear, isn't it? Our favourite plastic surgeon, for whatever reason, seems to be owned by the Fighting Fitzpatricks. LOGAN: Well, as far as I know I've done nothing to get their Irish up. VERONICA: And I'm working on the connections, okay? LOGAN: Hey, if you could exonerate me sometime soon, that'd be great. I really don't want a bottom bunk in Fisty McRapesalot's cell. VERONICA: You want a top, I'm sure it's negotiable. LOGAN: Help me, Mars-wan Kenobi, you're my only hope. Logan slaps the door of her locker with the back of his hand and walks off. Veronica thinks for a moment then sighs, slamming shut her locker. She semi-turns and sees Weevil leaning against a wall, watching her. A couple of flyers are on the wall behind him—an old one for the class of 2009's orientation, one for a group that meets on Thursdays at lunch and offers free pizza, and a third that seems to have been done by a child. Veronica walks over to him, her arms crossed over her midriff. VERONICA: I'm feeling the calculating stare, but where's the villainous hand-wringing and maniacal laugh? WEEVIL: You know, you should be nicer to me. VERONICA: Or you'll huff, and puff, and burn my house down? Weevil doesn't even blink. VERONICA: [angry] You lied to me. What are you, working for the Fitzpatricks now, is that it? WEEVIL: Lied? I'd be d*ad before I worked for those micks. VERONICA: Methed-up lunatics, I believe, is what you called them before, giving me the impression that you didn't get along so nice. So imagine my surprise when the new star witness in Felix's m*rder case turns out to be a Fitzpatrick puppet. This seems to surprise Weevil, although he gives nothing away. VERONICA: They're scratching your back. My question is, how are you scratching theirs? Veronica storms off. Weevil watches her and swallows hard. EXT - NEPTUNE STREETS - NIGHT. Veronica has a signal tracker in one hand and her cell phone in her other. VERONICA: Okay, I'm here, what do we do? Mac, on another street, is identically equipped. MAC: You got your signal dialled in, right? VERONICA: Yep. MAC: Okay, the station only has, like, a two-mile radius, so just keep walking in the direction that gives you the strongest signal. Both girls follow the signal on the their tracker and stay in touch by phone. VERONICA: Wait, what if nerd hunters drive by and tranq and tag me? MAC: That's a risk I'm willing to take. Veronica smiles. EXT - CLEARING - NIGHT. Weevil has gathered the troops who stand in a circle around him. WEEVIL: Now, I'm just checkin' somethin'. Am I still in charge here? Huh? The bikers mutter and nod. WEEVIL: 'Cause you see, a couple days ago, some 09er comes up to me to ask me where the coke is that he ordered. He says some brown-skinned biker sold it to him. And then a little birdie tells me that the witness who came forward in Logan Echolls' case was bought and paid for by the Fitzpatricks. And it gets me wondering...did the rules change? Huh? Are we in business with these potato-heads and I just don't know about it? Did somebody here try to make some extra cash? The bikers glance uncomfortably at each other. WEEVIL: It's now or never, boys. Weevil looks around at them. Thumper's eyes follow where Weevil glares. WEEVIL: Go on, get outta here. Go scare some old ladies or somethin'. The bikers disperse, muttering as they go. Thumper stays behind with Weevil as the others drive away. THUMPER: You really think someone's workin' for the micks? Look, I'm just asking. WEEVIL: The night Felix got k*lled. Did you see the guy who called the cops? THUMPER: No, man. WEEVIL: Why not? You were there. That's what you told me. That's what you told the cops. THUMPER: Yeah, but the cops didn't have the whole story. WEEVIL: Talk. FLASHBACK: EXT - CORONADO BRIDGE - NIGHT. The bikers pulls Logan off the edge of the bridge. They start to b*at him. THUMPER: [offscreen] You went down, you were out. And after that, Felix was runnin' the show. FELIX: Thumper, you and Doddie get Weevil back to his house. Thumper and Hector looks at Felix, confused. FELIX: Go, you gotta get his bike home! HECTOR: Why don't you take it home? FELIX: 'Cause, we got a extra bike now, dawg. Thumper and a helmeted biker pick up the unconscious Weevil. FELIX: Sully, go get Cervando, he's at Texaco, you bring him back here, tell him to get Weevil's bike back to his place. Go! SULLY: Right. Sully, also helmeted, nods and takes off. Hector is kneeling down by the barely conscious Logan. Logan rolls over and tries to get up. HECTOR: You wanna jump? There's the edge, genius. FELIX: You know what I always wanted? My whole life? A bright yellow SUV... Felix bends down and pulls Logan back to flat on his back. He starts searching Logan's pockets. FELIX:...for my surfboard and my snowboard. Felix finds the keys and holds them up. Hector and another helmeted biker laugh. FELIX: Bitchin'! Unseen by any of them, Logan raises his hand. He has a Kn*fe. He s*ab straight up, plunging it into Felix. Logan's other hand comes up to try and grab the keys. Felix falls and pulls Logan onto his side. Hector watches in shock and before he can do anything, he hears the loud horn of a truck coming towards them. Hector and the other biker race to their bikes and take off, leaving Weevil's bike, Logan and the Xterra on the bridge. END FLASHBACK AND RESUME. WEEVIL: [angry] You told me you saw it. THUMPER: Hector and Bootsy was there, what's the difference? That's what happened. Come on, Weevil. We needed as many guys as possible. One rich white boy's word against the two of us? Man, we didn't tell you to protect you. If you didn't know, you never have to lie. WEEVIL: One way or another, I'm getting to the bottom of this, okay? We're gonna find out what's true. EXT - NEPTUNE STREETS - NIGHT. Music: God Is In the Radio by Queens of the Stone Age. Veronica and Mac meet. VERONICA: The signal is strong here, strong like bull. MAC: I think it's coming from inside the house. VERONICA: Shall we? MAC: Let's! They head for the front door of a modest house. VERONICA: Excellent work as usual, Q. MAC: [English accent] Right back at you, Mr Bond. Veronica knocks at the door. MAC: You've got a plan, right? VERONICA: Ish. The door opens. It's Clemmons, in his bathrobe. He looks horrified, as do the girls. The lyrics kick in. LYRICS: I thought I saw him on the video Pause: God Is In the Radio by Queens of the Stone Age. CLEMMONS: Miss Mars. VERONICA: I'm glad we caught you at home. Would you mind if we used your phone? We're both in a bit of a hurry. Mac, though unimpressed so far with Veronica's plan, recognises Veronica's quote from "Rocky Horror" and follows up with the next line, after a quizzical look at Veronica. MAC: Right. Clemmons smiles and starts to close the door. VERONICA: Actually, we're here to see Butt—, uh, Vincent. Clemmons pauses. VERONICA: We have some, uh... Veronica does air quotes. VERONICA: ...homework questions. She points at Mac, implying that it is an excuse for Mac to see his son. Clemmons looks at Mac with interest. Mac looks at Veronica with something akin to hatred as Veronica smiles back indulgently. MAC: You are so... VERONICA: d*ad, I know, whatever. You're the one who was all "Let's go see what Vincent's doing, I wonder what Vincent's up to." CLEMMONS: I'd greatly prefer if next time you would call first. Clemmons opens the door wider to let them in. VERONICA: Okay. Veronica marches in confidently. Mac follows, still gobsmacked at the role she is being forced to play. INT - CLEMMONS RESIDENCE - NIGHT. Music resumes: God Is In the Radio by Queens of the Stone Age. As Clemmons leads them across the porch, Mac slaps Veronica's arm. Veronica nudges her back. Clemmons stops at a door and knocks. CLEMMONS: Son? Vincent! VINCENT: [offscreen] Um...private basement time, remember? Veronica and Mac giggle. CLEMMONS: You have visitors. Veronica Mars and her friend are here to see you. VINCENT: Tell them I'm not home. CLEMMONS: They're right here, son. Pause: God Is In the Radio by Queens of the Stone Age. The door is unlocked. Vincent pops his head out suspiciously. Veronica doesn't give him a chance to tell them to go away, barging through the door. VERONICA: Hey Vincent, whatcha doin'? CLEMMONS: If, uh, if the girls would like some snacks and soda... Clemmons smiles at Mac who grins back. Veronica goes down the basement stairs. VINCENT: Look, what are you doing here? VERONICA: Well we were hoping to bust a move, but the song's almost over. Veronica turns up her radio. Music resumes: God Is In the Radio by Queens of the Stone Age. She smiles at Vincent as Mac joins them. VINCENT: Look, I'm working on my models, so if the paint dries then the colour won't match. Mac looks down at the table on which many figures are set out. Veronica looks at the radio she is holding. End music: God Is In the Radio by Queens of the Stone Age. Vincent is agitated. VERONICA: Huh. Veronica holds the radio up to her ear. VERONICA: I wonder why they're not playing another song. Mac smirks. VINCENT: Look, I want you outta here. VERONICA: Why are you so...crabby? Veronica uses her hand to imitate a crab. Mac moves behind Vincent and the shelving on which his models sit. There's a large table with a sheet thrown over it. Under the sheet, a red light can be seen blinking. MAC: Um, Butters, you're blankie's blinking. VINCENT: Uh. Vincent and Veronica follow. Veronica grabs the sheet and pulls it off. Underneath is the radio equipment. VERONICA: Hm. Vincent turns off the equipment. VERONICA: I have a theory. Wanna hear it? Here it goes. Vincent sits down, resigned to his fate. VERONICA: You and Marcos were buds, and then your dad found out about the radio show you two did together. And when the Oliveres family decided to sue, your dad made you a deal. He'd let you keep pumpin' up the volume, but he'd need recordings of Marcos, and a key to his house, and your radio knowledge... Vincent looks increasingly bemused until he can't hold it back. VINCENT: What? My-my dad doesn't know anything about the show. A vice-principal's kid ragging on the school? He would k*ll me. Veronica and Mac exchange a puzzled glance. VERONICA: Marcos quit the radio show more than a month before the bus crash. Why? VINCENT: He went to camp. It was out of the blue. He must've gotten tossed off by a pony 'cause he came back all weird. He called and said he wasn't doing the show anymore. VERONICA: Well, did you ask him why? VINCENT: Yeah. We got together for hot cocoa and cinnamon toast and talked all about his feelings. MAC: Oh! Like girls! Cap'n Krunk really elevated the comedy. VINCENT: All I know, is he quit. Then, the bus crashed, and I really didn't have a chance to ask him about it after that. Can you go now? Please? EXT - CLEMMONS RESIDENCE - NIGHT. The door closes behind Veronica and Mac. MAC: I really think he likes me. They walk away slowly. INT - MI - DAY. Veronica stands by some files, listening to Keith in his office. KEITH: [offscreen] And that's where the recordings of his voice come from. The camera pans round to show Keith is with Carlos Oliveres. Veronica can be seen in the background going slowly back to her desk. CARLOS: So he was on the radio? I-I guess that's the perfect place for a shy kid. I mean, that is pretty enterprising, huh? KEITH: He used the anonymity to poke fun at his classmates. It was sometimes a bit harsh, and it's possible he really offended some people. Enough to make them hold a grudge. CARLOS: Come on. Marcos died. You really think a kid's gonna pursue revenge on a classmate's grieving parents? KEITH: I had my daughter do a little digging at school, and she thinks something might have happened at summer camp that might have— CARLOS: I'm sorry, your daughter thinks? This isn't kids' stuff, this isn't about summer camp. It's about money. Those greedy sons of bitches at the district are trying to shut us up. Keith walks to the door to close it, giving Veronica a comforting glance as he does. KEITH: I just want to make sure that we look at every possibility. He shuts the door. CARLOS: [offscreen] Look. We've got three days to settle or drop this suit. Veronica drops her head, although she can still hear. In his office, Keith stands, listening to Carlos. CARLOS: Now, we know who's doing it; you just have to find something that proves it. Keith and Carlos come out of his office, Keith putting on his jacket. Carlos exits the office KEITH: I'm heading over to the Oliveres house. It's their bowling night, so I figured I'd do a little stakeout; see if I can't catch the guy in the act. VERONICA: Good luck. Keith follows Carlos out. Veronica looks down at the information she has collected. She has the Olivereses credit card details: Mastercard: 6321-126-6923-7829 and 6542-124-3299-9285, Visa: 1236-126-5896-9878, AMEX: 6331-556-8923-7899 and their Social Security numbers: 925-63-1278-Carlos, 987-55-7899-Maria and 912-55-7789-Marcos. She keys Carlos's name into Prying Eyez, together with his Mastercard number. VERONICA VOICEOVER: If Mr Oliveres doesn't think camp is important, he's forgetting how brutal teenagers can be. Onscreen, the credit card lookup return results are shown. In addition to the information Veronica already has, there's a date of birth for Carlos which is September 24, 1959 (same day as Aaron Echolls, hmmm). The billing address is shown as 4781 Adams Street, Neptune, CA, 98081. His credit card expires in June 2007 and his security code is restricted. His billing statement for the period of the month of July are set out: 07/01/05 Framingham Grocery $103.78 07/05/05 Divine Texts $24.42 07/06/05 Campaign Contribution RCCC Washington DC $50.00 07/06/05 Conoshow $31.07 07/10/05 Pet Treatz $41.43 07/14/05 Chimera Theatres$28.62 07/18/05 Framingham Grocery $113.41 07/19/05 Harbingers ID:99121DK $61.06 07/20/05 Crested Crane Restaurant $17.35 07/21/05 Conoshow $33.21 07/25/05 Framingham Grocery $98.18 07/29/05 Camp SelfQuest, Inc, Garden Valley, CA $320.00 VERONICA VOICEOVER: Here it is: itemized charges for July. Camp SelfQuest. Veronica brings up a PlanetZowie page which has a number of diverse entries. *Camp SelfQuest Welcome! We're glad you're here! Camp SelfQuest is an intensive program for teens...SelfQuest offers a unique plan...SelfQuest can motivate a permanent change. *Rehabilitation Centers - Camp SelfQuest Starting from proven measures, Camp SelfQuest is the definitive leader in...deriving practices and techniques form esteemed members, CampSelfQuest can promise... *Suspicious death at treatment center CampSelfQuest has found itself in an all-too-common predicament. Jesse Fuller, an attendee at CampSelfQuest was found, in his cabin. *The q*eer Cure "And God said unto Abraham, smite all thee that lust after thy own sex" as takend from a CampSelfQuest brochure. "Leaders in removing filth from the human soul." *Camps of Purity Camp SelfQuest makes the A list of organizations and programs. Established in 1980 as...response to the growing acceptance of h*m*, Camp SelfQuest... *...GOT Black List - May 2004 ... The page ends with the option to "Click here to learn more about our products and services." VERONICA VOICEOVER: Marcos was gay. INT - OLIVERES RESIDENCE - NIGHT. The door opens and the ping of an alarm is heard. A hand punches in the code. The man walks across the dark kitchen with familiarity and turns on the light. He turns back into the kitchen and Keith races up behind him, grabbing him by the arm and shirt collar, dragging him back and face down on a table. NED: Whoa, whoa! Ah! Keith pats him down. KEITH: Who are you? NED: I live next door! I'm a neighbour! I'm just a neighbour! KEITH: You always wait 'til bowling night to come calling on your neighbour? NED: I came over to borrow a couple of beers, okay? My wife won't let me keep beer in the house. Keith does a facial shrug and backs off. NED: Ow. Ned slowly lifts himself up off the table. KEITH: So you come over here, toss back a few, maybe turn around a few pictures, spray a little cologne? You think your wife'd ease up on you a bit if you had enough property to extend your house? NED: What? KEITH: I know you're looking to buy this place, how bad do you want it? NED: I came here for the beer. Ask Carlos. KEITH: Go get your beer. NED: I'm good. Ned leaves, rubbing his arm. Keith smiles and looks around with a sigh. He sees something. In an aquarium, there is a toy school the front of which is embedded in the pebbles at the bottom. Keith takes it out. As he shakes the water off his arm, he also spots a piece of paper in the wastepaper basket, next to the aquarium. He picks it up. The number 8543 is written on the scrap of paper. On the back is part of the heading of Simon Stern. Keith pulls out his cell and dials. KEITH: Mr Oliveres. Keith Mars here. Couple questions for you. Does your neighbour routinely keep beer in your fridge? Keith chuckles. KEITH: He does? And he has the alarm code? Okay. Second thing: another toy bus appeared in your fish t*nk. And I found a scrap of paper in your wastebasket with your alarm code written on it. It's scribbled on the back of some Simon and Stern letterhead. Keith pauses to listen. KEITH: Yeah. School district's law firm. Thought that would make you happy. Keith listens again. KEITH: Yep, I'll bring it to the deposition. He grins. KEITH: You're welcome, Mr Oliveres. Keith smiles as he folds up the phone. He glances at the fish t*nk and then bends over it to look more carefully. He looks thoughtful. EXT - NEPTUNE STREETS - NIGHT. Against the lights of the Ould Sod pub, Logan walks around the corner, carrying a brown bag. He pauses when he sees the Xterra blocked in its parking space by a white van. LOGAN: Huh. What is wrong with people? Logan heads for the other side of the van. He's met with a fist, which knocks him cold. Logan is thrown into the back of the empty van, licence plate number 4PCI075. INT - WAREHOUSE - NIGHT. Logan is lying on an old bed, sporting a bruise on his cheek. A hand slaps his face. Logan starts to come round. MASKED MAN: Wake up, sleeping beauty. The man's gloved hand waves in front of his face. Logan tries to sit up. He starts to struggle as he realises he is tied to the bed. LOGAN: What the hell is this? MASKED MAN: It's the people's court, junior. You're on trial for the m*rder of Felix Toombs. They are in some sort of warehouse. The bed to which Logan is tied is propped up, so he is lying at forty-five degree angle. MASKED MAN: Sorry I don't have a bible for you to swear on, but I'll get the whole truth and nothing but the truth, so help me God. The man, who may or may not be Thumper under a ski mask, pulls Logan's head up so he can see that there is another man, also dressed in black and wearing a ski mask. MASKED MAN: That's your judge and jury. The man pushes Logan's head back down. MASKED MAN: I'm the prosecution. And you? You get to represent yourself. The man has a cell phone in his hands. He straightens up and punches in a number. He holds out the phone as a microphone and brings it close to Logan. MASKED MAN: First question for the defendant: what happened to Felix that night on the bridge? LOGAN: I don't know. I don't know. The man brings the phone to his ear and listens for a moment. He then turns to the other man. MASKED MAN: Okay. He's all yours, judge. Logan watches as the second man, the judge, approaches him. He has a g*n in his hand. He spins the cylinder and aims the g*n at Logan's left hand. Logan desperately tries to pull his hand away but is frustrated by the binding at his wrist. He shouts. LOGAN: No! No! No! Oh, come on, man, don't— MASKED MAN: One in six says you take a b*llet. LOGAN: No, come on, come on, man, don't do this! Come on, what're you, crazy? Logan is freaking. The judge pulls the trigger. There's a click. LOGAN: Aw, jeez! MASKED MAN: I'll ask you again. LOGAN: Look, I— MASKED MAN: What happened? LOGAN: I can't remember, okay? I swear to God, I can't remember. MASKED MAN: You wanna try one in five? LOGAN: Dammit, man, I'm telling you the truth, I swear to God! MASKED MAN: You're a k*ller, aren't you, boy? Just like your old man. The judge cocks the g*n again. It is still aimed at Logan's hand. Logan starts to scream and thrash in his bondage. LOGAN: No, please. No, God, stop it, please! Please! No! No! Nonononono! No! The judge pulls the trigger. Again, there is a click and the g*n does not discharge a b*llet. LOGAN: Aah! Oh, stop, please, okay, I don't know anything! Dammit, man, I swear! MASKED MAN: Don't talk to me. It's the judge you gotta convince. LOGAN: Please, I'm telling the truth! I didn't do anything, I swear to God! MASKED MAN: Know what I think the problem is? This boy don't care about his hand. Let's try some more valuable real estate. The judge lowers the g*n, aiming at Logan's kneecap. Logan continues to panic and scream and struggle. LOGAN: Come on, man! No! No! No! Please! Please, come on! Please don't! Please! Don't! Aah! Listen to me! Why would I lie, you guys? The masked man listens to the person on the other end of the cell phone. MASKED MAN: Okay. He turns to the judge. MASKED MAN: That's it. LOGAN: Please, no, come on, man! Please! The masked man folds up the phone and slips it into his pocket. MASKED MAN: We're done for tonight. EXT - DESERTED AREA - NIGHT. The white van pulls up. The side door to the van is opened. Logan is lying on the floor of the van, seemingly out of it. The masked man leans in to grab him, then looks over his shoulder to address the second man. As he does so, Logan lifts the cell phone out of the masked man's pocket. MASKED MAN: Give me a hand, man. I think he might've wet himself. They carry Logan out of the van between them and swing his body to throw him down a bank. Logan rolls down the bank. The men close up the van and drive away. At the bottom of the bank, Logan gets slowly to his feet. He looks around, breathing heavily, and then down at the phone in his hand. He flips open the phone and hits redial. He hears it ring. EXT - CAR PARK - CONTINUING. Weevil's cell rings. He answers. WEEVIL: Is it done? EXT - DESERTED AREA - NIGHT. LOGAN: Oh, it's just gettin' started, Weevs. You have no idea the hell you've just brought on yourself. Logan shuts off the phone. He sniffs and takes in a shuddering breath as he looks around. EXT - NHS, LUNCH AREA - DAY. Veronica stalks Vincent, who is carrying his lunch tray. VERONICA: Fish sticks and chocolate milk, yuck. That can't be good for you. VINCENT: Can you graduate already? Vincent puts his tray on a table and sits down. Veronica sits next to him. VERONICA: What did Marcos tell you about Camp SelfQuest? VINCENT: What the hell is Camp SelfQuest? VERONICA: It's the deprogramming camp Marcos' parents sent him to. You know, to make him un-gay. Veronica picks some food off Vincent's plate. VINCENT: Marcos wasn't gay. VERONICA: Sure about that? She pops the food in her mouth. VINCENT: Positive. He talked about chicks all the time. I mean, he wasn't a fairy, he was a playboy lovin' booty hound. VERONICA: Do me a favour: never describe me. VINCENT: He was all about girls. All the time. He almost got his ass kicked for it once. VERONICA: By the girl? VINCENT: By her jealous boyfriend. Vincent sticks his fork into his food. Veronica helps herself again as she gets up from the table. VERONICA: Okay, okay. Veronica leaves with Vincent staring after her in a disgruntled fashion. INT - NHS, JOURNALISM CLASSROOM - DAY. Veronica sits at one of the computer screens. VERONICA: "Sorry, but I've got a jealous boyfriend who knew I liked him, so..." Veronica pulls up a PlanetZowie universal mail account and prepares to email ofnight, heading the email "Free Tickets!" VERONICA VOICEOVER: Maybe the secret admirer can give me an answer. Veronica dictates to herself as she types. VERONICA VOICEOVER: "Free concert tickets for high school students. The radio broadcast alliance is seeking students for a survey in concert promoting. To apply, please call 619-555-0127 immediately." INT - SHERIFF'S DEPARTMENT - DAY. Carlos and Maria Oliveres are sitting outside the entrance to the Sheriff's Department, comforting each other. Keith arrives. KEITH: Hi. I'm sorry I'm a little late. CARLOS: That's fine. Keith holds out his hand as Carlos stands. They shake hands. CARLOS: Our lawyer said there'd be a few papers that you have to sign for us, in addition to testifying about what you've discovered. KEITH: Excuse us a second. Keith leads Carlos away from Maria. KEITH: Before I'm deposed, there's something I need cleared up. CARLOS: What's that, Keith? KEITH: I found fish food floating in the aquarium. For the life of me, I can't make sense out of it. Carlos looks a little uncomfortable. CARLOS: I suppose the guy who broke in decided to...feed the fish. Carlos knows this is not convincing. Keith stares at him sadly. KEITH: I know this harassment, whatever the cause, must have been terrible for you. And I feel bad I didn't catch him red-handed. But I can't help but wonder if someone left that last toy bus and that scrap of paper for me to find. I'm afraid you don't want me testifying, Mr Oliveres. I suggest you take the settlement. Keith gives Carlos a companionable pat on the arm and leaves. INT - NHS, CLASSROOM - DAY. Veronica is in what looks like a study hall. She is writing with one hand and has her cell in the other. The cell vibrates. She drops the pen and answers the phone. VERONICA: Hello— She catches herself with a grin. VERONICA: Radio Broadcast Alliance. Too late, as the caller hangs up. Veronica checks the phone and smiles. EXT - NEPTUNE STREET - DAY. Veronica walks up a suburban street, looking for a house. She find 8875 Crescent and goes to the front door. VERONICA VOICEOVER: One reverse phone book later and I've got the address of Marcos' secret admirer, and hopefully the not-so-loyal girlfriend of the crazy jealous boyfriend. The door is opened by Roxie, she of the cans who likes jocks, according to the wits of "Ahoy, Mateys!". ROXIE: Veronica Mars? VERONICA: Roxie. I have a couple questions for you about Marcos Oliveres. ROXIE: What about him? VERONICA: Come on, don't play coy. You sent me an email. You called and hung up. ROXIE: No, I didn't. Out of sight, a car door can be heard slamming. Roxie leans further out of the door to shout to the new arrival. ROXIE: Ryan! You didn't forget my milkshake, did you? The boy who told Veronica that nobody knew Marcos is standing in the driveway, holding up bags of food. ROXIE: Do you have an idiot brother, too? Veronica looks over and recognises Ryan just as he recognises her. He nearly comes to a stop, before putting his head down and attempting to race past her into the house. RYAN: You can get me later. Ryan gives Roxie the bags and tries to force himself past her, but Veronica hangs onto his arm. VERONICA: Ryan, I think I'll get you right now. Cut to later as they sit on the bonnet of Ryan's car. RYAN: I used to listen to the show religiously. I didn't know Marcos at school, I, I just knew who he was on the radio. I was pretty much in love with him. Marcos and Butters, they, they signed out this reverb mike from broadcast journalism. I heard it used in the show, so I knew it was them. I told him I was a fan. And thus began our beautiful friendship. VERONICA: So you guys were like, a couple, or...? RYAN: Ha. I wish. More like, I was madly in love and a hundred percent gay and he...liked me as a friend and was sexually on the fence. I kept trying to subtly push him over. I was giving him a back rub this one time, and his parents came home. For some reason, seeing their shirtless son with a boy straddling him was...upsetting. They shipped him off to camp h*m* and made him promise to never see me again. VERONICA: And then he died. RYAN: No. And then he was forced to do "normal" things. Like go on field trips to baseball games. Marcos is d*ad for one reason: because he was desperate to win back his parents. VERONICA: Still, the Olivereses lost their son. Those pranks really hurt them. RYAN: Good. That was the idea. Veronica stares at him. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - NIGHT. Music: Ocean City Girl by Ivy. LYRICS: Moving slowly into the setting sun Keeping secrets away— A naked Duncan lies in bed, apologising. DUNCAN: I'm sorry I've been so out of it lately. Guess it's just a confusing time, you know? MEG: I don't know why you're so confused. Meg, also naked and lying in his arms, kisses him. He strokes her hair. MEG: You either want to save me, or you don't. You know you're the only one who can. They kiss again, this time more deeply. Music pauses: Ocean City Girl by Ivy. T-shirted Duncan jerks himself awake. He takes a deep breath, letting it out slowly. He jumps out of bed, turns on the lamp and retrieves the letter to Meg from the drawer. Music resumes: Ocean City Girl by Ivy. LYRICS: Ocean city girl Is saying goodbye Duncan stares at the envelope for a moment. (The words on the back seem to have disappeared again.) He rips it open and starts to read. DUNCAN: Oh my God. End music: Ocean City Girl by Ivy.

{"type": "series", "show": "Veronica Mars", "episode": "02x08 - Ahoy Mateys"}

foreverdreaming

VERONICA VOICEOVER: Previously, on Veronica Mars... Veronica takes the tapes out of the air vent in Lilly's room. Cut to Veronica and Duncan watching one of the tapes. It is of Aaron and Lilly having sex. Cut to Veronica speaking to Keith on her cell phone as she is leaving the Kane estate, all from 122 Leave It to Beaver. VERONICA: Dad! It's Aaron Echolls. He did it. Keith listens at home, his face drawn in concern. VERONICA: [offscreen] I have video of Lilly in his bed on the day she died. Cut to the bus on its return journey from the field trip in 201 Normal Is the Watchword. Veronica is twisted around in her seat to talk to Meg. VERONICA: I hear you're back on the cheerleading squad. MEG: I'm supposed to pay or something, right? As Meg gets out her wallet, Veronica holds up her hands in defeat. VERONICA: Never mind. She turns back in her seat as Meg continues to glare at her. Cut to Veronica and Duncan in an empty classroom. Veronica is reading the emails Duncan printed off from Meg's files in 207 Nobody Puts Baby In a Corner. VERONICA: Why is Meg emailing someone at Child Protection Services? DUNCAN: She's been trying to help the kid, but she doesn't have proof. Cut to Veronica frantically telling Lamb why she and Duncan have broken into the Manning's' residence and are in Grace's room. VERONICA: We were trying to help Grace. They've been abusing... MANNING: Shut up. VERONICA: ...her, they had her locked in the closet. Cut to a little earlier as Stewart Manning thr*at them with a baseball bat. MANNING: Get on the floor! Veronica and Duncan sink to their knees on the floor. Cut to later again as Manning tells his story to Lamb. MANNING: I found them in my daughter's room, rifling through her things. Cut to Meg lying in her hospital bed in 209 My Mother, the Fiend. Veronica is there and sees Meg's pregnant belly. End previouslies. EXT - NEPTUNE HIGH SCHOOL (NHS), LUNCH AREA - DAY. Veronica is sitting alone at one of the tables, staring out into space. VERONICA VOICEOVER: It's three hours until the start of Christmas break. And despite what I am sure are the sincere efforts of the school's pastry chef, my holiday spirit has yet to kindle. Veronica's fork is s*ab unenthusiastically at a piece of cake, decorated with green frosting and upon which is drawn the outline of a Christmas tree in red icing. DUNCAN: [offscreen] There you are. Veronica looks up as Duncan joins her at the table, carrying his tray. Veronica stares down at the cake. VERONICA: Here I am. DUNCAN: I didn't even see you this morning and I kinda, you know, sorta hoped I could carry your books to class. She doesn't respond. DUNCAN: You okay? VERONICA: I saw Meg. Duncan draws back a little, surprised. DUNCAN: What do you mean? You... VERONICA: Meg's pregnant. Duncan stares down at the table for a moment. DUNCAN: I know. VERONICA: You know? DUNCAN: There was a letter, from her aunt. I guess Meg had asked to live up there and raise the baby. VERONICA: Oh my god. Duncan, how could you... DUNCAN: Last spring, before we broke up— VERONICA: Okay, stop! I was shown a diagram once. I know how it works. But you knew and you didn't tell me? DUNCAN: This has nothing to do with us. VERONICA: Oh, no! Nothing. Your secret illegitimate child gestating in the womb of your comatose ex-girlfriend affects neither you nor me. [tearfully] I'm fine with it. DICK: Hola, boyos. Dick arrives, putting a hand on each of their backs and leaning in. DICK: Hope I'm not spoiling a tender moment here. He moves around to the other side of the table and sits down. DICK: But I just wanted to make sure you got your vaccinations because the New Year's bash of the century is just a scant week away. VERONICA: Of the century? Does Truman Capote know? DICK: Of the millennium. And Truman who? DUNCAN: Can't. I've got holidays in Sun Valley with the parents. Veronica closes her eyes and shakes her head slightly, as if in disappointment that he is not changing his plans. DICK: Dude, seriously? Snow? Pine trees? Family? That's not holidays. Party boat, crazy Chinese pyro guy, I'm feeling that. Dick slaps Duncan on the arm. DICK: Think about it. He swivels off the seat and stands to go before pausing on a thought. DICK: Oh, and Duncan, if you're not coming because of...tension here, there's a chance an old flame might be there. Veronica stares at Dick with intense dislike. Duncan is puzzled and shakes his head. DUNCAN: What do you mean? DICK: Didn't you hear? Meg, she woke up. Probably gonna be partying in no time so...I'm just saying. Dick grins and walks off. Duncan looks stunned and turns his head back to Veronica, similarly affected. She lets out a long breath. DUNCAN: I should go see her. VERONICA: Got it covered. Veronica holds out her visitor's badge from NVH Neptune Memorial Hospital. VERONICA: My visitor's pass from when I picked up Abel Koontz's stuff. All I need it a colour copier and a laminator and we're in business. Duncan reaches out and takes her hand. VERONICA: Don't worry. I do this for all my boyfriends. DUNCAN: Veronica... VERONICA: I know. I'm amazing. She smiles at him. INT - COUNTY SUPERVISOR'S OFFICE - DAY. Woody is leading Keith into his office. WOODY: I appreciate you getting down here so fast, Keith. I'm sorry about that voicemail. I'm sure I sounded pretty crazed. As he talks, he makes his way to his desk. Keith settles in the chair opposite. KEITH: I did detect a certain urgency. WOODY: Keith. I gotta a call from Sheriff Lamb right before lunch. The Aaron Echolls/Lilly Kane sex tapes have been stolen from the evidence room. KEITH: All of them? Woody nods. KEITH: Original and copies? WOODY: From separate safes, no less. KEITH: Is there a sign of break-in or...? WOODY: No. This pretty much has to be an inside deal. Only an employee would have that kind of access. KEITH: This is gonna put a huge dent in the prosecution's case. Woody nods gravely. KEITH: It's not the kind of thing that's going to stay secret long. WOODY: No, it isn't. Woody gets up from his chair and comes around to the front of the desk, perching himself upon it, in front of Keith WOODY: And when it does come out, Neptune is officially Bozoville. A national laughing stock. I need you to get those tapes back. KEITH: Woody, I'm just a PI. I don't have a staff or access... WOODY: I'm not talking about a private investigation, Keith. I'm talking about an official independent inquest on behalf of the city. KEITH: I'm flattered, but am I really the guy you want, given my history with the department? WOODY: You're the right guy precisely because of your history with the department. Keith doesn't look convinced. WOODY: Please, Keith. What do you say? KEITH: I say it sounds awkward and uncomfortable, but we need those tapes. How can I say no? Woody lets out a huge sigh of relief. WOODY: Thank you, pal. With a big smile, he reaches forward to shake Keith's hand. INT - HOSPITAL - DAY. The monitors in Meg's room sound softly. The monitor for the baby shows 180, the one for Meg shows 60. Meg's eyes open. She looks slightly puzzled at something. It's a blurry Duncan who is looking down on her and gradually comes into focus. He is wearing a large visitor's badge. He smiles gently. DUNCAN: Hi. Veronica, who was sitting in the corner of the room, rises quickly and walks to the end of the bed. Meg is staring open mouthed at Duncan at the side of the bed. She looks down and sees Veronica, who is uncertain as to her welcome. MEG: Surprise. She smiles. DUNCAN: Meg, what are we gonna do? Meg gives a troubled laugh. MEG: God, Duncan, I don't know. Mom and Dad want me to put the baby up for adoption. Have you ever heard of the Levi Stinson Sanctuary House? DUNCAN: No. MEG: It's horrible. Their adoption contracts are all about religious indoctrination and tough love discipline. It's almost a license for abuse. When I think of my child brought up like that... DUNCAN: Don't I have any say? MEG: The sinner who knocked up their daughter? They don't want you involved, they want you gone. Their lawyers are digging up all this stuff on your medical history, your blackouts and violent outbursts. All I want is to have my baby and move in with my Aunt Chris in Seattle. A nurse, the same one from the alternative ending to 209 My Mother, the Fiend, walks in with a clipboard. She freezes when she sees Veronica and Duncan. NURSE: I don't know how you got in here, but you need to leave. MEG: Val? It's-it's okay. DUNCAN: We should go. Meg looks back at Duncan. DUNCAN: You should rest. Meg appears to accept this and doesn't respond. She does, however, take a long look at Veronica. Duncan passes behind Veronica to exit the room. Veronica stares back at Meg uncomfortably then turns to follow him. Meg watches for a moment, then seems to come to a decision. MEG: Veronica? Veronica pauses and looks back. MEG: Can you stay a second? Veronica looks at Duncan, then moves closer to the side of the bed as the nurse and Duncan leave. MEG: Veronica, I just hope you can forgive me for being such a b— Veronica places a comforting hand on Meg's shoulder. VERONICA: Meg, you don't have to— MEG: No, it's just that I knew that I was pregnant and seeing you with Duncan... VERONICA: You don't have to say anything. Meg grimaces. MEG: And is it too much to ask for just one small favour? VERONICA: No. MEG: If anything happens to me, don't let them do it. Don't let them send the baby away. And no matter what, don't let them keep it. Veronica stares down at her. INT - MARS RESIDENCE - NIGHT. Keith is sorting through a large stack of mail at the kitchen counter. Veronica enters the apartment. KEITH: You're late. VERONICA: That's the idea. Figured if I snuck in close to the end of the day, the chances of it getting even worse are slim. KEITH: So you would not characterise your day as "good." VERONICA: More along the lines of..."bad." KEITH: And how much would it help if I microwaved you some two-day-old lasagna? VERONICA: A...medium amount. Keith has settled on one piece of mail. KEITH: And how much would it help if I went out and got some ice cream, too? VERONICA: A...lot? Why would I need that much help? Keith holds out the envelope. KEITH: With my sincere regrets. Veronica takes it and glances at it. It is from the Neptune Court and marked "Official Business." She opens it. KEITH: Chocolate chip mint or butter pecan? It's an official form, unreadable except for the word "juror" writ large at the bottom in a red box. VERONICA: Oh, crap. Jury duty? KEITH: I'll get both. Veronica sighs. Opening credits. INT - JURY ROOM - DAY. Day One. It's 1:25pm. The jurors file into the room. VERONICA VOICEOVER: Jury duty on Christmas break. No sing-alongs, no poignant messages of universal love and hope, just cell phones out, watches eyeballed, jackets left on. And a commitment to the sacred ideal of drive-through express justice. Veronica comes in last and makes her way to one of the unclaimed chairs at the large table. One of the male jurors glances at her appreciatively. People slowly take places around the table and sit down. At the head of the table, a man described in the credits as Captain of Industry, taps his glass of water and brings them to order. CAPTAIN OF INDUSTRY: All right, ladies and gentleman. The sooner we get this over with, the sooner we get back to our lives. First order of business, I believe, is to elect a jury foreman. Do I hear any nominations or volunteers? The Captain of Industry is the only one now standing, at the head of the table, very much in charge. No one speaks. CAPTAIN OF INDUSTRY: All right, hearing no nominations, I have a proposal. This strikes me as a fairly open-and-shut case. So, would anyone object to letting the young lady serve as our foreman? Everyone stares at Veronica. CAPTAIN OF INDUSTRY: Be a nice chance for her to learn about civic responsibility in the justice system. Veronica is not thrilled. CAPTAIN OF INDUSTRY: Great! All in favour of Miss Mars as foreman, raise your hands. Everyone does, much to Veronica's chagrin. The member who clocked her coming in, wearing a baseball shirt under his jacket and a baseball cap, is enthusiastic. SPORTS GUY: Absolutely. Veronica smiles nervously. INT - SHERIFF'S DEPARTMENT - DAY. Lamb's face is contorted by strenuous effort. He let's out a held breath. LAMB: Yeah, we've done a ton of upgrading on the security front since you were here. For example, no keys anymore. We're using magnetic cards like you get in hotels. Lamb groans as he exerts himself again. LAMB: Reprogram them every couple of days. No worries about lost... His voice tightens as he labours. LAMB: ...or copied keys. Say bud, can ya gimme a spot? The scene opens out to show that Lamb has been doing barbell bench presses while he talks to Keith. The small room has been turned into a makeshift gym with a few pieces of equipment. On the walls are various posters on fitness and one setting out the department's goals. Lamb has the barbell just above his chest. KEITH: A spot? LAMB: Yeah, spot me up here. Keith puts down his pad and pen and helps Lamb put the barbell back on the rack. Lamb sit up and a full length mirror can be seen in front of him. He gets off the bench, breathing heavily. LAMB: Ah, endorphin rush, man. Lamb, showing off his muscles in a black wife-beater, stares at his body in the mirror as Keith watches with some disdain. LAMB: Mm. You know, Keith, you really shoulda done more to push fitness when you were here. KEITH: Yeah, I was gonna get to that, but the crime fighting kept getting in the way. Anyway, you were saying? LAMB: Magnetic cards, right. Lamb tears himself away from his reflection and walks over to the side to grab a pair of dumbbells. LAMB: And Level 1 clearance for senior staff only. There's no night time access without permission from me. Having brought the dumbbells back over to the mirror and placed them on the floor, Lamb, back to concentrating on the mirror, takes off his shirt. KEITH: So to paraphrase, you're telling me the Neptune sheriff's department is a locked-down, squared-away citadel of security? LAMB: That's a little flowery... Lamb bends down to retrieve the dumbbells. LAMB: ...but you can pretty much catch my drift. He poses in the mirror and starts to do arm curls. LAMB: I run a tight ship, Keith. KEITH: And you look good doin' it. LAMB: That's why they elected me, Keith. KEITH: So I'm gonna need unrestricted access to your staff at all times. Keith walks around to stand in front of the mirror and ensure Lamb's attention. LAMB: Absolutely. We're here to please. KEITH: Well in that case, I'll need personal info for everyone who works here. Personnel files, tax returns, security access levels, email addresses, browser histories, all that. LAMB: No problem, buddy. Just say how high. KEITH: Oh, I will. CAPTAIN OF INDUSTRY: [offscreen] So the question... INT - JURY ROOM - DAY. Day one continues. CAPTAIN OF INDUSTRY: ...is whether there's any need to deliberate at all. The captain of industry, still at the head of the table, continues to act like he is in charge as he states his view. Veronica, now sitting at the opposite end of the table, raises her hand. VERONICA: Um. She stands as the jurors turn their heads towards her. VERONICA: As foreman, I don't see how a quick review of the facts could hurt. Some of the jurors nod, some sigh, some fold their arms. The captain of industry looks at his watch impatiently. CAPTAIN OF INDUSTRY: Briefly, all right. Our defendants are Robbie McKinnon and Hunter Hayes... He hands a file to the Latina woman on his left, described in the credits as the knitting grandmother. CAPTAIN OF INDUSTRY: ...both twenty-one years of age, both from well known Neptune families. The knitting grandmother looks at the mugshots taken of the two before passing them down the table. CAPTAIN OF INDUSTRY: They are charged with aggravated as*ault in the November 5th beating of Anissa Villapondo, age twenty-five. Next is exhibit 7A, a picture of a Mexican girl, taken at a hospital. Her face shows signs of a beating. CAPTAIN OF INDUSTRY: As the prosecution tells it, Anissa missed her bus after getting off work at the Elite Touch car wash in downtown Neptune and decided to hitchhike. She was picked up by McKinnon and Hayes. On the way, Anissa and the boys smoked some marijuana. KNITTING GRANDMOTHER: Their weed? He coughs uncomfortably at the interruption. CAPTAIN OF INDUSTRY: Yes. She nods and casts a knowing glance at the black woman opposite her. CAPTAIN OF INDUSTRY: Then she says they asked her to join them in a motel room so they could "party some more." As the pictures make there way down the table, close-ups of Anissa's injuries can be seen. KNITTING GRANDMOTHER: With Ecstasy, also theirs. She looks around the table to see the effect, if any, of her comments. CAPTAIN OF INDUSTRY: They struck her as harmless, so she accepted. Once inside the room, they allegedly asked her for sex. On his right, the black woman, described in the credits as Women's Studies Professor, is following from her own notes. WOMEN'S STUDIES PROFESSOR: Her statement says they got so aggressive, she became frightened and tried to leave. The Captain of Industry passes some more pictures to her, to start their journey down the table in the opposite direction. CAPTAIN OF INDUSTRY: Hayes then supposedly pulled out a g*n and forced her back inside, where McKinnon punched and kicked her. The first picture, exhibit 12, shows a bed. There are spots of blood on the sheets. Numbered labels have been set beside them. CAPTAIN OF INDUSTRY: Hayes put the g*n on the bedside table... The next picture is a close up of blood spot #6 and is tagged exhibit 13. CAPTAIN OF INDUSTRY:...climbed on top of her. Miss Villapondo says she fought back, managed to grab Hayes' g*n, and fired twice into the ceiling. Exhibit 16 is of a large smear of blood, labelled #2, on the wall. Exhibit 17 is of two b*llet holes in the ceiling. A gloved hand holds up the number 16. VERONICA: The boys ran off, and the police picked them up the next day based on her descriptions and the video from the motel security camera. CAPTAIN OF INDUSTRY: Miss Villapondo also says after the beating she staggered out to the second floor balcony and threw the g*n over the railing. This...g*n was never found. VERONICA: Noted. So, the defense case. The defendants both claim she is no victim, but rather, a hooker who offered them a three-way for eighty bucks. Exhibit 201 is a photograph of part of a hotel. One of the doors on the upper story is circled. VERONICA: But before they could get down to business, a young African-American man, apparently her pimp... A mug sh*t of another man, C Myles, is being passed from juror to juror. VERONICA:...kicked the door in, fired two sh*ts into the ceiling, and ordered them out. The boys told police the pimp seemed to feel Anissa owed him money. They left the motel, but assume he was the one who b*at her. Halfway down the table is an older man with a moustache, described in the credits as Ned Flanders type, pipes up. NED FLANDERS TYPE: I'd like to remind everyone that this girl is a known criminal. She was convicted of forgery at age fifteen, and she's still on parole for being an armed lookout during a liquor store robbery. The Captain of Industry does a "What do you expect?" gesture. VERONICA: Noted. So, final facts: after the att*ck, Anissa called an ex-boyfriend, named...Anquan Simmons. A final mug sh*t is on view. A Simmons is another black man. VERONICA: He says she asked for his help but when the cops arrived he was still on the line. Neither of the defendants had a criminal record. CAPTAIN OF INDUSTRY: Nor any g*n registered to their names. VERONICA: After the sh*ts, the motel manager waited a few minutes, and then walked toward the room. He testifies that he saw a young black man with a g*n run across a parking lot and leap over the six-foot fence surrounding the motel. SPORTS GUY: Boy's got some serious ups, yo. Some of the jurors aren't impressed with his levity. VERONICA: Now we get to the defense's ace in the hole. Young Masters McKinnon and Hayes have a very credible witness on their side: a Mister Carnell Myles, who identifies himself as Anissa's pimp. Mr Myles turned himself into police after hearing that a man fitting his description was spotted fleeing the crime scene. His story matches the boys' version to a "t." Veronica looks up at the Captain of Industry, a little irritated still by his condescension. VERONICA: How'd I do? The patronising attitude doesn't stop as he gives her an okay with thumb and finger. VERONICA: So. Are we ready for a vote? Veronica stands as the jurors mumble their agreement. VERONICA: I say we make this simple. Jot down your vote on a piece of paper, fold it up, and stick it in the hat. As she is talking, Veronica walks down the table and lift's the sports guy's cap off of his head, placing it in the centre of the table. VERONICA VOICEOVER: And there it is: one quick lesson in civic responsibility for me, and an only slightly shortened holiday for everyone. Our resident alpha male was right about one thing: the case does feel, thankfully, pretty open-and-shut. Veronica takes out the slips of paper from the cap. The jurors watch quietly. The Captain of Industry checks his watch. VERONICA: Our vote is eleven innocent, one guilty. The jurors groan. VERONICA: I guess we'll all see each other first thing in the morning. INT - SHERIFF'S DEPARTMENT - DAY. Sacks sits at the table in one of the interrogation rooms. SACKS: Well, it's like I said. These rooms are monitored, closely, in compliance with new security upgrades, such as magnetic keys. Keith is leaning by the room's mirror, staring down at the deputy. KEITH: Magnetic keys. Senior staff only, right. You ever lose a card? SACKS: So? If somebody found it, it's no good. We change the codes. KEITH: But you still need a card, right? SACKS: Inga has the codes in a drawer, she can just make a new card right there. But only if you have, uh, Level 1— KEITH: Level 1 clearance, senior staff only. Gotta hand it to you, Sacks. You stay on message like nobody's business. Keith sits down at the table. KEITH: If not for the little perspiration problem, you'd make a great White House press secretary. Sacks hurriedly wipes his brow. KEITH: Yeah. So, security's wonderfully tight, and none of the senior staff took the tapes themselves. Sacks nods, then thinks again and shakes his head. Keith nods. VERONICA: [offscreen] I know we all... INT - JURY ROOM - DAY. Day two. Veronica, gripping a mug, is walking around the Captain of Industry's end of the table, addressing the jury. VERONICA: ...have better things to do than pull jury duty over the holidays, and I feel your pain. The Captain of Industry chuckles sarcastically. CAPTAIN OF INDUSTRY: Does your pain affect two hundred thousand stock holders? I'm supposed to meet with outsourcing contractors in Bangalore. Care to tell them why their CEO couldn't show? SPORTS GUY: And while you're at it, tell the sports fans of Neptune why the mind of Madison Harwell is missing from the airwaves. A woman described as single mother waitress in the credits adds to the grumbles. SINGLE MOTHER WAITRESS: As a divorced mother of two taking unpaid leave from her crap waitress job, could I please suggest we get on with it? VERONICA: Right. We were... Veronica heads for her seat as everyone takes their place. CAPTAIN OF INDUSTRY: I was just wondering if our holdout voter would identify him or herself. As a courtesy to those whose lives you've put on hold. A hand appears in the air. The camera moves down to reveal the Latina woman. She addresses the Captain of Industry sitting next to her. KNITTING GRANDMOTHER: No problem, big sh*t, I'm the one trashing your quarterly earnings. CAPTAIN OF INDUSTRY: I respect your honesty. So I'll be straight with you, too. Is the racial stuff affecting your vote? KNITTING GRANDMOTHER: Is it affecting yours? This exasperates the Captain of Industry, who bangs on the table as he pushes back his chair to lean over it, towards her. CAPTAIN OF INDUSTRY: Fine. But can you give us one solid reason we should see this girl's story as even remotely credible. KNITTING GRANDMOTHER: Okay, here's one: a ho that works her ass off all day at a carwash before hitting the streets. That's just something I never heard of. This seems to register with some of the jurors as muttering breaks out. VERONICA: Okay, let's discuss. INT - SHERIFF'S DEPARTMENT - DAY. Leo is in the hot seat now. LEO: I'm not gonna insult your intelligence, Keith. Don is a fine politician but as a lawman and administrator? Security around here's a joke. KEITH: That's odd. He told me security here was quite impressive. LEO: He thinks so. He locks himself out pretty often. Keith chuckles. LEO: Listen. Someone must have figured what those tapes would be worth on the open market and... Keith looks heavenward before grunting. LEO: What? KEITH: No, it's nothing, I'm an idiot. I've been so hung up on Aaron Echolls and all this evidence tampering, I never stopped to think what those tapes are worth. LEO: Good celebrity p*rn is scarce these days. Leo rises from his seat at the table as Keith turns off his recording device. Leo pauses at the door. LEO: Keith...um, you mind giving my best to your daughter? KEITH: A little. But I'll do it. Keith grins. INT - THE DISPATCH - DAY. Lloyd, last seen in 122 Leave It to Beaver, seems to have a small cubicle to himself these days. He is working on his computer when the phone next to him rings. LLOYD: "Dispatch," Blankenship speaking. INT - SHERIFF'S DEPARTMENT - CONTINUING. Keith is calling from the interrogation. The camera continues to cut between the two ends of the phone call. KEITH: Lloyd, Keith Mars here. LLOYD: Got any more true-crime semi-bestsellers for me? KEITH: Fortunately, no. But what I do have needs to stay on background. LLOYD: No problem, man. What's up? KEITH: The sex tapes of Echolls and Lilly Kane have been stolen from the Balboa County Sheriff's Department. Heard any buzz on that? LLOYD: No. But we're not the target market. Whoever's got 'em's going straight to the tabs. KEITH: With whom you legitimate newsmen have no ties whatsoever. LLOYD: Well, I, I do have a casual acquaintance at "The Instigator." KEITH: Well you mind letting me know if he knows anything? LLOYD: It's a she. And I'm happy to do it. KEITH: Well thanks, Lloyd. INT - JAVA THE HUT - NIGHT. Veronica, carrying a tray of dishes as she clears tables, turns straight into Thumper. VERONICA: Oh. Hello. Which one are you? Blinky? Humpty? Zorro? THUMPER: The name is Thumper. Not that you really care. VERONICA: Oh, I care. Deeply. Veronica carries the tray to the counter and sets it down next to notice promoting the Hut's latest delight. VERONICA: I guess you heard about our new cranberry walnut crumb cake. It's true: it's cran-tastic. Veronica points to the notice showily. THUMPER: I just dropped by 'cause me and some of the guys were curious about somethin'. VERONICA: And that would be? Veronica carries on working, wiping down a table. THUMPER: We was just wonderin', now that you're all up inner the 09ers again; you gonna be letting those two little frat boys walk for beating down a poor Mexican chick from our hood? VERONICA: Can't talk about this while the trial's still on. THUMPER: Yeah, 'course not. Wouldn't want to prejudice you or nothin'. You take care, Veronica. Veronica watches Thumper go. INT - JURY ROOM - DAY. Day three. Veronica walks towards a television on which is stilled a video. VERONICA: These are from the motel's parking lot security cam. She unpauses the video and the jury watch a man run down some stairs, across the car park and over a fence. VERONICA: It does support the motel manager's story of a black guy fleeing with a g*n. KNITTING GRANDMOTHER: Then speaking of the motel, here's something I didn't hear nobody talk about. This motel manager says twelve minutes passed from when he heard sh*ts to when he stuck his head out and saw that pimp running off. Why would a man who just b*at some poor gal and sh*t off a g*n stick around so long before getting away? Some of the jurors nod. INT - SHERIFF'S DEPARTMENT - DAY. Keith is alone in the interrogation room, pondering. Logan appears at the door. He takes on the persona of a gay style guru. LOGAN: I adore what your designer's done with the men's room. That Hefty bag over the busted urinal adds a delicious wabi-sabi feel. Logan shuts the door behind him as Keith stands. KEITH: It's Don's thing. We went more mid-century modern back in my day. They grin at each other. KEITH: Anyway, thanks for coming by. I'm guessing by your blithe spirits that you have no idea what's up. Keith turns on the recorder. LOGAN: [cautiously] No. But they request my presence here weekly, so... KEITH: Logan, the tapes your dad and Lilly have been stolen from the evidence room. I'm here to investigate how it happened and try to get them back. LOGAN: What? KEITH: Obviously, I need to know what, I mean, if anything, your father might have said lately about the case or the evidence. LOGAN: Oh, wait. Wait. Now I'm totally confused. That sounded a lot like a question you would ask a suspect. An accomplice, say. KEITH: You did spend time with Aaron right before the tapes were stolen. Logan's indignation is interrupted by a knock at the door. KEITH: Yeah. Inga opens and stands at the door. INGA: Excuse me, Keith, Lloyd Blankenship of "The Dispatch" is on the phone. KEITH: Thanks. I'll be right back, excuse me. Keith turns off the recorder and leaves the office. INT - THE DISPATCH - DAY. Lloyd swivels in his chair as he talks to Keith. LLOYD: I just talked to that casual acquaintance at "The Instigator." They've been contacted about the Aaron Echolls sex tapes. INT - SHERIFF'S DEPARTMENT - CONTINUING. Keith is out in the general office, which is decorated for Christmas. The camera cuts between the two locations as the call continues. KEITH: You know who else they approached? LLOYD: Didn't know. But the bids are coming in fast. KEITH: Dare I ask? LLOYD: Current high? Half a million. KEITH: Thanks, Lloyd. Keep me posted? Keith hangs up the phone with something of a sigh. In the interrogation room, Sacks opens the door, holding a ring binder. He puts it down on the table. He doesn't notice that Logan, lying on the bench, is in the room. Sacks exits. Logan, surprised not to have been noticed, gets up and picks it up. With a glance behind him, Logan opens it. On the right hand side, secured by the rings, is a densely typed report. On the left, in the flap, is some sheets of paper. Logan takes the sheets, closes and puts down the file, and quickly folds the papers, stuffing them in his pocket and sitting back in the chair, just as Keith enters. KEITH: Sorry about the interruption. Now, I asked you whether you heard anything unusual from your father. Did he ever mention the tapes when you were locked up with him? LOGAN: [angry] Can you seriously imagine me conspiring to save Daddy dearest? Lilly's k*ller? KEITH: I'm just making sure I have every pertinent bit of information. LOGAN: I'll tell you what, dude: if I hear anything pertinent, I'll get back at you. The chair scraps against the floor as Logan stands up. KEITH: The name's not "dude," it's Mr Mars. The two stare at each other. SINGLE MOTHER WAITRESS: [offscreen] Kids say the... INT - JURY ROOM - DAY. Day three continues. The waitress is letting herself into the room. SINGLE MOTHER WAITRESS: ...darndest things. "Mommy, if you get fired, do I still get free leftover Tater Tots?" VERONICA: Look, we all hate this, but until we all agree... KNITTING GRANDMOTHER: Look, honey, my whole thing from the start has been to take this job seriously and I am satisfied that we have. If we vote again and nobody crosses over to my side, I'll change my vote. The waitress smiles broadly in hope. KNITTING GRANDMOTHER: Fair enough? There are a lot of happy murmurings. Harwell, the sports guy, is most enthusiastic of all, drumming on the table. HARWELL: Woo! He pulls off his cap, offering it to Veronica for the vote. VERONICA: Hands will do. All right: all in favour of continued deliberation? From overhead, the camera goes from juror to juror. The knitting grandmother raises her hand to the snort of the Captain of Industry, who clasps his hands together to emphasis his vote against. The black woman raises her hand and there are loud groans in the room. The camera gets back to Veronica, who also raises her hand to more moans. SINGLE MOTHER WAITRESS: Oh, are you kidding? CAPTAIN OF INDUSTRY: Oh god. The Captain of Industry jumps up from the table in disgust, giving Veronica a withering look. INT - MARS RESIDENCE - NIGHT. Keith enters the apartment. Veronica, in sparkly dress and elf hat, is just getting a pan out of the oven. Keith looks around the festively decorated apartment. KEITH: I'm sorry, I was looking for my apartment, but I seem to have stumbled upon some sort of magical winter wonderland instead. Why, perhaps this elf can help me. VERONICA: I just thought we needed at least an hour of holiday. Grab a seat. Keith kisses Veronica on the cheek. Veronica returns to being chef, lifting a game hen out of the pan. KEITH: You know, elf, we might not be the richest family in town, but we can afford normal-sized birds once a year or so. Having placed the second one on a dish, Veronica holds it out for Keith. VERONICA: Game hens. They were just so cute. Plus this way, we won't have to eat leftovers on New Year's. KEITH: Well, that's smart thinking. Keith goes to pick at one of the birds. Veronica slaps his hand away. KEITH: Come on, what do they taste like? VERONICA: I don't know. Dense little turkeys? She puts the dish down on the counter that serves as their table and they both take their stools. Keith looks around. KEITH: Thanks for doing all this, honey. VERONICA: Thank the three energy drinks. Merry Christmas, pops. Veronica holds up a glass of wine to tap glasses. Keith picks up the other glass, adopting a faux-stern expression. KEITH: You're drinking wine now? VERONICA: No. God bless us, every one. Cut to later. Keith pushes back the plate with the remnants of his dinner, sighing contentedly. KEITH: [Italian accent] She's a very tiny bird, in-a size, bit in-a taste-a, so big! Keith gestures the size of a turkey with his hands. Veronica smiles and rises to start clearing up. KEITH: Backup can handle the dishes. Right now, how's about an early peek at one of your Christmas presents? VERONICA: What about our strict Christmas morning-only rule? Keith holds out his hands, puffing in mock ignorance. Veronica beams. KEITH: This Christmas we make our own rules. Follow me! Keith leaps up and Veronica claps, running around the counter to follow Keith as he marches towards her room. VERONICA: I'm so impressed you fit a pony into my room. Presents, presents, presents! Veronica skips excitedly into her room. When she reaches the door, Keith puts his hands over her eyes and leads her in. He releases her with a flourish. KEITH: Ta da! Open mouthed, Veronica looks at her laptop on her desk. Keith has put a large bow on it. VERONICA: Uh...yeah, isn't that the same computer you got me two years ago? KEITH: Yeah, on the outside, yes. But this old beast has a new heart pulsing inside her. I'm talking five hundred and twelve gigawatts of RAM, an eighty something or other hard drive, a, a— VERONICA: You don't know what you're saying, do you? KEITH: No. But your friend Mac promised me that it's all very state-of-the-art. VERONICA: Thanks, Dad. You rock. Veronica holds up her hand. Keith follows suit and they high-five. KEITH: Why don't you take it for a test drive? Veronica sits down at her desk and Keith leaves her to it. As soon as she switches on the screen, it fills with two articles. The first, written by Jeremy Davis of Associated Press, is headlined "SDSU Cornerback Goes in Second Round — Myles expected to compete for starting job in secondary." There is a picture of five men, the one in the middle a black man holding up a football shirt, showing "Myles 28." The caption reads "San Diego State graduate, Carnell Myles, (center) is flanked by KPL representatives. The second article, which also has a story about Steve Kaiser who "raises the bar again," is from "The Neptune Register" and has a picture of the same man, in the number 28 shirt, being stretchered off a field with the headline "Training Camp Woes - Local legend Myles suffers career-ending injury." (The author of the second article is probably yours truly in a shout-out from Rick Pickett, but unfortunately is just too damn small to confirm. If anybody can capture the name, please let me know.) VERONICA VOICEOVER: What's this? Two stories from 1999 dated about two months apart? And the man pictured in both stories, Carnell Myles, the same guy who now identifies himself as Anissa Villapondo's pimp. Veronica glances up, but Keith doesn't look at her as he walks out of the room. VERONICA VOICEOVER: Is there anyone in this town who doesn't know which trial I'm on? INT - JURY ROOM - DAY. Day four. Veronica closes the door and walks towards the table. VERONICA: Maybe the fellas can help out a sports-impaired girl. This Carnell Myles guy, I keep thinking I've heard his name, but he's not a musician, or an actor, anything I'd know. Did he used to play something? Harwell, standing nearby, has a revelation. HARWELL: Damn, you know, I think you're right. Matrix Myles! Incredible cornerback at San Diego State. He got drafted by the Bengals. Harwell takes his place at the table. The Women's Studies Professor, who has been gazing out of the window, takes an interest. WOMEN'S STUDIES PROFESSOR: So how'd he end up a pimp? HARWELL: First day of training camp, he blew out his knee. KNITTING GRANDMOTHER: Miss Foreman? Any idea how this no-cartilage-having ex-jock managed to leap over that wall? There are more loud groans. INT - SHERIFF'S DEPARTMENT - DAY. Keith is going through the ring binder in frustration. KEITH: Hey Sacks! The interrogation room door is open and Deputy Sacks can be seen outside in the general office. He gets up from the desk and wanders to the door. KEITH: I'm not finding that list of the email addresses for everyone on staff that I asked you for. Sacks points at the ring binder. SACKS: Um, it's in the flap. KEITH: The flap, right. What flap? SACKS: The packet I gave you? I put it in there. KEITH: Well, I see a flap, but it's empty. Sacks shrugs. SACKS: I put it in the flap. He wanders back to his desk. Keith stares at him. INT - JURY ROOM - DAY. Day four continues. The Captain of Industry is walking slowly back to his seat. CAPTAIN OF INDUSTRY: Okay. So Robert McKinnon the sports agent is Robbie McKinnon's father. What does that prove? VERONICA: It proves diddly. But it begs some interesting questions about how Carnell Myles got involved in all this. CAPTAIN OF INDUSTRY: Are you suggesting that Robert McKinnon paid his former client to take the rap for his son? VERONICA: It happens. Trust me. The Captain of Industry shakes his head. NED FLANDERS TYPE: What good would money do a man serving twenty years for as*ault? KNITTING GRANDMOTHER: Twenty years? Mejo, you got some funny ideas about how judges deal with pimps who slap their hookers around. Six months, maybe. VERONICA: And is my theory really any crazier than the other way of looking at it? CAPTAIN OF INDUSTRY: What other way? VERONICA: That a pimp, tricking eighty dollar hookers, showed up out of the goodness of his heart to save two rich white boys from doing time. HARWELL: But there's still the g*n. Nothing ties it to the defendants. NED FLANDERS TYPE: And we all saw it in the hands of the guy running from the motel. In amongst the murmurs of assent, Veronica has an idea. She stands. VERONICA: The g*n belonged to Anissa. The jurors looks at her in amazement. The Captain of Industry puts his hands behind his head. CAPTAIN OF INDUSTRY: [patronisingly] This should be good. Veronica starts to pace, thinking on her feet. VERONICA: We know she has a firearms rap. Parole in those cases forbids you to own a g*n. The boys att*ck her, she pulls the g*n, they flee, but if she admits the g*n is hers, it's prison for sure. She has to ditch the g*n before the cops arrive. But she's too b*at up to do it herself. WOMEN'S STUDIES PROFESSOR: So she gets her friend to do it. Anquan Simmons. VERONICA: Whom she calls after the att*ck, and who was seen fleeing the scene twelve minutes later with a g*n. CAPTAIN OF INDUSTRY: So aside from the theory you just yanked out of your... Veronica waits for it. CAPTAIN OF INDUSTRY: ...imagination...what ties the g*n to Miss Villapondo? VERONICA: Process of elimination. The guy running from the motel wasn't Carnell Myles, so it couldn't have been his. If it belonged to the boys, Anissa wouldn't have needed to hide it. Their fingerprints would have been on it as well as hers. HARWELL: But that still leaves... VERONICA: Anissa and the anti-gravity guy we saw hopping the fence. So unless that guy was in the room the whole time, which neither the defence nor the prosecution has proposed, the g*n is Anissa's. INT - SHERIFF'S DEPARTMENT - DAY. Keith walks into the general office. KEITH: Inga, can I — She thrusts a sheet of paper at him. KEITH: What's this? INGA: It's an anonymous email I just got. Keith reads it as Sacks appears near them, attending to something at his desk. KEITH: For an offer of fifty thousand dollars for the tapes. Sacks, did you get an email like this? Sacks takes and examines the email. SACKS: Uh...yeah. Just today. We all got 'em. Sacks looks up into Keith's baleful gaze and becomes defensive. SACKS: I told the Sheriff. KEITH: Get me another copy of that email list. Sacks exits to execute his instructions. Cut to a little later. Keith is in the general office using one of the computer. He has a partially completed email on screen, from [email protected] (Inga@Work). It is addressed to "Got Tapes?" and in the subject line is "Re: Echolls Video Tapes." In the body of the email, Keith has copied the original email sent to Inga. That was from [email protected], dated Thursday December 29th at 1:56pm. Keith types, "Your offer is acceptable. Please advise re: transfer and payment" and sends the email. It disappears off the screen, leaving the original which reads, "I would like to offer $50,000 for all originals and copies of the Aaron Echolls tapes you are holding as evidence for his upcoming trial. Reply to this email address if you are willing to sell them to me." INT - JURY ROOM - DAY. Day four continues. The videotape from the motel is shown again. A man jumps over a high fence. Veronica switches the video off. HARWELL: Not too shabby for a guy with a surgically fused knee. VERONICA: True, that. She holds up the mugshot of Simmons. VERONICA: Now take another look at this photo of Anquan Simmons. WOMEN'S STUDIES PROFESSOR: From a distance, it'd be pretty easy to mistake him for Carnell Myles. VERONICA: So, are we ready for a vote? Sounds of assent reverberate around the room. VERONICA: All for acquittal, raise your hands. The Captain of Industry and the Ned Flanders type both raise their hands. Everyone else keeps their hands on the table. The Captain of Industry looks disbelievingly at Madison Harwell. CAPTAIN OF INDUSTRY: You wanna miss more ball games? HARWELL: Gimme a break, Daddy Warbucks. She laid out a good — He is interrupted by the bailiff poking his head into the room. BAILIFF: Pardon me, Miss Mars, the judge would like to see you in her chambers. CAPTAIN OF INDUSTRY: [aggressively] Here's something for our foreman to pass along: I will never vote for conviction. No matter what. You tell the judge this jury's hung. INT - SHERIFF'S DEPARTMENT - DAY. Keith is still sitting in front of the computer screen. He is viewing with mild interest a .pdf letter of 19 December from Woody to Lamb. The actual letter is dated the 18th and is addressed to Lamb at Balboa County Sheriff's Department, 602 Pennington Street, Neptune, CA 90909. Woody says, "I am writing to inform you of my decision to employ an external auditor to investigate the recent disappearance of the Aaron Echolls sex tapes. A level of integrity and professionalism needs to be upheld throughout the process to ensure we do not appear to [sic] lax on security or look foolish in the eyes of the voters. I have yet to decide who I will appoint to head the investigation but currently I am leaning towards Keith Mars. I understand that Keith and you grate [?] each other at times, but I ask you to acquiesce to any requests he, or another investigation, asks of you during the course of this investigation. Both our jobs are at stake here and after winning a contentious race for sheriff, I'm sure you'll understand the gravity of my purpose and request." Underneath, a list of emails already read, including one telling Inga that she could be a winner and a second more intriguing one. This is headed "Re: Report Closet" and is presumably Lamb's follow-up to the investigation into Grace Manning from 107 Nobody Puts Baby in a Corner. It is not clear whether Keith has read this. There is one other, unread, email, headed "Re: Re: Echolls Video Tapes" and is the response to the email Keith sent out. He opens it. In a slight faux pas with the dates, the original email is now times at 1:45pm and Keith's response at 1:51pm. The response is short and to the point: "Sorry dude, I already have the tapes." KEITH: It's Mr. Mars to you. INT - JURY ROOM - DAY. Day four continues. The jurors are all standing, putting on their coats and chatting with each other. Veronica enters. SINGLE MOTHER WAITRESS: What happened? VERONICA: She asked me whether we were deadlocked. I said no. Then she said we're not going home until we reach a verdict. This news is met with various expressions of frustration. The Captain of Industry, now in his seat, stares at Veronica in pure hatred. The Latina woman gets her knitting out of her bag and sits down again. KNITTING GRANDMOTHER: Okay, no problem. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - DAY. Music: Edge of the Ocean by Ivy. LYRICS: There’s a place I dream about Where the sun never goes out And the sky is deep and blue Won’t you take me there with you Ohhh, we can begin again. Shed our skin, let the sun shine in. At the edge of the ocean We can start over again Sha-la-la-la-la-la-la Sha-la-la, sha-la-la Sha-la-la-la-la-la-la Sha-la-la, sha-la-la There's a world I've always known Somewhere far away from home When I close my eyes I see All the space and mystery. Ohhh, we can begin again. Shed our skin, let the sun shine in. At the edge of the ocean We can start over again. Sha-la-la-la-la-la-la Sha-la-la, sha-la-la Sha-la-la-la-la-la-la Sha-la-la, sha-la-la Lilly's face is on the television screen. One of the tapes from the pool house is playing. Aaron's face appears as they change positions in bed. Logan watches tearfully, looking devastated and very, very lost. Eventually, he rises from the sofa and retrieves the tape and its label. He returns to the ottoman, where other tapes are neatly lined upon it, together with a lighter and a degausser. He runs the degausser over the tape, which he then adds to the rest. It's all done with gut-wrenching precision. He collects all the labels and bends down, holding them over a metal bin. He uses the lighter to set the labels alight, only dropping them when they are nearly fully engulfed. As he watches the labels burn in the bin, there is a knock on the door. Logan wipes away the tears and opens the door. It's Keith. He instantly grasps Logan's emotional state and Keith's face shows a gentle sympathy. KEITH: For that experience you paid fifty grand? They stare at each other for a moment, then Logan backs away from the door, allowing Keith to enter. Logan leans against the wall in the small hall. LOGAN: Yeah, all that matters is that the world wide web won't be hosting mpegs of my old man defiling the love of my life. KEITH: For a guy who says he hates his father, you sure did him a huge favour. LOGAN: Well, I've seen the tapes. I could testify against him as well as anyone else. KEITH: You can also go to jail. This is a serious crime. LOGAN: Yeah? Uh, where's the evidence? Logan casts a look back over his shoulder to the lounge and the ottoman. KEITH: I believe those are the tapes right there. LOGAN: Yeah, those are blank. KEITH: Blank tapes made you cry? Keith walks towards the ottoman. Logan follows him. LOGAN: Yeah, I thought I'd saved the Daria marathon on them. KEITH: Right. And most people have a tape degausser just hanging around on their coffee table. Logan smiles faintly and shrugs. KEITH: Well, at least tell me this: how did you manage to buy those tapes for a tenth of their market price? Logan's smile deepens as he references Blance DuBois from "A Streetcar Named Desire." LOGAN: Why, sir, I've always depended upon the kindness of strangers. KEITH: Oh, kindness at the sheriff's department. I seriously doubt... Keith's words fade as he realises who at the sheriff's department might offer kindness and he looks sad. End music: Edge of the Ocean by Ivy. INT - JURY ROOM - DAY. Day four continues. Veronica leaps to her feet. VERONICA: I'm not questioning your integrity. I'm just asking you for a logical response to the points I've raised. CAPTAIN OF INDUSTRY: Logical? Look, Barbie... The black Women's Studies professor, who had been resting her forehead on her clasped hands, jerks her head up at that to stare at the Captain of Industry distastefully. CAPTAIN OF INDUSTRY: I've had a bellyful of your snide little digs. Here's my final word. He emphasises his proclamation by rising to his feet. CAPTAIN OF INDUSTRY: [with feeling] I'll never, ever, send two boys from good families to jail on the word of that Mexican whore! Someone at the table says "Oh, come on," and there are gasps all around. Veronica just stares at him. WOMEN'S STUDIES PROFESSOR: I think it's time to take a break. HARWELL: Yeah, good idea. The woman gets up from the table, as does Harwell. A number of the other jurors are staring at the Captain of Industry with something akin to horror. More and more get up from the table and turn their backs on him, still muttering about his outburst. Last to rise is the moustachioed Ned Flanders type. NED FLANDERS TYPE: Miss Foreman? I'd like to change my vote. Veronica nods her head. CAPTAIN OF INDUSTRY: What? [condescending] Did God just speak to you? Veronica glares at him. NED FLANDERS TYPE: Sir, I think that's a bit out of line. CAPTAIN OF INDUSTRY: You're right. I apologise. And you know what? I'm changing my vote too. Everyone gasps anew as he heads back to his seat and sits down. CAPTAIN OF INDUSTRY: Even lying hookers deserve a little holiday cheer, don't they? KNITTING GRANDMOTHER: Are you serious? CAPTAIN OF INDUSTRY: 'Course I'm serious. Light the yule log, crank the Manheim steamroller, it's Christmas! Those boys will appeal, and they'll win. I'll sleep with visions of sugarplums, trusting their fate in a jury that doesn't kowtow to a high school cheerleader! Veronica thrusts out her arms in cheerleader style. VERONICA: Yay! More pointedly, she addresses the Captain of Industry. VERONICA: Let me take this moment to thank you. I learned a lot about civic responsibility. He has the grace to look a little uncomfortable. Cut to a little later. The room is emptying as Veronica gets her coat from the rail. The black woman approaches her. WOMEN'S STUDIES PROFESSOR: Pardon me, Veronica? I just wanted to congratulate you on the superb job you did. Most impressive, especially for someone your age. VERONICA: Thanks. WOMEN'S STUDIES PROFESSOR: I don't know if you've made plans for college, but I think you'd fit right in at Hearst. VERONICA: Stay here, in Neptune? WOMEN'S STUDIES PROFESSOR: Well, we won't be moving the university. VERONICA: I'd really kinda planned on having my car packed and running during graduation ceremonies, just to kinda b*at the rush out of Neptune. Then there's the other thing. WOMEN'S STUDIES PROFESSOR: What other thing? VERONICA: The tuition. Hearst is a-is a bit pricey. WOMEN'S STUDIES PROFESSOR: We have some very generous scholarship and grant programs. You're our kind of student. I'd fight for you. EXT - JAVA THE HUT - NIGHT. Veronica walks towards her car. VERONICA VOICEOVER: So, life goes on. Another day of work, carry-out meatloaf, two lousy days of holiday left. The LeBaron's windscreen has the words "Muchas Gracias Bitch!" across it. Veronica looks worriedly around the car park. VERONICA VOICEOVER: And a freshly vandalised car. Socially speaking, looks like I'm right back where I was a year ago. Somehow, I don't think I'd be very welcome anymore at Dick's New Year's Eve bash. INT - MARS RESIDENCE - NIGHT. Veronica walks into the apartment. Keith is sitting at the kitchen counter, reading something. VERONICA: Tax reports? Did you change careers without consulting me? Keith carefully closes up the report he was examining. VERONICA: My dad the accountant's seriously less cool. Veronica heads for the cupboard under the microwave. VERONICA: Oh, hey, did you hear about our verdict? We voted to convict. It's making me real popular with my classmates. KEITH: It's not always easy doing the right thing. Veronica retrieves a roll of paper towel and some spray cleaner. VERONICA: If that phrase isn't on the Mars family crest, it should be. KEITH: What's with the janitorial supplies? Veronica heads for the door. VERONICA: Oh, just tidying up after a billion or so starlings. They seem to be the official courthouse mascot. KEITH: Veronica. She is halfway out the door. She pauses and looks back at Keith. KEITH: What can you tell me about Deputy Leo, about his family? Veronica knits her brow as she stares at Keith. INT - SHERIFF'S DEPARTMENT - DAY. Leo is in the general office, busy at a computer screen. Keith calls him from the door of the interrogation room. KEITH: Deputy. Can you step in here for a moment, I need to speak with you. Leo walks into the interrogation room. LEO: What's up, Keith? Keith closes the door behind them. KEITH: Tell me about your little sister. Leo is gutted by the question but knows now what is coming. He puts his hands in his pockets and responds with affection. LEO: Tina? What can I say, she's a great kid. She's ten years old, she's totally nuts about the 49ers, she challenges me at crazy eights every night, she always wins. He chuckles. LEO: She's got Down Syndrome, though. Uh, so learning is kind of a struggle. Leo almost seems to be pleading with Keith. KEITH: Is that why you stole the tapes? Leo stares at him, accepting that Keith can't let it go. He takes a moment, sighs heavily and then sits on the bench in the room. He puts his head in his hands before removing them and addressing Keith. LEO: Keith...I'm so sorry. You know, Tina's having a really rough time at public school, she's getting picked on, she's falling way behind. You know, I want to send her to private school where she can get special care, but, uh... KEITH: That's rough, Leo. But I still don't see how you can justify what you've done. Keith joins him on the bench. KEITH: You really damaged the case against Echolls. LEO: You know, Keith, there are several people including Veronica who saw those tapes and can testify what's on them. I hope you realize I didn't do this to get rich. I mean, I coulda made a whole lot more if I wanted to. KEITH: I know. Like half a million. That must've been hard to pass up. LEO: Well, actually, it was easy. I nearly gave the tapes back, thinking about them plastered all over the internet. Until I saw Logan Echolls in the hallway pouring over a list of all the departmental email addresses. I got his message and I knew it was him. He made it clear that he just wanted them destroyed. KEITH: Well, you know I can't just let you slide on this one, Leo. LEO: I know. I'm not asking you to. Cut to later. In the interrogation room, Keith is typing on his laptop. KEITH VOICEOVER: Although no single cause can directly account for the theft, the primary factor appears to be insufficient oversight by the designated caretakers. Leo enters Lamb's office slowly, with his head down. KEITH VOICEOVER: Most notably, Deputy Leo D'Amato. While it is my strong belief that Logan Echolls obtained the tapes... Leo places his g*n on the desk and hands his badge over to Lamb. KEITH VOICEOVER:...the evidence has undoubtedly been destroyed. For this reason, a conviction seems unlikely. Back in the interrogation room, Keith's cell phone rings. He answers it. KEITH: Keith Mars. There is a long pause as Keith listens, his face falling. KEITH: No, that's all right, I'm just kind of shocked. Look, I really appreciate you giving me the heads-up. There is a shorter pause. KEITH: Yeah, I hope so too. Bye. Keith folds up his phone and sighs heavily. INT - MARS RESIDENCE - NIGHT. Veronica is curled up on her bed, a pen in her hand, a book balanced on her thighs. There is a knock at the door. She looks up as Keith enters. VERONICA: Did you see the moving truck out front? Miss Moan-a Lisa and Mister Outside Voice next door finally got the boot. Keith sits down heavily on the bed at her feet. VERONICA: Two old acquaintances that should be forgotten. KEITH: Honey, there's something I need to tell you. I just got a call from the hospital. Meg died. A blood clot dislodged and made its way to her heart. Veronica's eyes turn watery. She closes the book in which she is writing and leans forward. VERONICA: [softly] The baby? KEITH: A girl, she survived. Veronica chokes a sob and then leans further forward to hug Keith, who holds her closely as she cries. Cut to a little later. The television is on, showing New Year's Eve celebrations from New York's Times Square. VERONICA VOICEOVER: New Year's Eve. Someone just needs to change the name to Same Old Year's Eve, because that "New," implying all that hope and promise, it's not fooling anyone. Keith and Veronica are on the sofa, watching. Veronica has her lying down with her head on a pillow on Keith's lap and his arm is around her shoulder. He pats her. KEITH: Okay, okay, babe. I'm hittin' the bunkhouse. VERONICA: But...Dad, you'll miss the ball. KEITH: Oh, I saw it the past forty years or so. It, you know, drops. You'll see. Good night. Keith slides out from under Veronica and gets off the couch. VERONICA: We still got pizza coming. KEITH: It's all yours. Knock yourself out. Cash is on the TV. Keith goes into his bedroom. Veronica readjusts the pillow as she continues to lie on the sofa. There's a knock on the door. Veronica gets up with a sigh, grabbing the money on top of the television. She opens the door. It's Wallace. He beams. WALLACE: Happy New Year! Veronica is overcome. She grabs him in a tight hug, holding back tears. Cut to a little later. The celebrations on the box are in full swing. TV ANNOUNCER: And to the traditional strains of "Auld Lang Syne," the joyful crowd in Times Square begins to countdown the final seconds of the old year. Veronica is cuddled up tight next to Wallace on the sofa and he has his arm around her. She looks up and smiles at him and he grins back. They watch the countdown. VERONICA VOICEOVER: Okay, I'm a sucker. I'll give this New Year thing one last chance. TV ANNOUNCER: Five...four...three...two...one...Happy New Year! End.

{"type": "series", "show": "Veronica Mars", "episode": "02x10 - One Angry Veronica"}

foreverdreaming

VERONICA VOICEOVER: Previously, on Veronica Mars... Veronica holds out a plastic bag containing the frozen d*ad rat from the bus from the scene in 209 "My Mother, the Fiend." VERONICA: Are you keeping a d*ad rat in our freezer? KEITH: I found it on the bus. VERONICA: You checked out the bus and didn’t tell me? KEITH: I should have taken over this case. At the sheriff's department, Veronica waits to see Lamb and the FBI in 211 "Donut Run." DEPUTY BOUNCER:: You ever h*t the clubs in L.A., Veronica? VERONICA: I’m eighteen. DEPUTY BOUNCER:: I’m a bouncer. You come up, I’ll get you in. VERONICA: Okay. Weevil blows up at Logan in the boys' bathroom at Neptune High in 209 "My Mother, the Fiend." WEEVIL: I thought you k*lled Felix. LOGAN: I didn’t. Having resolved their differences, at least temporarily, the boys conspire in the Presidential Suite of the Neptune Grand in 211 "Donut Run." WEEVIL: It’s down to two guys. LOGAN: How are we gonna figure out who did it? WEEVIL: The one that did it is the one that’s in business with the Fitzpatricks. Wallace, looking fine with his muscles on show, questions a stranger in 204 "Green-Eyed Monster." WALLACE: Who are you? NATHAN: I’m your father. Lamb closes a file as he talks into his speaker phone in 205 "Blast from the Past." LAMB: You send me in to arrest Carl Morgan... Keith, who is standing outside the Fennel residence, is listening on his cell. LAMB: [offscreen] ...a.k.a. Nathan Woods. Lamb rests back in his chair. LAMB: Chicago cop. Veronica and Wallace talk in the lunch area at the high school in 211 "Donut Run." VERONICA: Why’d you really come back, Wallace? WALLACE: You know my new teammate was Rashard Rucker. Rashard had a few beers, but he said he was okay to drive. This wino staggered out in front of the car. He h*t him. From the same episode, Wallace is confronted at his car. SAYERS: Ernie Sayers, Chicago Statesman. The homeless man was a victim of a h*t-and-run. WALLACE: So what’s the question? SAYERS: The question is, what kind of man were you planning on being? End previously. A Kn*fe descends slowly into... INT - JAVA THE HUT. ...a gooey chocolate cake. It is used to push a large piece onto a cake server. The cake is placed on a small plate. The plate is handed over to Veronica, who takes it to a nearby small table where Wallace sits, alone and uncomfortable. Veronica puts the cake in front of him and sinks into the chair opposite him. VERONICA: So, the manager’s boyfriend just dumped her, and she says this helps with the stress. WALLACE: What is it? VERONICA: A German Chocolate Nut-gasm. WALLACE: I don’t think that’s gonna help. VERONICA: Well, eat it anyway, because Rashard Rucker isn’t just any guy. You are about to implicate THE basketball phenom of the decade, the second coming of LeBron James, in a h*t-and-run. And all those people around him waiting for it to start raining million-dollar bills, they might open their newspapers tomorrow and decide they don’t like you. WALLACE: I gotta do the right thing…but look, you don’t have to do this. I’ll be fine. VERONICA: Please, let me. My boyfriend just fled the country with his d*ad ex-girlfriend’s baby. I need a project. Wallace smiles. Veronica glances towards the entrance. Ernie Sayers has arrived and is attended by one of the waitress. WAITRESS: Hi. VERONICA: Your reporter’s here. Veronica gets up from the table. VERONICA: I’ll send him over. Don’t let him misspell your name. INT - SHERIFF'S DEPARTMENT - NIGHT. Inga turns from one of the desks behind the counter at the sound of footsteps. It's Keith, carrying in one hand a book into which is inserted a piece of paper, and in the other, an iPod. INGA: Keith. KEITH: Evening, Inga. How’s police work? Don got some big bus-crash leads hidden away? INGA: I know nothing. KEITH: Oh, okay. Keith pulls the piece of paper from the book. KEITH: I’m being audited. No big deal, but I was hoping you could get me copies of these old expense and salary documents. He hands her the piece of paper which, from the reverse, appears to have a list of about a dozen items on it. INGA: Goodness. We have it. But it’ll take me a while to dig this out, if you— KEITH: I got me a book... Keith holds up his book. It is Bill O'Reilly's "Those Who Trespass." He then picks up the iPod. KEITH: ...and a Bad Company album. Take all the time you need. Keith puts the earphones on and grins. Inga grins back and walks away from the counter to collect Keith's documents. He watches her go. The iPod starts to play. It's not Bad Company. It's his interviews about security in the sheriff's department from 210 "One Angry Veronica." Once Inga has gone, Keith walks around to her side of the counter. KEITH: [on tape] You ever lose a card? SACKS: [offscreen on tape] So, if somebody found it, it’s no good. We change the codes. Keith opens one of the drawers. KEITH: [on tape] But you still need a card, right? Keith picks up a blank card. Lying at the bottom of the drawer is a slip of paper listing various codes. Each is crossed off as a new one is added. #56556, #47832, #24901, #17381, #98537 and #72328 have all been used and scratched. The current code is #56741. SACKS: [offscreen on tape] Inga has the codes in her drawer. She can just make a new card right there. Keith places the card into the slot in the machine under the counter. On the computer screen on the desk, he finds the encoding form and types in the security number. The card in the machine slides further in and then out as the card is encoded. Keith grabs the card. Cut to moments later as Keith opens a door leading into a small hallway. Opposite is the door to the evidence room. LEO: [offscreen on tape] No one keeps an eye on the third-floor evidence room. The hard drive in the surveillance camera, someone decides that they have to dump the files every couple days. Keith glances up at the surveillance camera. It is pointed at the floor, obviously out of use. Keith shakes his head. He uses the encoded card in the slide lock. He enters the evidence room. He casts his eyes around until alighting on a large box, the label of which includes the words "Bus Crash," resting on a shelf below a plastic bag which contains, among other things, a hammer. Keith grabs the box and pulls it off the shelf. He sets it on a small table at the end of the room. He opens it. Lying at the top are four mini-cassettes, each labelled. Keith opens his book. He has already cut out a hole through the pages towards the back of the book. He places the tapes in the hole. He replaces the lid and puts the box back on the shelf. Back in the main office, a stack of papers, a foot deep, slaps down on the counter. Inga has returned. She looks up and sees Keith on one of the chairs, reading his book and listening to his iPod. Keith looks up, smiles and removes the earphones. KEITH: Bless you, Inga. He rises, slipping the earphones into his pocket as he approaches the counter. INGA: My pleasure. How was your book? KEITH: Weird. But I expect it’ll start making more sense soon. He grins. EXT - NEPTUNE HIGH SCHOOL (NHS) - DAY. Wallace exits the school. Veronica is close behind him. VERONICA: Hey. She catches up and they walk on together. VERONICA: Oh, you look better than I expected. I figured you’d be covered in eggs and rotten fruit hurled by angry basketball aficionados. WALLACE: Me too, but there’s nothing. I checked online, radio: no word. Maybe he’s just a slow typist. They walk up the steps to the tables in the lunch area and out of sh*t, passing Molly Fitzpatrick, sitting alone at one of the tables. She is s*ab listlessly at her food. Weevil, carrying a tray, approaches and invites himself to join her. WEEVIL: You should try that cobbler, Molly. It’ll surprise you. Molly is very surprised that Weevil is sitting next to her. She responds in a voice with a heavy lisp. MOLLY: Thanks for the tip, but I don’t really like surprises. And why are you sitting here? WEEVIL: Well, I was gonna start with some small talk, but, okay. Were you dating Felix? Molly jerks back in shock. MOLLY: What? No, what are you… Weevil pulls out the photobooth strip of pictures of her and Felix that the tattooist gave him in 211 "Donut Run." He glances around before sliding it towards her and fixes on her reaction. MOLLY: Where did you get this? WEEVIL: Apparently he was gonna get you tattooed somewhere on his person. And from your reaction, I’m guessing it wasn’t gonna be on his forehead. MOLLY: Yeah, it was kind of a secret, and I’d appreciate it if it stayed – WEEVIL: Was he working for your family? Was he dealing for them? MOLLY: [peeved] What? I thought you were friends, but if you’re asking me that, you didn’t know him at all. Weevil sighs and looks away. WEEVIL: No, I knew him. MOLLY: My uncles and cousins didn’t know about us. If they’d have known, they probably would have k*lled us both. WEEVIL: How did you guys even meet? MOLLY: At church. St. Mary’s. WEEVIL: Of course. The only place the micks and the sp*cs ever get together without someone getting punched. MOLLY: My uncle’s a priest there. WEEVIL: [incredulous] Liam Fitzpatrick?! If that guy’s a priest, then I’m Buzz Aldrin. MOLLY: Brother, Patrick. That’s my family. Twelve hoodlums, one priest. Weevil processes all of this. MOLLY: You haven’t touched your cobbler. WEEVIL: Yeah, I don’t like surprises either. INT - FENNEL RESIDENCE - EARLY MORNING. It's 4:25 in the morning and Wallace is in bed when his cell phone rings. Wallace reaches for it, groggily checking the number. WALLACE: Hello? INT - WOOD RESIDENCE - CONTINUING. Nathan is sitting in a chair in what looks to be a small apartment. The clock behind him shows that it is 6:35 in Chicago. Nathan is holding up a newspaper in one hand and the phone in the other. NATHAN: Wallace, you know what’s in this morning’s paper? INT - FENNEL RESIDENCE - CONTINUING. The camera alternates between locations as the conversation proceeds. Wallace sits up at Nathan's question. WALLACE: Nathan, look, I know what you said, but I just couldn’t pretend. I had to do the right thing. NATHAN: The right thing? Son, do you know what it says? WALLACE: No, but I know what I— NATHAN: This is why I wanted you to keep quiet. Rashard and the other two kids in the car just came out saying when the car h*t the homeless guy, you were driving. Wallace seems more disappointed than shocked. Opening credits. EXT - NHS, LUNCH AREA - DAY. Wallace and Veronica are standing on the walkway, between the side of the school and the lunch area, looking at the copy of the Chicago Statesman that Wallace holds. VERONICA: So that’s what happens when you try to do the right thing. A close-up of the newspaper shows most articles written in faux-Latin and a number of headlines: "Stocks tumble on word of faulty earnings reports by Steve Broussard, Junior Staff Writer" and "Yoga Toga Party - As the {?} of the yoga {?} during the late nineties and early {?} comes to a grinding halt. Many outposts of the pagan ritual are seeking gimmicks to re-entice their customers back to the mat. Will it work? Toga and Fries?, E1." The caption to the main picture reads: "April Breck attends to Sgt. Chris O'Donnell who's [sic] convoy was struck by an IED near Najaf, Iraq." But the headline of interest to Wallace and Veronica is the one written by Senior Staff Writer, Ernie Sayers: "Teen implicated in car accident - NBA hopeful confirms team-mate struck man, attempted cover-up." WALLACE: Just looks like I’m trying to weasel out of my evil deeds. As Wallace lets the paper drop, Veronica grabs it, looking at it more closely. VERONICA: No, the weasel is this basketball guy. God, I just want him smashed. Veronica illustrates by crumpling the newspaper. Wallace rushes to snatch it back. WALLACE: Hey! The paper’s from the library. Last thing I need is the librarian turning on me too. They start to walk. WALLACE: Ah, Rashard’s cool. It’s not like he— VERONICA: [astounded] Cool?! Um, are we thinking of the same word? Because I don’t remember, say, Steve McQueen ever hitting a homeless man in his Hummer and framing someone else for it. WALLACE: No. He’s got this uncle. He’s like his father, manager, and enforcer. These guys all lying? That’s gotta be because of him. Uncle Rucker, paying ‘em off…or scaring ‘em. WALLACE: Oh, look, he’s coming here. UCLA’s trying to recruit him. If I could just talk to Rashard alone, we were friends. I’m sure— VERONICA: Yeah, he’d say, “Excuse me. You’re standing between me and my money.” WALLACE: Man. Is there anybody you don’t think is corrupt deep down? They reach an empty table and sit down. VERONICA: Yes, you. And I don’t want you suffering for it, because jail? Veronica waves her hands. VERONICA: Is no fun. JACKIE: [offscreen] What’s no fun? Veronica and Wallace look up as Jackie stops by the table. VERONICA: Um….jail? Jackie laughs. JACKIE: Oh, I thought you were talking about Mr. Wu’s game-show quiz. VERONICA: No, I was talking about jail. Wallace casts Veronica a wary glance. A dodgy edit or continuity skip covers the fact that Veronica grabs the newspaper that is on the table to busy herself with it while Wallace and Jackie talk. JACKIE: So, Wallace, I haven’t seen much of you since Chicago. How was it? WALLACE: It was all right. A bit…complicated. JACKIE: I left you a couple messages, uh, but when I didn’t hear back, I figured… WALLACE: Yeah. I was just…taking some time. JACKIE: But we should hang out, the three of us. I don’t know, maybe this weekend? The silence is just that bit too long. WALLACE: I’m busy, but you guys go ahead. Veronica looks up at Jackie, a little horrified. Jackie stares back, seemingly open to the idea but not feeling the welcome. Veronica presses her lips together as Jackie covers with a smile. JACKIE: Right. Uh, see you around. Jackie walks away. Veronica hands back the newspaper. VERONICA: You guys didn’t work out your stuff yet? Wallace shrugs. WALLACE: I’m just trying to figure out if I can deal with someone like that in my life right now. A bell rings and they move to head into school, as do all the other students around them. VERONICA: Answer? No. What you need in your life right now is a good lawyer. WALLACE: You know a good lawyer? VERONICA: I know…a lawyer. INT - MARS INVESTIGATIONS - DAY. Cliff is using the phone on Veronica's desk. CLIFF: Right. Got it, thanks. He drops the phone onto its holder and turns to face Wallace and Veronica, sitting on the small couch. CLIFF: So, it’s called self-surrender. Cliff sits on the top of Veronica's desk. CLIFF: At the negotiated time five days hence, Wallace Fennel will turn himself in to the Neptune Sheriff’s Department, who will oversee his transfer to the Chicago police. WALLACE: What if I’m not there? CLIFF: Then they’ll issue a warrant, you’ll be arrested, probably found guilty, and end up married to some enormous m*rder named Tiny. My advice? Be punctual. VERONICA: Or prove your innocence. CLIFF: Or that. Suit yourself. Cliff grabs his briefcase and leaves. Wallace leans forward, determined to see the bright side. WALLACE: All right. So that’s good. Veronica gives him a disbelieving look. VERONICA: Good? What, in the same way that Rashard is “cool”? Do you know what any words actually mean? WALLACE: I mean, if I’m cleared in the next five days, I’m back on the team in time for the Pan High game. VERONICA: Pan High? How can you even think of the game right now? Veronica gets up and marches to her desk. WALLACE: Rival school, biggest game of the year? I can’t help it. I’m male. VERONICA: Well, here’s a message from the females: you’re nuts. She sits at her desk and starts to consult the laptop, with a sigh. Wallace gets up and joins her, looking over her shoulder. VERONICA: So, let’s see what’s up for “Bribe Rashard into Being a Bruin” Week. WALLACE: You got his whole schedule. How’d you manage that? VERONICA: Remember Tracy James? WALLACE: You mean… Wallace graphically indicates large breasts. Veronica frowns in distaste. VERONICA: Yes. Those boobs named Tracy James that went to Neptune and are now a Bruin cheerleader. She says our best bet is the Booster dinner. WALLACE: Booster dinner? Can we get in? VERONICA: No. But she says it’s not uncommon to find certain…slightly skanky girls lurking outside in hopes of meeting the big recruit and, given that these recruits are teen males, often succeeding. Wallace gets a faraway look in his eye. WALLACE: That happens. So, you think when I apply to college, I— VERONICA: [firmly] No. Wallace tsks in disappointment. VERONICA: But it does seem like our best bet to get you to see Rashard. Wallace nods. Keith shouts from his office. KEITH: [offscreen] Veronica? VERONICA: [shouting back] What?! Wallace glances at Keith's closed door. WALLACE: [quietly] You got my future in your hands. Don’t drop it. Wallace takes himself off. Veronica worriedly watches him go. Keith pops his head out of his office. KEITH: I believe the correct response is, “How can I be of service, sir?” Veronica grins, holding out supplicating hands. KEITH: Can you dig up the Murray file? I guess now we need to destroy it. Veronica is shocked. VERONICA: What? THEY reconciled? How? KEITH: Mystery of love would be my guess. Keith disappears back into his office, closing the door. VERONICA: [to herself] A million-dollar “Sorry I banged the maid” ring would be mine. Veronica continues to view the laptop screen. Cut to a little later. Veronica is feeding a photograph of a man and a woman at a restaurant through the shredder. She picks up the next from the pile on her desk, examines it and sighs. This one, showing the couple getting much closer, feeds through. She picks up the next one and pauses. She stares intently at the top right-hand corner of the photo, away from the couple in the centre. In his office, Keith is deep in some papers when Veronica lays the photo down on top of them. Keith gets agitated, picking it up and handing it back to her. KEITH: What? What, no, I don’t want to see the one where you can see his— She doesn't take it, leaving it on the desk. VERONICA: Take a look in the top-right corner. Keith, catching her serious tone, picks up the picture again and looks as directed. The picture shows Terrence Cook, holding between his own hands the hands of a young woman, who is smiling up at him. KEITH: That’s Terrence Cook and, uh… VERONICA: Miss Dumas, the journalism teacher. KEITH: Who died in the bus crash. Well, you met Terrence the day of the bus crash. What was he like? VERONICA: Um, nice. He signed stuff for people, the usual sports-star thing. He also has some gambling issues. KEITH: Gambling issues like lost fifty bucks at the dog track? VERONICA: Like owes millions to scary men. Keith drops his pen and leans back in his chair, half annoyed and half resigned at this. KEITH: And you know this how? VERONICA: I don’t know if this will help the whole you-trusting-me thing... Keith doesn't rise to this, keeping his expression neutral. VERONICA: ...or ruin it even worse, but during the election I did a thing you won’t approve of, and now I have a tape you should hear. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE. A golfer takes a swing at the four-par first hole in "Hot sh*ts," last seen when Duncan and Logan played together in 205 "Blast from the Past." LOGAN: [offscreen] Drugs, m*rder... Logan is playing by himself, concentrating on the game. LOGAN: ...frame-ups... GAME: Nice one. LOGAN: ...St. Mary’s Church. God, why didn’t we think of that sooner? Weevil is leaning back on the sofa, at right angles to Logan, staring at the ceiling. WEEVIL: Seriously, man, this has got to be it. Logan doesn't take his eyes off the game. LOGAN: And you’re convinced of this? Why? Weevil leans forward. WEEVIL: You met the Fitzpatrick family? Logan nods, still playing. LOGAN: And found them scrappy but loveable. GAME: Smooth. WEEVIL: So out of thirteen brothers and cousins, you got twelve hoods and a priest. Father Patrick. On screen, the golfer, now at the eighteenth hole, swings. WEEVIL: [offscreen] So, I was thinking – The ball lands in the rough, near a sand bunker. LOGAN: [offscreen] Oh, damn. GAME: Can't a brother get a break? Come on— Weevil glares at Logan and then at the game. He gets up and yanks the plugs out of the Playstation. The TV screen goes d*ad. LOGAN: [annoyed] What?! You were thinking, you want me to alert the media? WEEVIL: [equally pissed off] This concerns you too, jailbird. You think I like sneaking over here like this? Focus, man! LOGAN: Okay, man, I’m focused. Go ahead, think. Weevil paces. WEEVIL: Okay, we got a Fitzpatrick priest running the show at a church where all the PCHers go, right? LOGAN: That’s decent thinking for a novice. But aren’t priests supposed to be, like, I don't know, good and stuff? WEEVIL: Before he took his orders, Patrick Fitzpatrick was up to his eyeballs in the family business. He even did six months for as*ault for beating up some stoolpigeon. LOGAN: Yeah, but in church? Where are you gonna pass packages of drugs and money? WEEVIL: You ever been to a Catholic church? Logan looks up at Weevil. Cut to later. Weevil opens the door of the suite and steps into the hallway. They seem to have had some renovations as the lift doors are now where Logan exited the room where he had sex with Kendall in 202 "Driver Ed" was. Weevil heads for the lift. He doesn't see the Mexican man around the corner who watches him. INT - SITE OF THE BOOSTER DINNER - NIGHT. Rashard Rucker is being led through a busy hotel bar by two cheerleaders who are wearing matching jeans, sparkling tops and cropped sweaters, presumably in the college colours of turquoise and yellow. According to the credits, one of these girls is Tracy. (Wallace exaggerated her attributes.) TRACY: So, Rashard, any more questions we can answer about the school? RASHARD: Well, uh, one question I had was, you know what I mean, “Hey, where’s the party?” They all come to a halt at the entrance to the hotel. Behind them is a notice, marking it as the site of an Alumni Dinner. Also behind them are three men in deep conversation. TRACY: We figured wherever you were going. RASHARD: Oh. He laughs and the girls giggle. Looking out into the street, Rashard sees a limo. The moustachioed driver is standing in front of it, holding up a sign with Rashard's name printed on it. RASHARD: I was actually just going to my limo. You know you all is welcome to come along. He laughs again, enjoying his blessings. RASHARD: Oh, god. The girls continue to giggle as the three of them head for the limo. EXT - SITE OF THE BOOSTER DINNER - CONTINUING. The driver opens the door and they all climb in. In the hotel, one of the men standing near the entrance talking to the other two men glances at the limo. As the limo driver closes the door, the man excuses himself from his companions and starts to head for the limo. INT - LIMOUSINE - CONTINUING. Inside the limo, the driver takes his seat. Veronica is in the seat next to him. VERONICA: Okay, so we’re headed to the Forum Suites Hotel. As the limo starts to drive away, Veronica punches a button on her cell. In the back, Rashard continues to impress the giggling girls. RASHARD: [offscreen] This is how I roll. Wallace picks up at the other end of Veronica's call. WALLACE: [offscreen] Yeah? VERONICA: [chirpy] We’re on our way, and everything’s going perfect. We’ll see you there? WALLACE: I’m moving. VERONICA: Super. Bye then. Noises continue from the back until cut off by the sudden braking of the limo when a truck pulls out across the road. LIMO DRIVER: Hey! They are stuck there for a moment. Veronica hears the sound of a heavy tread. She looks in the side mirror and sees the man from the hotel striding towards the car. It's Monte Rucker, Rashard's uncle/manager. VERONICA: Actually, we’re in a hurry, so… She's too late as Monte pulls open the back door. The girls look up at him, still smiling broadly. TRACY: Hi! MONTE: Hi yourself…and bye. Get out. Their smiles fade as they glance at Rashard. RASHARD: Whoa, hang on— Monte jabs his finger at Rashard. MONTE: You. Don’t say anything. The girls climb out the other side as Monte climbs in. Veronica sees this from the driver's mirror and silently groans. The driver shrugs as Monte issues forth instructions through the intercom. MONTE: [offscreen] Forum Suites Hotel. As the car moves off, Monte chastises Rashard. MONTE: What the hell are you doing? RASHARD: Nothing, man. They just a couple nice girls who wanted to— MONTE: First of all, I ain’t man. I’m your family, your management, and your brains, so don’t be cute with me. Second, those aren’t girls, those are leeches... In the front, Veronica rolls her eyes. MONTE: [offscreen] ...looking for a big bad of money to latch on to. She punches her phone again. In the back, Rashard tries to defend himself. RASHARD: Man, it ain’t ev— Monte cuts him off with a glare. Rashard pauses and tries again. RASHARD: It wasn’t like that. In the front, Veronica grimaces as she gets Wallace's answer message. WALLACE: [offscreen] This is Wallace. Leave a message. VERONICA: [still chirpy but with urgency] Hi! We might need to make a slight change of plan. Give me a call the instant you get this message. She and the driver exchange a resigned look. MONTE: [offscreen] I’ve been there. I’ve seen this happen. Monte continues with the sage advice in the back. MONTE: Some smilie thing, filling out a pair of jeans real nice shows up. One wrong move and a lawsuit later... He snaps his fingers. MONTE: There goes your shoe deal. He snaps them again. MONTE: There goes ten million bucks. Rashard sighs. In the front, Veronica points. VERONICA: Just down in the garage. The limo drives into the underground car park. Meanwhile, Monte ceases hectoring and his voice softens. MONTE: Look, I’m not saying don’t enjoy the fruits of your success. You deserve the best. Just don’t be dumb. Veronica points again. VERONICA: Right between there. RASHARD: [offscreen] Can I still go to the Alpha Rho Nu thing Thursday? In the back, Monte smiles and nods. MONTE: Yeah. Just remember – you think with your brains, not with…this. Monte slaps him in the nuts. Rashard gasps in pain. INT - FORUMS SUITES HOTEL, UNDERGROUND CAR PARK - CONTINUING. The limo pulls in tight between two cars. RASHARD: [offscreen] Damn, uncle! Wallace, waiting in one of the cars, nods as the limo drives slowly through. Veronica continues to direct the driver. VERONICA: Just forward a little more. LIMO DRIVER: Ma’am, the passengers won’t be able to open their doors. VERONICA: You don’t say. The limo stops, pulled a little forward of the two cars. Veronica and the driver can exit but the back doors are blocked. Wallace leans out of his window and raps on the darkened back window of the limousine. WALLACE: Rashard! Veronica, who is wearing a UCLA blazer, races over to Wallace. VERONICA: I tried to call you, but your phone doesn’t work down here. WALLACE: What’s going on? VERONICA: Well, a funny thing happened on the way to the Forum Suites. The window of the limo rolls down. WALLACE: Rashard! Monte's face, like thunder, glares out at Wallace. Behind him Rashard looks surprised. MONTE: No. Now what the hell’s going on here? Wallace casts a disappointed looks at Veronica. She shakes her head. MONTE: I told you once, now I’m telling you with more force: do not mess with my boy. He holds up his cell phone, giving Wallace a good look at it. MONTE: I got that reporter on speed dial. I’m glad to call him again. The driver gets out of the limo. LIMO DRIVER: Ma’am, uh, do you want me to pull back so that the doors clear? VERONICA: Actually, that’s okay, we’re just— Monte, still trapped in the car, addresses the driver. MONTE: What I want is your name and license number. LIMO DRIVER: I’m sorry? MONTE: You’re sorry? Well, you ain’t the one being kidnapped, Jack. LIMO DRIVER: Kidnapped? You’re not with them? MONTE: Hell no. Confused, the driver turns to Veronica. LIMO DRIVER: Ma’am? MONTE: Now you want to get us the hell out of here, or do you want me to dig up the Chief of Police’s number? He waves the phone about again. MONTE: Which I got in here, too. He’s a big basketball fan. Wallace and Veronica exchange defeated looks. Cut to moments later. The limo drives away, leaving Wallace and Veronica standing, gazing at its tail lights. VERONICA: Well, it almost worked. WALLACE: Any other ideas? They start to head towards Wallace's car. VERONICA: Yeah, a cheeseburger. I’m late for my shift, and there’s a drive-through on the way. Wallace stops short. WALLACE: Oh, man. The drive-through! VERONICA: Right, it’s that thing they have where we don’t even have to leave the soothing comfort of our cars. WALLACE: The night of the accident, like five minutes before, we h*t White Castle. The drive-through. Veronica stares at him, quizzically. WALLACE: Don’t you see? There’s a witness right there! The drive-through guy. VERONICA: He saw Rashard at the wheel. WALLACE: He got his autograph! I mean, hell, there might even be security tape of Rashard driving. We find that drive-through guy, I got a witness. Wallace races towards his car. VERONICA: What about my cheeseburger? WALLACE: Raincheck. He gets into the car and starts the engine, excited. WALLACE: I’m heading back, get Nathan to find that drive-through guy, get us both off the hook. Veronica grins. INT - JAVA THE HUT - NIGHT. Lars is singing again. It is excruciating again. This time he is doing Air Supply's "All Out of Love." LARS: [singing] I’m all out of love What am I without you? I can’t be too late To say that I was so wrong Veronica hurries in. VERONICA VOICEOVER: Great. So I’m late, it’s super-busy, I missed dinner, and it’s “make the karaoke machine want to k*ll itself” night. Veronica pauses to tie back her hair. She spots Weevil in the corner, gesturing at her to come over. VERONICA VOICEOVER: And also, it seems, “Veronica, I need a favor night.” Just in front of where Veronica has paused, a customer approaches the counter with his empty cup. BRITT: Excuse me. Can I get some hel— The man behind the counter is busy and ignores him. BRITT: Wow, so who do you got to know to get some help around here? As he turns, Veronica is there, coffee pot in hand. VERONICA: Veronica Mars, apparently. She grabs his cup and starts to fill it. On stage, Lars has thankfully done. KARAOKE DJ: Thanks, Lars. There's a smattering of applause. KARAOKE DJ: That was Lars, everyone. Lars is almost overcome with emotion as he waves at the crowd. KARAOKE DJ: Next up, Britt. BRITT: Hey, thanks, Veronica. Britt heads for the stage. Various voices shout "Whoo!" and "Yeah!" around the room. Britt slides off his jacket, leaving it on one of the tables. BRITT: Make it B-17. GIRL: Yeah, Britt! MAN: Go, Britt! Britt — in real life, Britt Daniel, lead singer of Spoon — picks up the mike as the intro to Elvis Costello's "Veronica" plays. He starts to sing. Really well. BRITT: [singing] Is it all in that pretty little head of yours What goes on in that place in the dark? Well, I used to know a girl and I could have sworn That her name was Veronica Lars' date is transfixed by Britt's performance, a tear running down her cheek. Lars stares at her as she stares at Britt. BRITT: [singing] And she used to have a carefree mind of her own And a delicate look in her eye Shown up again by a much better singer, Lars throws up his hand in disgust and walks away. BRITT: [singing] These days I'm afraid she's not even sure If her name is Veronica Britt continues his performance in the background as Veronica, order pad and pencil in hand, approaches Weevil. BRITT: [singing] Do you suppose, that waiting hands on eyes, Veronica has gone to hide? VERONICA: And how can I help you, sir? WEEVIL: I need a favor. VERONICA: Ah, a favor. One of our specialties. BRITT: [singing] And all the time she laughs at those who shout her name and steal her clothes WEEVIL: I need you to bug the confessional at St. Mary’s Church. Veronica's eyes widen momentarily. VERONICA: Um…I’m sorry, that’s not on our menu. BRITT: [singing] Veronica VERONICA: Maybe you should try “you’re crazy” down the street? BRITT: [singing] Veronica LOGAN: [offscreen] It’s not just for him. Veronica looks over at the next table, surprised to see Logan. Her eyes narrow. VERONICA: Isn’t this a very odd coincidence…Or, wait — BRITT: [singing] Did the days drag by? Did the favours wane? Did he roam down the town all the time? VERONICA: Are you guys, like, roomies now and he ate your peanut butter and now you’re not speaking? Weevil drops his head, stoically bearing up to the sarcasm. LOGAN: Funny you should bring up roomies, as I just lost one. BRITT: [singing] Well it was all of sixty-five years ago When the world was the street where she lived LOGAN: I don’t suppose you can help me find where Duncan disappeared. BRITT: [singing] And a young man sailed on a ship in the sea With a picture of Veronica VERONICA: Ooh, sorry, one favor per customer. WEEVIL: Uh, yeah, can we stay focused here? ‘Cause if we’re seen together by the wrong people, that would be bad… BRITT: [singing] On the empress of India Weevil brings his cup to his mouth, still keeping his head down. Veronica grins with revelation. VERONICA: So, this is sneaking. BRITT: [singing] And as she closed her eyes upon the world Weevil blows out a long breath and rolls his eyes. VERONICA: I’ve got a pantomime horse disguise you could use. Do either of you have any experience being a horse’s ass? LOGAN: Yeah, I’m glad my misfortunes amuse you. BRITT: [singing] Picked upon the bones of last week’s news She spoke his name out loud again LOGAN: Look, that church is the only place the Fitzpatricks and the PCHers hang together. WEEVIL: And the priest is a Fitzpatrick. It must be where they’re getting the drugs to the traitor in the PCHers. BRITT: [singing] Do you suppose, that waiting hands on eyes, LOGAN: Who’s probably the one who k*lled Felix. BRITT: [singing] Veronica has gone to hide? LOGAN: Look, Veronica. BRITT: [singing] And all the time she laughs at those who shout her name and steal her clothes Logan sighs heavily. LOGAN: Can you just once save my ass without comment? Veronica sighs and stares at him for a moment, until... BRITT: [singing] Veronica ...her attention is drawn to the music. BRITT: [singing] Mmm, Veronica Veronica seems to draw something from this, a sense of who she is. She smiles and turns back to face Logan and Weevil. VERONICA: No. Because saving your ass with comment, it just…it works better for me. BRITT: [singing] Did the days drag by? Did the favours wane? VERONICA: I will not bug a confessional. BRITT: [singing] Did he roam down the town all the time? VERONICA: Video, maybe, but no sound. BRITT: [singing] Will you wake from your dream, with a wolf at the door... LAMB: [offscreen] What did you mean by... INT - MARS RESIDENCE - NIGHT. Keith is listening to one of the interview tapes as he dunks a cookie in a glass of milk. LAMB: [offscreen on tape] ...“it smelled”? DICK: [offscreen on tape] Dude, it smelled like the ass of something that died. FLASHBACK: INT - SHERIFF'S DEPARTMENT - DAY. Dick is in one of the interview rooms with Lamb. LAMB: And you can’t say what it was? DICK: I’m not, like, a professional smell-ologist. It t*nk. So I got a limo. LAMB: You ever heard of the name David Moran, sometimes known as Curly? DICK: Curly? Sure. Worked on my dad’s Aston Martin. Guy was a trip. END FLASHBACK. INT - MARS RESIDENCE - CONTINUING. Keith has a pad of paper in front him, ready to take notes. He brushes off crumbs as he listens to the next tape. LAMB: [offscreen on tape] Where you aware of a bad smell? BEAVER: [offscreen on tape] Yeah, i-it was really bad. Keith jots down a note on the pad. FLASHBACK: INT - SHERIFF'S DEPARTMENT - DAY. Beaver is now the one in the interview rooms with Lamb. BEAVER: You know, Dick, he said that we should get a limo, and I think that was, like, his first good idea ever, so… Beaver laughs nervously. LAMB: Name Curly mean anything to you? BEAVER: Uh, the mechanic? Lamb nods. BEAVER: Yeah, yeah, I met him, you know, but, uh, well, my dad, he went to the shop, he usually just took my brother, cars being, you know, man stuff. END FLASHBACK. INT - MARS RESIDENCE - CONTINUING. Veronica enters the apartment looking tired and vaguely harassed. KEITH: Hey, honey. How was work? She sighs deeply and leans back against the wall. VERONICA: Interesting. And how was your day? She pushes off the wall and joins him in the kitchen. Keith is sorting out some food. KEITH: Also interesting. I had a thought about the rat. VERONICA: Hmm…that you could make his lips and feet into hot dogs? I think somebody b*at you to that one. Keith places a hot dog into a bun. KEITH: You thought it was a sign, a message to you, "You are a rat"? What if we were just being too...fancy and sophisticated? He drops the plate with the hot dog on the counter as Veronica laughs. VERONICA: That’d be a first. KEITH: I mean too…symbolic. What does a d*ad rat do? VERONICA: Besides smell? KEITH: A d*ad rat’s only talent – it smells. Bad enough to drive anyone who could afford another ride off the bus. I’m just saying, keep in mind, honey: you’re not the only possible reason that that bus crashed. INT - NHS, HALLWAY - DAY. Veronica closes her locker. VERONICA VOICEOVER: It always was a weird coincidence. The rich kids lived, the poor kids died. Veronica watches as Dick sneaks up behind a lowly student and pulls him up by the back of his jeans. Dick's crowd find this incredibly funny as the student cries out in pain at the wedgie. VERONICA VOICEOVER: But why would someone want to k*ll all the poor kids? Despite Dad’s best efforts, I still feel like I’m the only target that makes sense. Wallace walks towards her. They carry on up the hallway together. VERONICA: So, the drive-through guy? WALLACE: Guy. Veronica is confused. WALLACE: Guy Abrutti. That’s his name. Nathan tracked him. Twenty-six, Caucasian, worked at White Castle for a year. VERONICA: That’s great! Right? Why aren’t you smiling? They pause. WALLACE: Guy Abrutti hasn’t come into work for the last three days. Nobody’s seen him since. Surveillance video’s gone and Guy’s gone. VERONICA: Uncle Rucker got to him. WALLACE: Probably bought him off, just like the other guys. Got any other ideas? Veronica frowns. INT - ST. MARY'S CHURCH - DAY. An organ plays ponderously as the camera drops down from the vaulted ceiling. Someone is sitting in one of the pews of the all-but-empty church. VERONICA VOICEOVER: Confession at St. Mary’s is four to six, Tuesdays and Wednesdays, with bugging hours just preceding. Veronica walks slowly up the aisle. VERONICA VOICEOVER: Do I feel guilty? Yes. She pauses, the rose window behind her framing her face. VERONICA VOICEOVER: Fortunately, that’s what this place was made for. As she stares forward, a priest comes up behind her. They glance at each other as he passes by her. VERONICA VOICEOVER: At least Weevil was right about one thing. Father Patrick Fitzpatrick does look rather unecclesiastical. Definitely the priest I want on my side in a teen Kn*fe fight. Veronica goes to the end of the church, putting a bill in the box. She grabs a taper and lights a candle. She moves on to a statue of Mary, in front of which an elderly woman is praying on her knees. Veronica stands behind the woman and folds her hands in prayer. VERONICA: I’m…really sorry about this. She takes a deep breath. The woman looks back at her, slightly offended. Veronica wilts a little, glances back at the statue, and then moves away. Cut to moments later as Veronica plants a very small camera at the top of the inside of the confessional booth. She pushes a button and a red light activates. She backs away, seen through the eye of the camera, as she reaches up to make adjustments. VERONICA: I’m going to hell. It’s that simple. I am going straight to hell. FATHER PATRICK: Confession hasn’t quite started yet but... Veronica is startled by the voice from the other side of the grill and looks back at the camera furtively. FATHER PATRICK:...what makes you say that? She improvises, kneeling before the grill. VERONICA: Um, well, I’ve done some things that probably aren’t quite, you know, on the up-and-up, God-wise. FATHER PATRICK: I see. Is there an example of this? VERONICA: Sometimes when I know someone is bad I do improper things. FATHER PATRICK: Like what? VERONICA: Like...trying to prove to the world that they’re bad and get them punished. FATHER PATRICK: Yes. I know the feeling, actually. VERONICA: You do? FATHER PATRICK: I wasn’t always on the up-and-up god-wise myself. But I worked at it. There’s a passage, Romans 12:19. “Vengeance is mine. I will repay, sayeth the Lord.” VERONICA: Yeah, I see now. I-I guess I should just probably be a better person. Thanks— Veronica tries to scurry away but is halted by his words. FATHER PATRICK: “Therefore, if thine enemy hunger, feed him. If he thirst, give him drink. Be not overcome of evil, but overcome evil with good.” That might be something for you to think about. Veronica stares at the priest through the grill. Moments later, she exits the booth and hurries up the side aisle. She passes another worshipper, sitting alone in one of the pews. About ten rows behind him, she places the camera's storage device at the back of one of the pews and leaves the church. EXT - L.A. STREET - NIGHT. Veronica joins an anxious Wallace. They walk together up the street, heading for a house on the other side of the road. WALLACE: Man, I practically peed myself waiting on you. Where have you been? VERONICA: Nowhere. But if God asks, I was with you. WALLACE: You’re sure Rashard’s gonna be here? VERONICA: I heard him talking in the limo. This frat-party thing was at the top of his to-do list. All we got to do is blend in, ease through the door, and get you in a room alone with him, so just hold it in. The large house is decorated with red Christmas-style lights, wrapped around the banisters and columns of the veranda, and around the windows. People are crowded on the stairs and veranda. WALLACE: What fraternity did you say this was? VERONICA: Alpha Rho something. They pause in the street. WALLACE: Alpha Rho Nu? A black fraternity. They look up at the house again. All the people spilling out of the house are black. Veronica grins. WALLACE: Part of us isn’t blending in. VERONICA: I’ll just – I’ll be in the car. Okay? Veronica play-punches Wallace in the arm as she turns to go back to her car. Wallace smiles and heads into the house. INT - ALPHA RHO NU FRATERNITY HOUSE - NIGHT. The music that could faintly be heard in the street is loud in the house. Music: "Shine More" by Sarah Pires. LYRICS: Boy, I'm catching up on you For all the things you put me through Nothing else that you could say No, no, no Is gonna make me {?} Boy, I'm catching up on you For all the things you put me through {?} I'm catching up on you, yeah. {?} Every little thing, everything you do Sooner or later Wallace threads his way through the party-goers, who are exclusively black. He sees Rashard dancing with a couple of girls. WALLACE: Rashard. Rashard! Rashard's smile fades when he sees Wallace. WALLACE: Can I talk to you? Rashard stares at him for a moment, then addresses the group around him. RASHARD: Yo, excuse me a sec, man. MAN: A’ight. RASHARD: Let’s go. Rashard leads Wallace into a relatively quiet room. RASHARD: What are you doing here, man? WALLACE: You know what I’m doing here. Look, man, I’m just as freaked out about what happened as you, but there was a right thing to do and a wrong thing to do, and WE picked wrong. RASHARD: It was an accident, man, end of story. WALLACE: [incredulous] End of story? Your uncle’s about to have me thrown in jail, man. Yeah, it was an accident, but the truth is the truth, and you can’t just walk away from that. I’m telling you this as your friend, Rashard. I mean, we were friends, right? RASHARD: Yeah. I mean, that’s what I thought. WALLACE: Right. So, can’t we figure out— RASHARD: But then you got to come and try to rat me out like that. Man, I don’t even know— WALLACE: What? Rashard, it’s not like that. RASHARD: No? Okay, then what is it like? Huh? You know how hard I worked for this. You know how much I got on the line right now? WALLACE: Fifty million over the first five years if I read it right. But, Rashard, I came to talk to you, man, not your uncle. RASHARD: Man, this IS me, man! Yo, and if you want to mess with me, bring it on. ‘Cause I’ll h*t you back FIFTY million times harder. Why don’t you just go home, man? Get out of my life. Rashard barges past a disappointed Wallace, thumping him hard in the shoulder. End music: "Shine More" by Sarah Pires. Music: "See The Sun" by Scavone. LYRICS: See the light, rappers rap glamorous {?} Yo this is all that we've got and you will never know If this was all for the top or not Everybody on this planet want to see the sun, Everybody want to know where you're coming from {?} Everybody on this planet want to see the sun, Everybody want to know where you're coming from {?} After a little time, Wallace follows Rashard out of the smaller side room, dejected. He walks into the main room. He sees Rashard being flirty with a girl, as they lounge on a couple of the chairs pushed back against the wall. The girl is Jackie. She looks up at Wallace and laughs. JACKIE: Wallace? WALLACE: What are you doing? JACKIE: I’m at a party. What does it look like? What’s wrong? WALLACE: Stay away from this guy, seriously. Jackie stands and pulls her hair back from her ear, leaning forward in a show of trying to hear him better. JACKIE: What? RASHARD: [derisively] Yeah, you know this guy? WALLACE: [forcefully] Yeah, she know me. She know me well enough to take my word and just go. Come on. He reaches out for her arm. She jerks away JACKIE: [angry] God, Wallace, when did who I talk to at a party become your business? WALLACE: Come on. Jackie, let’s just go. JACKIE: So, what, you own me? You know, it might have been nice if you would have maybe returned one of my phone calls when you were in Chicago, filled me in on this new development. Rashard slowly rises from his seat. RASHARD: Hey, um, Jackie, is this guy bothering you? JACKIE: Yes, he’s starting to. RASHARD: Okay. Rashard calls out to a couple of guys wearing APN tee-shirts, jackets and/or baseball caps. RASHARD: Hey, hey, we got a party foul over here. The guys come up behind Wallace. RASHARD: This little man here is, uh, messin’ with my special lady friend. Jackie glares at Wallace and notes Rashard's arm around her shoulder. MAN: Yeah? They grab Wallace and pull him backwards. WALLACE: Hey, man, watch out. Hey, come on, man! He’s not even from Alpha Rho Nu! Jackie watches, concerned now. Rashard laughs and she returns her attention to him. RASHARD: All right. How about we enjoy this party, huh? Jackie laughs. JACKIE: This party’s kind of over for me. Wallace is still shouting in the background, struggling with the two bigger men. JACKIE: You know what? I do know a really good club in Hollywood. We could have a really good time. RASHARD: Damn…Well, ah, you know, my uncle told me I had to stick around here for a while and just— JACKIE: Oh, is he here? Maybe I can ask for his permission. RASHARD: Okay, I— Rashard looks over Jackie's head and watches at a protesting Wallace is shoved into a closet. WALLACE: Wait a minute…It wasn’t me, anyway! I was... The door slams shut behind him and a chair is shoved under the handle. One of the guys sits in the chair. Wallace's shouts can still be heard. WALLACE: Come on, man! Let me out the closet! Come on, man! RASHARD: You know what? I call my own sh*ts. Let’s go. Jackie smiles and chuckles. EXT - ALPHA RHO NU FRATERNITY HOUSE - NIGHT. Outside, it's raining. Veronica watches the house from the comfort of the LeBaron. She rouses from her boredom when she sees Jackie and Rashard exit the house and get into Jackie's sports car parked in front. Veronica smiles, shakes her head and starts the engine. End music: "See The Sun" by Scavone. INT - ALPHA RHO NU FRATERNITY HOUSE - NIGHT. Music: "Better Than That" by Hadas. LYRICS: ...it's an act Don't think I don't see I know you better than that My friends don't believe That you're feeling me They think I'm naïve But you know me better than that Don't keep on holding back I know it's an act Don't think I don't see I know you better than that My friends don't believe That you're feeling me They think I'm naïve You know me better than that Wallace has been let out of the closet. He walks though the house and sees Monte, talking frantically into his cell phone. Monte spots him. MONTE: What the hell are you doing here? WALLACE: Man, I came to talk to your neph— MONTE: Look. He’s a good boy with a lot on his mind, and he doesn’t need a little rat like you messing with his head. Now, you want to talk to someone, you talk to me. Better yet, you just keep your mouth shut. You see what happens when you open it. Now where is he? WALLACE: Well, apparently he left the party with my ex-girlfriend. But you’re right, Uncle Monte, he is a good boy. Wallace walks around Monte to leave. MONTE: Where’d she take him? Wallace pauses, turns back and laughs. WALLACE: You know, this might actually be fun. I know where she likes to go. End music: "Better Than That" by Hadas. INT - CLUB THIN - NIGHT. Music: "Ego Trips" by the Catalogue. LYRICS: You're so selfish You're so vain I can hear you hogging all the blame Yeah, I told you life was a game You could never play Driving me crazy, Your mind is going to get the better of you Ego trips, they're so ridiculous They're ridiculous Well I said those ego trips, they're so ridiculous It's ridiculous The rain was falling on my bed The club DJ primes a record. It's busy with people drinking at the bar, talking on cells, making out and generally having a good time. At the entrance, patrons are required to put their metal items in a small tray before going through a metal detector. Jackie and Rashard arrive and enter the club. EXT - CLUB THIN - NIGHT. Outside, a taxi pulls up and the door swings open before it even stops. Monte gets out, eyeing the club. He holds up his cell, either to check the address or take a picture, and heads in. INT - CLUB THIN - NIGHT Monte stands in the queue for the metal detector. DEPUTY BOUNCER: Place all metal objects here. Monte drops in his keys and his cell phone into the tray, held by Deputy Bouncer. As Deputy Bouncer pulls back out of sight and walks down to the other side of the metal detector, he palms the cell, replacing it with an identical phone. Monte is already waiting and gestures impatiently. DEPUTY BOUNCER: Have a good time. Monte takes his items and disappears into the club. Deputy Bounty watches him go and then heads for a small alcove near the entrance. Veronica is waiting. He hands her the phone. VERONICA: Great. Thanks, deputy. DEPUTY BOUNCER: No problem. Sure you don’t want to stay awhile? Get a little crazy? VERONICA: Sorry. Have to get to church. The deputy, puzzled, watches her go. End music: "Ego Trips" by the Catalogue. INT - ST. MARY'S CHURCH - NIGHT. Veronica is in the dark and empty church. She glances around and then drops to retrieve the camera's storage unit. INT - MARS RESIDENCE - NIGHT. Veronica plugs the unit into her laptop. VERONICA VOICEOVER: It’s always an uncomfortable moment, seeing the façade come off a supposedly good person. For instance, seeing the priest who quoted you Romans 12:19 in a rather pleasant voice distributing drugs to his crime-lord brother through the confessional. On screen, Liam Fitzpatrick is kneeling in the confessional. Veronica peers more closely at the screen. VERONICA VOICEOVER: Wait, where’s the distributing? There’s supposed to be distributing. INT - NHS, CLASSROOM - DAY. The computer classroom seems empty as Veronica races in, until the camera pulls back to reveal Weevil, sitting, waiting and fed up. Veronica, grabbing the seat next to him, takes out and starts to unwrap the cord from the camera unit. WEEVIL: First you make me come in early, which is something I never do, and then you’re late. Fortunately I found this video online. This guy gets his whole head stuck up an elephant’s— VERONICA: Fascinating, I’m sure, but I think you’d rather see this. Veronica plugs the unit into the computer in front of which Weevil is sitting. VERONICA: So, Father Patrick, scary looking? Yes. Evil, no. On screen, Liam is in the confessional, clutching a hymnal close to his chest. He puts it down under the bottom edge of the grill. VERONICA: Brother Liam, on the other hand…I had to watch it twice to get how they worked it, but keep your eye on Liam’s hymnal. Veronica fast-forwards the video. Liam leaves. Another two men come and go in quick succession. VERONICA: So, the Lord giveth… Thumper enters the confessional. Veronica slows the film. VERONICA: ...and the stooge taketh away. Thumper takes the hymnal. Weevil stares at the screen. WEEVIL: Thumper. EXT - NHS, LUNCH AREA - DAY. Wallace picks up half of a rather unappetizing-looking curled-up sandwich. He stares at it for a moment and then drops it back onto the table. VERONICA: [offscreen] Why don’t you call for pizza? A hand holding a cell phone appears in front of him. He takes it. Veronica sits at the table next to him. WALLACE: Is this… VERONICA: Uncle Monte’s Rucker’s super-phone in which his entire universe of information is stored? Yes. Wallace grins. VERONICA: If he’s paying off Guy Abrutti, there’s got to be a number in there somewhere. The call log goes back four days. Just email all the numbers to your dad and let the police work ensue. WALLACE: Damn. Up high, V. Mars. Wallace holds up his hand for a high-five. Veronica obliges. Jackie, smiling, approaches the table. JACKIE: Hey. They look up at her. Her smile fades. Veronica and Wallace glance at each other. JACKIE: What? Don’t I get some? She holds up her hand. Veronica grins, as does Wallace who reaches up to give her a high-five. Jackie laughs as she slaps Wallace's palm. JACKIE: Ah. Veronica holds up hers and they slap hands. Jackie giggles as she joins them at the table. JACKIE: How’d I do? VERONICA: From what I heard? Whew, ice bitch. WALLACE: Oh, yeah, she was good. Poor Rashard. Kid never had a chance. JACKIE: It’s a dubious talent, but snagging guys has always been a breeze. She looks pointedly at Wallace. JACKIE: It’s holding on to the good ones that’s tricky. Wallace responds with a bit of a chuckle. Veronica looks away. JACKIE: So what do you think, Wallace, are you maybe free this weekend? JANE: [offscreen] Hey, Wallace. Jackie's head whips around. Jane, last seen sneezing her way out of the SexEd class in 209 "My Mother, the Fiend" and before that lusting for Wallace in 202 "Driver's Ed," approaches the table. JANE: We still on for tomorrow after the game? WALLACE: Oh, yeah, ma’am. Veronica half sighs, half chortles and drops her head in her hand. Jane grins at Wallace and walks away. She smiles ruefully. Wallace shrugs. VERONICA: If I could control him, I would. EXT - INDUSTRIAL SITE - NIGHT. Weevil's bike slowly drives along a dark, wet road, turning into some sort of construction site. The g*ng, their bikes lined up opposite him, are waiting. Weevil pulls up and takes off his helmet. HECTOR: Weevil, what’s up, man? Weevil climbs off his bike. He walks towards the line of bikers. WEEVIL: Here’s what’s up. There’s a traitor amongst us. Someone who signed up with the Fitzpatricks to deal drugs and break the rules. He stops in front of Thumper. WEEVIL: And I don’t like it when people break the rules. Do I, Thumper? Thumper stays silent but isn't surprised or intimated. WEEVIL: You got anything to say? THUMPER: Yeah. So what? Weevil, on the other hand, is surprised by his reaction. THUMPER: So what if we want to make some money selling dope to rich white boys? Is that such a bad thing? I don’t think so. WEEVIL: What do you mean, “we”? Do you got a mouse in your pocket? THUMPER: I mean we like the rest of us. Thumper holds out his arms, indicating the rest of the g*ng. Weevil looks along the line. WEEVIL: Right. [angry] The Fitzpatricks made Felix’s brother disappear! The Reaper, your old leader! And now you want to go work for them? THUMPER: Let me make sure I got this straight. Working with our enemies, you got a problem with that? WEEVIL: You bet I do. THUMPER: Then maybe you can tell us what you were doing meeting at the Neptune Grand with Logan Echolls. Weevil drops and shakes his head. HECTOR: And you were gonna bust me up for selling to an 09er last week. THUMPER: Hector’s cousin works maintenance there. He saw you, all buddy-buddy with the piece of trash who k*lled Felix. Weevil knows he's been out-played. THUMPER: You’re right, there’s rules. Like not selling out your brothers. I’m not like you, Weevil. I don’t make good speeches, so I’m just gonna say, adios. Hope that covers it. The g*ng have circled Weevil during Thumper's tirade. They grab hold and start to jostle him. WEEVIL: Hey, hold on, man. Cut to a little while later. Thumper stands on a gantry, overlooking the scene. Weevil is hanging from the end of a large pulley, bound by ropes around his wrists. He's already taken some blows and blood flows from a cut near his left eye. As the rest of the g*ng stand around Weevil, another biker punches him hard in the face. THUMPER: Okay, that’s enough. Get outta here. The bikers start to disperse. One grabs Weevil around the waist as another lifts the rope off of the pulley. They let Weevil, still bound, fall to the ground. BIKER: Adios, man. The majority of the bikers get on their bikes and ride away, leaving Hector and Thumper at the scene. Hector looks troubled as he gazes down at Weevil who is trying to raise himself from the ground. THUMPER: Take Weevil’s bike, drive it into the ocean. I’ll pick you up and bring you back. Hector stares at Weevil a moment longer before slowly walking towards Weevil's bike. Thumper appears to stand over Weevil as the sound of Weevil's bike fades. Weevil groans as he continues to try and lift himself up. He looks up at Thumper, who is smirking down at him. WEEVIL: You lied all along, didn’t you? That night on the bridge, you were there. You k*lled Felix, didn’t you? THUMPER: That’s an interesting theory, Eli. But before you think about spreading it around, I think you should see something. He holds out his cell. THUMPER: Remember this? He has video on his phone. It's tagged with the number V0015_11302005 (wrong date?). It appears to show Weevil beating up Curly Moran. THUMPER: That night you nearly kicked Curly’s head in? On the mini-screen, Weevil kicks the head of the supine Curly. THUMPER: So I’d keep my mouth shut, ‘cause you probably don’t want this getting around to, say, the cops, do you? Weevil gives Thumper a furtive look. THUMPER: Didn’t think so. Thumper walks away, leaving Weevil on the ground. Thumpers's bike roars away. INT - HOTEL. Music: "Jump Around" by House of Pain. LYRICS: Jump around. Jump around. Jump around. Jump up, jump up and get down. Jump, jump, jump, jump Everybody jump, jump, jump, jump Jump, jump, jump, jump Everybody jump, jump, jump, jump Jump, jump, jump, jump I'll serve your ass like John MacEnroe If your steps up, I'm smacking the ho Word to your moms I came to drop b*mb I got more rhymes than the bible's got psalms And just like the Prodigal Son I've returned Anyone stepping to me you'll get b*rned Cause I got lyrics and you ain't got none So if you come to battle bring a g*n But if you do you're a fool, cause I duel to the death Try and step to me you'll take your last breath I gots the skill, come get your fill Cause when I sh**t ta give, I sh**t to k*ll I came to get down I came to get down So get out your seats and jump around Jump around Jump around Jump around Jump up Jump up and get down. Jump, jump, jump, jump A dork carrying a bottle of champagne, dances into the main room of a large hotel suite, pantsless. He's jumping and singing to the music. Two girls sitting on the plush couch are not impressed and cast each other a "Oh dear god, why are we here?" look. Guy finally notices that they are not having a good time. ABRUTTI: Come on, ladies. Don’t be shy. One of the girls takes a sip of her champagne to relieve the boredom. ABRUTTI: You want more champagne? I’m on it. Room service, whatever you want. Chicken fingers, cake, fine cheeses, just name it, ‘cause you are very special ladies, and I’m on someone else’s tab. He grins, blind to their indifference. There's a knock on the door. ABRUTTI: See? Hah! I think it, it happens. He races to the door, grabbing a wad of bills out of a bag stuffed full of money, set on a table near the door. ABRUTTI: Greetings, kind sir. He pulls the door open. It's Nathan looking very scary. He holds up his badge as he strides purposefully into the room. NATHAN: Guy Abrutti? Guy's body is no impediment to Nathan's relentless forward movement. Nathan puts his hand on Guy's chest pushing him backwards. NATHAN: I need to know some things. He brings them both to a stop when he sees the money. NATHAN: Oh…did you get this money from Monte Rucker? Did you, uh... Nathan snatches the bills from Guy's hand. NATHAN: ...take it in exchange for your silence as a witness? And do you remember Rashard Rucker at the wheel of a red Hummer on the night of December 14th? Guy is intimidated and about to spill his guts. End music: "Jump Around" by House of Pain. INT - SCHOOL BUS - DAY. Music: "I Summon You" by Spoon. LYRICS: Remember the weight of the world It's a sound that we used to buy On cassette and 45 And now this little girl She says will we make it at all Eight-- The bus is fairly full and the camera glides up the aisle, taking in the faces. Towards the back, in a seat on his own, is Weevil. He is not a happy bunny. He swallows hards as the bus pulls to a stop. EXT - NHS, CAR PARK - DAY. Weevil gets off the bus. His face bears the marks of his beating. He heads towards school and a small group comprising Dick and three other 09ers. They spot him and start to laugh. Dick points and takes a breath, about to quip. WEEVIL: Open your mouth and you’re losing every one of those teeth. Weevil walks past them as Dick slaps his hand over his mouth. With his other hand, he makes a dickhead sign on his forehead. Dick and the guys with him laugh. End music: "I Summon You" by Spoon. INT - NHS, HALLWAY - DAY. The cheerleaders are shaking their pompoms as they head into the gym. A lot of the basketball team are loitering. Wallace is talking up another player. WALLACE: You got time, you got time. The player shakes Wallace's hand and walks away as Veronica arrives to stand next to Wallace. WALLACE: Hey. You made it. Inside the gym, the stomp-stomp-clap (tm Queen) has started. VERONICA: You know, I read that article in Scientific American about the pep rally effect, and I thought, “hey, if it’s science.” WALLACE: Hey, I told you everything would be good. A cell phone in Wallace's pocket rings. He reaches for it. He looks at the number and laughs. He answers, in jovial mood. WALLACE: Hey, there, Monte. Wallace grins at Veronica, who steps closer in interest. WALLACE: Yeah, I don’t know I got this thing. Just came across it. Veronica laughs. WALLACE: Yeah, sorry to hear about your legal troubles, but that can happen when you open your mouth. Veronica gasps slightly at Wallace's daring. WALLACE: My advice? Keep it shut, Uncle Rucker. Now, if you’ll excuse me, I’ve got me a pep rally. Wallace hands the phone to Veronica, laughing. WALLACE: Now that was good. VERONICA: [giggling] Yeah. They head into the gym. INT - MARS RESIDENCE - NIGHT. Keith is listening to the tapes again, sitting at the counter. Behind him the TV is on. LAMB: [offscreen on tape] You ever heard the name Curly Moran, worked at Symbolic Motors? FLASHBACK: INT - SHERIFF'S DEPARTMENT - DAY. Gia Goodman is now in the interrogation room. GIA: My dad went there. That guy Curly was the only guy around that knew how to fix my Fiat. LAMB: And were you aware of anything strange about the bus? GIA: Other than, like, it smelled like something gross and d*ad? LAMB: That’s why you didn’t take the bus home? The smell? GIA: Actually, my dad told me not to. I mean, he must have been totally psychic... END FLASHBACK. INT - MARS RESIDENCE - CONTINUING. Veronica enters the apartment. Keith doesn't immediately notice, even when she shuts the door none too quietly behind her, and continues to concentrate on the tape. GIA: [offscreen on tape] ...or something, because he was like, “don’t get on the bus.” And then those guys got a limo, so… Keith finally realises Veronica is there when she walks past him. He quickly pulls the earphones from his ears. Veronica has walked over to the television. KEITH: I didn’t see you come in. VERONICA: Didn’t I tell you to turn off the TV if you’re not watching it? KEITH: I get lonely when you’re out with all your fancy friends and I’m here by myself with nothing. Keith joins her, standing in front of the television. KEITH: Did we win? Veronica gasps in an exaggerated fashion. VERONICA: Yes, thanks to Wallace Fennel’s eighteen points and ten rebounds! Keith whistles, mightily impressed. In the background, the news is starting. NEWSCASTER: [offscreen] This is the Channel Thirteen News Break. In a surprising development, Balboa County Sheriff Don Lamb… Keith's ears prick up. Veronica has the remote in her hand and is about to turn it off. KEITH: Wait. They watch the breaking news together. NEWSCASTER: …questions baseball legend Terrence Cook... A picture of Lamb escorting a camera-shy Terrence Cook is put up on the screen behind the newscaster's head. NEWSCASTER: ...in connection with the Neptune High bus crash that claimed the lives of seven people. Veronica and Keith stare at the screen, shocked. NEWSCASTER: [offscreen] Details tonight at eleven. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x12 - Rashard and Wallace Go to White Castle"}

foreverdreaming

VERONICA VOICEOVER: Previously, on Veronica Mars... In his office, Keith examines the picture of Terrence Cook and Miss Dumass in 212 "Rashard and Wallace Go to White Castle." Veronica looks on. KEITH: That's Terrence Cook and... VERONICA: Miss Dumass. The journalism teacher. KEITH: Who died in the bus crash. VERONICA: He also has some gambling issues. At the high school, Veronica pops from around the corner to take a picture in 112 "Clash of the Tritons." VERONICA: Hi, everybody! The Triton initiation ceremony is interrupted. VERONICA: Say "repressed h*m*"! Veronica gets a picture. The Tritons start to give chase. In 206 "Rat Saw God," Tom Griffith approaches Lamb as he celebrates his election victory. GRIFFITH: I have information about that Mexican kid who got k*lled. I'm the one who made the anonymous call from the bridge. Logan and Veronica discuss her research while she baby-sits for the Fullers in 207 "Nobody Puts Baby in a Corner." LOGAN: It's not the guy from the bridge. VERONICA: You said the whole night was a blur. LOGAN: I lied. Thumper challenges Weevil in 212 "Rashard and Wallace Go to White Castle." THUMPER: I'm not like you, Weevil. I don't make good speeches. So I'm just gonna say, adios. The bikers close in on Weevil. THUMPER: Hope that covers it. Veronica and Keith watch the news. TV ANNOUNCER: Balboa County Sheriff Don Lamb questions baseball legend Terrence Cook in connection with the Neptune High bus crash. End previously. INT - NEPTUNE HIGH SCHOOL (NHS), HEALTH CLASSROOM - DAY. A student hangs a "Welcome to Winter Carnival" sign off the shoulders of a large cut-out of a snowman in sunglasses. The "snow" is glittery. The student moves back, revealing Veronica entering the classroom. She peers into the room as she moves forward, passing Madison and J.B. Riley who are sitting at Ms. Hauser's desk, making a banner. Behind them are a bank of cupboards, some bearing labels such as "Videos," "Beakers," "Lab Utensils," "Bunsen Burners," and "Petri Dishes." J.B. is applying glue to the banner. Madison is unhappy. MADISON: J.B.? You need to relax with the Elmer's. Do I look like I enjoy being covered in white goo? Ms. Hauser is standing at one of the counters. Veronica reaches her. On the wall, across the room from Madison and J.B., is a completed banner for the Goldfish Toss, complete with a drawing of a goldfish in a bowl. It is also rich in glitter. The banner partially obscures the blackboard upon which is drawn what looks like the respiratory system, together with some text. The diagram marks the lung, pleural cavity, chest wall and airway. What can be read of the text is: "...they can sometimes be difficult even for experts to interpret and may not provide all the information. ...chart in your text pg.69. ...develop...from being...Please answer the questions at the end of the chapter." In front of the blackboard are three students are doing ordinary schoolwork. Weevil, face hair gone and head hair growing, is one. Another is Corny who has heard Madison's comment. He turns to Weevil who is sitting next to him. CORNY: Mahahaha! VERONICA: Ms. Hauser? J.B. hears Veronica's voice and looks over at her. Ms. Hauser holds up her hand to Veronica and walks over to the table where Weevil and Corny are working. MS. HAUSER: Enough. This is a free study period, not a free-for-all. She turns and sighs, irritated. MS. HAUSER: What is it, Veronica? VERONICA: Mr. Pope said you have some decorations for the FBLA booth? Ms. Hauser looks beyond Veronica. MS. HAUSER: J.B.? J.B. stiffens to attention. MS. HAUSER: Could you go get the hills? He points to his chest. J.B.: Oh, you mean me? Help her? She's my nemesis. Madison giggles. J.B. grins, before rising and disappearing to do Ms. Hauser's bidding. Veronica addresses Madison. VERONICA: His nemesis? Mm...did we break up? Madison, sprinkling glitter onto the banner, gives her a scornful look. She bends down to blow the excess glitter away from the word "Pep" before responding. MADISON: No. She straightens and smiles, satisfied with her work. VERONICA: [with faux-admiration] That. Is amazing. On the other side of the room, Weevil glances over at them, catching the sarcasm. Corny, on the other hand, is more interested in something on the sheet of paper in front of Weevil and points down to it. CORNY: Dude. Check it, man. Ms. Hauser is again irritated. Weevil acknowledges the joke Corny has pointed out as Ms. Hauser approaches them. MS. HAUSER: Do I need to remind you that next week's exam is worth thirty percent of your grade? Corny can barely suppress a grin as he stares up at her. Ms. Hauser snorts and moves away, bemoaning her life. MS. HAUSER: One of these days, my ship is going to come in and I will not have to deal with this nonsense. WEEVIL: So, what? She pauses and turns back to them. WEEVIL: Only the kids playing with the scissors and the glue can talk? MS. HAUSER: [condescendingly] Your student council is working very hard to raise money for your senior trip. WEEVIL: Their senior trip. The rest of us want to go to Magic Mountain. MADISON: It's Catalina. And you're crazy. I am not spending my senior trip watching you hurl hot dog and orange drink off Batman: The Ride. Veronica observes the exchange with a grin. Curly decides to illustrate the point by pretending to vomit on Weevil. CORNY: Blah! Weevil repeatedly smacks his lips in derision at Madison, as if bl*wing her many kisses. J.B. re-enters the classroom behind Veronica, carrying a pair of cut-out mountains, complete with trees and skiers. J.B.: Better watch your back, Veronica. He thrusts them towards her. She takes and stares at them. VERONICA: Because you're going to crush me with hideous fake hills? J.B.: Uh, no, the Kane scholarship. J.B. returns to his seat next to Madison. J.B.: I'm three one-thousandths of a point behind you. VERONICA: Oooh. Ms. Hauser walks up to Veronica and, whilst leaving them in Veronica's grip, pulls the mountain cut-outs towards her to look at them more carefully. MS. HAUSER: [syrupy] What wonderful mountains, Madison! MADISON: Thank you, Mrs. Hauser! Ms. Hauser bestows a smile on Madison, much to Veronica's disgust. As Ms. Hauser walks away, Veronica tucks the mountains under her arm. VERONICA: Oh, Madison, you have a little... Veronica taps the side of her nose. MADISON: What? Brown? Because I'm a brown-noser? VERONICA: No. Glitter. Because you're a [girlishly] fairy princess. Veronica smiles and exits. EXT - NHS, CAR PARK - DAY. Students are loitering. Voices shout out. VOICE #1: Go home! VOICE #2: Jackie! Jackie, clutching her books close to her chest but holding her head up high, comes into view, walking alone across the car park. The students turn to watch her. VOICE #2: Get your dad to drop you off! VOICE #3: Hey, check her out! VOICE #4: Ah! I can't believe it! There are other indistinct derisory comments. Jackie passes Dick who is talking to another guy. Dick sees her pass and talks loudly to his companion. DICK: How lucky am I that I got Terrence Cook to sign that ball for me before he blew up my classmates. It's going to be worth so much more than that napkin O.J. signed for me at the claim jumper. CORA: Jackie! Jackie walks on determinedly. Cora runs up from behind her. CORA: Jackie, hey! Wait up! Jackie swings around, ready to give as good as she gets until she realises that it is a friendly face. JACKIE: Sorry. I was distracted by the pitchforks and torches. CORA: So how are you? JACKIE: I'm wondering if this counts as my fifteen minutes of fame. And if so, what does the child of an alleged m*rder wear to Winter Carnival? CORA: No one expects you to go, Jackie. JACKIE: French Club does. We volunteered, remember? Je saute, vous sautez. Jackie giggles nervously. Madison passes by and overhears this. She takes on a disgusted demeanour and approaches them. MADISON: You're not really going. Even you're not that tacky. JACKIE: School carnival? Me, you, and the Shake Shack doing a little "You're the One That I Want"? I am so there. Jackie turns and walks away from both girls. Madison calls after her. MADISON: It's not a freak show. Your being there will ruin everything. Jackie pauses and turns back to face Madison. JACKIE: [resigned] That's my plan. Ruin everything. She turns and walks on. INT - MARS INVESTIGATIONS (MI) - DAY. A client is sitting opposite Keith's desk, in full flow. MR. SPIVAK: You said he's in such pain he can't get out of bed. But three times my kid said he saw him at the Speed Zone, on the Go Kart track. You ever try climbing into one of those little cars? I'm not paying this guy a dime. KEITH: I'm still waiting on the fax from the insurance company. As Keith speaks, the ring of an incoming fax can be heard. Keith rises from his chair and walks out to the main office to collect the fax. He reads it as he starts to head back into his office, glancing up briefly before returning to his reading. He does a double-take and looks up again. Terrence Cook is sitting on the small couch. Terrence stands. TERRENCE: I don't have an appointment. I was hoping you'd have time for a consultation. KEITH: I will, if you don't mind waiting. TERRENCE: I can wait. Keith is seriously chuffed that his hero is there. He heads back into his office, barely able to disguise the squee factor. EXT - NHS - DAY. The Winter Carnival is set around the outside of the school. The sign and snowman seen in Ms. Hauser's classroom decorates the ticket booth at the entrance to the carnival. TICKET VENDOR: Five dollars worth? Okay. There is a cacophony of carnival music and voices as the camera glides over the top of the ticket booth to the delights within, which include a bouncy castle and a filled, though grounded, hot air balloon. Next to a booth offering "Darts," Madison's booth is set right next to one of the school's entrances. The banner over the top reads "Pep Squad Cakes & Cookies." At either end of the banner are pictures of snowmen, the word "Pies" in script along their widest parts. Behind her and another pep squadder working with her are shelves filled with large pink boxes. MADISON: Who wants some pie? Elsewhere, a child jumps into a ball pit. Small children surround the pit, laughing. Couples wander the carnival, many carrying stuffed animals. Veronica watches from her small Slushies and Snow Cones booth. As well as the mountains which decorate the back of the booth, there are two large stuffed penguins at each end at the front, one on the counter, which bears an FBLA button, and one on the ground at the corner. A cartoon of a small striding snowman also advertises that this is the FBLA booth. Behind and to the side of the booth, Logan, who looks to have had a haircut courtesy of the Marines, is kidding around with a little boy with a balloon. VERONICA VOICEOVER: Two by two. Apparently you can only enter the carnival as if it were the Ark. The child runs off and Logan turns his attention to Veronica, leaning against one of the ice machines, watching her from behind. "Watching her behind" would work here too. VERONICA: Slushies! Logan grins. VERONICA: Get your ice cold frozen...sugar water. LOGAN: You had me at "ice cold." Veronica glances back and smiles tightly. VERONICA: What's your poison? Logan heads around to the front of the booth. LOGAN: Ah, emotionally unavailable women. Veronica raps on the counter in "Ta-da" emphasis. Logan stares at the menus along the back. The choice of Snow Cones include Icicle Blue, Strawberry, Grape, Green Apple, Cherry Pink and Cotton Candy. Slushies come in Electric Lemonade, Tropical Vanilla, Cherry Banana, Rainbow Mix, Punch and Blue Raspberry. LOGAN: Let's see...uh, I want something that suits my mood. VERONICA: Oooh, I'm sorry. We're all out of liquid evil. LOGAN: I'll take two of whatever will turn my tongue blue. Veronica turns to get his slushies. VERONICA: Hot date? LOGAN: Rain check? She casts him a censorious glance. LOGAN: Night with the fellas, you know how it is. As Logan gets his wallet from his back pocket, he is distracted by Madison's sales pitch. MADISON: Pies! Pep Squad pies! The pies are selling well and the booth is busy as Madison takes some cash and presents the customer with one of the pink boxes, giggling all the while. LOGAN: Boy, people really love Pep Squad pie. Veronica looks over at the booth. VERONICA: It's genius. Madison's dad gives her forty bucks to buy a pie from some chi-chi bakery and then drops three bills to buy it back in front of a live studio audience. He loves her. Veronica finishes pouring out the Slushies and places two turquoise drinks on the counter in front of Logan who is amused by her cynicism. LOGAN: Oh, the rich. How they mock you. He hands her a fifty dollar bill. She takes it and stares at it. She pretends incredulity. VERONICA: There's a fifty dollar bill? LOGAN: Had them made special. Veronica reaches back and grabs a money pouch marked "FBLA." She unzips it, puts the fifty in and starts to count out the change as Logan watches. In the meantime, a couple have stopped behind him and are studying the menu. Veronica hands Logan his change, which he stuffs loose into his back pocket. He glances at the couple behind him. LOGAN: The hoi polloi. His wallet follows the path of the change. LOGAN: They don't know what they want until I have it. Logan picks up the Slushies and walks away. Veronica puts the money pouch back in the back and turns to face her new customers. The camera switches to some balloons. Weevil is down on bended knee, talking to a pretty little six-year-old, wrapped up in a pink hat and pink sweater. She is carrying a Powerpuff Girls backpack. It's pink. WEEVIL: Okay, you want fifty balloons, or some popcorn and ice cream? OPHELIA: Balloons. WEEVIL: You say that now, then it's "Oh, Uncle Eli, I'm so hungry!" He tickles her stomach and she giggles. Weevil hands some cash to the man holding the balloons. BALLOON MAN: Thanks. Here you go. Weevil rises as the man hands Ophelia a balloon, which is...pink. Before they can turn away, Thumper passes and flicks hard at the balloon. Weevil gives him a baleful look as Thumper skips away. THUMPER: Sorry. Thought that was yo' head. Pleased at being such a badass to a child, Thumper moves on, past a booth where the object of the game is to sh**t a ball into the mouth of the rotating head of a clown. Dick has just been successful. Logan is holding the Slushies. DICK: I am so good at this game, bro. LOGAN: sh**ting in a clown's mouth. Your future's bright, Dick. They move on, Logan handing Dick his Slushie as Dick spots something in the crowd. DICK: Dude. Am I drunk? LOGAN: No, dude, you're just special. Logan looks over to where Dick's gaze is fixed. It's Beaver and Mac, holding hands, wandering through the carnival. DICK: Why is the Beav all snuggly with that chick from Ghost World? Logan watches them a moment with a smile, then turns back to the bemused Dick. Back as the Slushie booth, Veronica is using a screwdriver, trying to dislodge something in one of the machines. Jackie slowly approaches the booth. JACKIE: This school genuinely sucks. Veronica finishes with the screwdriver and starts to unscrew a bottle of flavouring. VERONICA: True dat. Ms. Hauser approaches the Pep Squad Pie booth. She is carrying a metal cashbox. MS. HAUSER: Oh, Madison. MADISON: [simpering] Oh, hi. Madison gives her a little wave. Madison's pep squad pal watches, beaming brightly. Spotting this, Veronica puts down the container and grabs the money pouch. She unzips it as Madison hands over her money to Ms. Hauser. MS. HAUSER: Thank you, Madison. Madison does a tiny curtsy and giggles. Ms. Hauser heads for Veronica who is frantically trying to organise the money. Ms. Hauser looks on impatiently. VERONICA: Sorry. Got a little slammed. Jackie wanders off as J.B. approaches Ms. Hauser. J.B.: Can I have the keys for your class? The, uh, sign for the Bounce House is falling down, I should grab the staple g*n. Ms. Hauser looks towards the Bounce House and then gushes as she takes her keys out of her pocket. MS. HAUSER: Thank you, J.B. She hands him the keys and he heads into the school. MS. HAUSER: [pointedly] So reliable. Veronica laughs bitterly to herself as she finally gets the cash sorted out. VERONICA: It's a little sticky. As she hands the money over, a number of young men, nude but for balaclavas (ski masks) and shoes and socks, appear, running amongst the crowd, to the laughs and shouts of "Woo-ooh" of said crowd. Ms. Hauser, having stowed Veronica's money in the cashbox, looks over, disgusted, as the boys race past. Wallace and Jane are standing by the ball pit opposite, watching the show. Ms. Hauser pulls a face as she watches the streakers run up the steps into the lunch area. Dick, at the top of the steps, claps as they pass him. DICK: Good job. Back at the Slushie booth, Ms. Hauser thrusts the cashbox into Veronica's hands. MS. HAUSER: Here, hold on to this. She marches off in a determined fashion. VERONICA: It's not a carnival until somebody shows butt cheek. Veronica turns to the side of the booth. One of the machines is resting at the end of a low cupboard on which are also some paper towel, the screwdriver, a couple of scoops and another stuffed penguin. Veronica bends down, places the box in the cupboard next to a bottle of flavouring, and slides the door closed. Ms. Hauser finds Principal Clemmons, who is murmuring into a walkie talkie. MS. HAUSER: Did you see that? Wallace and Jane approach the Slushie booth. WALLACE: I'm out here with my special lady friend and I gotta see that. VERONICA: Not a big fan of the Tritons' annual tuck and run? Ms. Hauser returns to the Slushie booth, all flustered and impatient. MS. HAUSER: May I have the cashbox, please, before this day gets any crazier? Veronica bends down and slides open the door. The cashbox is gone. At the back of the cupboard is a small fingerhole for sliding open the door from the other side. Veronica slides it open, exposing the passing legs of people on the other side. Veronica stands up slowly and turns around to face Ms. Hauser. VERONICA: Yeah, so, it's gone. MS. HAUSER: What are you talking about? I just gave it to you. VERONICA: And I put it in there, and now it's gone. Clemmons appears at Ms. Hauser's side. MS. HAUSER: In less than three minutes, Veronica Mars has lost all the senior trip money. Clemmons casts Veronica a woeful look. Veronica shrugs. VERONICA: [attempting humour] Is that a record? It doesn't work as Clemmons' expression indicates his disappointment. Veronica's smile morphs into a frown. Opening credits. EXT - NHS - CONTINUING. Ms. Hauser and Clemmons are bent down at the cupboard from the public side, peering through to the other side, into the Slushie booth. They glance at each other before straightening and facing Veronica, still inside the booth. MS. HAUSER: A senior tradition thirty years in the making. You, young lady, owe Neptune High School twelve thousand dollars. VERONICA: There was twelve thousand dollars in there? MS. HAUSER: [to Clemmons] Why are we standing here chatting? She should be searched. VERONICA: It's a metal box, this big. Veronica indicates its dimensions with her hands and then her body. VERONICA: Where exactly do you think I hid it? Ms. Hauser folds her arms, unconvinced. VERONICA: The box was locked. If you make everyone exit through the metal detectors, no one will be able to leave with it. MS. HAUSER: And if they find a way to open it? VERONICA: You should make sure the shops are locked, any classroom with tools, the janitor's closet... CLEMMONS: ...was locked up before the carnival started. Clemmons gestures for a security guard before turning back to Veronica. CLEMMONS: It's not my first day. From her booth, Madison takes an interest in what is going on. SECURITY GUARD: [offscreen] Yes sir? CLEMMONS: [offscreen] I want the metal detectors to be moved to the exit. Back at the Slushie booth, the security guard nods. CLEMMONS: And we're going to have to start searching the lockers. Immediately. Madison marches over. MADISON: You want to save yourself some time? Start with her. She points to Jackie, who is standing, watching events. Jackie stares at Madison. MADISON: We all saw her, lurking around. JACKIE: Lurking? Uh, you mean, standing while black? Jackie shrugs. Madison addresses the teachers. MADISON: She told me earlier today she had a plan to ruin everything. Ms. Hauser takes up the att*ck, striding up to Jackie. MS. HAUSER: You know, there are plenty of people with notorious parents who turn out to be decent people. Don't think you have an excuse. She breezes past Jackie who takes a deep breath before looking at a sympathetic Veronica. Elsewhere in the carnival, Logan approaches the Leap Frog booth. Stuffed toys hang down from the top of the booth. On the counter are wooden catapults which, when struck with a mallet, will send a rubber frog in the air towards a revolving pool with bowls on lily pads. Two girls can be seen talking inside. There's another couple of girls at the side. LOGAN: So, I'm not actually leaping frogs myself? One of the girls, slim, young, with long blonde hair, breaks off her conversation with the other and faces Logan with a smile. LOGAN: I'll try anything once. She grins, not really suggestively although Logan elects to read it that way. LOGAN: Except for that. He grins back. LOGAN: Why you cheeky little... He walks forward and hands her the money. He grabs one of the rubber frogs, placing it incorrectly at the end of the catapult. HANNAH: Uh, you don't take physics, do you? She turns the frog over and places it correctly. LOGAN: I have a tattoo of Newton's second law right on my heart. She giggles. Logan's first effort is a puny one and the frog falls to the floor. LOGAN: [laughing] Wanna see? Logan starts to pull down his sweater from the neck. LOGAN: It's right here. HANNAH: You get three tries. He stops, smiling at her warmly. LOGAN: You're so accommodating. His second effort is better but the frog only makes it as far as the edge of the pool. The other girls in the booth giggle. LOGAN: How 'bout a little support, ladies? GIRLS: [clapping] Yeah, woo! Logan tries again, this time with more apparent effort. The frog bounces off the edge of the pool again. The blonde giggles. LOGAN: What, and I suppose you're fantastic at this? The blonde makes her way around to the front of the booth. LOGAN: Okay. ONE OF THE GIRLS: Show him. She puts her hands on his upper arms to gently push him out of the way. HANNAH: Excuse me. LOGAN: Oh. HANNAH: Ladies, a little support. GIRLS: [clapping more enthusiastically] Woooo! Yeah! She sets up the catapult and takes aim. Logan standing right next to her, leans in with his hands on the counter. She pounds down with the mallet. Logan cries out, clutching his hand. LOGAN: Ah! Logan spins away. The girl is horrified. HANNAH: My God! I'm so sorry! LOGAN: Oh, I can't believe you fell for that. Logan shakes his hand, unhurt. He kisses his fingers at her as she huffs and pushes past him to go back into the booth. LOGAN: I think I should get a prize just for being so entertaining. HANNAH: Yeah, well I wasn't all that entertained. If you want a prize, frog on the lily pad. She places another frog on the catapult. Logan hits with force, sending the frog straight into one of the bowls. The girl laughs. Logan acknowledges the praise with a nod. LOGAN: I'd like the pink bunny, please. She pulls a stuffed pink rabbit from its clip at the side of the pool and hands it to him. LOGAN: What's your name? HANNAH: Hannah. LOGAN: I'll name my bunny after you, Hannah. She grins and giggles. LOGAN: Actually, name it Logan. He hands her the bunny. LOGAN: Or break my heart. He backs away with a soft smile. The other girls squee at Hannah and her encounter. Hannah is flushed, still grinning as she attends to the next customer. HANNAH: Hi ya. Elsewhere, Veronica, now off Slushie duty, heads purposefully for Weevil, sitting on one of the benches with his niece. She slides onto the bench, next to the little girl's backpack. VERONICA: Hey. Who's your date? WEEVIL: This is Ophelia, my niece. This is Veronica. VERONICA: Nice backpack. You like the Powerpuff girls, huh? Veronica starts to feel the backpack. VERONICA: Which one is this? WEEVIL: She's the one that's not shaped like a metal cashbox. Veronica glances at Weevil suspiciously. WEEVIL: They start moving metal detectors around, Veronica, you think the word's not gonna spread? Why don't you just open it up already? Without apology or embarrassment, Veronica unzips and searches the backpack. There is a doll, amongst other things, but no cashbox. Veronica sighs with disappointment, glances down at the girl and then looks around for the next place to search. WEEVIL: You know your case must really suck if your prime suspect is a six year-old. Veronica gets up and moves on without a backward glance. INT - MI - DAY. Keith is using Veronica's desk in the main office. Terrence is sitting opposite. TERRENCE: The sheriff is using me as a scapegoat. And if there's anyone fit to take on the sheriff's department, it's you. Keith is nodding, still nearly grinning in awe of his visitor. TERRENCE: I read your book, Mr. Mars. I, I couldn't put it down. KEITH: Yeah, well, if you read it carefully you might remember the famous guy went to jail in the end of that one. TERRENCE: Look. The sheriff sees me as Woody's ally. I spent the last three months speaking to the minority population on behalf of his incorporation plan. Now if that goes through, the sheriff instantly gets turned into the hayseed who hands out speeding tickets on the way into town. KEITH: So, Lamb made his point, he leaned on you. Big deal. He's never gonna file charges unless he's got some kind of hard evidence. TERRENCE: Well, I'd gone out to the park to talk to Woody about my doing the colour commentary on Shark broadcasts this year. There was a group from Neptune High. And I signed a bunch of baseballs, jerseys... KEITH: So? TERRENCE: Lamb's forensic specialists found cell phone and baseball fragments embedded in the driver's body. He thinks I planted a b*mb in the bag [Note: or "back"], that I detonated by calling the cell phone. And I need you to prove that I didn't make that call. That I had nothing to do with that crash. EXT - NHS - DAY. Veronica, passing a walking snowman with a scarf in Neptune colours, rounds the corner of the Slushie booth. Beaver is now manning the booth and having trouble with one of the machines. It is whirring ineffectually. Mac is sitting on the back counter. VERONICA: Whatcha doin' back there, Mackie? MAC: Keepin' Beaver company. She grins at Veronica in an excited, girly way. Beaver's serious look transforms into a smile. VERONICA: That sounds fun. MAC: That's 'cause it is. CASSIDY: I think the machine broke. VERONICA: The ice is jammed. Just break it up with a screwdriver. CASSIDY: Great. I just lent it to Jackie. VERONICA: Jackie asked to borrow a screwdriver? Do you know where she went? CASSIDY: No. She was just here. They look around. Jackie can be seen disappearing into the school. Mac points. MAC: There she is. Veronica sees her and follows. INT - NHS, HALLWAY - CONTINUING. The hallway has a couple of new large banners. One is for girls' basketball, promising that "It's a workout!" The other is for this year's drama club production, South Pacific, proclaiming that "Bali Hai may call you!" Jackie, carrying her coat over her arm, looks around furtively before going into the girls' bathroom. Veronica rounds the corner and pauses at the door. She leans her head closer to the door for she can hear the sound of metal scraping metal. She gives a disappointed sigh. INT - NHS, GIRLS' BATHROOM - CONTINUING. Veronica enters the bathroom. The sound is louder now and Veronica heads towards it VERONICA: Jackie? A shape can be seen under the door of one of the cubicles. The noise stops. VERONICA: What are you doing? JACKIE: Changing into my bathing suit. VERONICA: That doesn't usually require a screwdriver. Jackie opens the cubicle door and comes out, dressed in a bikini with her coat over the top. JACKIE: No, it usually doesn't. She hands Veronica the screwdriver. Jackie goes to the sinks, putting her bag down and checking her reflection, swallowing hard. Veronica checks the cubicle. There's nothing there. As Veronica backs out, she sees the back of the door. Someone has written "Jackie Cook is a xxxxxxxxxxxxx!!!" The last word has been scraped off the metal door. Veronica realises what Jackie was doing with the screwdriver. JACKIE: Like putting on a bikini isn't stressful enough. VERONICA: It really looked like... JACKIE: I know what it looked like. VERONICA: Why are you wearing a bathing suit? Jackie takes off her earrings. JACKIE: Didn't you hear? I won. Veronica swallows as she gets the point. Jackie continues to make ready by redoing her hair into a ponytail. JACKIE: Before I was the demonized offspring of a mass m*rder, I signed up for the dunk t*nk. You know, you get a jar, and whoever gets the most money gets dunked. I went from a week of having the three dollars I put in for myself to having almost four hundred dollars. Go figure. Having finished, Jackie grabs her things and moves to leave the bathroom. VERONICA: Jackie. Really, you're wasting your time trying to prove something to these people. JACKIE: Yeah. And when people thought the worst of your dad, you just took it lying down. Right? Veronica doesn't respond and lets Jackie leave. Veronica sighs. EXT - NHS - DAY. Jackie arrives at the dunk t*nk booth. People are waiting, looking mean. Cora is waiting. CORA: Hey, are you sure you want to do this? JACKIE: "Want" might be stretching it. Hey, it's my senior trip too. Time to take one for the team. Jackie moves to the side, near the teacher. FRENCH TEACHER: Hey. Jackie smiles at him, drops her bag and takes off her coat. A jock is waiting impatiently to throw the first ball. Jackie climbs up to the platform above the small pool and settles in place. Veronica watches from a distance. BASEBALL PLAYER: One of my friends was on that bus. He throws the ball hard at the target. He hits it and Jackie drops into the clear-sided pool. The crowd cheers and jeers. The French teacher resets the platform and Jackie climbs back up. BASEBALL PLAYER: Hey Jackie. What do you think your dad would think of my curveball? JACKIE: He'd say it's weak. He throws and hits the target again. Jackie drops into the water again. The crowd is enjoying themselves, except for Veronica, who turns to walk away. INT - MI - DAY. Terrence is standing in front of Veronica's desk, looking back towards the small kitchenette. KEITH: In the spirit of full client/investigator disclosure... Keith opens the door of the fridge, looking back at Terrence. KEITH: ...I'm not offering you this beer out of the goodness of my heart. TERRENCE: You're not? Keith grabs a couple of beers and returns to the main office. KEITH: Nope. Keith twists off the tops. KEITH: I'm fulfilling a long-time fantasy of sharing a cold one with my favourite ball players. He hands Terrence a beer. KEITH: And after we're done, we're gonna play catch in the parking lot. They both grin. TERRENCE: Favourite, huh? KEITH: I saw you pitch three times in triple-A back when you were nineteen. I mean, there wasn't much to do in Fresno as a twenty-two year-old deputy. Never saw you give up a run. After that, I followed everything you did in the bigs. Your whole career. TERRENCE: Well, in that case, here's to hoping I still got a career when this is all through. They tap bottles and take swigs. Keith heads around the desk. Terrence sits down again opposite him. KEITH: Now that I've come clean, maybe you want to tell me about your relationship with the journalism teacher. Terrence, the bottle at his mouth, pauses and stares at Keith, now sitting at the desk. KEITH: Miss Dumass, I believe her name is? He slowly pulls the bottle away as Keith leafs through a file on his desk. KEITH: Right. Keith finds the photo and holds it up for Terrence. KEITH: Here's a picture of you two looking rather intimate. Keith taps his finger at the top of the photo where Terrence and Miss Dumass are photographed standing closely together. Terrence looks at the photo and then at Keith, taking a deep breath. KEITH: I'm sorry about your loss, Mr. Cook, but you're gonna need to be a lot more upfront with me if you want me to work for you. EXT - NHS - DAY. Jackie, wet and bedraggled, climbs back up on the platform. The crowd is jeering. Wallace walks up enthusiastically, Jane following him. He pays his money to Cora who is surprised to see him. Jackie is gutted. She gulps. CROWD: Yeah, Wallace! Wallace rubs his hands together. Cora, frowning deeply, hands him a ball. Wallace shows off for Jane. WALLACE: Wind up! Wallace makes an exaggerated wind up and then throws the ball clear over the top of the booth. Jackie watches it go well over her head as the crowd shouts in disappointment. The ball can be heard landing behind the booth with a thump and the sound of a car alarm. WALLACE: Okay, that was weird. Wallace tests his arm movement before turning to a smiling Jane and taking another ball from Cora. WALLACE: I got this. Check out this one. He looks at Jackie and throws again. WALLACE: Look out, Jackie! The ball sails over the top again. JANE: Just a bit offside. WALLACE: I suck at this. Wallace rubs his shoulder. The crowd is unhappy that their bloodlust is being denied. CROWD: Get out of here! Wallace holds his hand out for another ball but is halted by the teacher. FRENCH TEACHER: All right, that's enough. Next! CORA: Sorry, Wallace. Wallace turns to the crowd. WALLACE: [sarcastically] Y'all are cool. Real cool. Wallace leads Jane away as another unfriendly jock moves up to take his turn. At the Pep Squad Pie booth, Madison's equally blonde, vacuous colleague takes money from a customer. GUY: One. PEP SQUAD GIRL: Thanks! Madison collects one of the pink boxes, handing it to another customer. MADISON: Here you go. GIRL: Thank you. The customer takes the box and walks away, revealing Beaver and Mac behind, walking hand in hand. MAC: So are we winning? CASSIDY: What? MAC: I feel like we're in a contest with all the other couples. Who can hold hands longest. CASSIDY: I just-I just don't want to lose you in the crowd. Mac giggles. They come to a stop when faced with Dick and a couple of his friends. DICK: Hey, aren't you gonna introduce us? Wow. You guys are cute. Aren't they? Like gerbils. In love. CASSIDY: [agitated] Dick, don't. DICK: Chill, Beav. I get to give the big brother speech here. Just lookin' out for you. MAC: You don't have to worry. He's fine. DICK: Yeah? In good hands? 'Cause, you gotta take it easy on my bro. You know, if you're gonna pop his cherry, hold back a little. Beaver is embarrassed and infuriated. CASSIDY: You're such an ass! DICK: Don't go bustin' out any tricks. Gentle and sweet. You don't wanna spook him. Like right now, I know his hands are just dripping with sweat, and you are so completely grossed out. But you're hangin' in. I dig that. Beaver pulls his hand out of Mac's grasp. DICK: Oop! See how it just slipped right out? Gotta work on that, bro. Dick walks away, leaving Beaver upset. He storms off and Mac follows. Elsewhere, Hannah is buying cotton candy. COTTON CANDY VENDOR: Here you go. HANNAH: Thank you. COTTON CANDY VENDOR: Yep. As she holds it out behind her, Logan arrives and takes a lump of it, sticking it in his mouth. She whips around. HANNAH: Hey! LOGAN: Hey. Sorry, did you want that? He uses his fingers to repair the damage his theft has caused. HANNAH: No, I bought it for you. LOGAN: Oh, you are sweet. As Hannah giggles, Logan moves to the side, glancing over to Hannah's right as he does. LOGAN: So. He places himself between Hannah and three other girls huddled together wearing the same tops as Hannah, before turning to face her. LOGAN: I couldn't help but notice that you are separated from the herd. And I'm concerned, you know, predators and all that. HANNAH: Well, I can take care of myself. LOGAN: Well that's a shame. He takes another lump of cotton candy. HANNAH: Dude! Logan swallows the candy and laughs. LOGAN: Okay. Boy, it sounds so unnatural coming from you. HANNAH: I say "dude" all the time. LOGAN: Nope, I don't buy it. No, you're like, I don't know, like the hot daughter of a king he marries off to get, like, Denmark or something. HANNAH: You mean a princess. LOGAN: You know I'm only ever going to call you princess now. HANNAH: No you're not. LOGAN: Princess. I am. She giggles again. Logan glances back at the other girls. LOGAN: My friend Dick's workin' the slushie booth. We should go pay him a visit. You know, he's all about the royals. HANNAH: I can't. I'm here with my friends. Logan glances back at them again. LOGAN: So. Go tell 'em you want to play with me for a little while. HANNAH: What makes you think I want to? LOGAN: What makes you think it's a good idea to pretend you don't? Hannah giggles again and then walks around Logan to go to her friends. He watches, smiling as Hannah makes her excuses to her friends. HANNAH: Okay? The girls giggle and watch as Hannah heads back towards Logan. Logan waves at the girls. Hannah joins him. LOGAN: Cool. As they walk along, Logan pulls the cotton candy, which Hannah is still holding, to his mouth and takes a bite. HANNAH: Heeyy! Logan grins. Later, night has fallen. Jackie is shivering on her perch over the pool. Madison, with a look of deep and malicious satisfaction, has a ball in her hand. CROWD: C'mon, dunk her! Yeah! Dunk her good! She throws the ball. Madison's feeble effort lacks power and direction, and the ball bounces harmlessly off the fencing around the pool. The crowd groans. CROWD: Aww! Next time. Nice try. Come on! Madison takes another ball. MADISON: Wow. You're almost turning blue. Watched by Veronica and the rest of the crowd, Madison moves away from the counter and into the booth. CROWD: Come on, Madison! Do it! She stands next to the target, resting the ball on it and looks up at Jackie. MADISON: Next time I tell you to stay home, listen. Madison pushes the target, dumping Jackie into the water. The crowd laughs and cheers. Madison walks away, ridiculously pleased with herself. Behind the crowd, screams can be heard. Veronica takes notice and heads in their direction. She approaches the ball pit. Stuffed snakes are wrapped around the edges of the waist-high railing. Thumper is arguing with the guys in charge of it. THUMPER: Yo, I don't see no sign sayin' this is just for kids. You see any signs? I want that snake. You gonna let me in there or what? Veronica has an idea and races over to Clemmons who is talking to Ms. Hauser. CLEMMONS: ...locked, there's no way that anyone would be able to leave the school grounds without being discovered. VERONICA: You have to empty the ball pit. CLEMMONS: What? VERONICA: It's the perfect place. Right in the middle of everything. Whoever stole the cashbox could've just dumped it in there. We have to empty it. CLEMMONS: And if you're wrong? Cut to later as a bag of balls is thrown on top of other bags and buckets of balls. BALL PIT GUY: That's the last of it. The ball pit has been all but emptied. There is a child's shoe, a bag, some stuffed snakes and a few stray balls left at the bottom, but no cashbox. A few kids stare down disconsolately at the ball-free pit. MS. HAUSER: Why would you even consider listening to her? Principal, and you're taking directions from a teenage girl. VERONICA: Sorry. A girl approaches Clemmons from the side as Veronica apologises to the kids. TANYA: Principal Clemmons? VERONICA: I'm really sorry about this. We're gonna fill it back up. As Clemmons takes a camera from the girl, Ms. Hauser turns her venom on Veronica. MS. HAUSER: Veronica Mars, you are just trouble. All caps, underlined, written in bold— CLEMMONS: Tanya Flynn has been filming tonight for the video yearbook. Apparently, she has footage that should prove to be interesting. INT - NHS, CLEMMONS OFFICE - NIGHT. Under the glare of Ms. Hauser, Clemmons connects the camera to a TV in the corner. CLEMMONS: One of your classmates was filming tonight for the Video Yearbook. As he talks, the camera pans round to the students collected there: Jackie, Madison, J.B., Weevil and Ophelia, and Dick. Dick is not paying attention, instead bl*wing air on Ophelia's balloon. CLEMMONS: Those of you we’ve asked to join us were in the vicinity of the cashbox right before the unfortunate streaking incident. Your lockers are being searched as we speak. Clemmons clears his throat to get Dick's attention. J.B. holds up his hand. J.B.: Even if you found money, there’s really no way of proving it’s the stolen money. MS. HAUSER: Not a lot of people carry twelve grand on them. DICK: Uh, I never leave the house without at least thirteen. WEEVIL: Yeah, me either. VERONICA: Actually, I got a fifty dollar bill when I was working the Slushie Booth. It had the name Nancy in black marker across the back, along with a phone number. That’s one way to know if it’s the cashbox money. J.B. shakes his head at his nemesis' one-upmanship. VERONICA: So…are we gonna get to see the video? Clemmons clicks the remote. The video opens on Veronica working at the Slushie booth behind one of the giant stuffed penguins. To the left, Dick is playing a game that involves sh**ting something. Dick on film throws up his hands in triumph. Dick in Clemmons office smirks at the reminder of his success. The video moves further left, showing Weevil and Ophelia by the nearby steps. In the office, Weevil looks down at Ophelia fondly. Various voices can be heard. GUY ON TAPE: I didn’t know you were gonna be here, man. GIRL ON TAPE: Oh, it’s so cute! The camera swings back across the Slushie booth to the other side. The Pie Squad booth can be seen, as can Jackie, walking past with her coat over her arm. Ms. Hauser points excitedly at the screen. MS. HAUSER: Look at Jackie. See, she’s hiding something under her jacket. JACKIE: That was my gym bag with my bathing suit and towel. MS. HAUSER: You’re not getting away with anything, Missy. I don’t care what your zip code is. Trash is trash. Mark my words. Veronica half-glances back at Jackie, who is standing behind her, in disgust at Ms. Hauser's words. EXT - NHS - NIGHT. Logan and Hannah are in the Bounce House. They are sitting against a central pillar as children bounce around them. They both have Slushies. LOGAN: Look, just so you know, I take all my dates here. I don’t want you to think you’re special or anything. HANNAH: Ah, this isn’t a date. LOGAN: Um, I bought you a drink. And I won you a stuffed animal. Check your dictionary, Princess. HANNAH: I haven’t had a date yet. I’m kind of holding out for something special. LOGAN: Wow, you are a princess. Hannah laughs. Outside, Dick is manning the Slushie booth. Madison is standing by the booth. Dick walks over to her but before he can deliver whatever he-man quip he had planned, his eye is caught by something over her shoulder. DICK: Oh, look at him. Madison looks over her shoulder. DICK: Have I taught him nothing? Mac is sitting on one of the benches and between Beaver's legs. Beaver is sitting on the top of the back of the bench, looking over her shoulder and pointing. DICK: He’s like some neutered-eunuch-nerd drone. Madison giggles. Back at the bench, Mac and Beaver are giggling too as they look down at the laptop's screen. They have pulled up premiereescorts.biz, the return on a search for "san diego exotic escort." At the top of the screen, next to the website title, is an advert claiming "All lingerie 30% off." On the left hand side, after the login and password, there is a narrow strip with thumbnails of featured escorts. The pictures tend to focus below the neck and above the knee. The first featured escort is COOKIN-WITH-LUVIN. The details are "AGE: 21 SIZE: 32C-23-34 HT: 5'11" WT: 119lbs HAIR: BLN EYES: BRN ETHNICITY: CAUCASIAN." Most of the screen, however, is comprised of pictureless entries, such as the first: "Bambi_Gasm: 'Alternative' Escort with an attitude to match. AGE: 35 SIZE: 32B-26-32 HT: 5'11" WT: 125 HAIR: BLK EYES: BLU ETHNICITY: CAUCASIAN Description: Boyfriend, you do not want to get on Bambi_Gasm's mean side, or...treatment. Exotic, athletic build, M.I.L.F. written all over me...don't do couples and a clean hygiene is a must..." BEAVER: Bambi_gasm! MAC: [in upper crust accent] Of the Boston Gasms? BEAVER: One would hope. They grin as Mac punches the keyboard. INT - MI - NIGHT. Terrence is now sitting on the small couch. Keith has turned the visitor's chair around and is sitting on it, facing him. TERRENCE: It was supposed to be the final fling. The next thing I know, I’m living Fatal Attraction. She didn’t even tell me that she was applying for the teaching job in Neptune till she got it and moved here. Then she started thr*at me. Said if I didn’t end things with my fiancée, that she would. She did. KEITH: She told your fiancée? TERRENCE: And the wedding was off. Terrence takes a swig from the beer bottle. KEITH: A secret, tumultuous relationship with the teacher who died in the crash? It seems like more of a motive than supporting Woody’s plans for incorporation, don’t you think? Terrence sighs. EXT - NHS - NIGHT. Veronica is prowling the carnival when she passes the flagpole, decorated for the event. She has another idea and looks around for the person she needs. Successful, she walks purposively forward towards Weevil and Ophelia. WEEVIL: Whoa, sorry. I can’t let you frisk me. She’s at an impressionable age. VERONICA: Remember when you and your buddy Logan spindled our teacher’s car? How did that work? I’m not big on power tools, but I’m thinking that might involve some type of saw? WEEVIL: I don’t know why you bother fishing here. You got a question, ask it. VERONICA: You seem to know a way to get into autoshop after hours. Suspicious. WEEVIL: Well, then you’re suspicious of a lot of people. All the guys who take shop make copies of Mr. Dalton’s keys. Weevil carries on past Veronica who turns to watch him go. INT - NHS, AUTOSHOP - NIGHT. On a free-standing blackboard is a drawing of a Serpentine drive belt and tensioner. Many of the parts are labelled: 1. Damper 2. Tensioner 3. Power steering pulley 4. Generator 5. Drive belt 6. A/C Compressor 7. Idler pulley. There is also a close up drawing of interlocking gears with some further description and the instruction to check...something. Ms. Hauser walks past the board and a car up on a ramp, stopping as she reaches Veronica's side. They both watch as Clemmons uses bolt cutters to cut the padlocks from the doors of the lockers. CLEMMONS: This is not how I thought I’d be spending my evening. He completes the cutting and lays the bolt cutter on top of the lockers. He opens the last locker he freed and searches it. Nothing. He tries the next one. He pulls out a wad of cash. He removes the rubber band from around it and counts through the money. As he does, he comes across a fifty dollar bill. On the back is written: "Nancy 555-0250." CLEMMONS: It’s a fifty dollar bill with Nancy written on it. Veronica's eyes widen. CLEMMONS: But there’s only about three thousand here. MS. HAUSER: What? Well, they probably hid the rest of it somewhere else, right? Veronica is puzzled. She glances down at another bank of lockers, ones which have not had the bolt cutters applied to them. The doors on those are padlocked too, except for one. She looks back at Clemmons, who has just pulled out a plastic bag filled with white pills from the same locker from which he took the money. CLEMMONS: Or spent it already. Let me see that class list. Ms. Hauser hands him the list. CLEMMONS: Locker… He temporarily shuts the door to check the number. CLEMMONS: Nineteen. He consults the list. CLEMMONS: Eduardo Orozco. VERONICA: Is he a freshman? CLEMMONS: Senior. Goes by the name of Thumper. Veronica looks thoughtful. Cut to a little later. Clemmons and Ms. Hauser are still searching lockers. Ms. Hauser pulls what looks like a paddle out of one of the lockers. (It could be Thumper's locker, but it's uncertain.) MS. HAUSER: I don’t even want to know what he uses this for. VERONICA: Can I see that for a second? She hands it to Veronica. Very neatly etched onto the paddle are numbers and letters: XCM-085 • DSI-808 • DOP-485 • TYR-009 • RRTS-110 • PTI-048 • RTI-248 • CMM-555 • LYMIUM-1 • RNT-549 • JHF-963 • KNL-295 • HTP-306 • RBC-301 • NCX-264 • MIV-825 • SFI-729 • NVM-423 • BOK-173 • RGM-281 • LGC-842 • UDX-701 • WIA-825 • MJA-293 • MickL-288 • NDL-915 • QU-862 •WYU-371 • RTSC-630 • MQG-636 • MGXQ-704 • NLC-472 • ?WX-824 • QU-816 • GYL-773 • VRK-805 • NTL-846 • JIW-152 • NRQ-592 • SLTR-625 • NW?-808 • NOD-634 • JPWQ-746 • RT? • ?-385 • NPF-168 • VRY-371 • NTS-481 • GRB-645 • NTK-733 • KRK-786 • NRT-442 • QYC-824 • NTN-858 • XHD-352 • KRY? • WTZ-363 • HGW-332 • XNTK-552 • 112-6837 • RET 126 • 564-581 • LPOS-508 •MKX-688 • 699-PCF • ZXC-506 • JOW-PC? • ?40-OLO • KRN-852 • 4RT-Y88 • TTRE-786 • 243-OKPL • 854-8876 • 789-655 • 8554-PE • 4098-ICO • QWQ-PLKB • RXS-? • M-FEPO • YUI-690 • LADY-654 • KES-9901 • 334J-098 • NGTO-65 • FERD-997 • DOOI-655 • MNK-055 • POP-POO • ROB-? • ?HOPS • MRR-HKRS • DCO-OPG • JMO-6424 • 545-IOPF • HETY-956 • XCV-P15 • SZM-OPS • 4590-98 • 756-4506 • IZK-? • ?06-002 • 062-MGK • TXC-597 • MVM-PLO • RKF-UIQ • 5789-QJG • VMB-MNN • VMK-? • NUR-878 • 325-2549 • 327-KQ? • ?JG • RKC-0? • XCE-093 • GHEN-877 • XKD-5567 • IWS-RCT •634M-IOP • GSFE-685 • 409-6308 • KEMG-ME • NOKO-? • ?HBT1 • NA? • ?PK-MUD1 • NEM-1445 • JJJ-ROR • JRJ-5475 • LKKE-JKE • 890-38K • KKW-4U83 • LKJ-0527 • KYR? • QW4-TW? • ?6 • OIU-2341 • IUY-9060 • RTY-8501 • SED-6584 • 838-PU76 • OIU-479 • WER-3008 • GRJ-2723 • AAJ-08? • ?DFB • QQQ-344 • 2WT-0987 • 111-WSA5 • 22Q-DF2 • XFG-8618 • SDF-576 • 234-RET • GAZ-655 • LKM-? • ?87 • KKK-587 • JHG-618 • OFP-6741 • VCX-4221 • JNY-5540 • GOS-8323 [Note: these are hard to read and are best approximations.] MS. HAUSER: If only they’d put that kind of effort into their schoolwork. Veronica is intent on examining the paddle. Clemmons notices that she has it and reaches for it. CLEMMONS: I’ll take that. The teachers leave and Veronica watches them go. EXT - NHS - NIGHT. Thumper has his stuffed snake. He walks along proudly, holding the head. As he passes a little girl inside the ball pit looking out, he shoves it in her face with a hiss, causing her to scream and fall back into the balls. He grins as he walks on. He does the same to a couple of girls as he walks past them and they run off. He pauses as he heads for the exit. Clemmons is waiting for him with two security guards. Clemmons stares at him. THUMPER: What? Clemmons doesn't respond and Thumper starts to lose his bravado, swallowing hard. INT - NHS, CLEMMONS OFFICE - NIGHT. Veronica enters. VERONICA VOICEOVER: It was a bummer when Clemmons took my keys. Of course, it made the twenty bucks I dropped having them copied a sound investment. Veronica goes straight to a box on Clemmons' desk. She picks up the paddle which lies at the top of the box. VERONICA VOICEOVER: Mrs. Hauser may have seen an ill-conceived cutting board. I saw tagging. I saw code. VERONICA: License plates. Veronica heads out, taking the paddle. INT - NHS, ADMINISTRATION OFFICE - NIGHT. Veronica goes to the photocopier. She opens it and finds a single sheet of paper already in there. She turns it over and it is questions 5-8 of a test, obviously the second page. In a slight prop faux-pas, when she brings it closer to read, it has turned into page one of the test. It reads: "Health Test - Alcohol and Alcoholism. Ms. Hauser. Health Class 3rd Period. 1. When a person takes a drink, the alcohol first enters the person's stomach, and then 20% passes through the lining of the stomach into the bloodstream. The rest of the alcohol moves to the [choices] small intestine, bloodstream, liver, kidneys." Veronica smiles knowingly and shakes her head. She folds what is now magically two sheets of paper. She puts the paddle on the photocopier and copies it. INT - NHS, HALLWAY - NIGHT. As Veronica strides along, Jackie exits the girls' bathroom. VERONICA: Great news. You didn’t steal the Senior Trip money. JACKIE: Good to know. VERONICA: Hey, I’m about to watch Mrs. Hauser squirm in her own personal hell. If you’re not doing anything… Veronica gives a come hither face and starts to walk on. Jackie smiles slightly and follows. INT - NHS, HEALTH CLASSROOM - NIGHT. Madison and J.B. are there with Clemmons and Ms. Hauser. MADISON: Great. What kind of senior trip can we have with $3,000? Veronica and Jackie enter. VERONICA: Look who I found. Miss Trashy-Trash. We marked your words before, and I don’t know if you know this, but they formed this, like... She uses her hands to make a ball. VERONICA: ...totally false accusation. I know – yikes. I figured you might welcome the opportunity to apologize. The silence is temporarily deafening. Madison is unrepentant and looks away. Ms. Hauser stares at them defiantly before speaking. MS. HAUSER: [rushed, as if all one word] You didn’t steal the money. I’m sorry. Dismissively, she turns to Clemmons. VERONICA: Totally worth it. Jackie laughs. VERONICA: Oh, I found this in a copy machine. Veronica pulls out what is now a single folded sheet from her bag. She unfolds it and holds it up. This time it looks like the third page as there are only three questions and no header at the top. She places it on the desk between her and Ms. Hauser. Ms. Hauser leans forward to grab it, a look of consternation on her face. MS. HAUSER: Where did you get this? This is my exam. VERONICA: [slowly, emphasising each word] In the copy machine. She turns to Jackie. VERONICA: Am I still speaking English? JACKIE: Mm-hmm. CLEMMONS: What were you doing at the copy machine? VERONICA: [quickly and lightly] Making coffee. MS. HAUSER: This exam is locked up in my filing cabinet. VERONICA: Not anymore. The only question now is who had access. Who knows your code to the copy machine? MS. HAUSER: Just my student aid. Veronica and Ms. Hauser both look over at J.B. VERONICA: Perhaps when he borrowed your keys… J.B.: She’s trying to sabotage me. I am, like, this close to beating her out for the Kane Scholarship. This is just like the stuff that she does. She planted it. VERONICA: And for my next trick, I will take J.B. into the hallway, whisper a few magic words, and when we return, he’ll confess. Veronica holds out her hands, fingers spread, magician-style. J.B.: Yeah, yeah, that’ll happen. VERONICA: Don’t oversell it, J.B. People will think you’re a mark. Step right this way. Veronica indicates the hallway and moves out of the room. J.B. casts a look at Ms. Hauser and then follows. INT - NHS, HALLWAY - NIGHT. VERONICA: Pretty bold move, making a copy of Mrs. Hauser’s test right under her nose. J.B.: Wow, yeah, I confess. They stop by a bin. Veronica sets her laptop on top of it. VERONICA: But, you knew she’d be distracted, didn’t you? You knew there’d be streakers at precisely four p.m. Didn’t you? She opens the laptop. VERONICA: Did you forget that I took pictures of last year’s Triton initiation? Veronica turns the laptop so J.B. can see the screen. She has a picture of Duncan and the MIT guy shaking hands at the end of the initiation ceremony in 112 "Clash of the Tritons." J.B. is clearly identifiable in the background, shaking the hand of another initiate. VERONICA: I made a promise to a certain Triton that his secret was safe, but…he’s long gone. J.B.: Uh, that still, uh, doesn’t prove – She slams the laptop shut. VERONICA: I’ll bet if we check the copy machine log, it’ll tell us that copies were made with Mrs. Hauser’s code say 4:03, 4:04 p.m. Should I call them over? J.B.: You’re bluffing. The copy machine can’t do that. VERONICA: Well, here’s your choice – you can call my bluff and we’ll all find out exactly what the copy machine can do. Of course, if you choose that option, I’m posting this Tritons photo on your homepage. I’ve heard what happens to Tritons who reveal their secrets. J.B.: I don’t have a homepage. VERONICA: You will. Then, there’s option two – confession. Reveal your secret powers. Veronica smirks as J.B. considers his options. He heads back to the classroom. INT - NHS, HEALTH CLASSROOM - CONTINUING. J.B. enters. Veronica follows. They take up the places where they stood before. J.B.: I stole the test. VERONICA: Ta-daaaaaa! Jackie laughs. MS. HAUSER: Did she thr*at you, J.B.? Don’t let her scare you. If you didn’t steal that test, then you shouldn’t – J.B.: No. No. I stole it. As Ms. Hauser is talking, Veronica notices a footprint in the glitter on Ms. Hauser's desk. She looks up at the ceiling. Veronica takes a waste paper bin, puts it upturned onto the desk and climbs up. MS. HAUSER: [urgently] What are you doing? Get down from there! Veronica tests the ceiling tile. CLEMMONS: Miss Mars… The tile lifts up. Veronica reaches in and pulls out an envelope. VERONICA: This isn’t a sweater. She looks inside and shows that it's full of money. She gives a big gasp. VERONICA: All right, cash! How’d you know? CLEMMONS: How did you know to look up there? VERONICA: I have to say... Veronica jumps down from the desk. VERONICA: I grossly underestimated the usefulness of glitter. Look at that. Practically a perfect footprint. Clemmons looks down at the desk. The footprint is clearly of a high-heeled shoe. JACKIE: Ah, shouldn’t be too hard to find. There are not many people wear heels to a carnival. Clemmons looks down at Ms. Hauser's feet, covered by her trousers. CLEMMONS: Would you mind lifting up your foot, Mrs. Hauser? Ms. Hauser laughs in disbelief and stares at him. He holds her gaze. She looks back at Veronica and Jackie who smile expectantly. Madison and J.B. watch on in shock. Ms. Hauser lets out a scoff and lifts up her foot. The pattern on the bottom of her shoe, which is covered in glitter, matches the footprint exactly. MS. HAUSER: You know, I’ve been walking in that glitter all day. I mean, you could see, it’s everywhere around my desk. VERONICA: So your shoes were very fancy when you were skimming off the top of the cashbox. My guess is Mrs. Hauser helped herself to a few bills long before she ever gave me the money. Ms. Hauser looks increasingly uncomfortable as she searches for her next words. CLEMMONS: Maybe we should take this into my office. Veronica hands the money to Clemmons. Ms. Hauser starts to flounce out of the classroom. Clemmons follows. CLEMMONS: This would be a prime example of why I consider the advice of some of my students. He looks back at Veronica, who smiles proudly. He disappears after Ms. Hauser. Veronica turns to Madison. VERONICA: Buck up, Maddie. Senior trip is back on, sister. Six grand – we’re Magic Mountain bound. Oh, you know there’s a ride called the Viper, right? Isn’t that, like, your mother ship? Jackie giggles and even J.B. smothers a chuckle. Veronica and Jackie head out of the room. JACKIE: [laughing] Oh, Mrs. Hauser, Thumper, J.B. Is there anyone here that isn’t a thief or a cheat? They leave a very disgruntled Madison and J.B. EXT - NHS, CAR PARK - NIGHT. It's later as Madison has made her way to the car park and is talking to a couple of girls who are leaning against one of the cars. GIRL: She’s so totally lame. Dick, leaving the carnival, comes upon them. DICK: Mad-i-son. What you up to, girl? Feel like heading to my car for a quickie? MADISON: I’ve moved on to older men, Dick. Fewer quickies, more longies. She pats his face condescendingly and walks away, leaving him belittled and unhappy. He walks on until he reaches a leg balancing against the bumper of his car, smoothing down a stocking. He halts. It's an older woman, sexily dressed. MILF: The bad thing about thigh-highs. DICK: Yeah, there’s nothing bad about thigh-highs. She drops her leg and faces him. MILF: I’m waiting to pick up my daughter. DICK: You mean, your sister? MILF: I mean my stepdaughter. I tend to marry older men, then I mess around with the younger ones. They both laugh. DICK: Nice. MILF: You know, I have about another half-hour to k*ll. I get the feeling that you’re fantastic at k*lling time. DICK: Yeah! Dick, unable to believe his luck, races to open the car's door. They climb in and shut the door. Behind them, Logan and Hannah are also leaving the carnival. As they walk, their hands keep bumping together. LOGAN: Would you stop trying to hold my hand? Hannah laughs at his presumption. LOGAN: Save it for the date, will ya? They stop at the edge of the car park. HANNAH: My ride’s picking me up here. LOGAN: So I guess I’ll see you Saturday. HANNAH: Mm-hmm. LOGAN: I’ll call you. HANNAH: Okay. Hannah goes to move away. Logan pulls her back and kisses her. She looks at him in surprise. LOGAN: You know, just in case you don’t kiss on the first date. She smiles and he moves in to kiss her again. They kiss until the lights of a car flash across their faces and a car horn sounds. Hannah pulls away and looks in the direction of the car. She walks towards it. Logan rushes to open the car door. LOGAN: Allow me. She climbs in and addresses the driver. HANNAH: Hey, daddy. Daddy is Dr. Tom Griffith. He looks grumpy but that is nothing compared to the shock he gets when Logan crouches down and comes into view. Logan gives him a little wave, glances at Hannah and then back at Griffith, smiling all the while. Griffith is frozen as Logan walks away. Back in the middle of the car park, the door to Dick's car bursts open. Dick backs out quickly, spitting as he goes. DICK: What the hell was that? He turns back to face the woman-who-isn't. He points to Milf's crotch. DICK: What is that? MILF: [gruffly] What do you call yours? Dick spits again. Across the car park, Logan is watching. Next to him, sitting on the bonnet of another car, are Mac and Beaver, holding up flashlights. BEAVER: Whoo! Get her, Dick! Dick, furious, heads straight for his brother, his intent clear. Mac slides off the bonnet and Logan, looking concerned, heads towards them to break it up. Dick slams Beaver down against the car and pulls back his fist. BEAVER: You h*t me and you’ll suffer worse, I promise you. Dick hesitates for a moment but seems to find his resolve and readies himself. Beaver smiles at him maliciously. BEAVER: [quietly] You remember Sally? The fist opens and Dick looks genuinely frightened. He puts down his arm and lets Beaver up. Dick stares at his brother as he starts to back away. He spits once more, wiping his mouth as he passes Logan. LOGAN: Would that you could spit out the memories. Dick looks at him, then spits again and storms away. INT - MI - NIGHT. Keith is a little drunk. He is standing in front of Terrence, giving a display. KEITH: You knocked the hell out of that ball. I’m in the stands, I’m climbing over people, I’m under the seats, and by the time I got it, I was covered in old beer and mustard and bruised and battered. Keith collapses onto the couch as Terrence laughs. Both men have taken off their jackets and are relaxed. KEITH: It is not easy being a fan. TERRENCE: Three career home runs and you got one of them. Unbelievable. Oh…I think I need to call a cab. I’ll come pick up my car tomorrow. Terrence pushes himself off the couch and grabs his jacket from the coat stand. He turns to face Keith again as he puts on his jacket. TERRENCE: Uh, I just want to be sure. You, uh…you taking my case? KEITH: That depends. Is there anything else you need to tell me? TERRENCE: I can’t think of anything. KEITH: Then I’m afraid I can’t. TERRENCE: Why’s that? KEITH: Because you’re not coming clean with me. TERRENCE: What? I’ve told you everything. Keith, still wearing a silly grin, shakes his head. He fiddles with the laptop on the small table. Terrence sits down next to him. Keith sits back as the recording of Terrence and Lamb starts. TERRENCE: [on tape] I never bet on baseball. LAMB: [offscreen on tape] I got a guy in a holding cell back there, says you did favours for gentlemen who bet extensively on baseball. Terrence sighs heavily. Keith turns off the recording. Terrence leans back against the wall, his eyes closed. TERRENCE: Is there anything you don’t know? Leslie was at my place when two g*ons broke in. Fitzpatricks. You know ‘em? KEITH: I do. TERRENCE: Well, they were trying to collect some money, and Leslie overheard something that would ruin me. No endorsements, no Hall of Fame. She said if I ever left her, she’d sell her story to a magazine. KEITH: What could possibly be that bad? Terrence looks away, reluctant to talk. KEITH: Well, then I guess there’s nothing else to say but good night. TERRENCE: [frustrated] I have a gambling problem. KEITH: I’m aware of that. TERRENCE: I got in pretty deep. I had to do some things that I’m not proud of. KEITH: Terrence, we can dance around this all night. TERRENCE: I threw a game. Some of the light goes out of Keith's eyes. TERRENCE: It was game four of the ALCS. Three-run homer Baylor h*t off me. Seventy mile-per-hour curveball. Didn’t break. Pure meat. Keith is lost in his own memories. TERRENCE: Leslie heard all about it. I mean, that pitch, it erased millions in debt. That’s when baseball players, they didn’t make what they make today. KEITH: [softly] I was almost at that game. Keith closes the laptop. KEITH: But Veronica gets the chicken pox. Keith gathers up the laptop and holds it close to his chest. He gets up and walks to the desk. KEITH: I’m glued to the TV with my jersey and my... Keith waves his hand. KEITH: ...foam finger. A grown man. Pretty silly, huh. You know what’s even more silly? The superstitious fan in me. I thought we lost that game because I wasn’t there. I even felt a little guilty, like I let you guys down. Terrence sighs and gets up from the couch leadenly. KEITH: I thought, “there’s always next year.” You guys never made it back. Terrence reaches the door. KEITH: I’m $50 an hour, plus expenses. Terrence looks back, stunned. TERRENCE: You’ll take my case? Why? KEITH: You’re Terrence Cook. You wouldn’t k*ll a bus full of kids. I still believe that. Terrence drops his head and walks out of the office. EXT - NHS, CAR PARK - DAY. A lime green Impala pulls into the car park. Veronica is waiting. She walks towards the car as Weevil gets out. VERONICA: Got a funny story for you. I call it “How Weevil got his new car.” WEEVIL: Well, are there pictures? ‘Cause I’m a little slow. VERONICA: Remember that whole thing with Nancy’s number on the fifty dollar bill? Yeah, I made it up. Weevil smiles and shakes his head. WEEVIL: You got some skill, girl. VERONICA: The sheriff let your buddy Thumper go. The bag of pills you planted? Ephedrine. There is one thing I can’t figure out, and it’s pretty much driving me insane. I know you broke Thumper’s lock, just took off your own and put it on Thumper’s locker, but I don’t know how you did it. Where did you hide the cashbox? WEEVIL: The two places you looked for it. The cashbox was in my niece’s backpack. FLASHBACK: EXT - NHS - DAY. At the carnival, Weevil's arms can be seen putting the cashbox in Ophelia's bag and zipping it shut. WEEVIL: [offscreen] Then she went into the ball pit, stashed the box. END FLASHBACK. EXT - NHS, CAR PARK - CONTINUING. WEEVIL: We got the third degree from you, like I didn’t know that was coming. VERONICA: Then she went back in and got the box. Weevil nods. VERONICA: While I was having the ball pit drained, you were planting cash and ephedrine in Thumper’s locker. FLASHBACK: INT - NHS, AUTOSHOP - NIGHT. Weevil sits at a desk and writes "Nancy" on the back of a fifty dollar bill. WEEVIL: Well, I had to go back later and add the incriminating fifty dollar bill. END FLASHBACK. EXT - NHS, CAR PARK - CONTINUING. VERONICA: So, when you rented The Thomas Crown Affair, McQueen or Brosnan? Weevil just grins. WEEVIL: Is it your undying love for me or just good old-fashioned lust? Veronica looks confuses and puts her hand to her ear. VERONICA: ¿Qué? WEEVIL: That kept you from turning me in. Veronica puts her finger on her lip and thinks for a moment. She points at him. VERONICA: Love. Her finger returns to her lip and then she points again. VERONICA: Of rollercoasters. Weevil chuckles. VERONICA: And hatred of anything that requires me to tie a sweater over my shoulders and be at sea with my classmates. Nothing to do with you. They smile. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x13 - Ain't No Magic Mountain High Enough"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars… At his desk, Keith takes the picture Veronica passes to him in 212 "Rashard and Wallace Go to White Castle." KEITH: That’s Terrence Cook and, uh… VERONICA: Miss Dumas, the journalism teacher. KEITH: Who died in the bus crash. VERONICA: He also has some gambling issues. Dr. Griffith approaches Lamb on election night in 206 "Rat Saw God." GRIFFITH: I have information about that Mexican kid who got k*lled. Veronica brings Logan up to speed in 207 "Nobody Puts Baby in a Corner." VERONICA: Your 9-1-1 caller, a.k.a. Tom Griffith, is Dr. Tom Griffith. Veronica continues her briefing at her locker in 208 "Ahoy, Mateys!" VERONICA: Our favorite plastic surgeon... Cut to Logan kissing Hannah in 213 "Ain't No Magic Mountain High Enough." VERONICA: [offscreen] ...seems to be owned by the Fighting Fitzpatricks. Hannah pulls away from Logan and climbs into the waiting car. HANNAH: Hey, Daddy. Veronica questions Ryan in 208 "Ahoy, Mateys!" VERONICA: So you guys were, like, a couple, or...? RYAN: I was madly in love and a hundred percent gay. Dick backs away from the tr*nsv*stite, pointing at the beauty's crotch. DICK: What is that! MILF: What do you call yours? End previously. EXT - NEPTUNE STREET - NIGHT. Music: "On the 54" by the Dandelions. LYRICS: Yeah,yeah, check it out now Check it out now, come on, check it out, yeah Check it out now, check it out now, Come on, check it out, yeah Check it out now, check it out now, Come on, check it out, yeah Check it out now, check it out now, Come on, check it out, yeah A battered car pulls up three feet away from the side of the street. Corny exits, grooving to the tune on his iPod, dressed in the red shirt and cap of Cho's Pizzas and carrying three large pizza boxes. He spins in time to the music, before carrying along the side of a house. Movement can be seen behind him. A taser is shoved onto the back of his neck. He grunts and falls, unconscious. End music: "On the 54" by the Dandelions. EXT - NEPTUNE HIGH SCHOOL (NHS), CAR PARK - DAY. The LeBaron, top down, pulls into a space. A red sports car, its top also down, pulls into the space next to the LeBaron as Veronica climbs out of the car. It's Dick who manages to ding the LeBaron with his car door as he jumps out. VERONICA: Dick, you totally nailed me. DICK: Oh, man, so you're the fingernails chick from my New Year's party. Veronica grimaces at her poor choice of words. DICK: I did nail you. That's funny, I remember you taller and less uppity. VERONICA: My car, just now. Dick glances back, unperturbed. DICK: Oh, jeez. Maybe we should get the highway patrol down here and take some pictures or something. Veronica marches to the spot. DICK: Gimme a break, I barely even touched your stupid door. VERONICA: You left some paint. Look. DICK: That's only like the most valuable thing on your car. Unseen by both, a couple of lettered jocks stop to observe them. The first is the same guy who was so keen to dump Jackie in the water in 213 "Ain't No Magic Mountain High Enough" because one of his friends died on the bus. The second, Kelly, is the wanna score boy who tried to buy coke off Weevil in 208 "Ahoy, Mateys!" BASEBALL PLAYER: You might want to frisk her before you get in the back seat. KELLY: She could be smuggling junk. DICK: You're ones to talk. Baseball players, right? Remind me, which one of you pitches and which one catches? KELLY: Relax, Dick, we're not saying that you're gay. I mean, just because you make out with a dude here and there. Kelly laughs. Veronica curls her lip in disdain and walks away. EXT - NHS, LUNCH AREA - DAY. Tucked away in a corner, Logan watches a student get a drink from a machine. The kid stops to open it as Logan fixes him with a stare. LOGAN: Strawberry soda, fine choice. GUY: Mmm-hmm. Logan continues to stare until the kid gets the message and walks away. Logan returns to the side of the snack dispenser next to the drinks machine to where Hannah is waiting for him. LOGAN: So where were we? She grins. LOGAN: Oh yes, I remember. They start kissing. HANNAH: You sure you don't want to take this somewhere else more private? Like...the trunk of your car? LOGAN: Mmm. It's called a stolen moment because we're sneaky about it. HANNAH: Ever consider that you're not as notorious as you think you are? LOGAN: Oh, come on, admit it, your dad went off on you for getting cuddly with me at the carnival, right? HANNAH: My dad didn't say a thing. This surprises Logan, though he hides it from Hannah. He shrugs. LOGAN: Hmm. Well maybe it's just that I really want to be alone with you. HANNAH: So when do you want to be alone with me again? LOGAN: I don't know. Saturday? HANNAH: I'm staying at my dad's this weekend. You can come by and watch a movie if you want. He kisses her nose. LOGAN: I want. INT - MARS INVESTIGATIONS (MI) - DAY. Terrence Cook is pacing in Keith's office. TERRENCE: I got Lamb turning my house upside-down. I got the paparazzi following me day and night, just waiting for me to fall apart and make a run for it in my Bronco. I swear, there's a news chopper following me around. KEITH: If Lamb doesn't press charges, if you're not indicted, this media frenzy will be gone before you know it. Keith gets up from his desk and walks over to where Terrence has settled, perched on the cupboard under Keith's "This Is Your God" poster. KEITH: Let's concern ourselves more with keeping you out of jail. TERRENCE: How? I mean, you said it yourself, if all it took was a phone call to blow up that bus, then anybody could've done it from anywhere. So, why not me? A gambler, a cheater, a deadbeat. Who's gonna-- KEITH: Stop. You had me at "gambler." Terrence, relax. Just tell me what you can remember from the day of the crash. TERRENCE: I-uh met those kids out at the park. And like I said, I talked with Woody. Signed some stuff...I was out of there around five, I guess. KEITH: The bus went over at 7:03. TERRENCE: The next thing I can remember was around eleven, maybe, when I turned on the TV and heard the news. KEITH: You don't remember anything you did in between five and eleven? TERRENCE: Nope. Keith stares at him. TERRENCE: [petulant] You got something to say? KEITH: You remember nothing? TERRENCE: Where were you at 7:03 that day? Keith thinks for a moment. KEITH: I suppose I don't know. TERRENCE: Well maybe you blew up the bus. INT - NHS, HALLWAY - DAY. Veronica walks down the hallway as the students around her are laughing and gossiping over a flyer that many of them have. FEMALE STUDENT: Oh my God! MALE STUDENT: Way to go, Marlena. Veronica glances at a couple of students and rounds the corner. She sees Madison march towards a student, Marlena, who is tentatively reaching for one of the flyers, contained in a file taped to her locker and marked "Marlena's Out Box" under a rainbow. Madison grabs the flyer, the last one, before Marlena can take it. She starts to read the poem contained thereon as they are joined by another couple of girls following Madison. MADISON: [reading] Who will spot the impostor Cheering in the second row? Veronica watches as Marlena wraps her arms around herself. MADISON: [reading] How long can my pep squad smile Hide the me I cannot show? Madison looks up. MADISON: Wow, that is so precious, Marlena, and you even made it rhyme! Just like an Indigo Girls song. MARLENA: [desperately] I didn't write that. MADISON: Got it. Must be some other pep squad lez who has her gym locker next to mine. Veronica's disgust is clear on her face as she starts to walk on. MADISON: [offscreen] Oh, wait, here's my favorite part. Veronica puts her head down to walk past, sparing Madison a disdainful glance. MADISON: [reading] Taking off our clothes I put on my disguise But when we're in the shower, Can Madison feel my eyes? Marlena, upset, grabs the file and pulls it off of her locker before turning and scurrying away. She passes another group of girls who giggle as she passes. Elsewhere in the hall, Ryan hurries towards Veronica. Veronica, head still down, is pulled to a sudden halt as he stops right in front of her. RYAN: I've got a problem. INT - NHS, JOURNALISM CLASSROOM - CONTINUING. Ryan leads Veronica into the middle of the room, away from the doors. He glances around furtively before speaking. RYAN: You heard about the pizza-boy muggings? VERONICA: I heard about Corny. RYAN: Yeah, Corny was victim number five. I was number four. Look...I need you to find the guy who ripped me off. VERONICA: Sounds like a police matter to me. RYAN: I had something in my wallet...a list that wasn't supposed to get out. Ever. That whole Marlena thing, it was my fault. VERONICA: I don't get it. RYAN: W- M-Marlena's name w-was on a list, with nine other gay students. That poem everyone was making fun of, Marlena posted it onto a website that I set up. VERONICA: You set up a poetry website? RYAN: A chat room. It's called "The Pirate's S.H.I.P.," you know, S-Student h*m* Internet Posting. I was in charge of maintaining user names and passwords, only the list-- VERONICA: I follow. But why would a mugger want to out sweet little Marlena? RYAN: Because she didn't have the five thousand dollars he demanded from her to stay in. Veronica groans. VERONICA: Why can't the evil just get jobs like the rest of us? RYAN: Look, we're willing to pay you. VERONICA: Who's "we" and what are you offering? RYAN: I-I can't give you names, but w-we're each good for a hundred dollars. Find out who's doing the blackmailing, all right? Opening credits. INT - CHO'S PIZZA - DAY. Music: "This Machine Alone" by the Fighting Brothers McCarthy. LYRICS: There's no shame in this and I can reason it I believe in this, you know it might be sane Could've been my name There isn't' seats at home {} Nobody sleep's alone, you know it might be sane Could've been my name You've been around me long enough to find You get to know the only {} I wouldn't leave without you, I wouldn't leave without you I wouldn't leave this place without you This machine alone was made for great ideas {} and cellular phones, you know it might be sane Could've been my name I didn't know what I had home to find I wouldn't say what I feel, would you read my mind Could've been my name You've me around me long enough to find... The restaurant continues to offer menus combining east and west as notices for Ginger-Black-Bean Paella and Szechwan Italiano can be seen. Ryan and Corny are working. Veronica hovers near them. VERONICA: So what'd they get off you, Corny? CORNY: Oh, all the cash, my tunes, oh, and the pizza, you know. It was pepperoni, thick crust; it was a real nice pie. The three of them sit down at one of the tables. CORNY: Sound like the guy who mugged you? RYAN: Yeah, same part of town even. I got h*t in South Neptune, down on Alvarado. VERONICA: Do you think they were real orders, or-- RYAN: No, bogus. Mr Cho called both places back after the muggings. The people there hadn't ordered pizzas. VERONICA: Either of you remember the names that went with the fake orders? CORNY: Yeah, man, I do. You know Amy Esparza from gym class? Veronica nods. CORNY: That's whose house I was headed to. I remember distinctly because I was like, "Damn, what if Amy answers the door in her unmentionables?" That would've been sweet. Veronica sighs at Corny's focus. VERONICA: Can you give me a list of the names and addresses the mugger used, Ryan? Ryan nods. End music: "This Machine Alone" by the Fighting Brothers McCarthy. INT - NHS, HALLWAY - DAY. Logan and Dick are walking towards the auditorium. There is a desk set up in front of the doors to the auditorium. Hannah and another girl are hawking Pirate Pride stuff. DICK: First of all, I'm not letting her learn to surf on one of my boards. I'd sooner let her paddle out on my mother. LOGAN: Well, of course you would. Hannah sees Logan as he and Dick turn the corner in front of her, continuing to walk. She grabs a box and chases after them. DICK: Right? So, I'm thinking she can come with us to Cabo. HANNAH: Hey! Logan grimaces before he turns around to face her. HANNAH: You two look like you're in the market for some spirit paraphernalia. I recommend the button. She points to the large, yellow "Go Pirates" button pinned to her chest. DICK: They're awful tempting. HANNAH: Well, they're for a really good cause. That was sarcasm, by the way. Logan throws a bill into the box and takes a button but totally ignores Hannah. LOGAN: Dude, you know where we gotta go? We gotta go to Scorpion Bay again. He spares her the briefest of glances. LOGAN: Thanks. He addresses Dick again, refusing to acknowledge Hannah. LOGAN: Camping on the beach, endless right-point break. That's our place, man. He rough-houses Dick and leads him away. Hannah stares after him, unhappy. INT - NHS, GIRLS' BATHROOM - DAY. Veronica enters and starts to wash her hands. Another girl, in her cheerleading outfit, comes in behind her. KYLIE: I need your help, Veronica. VERONICA: Sorry, Kylie, I'm working at capacity right now. Kylie checks the stalls. KYLIE: You don't understand. I'm being blackmailed. It's just...Ryan told me I could talk to you. VERONICA: Really? You're being blackmailed. KYLIE: Sorry to blow your mind, but I'm a lesbian, Veronica. VERONICA: Oh...well...that's cool. KYLIE: Only when you're in college. VERONICA: Did you bring the blackmail note? Kylie hands Veronica a folded piece of paper. Veronica unfolds and reads it. KYLIE: I don't have that kind of money. I'm d*ad! VERONICA: Respond to the e-mail. Ask for another twenty-four hours. I'll handle the cash and drop-off, okay? KYLIE: Thanks, Veronica. She grins ruefully and leaves as Veronica, more sobre, ponders. INT - MI - DAY. Veronica enters the office as the phone is ringing. VERONICA: Got it! She hurries to her desk and grabs the phone. VERONICA: Mars Investigations. VOICE ON PHONE: Is Keith Mars there? VERONICA: Sure. VOICE ON PHONE: Can you just let him know I'm faxing him Terrence Cook's credit card statement? VERONICA: Thanks, I'll let him know. Veronica hangs up the phone thoughtfully. She looks over towards her father's office. She approaches it. VERONICA: They're gonna fax through that credit card statement you asked for. She stops at the door. Keith is engrossed in his work and barely looks up. KEITH: Good. Thanks, honey. VERONICA: [slowly] Terrence Cook's credit card statement. Keith pays attention. VERONICA: So...are we working for accused mass m*rder now? Keith smiles. KEITH: That's right. VERONICA: You sure you're not clouded by your years of being his biggest fan? Keith shrugs. KEITH: I don't know, maybe. Let's just call it a gut thing. Besides, I thought you'd be excited. VERONICA: By what? If Terrence is guilty, that means I'm off the hook, everyone didn't die because of me. Keith gets up from the desk and walks towards her, arms outspread. KEITH: Excited that I'm helping your friend's dad. VERONICA: Where are you getting your intel? Jackie and I aren't exactly the Sisterhood of the Traveling Pants. She's not what you'd call "huggable." KEITH: Whereas you warm right up to people? Hmm? Keith pulls a goofy face. Veronica takes the point and matches his expression. VERONICA: Hmm. KEITH: Hmm. VERONICA: I wanna help. And your gut's good enough for me. KEITH: Mm-hmm. VERONICA: I need to feel like I'm doing something right now. Keith grabs a sheet of paper from his desk. KEITH: Terrence'll be by in a bit. You mind making a couple calls for me? VERONICA: No sweat. He hands it to Veronica. She smiles and walks to her desk. Cut to a little later. Veronica is on the phone, waiting for it to be answered, as Terrence Cook walks in. She looks up at him. VERONICA: You can head right in. Terrence nods briefly and heads into Keith's office as Veronica returns her attention to the phone call. VOICE ON PHONE: Hello. VERONICA: Hi, ah-this is Veronica Mars calling from Mars Investigations? In his office, Keith updates Terrence. KEITH: I've got calls made to your agent, your brother, your assistant, on and on. No one seems to know where you were when you made them. Terrence sighs. Veronica taps on the edge of the office door and enters. She hands a piece of paper to Keith. VERONICA: Got something. KEITH: My daughter. TERRENCE: Yeah, we've met. KEITH: You know the name, Hank Melton? TERRENCE: No. VERONICA: He works for Mint Condition Car Detailing off the interstate. TERRENCE: Crazy Hank? Yeah, I know that guy. He works on my car whenever-- Terrence stops as he realises what he is about to say. Keith picks up his reluctance to speak in front of Veronica. KEITH: Veronica, can you give us a minute? Veronica nods, retrieves the sheet of paper from Keith and walks back to her desk, closing the door behind her. KEITH: Terrence? TERRENCE: I call Hank whenever I h*t the Seven Rivers Casino. KEITH: So you were in the casino that day? Possibly when the bus crashed? TERRENCE: Yeah, I say it's likely. KEITH: That's great news. Casinos happen to be the most photographed places on earth. TERRENCE: Well, good luck getting that surveillance footage, Keith. You know who Leonard Lobo is? KEITH: The guy who runs Seven Rivers? TERRENCE: Actually, several of the Indian casinos. KEITH: What's Lobo got against you? TERRENCE: Millions of dollars' worth of outstanding debt. You know those guys the sheriff caught loitering outside of my house? KEITH: Fitzpatricks? TERRENCE: Delivering a message for Leonard Lobo. His way of saying that my payments are overdue. Keith nods. INT - NHS, CLASSROOM - DAY. The students are watching Navigator TV. A news broadcast is underway, with John as anchor. JOHN: Mr Pleacher and the Neptune High Science Department would like to invite you all to the annual Physics Olympics. Ryan hurries into the room and slides into the empty seat next to Veronica, who is ignoring the broadcast and reading a book. JOHN: [offscreen] The competition will be held in the gym following seventh period this afternoon. RYAN: Last night was a bust? VERONICA: What? Two hours spent tracking a dummy email address? RYAN: Maybe this'll help. He pulls out a piece of paper from the small pile of books he is carrying. RYAN: All the names and addresses when he ordered pizzas. You gotta do something, Veronica. I'm getting like a hundred emails a day from my Pirate SHIP peeps. They're really starting to freak. JOHN: [offscreen] In other news, a Neptune student was involved... RYAN: What? You know one of them? JOHN: [offscreen]...in the latest...as*ault. VERONICA: Yeah, I-- JOHN: [offscreen] Let's go to Kylie Marker for the story. This catches Veronica's attention and she looks up at the screen. JOHN: She out in the parking lot, live. Ryan picks up Veronica's focus and watches as well. KYLIE: [offscreen] The Pizza-Boy Mugger added to his repertoire. On the TV screen, Kylie is walking in the car park. The banner at the bottom of the screen reads "Kylie Marker / Reporting." KYLIE: Although the MO was the same, a taser to the neck, this time he chose a seemingly random victim, baseball player, Kelly Kuzzio. The whole class is paying attention now. KELLY: [offscreen] After last night's game, I stopped at Sac-N-Pac to grab a drink. On the TV, Kylie has stopped by Kelly and holds the microphone towards him. The banner has changed to "Kelly Kuzzio / Senior." KELLY: Got out of my car, and bam, lights out. He took my watch, my wallet, but what really sucked? He stole my rims. The camera moves to Veronica, watching intently and to Ryan, looking sad. KELLY: [offscreen] Six grand those cost me. KYLIE: [offscreen] Before I send it back... On the live broadcast TV screen, Kylie walks towards the camera KYLIE: I'd like to add a personal message: I'm gay. There are gasps around the room, swiftly followed by giggles. KYLIE: Marlena Nichols is my girlfriend. So, Pizza-Boy Mugger, you can forget about collecting from me. John? Kylie grins jauntily into the camera. They switch back to John at the Navigator's anchor desk. John is stunned and catching flies. In the classroom, the chatter is getting louder. VERONICA: Well it looks like Kylie won't be needing my help anymore. Veronica looks over at Ryan who appears a little shocked himself. INT - NHS, HALLWAY - DAY. The camera is on two hands held tightly as a couple walks down the hallway. There are comments and gasps from all around for it is Kylie and Marlena. Kylie is confident and happy. Marlena is frightened, but gives Kylie a nervous smile. They near Dick and another 09er who watch them. DICK'S FRIEND: Hey dude, check it out. DICK: That. Totally. Rocks. DICK'S FRIEND: Yeah. They slap hands as the girls pass. They turn to watch them go. DICK: Dude, why are lesbians like so pissed-off all the time? DICK'S FRIEND: I don't know, man. Dick shouts out after the girls. DICK: Let your freak flag fly, ladies! The boys giggle at Dick's wit. Veronica approaches. VERONICA: How progressive of you, Dick. DICK: Damn, what is it with you? Do you follow me around for fun, or what? Dick's mate holds up his hands and backs away, not wanting to tangle with Veronica. DICK'S FRIEND: Later. VERONICA: Would it help if I started making out with my girlfriend in the hall. DICK: Yeah, obviously. But look, I'll fix your car, whatever. You gotta learn to leave me alone. VERONICA: And here, I thought we were getting to be pals. DICK: Please. You date Logan, he's nailed for m*rder. You date Duncan, he's wanted for kidnapping. You get put on Robbie and Hunter's jury, they get sent to Chino. You're like rich-dude kryptonite, Veronica. This rich dude wants no part of it. Dick walks away, leaving an irritated Veronica. She thinks for a moment and swallows before looking around. She heads over to some lockers. VERONICA: Hey, Carmen. Carmen Ruiz, last seen in 120 "M.A.D." is working the combination on her locker. VERONICA: Heard from our favorite videographer lately? CARMEN: He called over Christmas to try to apologize for that whole popsicle thing, like people even remember my scandal anymore. Pleasuring inanimate objects was so 2005. VERONICA: Yeah, this year's all about pulling kids out of the closet. CARMEN: So I've a feeling we're not just catching up here. Veronica pauses, nailed, then sighs. VERONICA: Any idea why the pizza mugger used your name? CARMEN: No. VERONICA: You mind looking at something? Veronica pulls the list Ryan gave her out of her bag and hands it to Carmen. VERONICA: Obviously you, John Ramos, and Amy are all students who live relatively close, but is there anything else that would tie you together in the mugger's mind? CARMEN: We're all coconuts. That's what you get called in Neptune when you're Latino and date white people or join Honor Society. Get it? Like Twinkies and Oreos, except that we're brown on the outside and--- VERONICA: No, I-I get it. I-I'm sorry. CARMEN: Hey, you didn't make the rules. I hope you get your bad guy, Veronica. Carmen starts to move away. Veronica puts out a hand. VERONICA: Actually, um, you could help. Can you make me a list of everyone you can think of who gets made fun of for, you know, being a coconut? EXT - NHS, CAR PARK - DAY. Kelly walks towards his rimless car. Veronica approaches. VERONICA: Sorry about your car, Kelly. KELLY: Yeah, thanks. VERONICA: Did you get a look at the guy who zapped you? KELLY: No. Nothing. I was getting in my car at the Sac-N-Pac. Next thing I knew, I was waking up and my car was up on blocks. VERONICA: You must have been out a long time. I can't believe no one called the cops. I mean, how long would it take to get the rims off a car? KELLY: How should I know? VERONICA: I mean, did they bring their own jack, or-- KELLY: Look, I-I already told all this stuff to the cops. Why do I need to say it again to you? Kelly gets in his car and drives away as Veronica stares after him. EXT - GRIFFITH RESIDENCE - NIGHT. A doorbell rings. Through the window of the house, Hannah can be seen coming down the stairs to the door. Logan is waiting outside on the porch. Hannah opens the door and just looks at him curiously. LOGAN: You gonna let me in? HANNAH: Well I'm trying to act like I don't know you, but... Logan looks sheepish. Hannah shrugs. HANNAH: I don't know how you do it. You've got some serious skill. LOGAN: It's more of an innate ability to compartmentalize. Hannah doesn’t respond, turning her head away sceptically. LOGAN: Look, I feel like I'm waiting for a tip or sometime. Can you let me in? Hannah shrugs again but makes no move to allow him in. Logan takes a step towards her. LOGAN: My first girlfriend was m*rder. My last girlfriend nearly got g*n by a PCHer drive-by. I mean, color me crazy, but I see a pattern. I'm trying to protect you. After a moment's hesitation, this proves persuasive and Hannah backs away from the door, inviting him in. Logan raises his eyebrows in celebration of his success before walking inside and closing the door. INT - GRIFFITH RESIDENCE - NIGHT. Cut to later. Hannah is leaning back against Logan on the couch as they watch a film. Logan feeds her popcorn. LOGAN: So when did your folks split up? HANNAH: Mm. Just a year ago. LOGAN: Hmm. They tell you why? HANNAH: The official answer: they grew apart. Unofficially, I kept hearing them scream at each other about money. Griffith comes down the stairs. GRIFFITH: Hannah? Hannah sits up and both she and Logan turn to look at the doctor. HANNAH: Hi, Dad. This is Logan Griffith stares at Logan and nods shortly. GRIFFITH: Hello. Logan replicates the hand wave he gave Dr. Griffith in 213 "Ain't No Magic Mountain High Enough." Griffith stares hard at him, then spins around and returns upstairs. HANNAH: And there's the Griffith charm. Sorry, that's about the most you'll get out of Dad. Hannah grabs Logan's arm and pulls it around her as she settles back against him. Cut to later again. The sound of a flushed toilet precedes a door opening upstairs and Logan exits into a small hall. Griffith is waiting for him. GRIFFITH: What are you doing with my daughter? Logan pauses at the top of the stairs. LOGAN: You want the complete play-by-play? He moves towards the doctor. LOGAN: That's kind of twisted. They face off, both keeping their voices low. GRIFFITH: I want you to get out of my house and never speak to her again. LOGAN: You really want that to happen? You'd better rethink what you saw on the bridge. Scratch that. What the Fitzpatricks told you you saw. GRIFFITH: You can't thr*at me, you little punk. LOGAN: Wouldn't be here if you couldn't be thr*at. GRIFFITH: So do you want to be the one to explain to Hannah why you're really here? Try and bully me? Logan shrugs. LOGAN: Well why don't you tell her? Sounds like you guys already are so close. I'm sure she'll see things your way. Logan smirks. GRIFFITH: Please don't do this. LOGAN: While you're at it, try explaining why you never mentioned how you're the mystery witness in my m*rder case. That'll be good. GRIFFITH: Hmm. LOGAN: I guess that never came up in your drive home from the carnival. I'm thinking we're done here. I don't want to keep Hannah waiting. Logan waggles his eyebrows suggestively. He heads for the stairs, still watching Griffith who is furious. INT - SEVEN RIVERS CASINO - NIGHT. The casino is doing good business as a man escorts Keith towards a private room. LOBO: You're joking. Terrence Cook wants another favor. Frankly, I'm not sure he wants to owe me any more than he already does. They enter an unused gaming room, peopled only by a barman and a couple of g*ons. KEITH: Well, he thinks you might have security footage of him from September thirteenth of last year, the day of the bus crash. LOBO: And what's he paying you, Mr Mars? KEITH: Four hundred dollars a day. LOBO: That's four hundred dollars a day he should be paying me. KEITH: Terrence Cook's gonna get charged with m*rder any day now. LOBO: Terrence Cook owes me a significant amount of money. That's where my interest in him begins and ends. They can swing him from the rafters for all I care. KEITH: Well maybe all that swinging will drop some change from his pockets. It might be a little hard to get paid by an incarcerated man. Lobo gets the point. LOBO: [to one of the g*ons] Reggie...check the tapes. See what you come up with. Reggie nods and walks off to do the job. LOBO: You like to gamble, Mr Mars? Perhaps I could interest you in a line of credit. KEITH: No thanks. LOBO: Good man. Here's a couple of bucks on the house, then. Have some fun while you're waiting. Keith takes the chips. EXT - GRIFFITH RESIDENCE - NIGHT. Logan and Hannah kiss on the porch. HANNAH: See. Wasn't this better than champagne and ocean views? Logan strokes her hair and makes an okay sign with his fingers. LOGAN: Hm. He kisses her again and then spins out of her arms and down the porch steps. LOGAN: Until tomorrow. Hannah smiles as she watches Logan get into the Xterra and drive away. Griffith comes out of the house and joins her on the porch. GRIFFITH: I need to talk to you, Hannah. Hannah looks back at him. She turns and walks slowly into the house. INT - SEVEN RIVERS CASINO - NIGHT. Keith is at the blackjack table. The cards are dealt and Keith is in a quandary. DEALER: Sir? The dealer looks at him expectantly. The guy sitting next to him becomes impatient. GAMBLER: It's two bucks, buddy. Keith reluctantly makes a decision, silently mouthing for the dealer to give him another card just as Reggie taps him on the shoulder. Keith turns around as the card is dealt and he is bust. DEALER: And king makes twenty-two. Keith leaves the table and follows Reggie. INT - CHO'S PIZZA - NIGHT. Lemon Grass Linguine at $7.50 and Taleggio Croquette spicy $3.95 are on offer behind the counter. The place is busy and Corny is packing pizza. An unidentified song is playing. Veronica is reading at the counter. CORNY: Oh, man, Cho's is going off tonight. VERONICA: That what happens when the chains stop delivering to South Neptune. Corny answers the phone. CORNY: Cho's 'Za. Yeah, no problemo. Mm, can I get your name and number, please? Veronica gets out a list, presumably supplied by Carmen, ready to check the name. CORNY: Mm-hm. She waits as Corny takes down the address in writing. He rips it off the pad and hands it to Veronica. He finishes the call as she checks the list. VERONICA: Jorge Zadia was a ringer. His name's on Carmen's list. So are you ready to be the bait, Corny? CORNY: Hell, yeah. No one's better. I'm what you'd call a "master bait." Corny clicks his fingers and poses (in an alleged copy of Drew Carey's flourish in The Aristocrats) before a bemused Veronica. INT - SEVEN RIVERS CASINO - NIGHT. A lift door opens and Lobo exits with some g*ons, one of whom holds a file. Lobo takes it and hands it to the waiting Keith. LOBO: There you go. Straight off the surveillance hard drive. Keith looks through the file. There are two pictures. The first, timed at 7:01, shows Terrence entering a room next to a slot machine. The second, timed at 7:06, shows him at the blackjack table. KEITH: There's five minutes missing. LOBO: Maybe he was in the john...or the elevator. I don't know. That Terrence Cook is a mighty slippery fellow. Lobo glances at Reggie. KEITH: I need a picture of him at exactly 7:03; these aren't going to help. Lobo just smiles and walks away. Reggie and the g*ons follow him, leaving a frustrated Keith. Keith makes his way across the busy casino floor. He pulls his cell out of his pocket. He punches a number and puts it to his ear but nothing is happening. He checks his phone as he rounds a corner past a slot machine. The pit boss sees him checking his phone. PIT BOSS: You gotta take it outside. Keith turns to him, not understanding. PIT BOSS: Your cell phone. We jam all the signals in a hundred-yard radius. Card cheaters, you know. Keith nods. KEITH: Thanks. PIT BOSS: Sure. Keith closes up the phone and walks away, a huge grin on his face. EXT - NEPTUNE STREET - NIGHT. Corny's car pulls up at, or rather within the vicinity of, the curb. He gets out, carrying three pizza boxes. As he walks offscreen, a dark figure can be seen, running up behind him. Veronica is lying in wait and jerks on something. A wire tautens across the path at ankle height and brings the figure down. Backup growls and barks viciously as the figure starts to rise. ARTURO: Tell-tell him to chill. Veronica and Corny are standing behind Backup, Veronica holding the leash of the straining dog. VERONICA: Lose the mask. The boy pulls down the front of the scarf he is wearing and slowly rises. Backup continues to growl at him menacingly. VERONICA: Down, boy. What's your name, kid? The boy doesn't answer and Veronica gets impatient. VERONICA: Do you want to deal with me or do you want to deal with Mr. Chompers? On cue, Backup barks again. ARTURO: Arturo. VERONICA: Who are you working with, Arturo? ARTURO: I'm not working with no one. VERONICA: You're telling me you took down a varsity jock, jacked his car, stole his rims, all by your scrawny self? ARTURO: No, that wasn't me. The others was. I-I heard about it. Man, I figured I had me my own copy-cat. Cool, huh? CORNY: Oh, give me a break, man! You're some punk freshman. So give me back my tunes before I kick your ass. ARTURO: Oh yeah? Just wait till I'm a PCHer, Shaggy. Then I'll find your ass and you're gonna get yours. VERONICA: Thumper tell you to rob pizza boys? ARTURO: No, I'm proving myself, so he'll let me in. PCH is back in charge, lady. VERONICA: Did you just call me "Lady"? Veronica holds up the taser and lets it spark. Arturo backs away a little. ARTURO: Okay. VERONICA: So, the blackmailing, is that another way you're out proving yourself, cholito? ARTURO: Man, w-what are you talking about? Black-whatting? Veronica lets out a disbelieving sigh and shakes her head. VERONICA: Thanks for your cooperation. Looks like we're done here, Arturo. Veronica fiddles with something in her hand. ARTURO: Cool. Can I go home then? VERONICA: Almost. She holds up a small cassette tape. Arturo knows he is toast. Cut to a little later. A sheriff's department car pulls up at the side of the street. Deputy Sacks climbs out and shines his torch ahead. Arturo is duct taped to a street lamp which has a "Slow - Children" traffic sign on it from which dangles an envelope. Sacks walks forward to the post and grabs the envelope on which is written "Confession Inside." He tears open the envelope and gets the tape. He looks back up at the lamppost and chuckles. INT - NHS, COMPUTER CLASSROOM - DAY. Veronica checks from the door and hurried forward, happy to find Mac on her own. She leans over next to her station. VERONICA: I need you to get me into a restricted website. MAC: Sure, what's the address? VERONICA: I don't know. Mac looks at her curiously. MAC: What's it for? VERONICA: It's a Neptune High gay chatroom. Mac's brow furrows as she struggles to voice her thought. MAC: Veronica, you're not... VERONICA: No. I'm just curious. Mac continues to gaze at her speculatively. Veronica rolls her eyes as she realises the meaning her words could have had. She laughs. VERONICA: Curious as to what's posted on the website, more accurately. Mac doesn’t move. VERONICA: Here we go. Work your funky magic. Mac just continues to look at her. VERONICA: And nothing. What's the problem? She has a revelation. VERONICA: You set it up, didn't you? MAC: Some ass-face got onto their message board and wrote some pretty awful stuff. So Ryan asked me to beef up their security. VERONICA: Yeah? I work for Ryan too now, so if you could just-- MAC: So then why wouldn't he have let you on it himself? Veronica frowns. VERONICA: Damn you and your valid questions. Veronica thinks for a moment. VERONICA: Look, it's still private if I only see the usernames, right? MAC: A savvy detective such as yourself might deduce who the Pirate SHIPpers are. Veronica sighs long and hard. VERONICA: Mac, the only way I can stop the Marlenas and Kylies of this school from being tormented is if I get on that message board. MAC: All right, stop it. You're embarrassing me. Mac turns to her computer and starts typing on the keyboard. She pulls up the page for Pirate's S.H.I.P. Against a rainbow background, there is the face of a eye-patched pirate, with the two words on either side. Underneath, is the address, www.NeptunePirateShip.com and the words tudent omosexual nternet osting, the first letters of which are the S.H.I.P. Hard to see, but at the top, under the buttons for back, etc, both TWOP and MI.Net can be made out as links, in a shout out from graphic designer Rick Pickett, whose initials stand between the two. Mac proceeds to bring up a small window which says "To board the Pirate's S.H.I.P. please log in." There are boxes for the username and password. Three buttons beneath hold the options "Request to Join," "Reset" and "Submit." Mac logs on as administrator, using a eight letter/number password. She brings up the posting board of the Pirate S.H.I.P. forum, entitled "The Slow Out." There are forty-seven pages in the forum. The topics on display are as follows: "how can i tell my parents?" posted by ClosetLand which has had one view and no replies although the last post is noted to be today at 02:49 PM by FeistyFairy; "Does he have to know? Posted by FeistyFairy which has twenty views and three replies, the last from RockerPocker today, also at 02:49 PM; "gay, or just open? By GrrlLover has been viewed thirty-three times and generated five posts, the last from KIZZNKUZN at 02:47 PM; "I can't take it anymore" was posted by KISSNKUZN and the thirteen replies from twenty-seven views fill two pages, the last from trank at 01:43 PM; "Your first 'special' moment" was a poll by LeonyPony which garnered twenty-eight responses from sixty-one views, the last response from FeeSpirited at 07:51 AM; "I am circumcised, have my been violated or infringed upon" a poll one would love to read, is started by ParaVISION and generated fifteen long responses, spread over more than three pages and last commented upon by GoalHole69 at 05:57 AM; "Who's gay/lez/bi/? here" is the last poll that can be seen, commented upon at 04:29 AM. MAC: Okay, I'll make you a hard copy but you have to burn it when you're done. Veronica nods. Cut to later. Veronica has copied off some of the posts which she is removing from the printer. She continues reading them as she moves the sheets to the desk. She circles the name of KISSNKUZN, a senior member who joined in October 2005 and has made 42 posts. Above his, parts of another post, made by a poster who joined in September and has 64 posts, reads: ClosetLand, when I first started out...some blatant h*m* that didn't...I'd see some of the PCHers, and even...using derogatory terms for kids they like...from them regarding the harassment. I'm...tell if it was staring them straight in the fa...Keep us posted about your poetry slam, I...Never let the hand you hold, hold you down. KISSNKUZN, who probably is also KIZZNKUZN, also responds to ClosetLand: "Quote originally posted by GrrlLOVER I wouldn't take too much from them regarding...You and I both now that ignoring them only gets you...when they tire of using verbal as*ault against you...happens when our ignoring response generates...thick-headed people? ClosetLand, I think you...reates, intimid...." Veronica's research is interrupted by Coach Prepernau, part-time computer teacher, who enters the classroom. VERONICA: Excuse me, Coach? Think I could ride with the team tonight? My car is in the shop and I promised your star point guard I'd be there. His face gives away that he is not going to respond positively. VERONICA: Did I mention all the action sh*ts I'll take for the Navigator? Jackie enters the room, going to the small bookcase. COACH: I'm sorry, Veronica, we have a strict rule against girls on the team bus. I want 'em focussed. JACKIE: You can ride with me if you want. The coach walks back out of the room as Jackie steps closer. JACKIE: I-I realize it's no bus filled with rowdy, towel-snapping jocks, but it'll smell better. VERONICA: I don't know. Um... do you have room for my giant foam finger? JACKIE: I do, and I can even drop you off around the block if you're worried being seen together. VERONICA: Yes. Please, by all means, protect my reputation. They smile at each other and Jackie leaves. Veronica goes back to her posts. She adds KISSNKUZN to a handwritten list she has started with MIZZ P and GrlLover. Ryan comes up behind and gasps when he sees what she has. Veronica rushes to the defence. VERONICA: Don't blame Mac. I-I made her print it out. I don't care who's gay. RYAN: It's fine. I just didn't want to let you onto the site myself. I've let those guys down enough. VERONICA: Ryan, we caught the mugger. He doesn't have the cranial resources to spell blackmail, let alone perform it. The list getting out isn't your fault, never was. I think the blackmailer is one of your own posters. RYAN: What? You're serious? W-- VERONICA: I was looking through some old chats. Um, here, back in July, this guy who calls himself, "MIZZ P," went off about the "outing of all outings in Neptune" and then he vanished. A tad ominous, don't you think? RYAN: MIZZ P ain't the bad guy, Veronica. His name was Peter Ferrer and...he died in the bus crash. VERONICA: Oh, I'm-- RYAN: And there's been another blackmailing letter. VERONICA: Who are they after now? Ryan opens and closes his mouth, indicating that he can't tell her. VERONICA: [exasperated] Oh, you can't be serious. RYAN: I told the victim they could come to you for help, but...I wouldn't hold your breath on this one. VERONICA: Great. I'll just head out into the hall and look out for the guy in the black hat twirling his moustache. Ryan makes a sympathetic sigh. INT - NHS, CLASSROOM - DAY. Hannah is in a full classroom, concentrating on her work. Unnoticed by her, Logan enters the classroom and glances at her before walking to the teacher's desk and handing him a note. The teacher, sitting in front of a board too dark to read, but which indicates that he is Mr. Lang and that the class is studying F. Scott Fitzgerald's The Great Gatsby takes the note and Logan leaves. The teacher glances at Hannah. INT - NHS, HALLWAY - DAY. Hannah, note in hand, is striding along the hallway. From the door of another classroom, Logan snatches her and pulls her into the classroom. INT - NHS, CLASSROOM - CONTINUING. Logan has pulled Hannah into a lab. He turns to shut the door as she swings around to confront him. HANNAH: What are you doing? LOGAN: That depends, what are you gonna let me do? He walks her against the high desk and makes a move to kiss her. She pushes him away. HANNAH: Uh, I know you s*ab that kid on the bridge, my dad told me everything. Hannah moves to walk around him and out of the room. Logan grabs her arm and pulls her back in front of him. LOGAN: No, your dad is a liar. I didn't k*ll anyone, Hannah. Your dad wasn't even there. HANNAH: I was worried you were embarrassed of me, and you were just using me. LOGAN: When I met you at the carnival, I had no idea who you were, I swear. Hannah scoffs. LOGAN: Look, the reason your parents were fighting about money all the time, it's because your dad was bl*wing it on coke. HANNAH: My dad's a cokehead? Please, he's a doctor, Logan. LOGAN: And that's why a jury's gonna buy it when he tells them I k*lled Felix. Your dad is in deep to the Fitzpatrick family, the ones who really wanted Felix d*ad. Logan finally takes a few steps back. HANNAH: And I'm supposed to believe you. LOGAN: You do believe me. What I'm saying makes a lot of sense, doesn't it? He steps forward again, getting close. He moves to touch her. She holds her arms up to stop him. HANNAH: Let me go, Logan, please? LOGAN: [whispers] Yeah. Well, just think about it. Check around the house, keep an open mind. Hannah stares at him before sliding past. INT - MI - DAY. Keith walks into his office, followed by Terrence. Keith goes to his desk and finds the photos. KEITH: I found our silver b*llet, Terrence. You couldn't have made the call that blew up the bus. Surveillance sh*ts. Ta-da! He lays them open on the desk for Terrence to see. KEITH: No cell signal anywhere in the Seven Rivers Casino. TERRENCE: What you got is proof that I was in a private meeting with Leonard Lobo. KEITH: You were in a legal gambling venue placing legal bets. TERRENCE: Lobo's name is on the League unsavory characters list. He was charged, but never convicted of fixing a college basketball game back in the eighties. If I admit that I was in his office, I make myself the next Pete Rose. KEITH: We'll take these photos to the sheriff...and I'll make sure they don't get out. All you need is a little leverage. EXT - NHS, CAR PARK - DAY. Veronica watches a car pull out. The licence plate is KUZZIKAN. She smiles and moves to the next row to stand in front of the car as it threads through. Cut to inside the car with Kelly. VERONICA: "KUZZIKAN"? KELLY: It's my brother's car, brother's plates. VERONICA: Whereas your personalized plates might read... Veronica pulls out her copy of the posts. VERONICA: KISSNKUZN? Kelly's mouth drops open. VERONICA: You didn't get mugged, did you? Kelly ponders for a moment before responding. KELLY: No. VERONICA: You needed to make some fast cash, isn't that right? KELLY: Yes. VERONICA: You're gay, aren't you? He looks at her suspiciously. KELLY: What do you want from me? VERONICA: I want to know why you act like you do. The other day, when you and your pal were making fun of Dick-- KELLY: When underneath I was really just bashing myself? Very insightful. You wanna know why I do it? Because I wanna survive high school, okay? VERONICA: So you hock your own rims for cash to pay the blackmailer, use the pizza-boy muggings as a cover, then buy new rims with the insurance money. KELLY: It sounds bad when you say it. Veronica, you realize, people here find out I'm...q*eer, and I'm d*ad. VERONICA: I'm not out to out you. KELLY: I just wanna pay the damn money and be done with the whole nightmare. Veronica thinks for a moment. VERONICA: The note, let me look at it. Kelly pulls it out of his pocket. KELLY: It was just an email from some guy named Rick Santorum. He says he wants me to just mail it to him. He gave a local address. He hands it to a surprised Veronica. VERONICA: He gave you an address? INT - GRIFFITH RESIDENCE - NIGHT. Hannah picks up the phone. The window displays recent calls. The first is "555-0123" and the next "River Stix." As she scrolls through, the following appear: Fitzpatrick, Sarro, Davenport, 555-0168, Fitzpatrick, 555-0182, River Stix, Landon, River Stix, and Fitzpatrick. She puts down the phone. Cut to her in the bathroom. She opens the medicine cabinet. She looks through and pulls out a box of what look like plasters. She opens it and looks inside, eventually emptying the contents onto the counter. Amongst the plasters is a small bag of white powder. She picks it up and stares first at it and then into the distance. INT - MI - DAY. Veronica leads Ryan into the office. VERONICA: Rick Santorum's address is a fake, no surprise there. Kelly mailed his blackmail payoff but it's been stalled at the post office. It's been like waiting for a toaster to pop these last seven hours. Veronica sets her laptop down on the desk and opens it. They both bend down to view the screen. RYAN: Well, I'll watch it if you don't have the time. I'll call you if I see anything. VERONICA: No need. The tracking map is on screen. VERONICA: It finally moved. Let's see where the package ended up. Veronica clicks on the flashing red dot. An address comes up: 7079 Hubbell Street, Neptune, CA 98081. RYAN: Hubbell Street? I know who lives there. Veronica smiles. INT - NHS, HALLWAY - DAY. Kylie is at her locker. VERONICA: Hey, blackmailer. Kylie smiles, gets her book, closes her locker, turns around and faces Veronica. KYLIE: I figured I'd be seeing you sometime today. Looking for this? She holds out a bug. Veronica takes it. VERONICA: Most people just get pissed and smash it into a million pieces, but they're kind of expensive, so thanks. Kylie starts walking down the hallway. Veronica joins her. KYLIE: I thought I was being so clever with the whole d*ad-letter-office thing. VERONICA: Pretty clever. You knew the money would make its way to the post office. How'd you ever get in to retrieve the package? KYLIE: My mom works there. VERONICA: Oh, nice. KYLIE: Yeah. INT - NHS, ADMINISTRATION OFFICE - CONTINUING. KYLIE: So, I'm assuming Kelly wants his money back. Kylie puts a folder in one of the pigeon-holes. VERONICA: Safe assumption. Why'd you do it? KYLIE: I wanted to get out of Neptune after graduation. There goes that plan. Community college, here I come. Besides, I didn't care much about self-hating KISSNKUZN. I would have slept just fine knowing that Kelly Kuzzio was driving around rimless. VERONICA: Why'd you out Marlena? KYLIE: Because I'm a horrible, crazy bitch. She starts to walk again. Veronica follows. INT - NHS, HALLWAY - CONTINUING. KYLIE: You wanna know what's worse? I told her the blackmailer was bluffing; I told her not to pay. VERONICA: I don't get it. KYLIE: I wanted to be out but I wanted Marlena out with me. I wanted to be able to walk down the halls with her, like a real couple. VERONICA: So, she didn't want to come out and you did? KYLIE: Something like that. Kylie brings them to a stop and faces Veronica. KYLIE: I wanna tell Marlena myself, if that's okay. VERONICA: Okay. Veronica nods and watches Kylie as she goes. Elsewhere, Logan waits outside the art class. The students start to come out into the hallway. He looks into the room then steps back to watch their exit. Eventually, Hannah comes out. Music: "I Don't Know" by Starsailor. LYRICS: Woke up reeling, lost all feeling Heart on the floor, my eyes to the ceiling Tried to stop me but I was not listening One more drink and I won't miss them I don't know what love is I don't know what love is I don't know what love is But I think I had it See them wasting it all away For the sake of a thrill and a game away Hannah hesitates on seeing Logan, then walks towards him, stopping in front of him. Her head is down and she doesn't look up as she addresses him. HANNAH: You were right about my dad. She turns and walks away. Logan watches her for a moment, apparently genuinely sympathetic. He hurries forward to catch up with her. He takes her books, and then her hand, as the students in the hall start to notice. They look at each other and carry on down the hall, ignoring the reactions around them. They pass Veronica and Mac going in the opposite direction. VERONICA: Who's that? MAC: Hannah something, I think. I'd be a willowy blonde too if my dad was a plastic surgeon. Veronica spins around, horrified, and sighs. EXT - AIRPORT - NIGHT. The Cook family Bronco drives alongside a hanger the door of which is slowly opening. VERONICA: Wait a minute. This isn't the way to the regional finals. JACKIE: If my dad expects me to drive seventy-five miles in this bouncy old Bronco, then he really is a m*rder. Jackie drives into the hangar. INT - HANGAR - CONTINUING. A number of expensive foreign cars are parked in the hanger as is a helicopter. VERONICA: Okay, which one is Monday? JACKIE: You laugh, but he pretty much used to have one for every day of the month. End music: "I Don't Know" by Starsailor. VERONICA: Our lives are so similar. The Mars family hangar is a spitting image of this one. JACKIE: Flying's not his thing. Woody Goodman lets Dad use the hangar for his toys. They climb out of the Bronco. JACKIE: So, what are you in the mood for? Hot-blooded Italian or cool and Teutonic? VERONICA: How about privileged and upper-crusty? They head for a black Bentley Azure. INT - SHERIFF'S DEPARTMENT - NIGHT. An irritated Lamb leads Keith and Terrence into his office. He collapses casually into his chair as Terrence shuts the door behind them. Lamb lets out a big sigh. KEITH: I want you to announce that Terrence Cook has been cleared of suspicion in the bus crash. LAMB: [scoffs] What? He crosses his fingers at Keith as if warding off evil. LAMB: Is this some kind of Jedi mind trick? Why would I want to do that? Keith passes over the file with the photos. Lamb looks at the first and back at Keith. LAMB: Exactly what am I supposed to be looking at? KEITH: His alibi. LAMB: You caught Terrence at a casino, huh? [sarcastically] There's a surprise. KEITH: Those time stamps say that he was at the Seven Rivers Casino at the time of the expl*si*n. LAMB: At 7:01 and 7:06. Could've been off and made a call between then. KEITH: The casino blocks cell reception. LAMB: Pay phones. KEITH: You really think someone would make a phone call on a land line that would k*ll a bus full of people? From a location that has four thousand cameras and three hundred security personnel? Subpoena the phone records. Check the calls. Lamb grimaces. LAMB: Ahh, sounds like a lot of work. TERRENCE: What's your beef with me, Sheriff? LAMB: My "beef"? I suppose it's that you...k*lled a bus-load of kids just to tidy up your love-life. Crazy girlfriend who knew about your betting on baseball. That's a liability you could not afford. I suggest you go home and enjoy your last few days of freedom. KEITH: You're not gonna press charges, Lamb. Keith reaches into his pocket as Lamb rolls his eyes, unimpressed. LAMB: Whatever you say, Boss. Keith lays a cd on Lamb's desk. LAMB: [whispers in faux-anticipation] What's this? KEITH: Play it. Lamb reaches forward to grab it. He gazes it at it for a moment then crosses his fingers and closes his eyes. LAMB: [whispers loudly] I really hope this is the new Big & Rich. He glances up at the other men, in total disdain and then loads the disk onto his computer. He drums on the desk, unconcerned as he waits for it to complete, then pushes play. RECORDED LAMB: I got a guy in a holding cell back there, says you did favors for gentlemen who bet extensively on baseball. He wants to make a deal. Me, I would much rather deal with you. Lamb loses some of his cockiness as he turns it off. LAMB: All right, what's this? Where'd you get it? TERRENCE: I don't think a grand jury will have a hard time figuring it out. You don't back off, Sheriff, and that recording is going straight to Woody Goodman, the newspapers, your grandmama. Lamb takes out the cd. LAMB: Right. He puts the cd back on the desk and regains his confidence. LAMB: Here's how it's gonna play out, slugger. Release the tape, I lose my fifty K civil servant job. Lamb uses his fingers to count them off. LAMB: You, you lose your Hall of Fame induction, your color commentating gig... Lamb deliberately uses the three count to give Terrence the finger. LAMB: ...your endorsements. Now where's the trade in that, Terrence? EXT - NEPTUNE STREETS - NIGHT. Veronica and Jackie are on their way back from the game. Veronica is driving. VERONICA: The boy can play ball. JACKIE: [laughing] Did you see his running teardrop in the lane? VERONICA: I saw it. It was Jordanesque. Jackie laughs. VERONICA: But tomorrow, we both gotta promise: say nothing to him. We cannot feed that ego. I like my Wallace humble. JACKIE: My dad told me that you're helping out with his case. That means a lot. Especially since he's already been convicted by half the people in Neptune. VERONICA: Well, luckily it's the half I don't like. So, it works out. The car speeds along the road. INT - HANGAR - NIGHT. Veronica pulls into the hangar and parks the car. She turns off the engine then flicks the switch to put the top back up. Nothing happens. JACKIE: This is not good. The top is broken. VERONICA: Ah, it's probably just a blown fuse. JACKIE: Okay, and you sound like you know how to fix it? Veronica gets out of the car. VERONICA: Well, if she's anything like my LeBaron under the bonnet. I'm gonna need a Phillips head. Jackie, remaining in the car, is clueless. VERONICA: Screwdriver. JACKIE: Oh. Jackie laughs at her ignorance. Veronica heads over to the side where there is a bench and a large metal cupboard. Veronica tries the drawers which are locked. She then tries the cupboard, which isn't. She looks inside for the screwdriver but turns pale at something she does see. Jackie opens the car door to get out, calling out to Veronica. JACKIE: Did you find it? Veronica is still stunned and doesn't respond. INT - MARS RESIDENCE - NIGHT. Keith is in bed, asleep. VERONICA: Dad? Veronica's voice is sharp, frightened. Keith reacts immediately, rolling himself over and sitting up. KEITH: Honey, what is it? What's wrong? Veronica steps forward into the room. VERONICA: Jackie and I borrowed one of Terrence's cars tonight. I was digging around in the hangar where he keeps them and I found...I don't know...but I'm pretty sure it was some sort of expl*sive and detonators. Keith lets out a heart-felt sigh. KEITH: So much for my gut. They stare at each other. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x14 - Versatile Toppings"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars… From the pilot, Veronica runs out to the Kane pool and is shocked to see Lilly lying d*ad. Cut to Veronica having watched the tapes of Aaron and Lilly in 122 "Leave It to Beaver." VERONICA: I know what happened. In Veronica's visualisation of the crime, Aaron hits Lilly across the head with a heavy ashtray. VERONICA: [offscreen] Dad, it's Aaron Echolls; he did it. At home, a concerned Keith listens to her on his cell. VERONICA: [offscreen] I have video of Lilly in his bed on the day she died. In 210 "One Angry Veronica," Keith attends Woody at the latter's office. WOODY: The Aaron Echolls-Lilly Kane sex tapes have been stolen from the evidence room. Logan sobs as he destroys the tapes. KEITH: [offscreen] For a guy who says he hates his father... Keith arrives too late to stop him. KEITH: ...you sure did him a huge favor. Logan stands on the edge of the railing on the Coronado Bridge in 122 "Leave It to Beaver." LOGAN: What do you think you can do to me? WEEVIL: I'll think of something. From 201 "Normal Is the Watchword," Logan beckons Weevil on, then kicks him in the face. The rest of the bikers drag him off the edge and pull him down to the ground. They start kicking. A little later, a man stands over Logan as he returns to consciousness. DRIVER: Why don't you do me a favor and drop that Kn*fe? Logan groggily notes the bloody Kn*fe in his hand and Felix's body lying nearby. Cut to Logan's bed in 203 "Cheatty, Cheatty, Bang, Bang." Naked Logan grabs his cell from naked Kendall, who is astride him, and throws it across the room. LOGAN: I can handle the spice department, thank you very much. KENDALL: Oh really? LOGAN: Really. He pulls Kendall down to him. Cut to Tom Griffith approaching Lamb in 206 "Rat Saw God." GRIFFITH: I have information about that Mexican kid who got k*lled. I'm the one who made the anonymous call. Logan comes clean with Veronica in 207 "Nobody Puts Baby in a Corner." LOGAN: That's not the guy from the bridge. VERONICA: You said the whole night was a blur. LOGAN: I lied. Logan urgently educates Hannah about her father in 214 "Versatile Toppings." LOGAN: Your dad is in deep to the Fitzpatrick family, the ones who really wanted Felix d*ad. Griffith comes upon Hannah and Logan as they watch TV. GRIFFITH: Hannah? Griffith tackles Logan as he comes out of the bathroom. GRIFFITH: I want you to get out of my house and never speak to her again. LOGAN: You'd better rethink what you saw on the bridge. Woody pontificates at the golf club in 207 "Nobody Puts Baby in a Corner." WOODY: I promised a cleaner, safer Neptune. Wanna know how I'm gonna get there? Incorporation. KEITH: That's not a town, Woody, that's a-that's a country club. Woody pontificates at Sharks Field in 201 "Normal Is the Watchword." WOODY: I know some of you. I even coached a few of you back in Little League. I thought I'd invite the journalism classes out and give Gia a chance to make some new friends. Dick sucks up to Gia. DICK: Hello, friend. A little later, Woody introduces a legend. WOODY: Special guest: future Hall-of-Famer, Terrence Cook. Dick talks to Veronica and Duncan. DICK: We're not taking that t*nk-ass bus back to Neptune. My dad's sending a limo. Veronica watches the bus drive away without her. Weevil gives her a ride on his motorbike and they come across the crash. GIA: It just went straight off the cliff. They're all d*ad. Cut to the interrogation room at the sheriff's department in 203 "Cheatty, Cheatty, Bang, Bang." LAMB: Mr. David "Curly" Moran. VERONICA: What does this have to do with me? LAMB: This body washed up on the beach, beaten to death. At the garage where Curly worked, Veronica stares at one of Curly's framed celebrity photos - the one of him with Aaron Echolls. VERONICA VOICEOVER: It looks as though Curly and I have a friend in common. "All these years, still on The Long Haul." Veronica stares in horror at the poster of Aaron's movie at the Echolls family home. VERONICA VOICEOVER: It's a movie, featuring a signature stunt where a truck is sent veering over a bridge. Keith and Veronica watch TV in 212 "Wallace and Rashard Go to White Castle." ANNOUNCER: Balboa County Sheriff Don Lamb questions baseball legend Terrence Cook in connection with the Neptune High bus crash. Terrence pauses as he leaves Keith and Mars Investigations in 213 "Ain't No Magic Mountain High Enough." TERRENCE: You'll take my case? At the office, Veronica questions Keith in 214 "Versatile Toppings." VERONICA: You sure you're not clouded by your years of being his biggest fan? Keith doubts that Terrence has come clean in 213 "Ain't No Magic Mountain High Enough." KEITH: A secret, tumultuous relationship with a teacher who died in the crash? Seems like more of a motive than supporting Woody's plans for incorporation. Lamb interrogates Gia at the sheriff's department, as heard on the interview tapes by Keith in 210 "One Angry Veronica." LAMB: That's why you didn't take the bus home. GIA: Actually, my dad told me not to. I mean, he must have been totally psychic or something. Veronica holds out a frozen d*ad rat in a plastic bag at Mars Investigations in 209 "My Mother, the Fiend." VERONICA: Are you keeping a d*ad rat in our freezer? KEITH: I found it on the bus. VERONICA: It was a message...for me. I'm the rat. Keith offers a different interpretation in 212 "Rashard and Wallace Go to White Castle." KEITH: A d*ad rat's only talent, it smells...bad enough to drive anyone who could afford another ride off the bus. Thumper faces off against Weevil. THUMPER: So what if we want to make some money selling dope to rich white boys? Is that such a bad thing? Weevil gets thumped. A little later, bloody, bruised and on his knees, Weevil looks up at his Iago. WEEVIL: You k*lled Felix, didn't you? THUMPER: That's an interesting theory, Eli. But before you think about spreading it around, I think you should see something. Thumper shows Weevil the images on his cell of Weevil beating up Curly. THUMPER: That night you nearly kicked Curly's head in? Beaver propositions Kendall (No! not like that) at Java the Hut in 209 "My Mother, the Fiend." BEAVER: I'm using my trust fund to start a real estate business. KENDALL: Hmm. BEAVER: You would be the face of the Phoenix Land Trust. Veronica goes looking for a Phillips head screwdriver in the hangar Terrence uses to store his cars and finds something unexpected, as she tells a disappointed Keith in 214 "Versatile Toppings." VERONICA: Jackie and I borrowed one of Terrence's cars tonight. I was digging around where he keeps them and I found some sort of expl*sive and detonators. End previouslies...phew! INT - MARS RESIDENCE - DAY. Veronica pours coffee as Keith, still in his dressing gown and sitting at the counter, sadly considers a world of fallen idols. KEITH: Veronica, are you absolutely sure what you saw in that hangar were expl*sives? Veronica hands Keith his coffee. VERONICA: And detonators. Pretty sure. They were marked "C-4." Keith sighs heavily and takes a drink from the cup as Veronica walks around the counter and sits opposite him. VERONICA: Maybe Terrence has a legitimate use for them. KEITH: Trout fishing? Anyone else know about this? VERONICA: Jackie was with me but she didn't see anything. KEITH: [under his breath] God. VERONICA: What are you gonna do? KEITH: I'm gonna get dressed. INT - SHERIFF'S DEPARTMENT - DAY. Lamb is leaning back in his chair, a little incredulous. LAMB: Come again? Keith is standing in front of Lamb's desk, his hands deep in his pockets. KEITH: expl*sives. They're in the hangar where Terrence keeps his cars. LAMB: Your Terrence? The same Terrence who had nothing to do with the bus crash, who couldn't possibly have made the call that detonated the b*mb? KEITH: Veronica saw them first-hand. LAMB: Oh, well, if Veronica saw them. I mean that's like Moses bringing tablets down the mountain to me. KEITH: Why don't you get a search warrant, Sheriff, and see for yourself. LAMB: Could take a while. Judge Carlton's fly fishing at Big Horn. Lamb fakes a revelation, pointing at Keith. LAMB: Unless you've got a canoe. KEITH: You might want to post someone-- LAMB: Outside the hangar? You think? Keith shrugs, shakes his head and walks out of the office. TELEVISION BROADCAST. A lightning effect flashes across a graphic for Hollywood Entertainment Network's Tinseltown Diaries, turning the black background momentarily white as the deeply-voiced announcer drones. The central image is of a closed diary. Hanging from the S of "Tinseltown" is a discarded red bra. ANNOUNCER: Tonight, Tinseltown Diaries examines the rise and fall of one of Hollywood's brightest stars. The graphic gives way to a series of photos as described by the announcer. ANNOUNCER: Choir boy. Cub Scout. Starving actor. The picture next up is of Harry Hamlin in Clash of the Titans. ANNOUNCER: Mega-star. Husband. After a wedding picture of Aaron and Lynn, and another of all four Echolls, a tabloid magazine appears, The Find which headlines, "Aaron Echolls Adultery Exposed! Exclusive Photos Show 'Perfect' Hollywood Marriage in Shambles!" The tabloid, still only $2.11, also promises to reveal that "Hollywood Gets Fatter!" and "Banned! Mini-Motos a Danger. Key Grip Dies after Collision with Truck." The mega-giveaway is a stick that cures everything from acne to zits. ANNOUNCER: Father. Adulterer. A clip of Lilly from Logan's memorial video is shown, followed by a mug sh*t of Aaron. ANNOUNCER: Cradle-robber. m*rder. Who is the real Aaron Echolls? The scene shifts to Aaron, being interviewed in prison. INTERVIEWER: Can you look right into the camera and tell America you've done nothing wrong? AARON: I've made mistakes. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - NIGHT. Dick and Logan are watching, Logan with increasing discomfort. Dick has the remote in his hand. AARON: [offscreen] But I swear on my life I did not k*ll Lilly Kane. ANNOUNCER: Echolls rose to fame in the eighties... LOGAN: Switch it. DICK: Dude, you kidding? Don't you wanna see how it ends? On screen, the family picture is shown again. It is in colour and has Trina, Aaron, Lynn and Logan standing, facing the camera. Lynn is laughing, the men are smiling and Trina is looking a little sour. The photo fades to black and white. ANNOUNCER: Almost as famous as the man himself are the other members of the Echolls family, their sordid lives an endless source of tabloid fodder. In 1984... DICK: Dude, your dad's really leaned out in the big house. Probably all those tossed salads, huh? Logan is increasingly upset, a fact Dick chooses to ignore. On screen, the front cover of Strike, last seen in 112 "Clash of the Tritons," appears. There's another picture of Lynn and Aaron and a clip from the helicopter circling over the Coronado Bridge where Lynn's car is abandoned. ANNOUNCER: After an avalanche of stories about Aaron's infidelities made headlines last year, wife Lynn's car was found stranded on the Coronado Bridge, where she is assumed to have leapt to her death. Rumors of Echolls' sometimes-actress daughter, Trina's terminal illness were recently revealed to be a hoax. After another glimpse of a tabloid headline, "Aaron Echolls Private Tragedy," pictures of Veronica's footage of Trina making her donor plea from 209 "My Mother, the Fiend" are shown. Logan continues to squirm. Logan glances over at Dick, who grins broadly at him. ANNOUNCER: And son Logan's rocky relationship with the media and the law began last year when he organized and videotaped a series of bum fights. The bum fight footage from The Smoking g*n, first seen in 106 "Return of the Kane," is shown, followed by news footage of Logan leaving the courthouse from 201 "Normal Is the Watchword". ANNOUNCER: Today, the youngest Echolls is... INT - DENENBERG RESIDENCE - CONTINUING. Hannah is also watching the broadcast. ANNOUNCER: ...like his old man, awaiting trial, accused in the s*ab death of a local g*ng member, a m*rder that took place on the infamous Coronado Bridge... Her mother, Steph Denenberg is standing beside her, watching with growing horror. STEPH: That's who you're dating? Hannah looks up at her mother and sighs. ANNOUNCER: ...where his mother is believed to have committed su1c1de. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - CONTINUING. ANNOUNCER: Through it all, Aaron has steadfastly denied any guilt in the m*rder of friend Jake Kane's only daughter. INTERVIEWER: What about the sex tapes? AARON: What tapes? Dick glances over at Logan again. AARON: My counsel's requested copies from the prosecution. Where are they? I don't think they exist. I've said all along, it's her brother they should be looking at, Duncan Kane. I mean, he's got a history of v*olence. Now he's fled the country? INT - JAVA THE HUT - CONTINUING. AARON: He's wanted for kidnapping? Veronica, holding a tray with six cups of coffee on it, has stopped to watch. ANNOUNCER: Aaron Echolls is currently in custody in the Balboa County prison. The Lilly Kane m*rder trial is... Jane approaches her. JANE: Veronica? ANNOUNCER: ...set to begin this spring... VERONICA: Oh, hey Jane. Jane points to the tray. JANE: I think those are our drinks. VERONICA: And you want me to bring them to you versus watching them get cold from across the room. Got it. Veronica starts to follow Jane to one of the tables. They pause to watch the girl on the karaoke stage, doing a deliberately raunchy performance of Cheap Trick's "I Want You to Want Me." HEIDI: [sings] I want you to want me. The singer rolls her hips suggestively. Veronica and Jane laugh. HEIDI: [sings] I need you to need me. JANE: My sister, Heidi. HEIDI: [sings] I'd love you to love me. They continue to the table where four other girls are laughing and cheering Heidi's performance. Jane takes her seat and Veronica starts to serve the coffees. VERONICA: The bride to be? HEIDI: [sings] I'm begging you to beg me. MAGGIE: More like the "bride to b*at." She's only marrying Paul Mann. The Mann's are, like, the oldest money in Neptune. HEIDI: [sings] I want you to want me. VERONICA: You mean like from the eighties? HEIDI: [sings] I want you to want me. VERONICA: Please tell me they invented the fish-net muscle shirt. HEIDI: [sings] I want you to want me. Oh, I want you to want meeeee. The girls cheer wildly as Heidi brings her song to a close. MC: A-all right, let's hear it for Heidi! Good going, Heidi. Next up the vocal talents of Randy... Heidi high-fives Kim and sits down at the table. MAGGIE: Honey! Next time, please hold the mike in your right hand, because you nearly blinded the audience with your rock. Maggie reaches over and takes Heidi's hand on which is sported a very, very large diamond. In the background, Randy can be heard, although not seen, as he tackles Gilbert and Sullivan's "I Am the Very Model of a Modern Major General." RANDY: [sings] I am the very model of a modern Major-General I've information vegetable, animal, and mineral I know the kings of England, and I quote the fights historical From Marathon to Waterloo, in order categorical VERONICA: Wow. Somebody parked a diamond Volkswagen on your finger. MAGGIE: It's ours. We wantsss it. Heidi pulls her hand back. One of the girls, Jen, pours alcohol from a flask into her coffee, a fact Veronica notes. HEIDI: No, it's mine, along with the gorgeous, brilliant sweetheart of a man that goes with it. RANDY: [sings] I'm very well acquainted, too, with matters mathematical I understand equations, both the simple and quadratical About binomial theorem I'm teeming with a lot o' news With many cheerful facts about the square of the hypotenuse With many cheerful facts about the square of the hypotenuse VERONICA: I have to say, we don't get that many bachelorette parties at the Hut. HEIDI: This is just the first stop of the no-holds-barred bacchanalia. Heidi raises her cup and the girls clink their cups together. HEIDI: Coffee up, ladies. JANE: [to Veronica] It's a bachelorette scavenger hunt. Jane hands Veronica a piece of red paper. Veronica reads. VERONICA: "One--sing slutty song publicly. Two--talk a man out of his underwear." HEIDI: Done and done. Here. RANDY: [sings] I'm very good at integral and differential calculus I know the scientific names of beings animalculous In short, in matters vegetable, animal, and mineral I am the very model of a modern Major-General Heidi holds up a pair of boxers. She glances behind her at a man (Michael Ausiello of TVGuide.com) who grins in embarrassment. Heidi swings the boxers over her head. Jen holds up a camera. Heidi poses with the boxers and Jen takes a picture. JEN: Say "Cheese-Whiz." VERONICA: Alrighty then, well if you wind up getting to number eight, be sure and bring mouthwash. Veronica leaves them to their fun. EXT - HANGAR - DAY. A small plane and some cars stand outside a hangar, the door of which is partially up. Inside the hanger, the black helicopter and one of Terrence's cars can be seen, along with a couple of men. Some temporary barriers block access to the hangar. Keith leans on his car watching events behind the barrier. The men walk out of the hangar, followed by two others. It's Lamb and a man in a face mask who walks away with a bag. Keith walks forward to the barrier to speak to Lamb. LAMB: Oh, you lookie-loos, with your police-band radios and free time. KEITH: What'd you find? Lamb addresses a crowd that isn't there. LAMB: All right, people, back it on up, nothing to see here. KEITH: Is that C-4? Did the b*mb squad confirm it? LAMB: Sir, this is a police matter. Behind Lamb's shoulder, Keith sees a red pickup truck which is marked "Magic Touch. Custom Auto Detailing. 619-555-0146." It approaches and slows for a deputy who, after a brief word, waves the driver off. LAMB: You'll have to wait for the press conference like everyone else. Lamb dismisses Keith who barely notices as he concentrates on the departing pickup truck. INT - NEPTUNE HIGH SCHOOL (NHS), HALLWAY - DAY. Veronica strides through the busy hallway. Jane runs to catch up with her. JANE: Veronica. VERONICA: Hey, party-girl. JANE: I need your help. VERONICA: Let me guess, the pin-the-penis-on-the-fireman game ended in tears? JANE: My sister's missing. This pulls Veronica up sharply as she stares at Jane. Opening credits. EXT - NHS, LUNCH AREA - DAY. From overhead, the camera pans over several tables before settling on the one where Veronica and Jane are having their lunch. JANE: Heidi's friends dropped her off at, like, two in the morning. She missed her final dress fitting at ten. We figured she was hung over, but we went by her place. Called everyone. No one's seen her; no one's heard from her. Her cell phone goes right to voice-mail. VERONICA: Did you check the hospitals? JANE: My mom did. Here's the thing, my sister's great, but she's-- Wallace joins them with his tray, sitting between them, finishing Jane's sentence. WALLACE: She's kind of a dingbat sometimes. Veronica and Jane both give him a look. WALLACE: What? The last time we all went to the beach, Heidi almost drowned herself, trying to swim with the dolphins. JANE: I'm just afraid she's having a Heidi moment and she's gonna mess up her life. We have to find her before the wedding. Paul and his family cannot find out she's gone. VERONICA: Aren't they gonna miss her? I mean, doesn't she have wedding stuff to do? JANE: There's a wedding planner, and Paul's parents are pretty much doing everything else. WALLACE: Well, what about the rehearsal dinner? You thinking a stunt double? JANE: There isn't one. It's gonna be a tiny ceremony, immediate family only, then five hundred at the reception. VERONICA: When's the wedding? JANE: Saturday. As in three days from now. INT - SHERIFF'S DEPARTMENT - DAY. Cameras flash as Lamb gives a press conference. LAMB: At 10:17 this morning, a warrant for the arrest of Terrence Cook was issued charging him with eight counts of m*rder in the first degree. INT - MARS INVESTIGATIONS (MI) - DAY. Keith watches the live report on 5 Action News on the TV in his office. REPORTER: Sheriff, you picked him up for questioning before without charging him. Is there new evidence? LAMB: expl*sives were found matching the type used in the bus crash in hangar space used by Mr. Cook to house his fleet of automobiles. REPORTER: Do you have Mr. Cook in custody? LAMB: Ah, no, not yet, but if he runs, he's not gonna get far. Lamb turns away, ending the press conference as the babble of questions continues. ANNOUNCER: That's all we have here at Neptune's Sheriff's Department. Back to you, Don. Pissed off, Keith pulls out the ringing cell phone from his pocket and checks the caller ID. KEITH: Hey. EXT - NHS, LUNCH AREA - CONTINUING. Veronica is sitting on one of the low walls, legs crossed beneath her. She has a notebook open across her thighs as she talks to Keith. The camera switches between the two locations during the call. VERONICA: Do you mind helping me out? A friend's sister is missing, a runaway-bride thing. Her name is Heidi Kuhne. KEITH: Veronica, aren't you supposed to be at school doing schooly-type stuff? VERONICA: That's why I want you to run her phone records, Pop. You can do this in your sleep, come on. KEITH: All right, just as long as-- VERONICA: Both cell and home, please, and you might as well check her credit cards and ATM activity while you're at it. KEITH: Is there anything else, darling? VERONICA: Hey, I'm sorry about Terrence. KEITH: Yeah, me too. Veronica switches off her phone and looks around. She sees Logan and Hannah, both sitting on top of one of the tables, kissing. Veronica's face shows her disgust. At the table, Logan and Hannah cuddle. LOGAN: So you want me to come over after school? HANNAH: The words out of your mouth are "come over," but all I hear you saying is "Let's have sex." Logan stiffens and looks at her. LOGAN: Excuse me? All I heard you say is "Let's have sex." Hannah laughs. INT - NHS, HALLWAY - DAY. Logan is at his locker. He pulls out a book and shuts the locker. Veronica is leaning against the next locker, waiting. Logan jerks slightly in surprise. VERONICA: Toying with a sweet little girl's heart just to screw with her dad? Logan, head down, nods slightly in resignation. VERONICA: I get it, San Quentin isn't quite as enticing as, say, college, but damn, you've really plumbed new depths, Logan. Logan, who starting smirking at the mention of San Quentin, looks at Veronica for a moment. LOGAN: You're cute when you're jealous. He touches her nose lightly and walks away. Veronica sighs, dissatisfied. INT - JAVA THE HUT. Veronica, still in her school outfit of naked man black T-shirt over a grey long sleeved one and distressed jeans, balances on the arm of one of the armchairs and interviews three of the bachelorette party goers who sit on a couch opposite her. VERONICA: Did Heidi say anything about being unhappy or having second thoughts? MAGGIE: No, she's more of the act-now-think-later type of girl. JEN: Her first love, Nick, she had his name tattooed on her ass after a week. KIM: It was two weeks, and she had it removed. JEN: When? She didn't tell me. KIM: It took, like, six weeks. That's why she waited so long to sleep with Paul. She didn't want him to see it. MAGGIE: And he thinks he found himself the last nice girl. JEN: Oh my god, did you guys hear about Nick's mother? She fell off her roof putting up a satellite dish. MAGGIE: Mmmm. VERONICA: Okay, let's try to stay on topic. Um, did anything out of the ordinary happen last night? MAGGIE: Packaged Meat was pretty extra-ordinary. KIM: I lost my cell phone. VERONICA: "Packaged..."? MAGGIE: The all-male revue we took her to. JEN: There was this guy creeping around at the Happy Horseshoe. She said she'd seen him before, like he was following her. She had the bouncers kick him out. VERONICA: Did any of you see him? Maggie shakes her head. VERONICA: When you were here, you were taking pictures. MAGGIE: Jen got one of those novelty disposable cameras, the ones where the prints come out with penises around the borders. VERONICA: Lovely. Where's the camera? KIM: I gave it to Heidi. I think she took it with her. VERONICA VOICEOVER: Thank you, ladies, for all your help. If I were a novelty camera, where would I be? INT - HEIDI'S APARTMENT. Jane opens the door to Veronica. Veronica enters and gasps at the sight. There are clothes and things strewn everywhere. It looks like a b*mb h*t it. JANE: Be it ever so disgusting, there's no place like Heidi's. VERONICA: Okay, her apartment being ransacked, not a good sign. Jane smiles. JANE: It's okay, this is how it always looks. Jane shuts the door as Veronica looks around warily. JANE: Should be easy to find a camera in this, don't you think? On a small table, there is an open bottle of wine with two glasses, one of them used and the other broken. VERONICA: Two wine glasses. You sure she wasn't expecting company? JANE: I'm sure. She left her cell phone charger. VERONICA: Might be why she's not returning calls. Can you tell if she packed a bag? Jane glances around and scoffs. JANE: You're kidding, right? Veronica sighs. INT - LIFT. The doors to an elevator open. A besuited man steps out and grins as Kendall passes him to make her way inside. MAN: Hi. Beaver follows her into the lift, hits the button and the doors close. KENDALL: How we doing...boss? BEAVER: Me. Well, I'm holding up my end. I got six more properties added to the Phoenix Land Trust portfolio, two of which are beachfront. You would not believe the deals that I've gotten. KENDALL: [disinterestedly] That's good. BEAVER: Yeah, we're out of capital. That's bad. Maybe it's time we think outside the box, you know, find new revenue streams. KENDALL: You know that all the investors believe that your dad's pulling the strings? BEAVER: I know. Kendall sighs loudly. KENDALL: I did hear the Kane house is going up for sale. BEAVER: That's the wrong side of town. The deals are all south. KENDALL: I think we should buy it. BEAVER: What have I told you about thinking? KENDALL: [in a baby voice] That it makes my breasts smaller? Beaver snorts derisively. KENDALL: Have you ever considered that maybe I'm the clever one? She runs her hand down his chest. KENDALL: That this delightful packaging is a means to outwitting my adversary? As Kendall gets lower, Beaver grabs her hand and thrusts it away. BEAVER: Consider it? I'm banking on it. KENDALL: But have you considered that, um, you're my adversary? My name's on everything, right? Beaver glances over at her and smiles. The lift reaches its destination and the doors open. Beaver steps out and Kendall follows. BEAVER: Oh yes it is. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE. Cliff is standing in front of Logan who is sitting on the couch. Cliff is holding his open diary. CLIFF: So, they've set a trial date sixty days from today. LOGAN: Whatever will I wear? CLIFF: The D.A.'s offering a one-time deal, plea bargain. LOGAN: Well, I'm not interested. CLIFF: You should be. They're talking involuntary manslaughter. That brings your maximum sentence down from eleven years to four. With good behavior, if you could muster some, you'd be out in half that. LOGAN: Two years? Cliff sighs and sits on the ottoman opposite Logan. CLIFF: Logan, let me remind you, the prosecution has witnesses, the good kind, eye-witnesses. LOGAN: Cholo low lives and a lying coke-head plastic surgeon. CLIFF: A prominent, well-respected, coke-head doctor. And how many jurors you think we can find in Neptune who haven't been exposed to your winning charm in The Tinseltown Diaries? Jurors love convicting smug rich boys, it's a fact. I've asked around and, I hope this isn't news to you but, no one likes you. LOGAN: Even if I had s*ab Felix, which I didn't, it would've been self-defence. I got jumped by a g*ng, argue that. CLIFF: I plan to, but the doctor didn't see a g*ng, he saw three bikers, one of them bleeding to death, a Kn*fe in your hand. He'll testify that you weren't in peril when you s*ab Felix. LOGAN: No deal. Ciffs sighs again and puts his diary in his briefcase, getting ready to leave. CLIFF: Well, if it helps you decide on your wardrobe, I'll be wearing an "I'm with Stupid" T-shirt. Cliff rises and goes out of sh*t at Logan stares at him and then into space. EXT - PERRY'S CAFÉ, CAR PARK - NIGHT. Veronica and Wallace exit the café. WALLACE: Yeah, this is where I will come for cash in the middle of the night. VERONICA: Dad said all her cards were maxed so Heidi h*t three different ATMs in an hour. She made the maximum withdrawal at each. WALLACE: What are you thinking? Well either she had some more G-strings left to stuff at Packaged Meat, or someone forced her to take that money out. Ah, man, what am I gonna tell Jane? VERONICA: Let's not freak out until there's something concrete to freak out about. Wallace nods and they both look ahead and stop. There's a car parked on its own on the far side of the car park. WALLACE: You mean like finding her car abandoned in the middle of nowhere? VERONICA: Yeah, like that. Cut to slightly later. Veronica and Wallace are standing by Heidi's car. Veronica is on her cell phone as Wallace listens. VERONICA: That's it? That's all you'll do? DEPUTY: Right now that's all we can do. Veronica scoffs and turns off the phone. WALLACE: So, what did the sheriff's department say? VERONICA: Nothing that inspires confidence. Veronica moves to the door of the car, pulling out something long and thin from her bag. VERONICA: The deputy started laughing when he heard that the missing person was at a bachelorette party. She slides the object between the window and the car frame. VERONICA: Said they wouldn't start looking until after the forty-eight hours had passed. Veronica manages to unlock the car. She opens the door and leans in to search inside. She straightens and looks at Wallace. VERONICA: Good news. WALLACE: What? Veronica holds up a camera and gives a rueful snort. EXT - MAGIC TOUCH - NIGHT. Keith parks in a small lot in front of Magic Torch. The pickup truck is parked there together with two expensive cars. One of them is under a small awning and is being worked on by the driver of the pickup truck. Keith gets out of the car and walks towards the man. KEITH: Working hard? DETAILER: Working always. What can I do for you? KEITH: You've done some detailing work for Terrence Cook? DETAILER: You a cop? Keith pulls out one of his business cards, handing it to the man who glances at it and puts it in his pocket before continuing to clean the car. KEITH: I'm a private investigator working on Mr. Cook's behalf. I saw you pull up while the hangar was being searched. DETAILER: It's time for his monthly. KEITH: His what? DETAILER: I have a standing contract with Terrence. That man loves his cars. I detail every one of them, once a month. You know, he used to have over forty, but ah, I guess things got tough. He's down to eight. He chuckles. KEITH: expl*sives were found in the tall cabinet, near the Maserati. You know the one I'm talking about? DETAILER: Yeah, sure, that's where he keeps the baby's blankets. KEITH: The what? DETAILER: That's what he calls the calfskin chamois. They're all he'll let me use. KEITH: So if there had been expl*sives in that cabinet a month ago... DETAILER: I would've seen 'em. KEITH: And if you had detailed his cars yesterday... The detailer gives a knowing shrug. KEITH: Terrence knows you're out there once a month? DETAILER: Oh, yeah. Yeah, he knows. I'm a half hour late, I get a call. Keith smiles. EXT - NHS, LUNCH AREA - DAY. Jane is flicking through photos of Heidi and her party on the night of the bachelorette party. VERONICA: I had the printers forgo the phallic framing. Penises can sometimes be distracting. JANE: I don't know how helpful I'm gonna be; I didn't really get a good look at the guy. It was dark and loud and there were condom balloons hitting my head. VERONICA: Just take your time. Veronica pulls a file out of her bag. She consults it. VERONICA: Okay, here's what we know: Heidi got two phone calls back to back at 2:55 and 2:57 AM. They were short, no messages on her machine, so we can assume she took them. The first ATM transaction was at 3:20. That tells me whoever called had something to do with her leaving. JANE: Can't you find out who made the calls? Isn't that a P.I.'s thing, tracing phone numbers? VERONICA: Usually we can, but the number is no longer in service and according to my father's friend at the phone company, it never was. Very odd. JANE: Wait a minute. I think that's him. Jane pulls out one of the photos. It is a picture of Jane, Maggie, Jen, Heidi and Kim at a small table. sh*t glasses are in front of each of them. In the space between Jen and Heidi, the chest of a man standing behind them can be seen. He is wearing a red shirt on which is a logo of the face of an eye-patched cartoon duck. VERONICA: Where? JANE: There. VERONICA: Jane, that's a torso. JANE: It's the shirt. I remember his shirt. VERONICA: Is that a bowling shirt? INT - PRISON - DAY. Aaron has a visitor. As the guard behind him watches with interest, Aaron speaks into the phone to the person on the other side of the glass. AARON: So, to what do I owe the pleasure? KENDALL: I'm here to tempt you, Aaron. AARON: Well, mission accomplished. Or should I say, "With what?" KENDALL: Huge tracts of land, more action than I can handle. I'm here to offer you a piece. AARON: So, I guess Big Dick still has his fingers in a few pies, huh? KENDALL: My husband's got quite a reach. Some are saying that uh, he might be working abroad. Kendall winks and Aaron chuckles. Kendall deepens her voice to seduction level. KENDALL: Aaron, how would you like to walk out of here a richer man? Aaron lets outs a long breath. AARON: You're cash-strapped. No, I get it. I can help. But... Aaron holds the phone away from his ear, keeping only the mouthpiece near his face. AARON: ...quid pro quo, Mrs. C. His eyes take on a crazed look. AARON: Quid pro quo. He takes air in through his teeth as if noisily sucking up a liquid, mimicking Hannibal Lecter in The Silence of the Lambs. He preens for Kendall. KENDALL: Impressive Hannibal. Aaron chuckles again. KENDALL: Well, they told me the glass is bulletproof, but I'm betting I can talk you through it. Kendall, wearing a tight, cheetah skin top which zips up the front, slowly unzips to show even more cleavage. Aaron draws the phone across his mouth, licking it, watching with interest for a moment. AARON: Something else. KENDALL: Oh. I'm all ears. AARON: You know my son, Logan? He hangs out with the Casablancas kid all the time. KENDALL: We've...met. AARON: Well maybe you can find a reason to drop by his hotel room. KENDALL: I guess. If I really tried. Aaron smiles. INT - SHOP - DAY. Music: "Lost Art" by Mere Mortals. LYRICS: On the night of a new sensation You sold out to the daydream nation You breathe in and you hold it hard Baby, you're a lost art Logan wanders though a convenience store-cum-diner. He picks up some candy. Logan is being watched by a couple of Mexican kids who are glaring at him. Logan notices. One of them is Arturo, the PCH biker from 214 "Versatile Toppings." The other boy shakes his head, sneering at Logan, and the two boys leave. EXT - SHOP - DAY. Cut to later as Logan exits the store. Stands of Auto Trader magazines are either side of the doorway and the windows are covered in advertisements for the products inside, such as fine wines, hot dogs, low carb wraps, torpedoes, ham or turkey sandwiches and combos. Logan heads for the Xterra. The two boys are riding their bikes behind him. End music: "Lost Art" by Mere Mortals. ARTURO: Hey! Logan whips around. As Arturo passes him on his bike, he spits in Logan's eye. ARTURO: Ve a el diablo! [Translation: Go to the devil!] The boys ride off as Logan wipes the spit away. He says "f*ck" to himself. INT - DENENBERG RESIDENCE - NIGHT. Hannah is curled up next to Logan on a sofa. They are watching a DVD. Hannah looks up at Logan. HANNAH: What's up, you? She presses his stomach. LOGAN: What? Logan kisses her forehead, then looks her in the eye. LOGAN: Nothing. HANNAH: You lie. Easy Rider. Your choice, not mine. I should be the one sulking. Logan chuckles softly. HANNAH: You know what the punishment is for lying. Logan smiles. LOGAN: What? HANNAH: You lose a nipple. Hannah grabs Logan's nipple and his face contorts as they start to wrestle. LOGAN: Ow. Are you crazy? Ow. Don't do it again. Crazy. A figure appears before them, stopping their laughter and play. STEPH: Hannah. May I see you in the kitchen for a minute? HANNAH: I guess. Mom, this is Logan. LOGAN: Mrs. Griffith, it's nice to meet you. Steph's demeanour remains icy. LOGAN: So, this is a great place you have here. STEPH: Denenberg. And it's Ms. LOGAN: Oh, sorry. Hannah rises to join her mother in the kitchen. Logan stands too. LOGAN: Uh...Hey, uh, while you two are in the kitchen, do you mind if I use your computer for a second? I just wanna check some fantasy scores. Steph points. STEPH: It's in the den. LOGAN: Thanks. Cut to a few moment later. Logan is in the den at Steph's computer. Her mousepad is a week's diary page where she's written things to do, such as go to a birthday party for Chris on Thursday. Logan uses the mouse to access her email on the screen. He glances towards the kitchen as he pulls up an email from Tom Griffith MD, FACS at [email protected]. Using Steph's email, Steph Denenberg , Logan composes an email to Griffith on the subject heading of "Thought you should know..." the following: "Thought you should know, found birth control" and stops. He backspaces through "birth control" and types "CONDOMS" in its place and continues: "in Hannah's room. We need to talk." Logan glances at the kitchen again before expelling his breath. There's a click as he sends the message. In the kitchen, Steph is pleading with Hannah. STEPH: Honey, open your eyes. The guy's bad news. HANNAH: You don't even know him. How can you say that? STEPH: Bum fights? HANNAH: Okay, that was a long time ago. God, you're so judgmental. STEPH: I know. I'm awful. What kind of mother would prohibit her daughter from dating a boy who's awaiting trial for manslaughter? HANNAH: Almost all patenting books eschew the use of sarcasm with adolescents so, you know. STEPH: Fine. Here it is, stripped of the sarcasm: He's a phony. He's ugly on the inside. All he wants from you is sex and he's gonna break your heart. HANNAH: You're wrong. Now in the lounge, Logan can hear every word. HANNAH: [offscreen] You don't know Logan. Everybody's already decided that he's this bad guy, but...I know him. Back in the kitchen, Hannah holds her ground. HANNAH: They don't and you don't. Logan enters the kitchen. LOGAN: God bless Tracy McGrady. Logan sinks a fantasy basketball. Hannah turns to look at him as Steph glares. LOGAN: Life is good. Logan glances at each of them. He notices the bag of rubbish Steph is holding. LOGAN: That looks heavy. Why don't cha let me take it out for ya. Logan steps forward. Steph hesitates, then thrusts the bag at him. Logan takes it, glances at Hannah again and leaves the kitchen. INT - BOWLING ALLEY - NIGHT. Music: "Oh My" by Mellowdrone. LYRICS: What may I ask is never enough It's never too sweet and never it's too much What's there to do while you're waiting in turn Just pick on your scabs and watch a cigarette burn No, no, no No, no, no No, no, no It's just that I act so stupid sometimes I forget all the rules of waiting in line Don't get me wrong 'cause I'm happy to be Anything but...still Oh my, what a wonderful day Oh my, what a wonderful day for me Oh my, what a wonderful day Oh my, what a wonderful day for... A ball h*t the centre pin and a strike is achieved. Veronica walks along the back of the alleys, trying to look at the bowlers carefully. The photo is in her hand. She glances over to the counter and approaches the man in charge of the shoes. She hands him the photo. VERONICA: Excuse me, do you recognize this shirt? The man takes the photo, examines it and then points as he returns the picture to Veronica. ATTENDANT: Right over there. VERONICA: Thanks. Veronica heads in the indicated direction. VERONICA VOICEOVER: The One-Eyed Ducks, perennial champs, lane five. Veronica stops behind the alley where the One-Eyed Ducks are playing. She notes them each in turn. VERONICA VOICEOVER: That guy's too big. That guy's too small. That guy's... Staring at the back of a figure, Veronica pauses until the person turns around. VERONICA VOICEOVER: ...not a guy, just in desperate need of a stylist. Veronica concentrates on the man just about to bowl. VERONICA VOICEOVER: But that guy looks just right. He bowls and hits a strike. He raises his arms in the air then falls down onto his back, thrusting his arms and legs into the air. VINNIE: Yes! He scrambles up and points in triumph at his team members. Veronica smiles as she recognises Vinnie Vanlowe. VINNIE: What did I tell you? What did I tell you? On the other hand, Vinnie's enthusiasm evaporates when he notices her. He touches his forehead in a salute as he stares at her. End music: "Oh My" by Mellowdrone. Cut to a little later. Vinnie and Veronica are standing at the food/drink counter, where flamin' meat sticks go for $2.00, and Vinnie is served a beer. BARTENDER: Here you go. VINNIE: Sure you don't want one? It's dollar draft night. Veronica shakes her head as Vinnie pays for his beer. VINNIE: Come on, have a beer. We'll let you roll a frame. VERONICA: Vinnie, this is not Nam. This is bowling. There are rules. Vinnie pushes himself off the bar and heads back to the alley. Veronica follows. VERONICA: What can you tell me about-- VINNIE: Nothing. VERONICA: Of course, your Pavlovian response. Her name was Heidi Kuhne. VINNIE: Doesn't ring a bell. Vinnie stops to pick up a crisp and pops it in his mouth. VERONICA: Let me jog your memory: you were thrown out of the Happy Horseshoe the other night for stalking her. VINNIE: If I had a dime for every time I was thrown out of H squared for stalking... They pause. VERONICA: What was it? A little prenup background check? VINNIE: Well if you already know. VERONICA: She's missing. VINNIE: Are you suggesting I kidnapped her? 'Cause, I believe that's your racket. VERONICA: Do you know where she is? VINNIE: Negatory. VERONICA: Who hired you? The groom? His family? You fill them in on her party-girl past? VINNIE: Ah, that, Curious Georgette, is P.I.-client privilege. Now if you'll excuse me, my ducks need me. Quack quack. Veronica watches him go with an almost indulgent shake of her head. EXT - DENENBERG RESIDENCE - NIGHT. Logan leaves the house. Hannah follows him out and they walk slowly to the pavement. HANNAH: You heard what my mom said, didn't you? LOGAN: Yeah, I got the gist. HANNAH: Just ignore her. She's bitter about the divorce. She thinks all men are evil. LOGAN: Well, maybe she's right. HANNAH: What, about men? Logan halts and faces Hannah. LOGAN: No. About me. HANNAH: Let's get out of here, go to your place. Logan smiles. LOGAN: Well, I know the words coming out of your mouth are "go to your place," but all I hear is "Let's have sex." HANNAH: So? Logan stares at her, dumbstruck. HANNAH: Logan? LOGAN: [strangled] That sounds good. Logan leans forward and kisses her. She kisses back. INT - SHERIFF'S DEPARTMENT - NIGHT. Keith is waiting. Lamb comes into the department and Keith leaps up. KEITH: Lamb, I've been trying to get a hold of you. LAMB: And I've been ducking your calls. Man, that feels good to get off my chest. Lamb gives Keith a patronising slap on his arm and strides away from him. Keith hurries to outpace him. KEITH: Hey, you think I like bringing any of this to you? Keith forces Lamb to a halt by stopping in front of him. KEITH: Just hear me out. Terrence has a guy who details his fleet of cars every month. He keeps his chamois in the same cabinet where the expl*sives were found. Now, why would he keep that damning evidence at all? That's the first question. And the second question: why would he keep them where they were sure to be found? LAMB: Valid questions. I'll be sure and ask him when he gets out of surgery. Lamb presses past Keith who turns to address Lamb's back. KEITH: Surgery? What happened? Lamb turns to face Keith again. LAMB: He got sh*t. KEITH: Who sh*t him? LAMB: You know the, uh, journalism teacher who died on the bus, Miss Dumass? Her father. He caught Terrence Cook breaking into the family home in San Francisco. Strange behavior for an innocent man, don't you think? Lamb raises his eyebrows before patting Keith again on his arm and disappearing into his office. Keith is left standing and perplexed. INT - NHS, CLASSROOM - DAY. Mr. Pope is in full flow in the FBLA lesson. POPE: If you read this morning's paper, then you probably already know that tracking polls indicate there's fifty-seven per cent support for Neptune's incorporation. Question: what's that gonna do to us here? BEAVER: Ah, an actual police department. POPE: Mm-hmm. DICK: Private beaches. VERONICA: The rich get richer. Logan takes a breath to quip. POPE: All right, let's stop there. All those are true, but let's not just focus on the potential upside. Sure we could speculate, but why do so when we already have a model we can study? Pope moves to the switch by the open door to turn off the lights. As he heads back into the room, his remote at the ready, Hannah passes in the hallway. She pauses and blows Logan a kiss. He catches it, gazes at his fingers and smiles to himself. Veronica stares at him, unimpressed. Logan feels her stare and turns to looks at her. VERONICA: [mockingly cutesy] Aww. Logan mimics the "Aww" in a whisper as Pope continues, the screen's opening slide headed "Palo Alto, California." POPE: Palo Alto, California. The next slide shows a drawing of an idyllic park. POPE: In the heart of Silicon Valley. He continues to click through the slides, graphics of each of the points he makes. POPE: Home to Stanford University, Hewlett-Packard, and the epicenter of the late nineties technology boom. As Pope wanders past, Logan, who has rolled his papers into a tight roll, makes as if ramming the roll up Pope's...uh... POPE: But before the whole dot-com craze began, Palo Alto was a diverse community, not unlike our Neptune. On the slide behind him are set out median prices for 1970 - Household Income: $35328, Single Family Home: $70,000, 1 acre plot: $7,000 - and some features of Palo Alto such as "Diverse Community" and "Shared Community Resources." POPE: When they incorporated, they effectively put up a wall between the economic classes. And what resulted after a very short time was an ultra-rich center surrounded by... Pope clicks the remote at the screen. Figures appear for 1990. There are a series of charts noting drugs rates, crime rate and median home prices, inside and outside the incorporation area. POPE: ...the crime capital of America. Those who were smart dumped their unincorporated property to suckers before the bottom fell out. Property values in the city skyrocketed while land outside the incorporation became worthless. With an increasingly furrowed brow as Pope talks, Beaver jerks his head up to look at the screen. POPE: Now, let's take a look at your progress in the stock market game. The 2005-6 FBLS Porfolio Race graph appears. Beaver is well ahead with $3248756.00. Next is Boyd L. on $2274129.20 and Veronica is not far behind him. Gia's name is next (on the basis the initial is a G) and she's just under $1624378.00. Three students, Chris M., Dale R. and Misha S., are between $1000000.00 and $500000.00. Logan is next, barely off at the first marker of $324875.60. Dick and Duncan are on zero. POPE: As you can see, the younger Mr. Casablancas has extended his lead. This, ladies and gentlemen, is a young man with true business acumen. Beaver smiles but looks worried. INT - NHS, HALLWAY - DAY. Dick and Beaver tumble out of the classroom followed closely behind by Veronica whose cell is ringing. She answers. VERONICA: Hey, Dad. INT - MI - CONTINUING. The camera looks through the window into the office as Keith paces. KEITH: Your missing person is a little less missing. She used her cell phone twice this morning, both one-minute calls. VERONICA: [offscreen] Who'd she call? KEITH: Paul Mann. Know who that is? INT - NHS, HALLWAY - CONTINUING. Veronica is striding through the halls. VERONICA: Yeah, her fiancée. What if Heidi's still in town? What if she's just hiding from her family? She might pick up the phone if she doesn't recognize the caller I.D. KEITH: [offscreen] Cold feet, honey. It's always cold feet. Veronica ends the call with a shake of her head. She dials another number. Her face creases in puzzlement as she gets a fax tone. INT - HEIDI'S APARTMENT - DAY. Jane opens the door to Veronica. VERONICA: Hey, does Heidi have a fax? JANE: Yeah, somewhere. Mm. Jane shuts the door and thinks for a moment. She heads over to the desk and checks behind a carrier bag and then under a throw on a chair next to it. She uncovers a fax machine. JANE: Here it is. Why? VERONICA: When I called the apartment, the fax picked up, which means it's on the same line. JANE: Well it's been switched to fax since she's been gone. Does that matter? VERONICA: Remember the two calls she got? What if someone was trying to fax her? Veronica bends down to the machine and presses one of its buttons. VERONICA: She would have heard the fax tone on the first call and then switched over the machine so that the second time it went through. Now if this fax machine has storage capability... The machine whirrs and starts to print off a fax. JANE: Who'd be faxing her at three in the morning? VERONICA: That's what I'd like to know. The fax is a band flyer for XLR8's West Coast Tour 2006. The venues are: 2.13 Halfshell Pub, Leucadia, Ca.; 2.14 Avesta Bar, Los Angeles, Ca.; 2.16 Centre Mall, Bakersfield, Ca.; 2.17 Jumpstarter, Fresno, Ca.; 2.20 The Pulse, Hayward, Ca.; 2.21 Forgottener, San Francisco, Ca.; 2.22 Baker's Doce, Weed, Ca.; 2.23 Lone Pine Lodge, Klamath Falls, Or.; 2.24 Shiner Bar, Salem, Or. At the bottom, is the message to "Buy our new album. FootMeetsPedal." VERONICA: Some flyer from a band called "XLR8." JANE: Accelerate. That's Nick's band, Heidi's old boyfriend. VERONICA: The one whose name she had de-inked from her buttocks? Jane nods. Veronica reads a handwritten note on the flyer: "Babe - I need to see you - Nick." VERONICA VOICEOVER: Apparently, Nick needs to see Heidi. Music: "Sometimes the Sun" by the Lashes. LYRICS: It's been so long since I've seen your face except inside of my head Counting down the days 'til you're home hoping then we'll share a bed Sometimes we fight about the little things, but now they seem like such little things I woke up from so many dreams with visions of buying diamond rings Sometimes the sun goes down, sometimes it comes back up I'm wondering which one you are watching now EXT - SAN LUIS OBISPO - NIGHT. There's a queue for entrance into a small bar. Veronica walks along it, heading for the bouncer at the door. VERONICA VOICEOVER: According to Jane, it's been three years since Nick and Heidi were hot and heavy. You can laser a guy's name off your ass, but I wonder whether you can really ever cut him out of your heart. Veronica shows the flyer to the bouncer who grunts and points to a bus outside the car park. Veronica heads for it and knocks on the door of the bus. VERONICA VOICEOVER: I guess if I do find my runaway bride, we'll have the next twelve hours to discuss the matter while waiting for the next train home from San Luis Obispo. A guy with a beard opens the door. GUY: Yeah? VERONICA: You got a Heidi Kuhne in there? INT - XLR8 TOUR BUS - NIGHT. Veronica makes her way to the back of the bus then stops when she sees Heidi sitting at a small table with Nick. HEIDI: I know you. VERONICA: What the hell is going on, Heidi? End music: "Sometimes the Sun" by the Lashes. Cut to a few moments later. Veronica is seated at the table, opposite Heidi and Nick. HEIDI: [sceptically] My family hired you to track me down? VERONICA: Actually, Jane did. HEIDI: You're twelve. VERONICA: I'm eighteen. HEIDI: You're a barista. VERONICA: I'm a-- Veronica struggles with a slight show of temper. VERONICA: Fine, I'm a barista. Look, you know you're supposed to be getting married in twelve hours, right? Your sister has been really worried about you. She thought you had some bad pre-wedding jitters and then we found your car abandoned-- HEIDI: A-as in parked, like thirty feet from the bus station? Veronica takes the h*t. VERONICA: It was dark and it was after we went to your apartment and saw two glasses of wine, one was broken. HEIDI: Which was why I poured the second glass. Maybe you should stick to making coffee. None of this matters anyway because the wedding is off. NICK: It is? VERONICA: [irritated] You might want to let someone know. HEIDI: Paul can announce it. He's the one who ran back to his old flame. VERONICA: And you parked your car and took a bus to yours. HEIDI: I came to see Nick because his mom is in bad shape and he needed me. I called Paul to tell him where I was but he didn't return my calls. Then I get these text messages from my friend, Kim, telling me she saw him leaving his ex's place at dawn. VERONICA: And Paul's supposed to be totally cool with you going on the road with Nick? HEIDI: Yeah. Now it's Veronica's turn to be sceptical. HEIDI: He sent me the fax. I just came up here to be a friend. Nick looks uncomfortable. VERONICA: Nick, how did you manage to send a fax from an unlisted phone number when the phone company says that number never existed. NICK: Yeah... He turns to Heidi. NICK: I didn't send that fax. HEIDI: You said-- NICK: You said you got my fax. I just didn't correct you. HEIDI: It was hand-written. NICK: I was just so stoked to see you. As they talk, Veronica has a revelation. VERONICA: Nick didn't send the fax and Kim didn't text-message you. She lost her phone the night of the bachelorette party. HEIDI: Well then who? VERONICA: A private detective named Vinnie Vanlowe. HEIDI: But, why? Veronica thinks. EXT - MANN RESIDENCE, GARDEN - DAY. A reverend and Paul Mann stand under a small gazebo. In front of it stand six people dressed in wedding finery, one of them being Jane. The guests start muttering in an embarrassed fashion. The reverend looks at his watch. REVEREND: I, uh, have another wedding at four. If no one's seen your bride... PAUL: Don't worry. She's just a free spirit, marching to her own drum. Behind him, running along a hedge, is Heidi in her wedding dress, with Veronica trotting behind her, holding her train. HEIDI: Coming! Coming! Jane grins as Heidi runs up the small steps to join the wedding party. Paul, on the other hand, appears to be quite miffed as Heidi joins him under the gazebo, as do Paul's parents, one of the watching older couples. Veronica stays back by the steps to observe. HEIDI: Sorry I'm late! Let's get married. PAUL: Where have you been? HEIDI: Oh, we have a whole lifetime for stories. Let's do this thing. Lay it on me, Preacher Man. Heidi does a "bring it on" gesture to the reverend. PAUL: No, I-I demand to know what you've been up to. HEIDI: I didn't ask you what you were doing for your bachelor party. And after finding whipped cream in your underwear, I think I was entitled. PAUL: You were entitled, you. The one who sexed up every wannabe rock star in southern California? You know, if I wanted to marry Tawny Kitaen, I would have got a nipple pierced. HEIDI: How could you say that to me? Like I would ever sex up a drummer. Veronica laughs. HEIDI: Lead singers, yes, maybe the occasional guitar player. The important thing is that we love each other. PAUL: How can you expect me to love a used-up groupie like you? HEIDI: Wow. Ouch, honey, kind of harsh. Are you breaking it off? PAUL: Damn right, I am-- Paul's father interjects. MANN: Paul! No! Heidi casts him a knowing glance. HEIDI: Fair enough. Heidi turns back to Paul. She holds up the ring. HEIDI: So, I guess I'll be keeping this precious family heirloom, 'cause those are the rules in polite society, aren't they? I mean, if-if I backed out or didn't show up, I'd have to give you the ring back, right? Paul glances at his parents, aware of his mistake. HEIDI: You know the funny thing? You could've just said it's over and I would've given you the ring back. This'll be payment for the two years I wasted trying to convince you I was worthy. Heidi turns to the guests and throws up her arms. HEIDI: Enjoy the reception! VERONICA VOICEOVER: By the looks of it, I'd guess the elder Mr. Mann commissioned the background check, but it was his son that couldn't live with the information. HEIDI: Come on, Jane. Jane, grinning ear to ear, takes Heidi's arm and they march away. HEIDI: [loudly] Are pawn shops open on Saturdays? As they pass Veronica, Heidi gives her a wink. Veronica laughs and then turns to watch them go. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE. Kendall, in a low-cut, clingy dress, is making a presentation to Logan, who is lounging on the sofa. KENDALL: And that is why the Phoenix Land Trust is where you should put your money. LOGAN: I'm confused. You're talking and your clothes are on. I'm starting to think you really came over here to try and sell me real estate. KENDALL: I told you. It's my job. There's a knock on the door. LOGAN: And that must be the second sign of the apocalypse. Logan gets up to answer the door. KENDALL: Well, I tried. Uh, do you mind if I freshen up before I go? LOGAN: Freshen up for what? Kendall spins around and heads for Duncan's room. Logan opens the door of the suite. It's Tom Griffith. GRIFFITH: All right, Logan, you win. I'm serious. This stops now. Griffith walks past Logan and into the suite. Logan continues to look out into the hallway. LOGAN: Sure, come on in. He shuts the door. In Logan's room, pictures of Duncan with Veronica and with Lilly stand on the counter between the bedroom and bathroom. Kendall, glancing back at the lounge area, walks into the bathroom. She takes a small case out of her purse as she opens the shower door. She takes out a small pair of tweezers from the case and applies them to the shower drain. Cut to a moment later. Kendall walks out of Duncan's room. Logan and Griffith are glaring at each other. They turn look at her as she walks towards them. KENDALL: I see you have company. Griffith can't quite believe it. KENDALL: I'll let myself out but, um... Kendall kisses two of her fingers and places them on Logan's lips. KENDALL: ...think about my offer. Logan grins. Kendall walks between them and exits the suite, pausing at the door to give the men the full benefit of her side profile. Logan turns back to Griffith, smirking. GRIFFITH: Mark my words, some day that smirk is gonna get wiped off your face. LOGAN: Oh, please. Let the lying coke-head plastic surgeon lecture me on karma. GRIFFITH: It certainly caught up with me. It ends now. I'll make my testimony go away. LOGAN: What about the Fitzpatricks? GRIFFITH: Let me worry about them. You just stay the hell away from my daughter. Logan stares at him. GRIFFITH: I assume we have a deal? Logan barely nods. Griffiths storms out of the suite. Logan stands in place, not celebrating his victory. INT - JAVA THE HUT - NIGHT. Veronica is working. She wipes the top of the chilled cabinet, rounding the corner to the front, only to find Vinnie Vanlowe bending down, peering in at the cakes. He stands. VINNIE: I don't believe this. VERONICA: If it isn't the puppet master. VINNIE: Hey, what a man does in the privacy of his own home, office, and/or car, is his business. You know, you cost me a five grand bonus. Veronica gasps. VERONICA: You were gonna buy a new jacket? VINNIE: And give up the cheap women? Not likely. VERONICA: Give it. Veronica holds out her hand. VINNIE: What? VERONICA: Kim's cell phone. I called you, left a thr*at message. Much to Veronica's impatience, Vinnie glances around before taking a cell phone from his pocket and handing it to her. VINNIE: You didn't get it from me. VERONICA: Exactly how many times have you had to say that in your life? Vinnie opens his mouth to answer then closes it again. VERONICA: You know what's really disturbing about you? Other than everything? You're a halfway decent private investigator. VINNIE: Stop, you're embarrassing me. VERONICA: You can embarrass the shameless? Veronica drops her cloth on the cabinet and walks past Vinnie. She goes to one of the tables, where Wallace and Jane are having their drinks. VERONICA: This is for your sister's friend, Kim. Veronica puts the phone on the table. JANE: Thank you, Veronica. Jane reaches into her bag and pulls out her own phone, handing it to Veronica. JANE: Check it out. There is a picture of Heidi and Nick hugging. JANE: Heidi headed up to the L.A. Jewelry Exchange, hocked the ring, and kept right on going to Nick's next show. WALLACE: So how does it feel to play Cupid? Veronica thinks for a moment. VERONICA: Uncomfortable. This better last. Veronica hands Jane her phone back. JANE: Guess you never know where true love's gonna find you. VERONICA: If it comes looking for me, I'll be over by the espresso machine. Veronica heads back to the counter. Logan arrives just as she gets there. LOGAN: Hey. Uh, I know you're busy, but uh, I think I've done something horrible. Veronica stares up at him worriedly. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x15 - The Quick and the Wed"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars… Veronica follows Danny Boyd through the back door into the River Stix in 208 "Ahoy, Mateys!" VERONICA VOICEOVER: I’ve walked right in to the River Styx, home base for the Fighting Fitzpatricks. There are flashes of Danny, Liam Fitzpatrick, and Liam throwing Veronica onto the pool table. Cut to Griffith at the sheriff's department in 206 "Rat Saw God." GRIFFITH: I have information about that Mexican kid who got k*lled. Cut to Logan and Hannah in an empty classroom in 214 "Versatile Toppings." LOGAN: Your dad is in deep to the Fitzpatrick family. Cut to Veronica chastising Logan in 215 "The Quick and the Wed." VERONICA: Toying with a sweet little girl’s heart just to screw with her dad. Cut to Veronica heading for and opening the metal cupboard in the hangar in 214 "Versatile Toppings." VERONICA: [offscreen] Jackie and I borrowed one of Terrence’s cars tonight. I was digging around where he keeps them... Cut to Veronica telling Keith. VERONICA: ...and I found some sort of expl*sive. Cut to Keith at the hangar in 215 "The Quick and the Wed." KEITH: Is that C-4? LAMB: You’ll have to wait for the press conference. Cut to Troy approaching Veronica as she deals with her flat tyre in the car park at Neptune High in 102 "Credit Where Credit's Due." TROY: Flat? VERONICA: Just as god made me. TROY: I’m Troy, by the way. VERONICA: I’m Veronica. Cut to Troy and Veronica making out outside the door to the Mars' apartment in 104 "The Wrath of Con." Cut to Veronica and Troy at his locker in 105 "You Think You Know Somebody." VERONICA: I’m just glad we weren’t dating when you were kicked out of those two schools for drug possession and tr*ffick. End previouslies. INT - NEPTUNE HIGH SCHOOL (NHS), CLASSROOM - DAY. Mrs. Murphy walks through the room passing out papers to the students. Logan, in the back, giggles with the boy sitting next to him. DICK: County Supervisor’s office? MRS. MURPHY: Well read, Dick. You’ve made great strides. So, good news. Mrs. Murphy lays one of the papers on Veronica's desk. Veronica picks it up and starts to read. It's a letter from Woodrow Goodman, County Supervisor, as declared by the heading. Dated February 15, 2006, the letter, addressed to Neptune High School, 3530 Ocean Street, Neptune, CA. 90909, reads as follows: Dear Student, Greetings, my name is Woody Goodman and I am your County Supervisor. I am proud of our students and education system here in Balboa. That's why I am inviting you to participate in my first essay contest as Supervisor. The theme of the contest will revolve around Freedom . In 500 words or less, I'd like you to write an essay about what freedom means to you. Please, feel free to draw from personal experiences, things you've learned in class or read on your own. Creativity counts, so think long, hard and don't be afraid to tackle tough issues. As with all contests, there's no incentive to participate without a prize and it has to be a good one, right? Well, the lucky winner gets a week long internship with me, Woody Goodman, as my apprentice. You'll have an opportunity to learn about civic affairs, political manipulation and corruption aversion tactics. But wait. There's more! My apprentice will also get the historic opportunity to push the plunger for the demolition of old Shark Stadium! So, sharpen your pencils, boot your computers and let your mind explore what freedom means to you. Good luck, Woody Goodman, Balboa County Supervisor. MRS. MURPHY: You are no longer writing about the use of mythic archetype in Portrait of the Artist as a Young Man. DICK: All right. Logan, pen cap in his mouth, grins at Dick's enthusiasm. MRS. MURPHY: You are all instead entering our Mayor Woody Goodman’s county-wide essay contest on the subject of... On a board that sets out the day's poems of William Blake, "London," The Tyger," and "The Lamb," she writes the word as she says it. MRS. MURPHY: Freedom. Logan lifts his head. The students all turn to look at him, giving him whistles, cheers and congratulations, including the guy next to him who calls for a high-five. GUY: Logan! Logan does, then casts a cautious look at Veronica who glances back at him but is less celebratory. MRS. MURPHY: The winner gets a week’s internship as Woody’s apprentice, which means an opportunity to learn about civic affairs, a plum entry on your college applications, and – this might interest you, Dick – a chance to stand beside Woody Goodman on TV and push the plunger for the demolition of old Sharks Stadium. DICK: Nuke the stadium? Damn, now I totally wish I could write good. INT - NHS, HALLWAY - DAY. The students file out of the classroom, Logan preceding Veronica. VERONICA: So, you should be able to write quite an essay on Freedom. How does it feel to have your case dismissed? LOGAN: Well, freedom feels liberating. They walk together up the hallway. VERONICA: I’ve see you’ve got your title. And did Hannah understand why you wouldn’t be seeing her anymore? Logan drops his head and doesn't respond. VERONICA: You didn’t tell her, did you. Wallace, coming down the hallway reading a Hearst College brochure, pauses as he sees them. VERONICA: [offscreen] You owe her an explanation. LOGAN: [offscreen] What exactly am I supposed to say? Wallace starts walking towards them as Veronica and Logan stare at each other. Logan walks off and Veronica scoffs in disbelief. Wallace joins her. WALLACE: Man, you believe it about Logan? That guy’s like a cat. VERONICA: You mean useless and selfish? WALLACE: [scoffs] I mean like nine lives. They start walking together. WALLACE: Just wish I knew how he does it. VERONICA: That’s funny. I do know how he does it, and I wish I didn’t. What you got? WALLACE: The pamphlet? From the Hearst packet that we both got. In the envelope that we both got that you didn’t open. Veronica plays with her hair, pulling a thick strand over her face to form a moustache. VERONICA: Oh, that. WALLACE: You know the average SAT score for a Hearst freshman? 1280. VERONICA: And you got an 1140, so you’re doomed, and we can kiss this [makes air quotes] “Get to Know Hearst” weekend goodbye. WALLACE: Not so fast. Now, if you average in my points, assists, and free-throw percentage, it all balances out. Now that coach says it’s down to me and one other guy for that scholarship, so we are going. Come on. You’ll like it. It’s a good school. VERONICA: And if it were in, say, Maine, I’d be excited. But it’s in Neptune, so I’m not excited. I’ll go, but just to skip school, which excites me. EXT - NHS - DAY. Logan receives high-fives and pats as he exits the school. As he turns into the direction of the car park, Hannah appears before him, trying to give him her own high-five to which Logan does not respond, instead carrying on towards the car park. Hannah keeps pace. HANNAH: Don’t leave me hanging. Okay, forget five. Give me two. Hannah kisses him on the cheek. Logan still can't look at her. HANNAH: Where have you been all day? Hannah wipes her lip gloss off of Logan's cheek. He wipes his cheek himself as Hannah takes his unresponsive hand. HANNAH: I wanted to congratulate you on your big news, but I couldn’t find you. I ended up telling the janitor that your locker was mine and I forgot my combination so he’d open it up and I could leave you a little surprise. But I made it before I heard they dropped the charges, so keep that in mind. LOGAN: You lied to a janitor? HANNAH: I’ve resigned myself to burning in hell. You know, all the girls on track are jealous of me. LOGAN: I’m sure they could burn in hell, too, if they’d just, uh, put in the effort. HANNAH: No. They’re jealous because after the meet on Sunday, they’re going to Wrestler’s Ranch and I’m going sailing with this totally hot senior. Logan finally screws up his resolve and brings them to a halt, facing her. LOGAN: We can’t see each other any more. Hannah's smile fades. HANNAH: What? Logan shakes his head. He tries to get some words out but fails. HANNAH: So, what, is this some kind of weird joke that’s going over my head? LOGAN: I mean you’re a really sweet girl, but… HANNAH: But what? LOGAN: But I’m not a sweet guy. Hannah just stares at him. He turns and walks away from her. HANNAH: Look, if this is really some kind of joke... Logan pauses and looks back at her standing where he left her. HANNAH: ...please tell me the punch line soon. Logan backs away, then turns, nearly running away. HANNAH: ‘Cause I could really use the laugh about now. Hannah's voice breaks as she watches him go. EXT - HEARST COLLEGE - DAY. Students mill over the grounds. One in a blue sweater heads purposefully towards one group. DEAN: All right, hey, is this the tour? All right, everyone gather round. Veronica and Wallace are sitting on the grass. They get up to join the group, staying at the back. DEAN: Um, welcome to the little slice of liberal-arts paradise known as Hearst College. Um, my name is Dean. I’m going to be your tour guide. So, as you know, this is going to be a three-day tour, and it’s important that we all get to know each other. So, right now, we’re gonna play a little get-to-know-you game. So everyone-everyone pair up. Veronica and Wallace, wearing name tags, grin at each other. Pairs of students start to form. DEAN: Um, make sure it’s someone that you don’t already know. Veronica groans. Wallace looks over to his left and sees a pair of girls in the same predicament. One of them wanders towards the bulk of the group, leaving a pretty black girl who smiles at Wallace. Wallace looks back at Veronica. WALLACE: Sorry. I don’t know her. Wallace joins the girl, leaving Veronica alone. VERONICA VOICEOVER: And so it turns out college is very much like high school. DEAN: Okay, so, we’re gonna play a game called “Two Truths and a Lie.” Does everyone have a buddy? Veronica reluctantly raises her hand. Dean walks forward to join her. DEAN: All alone? VERONICA: It’s all right. I prefer it. DEAN: Lie. See, that’s how the game works. [to the group] You have to tell your partner two facts and one lie and they have to guess which one is the lie, all right? Dean returns his attention to Veronica. DEAN: Okay, so, um, go ahead. VERONICA: Okay, I’m Veronica, I’m from Neptune, and I once sh*t a man in Reno just to watch him die. DEAN: Oh, how’d that go? VERONICA: It was a bit of a letdown. DEAN: Hmm. Well, uh, I don’t believe that you’re from Neptune. VERONICA: Wrong. Is that the end? DEAN: Um, okay, well, uh, my name is Dean, I’m from Wheaton, Illinois, uh, my father owns a Ford dealership, and I also sh*t a man in Reno, but it was not to watch him die. It was for other issues. VERONICA: Your father doesn’t sell Fords. DEAN: That’s right. Toyotas. How did you know? VERONICA: It’s all in the eyes. DEAN: All right, well, I guess I’ll have to watch out for you next year. VERONICA: Oh, I won’t be attending. DEAN: All right. Enough lies. Dean spots something over her shoulder. DEAN: Oh, I think I’ve got you a new partner. [to the newcomer] Are you with the tour? VOICE: Yeah, that’s right. DEAN: Okay, come meet potential new classmate Veronica. Veronica, meet… It's Troy. He stumbles a little as he sees her. VERONICA: Troy Vandegraff. DEAN: Uh, do you two know each other? ‘Cause you’re not supposed to be with someone that you know. VERONICA: Nope. I don’t know him at all. Opening credits. EXT - HEARST COLLEGE - CONTINUING. DEAN: Okay. Dean pats Troy on the back and leaves him and Veronica to continue the game. TROY: Uh, so, this is weird. Um. How you been, Veronica? VERONICA: Lie. I don’t believe you’re really interested. Next statement. TROY: Yeah, okay, I-I can understand that after what I did, but I’m sor-- VERONICA: I don’t think you understand the rules of this game. You only get one lie. TROY: Okay. Uh, let me start over. Three statements, one false. Uh, my name is Troy. I was a bad boy when we dated, but after a year of private school, therapy, quitting drugs, and dumping my loose-cannon ex-girlfriend, I’ve changed into a more or less good boy. And I communicate telepathically with all denizens of the sea. Veronica smiles tightly. VERONICA: Right. So, how long before I catch you talking to a manatee? TROY: And you have changed not at all. VERONICA: You know me. Same-old, same-old. DEAN: All right, everyone. Follow me, please. Uh, we’re gonna get the tour started, so just come this way. Stay in a group. Veronica picks up her bag and heads towards Dean. TROY: I’m not lying to you, Veronica. I just wanted you to know that. She turns back to face him. VERONICA: Do I care? Really, Troy, you’re just water under the bridge. Veronica turns around and carries on. Troy follows slowly behind her. VERONICA: [to herself] Duplicitous, evil water. They follow the group as it is led on by Dean. INT - NHS, HALLWAY - DAY. A locker opens. It's Logan's and he pauses when he sees a large pink box on top of his books. He pulls it out. On the top is written "Just in case." The dot on the letter I of "in" is in the form of a heart. Logan opens the box. It's a large square cake decorated with a plaque of icing that features an escaping convict and the words "Get out of jail free" on it. Logan smiles, then closes the box quickly as Dick bears down on him. DICK: Dude, so, we hanging this weekend, or that chick still have your sac locked up in her Easy Bake Oven? Logan puts the box back in his locker and closes it before Dick reaches him. LOGAN: Actually, I am now a free man. Logan spins away from his locker and starts to walk with Dick down the hallway. DICK: The way we should be, man. They do an extended high-five. LOGAN: We? What happened to Madison? DICK: Bailed. According to her friend, she met someone more mature. LOGAN: Where, at Lego Land? Dick scoffs. DICK: Whatever, man. Maturity’s like one of the two most over-rated things on the planet. LOGAN: The other being? DICK: Chicks. LOGAN: Oh, so this worked out great for you. DICK: Dude, why do you think I’m in such a good mood? Logan laughs. DICK: Screw it. This weekend, you and me, partying like Ozzie. Logan laughs again. INT - HEARST COLLEGE - NIGHT. Music: "I Hate It That I Got What I Wanted" by Clearlake. LYRICS: I know, I know I can't complain And it doesn't help when you've only got yourself to blame I don't know what got into me But I don't expect that I'll get any sympathy 'Cause I hate it that I got what I wanted I don't want it anymore And I hate to say you told me But you told me once before I hate it that I got what I wanted 'Cause I don't want it anymore And I hate to say you told me But you told me once before You know, it's never quite enough And I don't know what it was that I was thinking of You know, no matter what I try It just doesn't ever really seem to satisfy I hate it that I got what I wanted 'Cause I don't want it anymore And I hate to say you told me But you told me once before I hate it that I got what I wanted 'Cause I don't want it anymore And I hate to say you told me But you told me once before I hate it that I got what I wanted 'Cause I don't want it anymore And I hate to say you told me But you told me once before I hate it that I got what I wanted 'Cause I don't want it anymore And I hate to say you told me But you told me once before You told me once before You told me once before You told me once before There's a party going on. Veronica and Wallace weave their way into it. VERONICA VOICEOVER: So it seems Hearst College pretty much has it all: a campus combining modern facilities with the best traditions of learning, check. Stacy, standing in front of a "Blame Adam" poster, is talking to a long-haired guy in a Phi Sigma Sigma sweatshirt. STACY: No, Heidegger’s fine if you’re a n*zi. The guy, Gordon, chuckles. Dean also makes his way down the outer hallway to enter the main room. VERONICA VOICEOVER: A student body composed of diverse, interesting, smart people? Check. The camera scans the party before it finds Veronica, looking bored to tears as one of the students, Drew, hits on her. VERONICA VOICEOVER: And drunken doofuses who corner you to tally your points? Check. DREW: So, you’re blonde – thirty points. And a natural, too, another twenty. You are super-cute, fifty points. And you’re kind of, like, sassy. VERONICA: So, sassy’s good? DREW: More like a degree of difficulty thing. Thirty points. And, you’re a pro-fro, eighty points. VERONICA: So, if someone were to have sex with me, they’d walk away with 210 points? DREW: That’s high. You should be psyched. VERONICA: I am. Inside. DREW: So, what do you think, then? About us getting busy? VERONICA: Can I have your beer? DREW: Sure. He hands Veronica her beer which Veronica then throws in his face. DREW: Damn! Grow a sense of humor, you crazy bitch! Veronica shrugs. VERONICA: I would, if something funny would ever happen. Drew picks up another large plastic cup of beer, ready to reciprocate. DREW: Yeah, tell me how you like it. Veronica anticipates and pushes the cup so the contents spill over him. DREW: Oh! VERONICA: It’s fun, but it’s getting kind of old. Veronica turns to walk away but Drew grabs her arm and pulls himself in front of her, much to Veronica annoyance. DREW: You do that again-- TROY: Hey! Drew looks up as Troy joins them. TROY: You’ll what? Let her go, or I’ll make sure you regret it. DREW: What? TROY: I think the implication is clear. You’re gonna let her go of your own initiative, or uh, do I have to-- Drew pulls back his fist and punches Troy in the face. Troy goes down. Veronica is exasperated as Drew mocks the supine Troy. DREW: [grunt-speak] Initiative. Veronica helps Troy up as he clutches his jaw. VERONICA: As much as I appreciate that display of chivalry, uh, I had it covered. Drew joins a friend who congratulates him. Troy faces Veronica. TROY: Well maybe I wanted to demonstrate that I really had changed. VERONICA: So, you’re no longer evil. You’re stupid. Congratulations. Stacy hurries up to Troy. STACY: God, that guy is such a tool. Can I get you a beer or something? TROY: Uh, how about if I get you one? STACY: So, chivalry isn’t d*ad. Just can’t fight. Yeah, let’s go. She grabs Troy's hand and starts to pull him away. VERONICA: Smooth. TROY: Hey, some things I can’t change. End music: "I Hate It That I Got What I Wanted" by Clearlake. Music: "Crank It Out" by Ari Shine. Elsewhere at the party, Wallace bids farewell to a girl he has been talking to as Veronica joins him. GIRL: Bye. WALLACE: Yeah, all right then. Veronica gives him a knowing glance at his ability to attract the ladies. WALLACE: Ooh. I’m gonna like it here. Wallace laughs. WALLACE: How you doing? You weirded out Troy’s here? VERONICA: Nah. Water under the bridge. She nods vigorously, assuring him that she means it. Dean joins them. DEAN: Hey, my pro-fros. Fun party, huh? WALLACE: Not bad. I actually talked to a cute girl about Kierkegaard. Wallace peers down the hallway, trying to spot the girl. WALLACE: Made me wish I knew something about Kierkegaard. DEAN: Yeah. Isn’t that cool? I mean, in high school, you know, parties are just guys getting drunk and scamming on chicks. But here, you have intellectual conversations. WALLACE: Right. DEAN: [to Veronica] Like I saw you talking to that guy. What’d you talk about? VERONICA: Jane Austen. But he dissed Pride and Prejudice, so I had to throw a beer on him. Dean smiles, not having a clue as to what she's talking about. (She's talking about fans on TWoP whose burning hatred for Jackie Cook on her introduction was frequently explained as a response to her utter temerity in dissing P&P in 203 "Cheatty, Cheatty, Bang, Bang," a reaction that surprised the show's writers.) Wallace laughs. VERONICA: I’m kind of colleged out. Wallace nods. DEAN: Yeah, all right. Well, I’ll see you guys tomorrow. Veronica and Wallace take their leave. Dean sets out back up the hallway, calling out to them in farewell... DEAN: Go Hearst! Veronica and Wallace thread their way through the room. Wallace notes something to which he draws Veronica's attention. WALLACE: There goes your water. Veronica turns to see. Troy is leaving the party with Stacy. Troy and Stacy pause and start making out. Stacy pushes them both, still kissing, past a turn in the corridor. Wallace checks Veronica. She's amused and shakes her head. Veronica follows Wallace up another hallway, passing Drew who is scoring another girl. DREW: I mean, whoo, your body? Slamming. That’s like fifty points right there. Veronica passes without comment but halts a bit further on, unable to stomach Drew objectifying and scoring another girl. She turns and walks back to him. DREW: And this might sound like a weird question, but you’re not an orphan, are you? Veronica zaps him with a stun g*n. DREW: Oh! He shakes, pours his beer all over himself and drops. The girl he was talking to laughs and glances at Veronica in gratitude. Veronica strides away. End music: "Crank It Out" by Ari Shine. EXT - NEPTUNE GRAND HOTEL - DAY. The camera pans up the front of the building. KEITH: [offscreen] Yeah, twelfth floor. Just got off... INT - NEPTUNE GRAND HOTEL, TWELFTH FLOOR - CONTINUING. Keith, cell phone to his ear, appears in the hallway from the lift. KEITH: ...the elevator, got the keycard, but it took some smooth talking. I don’t see why you couldn’t just open the door. Keith opens the door of one of the rooms and comes to an abrupt stop. Cliff, dresses only in socks and with only a crumpled sheet protecting his modesty, lies on the room's bed, handcuffed to the ornate headboard. CLIFF: It’s a funny story, actually. Just, please, don’t judge. You can laugh privately, later. Keith closes up his phone and shuts the door of the room. KEITH: I don’t suppose you, uh, have a key? He moves to the bedside table and puts the receiver on the hook, cutting off the dial tone emitting from it on the loudspeaker. Cliff groans loudly. Keith gets a small tool out of his wallet. KEITH: So, can I ask you a question? He rests on one knee on the bed at he picks the lock of the handcuffs. CLIFF: Well, she said her name was Daphne. KEITH: No, no, no. How did you call me? CLIFF: Acrobatically. I might have pulled a hamstring. KEITH: Okay, then. Next question… Cliff is released. He sits up in the bed with another groan and immediately reaches for the open bottle of wine on the bedside table. He takes a long swig. He sighs as he begins to dress. CLIFF: Last night was the convention of the South Coast OB-GYN Society, the most-sued medical specialty. So I make it a point to swing by every year and spread my card around. KEITH: And you met a hell of a lady doc? CLIFF: Hell of a lady, yes. Doctor? We met at the bar. I was extremely charming, and an hour later, I’m invited up to her room. Champagne is ordered. One thing leads to another… KEITH: Why don’t you think she was an OB-GYN? CLIFF: Well, one, she appeared to know less about medicine than I do. Cliff looks around the room. CLIFF: And, two, she seems to have stolen my briefcase. Keith nods and throw Cliff his pants. KEITH: Mm-hmm. They land on Cliff's head and slide down his face. Cliff sighs loudly again. CLIFF: Thanks. INT - MARS RESIDENCE - DAY. A phone rings. A possibly hung-over, or at least very tired, Veronica wrestles with the bedclothes. VERONICA: Dad, the phone is ringing. Veronica pulls the pillow up on each side of her face to try and block out the sound. VERONICA: [groaning] Loudly. In the front room, there's a note in front of the phone which reads, "Gone on puzzling errand. Back later. Dad." The answer machine has picked up the call just as Veronica shuffles to it. TROY: [on phone] Veronica, it’s, uh, it’s Troy. If you’re there, please pick up, okay? Veronica doesn't, instead reading Keith's note. TROY: [on phone] Please pick up. Veronica picks up and answers the phone. VERONICA: Troy, how was your evening? TROY: [on phone] Not so good. I'm, uh, at the police station. VERONICA: You’re where? INT - SHERIFF'S DEPARTMENT - DAY. Veronica rounds the corner into the busy department. She checks one of the offices. She then sees Troy sitting by the desk of one of the deputies. Veronica walks towards him. Lamb, at the opposite wall, notices Veronica's arrival as he talks to a deputy. VERONICA: What are you doing here? Troy smiles humourlessly. TROY: The usual. Hair and blood samples, cheek swab. You remember that girl from the party last night, Stacy? Well, I guess she got date-r*ped. LAMB: Actually, no. Lamb approaches from behind a shocked Veronica. LAMB: When they use roofies to knock 'em out, then shave their head afterward, we drop the date part. Lamb walks off, leaving Veronica staring hard at Troy. TROY: Don’t look at me like that, Veronica. I swear to god, I didn’t do it. You got to help me. Cut to a little later. Veronica and Troy are standing out in the corridor, leading to the other County offices. They talk in urgent whispers. TROY: God, Veronica, roofie and r*pe someone? Shave their head? What kind of sick head do you think I am? VERONICA: I don’t really know much about the inside of your head, do I. Troy sits in one of the chairs. VERONICA: Why do they think you did it? TROY: I was the last thing that Stacy remembered before she passed out. Everyone saw us go upstairs together. There’s hair and fibers of mine on her. And when they tested my clothes from last night… VERONICA: What did they find? TROY: That they’d just been washed. Veronica scoffs in disbelief. VERONICA: You did laundry at three in the morning? Veronica pauses as a woman passes between them in the narrow hallway. VERONICA: Why would the cops be suspicious of that? God, Troy. TROY: Look, yes, we went upstairs and fooled around. Strictly PG13. And then she pukes all over me. But, being the chivalrous guy I now am… Veronica shakes her head. Troy sighs. TROY: I cleaned up. I took off her shoes. I tucked her in, and then I went to wash my only change of clothes at the all-night laundry. That is the truth, I swear. VERONICA: [sharply] If... Veronica sinks into the chair next to him, wagging her finger. VERONICA: ...I decide you’re guilty, I’ll help hold the hammer while they nail you to the wall. Troy nods. VERONICA: Do you remember anything else about last night? Anyone hanging around her? TROY: I remember getting the stink-eye from this guy who was hitting on her earlier. VERONICA: What guy? TROY: Long, dark hair, blue sweatshirt with like, uh, pi sign. INT - MARS INVESTIGATIONS - DAY. Keith and Cliff are in Keith's office, in front of the TV. Cliff is sitting on a chair, trying to get a bottle of aspirin open. KEITH: So, Daphne registered under a false name and credit card. Keith slips a video into the machine on top of the television. KEITH: d*ad end there, so I got the elevator security tape from last night. Keith perches on his desk and pushes the button on the remote. Cliff finally gets his aspirin. CLIFF: Well, you must be on good terms with the Neptune Grand security people. Cliff chews the aspirin, his face twisting in displeasure. KEITH: When my daughter dated a billionaire’s kid living alone in the president’s suite, me and the security guys got pretty tight. CLIFF: Mmm. On the TV is footage from the lift. Keith sets it on fast forward. KEITH: So what was in the briefcase that anyone might want to swipe? CLIFF: Just case files. A drunken as*ault, a lewd conduct, a fraud, a divorce – aha! Hello, Daphne. As Cliff points at the screen, Keith pauses the video. A woman stands alone in the lift. Across the bottom is the label 05:53:12+11 PM. Keith runs the video forward again. KEITH: 5:53, she checks in. You actually believed she was a gynaecologist? Keith looks down at Cliff who refuses to be embarrassed and ignores him. Keith giggles. CLIFF: So, other than the files, it’s an address book, receipts, some keys, I believe a copy of Elle magazine, but I forget why. Oh, and the m*rder case files. KEITH: Logan Echolls? Which ones? CLIFF: Everything. What wasn’t in the briefcase is in their storage locker, which…is one of the keys. But that case was dismissed, so it’s… Keith slows the tape again when he reaches the footage of Cliff and the woman making out in the lift. KEITH: At 10:15 you’re on your way up. On the tape, Cliff is enthusiastic. KEITH: My god, Cliff, you’re like a wild animal. Is that what the kids call motorboatin’? CLIFF: I have a zest for life. So sue me. Keith laughs. KEITH: Look. Timed at 02:01:02+03 AM, Lamb enters the lift, joining a woman. He looks behind him warily. CLIFF: Lamb? Lamb and the woman make out for seven minutes before they are interrupted. They appear to be interrupted again a few minutes later by Cliff's honey trap bait, carrying a briefcase. Lamb is seen to speak to her. KEITH: It appears Lamb has a bit of a zest for life himself. 2:11, there’s your briefcase. Lamb appears to know your gynaecologist. Veronica thumps about in the main office. VERONICA: Don’t mind me. Just keep doing whatever that is. KEITH: Uh, just work. I thought you had that Hearst thing. VERONICA: On my way. I just need an address. Veronica is on her laptop. She PlanetZowies for "pi fraternity hearst." She pulls up: "Pi Sigma Sigma Fraternity - Hearst College Chapter. Welcome to the Hearst College Chapter of Pi Sigma Sigma Fratern...itself in charitable work... 11240 Gull Way Neptune, CA 90909 ... www.pisigmasigma.org/hearstCollege/ - 190k." She also gets: "Fraternity Directory. The Fraternity and Sorority system has been around since...Pi Sigma Si...fraternity row ... Hearst students are encouraged to participate in this tra... hearstcollege.org/studentLife/greekLife/directory.htm - 72k." Veronica walks into Keith's office and looks at the screen that Keith and Cliff are viewing. It's Lamb and his squeeze making out again but this time her face can be seen. Veronica leans forward towards the screen. VERONICA: Oh. My. God. I know her. She goes to my school. Her name is Madison Sinclair. EXT - PI SIGMA SIGMA - DAY. The fraternity house is a small two storey house and a little shabby. There is a sofa on the front lawn and a young man lounges on it, reading. Another is sitting on the porch and another on the steps as Veronica approaches. They watch Veronica enter the house. INT - PI SIGMA SIGMA - CONTINUING. The inside is even less impressive and is messy. VERONICA VOICEOVER: Nice. The surfaces are covered with rubbish and old pizza boxes. A young man carries a beer into another room, not noticing Veronica. Another is asleep in an armchair. In the far room, one looks to be playing a video game. VERONICA VOICEOVER : A little more vomit and a d*ad donkey and you’ve got a cover spread in Modern Squalor magazine. Veronica notices and moves towards a framed collection of pictures of the Pi Sigma Sigma brothers for 2004-2005, of which there are thirty-nine. Some of the names can be read: Lorne Van Mea, Tripp Duverre, Andrew Barndale (the jerk Veronica stunned), Preston Boone, Rhett Joulet, Mr. Ogletree, Edward O'Sava, Chanter Legris, Jason Pecannie, David White, Gordon Peters (the guy Stacy was talking to before she was taken with Troy), Marvin Edisto. VERONICA VOICEOVER : And doesn’t it make sense this is the home of Mr. Points himself? Andrew Barndale. As Veronica studies the pictures, one of the fraternity brothers finally notices her. VERONICA VOICEOVER : And of our Pi Sig brother of the long dark hair, Gordon Peters. CHIP: Hi. Uh, Chip. Sorry, brothers only past the entryway without invitation. VERONICA: Hi, Chip. Is Gordon here? Gordon Peters? CHIP: You might check the hospital. VERONICA: The hospital? CHIP: Had to have his stomach pumped last night. Eighteen sh*ts of vodka: not a good idea. Who knew? VERONICA: Kind of a wuss, huh? Legacy? CHIP: Well, it’s only gonna get worse for Gordon when he gets back here. You can leave a message for him on the board if you want. EXT - HEARST COLLEGE - DAY. The group is gathered together again. DEAN: So, do we have any English Lit or Humanities geeks with us here? No, is that you? English or, uh, maybe a double with Pre-Med? Anyway… Troy is sitting on a bench nearby, away from the group. Veronica walks over to him. TROY: So, did you find him? VERONICA: The Pi Sig who was hitting on Stacy spent the night in the hospital getting his stomach pumped. I double-checked. So what are you doing over here? Looks like Dean’s got a great story about the front of that building. TROY: I kind of bailed on the tour. I got tired of the looks, you know? VERONICA: So you figured creepy skulking was a better use of your time? Veronica takes the seat next to him. VERONICA: That won’t make you seem guilty. Two girls look at Troy as one whispers to the other. TROY: See? Looks. The girls looks disgusted and turn away. VERONICA: If you can’t give me anything more to go on, you might need to get used to it. TROY: My name and number. I left my name and number on her message board. I mean, would I really do that if I had just r*ped her and shaved off all her hair? VERONICA: So I could go check and your name and number would be there? Troy nods. TROY: Or maybe you could just believe me. VERONICA: I’ll check. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE. Dick and Logan are playing a video game. Two characters, one called Scorpion, fight on the screen. DICK: Dude, you know what I’m gonna do to you? LOGAN: No. DICK: First I’m gonna kick your ass, then I’m gonna grab your head and yank out your spine. What do you think about that? Sound okay? Logan is not in the spirit as Dick beats frantically on the controller's buttons. DICK: Boom. Oh! On screen, Dick's character smashes his fist into the other's neck and blood pours out. DICK: Oh, look, look. I’m doing it. I’m doing it. Yoink! Logan's character loses his head as the other pulls out his spine through his neck. DICK: Say hello to your spine. It’s me, your spine. GAME: Win. Dick, standing in celebration in his "Screw With My Head" T-shirt, looks around at the desultory Logan who is picking up his bottle of beer from a small table. DICK: What? LOGAN: I’m just imagining what Ozzy would think of your concept of partying like Ozzy. Logan moves behind the sofa for some popcorn. DICK: You want to snort a line of ants? I’m in. Come on. We’re free men who reject the rule of women. Get into the spirit. I mean, exhibit A. Dick indicates the table next to his seat which bears seven empty beer bottles, and then the other table, which is bare. DICK: Exhibit B. My suspicion is you’re afraid to embrace your true nature. LOGAN: Yeah, which is? DICK: We are lone wolves, dude. High-plains drifters, life takers, and heart breakers. LOGAN: Who play video games all day. Logan flicks a beer bottle cap at him. Dick puts the controller down and goes to the front unit, which contains a small fridge. DICK: We don’t give a damn about what other people say, ‘cause we don’t give a rat’s ass. Dick opens the door and pulls out the pink box. Logan joins him and gets another beer from the fridge as Dick opens the top and sees Hannah's cake. DICK: Dude. You got cake. Dick starts to cut into it. DICK: What the hell, man? Logan looks over his shoulder as Dick pulls out a file. DICK: What is this? Logan smiles slightly. LOGAN: It’s nothing. It’s a file. It’s a joke. Dick slides the cake off of the file and into his mouth, laughing. LOGAN: But you’re right. Life-takers and heart breakers. To not giving the ass of a rat. Logan taps his bottle against the file and chugs his beer. INT - HEARST COLLEGE, DORM HALLWAY - DAY. Veronica strides up the hall, heading for Stacy's door which is at the end. VERONICA VOICEOVER: Would Troy actually lie about his name and number? On the wall next to Stacy's door is a white board with various messages written on it, including one that says "We got ur back girlfriend." VERONICA VOICEOVER: Despite my deep reserves of ill will, do I really believe he could be that horrible? In the bottom right corner, is Troy's name and number, partially rubbed off, above the letters CCC in a circle. VERONICA VOICEOVER: So, it’s half there, and he’s only half horrible. Stacy's door opens. She's wearing a hat. STACY: Do you need something? VERONICA: Uh, no. I was just… Veronica starts to walk away but reconsiders and looks back. VERONICA: Um… She walks back to Stacy. VERONICA: I’m Veronica. I was at the party last night. STACY: That was, like, the best party ever, right? How was your r*pe? VERONICA: Uh… STACY: So, what, are you like dropping off some pamphlets or something? VERONICA: No. Um…a pamphlet’s not gonna cover it. It’s just gonna suck. And then it’ll suck less. I’m sorry to bother you. Veronica turns and walks away until halted by Stacy's question. STACY: Did they catch the guy from the party? Veronica isn't sure how to answer. VERONICA: It was kind of complicated. I don’t really know what happened. I think they’re just trying to get all the facts straight. STACY: The facts are straight. I know who it was. I just want some biblical justice. Stacy rips off the hat, showing her patchy scalp. STACY: He shaved my head! Veronica really doesn't know what to say but walks back towards Stacy, sympathetic. Before she reaches her, Stacy notices something on the floor. STACY: What’s that? VERONICA: I don’t know. It was here. Stacy bends down and picks up a shoe box placed on the floor under the white board. She opens it then drops it immediately with a gasp. It is full of hair. VERONICA: [shocked] Oh, god. That is just… Stacy picks up the box again and peers inside. STACY: But that’s not my hair. Veronica is stunned as a thought occurs to her. VERONICA: It’s not yours? A girl comes out of the room and heads for them. JEN: Stacy? Are you okay? She brushes past Veronica to stand with Stacy, casting Veronica an accusatory look. VERONICA: Did you see who delivered that box? JEN: [to Stacy] What is she doing here? STACY: Nothing. She was at the party. JEN: Yeah, I know. She was there with him, Stacy. STACY: What? They both stare at Veronica. JEN: She’s here trying to help him get off the hook. Veronica sighs. INT - TORI'S WIG SHOP - DAY. Veronica walks past shelves of bewigged plastic heads towards a counter where two women are teasing another couple of wigs. VERONICA VOICEOVER: So, if someone sent Stacy a box of hair that wasn’t hers, there’s a chance she’s not the only victim and there’s another girl at Hearst forced to wear a wig. And so it’s now time for me to clinch that Emmy nomination. Veronica targets the woman working on a bright pink wig. VERONICA: Hi. I’m looking for someone. She would have come in for a wig during the past couple of months. TORI: Can you narrow it down, hon? We get a lot of-- VERONICA: Her head would have been completely shaved. TORI: Oh, chemo. Veronica nods sadly. VERONICA: She decided to give up on treatment and run away from home. TORI: Oh. There was a girl a month ago. The woman stops teasing the wig and heads for the cash register counter where she starts leafing though a sales record book. VERONICA: Do you have a name? The woman looks up from her perusal, suspicious. TORI: You don’t know her name? Because we don’t just give out custom-- VERONICA: Ma’am, she’s run away. Veronica turns on the angst and the tears as melodramatic music starts to play. VERONICA: She’s scared and she’s alone. We don’t even want to know how she’s making her money. She’s given up on life. And she thinks she’s sparing us the pain, but not knowing where she is or what name she’s using or whether she’s safe, it’s t*rture. Please, ma’am, she’s my sister. The woman, whose face has softened with sympathy, suddenly shuts the book. TORI: I’m sorry. This girl was Hawaiian. Veronica instantly returns to normal. VERONICA: Oh. She turns and strides out of the store. INT - HEARST COLLEGE, DORM HALLWAY - DAY. Veronica knocks on Dean's open door. DEAN: Oh, hey. Um, you know the tour doesn’t start until noon? VERONICA: If I wanted to find a Hawaiian girl, where would I start? DEAN: In Hawaii? I’m so-- I don’t understand what you... VERONICA: Hawaiian students at Hearst. DEAN: Oh, the Pacific Islander kids. Um, well, some of them have, like, a lunch group thing at Student Union on weekends. VERONICA: Thanks. Veronica leaves but as she passes another door, she spots something that pulls her up. She walks back to the door and the white board on it. It bears the Roman numerals CL in a circle. VERONICA: Dean? DEAN: Yeah? She points to the Roman numerals. VERONICA: What does this mean, CL? Dean comes out of his room and joins her in front of the white board. DEAN: Oh, uh, that’s a score. It’s 150 in roman numerals. It’s a Pi Sig thing. They have, like, a, you know, a contest for scoring girls or something. VERONICA: Fifty points for a blonde. Thirty points for sassy. DEAN: Well, yeah, I mean, I don’t know if you get points for being sassy, but yeah. I think the rumor is that they have a board in the basement that they keep score on, and if the pledges don’t score high enough, then they’re punished. VERONICA: Punished? DEAN: They shave your head. Um, the contest ended at midnight. It’s stupid anyway, you know. VERONICA: Good ole Pi Sigs. Thanks, Dean. DEAN: Sure. Veronica, who has pulled out her phone, starts to make a call as she walks away. INT - SHERIFF'S DEPARTMENT - DAY. Cliff and Keith, both holding large brown envelopes, are seated in two of the waiting area chairs. Keith is grinning broadly. Cliff jerks his finger, indicating Lamb's arrival into the department. A deputy leaves as Lamb enters. DEPUTY: Sheriff. Lamb glances down at Keith but keeps going, ignoring him. Keith stands. KEITH: Don, would you have time for a question? Lamb, halfway to his office, turns back and sighs. LAMB: For the two of you? Always. KEITH: We’re just looking for a little help here. Keith slides a photo of Cliff's false paramour out of the envelope and shows it to Lamb. KEITH: Do you know this woman? LAMB: No. We got to do this again some time. Lamb turns and starts walking away again. KEITH: You sure? Keith pulls out another photo and holds it up for Lamb to see. Lamb walks impatiently back towards him to look. It shows Lamb talking to the woman. He snorts and holds up his hands. LAMB: You got me. I rode an elevator with her. She asked the time, and I tell her. Again Lamb strides away, only to be pulled back. CLIFF: Uh, Sheriff? Just a couple more sh*ts. Cliff jerks his head, indicating the desire for privacy. Keith watches, a beatific look on his face, enjoying what's to come. CLIFF: I want to emphasize, this should not be construed as coercion. We’re just showing you a picture. From his envelope, Cliff pulls out a picture of Lamb with Madison in a compromising position. KEITH: That’s Madison Sinclair, who I believe takes World History with my daughter. Lamb holds the picture close to his chest and glances around. LAMB: So, what, this isn't blackmail? She’s 18. That’s legal. KEITH: Sounds like a swell campaign slogan for the next election. This triggers Cliff to pull out his second picture. It's a mock up of a flyer. Over a picture of Lamb and Madison in an even more compromising position is written "18-It's Legal" at the top and "Re-Elect Don Lamb" at the bottom, together with the video's time stamp. This one finally knocks the arrogance out of Lamb as he grabs it and hides it behind the other. Keith shows him the first picture again. KEITH: We just want to know who this first woman is. LAMB: She’s an escort. I’ve busted her a few times. She hires out as a Sugar Jones. KEITH: Great. Thanks, Don. LAMB: Mmm. Keith exits. Cliff points to the flyer. CLIFF: I’d vote for you. He then follows Cliff as Lamb tears up the flyer and photo in his hands. INT - PI SIGMA SIGMA - DAY. Wallace is getting the tour. DREW: If you get that scholarship, you got to join. When I got here, I was like, I totally want to be a Pi. WALLACE: Uh, yeah, yeah. Once when I was little, I wanted to be ice cream. DREW: Dude, Pi Sig Sig. You’re hilarious. You’ll totally fit in. So, that’s members only down there. The kitchen is through here. As Drew rounds the corner towards the kitchen, Wallace holds back long enough to unlock a window before following. Veronica is waiting on the other side. She climbs in and sneaks towards the basement door, amidst distant shouts of the unseen brothers. FRAT CHATTER: I’m putting it back, all right? Check this out, man. This is great. In the basement, there's a foosball table, a dartboard, an old couch and posters on the walls. Veronica makes her way to a board, switching on a light to see it. The board has four sections, each divided into three columns. The first column has a nickname, the second a Roman numeral and the third space to add mementos or proofs like pictures, panties and bras. The nicknames include Mr. Task Master, Ice Man, Drill Man, Big Dave, Big Boy, Tha Doctor, Dan #2, Tiny #2, Psycho, Moon, Bird Dawg, Ratse, Shredder, Scumbo, Jumbo, The Trickster, Scrote, Freako, Corky, Mr. Roofie, Goat Boy, b*mb, Cow Poke, El Suave, Nut Case, Bone Head, The Reveler, Smalls, The b*mb, Mustard Man, The Funster. Veronica stares at the board in distaste. VERONICA VOICEOVER: C in roman numerals is 100, so the big question is, did any of these delightful people score the three Cs I saw circled on Stacy’s door? Veronica studies the board before starting to take pictures. She then sees a picture of herself in one of the memento columns. VERONICA VOICEOVER: And someone with the handle Bird Dawg says he scored me? That is wrong both factually and ontologically. There, 300 points. And the hero of the hour? Of course his name is Iceman. GORDON: Hey. Veronica is interrupted as Gordon arrives in the basement. GORDON: You can’t be down here. Gordon, wearing a cap, shouts up the stairs. GORDON: Ice! Hey, Iceman? CHIP: Yo. Chip races down the stairs. GORDON: There’s some chick in the sanctum. They both stare and Veronica, looming ever closer. CHIP: What the hell are you doing here? [shouting] This is off-limits! A commercial break moment later, Chip is calmer. CHIP: Look, you’re clearing out. Pronto. Okay? Veronica points to his entry on the board. VERONICA: 300 points? Nice work. Chip takes Veronica's arm, starting to lead her away from the board. CHIP: Look. This is our business. I don’t have to apologize. Veronica holds her ground. VERONICA: For being a r*pist? Nice. I admire a principled stand. CHIP: What are you talking about? VERONICA: I’m talking about 300 points, exactly the score you g*ons wrote on Stacy’s door the night she was roofied and r*ped. Chip and Gordon glance at each other. VERONICA: But the jury will understand. After all, you had to do it or your frat brothers would shave off your awesome Ryan Seacrest hairdo. CHIP: I didn’t get those 300 points for Stacy Wells. GORDON: Yeah, he nailed the Dean’s wife. CHIP: Zip it, Gordo. Look, no one here ever touched Stacy. Veronica stares at Gordon. VERONICA: You’re Gordon? What happened to the rock-star locks? You mean, Pi Sigs don’t give points for r*pe? Stacy’s gonna hate hearing that no good came out of Friday night. GORDON: I don’t give a flying nun what she thinks. All right, she’s a total tease. She’s coming on to me all night, then she blew me off for some other dude who called her bluff. Boo hoo. Drew arrives from upstairs. CHIP: Bird Dawg. Do you want to show this young lady out? VERONICA: Thanks, I know the way. Oh, and you might want to get your clippers, because unless being electrocuted counts, Bird Dawg here never scored these 240 points. Veronica rips her picture off of the board. DREW: It was 210. VERONICA: You undercounted the sassy. Veronica crumples the picture and throws it at him as she leaves. EXT - HEARST COLLEGE - DAY. Veronica approaches a table of students. VERONICA VOICEOVER: And this looks like it must be the Pacific Islander lunch group. Now, who might be wearing a wig. A girl at the table has very bright pink hair. VERONICA VOICEOVER: I think I’ll follow a hunch. Veronica walks up to the table and smiles. VERONICA: Excuse me. Hi, I’m working on a play for the theater department, and I need to find a place that does custom wigs. Did you get yours recently, and did you get it around here? The girl is offended. PINK-HAIR: My what, wig? This is my hair. VERONICA: Oh. I…I’m sorry. I thought…Thanks anyway. Veronica slinks away. VERONICA VOICEOVER: Great. A d*ad end and embarrassing to boot. As she goes, another girl, one who was standing by the table, quietly calls out to her. DAWN: Um, excuse me. You might try Tori’s on Pacific. VERONICA: Thanks. Veronica walks on. Cut to a little later. The girl departs from the group. DAWN: Okay, guys, bye. Veronica has been watching and scurries to catch up to her. VERONICA: Hi. Can I talk to you for a second? It’s about a girl who was r*ped and had her head shaved the other night. The girl, Dawn, slows to a halt. INT - HEARST COLLEGE, LECTURE ROOM - DAY. As the room empties, Stacy hurries to the front. DEAN HARLOW: Oh, Miss Wells. STACY: Hey, Dean Harlow, I got a message from someone saying you had some information for me. Like about that guy? Dean Harlow is puzzled. She pulls her cell phone out of her bag to check it. DEAN HARLOW: I’m still waiting to hear from the sheriff. I haven’t heard anything. Walking towards them is Veronica and Dawn. VERONICA: I left the message. And I do have information. STACY: Troy’s being drawn and quartered and I get to kick the pieces? VERONICA: No. STACY: Then I’m not interested. VERONICA: Stacy, it wasn’t Troy. He didn’t r*pe you, and he didn’t leave the box of hair. STACY: Because good old Troy’s a decent, stand-up guy simply not capable of doing something so horrible, right? DAWN: Because it happened to me, too. Dawn removes the long dark wig she wears to show her very short hair. DAWN: A month ago. VERONICA: Whoever did this to you did the same thing to Dawn when Troy was on the other side of the country. I’m not saying it wasn’t horrible or you don’t deserve justice. I’m just saying someone else did it, and that someone is still out there. STACY: The same thing? Did he send you a box with… VERONICA: No. That was a nasty little gift from a Pi Sig named Gordon Peters. He was bitter because you didn’t fall for his charm, and not scoring with the ladies meant getting his head shaved. I think you’ll find that hair is his. [to Dean Harlow] And since you’re the dean of student affairs, I thought you might be interested. Veronica pulls out the photos she took of the score board in Pi Sigma Sigma and passes them to Dean Harwell. VERONICA: These are some student affairs going on in the basement of the Pi Sig house. Don’t think you want that getting into the Hearst brochure. The dean stares at the pictures and then at Veronica. EXT - HEARST COLLEGE - DAY. The provisional freshman group is gathered together one last time. DEAN: Well, that’s it. That’s the last you’re gonna see me. Um, final event now is Donuts with the Dean in Michael Hall. If I’ve done my job, you don’t have to ask me where that is. Um, so I hope to see you guys next year. The group clap politely. Wallace turns and walks back to Veronica, who is standing a little apart from the rest. WALLACE: I hope so too. Admit it. Hearst ain’t half bad. VERONICA: It is. That means half of it might be good. Troy joins them. TROY: Talking about me again? So, they dropped the charges. Thanks, Veronica. Really, I’m not sure that I deserve it, but you’re a real friend. VERONICA: How about we just call me an acquaintance with reservations? Troy laughs. TROY: Right. Then, until next time, go Hearst. WALLACE: That’s right. Yeah. Troy pats Wallace on the arm and departs. Dean approaches them from another direction. DEAN: Hey. Did you guys hear about the Pi Sigs? WALLACE: Nope. DEAN: They got a semester probation. VERONICA: If it’s double-secret probation, there’s a serious leak. DEAN: No mixers, no parties, no sports. And it was your photo that nailed them. You don’t mess around, do you. Wallace puts his arm around Veronica proudly. WALLACE: That’s Veronica Mars. Making friends and influencing people wherever she goes. See, if you come here next year, you’ve already got enemies. Just feel right at home. Veronica smiles broadly. DEAN: See you. INT - PI SIGMA SIGMA - DAY. Stacy stands at the picture board showing the fraternity brothers. Gordon sheepishly enters from one of the other rooms. GORDON: Heard you wanted to see me. STACY: I did. Stacy, holding the lead of a small dog, reaches into her bag and pulls out a plastic bag full of hair. STACY: I thought you might want your hair back. GORDON: [taken aback] Uh, I don’t want that. STACY: Fair enough. Stacy throws the bag up at the ceiling fan. The blades tear apart the bag and scatter the hair everywhere. GORDON: Oh my god! What are you, are you crazy? What are you doing? What? Stacy smiles as she leaps away and leaves Gordon being showered in hair. EXT - NHS, CAR PARK - DAY. Hannah and other girls of the school's track team are walking through the car park, chatting. Hannah sees Logan, propped against the back of the Xterra. She ignores him and carries on walking. Logan pushes himself off and races up behind her. LOGAN: Your dad dropped his testimony so I’d quit seeing you. Hannah slows and turns to face him. The girl next to her pauses too, carrying on when Hannah gestures that it is all right. HANNAH: I figured. So did you ask me out so he’d do it? LOGAN: Yes. HANNAH: And you want me to forgive you. Logan pauses for a moment, then sighs heavily. LOGAN: Yes. Hannah's face softens and she starts to smile. Logan can't believe his good fortune as he rolls his eyes heavenward in thanks before stepping forward and leaning his forehead onto hers. He gently puts his hands on each side of her face. INT - MARS RESIDENCE - DAY. Keith is on the sofa, expectant. He senses movement outside the apartment, puts down his magazine and goes to the door. It opens before he reaches it. It's Veronica. KEITH: [surprised] You’re back early. VERONICA: Yeah, I ditched the goodbye hugging. Can you believe it? Veronica divests herself of the bags she is carrying. KEITH: You? Miss hug? So, you must be tired. Why don’t you lie in your… There's a knock at the door. Veronica goes to answer but notes Keith's unusual efforts to get there first. She pauses, gives him a suspicious look and then opens the door. Sugar Jones stands on the other side in a skimpy red dress and fur coat. SUGAR: Is Keith here? Veronica turns to her father, hidden from Sugar's view behind the door. VERONICA: Dad. Your hooker’s here. Keith leans forward to pop his head around the door. KEITH: Escort, honey. So, why don’t you go to your room and do your, uh, blog, whatever you kids do. With a smile, Veronica heads for her room. Keith opens the door wide and turns to Sugar. KEITH: Sorry about that. Sugar saunters in, pausing to stroke Keith's bald head. Veronica takes a look back as she closes the door to her room, rolling her eyes. SUGAR: So, what do you got in mind? Keith takes Sugar's coat. Cliff appears from Keith's room. CLIFF: A few questions, to start off. Sugar looks from one man to the other, caught. KEITH: The briefcase. Tell us why you took it and where it went. Sugar sighs and sits down on the couch. SUGAR: Well, I got the call. I show up. The guy offers me triple rate if I pick him up and swipe his briefcase. KEITH: So who’s the guy? Sugar starts to look in her bag. SUGAR: Let me see…you know, I think I’ve got his birth certificate in here somewhere…No. He didn’t say. CLIFF: What happened to my briefcase? SUGAR: I gave it to him in the garage. I split. What he did with it, I have no idea. So, is that it? She stands and grabs her coat. CLIFF: I guess so. But, hey, nice work. I really thought…it was all real. Keith opens the door for Sugar who turns back to Cliff. SUGAR: Just the welts, honey. She spins around and leaves a deflated Cliff and amused Keith. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE. Music: "I Know I Know I Know" by Tegan and Sara LYRICS: From hundreds of miles you cry like a baby You plead with me, shout, scream Tell me I'm staying I know, I know, I know I'm still your love Back from the last place that I wanted to fake You laugh with me, shout, scream Now tell me you're staying I know, I know, I know You're still my love The same as I love you You'll always love me too This love isn't good unless It's me and you Box after box and you're still by my side The weather is changing And breaking my stride I know, I know, I know It's just this day The same as I love you You'll always love me too This love isn't good unless It's me and you The lighting in the suite is low. Logan looks up, staring into Hannah's eyes as her head descends towards his. They kiss. Logan is sitting on the end of the sofa. Hannah, who was standing in front of him, put her knees on either side of him and settles onto his lap as they continue kissing. Logan holds her face in his hands, looking deeply into her eyes. He slips her shirt off one of her shoulders. Hannah smiles and they kiss again. She reaches down and Logan lifts his arms over his head so she can pull off his T-shirt. They kiss again. INT - NEPTUNE GRAND HOTEL, HALLWAY - CONTINUING. The lights on the lift floor indicator ping in time with the music as the lift travels through floors nine, ten, eleven and reach PH. The door opens on two pairs of male feet. They walk forward in slowed and thr*at motion. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - CONTINUING. Hannah, her shirt now off leaving her in a thin pink vest, is lying underneath the bare-chested Logan as they continue to kiss tenderly. They break and Logan leans down to kiss the side of her neck. INT - NEPTUNE GRAND HOTEL, HALLWAY - CONTINUING. The torso of one of the men can be seen. It's someone in the hotel's uniform and he pulls a keycard out of a pocket in his waistcoat. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - CONTINUING. Logan is further down Hannah's body now, his hand on the zipper of her jeans. He kisses her bare stomach as she strokes his head and arms. Hannah is writhing. Logan pauses and looks up at her face. She smiles and he undoes the button on her jeans. INT - NEPTUNE GRAND HOTEL, HALLWAY - CONTINUING. The keycard is slipped into the lock of the suite. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - CONTINUING. Hannah raises her hips to Logan's mouth as he kisses her below the waistband of her jeans. Both jerk at the sound to the suite door slamming open. An enraged Tom Griffith pushes in behind the hotel employee. GRIFFITH: Hannah. Hannah scrambles up from under Logan, holding her jeans in place and grabbing her shirt from the floor to hold in front of her. Logan sits back on the couch. HANNAH: Dad? What are you doing here? GRIFFITH: Just get dressed. Griffith grabs her jacket from the ottoman and throws it at her. GRIFFITH: Get dressed! Hannah is frantically trying to do up her jeans. HANNAH: I am! Griffith turns his attention to Logan, taking a step towards him. GRIFFITH: I told you to stay away from her. You’re lucky I don’t k*ll you. HANNAH: Daddy! GRIFFITH: Hannah, get your things. Logan sh**t up to face Griffith. LOGAN: Don’t speak to her like that. GRIFFITH: We had a deal. LOGAN: Yes, “had.” Now we don’t. But there’s nothing you can do that’ll stop me from seeing her. Logan glances at Hannah. Griffith leans his face right into Logan's. GRIFFITH: You want to bet? He spins around and grabs Hannah hard by the arm. GRIFFITH: Let’s go. Griffith physically pulls Hannah out of the suite. Distressed, she looks back at Logan, as the camera slows. She and Griffith exit the suite. Logan is upset and falls back down onto the sofa. He has his T-shirt crumpled in a ball in his hand. He sinks his face into it, distraught. INT - MARS RESIDENCE - DAY. Veronica and Keith are eating at the kitchen counter. KEITH: So, you know if you go to Hearst, you could come home and do your laundry on weekends, and we can talk about Nietzsche, the French Revolution, boys, whatever. VERONICA: I told you, Dad, I am going far, far away. It’s a deal breaker. KEITH: Hearst is ten whole exits. Veronica is not convinced. She smiles indulgently and leaves the table. Keith grins. Veronica picks up a pile of schoolwork from the coffee table and pulls out Woody's letter on the essay competition. Previously unseen, at the end of the letter in bold is "Winner Pushes the Plunger at Old Shark Stadium!" and the address of the Office of Balboa County Supervisor, 1214 Conch Drive, Neptune, CA 90911. VERONICA: What do you know about plastic expl*sives? KEITH: Well, that’s what I like: a good segue. Keith gets up and starts to clear the dishes away. VERONICA: I mean, where you get them. What they’re used for. KEITH: Well, if you’re licensed, legitimate uses include, uh, construction, mining, demolition. VERONICA: Demolition? EXT - NHS, LUNCH AREA - DAY. Veronica is eating when she hears a happy Wallace approaching. WALLACE: [reading] Dear Mister Fennel, it is with great pleasure… VERONICA: You got the scholarship? They high-five. WALLACE: Two times. They do it again. Veronica grabs the letter and starts to read. WALLACE: Hearst College, baby, here I come. I am so over this place already. VERONICA: Right there with ya. Elsewhere, Logan is looking for Hannah. He sees some of her friends. LOGAN: Hey, did Hannah miss school today? GIRL: You didn’t hear? LOGAN: No. GIRL: Her parents sent her to boarding school in Vermont. She’s gone. Logan is devastated and doesn't even hear the muttered accusation. GIRL: Nice going. EXT - SHARKS FIELD - DAY. Veronica, in pink with a short denim skirt and boots, is interviewing the foreman. Both are in hard hats. VERONICA: So, the contest winner gets to push that thing, you know, that thing like Bugs Bunny always pushes, and the stadium explodes? FOREMAN: A plunger, right, but if we did our work right, the stadium implodes. VERONICA: Cool. Using dynamite? FOREMAN: Some, but C-4 mostly. VERONICA: What’s C-4? He leads her to a large, unsecured box and opens the lid. It is filled with bars of C-4 and he pulls out one. FOREMAN: Not much to look at, actually, but it does the job. VERONICA VOICEOVER: And it’s the exact same stuff I saw in the airplane hangar. As Veronica stares into the box, the foreman notices something beyond them, not to his liking. FOREMAN: [shouting] Danny! I told you to take that crate to section eleven. Veronica looks over to see the source of the foreman's irritation. She recognises Danny Boyd and he recognises her. He smiles slightly. Veronica continues to stare as he carries on with his work. VERONICA VOICEOVER: One more question: is it just a coincidence that Danny Boyd works here, or do I now have to add the Fitzpatricks to the list of people who could have framed Terrence Cook…or even crashed the bus. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x16 - The Rapes of Graff"}

foreverdreaming

VERONICA VOICEOVER: Previously, on Veronica Mars... Logan regains consciousness on the Coronado Bridge with a Kn*fe in his hand and Felix d*ad at his side. A man stands over him in 201 "Normal is the Watchword." LUIS: Why don't you do me a favor and drop that Kn*fe. Veronica and Logan sneak a moment during babysitting duty in 207 "Nobody Puts Baby in a Corner." VERONICA: You told the police you couldn't identify the guy. LOGAN: I lied. VERONICA: 'Course you did. Logan and Weevil conspire in 211 "Donut Run." LOGAN: So how we gonna figure out who did it? WEEVIL: The one that did it is the one who's in business with the Fitzpatricks. There are flashes of Danny Boyd and Liam Fitzpatrick from 208 "Ahoy, Mateys!" Weevil confronts Molly Fitzpatrick in 212 "Rashard and Wallace Go to White Castle." WEEVIL: Molly. Were you dating Felix? MOLLY: My uncles and cousins didn't know about us. Weevil confronts Thumper after his beating. WEEVIL: You k*lled Felix, didn't you! THUMPER: Before you think about spreading it around, I think you should see something. Thumper shows him what's on his cell phone - Weevil beating up Curly Moran. THUMPER: That night you nearly kicked Curly's head in. Veronica tours the Shark Field stadium demolition site in 216 "The Rapes of Graff." FOREMAN: If we did our work right, the stadium implodes. Standing over the C-4, the foreman yells at Danny Boyd. FOREMAN: I told you to take that crate to section eleven! VERONICA VOICEOVER: Is it just a coincidence that Danny Boyd works here? Or do I add his name to the list of bus crash suspects? End previouslies. INT - NEPTUNE HIGH SCHOOL (NHS), CLASSROOM - DAY. A screen full of Old Glory blazes out upon the darkened English class of Mrs. Murphy. "America the Beautiful" plays at the film presents various patriotic images. MRS. MURPHY: All righty, citizens. The big moment has finally arrived. Veronica is listlessly resting her head on her hand, listening. Sitting behind her and a few rows to her left is Logan, hidden behind the magazine he is not reading, holding it back to front. MRS. MURPHY: One lucky student will spend a week interning at the mayor's office as his honorary deputy. And as a grand finale, this lucky patriot will push the plunger for the demolition of old Shark Field on Saturday. The grand prize winner of Woody Goodman's freedom essay contest is...Logan Echolls! Veronica, sceptical, glances over at Logan as the rest of the class claps. Logan lowers his magazine coyly. He smirks. LOGAN: I'm sorry. Did someone say my name? MRS. MURPHY: For those interested, the winning essay will be on the board all week. Mrs. Murphy acts as she speaks, pinning the essay on a board on the wall as the school bell rings. The students grab their bags and start to move. Veronica goes to the board and skims through the first page of the essay. She turns to stare at Logan, offended. Logan is surrounded by four girls squeeing at him and his success. Logan is lapping it up. GIRLS: Congratulations! Logan! LOGAN: Thank you. Oh, thanks. Yeah, it, uh, yeah, it took some work. GIRLS: I wanna read it. LOGAN: It paid off. GIRLS: Me too. LOGAN: Thank you. GIRLS: I just thinks it's awesome. See you later. Congratulations. LOGAN: Thank you. GIRLS: Bye. LOGAN: Bye bye. As the girls drift away, Veronica heads towards him purposefully. VERONICA: "Freedom: That's what it's all about. But talking about it, and being it, that's two different things." LOGAN: Whew. You came up all deliberate-like, I figured you wanted to be first in line to ask me to the Sadie Hawkins dance, not recite my prize-winning essay. VERONICA: Neither, actually. I'm quoting Easy Rider, which you may remember making me watch last summer. LOGAN: That's funny, it sounds a lot like my essay. VERONICA: Yeah. Weird. LOGAN: Mmm. Logan smiles as he watches her go. EXT - NHS, LUNCH AREA - DAY. Weevil walks down the raised walkway by the school wall, past the banner advising students on the delights of relaxing and breathing in yoga. As he skips down the steps to the lunch area proper, he spots Thumper, Hector and a couple of other bikers on one of the tables. Thumper gives him barely a glance. Weevil is thrown back in time to the same tableau. FLASHBACK: EXT - NHS, LUNCH AREA - DAY. Weevil is in the dominant position, standing, one foot on the bench over the other bikers who are all seated. They comprise Felix, Thumper, Hector and one other biker. WEEVIL: Sure. I mean, who doesn't use algebra every day of their life, but, Felix, algebra II? Come on. What am I still doin' even showin' up here? Thumper snaps his fingers and points just as an attractive girl walks by. Weevil ogles the girl. WEEVIL: Oh. Whoa, whoa, whoa. It's all comin' back to me now. FELIX: Three months 'til summer, then senior year. After that: vamanos, baby. WEEVIL: I gotta pass the deuce first. FELIX: This'll be your third try, right? How bad you want outta here? WEEVIL: I gotta graduate. I know my gramp's holdin' on just long enough for me to cross that stage. FELIX: Right. WEEVIL: Okay, what kinda grand plans you got, huh? FELIX: Miss James gave me some info on trucking school. Those guys make forty an hour, you know that? That's enough to get married, settle down, crank out a couple shorties... WEEVIL: [doing a John Travolta laugh] Wait, Felix, Felix...hold on, doggie. Before you get all minivan on us, you gotta get a woman. You ain't had a girlfriend longer than a weekend far as I know. Felix just stares up at Weevil. END FLASHBACK. EXT - NHS, LUNCH AREA - CONTINUING. The flashback blue gives way to the present day sunshine as the tableau reverts back to Thumper and the others. Weevil continues to stare at them. At another table, Jane joins Wallace and Veronica. She smiles at Wallace and kisses his cheek. He's a little off, something that Veronica notices and over which her brow creases slightly. JANE: I heard the FBLA won the drawing to host the Sadie Hawkins dance. Dances are the best fundraisers. The band made like three grand at last year's. Veronica, maintaining a humourless demeanour throughout, points to her face. VERONICA: This face? Right here? My over-the-moon face. JANE: Thinking of asking some special boy? VERONICA: I'm flying solo for the foreseeable future. I'll be working it, though. WALLACE: You work it, girlfriend! Wallace holds up his hand in readiness for a high five. Veronica gives him a "What you on, bro" look. VERONICA: Taking keepsake couples photos. She and Jane chuckle. VERONICA: [to Jane] What about you? Anyone on your radar? Veronica does a side glance to Wallace. JANE: Well, I've got a dilemma. I'm torn between this sweet band dork and this all-hands Nubian prince. It's Wallace's turn to chuckle. VERONICA: Oooh. Tell me more about this band dork. Jane lifts the fork from her plate and aims for the cake on Wallace's tray. Wallace slides the tray out from under the fork. WALLACE: Oops. You'll lose that hand. Don't get between a man and his cake. They giggle. Veronica sees Weevil who jerks his head at her. VERONICA: Uh...'scuse me guys, I believe I'm getting the nod. Veronica picks up her bag and heads for Weevil. They stroll along the walkway. WEEVIL: I need your help. VERONICA: Augh, if I had fifty bucks every time someone said that... WEEVIL: Look, I know it's a drag being you and-- VERONICA: No, seriously, I'm gonna need fifty bucks if you expect me to keep listening. Veronica strides ahead of Weevil who starts to slow. WEEVIL: Well, I'm banking on, uh, curiosity getting the better of you. Veronica stops and turns to look at him, her body language all "I don't believe you said that." She turns away and takes a step before pausing again. Weevil stays nonchalant, waiting. Veronica battles with herself before doing an exasperated jig. VERONICA: ...All right, tell me! Damn my curiosity. WEEVIL: Thumper k*lled Felix. VERONICA: Okay. If you know Thumper did it, what do you need me for? WEEVIL: Well, I can't prove it. Yet. And, uh, Thumper has something on me. There's this video on his cell. VERONICA: Do go on. WEEVIL: I didn't exactly tell you the whole truth about how I handled the Curly situation. Veronica holds out three fingers, pressed firmly together. VERONICA: Shocker. WEEVIL: I think that's Scout's honor, and your fingers are supp-- Weevil starts to put her fingers in the right place for the Shocker. Veronica pulls her hand away. VERONICA: Not important. Moving on. Which parts did you skimp on? WEEVIL: I did get an anonymous call. Not just me, some of my boys too, all saying the same thing: Curly sent the bus off a cliff to take out Cervando for hustling Liam Fitzpatrick out of a few grand. FLASHBACK: EXT - ROAD HOG - NIGHT. Weevil is beating Curly, who is down. Thumper, Hector and some other bikers are standing by watching. Thumper has his cell phone trained on the two of them. Curly looks up at Weevil. CURLY: It wasn't me. I didn't k*ll your friend, those kids... WEEVIL: That's not what I hear. I hear you took out the bus to get Cervando. Weevil kicks him in the face again, much to the approval of the bikers. CURLY: It wasn't me. I know who did it. There's the sound of a car starting. Thumper looks across the car park. He sees a large dark car there, witnessing the event. Thumper stands and shouts at Weevil. THUMPER: Yo! The car's lights flash on. The bikers start to scatter. BIKERS: Come on man, let's go! Come on man. Hurry up! Weevil runs back to his bike and follows them, leaving Curly alive on the ground. END FLASHBACK. EXT - NHS, LUNCH AREA - CONTINUING. VERONICA: You told me you didn't believe Curly caused the bus crash. WEEVIL: I don't. VERONICA: But you b*at him anyway? WEEVIL: No, I saved his life. My boys wanted to send him off a cliff behind the Road Hog. VERONICA: Don't suppose you noticed whether Curly had my name written on his hand while you were...saving his life. WEEVIL: No. But uh, the cameo he was wearing looked a lot like you. Veronica rolls her eyes. WEEVIL: [seriously] Thumper's gonna go down for what he did to Felix one of two ways. Either the law's gonna handle it, or I will. You want it done right, then help me get the proof. Opening credits. INT - NHS, CLASSROOM - DAY. Mr. Wu paces in his history classroom which is serving again as study hall. On the blackboard, he has written "STUDY HALL. WHICH MEANS STUDY!" However he ignores some students goofing off as he straightens one of the pictures of presidents above his desk. The other blackboard is about the legends of the Vietnam w*r and warns of a test on Friday. Wallace is twisted around in his seat to chat to Jackie who is occupying the desk behind him. They talk quietly. WALLACE: How's your dad doin'? JACKIE: Fantastic. So good, in fact, they took him off su1c1de watch yesterday. Banner freakin' day in the Cook household, let me tell ya. WALLACE: Is he gettin' better? JACKIE: Slowly. He's in no hurry. Once the doctors clear him, he moves from his guarded hospital room to a cell at county jail. WALLACE: So how you doin' in that great big house all alone? Jackie laughs. JACKIE: Ah, the things you don't know about me. When my mom started getting wrinkles around her eyes and she could see the end of her modeling career coming, her new career became landing a wealthy man. Single wealthy men like to travel, they like to party. They don't like kids hanging around. I was pretty much alone from age eleven on. Being alone now kinda feels like being back to normal. WALLACE: Well, we should hang out. Even Superman would leave his Fortress of Solitude from time to time. JACKIE: I'd like that. Impending steps of doom approach as Mr. Wu steps up to them and clears his throat. MR. WU: This is study hall. Do you two know what we do in study hall? JACKIE: Gimme a minute, I think I know this one... MR. WU: Mm hm. Mr. Wu slaps his finger down on the book in front of Jackie, then carries on pacing. Wallace glances back at her. Jackie rolls her eyes. INT - NHS, HALLWAY - DAY. Mac and Beaver are walking down the hallway, hand in hand. They come to a halt, staring up at a banner advertising the Sadie Hawkins dance. The banner, a pale orange, is illustrated by a twig of blossoming dogwood and reads: "Sponsored by FBLA. Ladies!! Buy your tickets! Don't forget! It's Sadie Hawkins. Spring Fling." Beaver sighs. Mac looks sidelong up at him and laughs. MAC: What are you doing? BEAVER: Um, you know, just standing here, wondering what I've done to make you ashamed of me. It's the age thing, isn't it? You know me and my full blush of youth, and you and your...advancing years. Mac punches him in the shoulder. MAC: I'm standing in the middle of the hallway holding your hand, dorkwad. You don't really want to go to that thing? BEAVER: Well, yeah, I'd like to be asked. MAC: Fine. [coy and girlie] You wanna go to the big dance, Cassidy? BEAVER: Is that so hard? Mac giggles. BEAVER: Yes. And if the dance blows half as much as I'm guessing it will, we can cut out early. Go straight for the good stuff. MAC: Ooh, my. Mac starts to fan herself. BEAVER: I'm talking about Neptune's best pizza quest '06. You, get your mind out of the gutter. Beaver moves on. Mac watches him for a moment, her smile fading into a look of concern before she follows him. EXT - NHS, CAR PARK - DAY. Logan's keys fly in the air as he tosses them. He's happy and pleased with himself. Veronica hurries up from behind him. VERONICA: Hey. I need a second. Logan spins round to face her but continues to walk backwards. As soon as she catches up, he turns and keeps walking with Veronica at his side. LOGAN: I'm sorry, I can't be late for my first day. Call the county courthouse, ask for the assistant to the honorary deputy mayor. Have her pencil you in. VERONICA: I need you to do something for me. LOGAN: Veronica. Ask not what Logan can do for you, but what you do for Logan. VERONICA: That's gonna get old real soon. LOGAN: Let me know when that time comes. Until then, you know me: I'll just be speaking softly and carrying a big stick. Logan tosses his keys again. The second time, Veronica intercepts and grabs them, stopping in front of him. LOGAN: [good humouredly] God, you're a pest. VERONICA: Tell me everything you remember about the night Felix was k*lled. LOGAN: You do know I've been cleared of all charges, right? The whole d*ad Felix business has lost its intrigue for me, and when something stops being important to me, my memory gets a little fuzzy. Wait...who are you? VERONICA: The m*rder is still unsolved. LOGAN: And yet, somehow, I sleep like a baby. VERONICA: If Thumper did do it, he's about to get away with k*lling Felix, framing you, taking over the PCH bike club, and cornering the high school drug trade. We should invite him to speak at FBLA. LOGAN: Follow the bouncing ball: Not. My. Prob-lem. Logan illustrates the path of the ball as he speaks, ending on a ta-da gesture. Veronica holds up his keys in between them but jerks them away again when he goes to grab them. Logan's humour starts to dissipate a little. VERONICA: You don't remember anything about the guy who stopped and helped you? The 9-1-1 caller? Logan thinks for a moment. LOGAN: Mexican dude, driving a truck. Oh, his truck had a bumper sticker. It said "How's my driving? Call 1-800-EAT"...something. VERONICA: Thanks. Well, run along, Deputy Dawg. She holds up the keys again, snatches them back briefly before throwing them up in the air. She flinches slightly as they fall a little close to her head on the way down before... VERONICA: Go serve your community. ...Logan catches them with both hands. He touches them to his mouth in a farewell gesture and walks past her. He gets a few steps beyond her before swiveling around while still walking. LOGAN: I think it was a, uh, San Diego Seafood truck. Probably know him if I saw him. He heads for his car. INT - WOODY'S OFFICE - DAY. Woody is at his desk and on the phone, not having a good time of it. WOODY: Father Fitzpatrick has blown this way out of proportion. MAN: What do you intend to do about it? WOODY: More law enforcement, for one. MAN: ...property values? WOODY: Property values will bounce back. The man is not appeased and Woody is exasperated. He looks up at a knock on the door. The latest America's Next Top Model contestant enters as Woody's secretary/assistant. BEVERLY: Excuse me. Sir, your intern from Neptune High School's here. Woody gives her an okay sign and gratefully terminates his call. WOODY: I gotta run. Listen, the voters will decide, okay? Gotta go. MAN: Wait! The caller isn't happy but any protest is cut off as Woody puts down the phone. He lets out a long puff of relief. Woody levers himself out of his chair. WOODY: Bev, get some guys from the newspaper over here. Meet with the high school kid, good P.R. Lord knows I can use some. He straightens his jacket and tie. He heads for the outer office which he enters with a huge smile, a smile that freezes when he sees who the student is. Logan is spinning in a chair, his Slacker t-shirt probably the most welcome thing about him. BEVERLY: Mr. Goodman, Logan Echolls. Logan stands and holds out his hand. LOGAN: It's good to meet you, sir. Woody regains his composure and grasps Logan's hand enthusiastically. WOODY: Aaron's son, right? Great essay, powerful stuff. LOGAN: Well, it came from the heart. Woody laughs, then turns to Bev who is already on the phone to the newspapers. WOODY: Cancel that last request I made. She frowns and puts down the phone. WOODY: All right, then. First things first, let's make it official. Bev, you got that bible handy? Bev hands him a bible. WOODY: Your left hand, please. LOGAN: Yes. Logan dramatically places his hand on the bible, immediately snatching it back and shaking it in a show of pain. LOGAN: Ow! Augh, that burns. Woody looks at him, not sure whether to be amused or call a priest. LOGAN: Just kidding. Woody laughs as Logan takes the position, left hand on the bible, right hand raised. WOODY: I, Logan Echolls, do solemnly swear to faithfully execute the office of honorary deputy commissioner of Balboa County, California. LOGAN: I do. Now if you'll excuse me. Logan moves off purposefully for the door of the office. WOODY: Where are you going? LOGAN: I'm going to f*re the sheriff. Woody and Bev both laugh. WOODY: Let's save personnel changes 'til after you've warmed up a bit. Now, I'm sure you're aware that I've introduced a bill proposing the incorporation of Neptune. LOGAN: I'm glad you brought it up. I'm backing the plan. In fact, I'm throwing my considerable weight behind it. I say we take it a step further and erect a wall around Neptune proper, keep the riffraff out. You want me to visit some of the local community centers, sell them on it? WOODY: Not quite yet, but I appreciate the offer. For now, we just need this mail separated into pro- and anti-incorporation piles. Bev hands him a large box of mail. LOGAN: Uh, isn't Beverly here a bit more suited to this kind of thing? BEVERLY: I've got a letter opener you can borrow. WOODY: Beats pulling a drive-through shift at Woody's Burgers, right? LOGAN: I wouldn't know. You're the one who's served twenty billion. Logan winks at Woody, who points back at him jovially and disappears into his office. Bev returns to her desk and Logan, disgruntled, drops the box onto a side table. Keith enters the outer office. BEVERLY: Hello. KEITH: I believe Woody's expecting me. BEVERLY: Mm hm. Bev picks up the phone. BEVERLY: Mr. Goodman, your four o'clock is here. Keith spots Logan. KEITH: Logan? Logan turns from his task to observe Keith for a moment. LOGAN: That's Honorary Deputy County Commissioner Echolls to you. Woody shouts out from his office. WOODY: [offscreen] Keith, that you? Come on in. Keith, who hasn't taken his eyes off of Logan, responds humourlessly to Logan. KEITH: Ha ha. Cut to the inner office. Keith is in the visitor's chair. Woody looms over him, perched on his desk. WOODY: [earnestly] Keith. I want you to drop your other cases and focus all your energies toward clearing the greatest Shark to ever put on a uniform. KEITH: Terrence broke into his ex-girlfriend's family home. The journalism teacher who died in the bus crash. That give you pause? WOODY: Not a moment's. KEITH: You know something that makes you so certain? WOODY: I know the quality of his character. There's a brief knock at the door and Logan appears. LOGAN: Um, there's something you gentlemen should probably see. On a computer screen in the outer office, a film is running. It is of Woody's house, starting in the room where Veronica and Gia and the girls partied in 207 "Nobody Puts Baby in a Corner." LOGAN: Right, this DVD was in the stack of mail. No return address. Logan is seated at the desk with Woody and Keith standing behind him, watching over his shoulder. On the screen, the camera pans across the den, passing a distinctive clock. WOODY: That's inside my house. LOGAN: I figured. Watch. On the computer screen, the camera travels along the wall, passing five pictures of baseball teams and some framed citations before reaching a turn in the wall past which can be seen Woody and Gia at one end of a dining table, eating. The back of Mrs. Goodman's head can also be spotted. GIA: Another exciting day at Neptune High. On the video, Woody asks her a question. GIA: Well, I don't know. I think the school {?}. Woody, bent to watch the video carefully, looks around at Keith. WOODY: Keith. KEITH: Yeah. I'll look into this as well. LOGAN: So I'm guessing this goes in the anti-incorporation pile. Woody nods sagely. EXT - SEAFOOD COMPANY - NIGHT. Veronica and Logan are in the LeBaron, on a stake out. A couple of small trucks are parked outside the company. There is activity inside. LOGAN: So this is staking out, huh? It looks sexier in the movies. VERONICA: Did you hear anything from Hannah? LOGAN: Does deafening silence count? VERONICA: You know, I'm not sure, but I think when they start shipping your girlfriends off you're officially a bad boy. Veronica holds up her hand for a high five. Logan obliges. LOGAN: Her dad and your dad should get together and go bowling. Logan stares ahead. LOGAN: Oh. There he is. The man from the bridge is outside the building, standing by one of the trucks, consulting papers in his hand. Veronica and Logan exit the car. VERONICA: Excuse me? The man looks up as Veronica approaches him. Logan stands slightly back, behind her and smiles. VERONICA: Hi. Um, sorry to bother you. We were hoping to ask you about an incident we think you witnessed last May? On the Coronado bridge? You might remember helping my friend here? Veronica looks back to indicate Logan. LUIS: If there was an incident I would remember it. VERONICA: So your route has to take you across the Coronado bridge. LUIS: You got the wrong guy. VERONICA: This is the guy, right? LOGAN: Yeah, that's the guy. LUIS: You know my schedule, huh? You know where I live? Forty-third and Euclid. I got PCHers riding up and down my street day and night. Now if I was on the bridge that night and if I saw what went down, guy like me, who's got a wife, and a five year-old daughter? Might think he's better off keeping his mouth shut. LOGAN: Covering your own ass has made the last seven months of mine Hell. LUIS: That's one way of lookin' at it. And here's another: if it was me who stopped, chased off the bikers, and called 9-1-1? Then I guess I'd be the guy who saved your life. LOGAN: I was planning on sending a fruit basket from prison. LUIS: A rich, white son of a movie star getting convicted in Neptune? I'd say your future's safe. The man gets into the truck as Logan turns away, smirking sarcastically. EXT - NHS, CAR PARK - DAY. As Veronica walks towards the building, Weevil, leaning against his car, waits for her to pass and then joins her. WEEVIL: You find the witness? VERONICA: Yeah. Found out he's as good as no witness at all. Not a big fan of the PCHers. WEEVIL: Yeah. Their popularity's really gone downhill without me. VERONICA: By my count, we got bupkes. WEEVIL: Count again. I got another angle: Molly Fitzpatrick. VERONICA: What's she know? WEEVIL: The Fitzpatricks were using that plastic surgeon to pin Felix's m*rder on Logan. You know what that says to me? VERONICA: That we need tougher immigration laws? WEEVIL: No. Thumper did the deed; but the orders came from his supplier. My guess, it was a condition of them doing business together. VERONICA: Why k*ll Felix? WEEVIL: A while back, I found out Felix and Molly had a thing. It got serious, sneakin' around, talking about a lifetime of truckin' their brains out. VERONICA: Golly, Miss Molly. WEEVIL: They were in love. Molly said if her family found out, they'd k*ll 'em both. VERONICA: Maybe they found out. WEEVIL: Maybe they were told. INT - NHS, HALLWAY - DAY. Veronica negotiates the hallway, picking up Mac as a companion. MAC: This serves as a pre-emptive apology for the conversation that's about to take place. Veronica stares at her quizzically. MAC: Okay. And...Beaver and I occasionally, you know, uh, make out. They reach Veronica's locker. Veronica leans back against it. VERONICA: Mmm. I made out once. Back in the day. I think he had me pinned up against a woolly mammoth. Veronica opens her locker and gets her book. MAC: So not that I'm an expert in this sorta stuff, but four months, typical high school boy, there should be some...under the...bra action, no? VERONICA: Let me consult my Idiot's Guide to Wanton Behavior. Basically, you're asking me because I'm the sluttiest person you know? MAC: Um, "slutty" is your word choice. Mine was "worldly." Veronica, having picked up her Algebra book, slams her locker shut and starts up the hallway again. VERONICA: Hm. So four months, and nada? MAC: Hand-holding, kissing. VERONICA: With tongue? MAC: Some tongue. VERONICA: Ass grabbing? MAC: Helped me brush the dog hair off my pants once. VERONICA: Mmm. MAC: So this is bad, right? VERONICA: Not so much bad, as... MAC: It's weird. VERONICA: Out of the ordinary, but not necessarily in a bad way. MAC: Okay, Veronica, I really like him. They pause and Veronica faces Mac. MAC: And we have so much fun together. VERONICA: Then don't sweat it. MAC: Yeah, but it's weird, right? Veronica stays silent but her face says it all. MAC:...Yeah, that's what I thought. Mac spins around and walks away. EXT - NHS, LUNCH AREA - DAY. A yellow toy truck is laid on one of the tables in front of Molly Fitzpatrick. MOLLY: What's this? WEEVIL: It was supposed to be your future, wasn't it? I found it in Felix's shop locker. It must've been you Felix was talking about when he went on about driving a semi, settling down, and sh**ting out some rugrats. Can't say for sure, 'cause he never mentioned you by name. It's too bad your family put him in the ground, huh? MOLLY: Felix got s*ab on the bridge. Nobody in my family was even there. It was Logan Echolls, or it was a PCHer. Doesn't much matter to me which. Same scum, different wardrobe. WEEVIL: You know that plastic surgeon, Dr. Griffith? MOLLY: Yeah. WEEVIL: Strange, isn't it? That the key witness was some guy under your uncle's thumb? What pisses me off is that I think lovin' you cost Felix his life. Seems to me you never gave a damn about him. MOLLY: I loved him. WEEVIL: [screaming passionately] No, I LOVED HIM! Molly jerks back at the force of Weevil's reply and the students around them freeze and stare. WEEVIL: And you know how you can tell? 'Cause I'm the one who cares enough to keep tryin' to find out who k*lled him. Molly drops her eyes and gulps as Weevil storms off. INT - NHS, CLASSROOM - DAY. A girl in a tight sweater walks past four appreciative boys. One of the boys puts his arm around one of the others. BOY: Oh my God, look at that girl, Charlie. Did you see that? The girl passes between the desks of Wallace and Jackie. Wallace's reaction is similar to the other boys. JACKIE: Did you just check that girl out? WALLACE: I was admiring her sweater. JACKIE: Her second skin rack-magnifying sweater? WALLACE: I love the fabric. JACKIE: It'd be a good color on me. WALLACE: I got news for you: there's not a bad color for you. I think you should ask her where she got that from. JACKIE: Oh, you think so, huh? WALLACE: Anytime a hot girl wants to wear a tight sweater with a zip down the middle? I'm on board. Behind them, three of the boys are egging on the fourth, Charlie, who is a special needs student. Jackie can hear them and glances back at them. BOY: Talk to her! Ask her, ask her! The boys push Charlie towards Jackie and the girl in the sweater beyond. JACKIE: Hang on a sec, Wallace. Jackie stands and intercepts Charlie. JACKIE: Hi Charlie, I'm Jackie. Would you like to go to the dance with me this weekend? CHARLIE: Uh...yeah. JACKIE: Okay. Jackie casts an icy glance at one of the other boys and returns to her seat. The boy at the receiving end of her glare brings a straw to his mouth, inhaling to launch a spit ball at her. WALLACE: Hey buddy. I wouldn't. The boy takes the straw away from his mouth and holds up his hands in acceptance. INT - WOODY'S OFFICE - DAY. Bored, Logan is in the inner office, lounging in the visitor's chair, his feet on the desk, playing with a baseball. He drops his feet, stands and returns the ball to Woody's desk. He wanders over to a side bureau, random touching objects until he finds one of interest. Keeping a careful eye on the outer office through the blinded window between, Logan examines it. It is a signature stamp which Logan tests on a piece of blank paper. The stamp replicates Woody's signature. Glancing up, Logan spots something that makes him tear the piece of yellow paper off the pad, crumple it and hold it behind him with the stamp, just as Woody arrives at the door, knocking cheerfully. WOODY: Hey there. Bet I know what you need right about now. Come on. Follow me. Woody chuckles and disappears. Paper and stamp still in hand, Logan follows Woody out of the office. INT - SHERIFF'S DEPARTMENT - DAY. Woody is in Lamb's makeshift gym, flat on his back on a bench lifting a barbell. WOODY: Mind giving me a spot? Logan watches Woody as he strains with the barbell, ready to grab it should the need arise. WOODY: So, are you excited about the demolition ceremony? LOGAN: Um, nervous, actually. Someone's gonna have to walk me through it step by step. Now, uh, push down, right? Logan makes the movements of pushing down the plunger. Woody laughs and gasps at the same time, struggling with the weight. Logan puts his hands under it as he encourages Woody. LOGAN: Get up. Woody makes a last effort and straightens his shaking arms. He laughs as Logan lifts it into the holder. WOODY: Thank you. Woody gets up and walks around the stored barbell, stopping next to Logan. WOODY: You know, looking at you, reminds me of the good old days, when I was young and ripped. Woody reaches out to Logan's arm, kneading his biceps. WOODY: Betcha have some fun with the ladies, huh? Taken aback by the action and/or the question, Logan considers Woody for a moment. LOGAN: Uh, the ones that survive. Woodys laughs and walks away. Logan hesitates to follow. INT - RIVER STIX - NIGHT. Music: "If I Were a Storm" by the Wild Seeds. LYRICS: If I were your eyes, saw what you'd seen I'd do the same thing that you do to me But I love you, see yours in mine If I were your eyes I'd surely be crying You want a perfect girl, she'd say You won't let me leave it behind Perhaps you'll think of her but me instead What's it going to take to make you change your mind? What's it going to take to make you change your mind? 'Cause if you were lost, as you sometimes are I'd know where to find you, in some hotel bar Molly is behind the bar. She listlessly rolls the yellow toy truck along the bar. Liam and Danny are playing pool. Danny is lining up his sh*t. LIAM: Molly, get me a beer. Liam walks around the table, watching Danny. LIAM: Okay. Oookay, you ready to lose all that legitimate paycheck? DANNY: If I was you, Liam, I'd save that snot 'til I was behind the eight ball. Danny takes his sh*t and puts a ball into the corner pocket. DANNY: [gloating] Oooh, damn that's gotta hurt. LIAM: [shouting] Molly! You hear me, girl? Bring me another beer. The hell's wrong with you tonight? Molly walks around from the bar with a bottle and hands it to him. MOLLY: Sorry, Uncle Liam. Just...had a crap day. Danny puts his arm around her. DANNY: Aw. Come tell Cousin Danny all about it. MOLLY: Just pissed off about Logan Echolls. He's supposed to be in jail for m*rder. What happened with Doctor Griffith's testimony? Why did he lie? LIAM: Since when do you give a rat's ass about Doctor Griffith or some d*ad biker? Liam's tone is angry and Danny steps away from Molly. MOLLY: Just...Doctor Griffith, I...never trusted him. LIAM: You sure that's it? You sure you're not pinin' over that half-breed cholo? MOLLY: Don't call him that. LIAM: [angry] Why? It's the truth. Don't you dare cry for him. After all the things he said he did to you? You were his whore! He did not care about you! You were just the dumb blonde piece o' tail he sh*t his mouth off about to all his buddies. How he plugged the good ship Molly-pop. Danny giggles. LIAM: Shut up! Shut your mouth! Danny can't control himself and bursts into laughter. On the bar, the yellow truck is abandoned. End music: "If I Were a Storm" by the Wild Seeds. INT - MARS RESIDENCE - CONTINUING. The conversation in the River Stix is being relayed to Veronica's laptop as she and Weevil listen in her room. LIAM: [offscreen] You should be glad he's d*ad. If your dad wasn't in prison, he'd of done it himself. Cut to a little later. Veronica leads Weevil out of her bedroom. VERONICA: We take this to the sheriff, Thumper might decide he wants to show off his phone video of you dispensing justice. WEEVIL: I'll risk it. It'll be worth it to me. See him go down for k*lling Felix. Veronica stops but Weevil carries on, walking to and standing by the front door. VERONICA: So after all this, it looks like Felix got himself k*lled bragging about his sex life. WEEVIL: Thumper made it up, okay? You wanna make a guy like Liam lose his mind. Call a girl in his family... Keith enters the apartment behind Weevil in time to catch.... WEEVIL: ...a whore, say that she'll let you do it any-- Weevil cuts off at the sight of Keith. Veronica stiffens to attention at the look from her father. KEITH: Eli. Veronica. Don't tell me: lab report. VERONICA: History exam. Roman history. Man, that Caligula...whoo. Veronica whistles and Weevil nods at the disbelieving Keith. INT - SHERIFF'S DEPARTMENT - DAY. Sacks shows Veronica and Weevil into Lamb's office. SACKS: Sheriff'll be in in a minute. Just running a little bit-- LAMB: [shouting offscreen] Sacks! SACKS: Guess he's here. Lamb strides in, heading straight for his desk. LAMB: [irritated] Someone took my parking space, again. SACKS: Uh, yeah, we got a letter. The new Deputy Commissioner needs it. I guess he's handicapped. Lamb glares as Sacks and then notices Veronica sitting in his visitor's chair, and Weevil sitting in the chair in the corner behind her. LAMB: [to Sacks] You, out. Look up Eli Navarro. There's gotta be something outstanding we can book him on. WEEVIL: Well, if I did it, it's outstanding. Lamb walks back around to the front of his desk and sits on it. LAMB: Still pickin' winners, huh Veronica? He accompanies this with a sarcastic thumb's up. VERONICA: I told you: when I start picking losers, it's all you. We were just in the neighborhood, thought we'd drop by, solve a m*rder case for you. LAMB: Well, bonus points for bringing the perp along. Weevil snorts. LAMB: So who's the deceased? VERONICA: Eduardo Orozco k*lled Felix. LAMB: Thumper. Lamb rests his chin on his hand and simpers. LAMB: But he's got such a cute nickname. WEEVIL: He's dealing on campus for the Fitzpatricks now. Veronica reaches down and pulls out a tape player. VERONICA: Here's proof that they're working together. Liam Fitzpatrick practically confesses to orchestrating Felix's death on this tape. Veronica plays the tape. LIAM: ...how he plugged the good ship Molly-pop. You should be glad he's d*ad. If your dad wasn't in prison, he'd a done it himself. Veronica switches it off. LAMB: Imagine how helpful that recording would be if was obtained legally. Not to mention an actual confession. Veronica holds out her hand, flat with the player resting on it. VERONICA: Note the absence of a silver platter. This was more to steer you in the right direction than to, say, do your job for you. Actually, it was doing your job for you. Getting admissible evidence seems like the least you can do. She puts the player on his desk and slides it towards him. He slides it back towards her. LAMB: There's less I can do. Trust me. Lamb, smug, gets up and heads back around his desk. Veronica looks shocked at his apathy whereas Weevils seems resigned and shakes his head. Cut to moments later as they exit into the main area. WEEVIL: You know, an 09er could come in here with tea leaves and a ouija board and they'd send out a SWAT team. It's time for Plan B. VERONICA: Not just yet, Dirty Harry. WEEVIL: In case you haven't noticed, I ain't no mick cop. VERONICA: Uh...okay. Dirty Sanchez? Just give me a few more hours, there's a woman I can talk to, and luck might be a lady tonight. WEEVIL: Patience ain't one of my virtues, Veronica. Weevil storms off. Veronica watches him for a moment and then goes in the opposite direction. INT - WOODY'S OFFICE - NIGHT. Keith knocks on the open door. WOODY: You got something for me already, huh? KEITH: I might. I need to get your input. Keith joins Woody at his desk, slipping the DVD into Woody's computer. It plays again. KEITH: So you'll notice here when the camera passes by your living room window that it's dark outside. WOODY: Okay. Keith runs it forward a little and then pauses it. KEITH: And then here, our mystery videographer happened to get a sh*t of your clock. It was approximately 5:30 in the evening. WOODY: All right. So what does that mean? KEITH: It means that this video had to be sh*t in November or December, when the days were short, long before you went public with the incorporation initiative. WOODY: Hmm. KEITH: I think we've been barking up the wrong tree. And I guess my next question is, got another tree? Woody laughs. KEITH: Can you think of another reason someone might have for wanting to rattle you? Woody stand and sighs. WOODY: Let me think about this. He stuffs his cigar into his mouth. WOODY: I'll get back to you. KEITH: Take your time. Sometimes these things aren't easy to recall. Keith retrieves the DVD. Music: "Lost Art" by Mere Mortals. LYRICS: Thoughts so heavy, slouch like royalty You joke-we smoke On the night of a new sensation You sold out to the daydream nation You breathe in and you hold it hard Baby, you're a lost art Ride your wagon Paint your dragons blue Stick the glue Can't you see me INT - NHS, AUDITORIUM - NIGHT. The Sadie Hawkins dance is on. Couples fill the dancefloor. Jackie is standing behind and watching Veronica, next to the sign displaying Veronica's services: "Spring Fling $5 Dance Photo. Sponsored by FBLA." She looks around and sees Charlie with his mother. They spot her and Jackie waves. CHARLIE'S MOM: It's really sweet of you to do this. JACKIE: It's my pleasure. Jackie takes Charlie's arm and heads for Veronica. JACKIE: Veronica, uh, this is my friend Charlie and, uh, his mom. VERONICA: Hey. Hey Charlie, how'd you snag the sexiest girl in school? CHARLIE: She asked me and I said yes. VERONICA: Ah. Well, we always want the bad boys. Okay, say "cheeky monkey." JACKIE: Cheeky monkey. Charlie and Jackie smile as Veronica trains the camera on them. Elsewhere at the dance, Logan and Gia are manning the entrance table. A couple arrive. GIA: Hi, welcome to the Sadie Hawkins Spring Fling. Enjoy! Gina takes the money. LOGAN: Don't worry, g*ng, if she's a two at ten, she'll be a ten at two. Logan grins and hands them their tickets. GIA: This is cool, huh? It would've been cooler to have, like, a date, but, actually, I'm kind of proud of myself that I came alone. It's kinda huge for me, don't you think? It's like I'm evolving. Hi! Logan stares off into the distance, not enjoying the company of his companion. End music: "Lost Art" by Mere Mortals. EXT - ST. MARY'S CHURCH - NIGHT. Thumper pulls up outside the church, parking in front of a large white minibus. He walks along the minibus, looking over at the church. As he gets to the end, a hand sh**t out from behind it, holding a cloth and covers Thumper's mouth and nose. Thumper struggles as he is pulled back behind the minibus and goes down. The light of a passing car shines on the back window of the bus. There are two small boys watching what is happening outside. The mugger is Weevil. He searches the unconscious Thumper and pulls out a bag. He checks inside and smiles in satisfaction. WEEVIL: Enjoy confession. Weevil turns and walks away. INT - NHS, AUDITORIUM - NIGHT. Back at the dance, Beaver and Mac are dancing. BEAVER: All the crepe paper in the world cannot turn this gym into a garden paradise. MAC: Hey, I'm having a moment here. Use your imagination. Also on the floor is Wallace and Jane. JANE: I'm seventeen years old and my mom decides that last night was the perfect opportunity to give me the sex talk. Wallace's attention is not on Jane. It's on Jackie, dancing and laughing with Charlie. JANE: Wallace? WALLACE: Yeah, uh, my lecture was one word: don't. They laugh. Back at the entrance, Logan is staying sane by counting the cash. GIA: So my dad likes having you at work. He says you've got potential. I think that was the word. LOGAN: Well "potential" was the word, but "underachiever" is the sentiment. GIA: Ha ha. The demolition ceremony's gonna be fun. Are you nervous? What if you push the plunger and nothing happens? LOGAN: You mean like if there were total silence? Let's try to imagine it. Veronica passes behind them, picking up on Logan's irritation. She shrugs it off and takes a picture of the dancing couples. Jackie and Charlie are interrupted by the arrival of Charlie's mother. CHARLIE'S MOM: I'm so sorry, it's time to get Charlie home. Come on, Charlie, it's time to say goodnight. CHARLIE: Goodnight. JACKIE: Goodnight, Charlie. Jackie gives Charlie a kiss on the cheek. His mother takes his hand and pulls him away and out of the dance. After a moment's hesitation, Jackie follows them out. Still dancing with Jane, Wallace notices her going. WALLACE: I'm getting thirsty. You want something to drink? JANE: Sure. WALLACE: All right. Jane turns and heads back to their wall spot. Wallace sighs and follows Jackie. EXT - NHS - NIGHT. Wallace runs to catch up with Jackie. WALLACE: Jackie! Wait up! Hey. You all right? JACKIE: Yeah. I'm fine, why? WALLACE: Well, you blew out of there so fast, I just wanted to make sure you were okay. JACKIE: Wow, that was really sweet of you to-- Wallace grabs her by the back of the neck and kisses her. She pulls away. JACKIE: Easy, boy, don't you have a date? I'm sorry if I gave you the wrong impression. WALLACE: So are you saying you don't have feelings for me? JACKIE: Wallace, the girl you're trying to make me right now is the girl that I'm trying really hard not to be. So...knock it off. Jackie turns and walks away. Wallace wipes his mouth as he watches her go. INT - NHS, HALLWAY - NIGHT. Wallace makes his way back to the auditorium only to meet Jane storming past him in the opposite direction. JANE: I'm riding home with Kate. WALLACE: Hold up. What are you-- JANE: You were kissing her! Kate saw you. Jane sets off again. WALLACE: Jane, wait. Please? She turns back to him. WALLACE: Look, I'm sorry. I was messed up. JANE: She's always around you, always hanging on you. You couldn't resist? WALLACE: It was a weak moment. I'm so sorry. Really. Jane hesitates. Wallace holds out his hands. Jane softens and gives in, taking his hands. They go back into the dance. EXT - NHS - NIGHT. Music: "Sway" by the Perishers. LYRICS: I talk to you as to a friend I hope that’s what you’ve come to be It feels as though we’ve made amends Like we found a way eventually It was you who picked the pieces up When I was a broken soul And then glued me back together Returned to me what others stole I don’t wanna hurt you I don’t wanna make you sway Like I know I’ve done before I will not do it anymore I’ve always been a dreamer I've had my head among the clouds Now that I’m coming down Won’t you be my solid ground? I look at you and see a friend I hope that’s what you wanna be Are we back now where it all began? Have you finally forgiven me? You gathered my dreams in When they all blew away... Beaver and Mac have left the dance and are walking towards the car park. BEAVER: That was positively sucktastic. MAC: Well, the night is still young. We could always go back to your place. No parents to worry about. BEAVER: Yeah, Dick's there. MAC: So? Dick's always there. BEAVER: Yeah, it's just, you know, I-I don't feel like dealin' with him tonight. Mac puts a hand on his arm to bring him to a stop. MAC: Well, if we stay in your room, then we won't have to deal with him. Beaver is clearly unenthusiastic. Mac smiles nervously and then leans forward to kiss him. At his lack of response, she puts her arms around his shoulders and hugs him. Realising her efforts are getting nowhere, she pulls back and puts a smile on her face. MAC: Of course, we still have eight stops left on Pizza Quest '06. BEAVER: I-It's just...you know, if...with Dick there... Beaver walks on. Mac gazes at his back, upset. She eventually follows. INT - NHS, AUDITORIUM - CONTINUING. "Sway" is still playing in the auditorium. Gia is in full flow. GIA: For a friendship to work, you have to be completely honest, which is something I have absolutely no problem with. But you...you run from the truth. LOGAN: Only when it's chasin' me. GIA: Do you know what I think? Logan looks up to the heavens. GIA: I think you use sarcasm and anger as a way to keep people from getting too close to you. LOGAN: You know, I do. But it doesn't always work. Veronica has arrived at the desk with her photo money. She immediately picks up on Logan's hostility and sarcasm to which Gia is blind. GIA: Tell me what you think about me. Seriously. Be completely honest. Veronica watches as Logan prepares to let rip. Logan does a hand flourish and takes a deep breath but before he can get a word out, Veronica grabs his arm and his hand. VERONICA: Dance with me. Logan lets her pull him off the chair. LOGAN: Oh. Gia is disappointed. Logan follows Veronica into the thick of the dancers. Veronica stops and turns to face him. LOGAN: When I dreamed of this moment, "I've Had the Time of My Life" was always playing. Well, what can you do. Veronica is not so confident now, looking uncomfortable as he looks down at her. She pulls his hand to her waist, an action that gets his attention, and puts her arms around his neck, looking to want to be anywhere but where she is. They start to dance slowly. LYRICS: ...And then tricked them back into me You saved me I was almost d*ad Veronica glances up at him and then quickly away as he looks down at her. Neither are sure where to look but increasing gaze at each other, uncomfortable and yet drawn by the heat between them. LYRICS: I don’t wanna hurt you I don’t wanna make you sway Like I know I’ve done before I will not do it anymore I’ve always been a dreamer I've had my head among the clouds Now that I’m coming down Won’t you be my solid ground? End music: "Sway" by the Perishers. INT - RIVER STIX - NIGHT. Thumper is facing Liam Fitzpatrick and a couple of his boys. THUMPER: [desperately] I was goin' into Saint Mary's to make the drop. Next thing I knew, somebody grabbed me and I was out. When I woke up, the cash was gone. Thumper is backing away from Liam who is creeping closer to him. LIAM: That baby face looks real pretty for someone who got jumped. So what, you get h*t in the head? THUMPER: No, some kind of a... LIAM: Used the Vulcan death grip? A door closes as Danny comes in, holding a paper bag. DANNY: Hey, Liam. Take a look what I found behind the little bunny's gas t*nk. Danny throws the bag to Liam. Liam opens it and pulls out cash. LIAM: Hm hm. Well would ya look at that. He looks at Thumper who is sweating profusely. Thumper's eyes dart around the room. INT - NHS, HALLWAY - DAY. Jackie is walking down the hallway. She slows when she sees Jane ahead, walking in the opposite direction. They pass but Jane slows and turns. JANE: You know Jackie. Jackie stops and turns to face her. JANE: I used to think everyone was wrong about you. Jane walks away. Jackie bears it with a sigh. INT - PUBLIC TOILET - DAY. Liam and Danny have handcuffed Thumper to a urinal. THUMPER: It's Weevil, I'm telling you, man! He set me up! He musta found out about the church somehow. DANNY: Oh yeah, yeah, yeah. Come on, Thumper. Danny beats his chest. DANNY: Rrrr! You gotta man up! THUMPER: You'll get yours. Both of you! And I got something on you-- Whatever that might be is swallowed when Liam stuffs a rag in Thumper's mouth. Danny laughs heartily as Liam quickly secures the rag with a piece of duct tape. LIAM: Oh, duct tape. Is there anything it ain't good for? Liam and Danny leave as a klaxon sounds. Thumper tries to free himself to no avail. INT - MARS INVESTIGATIONS - DAY. Keith is at his desk, typing on his laptop. There's a knock on his door. Woody enters. WOODY: Good news, Keith. You can take that stalker video off your plate. Turns out it was my gardener. Rather, my former gardener. KEITH: How'd you figure it out? WOODY: He confessed. Crisis of conscience, I guess. My wife fired him a few months back for k*lling the hydrangeas. My wife is...tough. Woody chuckles, as does Keith. WOODY: Gardener's not a bad guy, I promised him I'd get the DVD back. He wants it destroyed. KEITH: You seem pretty understanding about all this. WOODY: Well... KEITH: So that's it then? WOODY: I got bigger fish. I guess you'd be out of business if they all went this way, huh? So Keith, you got that DVD? Keith lets him hang a moment. KEITH: Oh, sure. Keith pulls the DVD out of his desk, holds it up and rises to walk Woody out of his office, handing him the disc. Veronica is working at her desk in the outer office. WOODY: Thanks. Now you can get back to important business like clearing Terrence's name. KEITH: Right. They shake hands. WOODY: Thanks, Keith. Veronica. Such a good kid, comin' in on your lunch period and helping your dad. (Note: The Mars Investigations clock is wrong, showing the time of 15:25. Cock up or clue?) WOODY: Bye everybody! KEITH: See you, Woody. Keith watches him go, a thoughtful look on his face. He grabs the knob of his office door, starting to close it. KEITH: Can you hold my calls for a while? Back in his office, Keith returns to his computer. He has a file "Woody Living Room," which he clicks on. He has a copy of the DVD. He watches it carefully. Back in the outer office, Veronica looks up at the sound of a voice. LUIS: Okay, you win. Smart move, talkin' to my wife. INT - SHERIFF'S DEPARTMENT - DAY. Veronica and Luis are in Lamb's office. LAMB: Just so I've got this straight, you saw one PCHer s*ab another PCHer, then put the Kn*fe in the Echolls kid's hand? LUIS: Yeah. That's what I saw. LAMB: Could you identify the guy if you saw him again? LUIS: I couldn't make out faces. But the one that did the s*ab took off on a red motorcycle with some kind of black spider on the side. LAMB: I know the bike. Lamb leans forward and presses the intercom button on his phone. LAMB: Sacks, issue a warrant for Eduardo "Thumper" Orozco. I want him tracked down now. EXT - NHS, LUNCH AREA Wallace is sitting at a table by himself staring at Jackie who is sitting at another table, also by herself. Jane joins him. She follows his line of sight. JANE: She brings it on herself. She'd have friends if she didn't act like she's the most important person wherever she is. WALLACE: Jane, Jackie didn't kiss me last night. I kissed her. JANE: Well, she must've been coming on to you. WALLACE: She wasn't. I just kissed her. Outta nowhere. I'm sorry. I don't wanna hurt you, but, I gotta be honest. I still have feelings for her. Jane, who glances back at Jackie, looks devastated. Cut to moments later. Jackie looks up as she senses Wallace standing by her table. WALLACE: I broke up with Jane. So...are you gonna ask me to sit down? JACKIE: No. Wallace is a little pissed. JACKIE: You can't sit here, Wallace. Do you not see that? WALLACE: Why not? I'm free now. You know I like you. There's nothing stopping us. JACKIE: If you sit here, it proves that I'm the man-eating bitch who snatched you from one of the sweetest girls in school. I won't have that. Now go. Wallace takes a breath to argue. JACKIE: Please, Wallace. Leave. Wallace walks away. Things aren't going much better for Mac and Beaver, sitting on the low wall around the flagpole. Mac screws up her resolve, pulling her tray off her lap before tackling her concerns. MAC: Is it me? BEAVER: No, it's the tater tots. MAC: Are you not attracted to me? BEAVER: Wait, what? MAC: Why don't you wanna...you know, like...do stuff? Beaver is not comfortable. BEAVER: Can we please not talk about this here? MAC: We have to talk about it sometime. I get nervous too. Like when we're just hanging out, it's totally comfortable and cool, but then it feels like there's all this pressure, and...I don't know what I'm doing either. BEAVER: Look, I know what I'm doing. MAC: I'm not saying you don't. BEAVER: Well, yeah, uh, it sounded like you were. MAC: I'm saying I don't. So if-if you don't either, or, or you feel nervous, or... BEAVER: We have to stop talking about this. MAC: Veronica says all guys move at different speeds, and that this could just be- BEAVER: Wait, you talked to Veronica about me? MAC: No, I mean-- BEAVER: [urgently] What did you say to her? MAC: Nothing. It was more about me, I just, I wanted to make sure that I wasn't doing something wrong. BEAVER: Well, you weren't. But you are now. Beaver stands and looks down at her. BEAVER: Good luck getting laid. He walks off, leaving her heartbroken. Music: "Gravity/Falling Down Again" by Alejandro Escovedo. LYRICS: You pay your money Take your chances Wheels spinning going round and round No angels hanging from the ceiling can save you No, no, Saint Jude can't pull you out Falling down again Pay a little girl Falling down again Don't ask me if it hurts INT - SHARK FIELD STADIUM - DAY. The foreman is in the bowels of the building, checking with a flashlight. He finds a red motorcycle with a black spider on the side chained up. He studies it for a moment, then rushes out. EXT - SHARK FIELD STADIUM - DAY. With the stadium in the background, Woody is on a small stage, shaking hands with a man. All those on the stage, including the man, Woody, Logan and Gia are wearing hard hats. In front of the stage is a small set of tiered benches accommodating the guests. Woody and the man are being photographed. PHOTOGRAPHER: Mr. Mayor, over here. The foreman mounts the stage from the stadium side and taps Woody on the back. FOREMAN: Hey, Woody? Woody? WOODY: Yeah. Woody excuses himself. WOODY: Will you pardon me? Woody and the foreman move off a little. FOREMAN: There's a motorcycle chained up inside the stadium. It's gonna get turned into dust. WOODY: Is everyone out? FOREMAN: We've blown the horn a-a dozen times, I had the boys do a walkthrough. WOODY: How long would it take to unlock it and get it out of there? FOREMAN: Uh, twenty, thirty minutes? WOODY: Then someone's losin' a motorcycle. INT - MARS RESIDENCE - DAY. Veronica is watching Woody address the cameras from the Shark Field Demolition Ceremony on 5 Action News. WOODY: This field has been a long and storied history. VERONICA: Dad! WOODY: ...always remember where we were when the Sharks... VERONICA: Hurry up, they're about to blow up Shark Field! Keith comes out of his bedroom and sits on the arm of the armchair that Veronica is occupying. They watch intently. WOODY: ...in a nine-game victory before a packed house of fifty thousand fans. EXT - SHARK FIELD STADIUM - DAY. Logan tips his hard hat, smirking for the cameras. He looks over his shoulder at the stadium. The man Woody was shaking hands with is right behind him. Logan puts his hands on the plunger and pushes. INT - PUBLIC TOILET - CONTINUING. Thumper, still pulling at the handcuffs freezes as he hears the sounds of expl*si*n. INT - MARS RESIDENCE - CONTINUING. On the TV, the stadium implodes, falling in on itself, burying everything (and everyone) in it under tons of rubble. Veronica and Keith enjoy the spectacle. INT - CONFESSIONAL. WEEVIL: Bless me, Father, for I have sinned. It's been a long, long time since my last confession. The camera pulls back through the confessional screen, the face of the listening priest in shadow. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x17 - Plan B"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars Keith is in the office of Rebecca James, school counselor in 103 "Meet John Smith." REBECCA: She has attitude with certain teachers. She falls asleep in class. Keith and Rebecca break up in a coffee shop in 105 "You Think You Know Somebody." KEITH: I can't see you any more. Meg sits on the bus, satisfied that Veronica is still outside in 201 "Normal Is the Watchword." MS DUMASS: [offscreen] All here? MALE STUDENT: [offscreen] Yeah. MEG: All here. The bus leaves Veronica behind. She catches a lift with Weevil on his bike. They come to the scene of the accident. Veronica runs to the edge of the cliff. GIA: They're all d*ad. It just went straight off the cliff. Veronica freaks out in Duncan's suite in 203 "Cheatty Cheatty Bang Bang." VERONICA: The bus crash, it was meant for me. At home, Veronica plays Keith the message Rhonda left for Michelle that she discovered in 205 "Blast from the Past." VERONICA: It's a voice mail from one of the students who died in the crash. She called just as the bus went over. RHONDA: Hey, about next weekend... VERONICA: The bus was sabotaged. KEITH: If that sound is an expl*si*n, not only were those kids m*rder, but the guilty party is still at large. End previouslies. DREAM: INT - BUS. The finishing touches are added to a drawing of a dark figure with a scythe looming over nine tombstones. Veronica is the artist. She looks up, distraught. Beyond her, in a row, wet and d*ad, are Meg, Peter and Betina in an "I *heart* Dick" t-shirt. END DREAM. INT - NEPTUNE HIGH SCHOOL (NHS), CLASSROOM - DAY. Veronica's eyes widen. WOMAN: [offscreen] Good morning, Veronica. Veronica's head is just above her folded arms on the desk. She's just woken up. A woman is standing by her desk. She has a slip of paper which she lays on the desk. WOMAN: School counselor would like to see you. Veronica stretches out her arms, sighs and then grabs her bag from the back of her chair and rises from her seat. REBECCA: [offscreen] You were sleeping in class. INT - NHS, COUNSELOR'S OFFICE - DAY. REBECCA: Mrs. Taft says she's reprimanded you three times for wearing headphones while she's teaching. VERONICA: She's reading The Golden Bowl...aloud, with a fake English accent. Rebecca nods her head, suppressing her amusement. REBECCA: You were caught ripping down another student's poster. Veronica narrows her eyes. VERONICA: Am I being followed? REBECCA: The student who made the poster would like to have her photos back. Veronica frowns and leans over for a file from her bag. REBECCA: Something you want to talk about? VERONICA: Yeah, but Jennifer Love Hewitt might be more qualified. REBECCA: How's that? VERONICA: I'm being haunted. Rebecca looks at her quizzically. VERONICA: And she's the Ghost Whisperer. Rebecca's none the wiser. Veronica snaps her fingers a few times. VERONICA: These are the jokes. REBECCA: Haunted? VERONICA: Yeah, by the kids who died in the bus crash. I take it you don't see them? REBECCA: Uh, no, Veronica, I don't. VERONICA: Good, neither do I. Except come bedtime, the second I close my eyes, there they are. Acting like they're dying to tell me something. Veronica goes through the pictures she has, handing each one to Rebecca as she goes through. VERONICA: We have Cervando, the academically-inclined PCHer. Betina, Dick Casablancas's booty buddy. Rhonda...all I know about her so far is that she called her friend Michelle right before the crash. Oh, Marcos, of "Ahoy, Mateys!" fame. He had a pirate radio show. I've been listening to it non-stop, hence... She taps her ear. VERONICA: ...the headphones. And Peter, who generously posted the details of his unrequited gay love on NeptunePirateShip.com. So now we're like this. Veronica crosses her fingers. VERONICA: And then there's Meg. Actually, you might be able to help, um. What do you know about a janitor named Lucky? REBECCA: Why? VERONICA: Meg had a lot to say about him. DREAM: INT - BUS. Veronica stares out the window of the submerged bus at passing fishes. The colours are bright, almost garish, the film grainy. VERONICA: This is so cool. MEG: Yeah, it's just dreamy. Meg is sitting a few rows in front of Veronica. She is wearing a "Baby on board" t-shirt, one with an arrow pointing to her stomach. MEG: I really want to spend eternity like a plastic scuba diver in someone's fish t*nk. VERONICA: So Meg, what's with that guy, Lucky? Your parents' friend from church? I can't picture them wanting to set you up with someone. MEG: They weren't outwardly setting us up. They just kept having him over for dinner so he could talk about his four months in Iraq and how he took shrapnel in the ass for America. He'd quote the bible and they'd point out how great he was. Fun, fun, fun. VERONICA: But you thought he was creepy. MEG: Have you been reading my emails? Meg has suddenly appeared in the seat next to Veronica. MEG: My sister gave my computer files to Duncan, not you. Those are my personal, intimate...wait. Forgot. I'm d*ad. In Veronicaland, no pulse, no privacy. VERONICA: I'm trying to help. MEG: Look, my parents think Lucky's a saint because he sings hymns with his eyes closed and he helped my dad move an air conditioner. But he's just a janitor at the high school he graduated from who buys beer for guys like Logan to hang on to his glory days. But you know all this from my emails. END DREAM. INT - NHS, COUNSELOR'S OFFICE - CONTINUING. REBECCA: Veronica, when did these dreams start? VERONICA: A few days ago. Michelle Thompson set up this booth in the hallway. She's trying to raise money to buy a yearbook spread for every kid who died in the bus crash. She's the one you should be talking to. She has that wide-eyed, Margot Kidder in a bush look. Total nut job. FLASHBACK: INT - NHS, HALLWAY - DAY. Michelle has set up a desk under a large poster of Bussy, the school bus with wings. On it, Michelle has photos of each of the student victims with their names printed underneath: Meg Manning, Betina Marone, Rhonda Landers, Peter Ferrer, Marcos Oliveres, and Cervando Esparza (which is different from the name he was given in 202 "Driver's Ed" where he was called Cervando Perez in the newspaper article about him, and from the name Veronica will say later in the episode, Cervando Luna). A small poster for the lacrosse team is incongruously next to it. Veronica and Michelle are standing in front of the desk and posters. MICHELLE: I've already raised two hundred dollars and I've only been doing it for a day. You know, if I raise enough, I might be able to get one of those audiochips, like the kind that play "Happy Birthday" when you open the card. Yeah, I know it's a bit much, but wouldn't it be great to hear them laughing and happy? END FLASHBACK. INT - NHS, COUNSELOR'S OFFICE - CONTINUING. REBECCA: What did Michelle mean about hearing everybody laughing? VERONICA: Her friend Rhonda left a message for her right as she was going off the cliff. I knew about that one. REBECCA: That one? VERONICA: Turns out, Rhonda called Michelle's home first, left a message there too. When Michelle told me about it, she said...she could hear all the kids laughing on the bus. So I asked if I could hear it. FLASHBACK: INT - NHS, CLASSROOM - DAY. Veronica and Michelle are in the empty journalism classroom. Michelle taps a few numbers on her cell and then hands it to Veronica. Veronica holds the phone to her ear and listens to the sound of raucous laughter. RHONDA: [on recording] I seriously cannot believe you're missing this. I hope you can hear. DICK: [on recording] Betina. Hey, Betina! Ready for a little bow-chicka-wow-wow. RHONDA: [on recording] You need to call me. The call ends. Veronica, somewhat shocked, switches off the phone. MICHELLE: Did you...hear your friend, Meg? VERONICA: No, but I heard someone I know. MICHELLE: I'm sorry, I guess it is upsetting. VERONICA: More disturbing. He wasn't on the bus. END FLASHBACK. INT - NHS, COUNSELOR'S OFFICE - CONTINUING. REBECCA: You heard Dick Casablancas's voice? VERONICA: Yep. REBECCA: Even though there's, there's no way he could've been on the bus at the time? VERONICA: Freaky, huh? REBECCA: Did you tell your dad about this? VERONICA: Funny you should ask. DREAM: INT - BUS. Veronica is still in the seat by the window, staring into space. She hears a voice behind her and looks back. RHONDA: [offscreen] Pick up! Why aren't you picking up? You big loser. VERONICA: Rhonda? RHONDA: [offscreen] I cannot believe you bailed on the field trip without telling me. Rhonda is on her cell, walking down the centre aisle of the bus, towards the front. RHONDA: Hey, about next weekend... There's a bang and the sounds of screeching tires. Veronica's faces scrunches up in terror. END DREAM. FLASHBACK: INT - MARS RESIDENCE - NIGHT. Veronica cries out as she wakes up from her nightmare. VERONICA: No! She sits up, panting. Keith's hurrying steps precede his entry into her bedroom. KEITH: Honey! VERONICA: I'm fine. It was just a bad dream. Keith crouches down on the floor next to her bed. KEITH: Did you watch House of Wax again? You know that Hilton girl gives you nightmares. Veronica gives him the pained smile of one who still isn't ready to joke. Keith notices the files spread on Veronica's bed. He picks them up as he moves to sit on the bed next to her. KEITH: Peter Ferrer, Rhonda, these are the kids who died on the bus. Maybe this isn't the best bed-time reading? Veronica reaches around behind her and brings out a CD. VERONICA: Betina played these phone messages from Dick for everyone on the bus. This was in the CD player. KEITH: And how did it get here? VERONICA: I willed it? KEITH: You snuck onto the bus? VERONICA: Yeah, like you didn't? KEITH: Veronica. VERONICA: Why didn't you tell me about the drawing? KEITH: I didn't see a drawing. I was on the bus for a minute before security came in. Veronica searches through the papers behind her again. VERONICA: It was drawn on the back of one of the bus seats. She hands him another file. Keith opens the flap to see photographs of the back of one of the seats. There is a drawing, similar to the one seen in the opening sh*t, with the words "I Am God" in ornate lettering. KEITH: "I am God." VERONICA: Because I have the power to put myself and my classmates in individual coffins. KEITH: Do you think person who drew this is responsible for the crash? VERONICA: I think it's possible. The bus was brand new. There was no other graffiti. KEITH: Why nine tombstones? Eight people were k*lled in the crash. VERONICA: I guess the artist wasn't expecting me to get off the bus. END FLASHBACK. INT - NHS, COUNSELOR'S OFFICE - CONTINUING. REBECCA: Can I see the art work? Veronica gets it from her bag and hands over two photographs. REBECCA: Oh, my. VERONICA: One of the kids who died on the bus drew that. I need to find out who. Opening credits. INT - NHS, HALLWAY - DAY. Logan is at his open locker, flipping through a book. Veronica comes up behind him and taps the back of his knee with her leg. He swings around to look at her. She slaps her hand on her forehead. VERONICA: Yep, I have no idea what compelled me to do that. LOGAN: Is it because you're five? VERONICA: I'm a little punchy; I haven't been sleeping. LOGAN: Thoughts of me? Hey, I get it. Um, sometimes I'm up all night just thinking about myself. Veronica rolls her eyes. VERONICA: Do you know a guy named Lucky? He's one of the night janitors here. LOGAN: Tommy Dohanic? Yeah. VERONICA: Why "Lucky"? LOGAN: Well, he graduates. Then his parents file Chapter 11; he has to drop out of college. He signs up for Army Rangers. He gets sent to Iraq and four months in, he gets sh*t. VERONICA: And...that makes him lucky? LOGAN: Hey, they sh*t him in the butt. Could be worse. You met him too, you know. Logan smiles. LOGAN: Remember... FLASHBACK: EXT - NHS, CAR PARK - DAY. Veronica and Logan are in the Xterra, making out. Music: "Breathe Me (Four Tet remix)" by Sia. LYRICS: I have done it again I have been here many times before Ouch I have lost myself again Lost myself and I am nowhere to be found, Yeah I think that I might break Lost myself again and I feel unsafe Be my friend Hold me It's getting hot and heavy in the car as Veronica pushes Logan down onto the back seat and-- END FLASHBACK. INT - NHS, HALLWAY - CONTINUING. VERONICA: [impatiently] Hey, Logan, is there a point to this story? LOGAN: Will you let me finish? Sheesh! Logan leans his head back against the locker, enjoying the memory. FLASHBACK: EXT - NHS, CAR PARK - DAY. Veronica and Logan continue to make out. There's a knock at the window. Veronica, on top of Logan, swings her head around to see the guy who tapped on the window. This is Lucky. Dick is standing next to him. VERONICA: Oh, good, we have an audience. Logan sits up, keeping Veronica turned into his body with his arm. He lowers the window. LUCKY: Okay, Lover-Boy, that's enough face-sucking for now. We got things to do. LOGAN: And you're on a tight schedule of smoking pot and playing Halo. I can't wait to graduate. LUCKY: Come on, man. We're done screwing around. The ball's in our court and someone's gotta pay. Veronica is puzzled and turns to look at Lucky. DICK: But, after we make someone pay, we're gonna get high and play Halo, right? LUCKY: [scolding] Get it together, Dick! Logan smiles at the put down. Lucky turns his attention back to Logan. LUCKY: Ninety seconds, wrap this up. LOGAN: I'll be there when I'm there. Lucky isn't happy as Logan rolls the window back up and returns his attention to the girl he is holding. LOGAN: Hi. END FLASHBACK. End music: "Breathe Me" by Sia. INT - NHS, HALLWAY - CONTINUING. VERONICA: Remind me. Why did we break up? LOGAN: Well you thought the other guy had greener grass. Veronica nods and starts to walk away. LOGAN: Mm, or was it something about me being too much man? No, wait, it was you. You were too much man. Veronica doesn't pause or look back. INT - NHS, CLASSROOM - DAY. In the noisy physics lab, Logan and Dick sit side by side at one of the tables. They are both wearing protective glasses. Logan pretends to be driving a racing car as Dick tosses up a ball of scrunched up paper. MR. WU: Hey! Hey! The students turn their attention to Mr. Wu. On the board, he has written "Mr. Wu's Egg Drop Competition." On his desk is a large fake egg with a banner around it saying the same thing. MR. WU: As I was saying, each team will design a device to protect an egg dropped from increasing heights. The pair whose egg survives the highest drop will earn an "A," plus the team will be excused from Mr. Wu's notorious G.P.A.-k*lling... He starts trying to do a funky rap, but stops on the moans of the class, who include Wallace at another table. MR. WU: ...final exam. LOGAN: [quietly] Boy, Mr. Wu must really like his egg-drop soup. Dick raises his hand. DICK: Ah, does this assignment come with potsticka? The class sniggers but Wu is not amused and bears down on Dick. MR. WU: Students! This experiment is a major test grade. For some of you, it means passing this class or not. He stares at Dick before turning to head back to the front of the room. DICK: [loudly] Dude, is Mr. Wu hitting on me? Logan laughs, as do many others in the class. Wu hears this and cringes. MR. WU: Okay, people! That's does it. I'm assigning you partners alphabetically. Dick, I think it's a bad idea for you and Mr. Echolls to be working together. DICK: So bad it's good? MR. WU: No. Dick solemnly moves the glasses from his eyes the top of his head. He takes a deep breath and turns to Logan. DICK: [a la Brokeback Mountain] God, I don't know how I'm gonna quit you. Logan draws breath to respond but Dick puts his finger over Logan's lips. DICK: Shhh. It's not me; it's Wu. MR. WU: Dick Casablancas, your new partner is Angie Dahl. Angie is less than enthused. DICK: Score! Logan laughs again as Dick leaves the table to join Angie. MR. WU: Logan Echolls, you'll join Wallace Fennel. Wallace looks back, also less than enthused. Logan notes the antipathy. Dick appears in front of Angie. DICK: Gentleman Dick at your service. Foot massage? Coconut-oil rubdown? ANGIE: Just stay out of my way. I need to be excused from the final exam. Wallace takes Dick's seat next to Logan. LOGAN: You're not gonna get all super-achiever on me, are you? WALLACE: I'm just trying to avoid flunking. Hearst would yank my scholarship. LOGAN: Excellent. The bar is so low, we can step over it. Logan chews his pencil. Wallace huffs, not looking forward to the partnership. EXT - NHS, LUNCH AREA - DAY. Veronica is alone at one of the tables, her laptop open in front of her. She looks up and over at the table where Dick is talking to some other guys. He feels her stare. She cocks her finger at him, beckoning him to join her. DICK: Just because you wiggle your finger doesn't mean Dick's gonna come. Veronica is not swayed and merely turns to her laptop, typing something. She turns it around so Dick can see the screen upon which is written, in very large letters: "I KNOW WHO YOU DID LAST SUMMER." Dick looks uncomfortable at this and makes his way over to her. He slides into the seat next to her. DICK: Veronica Minx, what are you up to? VERONICA: Oh, you know, this, that, and the other. Veronica hits a button on the laptop. Dick's voice from the CD on the bus rings out. DICK: [on recording] You ready for a little bow-chicka-wow-wow? Betina, pick up, pick up, pick up. You little frickin' hottie. Listening with increasing embarrassment, Dick slams down the screen of the laptop, cutting off the recording. VERONICA: Tell me about you and Betina. DICK: Who? Veronica shrugs and goes to open the laptop again. DICK: Uh, wait. What? Everybody has their secret shame, V. You get t*nk at the wrong party, stumble a couple of rungs down the food chain. You know how it is; you dated that cop. VERONICA: Patience dwindling. DICK: Sometimes you don't need the prettiest horse, just one that let's you ride bareback. Dick grins. Veronica struggles not to throw up. VERONICA: Ever think, maybe, that was a little, I don't know, dangerous? DICK: What am I, stupid? Veronica's face leaves no doubt as to her answer to that question. DICK: She was on the pill. I don't know why you're in a bunch. I don't hear her complaining. VERONICA: You know she's d*ad, right? And she did complain. She played your messages for the whole bus on the way home from Shark Field. That's not a satisfied customer, Dick. That's a woman scorned. DICK: Well, she had nothing to be scorned about. I even gave her a little gift that day, a Shark's premium ticket package, my Shark's memorabilia gift bag. VERONICA: Tickets they raffled off? You didn't win the tickets. DICK: Well I saw that gay kid who won them toss them in the trash, and I thought Betina might like them. Or she could sell them for grocery money or whatever. Pissed-off white trash booty buddy, free tickets, it's a no-brainer. Dick grins as Veronica shakes her head. INT - NHS, HALLWAY - DAY. Veronica is leaning against the wall. Through the crowd of students traversing the hall, she sees Keith. VERONICA: Dad? Dad? She takes a step towards him but he does not stop or look around and she stops. Puzzled, she turns back to resume her place at the wall, but instead, spotting her target, she approaches a girl at her locker. VERONICA: Maureen? Hi, I'm Veronica. I'm helping Michelle with the yearbook tribute. MAUREEN: I already gave her all the good pictures of Betina. VERONICA: I know. We were just wondering if you had any poems or art work, something of Betina's that was more personal. MAUREEN: Nothing she'd want in the yearbook. VERONICA: Is there someone else I should ask, another friend? A boyfriend? MAUREEN: She didn't have a boyfriend. VERONICA: Oh. I thought I saw her at a party once with Dick Casablancas. Maureen scoffs. MAUREEN: Dick Casablancas is the bastard child of Satan. VERONICA: Well, that would explain a lot. MAUREEN: I don't know what you heard, but he was horrible to Betina. He treated her like a free hooker. I know, she let him, but it's my friendial obligation to blame it all on him. Maureen slams her locker shut. VERONICA: I know Dick. Blame him. They start to walk away from Maureen's locker together. MAUREEN: Betina just lost her mind over him. And the worse he treated her, the more she lapped up after him. He was her ideal guy: rich and completely indifferent to her. The joke so would have been on him. VERONICA: What do you mean? MAUREEN: All he wanted was to mess around with her and have no one know. And all she wanted was for him to knock her up so she could shout it from the rooftops. Maureen walks on as Veronica ponders. DREAM: INT - BUS. Veronica is in the early stages of recreating the drawing with four of the tombstones. Elsewhere on the bus, Betina looks down at her t-shirt, a full view showing that it says "I *heart* Dick Casablancas." BETINA: What's with the T-shirts? Veronica looks up. Betina is next to her. Meg is in the row in front of them on the opposite side of the aisle. Peter is walking down the aisle from the back of the bus, towards them. BETINA: You just need help keeping us straight in your head? PETER: Straight? "q*eer eye for the d*ad guy" has Petey wearing a rhinestone fricking rainbow! Seriously, ever heard of butch? MEG: I have important information. PETER: Don't we all? BETINA: It's time for the bus to crash. Veronica, eyes filled with tears, is speechless and a little panicked. END DREAM. INT - NHS, CLASSROOM - DAY. Veronica wakes with a start. She is listening to one of her recordings of "Ahoy, Mateys!" CAP'N KRUNK: And here it comes, Imitation Crab IMITATION CRAB: Arrr! CAP'N KRUNK: The winner of this weeks cock of the walk countdown... IMITATION CRAB: Don't leave 'em hanging Cap'n. CAP'N KRUNK: It's Logan Echolls! That's forty weeks running. Rosemary's baby: the teen years. Veronica looks at the iPod. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE. Wallace is placing an egg in a box. LOGAN: At four feet it survives, we pass. Logan bends down, having let out a steel tape measure to the required height. Wallace holds up the box at the top of the measure. WALLACE: Here's goes nothing. Wallace drops the box. It falls. The boys look at each other and shrug. Wallace opens the box. The egg is unbroken. LOGAN: Mazel Tov. Logan takes the egg from Wallace. LOGAN: Two passing grades, over easy. WALLACE: I guess our work here is through. LOGAN: Mm. They rise from their crouching over the box as there's a knock on the door. LOGAN: Ah, my buffalo burger has arrived. As Wallace picks up the box and puts his stuff together, Logan gets the door. A waiter enters with a trolley. He pushes it into the room and Logan hands him a bill. WAITER: Thank you. The waiter leaves. WALLACE: Must be nice. Logan lifts the cover off his food. LOGAN: Oh, not for the buffalo. He dips a finger in and licks it before glancing back at Wallace. LOGAN: You don't like me much, do you? WALLACE: The last time we actually talked, you were bashing Veronica's headlights with a crowbar. LOGAN: Hm. Foreplay. There's another knock on the door. Logan gets it. MAID: Good evening. The young maid, carrying large pillows, steps into the room. She stops as Logan introduces her to Wallace with a smirk. LOGAN: Wallace, have you met my fluffer? INT - MARS RESIDENCE - NIGHT. Keith is going through some mail at the kitchen counter/table. Veronica enters from outside. VERONICA: Did I see you at school today? KEITH: I don't know, were you hallucinating? VERONICA: You were dressed in that exact, snazzy outfit which, if I'm not mistaken, is your dating uniform. Is there some Miss James rekindling I should know about? Keith doesn't respond, instead holding up an envelope. KEITH: You've got mail...from Stanford University. Veronica takes it and stares at it for a moment, afraid to open it. Keith gets up and stands next to her. VERONICA: It's a little anorexic for an acceptance letter. KEITH: Good news or bad, you know I'm proud of you. He puts his arm around her and kisses the top of her head. He steps back to watch her. She gazes at the envelope a little longer, then shakes off her hesitation, tearing open the envelope. She takes another moment before she unfolds the enclosed letter. She takes a deep breath and begins to read. VERONICA: "Dear Ms Mars. It is with great pleasure that the admissions board at Stanford University welcomes you to our institution." She grins and then squeals, doing a happy dance. She grabs her dad for a big hug. KEITH: You did it, baby. Veronica laughs and sighs in one, picking up the letter again to be sure she's not dreaming. INT - NHS, PRINCIPAL'S OFFICE - DAY. Veronica and Angie sit side by side in front of Clemmons' desk. CLEMMONS: Veronica, Angie, thank you for coming in. It turns out there's been an error in the calculations regarding the class rankings. It seems to only affect the two of you who remain in the running for the Kane Scholarship. VERONICA: An error? W-what kind of error? CLEMMONS: Angie was awarded an A for the "Summer at Sea" elective she took. It was a college-level course, so rather than a four-point A, Angie should have been awarded a five-point A. The adjusted grades have pushed Angie ahead of you. Veronica lets out a disbelieving breath. ANGIE: [smugly] You could've taken the class. It was open to anyone. VERONICA: Yeah? How much did that "Semester at Sea" class set you back? ANGIE: How should I know? Veronica can't believe it. INT - NHS, COUNSELOR'S OFFICE - DAY. REBECCA: Veronica, I know Angie Dahl and I don't think she's the witch you're painting her as. VERONICA: She's a demon spawn. Story of my life: I get five minutes of thinking my dreams may come true and then some rich kid slaps reality back into me. REBECCA: So how was last night? Any bad dreams? VERONICA: If I say no, do I have to keep coming back here? I'm still non-stop Nightmare on Elm Street. And I haven't been able to figure out who drew the picture. But there is one silver lining. My dad...seems...happy. REBECCA: Well, that's wonderful, Veronica. Veronica waits expectantly. REBECCA: I'm very happy for him. VERONICA: I'm glad you...are in touch again. REBECCA: Ah, we're not. Veronica raises a skeptical brow. INT - NHS, HALLWAY - DAY. Veronica and Wallace walk down the hall together. WALLACE: There's nothing about you that says "second place." VERONICA: Nothing but my G.P.A. Angie Dahl's parents convinced the school board that the grades she purchased should be worth more than the ones I earned. WALLACE: Well you need to shake this off. Just, work through it. "The lowest point of the ebb is the turn of the tide." VERONICA: Don't quote. Veronica yawns. VERONICA: Sorry. I'm having a Mexican standoff with the sandman. He's winning. They approach the poster for the bus victims. They pause. WALLACE: When I die, I want you to raise money for my spread in Vibe. VERONICA: Oh, didn't I email you? You're never allowed to die. The camera hones in on the picture of Rhonda Landers. WALLACE: Would you look at that? The most innocent-looking picture is the girl who was hell on wheels. That girl, Rhonda, and her sister Natalie were in Clemmons' office all the time. Always in trouble, for huffing paint, stealing, fighting, anything to reinforce the P.W.T. stereotype. VERONICA: There's a Pretty Young Thing stereotype? Do I fit it? Wallace laughs. WALLACE: P.W.T. Poor White Trash. They start walking again. VERONICA: Oh, them. So can you point Rhonda's sister out to me after school? WALLACE: What else am I gonna do? INT - JAVA THE HUT. A woman witters. BLIND DATE #1: First Name Basis is so much better than It's Just Coffee. Keith, a smile plastered on his face, nods. BLIND DATE #1: Believe me, I've tried all the services. I like that I don't have to send out a picture. I like not giving out my real name. Keith just keeps nodding. BLIND DATE #1: I mean, I sure wasn't disappointed when I saw you wander up. You weren't disappointed when you saw me, were you? KEITH: Oh, I wasn't. BLIND DATE #1: I didn't think so. In fact, I thought I saw a smile, am I right? Keith bemusedly crinkles up his nose with his goofy grin. INT - NHS, CLASSROOM - DAY. In the physics class, there are many eggs in egg boxes. Wu's class is in session. MR. WU: Angie, your mother has sent you something. Apparently, it's more important than my class. Angie gets up and goes to the door. Dick whistles at her departing rear as Wu shuts the door behind her and carries on. MR. WU: Logan, you and Wallace are up. Wallace claps and rubs his hands together. Logan hands him their contraption. LOGAN: I could rub your head for luck. WALLACE: You could try. STUDENTS: All right, guys! Do it! Come on! Yeah! Wallace goes to the front of the class, showing off the box. Logan does a drum roll on the desk. LOGAN: Whoo! STUDENTS: All right! Do it! Wallace places the box on top of the platform erected for the experiment and gently slides the box off. As it falls there is a loud shriek from Angie in the hall. She bursts through the door, holding a bunch of balloons. ANGIE: I'm in. I got into Stanford. The students give a muted congratulatory response. DICK: All right! You can be roomies with Veronica Mars. There's a pillow-fight I'd like to see. ANGIE: Veronica Mars got into Stanford? WALLACE: Yeah. Veronica Mars. Stanford. ANGIE: Well, I guess somebody has to do the football team. Wallace is offended. The class titter. As Angie goes to the back of the class to stow her balloons, Logan gives her a hard stare. Wu takes the unbroken egg out to the box. MR. WU: Echolls, Fennel, you've got what all cruising seniors desire, a passing grade. If you'd like to aim higher tomorrow, I won't hold my breath. Angie takes her seat, immediately in front of Dick. DICK: I heard in dorms, all the girls shower together. Maybe you and Ronnie could soap each other's backs. ANGIE: Mr. Wu, I want another partner. Dick is being in appropriate and didn't help with our project. MR. WU: Dick? DICK: Dude, I totally helped. MR. WU: Can you, um, pick up your project, bring it to me? Dick sighs and heads for the side where all the other projects are gathered together. He looks at them, trying to decide which one it is. DICK: Ahhh....ahhh. MR. WU: I'll see you in summer school, Dick. DICK: What? MR. WU: Oh, believe me, I'm no happier than you. Dick is pissed. The bell goes. Self-satisfied, Angie collects her books. LOGAN: Congratulations. You've single-handedly fulfilled the Stanford bitch quota. ANGIE: Enjoy trade school, Logan. She sashays past him, picks up her balloons and walks out of the class. Logan follows her out and into... INT - NHS, HALLWAY - CONTINUING. ...the hallway, where he meets up with Wallace. WALLACE: If you don't mind, I'm gonna keep working on the project. LOGAN: Come by later, I'm in. Wallace pauses and stares at him. LOGAN: What's time to a hog? Logan waltzes off. Wallace smiles. EXT - NHS, CAR PARK - DAY. A girl in tight white jeans and a skimpy pink t-shirt with "Crown Jewels" in sparkling stones across the chest, numerous gold necklaces and bottle-bleach, white-blonde hair struts down the car park. She passes Wallace and Veronica who are sitting on the boot of the LeBaron. WALLACE: I think that's Rhonda's sister. Natalie? Natalie points her keys at a red Corvette to unlock it. VERONICA: Are you sure there's a P. before that W.T. WALLACE: That's definitely her. She drives a 'Vette now? Last year, she offered to make out with me for cigarette money. Veronica slides off the LeBaron and walks down to the Corvette, into which Natalie is now ensconced. Veronica leans into the car from the passenger's side, all friendly-like. VERONICA: Hey, is this your car? NATALIE: No, it's my roller skate. VERONICA: This is so cool. I was thinking about moving up to a sweeter ride myself. How's she handle? NATALIE: [dismissively] Better than the bus. Veronica keeps her temper as Natalie switches on the ignition and pulls out of the space. Veronica, joined by Wallace, watches her go. VERONICA: Yowza! WALLACE: Hm. Veronica pulls her phone out of her pocket and starts to press buttons. VERONICA: You can take the girl out of the trash, but you can't take the trash out of the girl. Oh, the time and effort she's saved me. INT - JAVA THE HUT - CONTINUING. Keith's phone is ringing. He gets it out, glances at the caller ID and gives an apologetic glance to the woman he is sitting with before answering. The camera switches between them. KEITH: Why aren't you learning something? VERONICA: And a good day to you, too, sir. Just thinking about some great advice you gave me. KEITH: "Look both ways"? "Don't stick that in your nose"? VERONICA: "Follow the money." Could you run the financial records of the families with kids who died in the crash? KEITH: Will do. Gotta go. Important meeting. Keith hangs up on an intrigued Veronica. BLIND DATE #2: You know who you remind me of? Keith shakes his head as the woman giggles. BLIND DATE #2: That guy on Seinfeld, George. KEITH: Oh? How so? BLIND DATE #2: Well, he's a nice guy, like you. But there's so much...unrealized potential. A guy who really wants to meet women goes for it, you know? He dresses to impress, a little cologne, a gym membership. You-- KEITH: Should make more of an effort? She nods. BLIND DATE #2: My ex-husband went for a hair transplant. He looked fantastic afterwards. KEITH: Cologne, new suit, hair, I should, uh, probably write this stuff down. Keith searches his pockets. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE. The floor is littered with the remnants of materials used to make the super-duper egg drop box. Wallace, a cup of coffee in his hand, is hyper. Logan is lounging on the sofa, watching him pace. WALLACE: We magnify the drag, decrease the velocity, minimize the force, and decelerate-- LOGAN: Decelerate yourself. Logan gets up and takes the cup out of Wallace's hand. LOGAN: Four is officially your espresso limit. He takes it to the side, then heads back to the sofa. WALLACE: So, I know why I'm trying to help out Veronica. I want her to get to go to Stanford. Why you doing it? Back on the couch, Logan plays it casually. LOGAN: I don't know, not for Veronica. WALLACE: Then what? LOGAN: Uh, the spirit of competition. Wallace laughs skeptically. WALLACE: Yeah. All right. LOGAN: Why don't you chill while the glue dries? I gotta see a man about a horse. Logan throws Wallace the remote and then heads for Duncan's bathroom. Wallace settles down on the sofa and points the remote at the screen. He gets the animated Oddworld turtles. He flicks to another channel. This time it's Bloomberg (although the times are off: 12:00 PM CT 29 Jul and it in fact looks like the exact same footage used in 207 "Nobody Puts Baby in a Corner"). BUSINESS NEWS ANNOUNCER: ...look at the hurdles G.M is trying to-- Wallace quickly changes channels again with the remote. The Tinseltown Diaries logo appears as Aaron's story is rerun. Wallace watches. ANNOUNCER: Tonight, Tinseltown Diaries examines the rise and fall of one of Hollywood's brightest stars. Husband, father, adulterer, cradle-robber, m*rder, who is the real Aaron Echolls? Wife Lynn's car was found stranded on the Coronado Bridge, where she is assumed to have leapt to her death. But it was his son's m*rder girlfriend who would actually come back to haunt Aaron. Rumors of Echolls' sometime-actress daughter... LOGAN: They rerun it twice a day. Wallace looks over at Logan, leaning on the door to Duncan's room. Logan points at the screen. LOGAN: I hear it's their top-rated episode. ANNOUNCER: ...Trina's terminal illness were recently revealed to be a hoax. And son Logan's rocky relationship with the media and the law began last year when he organized and videotaped a series of bum-- Logan disappears back into Duncan's room and Wallace sighs, sympathizing a little more with him. INT - MARS RESIDENCE - NIGHT. Veronica enters the darkened apartment. Keith is cooking. VERONICA: Got something for me? KEITH: Love in my heart. Chili on the stove. Oh, and I ran those financial records. I am a great father. VERONICA: Mm. Keith ladles some thick chili into bowls. KEITH: None of the families of the crash victims made money on insurance. They basically got enough just to pay for the, uh, funerals. However, Rhonda's family won a separate lawsuit with a two million dollar payout. And you'll never guess who from. VERONICA: You're right. I won't. KEITH: Woody Goodman. Keith points to the counter. Veronica opens the files thereon as Keith places one of the bowls in front of her and sits next to her. KEITH: Woody's Burgers paid Rhonda's family a secret two million dollar payout. Apparently, her mom found a finger in her ribwich. Veronica, about to take her first bite, lets the chili fall back into the bowl and pushes the bowl aside. INT - NHS, PRINCIPAL'S OFFICE - DAY. Veronica uses her key and enters Clemmons' office. She heads for the filing cabinet. VERONICA VOICEOVER: Sometimes, opportunity doesn't knock. It waits for everyone to go to lunch and sneaks in using a key. It's a long-sh*t that my d*ad classmates will have something helpful in their permanent files, like being suspended for drawing on school property. Veronica finds them all together, bundled in plastic and marked "Bus Crash Victims." She pulls the bundle out and then hears voices the other side of the door. She keeps the files, closes the drawer and races into the closet. She's just in time as Keith and Clemmons enter. KEITH: Sorry about the inconvenience. One of my bad habits. And Veronica won't let me buy nice sunglasses anymore because I'll lose them within the week. CLEMMONS: Making any headway in the case? Veronica, hidden amongst the coats, opens the door slightly to listen. KEITH: Slowly. CLEMMONS: We've had three more cases diagnosed just this week of Generalized Anxiety Disorder. You'd think it was contagious. KEITH: All these students are Section Eleven-twenty-three now, all of them coming from the same doctor? CLEMMONS: Yep. My faculty is about to revolt. They're supposed to offer these students deadline extensions, make-up dates on exams, and unlimited time on tests, all at the student's own discretion. Keith holds up his crossed fingers. KEITH: I hope to have something you can use very soon. My coat? CLEMMONS: Right. It's in the closet. Veronica pulls the door to as Keith walks towards the closet. He opens the door and sees Veronica shrunk against the back of it. He gives her a very expressive look. With a wry and shame-faced smile, Veronica takes his coat from a hanger and hands it to him. Keith just looks at her as he speaks for the benefit of Clemmons, still sitting at his desk. KEITH: Yep, that's mine all right. He takes his coat and shuts the closet door. INT - JAVE THE HUT. Yet another woman attempts to charm Keith. BLIND DATE #3: I was one of those people saying Keith Mars should be run out of town. Going after that sweet Jake Kane? Making our nice little town look like Bozoville? A-And then when I found out what really happened, I was so embarrassed. I confess, I never vote in the local elections, but I went out this year just so I could vote for you. KEITH: I totally carried the pity vote. But enough about me, tell me about you. BLIND DATE #3: Oh, it's dull, trust me. I'm the office manager for a local doctor. KEITH: Really? I'd love to hear about it. INT - NHS, HALLWAY - DAY. Veronica ponders as she makes her way to, and then stops at the door to observe Wu as he tidies his student-free classroom. VERONICA VOICEOVER: Peter, as I have learned from his postings, had, in his words, "yellow fever," and was extremely hot for a certain teacher. There was one incident in Peter's permanent file. It didn't say what happened, only that it involved Mr. Wu. Can't help but wonder if teacher decided to take a pet. INT - NHS, CLASSROOM - CONTINUING. He spots her. MR. WU: Ah. Hello, Veronica. She smiles and steps into the room. VERONICA: Would you like to donate to the yearbook tribute for the kids on the bus? MR. WU: Of course, I've been meaning to. He goes to get his wallet. VERONICA: I figured. Peter was a friend of mine. I know the two of you had a connection. MR. WU: I'm sorry for your loss, you must miss him. VERONICA: Do you...miss him? MR. WU: As a bright and dedicated student, yes. In the way I think you're implying, no. He hands her some cash and goes back to his tidying. VERONICA: Peter was gearing up for what he called "the outing of all outings." I was wondering if he was pulling his favorite teacher out of the closet. MR. WU: Veronica, I think that when you get out in the world a little more, you'll, you'll discover that not all well-dressed, articulate, detail-oriented men are gay. Many of them are just Asian. VERONICA: So you knew Peter had feelings for you? MR. WU: Yes, I did. He confessed these feelings to me on the unfortunate night we ran into each other at Possibilities. VERONICA: Why were you at a gay bar? MR. WU: Not that I need to explain myself to you, Veronica, but it was a cousin's birthday party. I was being supportive. I explained the whole situation to Mr. Clemmons. I believe he has it all on file. VERONICA: Sorry, you're right. None of my business. Veronica starts to leave, but turns back on another thought. VERONICA: Did Peter have any hobbies like drawing or painting? MR. WU: I thought he was your friend? Busted, Veronica just smiles, turns and walks out. DREAM: INT - BUS. Music: "One More Time" by Daft Punk. LYRICS: One more time we're gonna celebrate Oh yeah all right don't stop dancing One more time we're gonna celebrate Oh yeah all right don't stop dancing One more time we're gonna celebrate Oh yeah all right don't stop dancing One more time we're gonna celebrate Oh yeah One more time One more time Music's got me feeling so free We're gonna celebrate Celebrate and dance for free One more time Music's got me feeling so free We're gonna celebrate Celebrate and dance so free One more time Music's got me feeling so free We're gonna celebrate Celebrate and dance for free We're gonna celebrate Yeah. Peter is dropping an egg into a baseball mitt, sitting in the seat in front of Veronica. This time, the world outside the bus is black, except for some disco lights that flash in multi-colours. PETER: So do you believe him? Mr. Wuuuu! VERONICA: Yes. And, I hate to disappoint you, but even if he were gay, I don't think it would qualify as "the outing of all outings." PETER: You think you know me because you read my postings? VERONICA: Every line of your postings, like eighty times. I know you like the back of my-- Veronica looks at her hand. Her name is written on it in big black letters. PETER: What's wrong? She closes her hand. VERONICA: Nothing. PETER: You're asking the wrong question. All right. Maybe a better question is why was I even on the bus? Why would I even be interested in going to a baseball stadium? Huh? Mull that one over for a while, okay? Veronica mulls. End music: "One More Time" by Daft Punk. EXT - NHS, LUNCH AREA - DAY. Veronica carries her tray out to the tables, still wearing the iPod. VERONICA VOICEOVER: One PCHer died on the bus, Cervando Luna. Grade point average, 3.8. Average trips to the principal's office per week, 3.2, including a visit during summer school for pushing Cassidy Casablancas against a wall and thr*at him. She espies Beaver working alone and takes a seat at the table. A watch lies on top of his books next to him. VERONICA: Busy Beaver, always working. BEAVER: What's up, Veronica? VERONICA: During summer school, you had a run-in with a kid named Cervando? BEAVER: He ran me into a wall, if that's what you mean. FLASHBACK: INT - NHS, CLASSROOM. Beaver is looking over his shoulder at Cervando, sitting on a desk, talking to a couple of PCHers. CERVANDO: I'd dunk the eight ball a couple of times, jacked up my fingers like I don't know how to hold the cue. I see Liam, all winking at his cousins thinking he's got one. Every time I made a sh*t, I'd be all excited then act all scared like I was worried they'd do something. Cervando slides off the desk and hold up his shirt to show off his jeans. CERVANDO: Check this out, courtesy of Liam Fitzpatrick being a sucker, two hundred dollar jeans, look at these things. I'm never taking them off. From the hallway, Dick points a water p*stol at the jeans and sh**t, voicing it with a couple of "pings." CERVANDO: Yo, man, you crazy? The teacher closes the door, shutting Dick out. TEACHER: Get out of here, Dick. END FLASHBACK. EXT - NHS, LUNCH AREA - CONTINUING. BEAVER: Cervando, you know, he's normally a pretty cool guy, for a PCHer, but...on the next day, that dude, he was seriously on the w*r-path. God, Dick's squirt-g*n was loaded with bleach. FLASHBACK: INT - NHS, CLASSROOM - DAY. Cervando, his jeans ruined by white marks, marches into the classroom, heading straight for Beaver who doesn't see him coming. Cervando grabs Beaver and pushes him up against the wall cupboards with one hand. CERVANDO: You owe me a pair of jeans. BEAVER: Wha-what are you-what are you talking about? Cervando holds up a piece of paper with his free hand. CERVANDO: Size, style, color. He slaps it against Beaver's chest. Beaver clutches it. BEAVER: But I didn't do anything. It was Dick. CERVANDO: Well I'm not telling him; I'm telling you. Clemmons appears at the doorway. CLEMMONS: Gentlemen, that's quite enough. Cervando, come with me. Cervando continues to stare thr*at at Beaver before shoving him away and following Clemmons. Beaver watches him go, pissed off. END FLASHBACK. EXT - NHS, LUNCH AREA - CONTINUING. BEAVER: I guess Dick was too big for him so he figured he's settle the score with his little brother. Beaver picks up the watch and glances at it. He grabs his books and rises. BEAVER: Story of my life. Veronica watches him go. INT - NHS, PRINCIPAL'S OFFICE - DAY. Clemmons is staring at a tape. CLEMMONS: What's this? KEITH: It's a tape of Dr. Burns' office manager offering to hook Veronica up with a diagnosis of Generalized Anxiety Disorder for a thousand dollar consultation fee. CLEMMONS: How did you get this? KEITH: Painfully. You gotta kiss a lot of toads before you find your medical office manager. Clemmons smiles and nods. EXT - NHS - DAY. Wu's physics class are outside, testing one of the egg drop contraptions, one supported by the balloons Angie received. The box drops and she climbs down the ladder. Wu takes the unbroken egg out of the contraption. MR. WU: Okay, folks. Angie Dahl is our only student to survive the twelve-foot drop. ANGIE: Thank you, thanks. There's some clapping, Logan doing a slow one. Wallace glances at him, seemingly appreciative of the sarcasm. MR. WU: Mr. Fennel, Mr. Echolls, you're our last remaining team still in the running for an exemption from Mr. Wu's notorious G.P.A.-k*lling final exam, as well as the accompanying hardware. Wu shows off the golden trophy, a egg in a candlestick-like eggcup. Wallace has climbed the ladder as Wu talks and waits to drop the box. Angie lets out a deep breath. DICK: Yeah. Do it, yeah. Do it. Wallace drops it. It lands with a sickening thud. Wallace watches as Wu retrieves the egg. He grins as it appears whole, only to lose his joy when Wu turns it to show a smear of yolk. MR. WU: Scrambled. STUDENTS: Aww. Too bad. INT - NHS, HALLWAY - DAY. Angie, carrying the trophy, prances smugly down the hall with her friend. ANGIE'S FRIEND: That's awesome, about the egg drop. So you ready for Ms Murphy's Crime and Punishment exam? ANGIE: Nope, I was up all night working on the egg thing. I'm requesting an extension because of my Generalized Anxiety Disorder. Her friend laughs as they disappear up the hall. Behind them Veronica, looking very tired, is walking in a bit of a daze. She is wearing the iPod headphones, listening again to "Ahoy, Mateys!" CAP'N KRUNK: Ahoy, mateys. Five-forty on your AM dial. Listen or walk my enormous plank. Her head is down and she smashes into Logan as she rounds a corner. They step back from each other and Veronica takes the headphones out. LOGAN: Ah, am I still keeping you up at night? He looks at her more closely. LOGAN: You look like Steve Buscemi. VERONICA: You...are such...a catch. Wallace passes and pauses to watch. VERONICA: How has Hannah been able to keep away? That hurts and Logan just walks away. Veronica starts to replace the headphones, not realizing Wallace is behind her. WALLACE: Maybe you should cut him some slack sometimes. She turns and stares from Wallace to the direction Logan went, totally bemused at Wallace's attitude. He smiles and goes on his way as Veronica replaces the headphones and walks on. INT - ADMINISTRATION OFFICE - DAY. Clemmons is talking into a microphone. CLEMMONS: Attention, faculty and students. I have an important announcement to make regarding school policy. INT - NHS, CLASSROOM - CONTINUING. Angie is reading a magazine as the students around her are working on the exam. CLEMMONS: Due to some recently discovered abuses... She's ignoring the announcement but she jumps as the exam is slapped down on her desk. CLEMMONS: ...Neptune High will no longer be honoring special exemptions or extensions for Section Eleven-twenty-three students. Angie looks up into the face of the satisfied Mrs. Murphy. INT - PHYSICS CLASS - DAY. Veronica's head is propped up on her arm but she is nodding off. MR. WU: Veronica. Veronica! Veronica jumps and pulls out the headphones. MR. WU: Do you wanna solve this problem or do you wanna sleep? Veronica walks up to the board and starts to write. DREAM: INT - BUS. It's black outside again and Veronica is writing with chalk on the window as she was writing on the blackboard, although nothing is appearing. CERVANDO: How did you get home the day of the crash? Cervando, in his bleach-stained jeans and wearing the same shirt and tie as Wu, walks towards her. VERONICA: Weevil. CERVANDO: Hey don't you that's weird? The b*mb didn't k*ll us. k*lled the driver, probably, but it was a long drop off the cliff and crashing onto the rocks that got the rest of us. FYI, I made it through that. I got to drown. Cervando holds his hand out for the chalk. Veronica warily passes it to him. CERVANDO: Say a person wants to just take out the bus driver. The chalk works for Cervando who draws a map of two parallel lines marking the road, with a wavy line above to indicate the water. He makes various X marks on the road away from the water. CERVANDO: They could do it here, here, here, basically anywhere along the way. But to get the whole bus, they'd have to know when it was approaching the cliff. He marks where the road is closest to the water and the path of the bus going off the road. CERVANDO: They'd have to be close enough to see exactly where we were. Cervando marks a spot near that point with a circle, going over and over it with the chalk. CERVANDO: Hey look. He points to the circle. CERVANDO: He's bald. VERONICA: You think it was Weevil. CERVANDO: I am God. Music: "I Am God" by the Wannabes. LYRICS: I am God. I am God. I am God. I am God. I am God. I am God. Veronica is confused. VERONICA: What? CERVANDO: I. Am. God. END DREAM. INT - PHYSICS CLASS - CONTINUING. Veronica has written "I AM GOD" on the blackboard. The students laugh at her. END PHYSICS CLASS DREAM. INT - NHS, JOURNALISM CLASS - DAY. To the amusement of the student next to her, Veronica jerks awake for real this time as the music fades on the recording on her iPod. End music: "I Am God" by the Wannabes. CAP'N KRUNK: That's our show, Pirates and Pi-Ladies. You've been listening to Ahoy, Mateys! This is Cap'n Krunk... IMITATION CRAB: and Imitation Crab... CAP'N KRUNK: Signing off saying, BOTH: Arrrr! Removing the headphones, Veronica has an idea and goes over to one of the computers. She goes to "Music on Tap." She types in "I Am God" and brings up the information. It is a song by the Wannabes and the cover is the drawing of a scythe-bearing figure of death standing over nine tombstones that she saw and has been replicating. INT - NHS, COUNSELOR'S OFFICE - DAY. REBECCA: So that's it? The tombstone art work was just an album cover? VERONICA: And Rosebud was just a sled. I didn't just ruin Citizen Kane for you, did I? REBECCA: No, no. VERONICA: Good. So, are we done? REBECCA: Well that depends. Do you think you're through being haunted? VERONICA: I better be. INT - MARS RESIDENCE - NIGHT. Veronica is dozing on the couch. She wakes when Keith enters the apartment. KEITH: I was thinking about the great advice I gave you about following the money. The money wasn't on the bus. Keith sits on the coffee table. KEITH: The rich kids were behind driving in the limo. VERONICA: So, maybe whoever crashed the bus was counting on them being on it? KEITH: Richard Casablancas took an insurance policy out on his sons three days after marrying Kendall. Dick and Beaver are worth more d*ad than they are alive. Veronica's brow furrows. DREAM: INT - BUS. A red light highlights the artwork drawn on the back of the bus seat. The camera travels past the seat to reveal Veronica staring out into the white nothingness outside the bus. MARCOS: Kind of disappointing, huh? Veronica looks back. Marcos is a couple of rows behind her. MARCOS: Not a su1c1de thing, just a...song I liked. That brings us back to you. VERONICA: To me? Through the windows the outside takes on the appearance of the bus falling through clouds. MARCOS: It's a fun exercise. Probably a little comforting for a while, thinking it's someone else's fault. But it's not, is it? We died because of you. Oo, what do you think this means, Veronica? He holds up a drawing pad on which is a parrot in a captain's cap with a speech bubble that says, "Draw Me!" The drawing is in the style of the graphics on the "Ahoy, Mateys!" website. MARCOS: Think I got what it takes for art school? Marcos looks out of the window. The bus is now plunging through thinning clouds to the ground. MARCOS: Crap. A cell phone starts to ring. Marcos takes it out of his pocket and stares at the caller ID. MARCOS: It's for you. He hands it to her. Veronica, her eyed glazed with tears, is hesitant but takes it. She looks at it. It stops ringing as from the back of the bus, Rhonda starts to leave her last message. RHONDA: Where are you, loser? Next to Veronica is a bag containing two sticks of C-4 with some wire leading over two baseballs. Veronica stares down at it in quiet panic. The cell phone in her hand starts to ring again. Veronica looks down at it and swallows hard. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x18 - I Am God"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars Kendall glides out of Casa Casablancas in a bikini carrying a cocktail in 201 "Normal Is the Watchword." BEAVER: [offscreen] It's my stepmom. Beaver and Veronica walk across the empty lunch area at Neptune High in 203 "Cheatty Cheatty Bang Bang." BEAVER: She’s a gold-digger. Duncan comes out of the shower to discover Kendall sitting naked on his bed in 207 "Nobody Puts Baby in a Corner." BEAVER: [offscreen] And it's obvious to everyone else in the world... In Clemmons office, Veronica holds the etched paddle in 213 "Ain't No Magic Mountain High Enough." VERONICA VOICEOVER: Mrs. Hauser may have seen an ill-conceived cutting board. Veronica copies the paddle. VERONICA VOICEOVER: I saw tagging. I saw code. Veronica interrogates Dick in the lunch area in 218 "I Am God." VERONICA: Tell me about you and Betina. DICK: She had nothing to be scorned about. I even gave her a Shark's memorabilia gift bag. Cut to Veronica's dream of being on the doomed bus and Cervando's drawing on the window. CERVANDO: To get the whole bus, they'd have to be close enough to see exactly where we were. Cervando emphasizes a circle by drawing over it again and again. VERONICA: You think it was Weevil. Aaron is visited in prison by Kendall in 215 "The Quick and the Wed." AARON: You're cash-strapped. I can help. But quid pro quo, Mrs. C. In Duncan's shower, Kendall takes out tweezers and lifts a hair from the drain. AARON: [offscreen] Quid pro quo. Weevil mugs Thumper in 217 "Plan B." THUMPER: [offscreen] It's Weevil, I'm telling you! He set me up! At Shark Field, Thumper, handcuffed to one of the urinals, unsuccessfully appeals to Liam's self-interest before being gagged. THUMPER: I got something on you-- Outside, Logan pushes down the plunger. expl*si*n follow. In a church, Weevil is in the confessional. WEEVIL: Bless me, Father, for I have sinned. End previouslies. INT - LAWYER'S OFFICE - DAY. A glass is being filled with water from a pitcher. LAVOIE: [offscreen] Would you like me to repeat the question, Miss Mars? The camera pulls back to reveal the pourer, Cliff, and the beneficiary, Veronica, who takes a drink from the glass. They are sitting side by side at a large conference table. Law books fills the bookshelf behind them. VERONICA: Could you? They are sitting opposite a smartly dressed lawyer. He speaks slowly and patiently. LAVOIE: You said you saw Mr. Echolls and Miss Kane having sex on the videotape. VERONICA: That's right. LAVOIE: The actual act of intercourse? A transcriber is taking down the evidence on a stenographic machine. VERONICA: A sheet was covering them, but the motion of their bodies suggested copulation. LAVOIE: It just looked like sex. VERONICA: And sounded like sex. LAVOIE: Is this an area you have a particular knowledge in, Miss Mars? CLIFF: [warning tone] Mr. Lavoie-- LAVOIE: Well, she said it looked as though they were having sex. I need to make sure she knows what sex looks like. CLIFF: I'm sure Ms. Mars has had the required sexual education course provided by Neptune High School. VERONICA: I got an A minus. Plus, I watch Animal Planet. Lavoie leans forward, lowering his voice but making it harsher at the same time. LAVOIE: Statutory r*pe is a grave accusation. Veronica is unfazed. VERONICA: Not to a m*rder. LAVOIE: I just have one more questions, Miss Mars. He takes a quick glance at Cliff. LAVOIE: Are you still keeping in touch with Duncan...Kane? Veronica just stares at him. INT - MARS RESIDENCE. Veronica puts a plate into the microwave. She punches in the timer and sets it off as Keith enters the apartment. KEITH: Prepare to have your mind blown. Keith, excited, sets his briefcase down on the counter seat. KEITH: Are you ready? VERONICA: Think back eighteen years: small, blonde, baby. Born ready. KEITH: Richard Casablancas was using the life insurance they'd taken out for Dick and Cassidy as a tax shelter. The payout on their policies is over eight figures, and here's the kicker: The beneficiary should both brothers die simultaneously? Kendall Casablancas. VERONICA: The wicked stepmother trying to bump off her rich husband's spawn. That's a Disney movie, isn't it? KEITH: She certainly had motive. It's her capability I'm not sure of. Veronica ignores the ping of the microwave and pours herself some orange juice. VERONICA: I wouldn't underestimate her capabilities. She went from Spandex to cashmere pretty fast. KEITH: I think I'll poke around, see what she was up to the day of the crash. Keith goes to his room as Veronica drinks her juice. INT - NEPTUNE HIGH SCHOOL (NHS), CLASSROOM - DAY. The biology teacher is taking attendance. Outside the classroom, locker searches are in progress. TEACHER: Benita Graham. VERONICA VOICEOVER: Ransom locker searches. A bummer for the unknowing students caught with loot. TEACHER: Mark Grigsby MARK: Yo. Veronica's bag, on the table in front of her, is so stuffed full that she struggles to pull out her notebook. TEACHER: Iris Huezo. IRIS: Here. Veronica gets her notebook and grimaces with the effort of putting the heavy bag on the floor. TEACHER: Veronica Mars. VERONICA: Here. TEACHER: Eli Navarro. Weevil, seemingly asleep at the table behind Veronica, throws up his hand, then rests his head back in her arms. TEACHER: Eli! I think it's time for you to feed Buddy. Cut to a rat in a box. Weevil takes it by the tail. WEEVIL: It's breakfast time. He carries it over to a large, dry aquarium with sand and small pebbles on the bottom. WEEVIL: Come and get it, girl. There are various reactions in the class as a large python responds to Weevil lifting the top of the aquarium. With some relish, Weevil drops the rat into the aquarium. Veronica winces as the rat's squeals are abruptly cut off. Weevil leans over the aquarium, making kissing sounds. WEEVIL: Someone was hungry, huh? VERONICA: Someone is baby-talking a python. WEEVIL: Yeah, we got a special connection, me and Buddy. He taps his chest. WEEVIL: Top of the food chain. VERONICA: Well, on behalf of nature, thank you for doing your part in the circle of life. Weevil stares into the aquarium as he responds. WEEVIL: Hey. I got no problem sacrificing a rat. He has a small smile on his face. Behind him, Veronica's eyes narrow. INT, NHS, HALLWAY - DAY. Reading from one of her notebooks, Veronica slams her locker shut and starts to walk up the hall. She glances to her left. A student is standing in the hall staring at her as others pass by him. Veronica frowns and keeps going. She looks back over her shoulder as she walks towards Mac, who is banging her head slowly against her locker. There's a notice from Principal Clemmons taped to it. Veronica's eyes widen as she slows to join Mac. VERONICA: Mac att*ck, what's the haps? Mac halts her self-abuse and turns to face Veronica, refusing to appreciate the quip. MAC: I got mugged. By my own principal. They took my cell phone interceptor and apparently plan on keeping it until the end of the year. What happened to end of the day? Why wasn't that working? VERONICA: Everyone still kept bringing in their cell phone interceptors? MAC: Is there any chance you can get it back for me? I borrowed it from my buddy at Radio Shack, because apparently I've become a psycho ex-girlfriend and I wanted to listen to Beaver's cell phone calls. Veronica gives her a long look. MAC: You're judging me. VERONICA: No. I'm judging myself. Why don't I have a cell phone interceptor? MAC: Please, respect the business model, Veronica. I do the gadgets. You do the actual espionage. VERONICA: I'll see what I can do. Veronica nods and goes on her way. INT - NHS, ADMINISTRATION OFFICE - DAY. A car alarm can be heard and a woman races out of the administration office, car keys in hand. VERONICA VOICEOVER: I don't know if waiting for Clemmons to go to lunch qualifies as espionage... Veronica is sitting outside the office, head down as the woman passes her. VERONICA VOICEOVER: ...but setting off his secretary's car alarm, pure Bond. Once the secretary is gone, Veronica grabs her bag and goes into the office, heading straight for Clemmons' door. She takes out her large ring of keys and puts one in the lock. Nothing happens. VERONICA VOICEOVER: He changed his lock? Man, he's gotten paranoid! INT - NHS, CLASSROOM - DAY. Veronica waits as a class lets out. She watches as the students file out one by one. She straightens up when she sees Butters. VERONICA: Hey! Vincent! I was hoping you could do me a favour. He's not pleased to see her. VERONICA: That box of confiscated items in your dad's office? The locker search booty? BUTTERS: Yeah? VERONICA: I was hoping you could help me get something out of it for my friend Mac. He shrugs as they walk up the hall. BUTTERS: What's in it for me? VERONICA: You get to stick it to the Man, and by “the Man,” I mean your dad. BUTTERS: I get to do that plenty. I do need a prom date though. VERONICA: I am not going to prom with you, Butters. Veronica halts and he turns to face her, offended. BUTTERS: I wasn't asking. VERONICA: So what? I'm supposed to go out and find you a prom date? BUTTERS: I wanna go with your friend, Mac. Veronica smiles mischievously. VERONICA: I think that can be arranged. Butters smirks. BUTTERS: My dad always has bus circle duty immediately after the last bell of the day. Meet me in his office. Butters moves off and Veronica blesses her luck. INT - CLEMMONS' OFFICE - DAY. Veronica and Mac stand outside the closed door. Veronica taps three times, very slowly. Butters opens the door. BUTTERS: That was your secret knock? VERONICA: The genius is its simplicity. He throws open the door and Veronica and Mac enter. BUTTERS: We have exactly eleven minutes before my dad gets back. He shuts it behind him and points to a box under a desk against the wall. BUTTERS: The box is under there. Veronica pulls out the box and starts to search through it. MAC: Wow, Butters, this is-this is way cool of you. BUTTERS: Just so you know, I'm an excellent dancer. Veronica, who clearly has not told Mac the deal she struck with Butters, looks up sharply from her search. BUTTERS: So don't worry about that. Mac is bemused. MAC: Oh. O-kay. I'll try not to. She gives him a puzzled look, wondering if he is crazy, then looks down at Veronica. BUTTERS: Well, I don't have to dance though. I enjoy it, but I also enjoy a good conversation. Veronica decides that a diversion is in order and holds up a plastic bag. VERONICA: Look! Fake vomit. Courtesy of locker... She checks the tag attached to the bag. VERONICA: ...two-thirteen. She picks up another bag. VERONICA: And whoever is in locker seven-ninety-two is sans one "Smell It Bitch" t-shirt. Mac grins but Butters is on a roll. BUTTERS: So, Mac, what colour dress are you wearing? MAC: I'm actually wearing pants. Butters laughs loudly. Mac is taken aback. BUTTERS: Right. I just don't want the corsage to be, like, blue and the dress is red and you think I'm an idiot. Veronica, who has found something that interests her in the box, sneaks a worried look at Mac, who has finally cottoned on to events. She looks down at Veronica, deceptively calm. MAC: Veronica? Veronica's ready for her, stuffing the bag that interested her under her arms and pulling out the interceptor. VERONICA: Oh, your cell phone interceptor! Mac isn't placated and continues to stare at Veronica with a sick face. Veronica gives a nervous laugh and pushes the box back under the desk. Veronica stands and hands Mac the interceptor. Veronica pulls the bag from under her arm and turns to Butters. VERONICA: Do you mind if I give this Anarchist Cookbook back to Weevil? BUTTERS: You know his locker number? Veronica holds out the tag which is marked #333. VERONICA: Who else would brag about meeting Satan halfway? BUTTERS: Fine. Veronica leaves. Butters turns back to the terse Mac. BUTTERS: I'm thinking white limo, if that's cool. Mac just stares at him. EXT - NHS, CAR PARK - DAY. Weevil slams down the boot on his car. He heads around to the driver's door only to see Veronica leaning back against the bonnet. WEEVIL: Wow. You know, you look exactly like this calendar in my uncle's garage. Now hop your ass off before you scratch my paint. Veronica straightens up and off the car, although her bag is still lying on the bonnet. VERONICA: You seen Thumper lately, Weevil? It's just nobody's heard from him in weeks. He doesn’t show up soon, he's gonna miss prom. WEEVIL: Yeah? Well, uh, I'm sure he's crushed. Weevil laughs at his private...ish joke. He takes his key and aims it at the driver's door. VERONICA: So, I found this in Clemmons office. She holds up The Anarchist Cookbook. He pauses then walks towards her. VERONICA: According to the note, it was confiscated from your locker the first week of school. Any particular reason you needed the The Anarchist Cookbook. WEEVIL: Yeah. I tried making the Survivalist Stew. Didn't much care for it. VERONICA: Yeah, on top of the stew, it's also a manual for making b*mb in your basement. WEEVIL: Wait a minute. Just so we understand each other, [suddenly aggressive] are you accusing me of bl*wing up the bus? VERONICA: I'm exploring a theory. You didn't just happen to be at the gas station out on the PCH. You were following us, Weevil. The expl*si*n didn't k*ll those people. The drop into the ocean did. Who else could've timed it like that? You could've h*t send on your cell phone, blown up the bus without me even knowing it. WEEVIL: Except why would I blow up a bus with one of my boys on it, huh? VERONICA: You didn't mean to. You and Cervando meant to take out the limo. You, Mr. I-Sacrifice-Rats, even put a d*ad one on the bus to force the rich kids into it. WEEVIL: And what? We got the big yellow bus and the long black limo confused? VERONICA: Nope. You put the b*mb in Dick's goodie bag. You didn't realise he gave his bag to Betina. WEEVIL: You really think any of those 09ers was worth all that effort to me? VERONICA: Logan was. WEEVIL: He wasn't even there. VERONICA: He was supposed to be. Are you telling me you wouldn't off the guy who k*lled Felix? Weevil stares at her, darkly. Veronica nods, satisfied that she has read him right. VERONICA: Well, at least you got it right with Thumper. Weevil looks down. Veronica slaps and holds his arm. VERONICA: That makes you top of the food chain again, right Weevil? Veronica stares hard at him and then walks off. He stares after her. Opening credits. EXT - NHS, LUNCH AREA - DAY. Veronica is sitting at a table on her own, eating her lunch. The boy who was staring at her in the hallway stumps up the steps behind her. He approaches her slowly and hesitantly, standing behind her. Veronica senses his presence and speaks without turning around. VERONICA: You've been following me. HARRY: I hear you can find stuff. VERONICA: Sometimes, for a fee. HARRY: I want you to find the owner of a car. Harry finally sits down at the table and faces Veronica. HARRY: My, uh...my dog Apache. Someone ran over him. They swerved right onto the lawn and, uh, they k*lled him. VERONICA: That really sucks. I'm sorry. Harry breaks down a little, burying his face in his hand. HARRY: I heard tires skid, and I caught a glimpse of the back of the car. Harry collects himself. HARRY: How much would you charge to track it down? VERONICA: Depends. Fifty bucks if it's easy online stuff. If I really have to dive in, it could run you two fifty. HARRY: It there anyway I could pay you with meat? VERONICA: Meat? INT - NHS, JOURNALISM CLASS - DAY. A book lies open, showing pictures of custom cars. HARRY: [offscreen] Best times of my life were with that dog. He loved to go hunting. Loved it. A page is turned in the book to show a Plymouth Barracuda. HARRY: That's it. A hand taps the page. The camera pulls back to show Harry and Veronica poring over the book, sitting at the central table. HARRY: [offscreen] Except it was green. VERONICA: Okay. Green Plymouth Barracuda, 1970 to '73. Good news, Harry. Don't see a lot of 'Cudas except on Nash Bridges reruns. Veronica moves over to one of the computers at the side of the room. VERONICA: Now let's see exactly how many are registered in Neptune. Harry pulls a chair over to sit behind her as Veronica types the make and colour of the car into PryingEyez. The response is "No results found." VERONICA: Exactly none. HARRY: But you'll keep looking. Veronica gazes at him sympathetically. VERONICA: I will. Cut to later. Harry is gone and the Navigator team is in session. The editor, Jack Artman according to the credits, is freaking. JACK: Can no one find Bob Patton? He owes me a ten inch story on the high price of graduation. Veronica, you mind digging up a generic student life photo, any photo? We've got a hole to fill. Jack points to a mock-up of the newspaper on a computer screen. It's for the April 20th edition and taking up the bottom third of page file is a box marked "Pricey Graduation Story Goes Here." Veronica looks over at the screen. VERONICA: How much would it be to buy an ad that size? JACK: Forty bucks. Veronica's eyes light up. INT - NHS, HALLWAY - DAY. Jackie approaches Veronica at her locker. JACKIE: Veronica. I've got a, uh, favour to ask. VERONICA: Who doesn't? Jackie laughs. JACKIE: I was hoping you could put in a good word for me at the Hut. I already dropped off an application. VERONICA: Like, for a job? Jackie nods. Veronica is sceptical. VERONICA: Please, Jackie. Six seventy-five an hour isn't going to keep your dog in sweaters. JACKIE: The Cook family assets have been frozen, the only company at home are repossessors. VERONICA: Okay. I'll see what I can do. Jackie smiles and swings around to walk away and cut to... INT - JAVA THE HUT. ...a waiter who swings around with a tray of used dishes. He places the tray on the counter, where Veronica is at the till. The Cute-as-a-Bug Manager walks in behind her. VERONICA: Oh, hey, um. I know you're looking for another waitress. The manager nods. CUTE-AS-A-BUG MANAGER: Um. VERONICA: Um, someone I know...a friend, dropped off an application. Her name is Jackie. CUTE-AS-A-BUG MANAGER: Got a whole stack of applications. Your friend has no experience. None. She's never held a job. VERONICA: She could really use it. CUTE-AS-A-BUG MANAGER: You'll vouch for her? If she sucks, you'll f*re her? Veronica thinks for a moment. VERONICA: Yeah. CUTE-AS-A-BUG MANAGER: She can start tomorrow. INT - MARS RESIDENCE - NIGHT. Veronica enters the dark apartment. Keith is on the settee, his head lying back, holding some papers. VERONICA: There's no way you're working that hard. You heard me coming and turned off South Beach, didn't you? Keith grins before consulting the papers in his hand. KEITH: Can you think of any reason Logan Echolls would have gotten three calls from Kendall on the day of the crash. Veronica slowly drops her bag. VERONICA: Well, let's see. She sits next to him on the couch. VERONICA: I believe the Latin term is coitus sordidus. KEITH: They were sleeping together? Veronica nods. KEITH: That was weeks before Kendall's husband fled the country. VERONICA: Logan may be a little fuzzy on the Commandments. KEITH: Wow. And you knew about this? VERONICA: Not at the time. KEITH: You think you could stomach finding out if Logan happened to be with Kendall at the time of the crash? Veronica doesn't look enthused. EXT - NHS, CAR PARK - DAY. Veronica waits. Logan walks around the Xterra, having just parked and disembarked. He sees her waiting for him. LOGAN: As a rule I like to start every school day with a hot blonde waiting for me in the parking lot. VERONICA: Me too! They walk towards the school together. LOGAN: I'm not blonde. VERONICA: Or hot. LOGAN: Mm. VERONICA: Got a question for you. Remember back when you were doing the deed with Dick's stepmom? LOGAN: Hm, vaguely. I remember she thought I was hot. VERONICA: Were you with her on the day of the crash? You two talked on the phone a few times that day. LOGAN: Man, you're obsessed with my sex life. Do I need to start carrying around a webcam from now on? Veronica pulls to a stop and warns him. VERONICA: Logan! LOGAN: Day of the crash, day of the crash...uh. I'd really have to consult my Feelings Journal to be sure. VERONICA: Kendall stood to make millions by sending Dick and Beaver over that cliff. There was an insurance policy. LOGAN: Kendall requires a domestic staff to make cereal. You think she could really plot a m*rder? VERONICA: Were you with her at 7:03? LOGAN: No, actually, she kicked me out before the sheets were dry. But considering her husband's fondness for g*n and the fact that Dick and Beaver could come home at any minute, who could blame her? Anything else? Veronica shakes her head. LOGAN: Oh. I, uh, I got to second base with Tammy Forrester in eighth grade in Duncan's closet. Veronica rolls her eyes and walks past him into the school. Logan continues, addressing her back. LOGAN: And last summer, I made this townie girl moan without even using my hands. Is any of this relevant? Should I make a list? INT - NHS, HALLWAY - CONTINUING. Veronica walks through the metal detector into the hall. GIA: [offscreen] Veronica! Veronica glances to her right. Gia hurries up to her, holding up a copy of the Neptune Navigator. GIA: You placed this ad, right? Gia shows her page five where, in place of the hole for the graduation story is an ad that says: "Have you seen this car? Reward! Please email any information to: [email protected]." There is a picture of a Barracuda illustrating the ad. GIA: This is your email. VERONICA: Yeah. GIA: I've seen this car. This car mooned me. Or at least some guy in the car did. VERONICA: Where, when? GIA: September 13th, 7 pm, Pacific Coast Highway. VERONICA: Gia! GIA: It passed by our limo just a few minutes before the bus went off the cliff. VERONICA: So you're saying a green Barracuda passed you guys in the limo? GIA: Yeah! I mean is this a Barracuda? I'm not a car person. VERONICA: Yes. What did the guy look like? GIA: All I saw was his butt. He gave us a pressed ham as they drove by, or, should I say, gave me, and I was the only one in the limo facing that direction. I just figured they were a couple of stupid college kids. VERONICA: Why's that? GIA: They had this mascot sticker in the side window. VERONICA: How long before the crash was it? GIA: A few minutes. And I only remember because I was on the phone with my dad. He was calling to see where I was to make sure I was able to pick up Rodney after his piano lesson. VERONICA: Thanks. Veronica, her face troubled, leaves Gia. Elsewhere in the hall, Wallace is standing in the hall, talking to Jackie. WALLACE: Okay, I-I tried. It doesn't work. You want us to do this platonic thing, you gonna have to make some adjustments. Jackie laughs. JACKIE: Like what? Wallace looks down her body. WALLACE: Like that. He looks up at her newly straightened hair. WALLACE: And this. JACKIE: What do you want me to do, Wallace? My burkha's at the cleaners. WALLACE: Let me drop this dumb "pals" act. JACKIE: Wallace, I told you. WALLACE: It's been two weeks. It's like a decade in high school years. Jackie laughs. WALLACE: Jane's got a date this weekend. Why you so worried about what other people think? I mean, you're already that girl whose dad blew up the kids. Think anyone's out there saying, "Yeah, but at least she keeps her hands off of other girls' ex-boyfriends"? Jackie freezes. JACKIE: Thanks for breaking it down, Wallace. She leaves him standing. WALLACE: Hey, come on. You know what I'm trying to say. EXT - HARRY'S HOUSE - DAY. The LeBaron pulls up outside a modest home. Veronica gets out of the car and walks up to the house, noting the tire marks near an empty dog kennel and secured chain in the front yard as she passes. She rings the bell. Harry's younger brother, Billy, answers the door. He is sporting a black eye. BILLY: Yeah? VERONICA: Hi, I'm Veronica. BILLY: Yeah, you go to Neptune, right? You're, like, a cheerleader or something? VERONICA: Or something. Can you tell me where I can find Harry? He looks her up and down. BILLY: What'll you give me? VERONICA: Two bits, four bits, six bits, a dollar? And as a bonus, I won't b*at you silly. Billy laughs. BILLY: I might like that. Veronica flicks her finger on his black eye. BILLY: Ow! Billy cringes back in pain. VERONICA: No, I don't think you would. BILLY: He's out back. Veronica walks down the steps of the house and around the back. Antlers decorate the rear of the garage. Harry has a bow and arrow and is taking aim. He lets the arrow fly. It hits the target set in the body of a full-sized fake deer. VERONICA: I hate fake deer too. Every time I see their stupid fake deer faces I wanna grab a g*n and go all Cheney on 'em. Harry loads his bow with another arrow from the many he has in the quiver in front of him. HARRY: So, did you find the guy? VERONICA: Not yet. Just a small lead. Maybe. HARRY: But you will find him, right? Harry lets another arrow fly. It hits the target, as have all his other arrows. VERONICA: Do you have some deep-seated deer issues you wanna talk about? HARRY: Nope. I love animals. VERONICA: They're delicious, right? Ha, ha. HARRY: So you said there was a lead. Another arrow joins those in the middle of the target. VERONICA: Uh, sort of. Do you remember, on the car, was there a sticker on the window? HARRY: I dunno, there might have been. It was pretty dark. Is it important? VERONICA: Uh, I dunno. It could be nothing. HARRY: I really want this guy found. He aims and hits the deer in the eye. Veronica gets that he really wants the guy found and that once he is, an arrow is likely to be close behind. INT - GARAGE - NIGHT. Weevil is working under a car. The radio is playing (music not identified). Feet can be seen approaching the car. Weevil notices and rolls out from under the car. He looks up at his visitor and sits up. WEEVIL: You here to start somethin', dawg? The visitor is Hector, who takes a step towards him. Weevil pushes himself off the trolley and stands. WEEVIL: Why doncha let me wash up beforehand. Unless you don't mind grease around your throat. HECTOR: We made a mistake. WEEVIL: A mistake? So you come here 'cause you think you can take it back? Weevil smiles and turns his back, heading towards the radio. HECTOR: 'Cause it's all I can do. Weevil turns the radio off but doesn't turn back to Hector. HECTOR: It's the Fitzpatricks, Weevil. They been all over us. Just treatin' us like they bitches. WEEVIL: My guess would be that's because you are their bitches. HECTOR: It's just been getting worse, man. We need help. WEEVIL: You still here, Hector? HECTOR: You remember Arturo? That freshman you wouldn't let join up? He got a cigarette lighter to his face when he missed a payment. People are gonna die, Weevil. Your people. Thought you should know. Hector turns and walks out of the garage. Weevil, still facing the radio, doesn't respond. INT - MARS INVESTIGATIONS (MI) - DAY. Veronica is looking at Classically Used, a site specialising in custom classic cars. Keith enters the office. VERONICA: Hey, Dad. Keith, excited, is carrying a yearbook from 1994. He drops his briefcase and hurries to stand by the desk, holding up the yearbook. KEITH: Okay, honey. Now prepare to be impressed. VERONICA: Dad, you've shown me your yearbook. The whole Rick Springfield feathered hair thing, it looked awesome on you. But those days are over, and it's time to move on. KEITH: Um. He puts the yearbook on the desk next to her. KEITH: This is Kendall Shiflett's high school yearbook. VERONICA: And she was named "Most likely to commit m*rder for profit"? That'd really support our latest theory. KEITH: Page eighty-seven. I marked it. Veronica picks up the book and goes to the marked page. Keith points her to a block of pictures. There are four rows with five pictures each. The names are down the left-hand side: Abby Schwartz, Judy Scrivano, Fern Sedino, Jacob Seideman, Robin Selby, Alfred Sharp, Kendall Shiflett, Parker Short, Jane Sierra, Franklina Silver, Phyllis Skiencars, Jake Smith, Craig Smith, Amy Smith, Lucy Smith, Fern Sedino, Alfred Sharp, Tammy, Joan, Patricia, Todd, and Margot. On the opposite page, the caption on a picture refers to Kim and Chuya. Veronica's finger runs along the second row to find Kendall Shiflett (note the different spelling from that in 203 "Cheatty Cheatty Bang Bang." The picture is not of the Kendall she knows. VERONICA: Hello, weird hairdo girl who is not Kendall. KEITH: Gets weirder. Keith reaches over and turns the pages back to another marked page. In between pictures of Debbie S. Bankhead and Boyd K. Baker, is a picture of a young Kendall, the caption of which reads: Priscilla Banks. VERONICA: Priscilla Banks? A senior? I don't get it. KEITH: Neither did I until I found this. Keith produces a newspaper report: "15 year-old girl k*lled in car accident. Shelby, Tn = A single-car accident outside Shelby yesterday claimed the life of one area girl and sent another to the hospital with minor injuries, county sheriff's deputies said. According to accident reports filed last night, Kendall Shiflett, 15, was a passenger in a 1990 Vixen Elixir station wagon driven by Handley High School senior, 17-year-old Priscilla Banks. The car was south-bound on Provencal Road when Banks apparently lost control, sending the vehicle into a roadside ditch and ejecting Shiflett, who was pronounced d*ad at the scene. Shiflett, according to reports, was not wearing a seat belt, and the car's passenger-side air bags did not deploy. Clete County Sheriff's Deputy, Officer Christopher O'Donnell, reported that Shiflett died of massive head trauma, and that had she been wearing a seat belt, it is likely that she would have escaped serious injury. He blamed wet road conditions for the crash, but said the investigation is still continuing. O'Donnell had no comment on whether Banks would be charged with anything. "At this period, it appears to be a tragic accident, not a crime. But until our official investigations are complete, I cannot disclose any more information." At Handley High School this morning, students were remembering Shiflett as an energetic go-getter with a passion for horses and a talent for creating ceramic figurines of classic cartoon characters. "She absolutely loved Space Ghost," her friend Jennifer Bradbury told reporters. "She made amazing replicas of Zorak and Moltar." Other...Handley High school Bradbury's recollections. Shiflett, one teacher recalled, was outgoing and friendly, "the person most likely to give you a handmade card for your birthday," teacher Jean Scribeer recalled. "She was so crafty and artistic." Few students or teachers had comment to make about Priscilla Banks, the driver of the car in which Shiflett was k*lled. School officials refused to provide information, and Banks' friends said only that she was "upset and wanted privacy." This is the first loss of a student at Handley High since the tragic underage-club f*re that gutted The Shard nightclub, k*lling fourteen Handley students. Wounds are still fresh from that tragedy and this crash may bring some traumatizing memories back. Services for Kendall Shiflett are scheduled for Saturday at noon at Stefan Memorial Chapel on Lehrman Road. In lieu of flowers, the family requests... VERONICA: The real Kendall Shiflett is d*ad. KEITH: And even weirder still? Miss Banks, our fake Kendall, was at the wheel when she was k*lled. VERONICA: The lengths a woman will go to to shave a few years off her age. KEITH: Or the name change had something to do with the six months she spent in prison for wire fraud. Keith points Veronica to a rap sheet. That shows Priscilla Banks' picture, fingerprints, description, and criminal record. The description lists her as aged 22, born in California, height 5'11", weight 130, white, and a brunette with fair complexion and blue eyes. Her criminal record relates to Wire Fraud dated 04-06-1999. KEITH: Rather interesting, huh? Veronica hears a ping and looks up at her laptop screen. There is an instant message from "AnonCuda411" which reads: "That green car you're looking for? Paypal me the reward and I'll send address. Strictly anonymous." In the meantime, Keith is proud of himself, tapping on his chest. KEITH: Admit it! The old man's got some P.I. chops. Veronica, more interested by what's on her screen, smiles indulgently. She accepts the instant message. She responds: "What's your email address?" Keith is not impressed that she is not duly impressed. KEITH: Well, I thought is was some pretty sweet detectiving. Veronica ignores him and writes something down. VERONICA: I gotta run. I just got a lead on a Barracuda that ran over a classmate's dog. Veronica rips off the sheet of paper, collects her bag and leaves the office. EXT - NEPTUNE STREET - DAY. This is the poorer part of town. The LeBaron pulls up outside 2126, a house marked by peeling paintwork. Veronica knocks at the door. VERONICA VOICEOVER: It now occurs to me that a bat or a large stick might have been a good idea, given the profile of your average muscle-car-driving, ass-flashing, dog-m*rder-- The door opens, revealing an old woman in dark glasses. MARY: Who are you? VERONICA: Uuuuh, hi! I was just wondering if you've seen a green muscle car around the neighbourhood. A Barracuda? MARY: Young lady, I haven't seen anything... She takes off her glasses to eyes blinded by cataracts. MARY: ...since my cataracts came back. VERONICA: I'm sorry. I... MARY: What do you want with my car? VERONICA: Wow. It's yours. The woman nods. VERONICA: It's just that my dad is super into them and he's always talked about getting a souped-up 'Cuda. MARY: That car belonged to my dear, departed husband, bless his soul. And it's staying right where it is in that garage until they carry me out in a box. Now, excuse me, but I'm missing Vanna and Pat. The woman shuts the door. Veronica looks over at the garage and then around to see if she's being watched. VERONICA VOICEOVER: And what enjoyment, exactly, do the blind get out of Wheel of Fortune? She heads for the garage. INT - GARAGE - DAY. Veronica opens the door and enters. The Barracuda is there. She runs her hand along the side of it, stopping at some stickiness on the back window. She grabs some Chalk-Line from one of the shelves and squirts it over the lower corner of the window. She spreads the substance over the area. The outline of leprechaun appears. Veronica climbs into the car and places a bug inside the instrument panel. She opens the glove compartment. She stares in horror at the g*n inside. INT - MI - DAY. Keith is in his office, on the phone, waiting for someone to pick up at the other end. BANKS: [on phone] Hello? KEITH: Hello, Mr. Banks? BANKS: [on phone] Yes. KEITH: This is Terry Whittaker calling from the Handley High Alumni Association. We're planning the big reunion and we're having some trouble locating Priscilla. Um, we'd sure like to track her down. BANKS: [on phone] Well, so would we. KEITH: Sorry? BANKS: [on phone] Last we heard, she was living in Neptune, California. I only know 'cause she sent her ma a Get-Well-Soon card a few months back. KEITH: Did you happen to keep the return address? BANKS: [on phone] There wasn't one. I guess she didn't want us writing her back. KEITH: Well, thanks for your time, Mr. Banks. BANKS: [on phone] You find her, you mind telling her her mom passed on? Veronica is working in the main office. She looks up at a knock on the door. It's Weevil. VERONICA: You here to confess? Is that your tail I see between your legs? WEEVIL: No. But I can see how you might get confused. I need you to get me into Clemmons' office. Veronica looks up at him innocently. WEEVIL: Look, I know you got a key. You spend as much time in there as he does. VERONICA: You want my help? You're gonna have to answer a few questions for me. First, what do you need out of Clemmons' office? WEEVIL: A paddle. It belonged to Thumper. Clemmons confiscated it. Weevil takes the seat in front of Veronica's desk. VERONICA: "Belonged"? Interesting use of the past tense. What's so special about this paddle? WEEVIL: I saw it when I dumped the carnival cash in Thumper's shop locker. It had license plates engraved on it. I'm guessing that those plates belong to the people he was delivering product to for the Fitzpatricks. He probably made it as some kind of insurance policy. VERONICA: How's that working out for him? WEEVIL: Look, the Fitzpatricks have turned the PCHers into sl*ve labour. There's nothing those guys won't do to ensure timely payment. thr*at, beatings, t*rture... That paddle, if it is what I think it is, it's serious leverage. VERONICA: Fair enough. Second question. Why were you following the school bus the day of the crash? WEEVIL: Cervando. I loved the guy, but he was book-smart and street-dumb. He was telling anybody who'd listen how he'd hustled Liam Fitzpatrick and word was out that Liam was looking for him. I had his back, just in case. You believe me? VERONICA: How could I not when you're battin' those Maybelline lashes at me? Steps can be heard coming out of Keith's office. VERONICA: Hey, dad. KEITH: I'm heading out, honey. See you at home soon? VERONICA: I have a shift at the Hut. KEITH: Lock up, would you? Veronica nods. Keith's smile drops as he looks down at Weevil. KEITH: Eli. WEEVIL: Sheriff. Keith exits. Weevil stands. WEEVIL: Key please. Veronica opens her desk drawer and gets out her large ring of keys. She selects one and threads it off the ring. She hands it to Weevil. VERONICA: Keep it. WEEVIL: Seriously? VERONICA: Yeah. Clemmons changed his locks. It's worthless. Veronica drops the keys back in the drawer and pulls out a sheet of paper as Weevil bitches. WEEVIL: What! You make me jump through all your hoops just so-- VERONICA: Lucky I have a copy of this, huh? She shows him the copy of the paddle. Weevil drops the redundant key on the desk and shakes his head. WEEVIL: You're unbelievable. VERONICA: What do you say we figure out who some of those fine folks are? INT - JAVA THE HUT - NIGHT. Jackie is serving and doing a good job of it. JACKIE: Okay, two turkeys. You wanted decaf, right? You okay? CUSTOMER: Thanks. VERONICA VOICEOVER: What a relief. It seems I wasn't lying about Jackie's waitressing skills. Veronica is watching from the counter. VERONICA VOICEOVER: Nice to see all those Manhattan ballet lessons finally pay off in the service industry. Cut to a little later. Jackie is pinning an order at the kitchen hatch. Veronica approaches. VERONICA: Hey, Jackie. Um, table eight requested to sit in your section. Jackie heads for the table. It's Wallace. Jackie hesitates before getting close enough to talk. WALLACE: Hey. JACKIE: Hey. WALLACE: Look. What I said to you at school… JACKIE: Don't worry about it. WALLACE: I can't help myself. I'm worried. I didn't mean for it to come out like that. What I was trying to say was if it's really your own reputation that you're worried about, then I hope you can get past that. But if it's not about your reputation, if it's just that you don't, you know, feel the same way about me that I feel about you, then I'll understand and I'll back off. JACKIE: It's not that. I like you a lot, Wallace. Too much, I think. WALLACE: Then the hell with what anyone else thinks. JACKIE: I've been accepted to the Sorbonne. WALLACE: Hey, that's great! JACKIE: It's in Paris. I leave the day after graduation. What does that give us, five weeks? Just enough time to get our hearts broken? There's no happy ending out there for us. Wallace leans back in his seat and sighs. A little later, Veronica brings some empty cups to the counter. She checks under the counter where she has set up her laptop, displaying the tracker. The red dot is moving. VERONICA VOICEOVER: The Barracuda is on the move. Veronica rushes over to Jackie. VERONICA: Sorry to ask you this on your first night, Jackie, but can you cover my tables until closing? JACKIE: Sure, no sweat. VERONICA: Thanks. I owe ya. Veronica turns to make a speedy exit. EXT - NEPTUNE STREETS - NIGHT. The LeBaron pulls up at the side of the road at an intersection. Veronica watches the tracker. VERONICA: Wait for it. The Barracuda crosses in front of her. Veronica turns right to follow. She adjusts the radio to pick up the sound from inside the car. Music: "Treat Her Like a Lady" by Cornelius Brothers & Sister Rose. LYRICS: You got-ta treat her like a lad-ay She give into you, ah-hum Now who can see? you know what I mean Oh, you've got to love her (love her) Tease her (tease her) But most of all you've got-ta please her (Please her) You've got-ta hold her (hold her) Now an want her (want her) And make her feel you'll always need her (Need her) You know a woman (woman) Is sentimental (woman) And so easy (woman) to upset (woman) So make her feel (feel) That she's for real (real) An she give you happiness The male occupant of the car is singing along. In the car, a rosary cross hangs from the rear-view mirror and the driver wears a claddagh ring on the third finger of his left hand, the crown turned outward. The car pulls up outside a house, behind another car. Veronica pulls back further down the street on the other side and takes pictures as a woman gets out of the front car and joins the man in the Barracuda. WOMAN: I think he's still inside. I just saw a flashlight moving around. MAN: Hand me my g*n out of the glove box. Hearing this, Veronica puts down the camera. The man in the Barracuda gets out. Veronica punches in a number on her cell phone. KEITH: [on phone] Hey, sweetie. VERONICA: Dad, I need your help. I'm following this guy, and I'm pretty sure somebody's gonna get sh*t. KEITH: [on phone] Tell me where you are, honey. VERONICA: The northwest corner of Satsuma and Chandler. KEITH: [on phone] I want you to pull up in front of the house and wait for me with the engine running. You see anybody but me coming toward the car, you get the hell out of here, you understand? Veronica watches the man from the Barracuda run up the stairs to the house. VERONICA: Where are you? There's no response. VERONICA: Dad! INT - HOUSE - CONTINUING. Keith is inside the house. He turns off his flashlight as he hears the front door open. VERONICA: [on phone] Dad! Talk to me! What's going on? Keith listens for the man. VERONICA: [on phone] Dad! Keith looks at the phone. VERONICA: [on phone] Dad! He closes it to cut her off and swallows hard. EXT - HOUSE - CONTINUING. VERONICA: Dad! Veronica continues to hold the phone to her ear, extremely worried. VERONICA: Dad! She finally throws the phone down, switches on the engine and drives. INT - HOUSE - CONTINUING. Inside, Keith walks quietly, listening for an indicator of the man's whereabouts. The man also walks slowly, the g*n ready in his hand. EXT - HOUSE - CONTINUING. Veronica pulls up behind the Barracuda. INT - HOUSE - CONTINUING. Keith hears footsteps walking away from his position and steps forward heading for the window. The footsteps were a feint. MAN: Help you find something? Keith freezes and slowly turns to face the man, who steps into the room, the g*n pointed at Keith. It's Liam Fitzpatrick. LIAM: Oh, my, my, my. Well, maybe it is true about the luck of the Irish. Keith Mars. Liam laughs. LIAM: On the wrong end of a robbery in progress. Unbelievable. Keith looks over his shoulder at the window. LIAM: Hey! You wanna make a run for it, it'll just help sell my story when the crime scene investigators show up. KEITH: Liam. Don't do this, please. I have a daughter. LIAM: We've met. Sweet girl. I'll keep an eye on her when you're gone. Keith swallows and Liam pulls the trigger. There is no b*llet in the chamber. Liam pulls the trigger again and again. Keith rushes him and the men fight. EXT - HOUSE - CONTINUING. The woman gets out of the Barracuda and heads towards Veronica. WOMAN: What are you doing here? The woman comes into the light. It's Kendall. KENDALL: Who's that in my house? What the hell is going on? Suddenly, behind her, Liam and Keith come crashing through a large picture window in a shower of broken glass. They continue to grapple, with Keith getting in some good elbows to Liam's gut. He breaks free of Liam's hold with a back fist to his face and runs towards the LeBaron. He climbs in. Kendall is standing in the way. VERONICA: Move or you’re a hood ornament! Kendall holds up her hands and backs off to the sidewalk. Veronica floors the LeBaron and she and Keith screech away. Liam picks himself up and staggers over to Kendall, still staring after the escaping LeBaron. KENDALL: Why was the former sheriff in my house? LIAM: He didn't say. KENDALL: This is bad. LIAM: Yeah. I could track him down and ask him. KENDALL: That would be worse. INT - LEBARON - NIGHT. KEITH: His g*n wasn't loaded. Veronica smiles. VERONICA: If you wouldn't've hung up on me, I could've told you. The b*ll*ts are in the ashtray. Keith looks over at her, incredulous. He then pulls out a b*llet from the ashtray and stares at it. VERONICA: Think we should return them? Keith stares at Veronica for a moment before putting a loving hand on her head. Veronica smiles. Both are holding back extreme emotion and relief. VERONICA: So, I take it Kendall Casablancas slash Priscilla Banks has a secret house. KEITH: Yep. I take it you found your Barracuda. VERONICA: Yep. You find anything in the house? Say, plans to blow up the bus? KEITH: Just this. He holds up a hard drive. KEITH: Her hard drive. Veronica grins. INT - MI - NIGHT. The hard drive is attached to a laptop. The contents are successfully transferred. MAC: [offscreen] Bingo. Mac is at Veronica's desk. She turns to look at the Marses who are sitting on the small couch. Veronica is dabbing at Keith's wounds. MAC: All right, you guys are in. VERONICA: Ah, thanks, Mac. MAC: I'm not speaking to you. Veronica looks at Mac. MAC: Butters asked if he should rent a room for Prom night. I'm doing this for your dad. Veronica grins. MAC: Mr. Mars, what else can I do for you? KEITH: You mind printing every email, every document? MAC: Your word is my Shift-Command. Keith smiles while Veronica groans. MAC: Little computer humor for you, there. VERONICA: I liked it better when you weren't speaking to me. Mac tries to throw Veronica an evil look. Veronica smiles serenely. EXT - INDUSTRIAL AREA - NIGHT. The PCHers are lined up, waiting, as two cars roar up. One of them is the Barracuda. Once out of the car, Liam, still bearing the signs of his fight with Keith, leads another five or so of his guys towards the bikers. LIAM: Oh yeah! Whoo-ho. So how did we make out in school this week...ladies. Hector pulls an envelope out of his pocket. HECTOR: That's it. He tosses it to Liam HECTOR: That's all there is. Liam catches it and shakes it. LIAM: A little light. He opens the envelope and checks the amount inside. LIAM: Oh, this is bad. I've had a doozy of a night. I'm really not in the mood. HECTOR: Supply and demand. That's all the people are buying. LIAM: Then create demand. You act like the rich kids are the only ones with money. Throw a rave, on the beach. You've got finals coming up, right? People need to stay awake, people need to study. It's called pusher for a reason. Liam points at Hector, making a high-pitched giggle. He turns back to his guys and they laugh with him. Liam turns back to the PCHers. LIAM: Oh, all right, what do you say we try a new motivational technique? Liam points to someone behind Hector. LIAM: You! The scrawny one. Hector turns to see who Liam is referring to. It's Billy, his black eye still very noticeable. LIAM: He's been short two weeks in a row. Liam beckons him forward with his finger. Billy doesn't move. Liam gestures for two of his guys to go and get him. There's a bit of a struggle as some to the other bikers try and stop them, but to no avail. Billy is dragged to the front. Cut to moments later. Billy's hands are bound and he is hung on the same hook that Weevil was hung on in 212 "Rashard and Wallace Go to White Castle." Liam approaches one of the other bikers and takes his cap off his head. LIAM: Now. I will cut the kid down as soon as this hat is full of bills. He lets the cap drop to the ground. Hector sighs. LIAM: But in the meantime... Liam claps and rubs his hands together, looking back at his guys. He points to one and laughs. LIAM:...Declan here, oh, he's gonna show me some of the jab he's always bragging about. Declan is pushed jovially over to Billy. LIAM: Work the body. Declan punches Billy in the stomach. LIAM: Work the body! Declan punches Billy in the face. Liam and the other Fitzpatricks ooo and ahh and laugh. The PCHers start to throw bills into the cap. The sound of an approaching car interrupts after Declan's next punch to the chest. The Fitzpatricks and the bikers all turn to look at the new arrival. It's Weevil. He gets out of the car. Liam laughs as Weevil strides purposefully towards him. LIAM: Hey! Didn't this used to be your g*ng? Why don't you help us whip some of your boys into shape here? Weevil squares up to Liam, standing between him and the bikers. WEEVIL: Nah. The PCHers ain't dealing for you no more. Liam looks around at his guys in mock compliance. LIAM: Okay! So, uh, what, we just...shake hands and walk away like gentlemen? WEEVIL: Not sure I'm interested in the handshake, but I'm fine with the walkin' away. LIAM: You know, uh, retirement...it ain't all it's cracked up to be. Ask Thumper. WEEVIL: You're not thr*at me, are you? 'Cause you oughtta be nicer to a guys who's got this. Weevil pulls out a piece of paper from his pocket. LIAM: What's that supposed to be? WEEVIL: It's just a list. Of all your big sh*t clients, lawyers on speed, coked up pro athletes, celebrities kids rolling on E. Ask yourself this question: Exactly how much business did Heidi Fleiss do when her little book went public, huh? Liam knows he's snookered. WEEVIL: You might want to hold on to that for me. Liam snatches the paper. WEEVIL: We'll call it collateral. Liam opens out the paper and examines. He then shows his guys and laughs. LIAM: So, uh, how do I know you didn't make a copy? WEEVIL: Oh, I did make copies. Lots of 'em. And the day I go missing is the day they go public. Might wanna keep that in mind. Weevil taps his brow. LIAM: Um-hm. You might wanna watch your back. WEEVIL: Why? You're gonna be watching it for me. Liam laughs again but there is no humour in it. He turns and walks back to the cars. The bikers celebrate. HECTOR: I knew you'd come through for us, Weevil. WEEVIL: Right, boys. You're on your own now. Weevil walks away. As the other bikers express their surprise, Hector seems to understand. Weevil drives away, satisfied. INT - MI - NIGHT. Veronica has papers strewn around her on the small couch. She is going through some papers resting on her raised knees. She stops and sighs. She walks into Keith's office. He too is reading. KEITH: Find anything? VERONICA: Found out that little old lady with the Barracuda, Mary MacDonald, is Liam Fitzpatrick's maternal grandmother. KEITH: That it? Veronica thinks as she sinks into one of the chairs in front of his desk. VERONICA: Weevil said this kid on the bus, Cervando, thought the Fitzpatricks were after him. He ripped them off, then went bragging. Liam wanted to shut Cervando up pretty bad. And, since Liam had access to expl*sives through his cousin, Danny... She shrugs and throws the papers in her hand onto Keith's desk. VERONICA: That's the best I can come up with. I've looked through all this stuff and I still can't find anything to connect Liam and Kendall. KEITH: How 'bout prisoner number 246219? VERONICA: What? KEITH: Sixty-five emails, all to Cormac Fitzpatrick, Liam's older brother, doing time up in San Quentin. Veronica stands and takes the papers Keith has, examining them. KEITH: The dots are starting to connect now. VERONICA: What's he in for? KEITH: Fraud. Cormac and Kendall were partners, grifters working the long con. She was his roper. That stint she did? I think she took the rap for Cormac, saved him a third strike. I'd say the rest of the Fitzpatricks owe Kendall a big one. Maybe Liam was following the bus. VERONICA: Could have just been out there as Kendall's eyes. Called her just at the right moment. Kendall could have made the call that blew up the bus while sipping Margaritas by the Casablancas pool. KEITH: You talked to Logan? VERONICA: He was with her that day, but he says Kendall kicked him out hours before the crash. INT - JAVA THE HUT - NIGHT. Jackie approaches Wallace who is sitting at one of the tables. WALLACE: Been thinkin' about what you said. JACKIE: And? WALLACE: And I don't care. I say five weeks is five weeks. Why don't we make the most of it? Forget about the happy ending, Jackie. Let's just worry about being happy now. Jackie glances around and then sits at Wallace's table. WALLACE: I just don't know when I'm gonna meet another girl like you. JACKIE: I think it's safe to say there's not another Wallace Fennel out there either. They laugh. WALLACE: So, what do you say? Will you go to prom with me? JACKIE: Yeah. I'll do that. WALLACE: Well, all right then. I guess I better head down to Ayres Formal Wear. I hear those top hats and those canes go quick. Jackie laughs. KEITH: [offscreen] Veronica! INT - MARS RESIDENCE - DAY. Keith is watching television. NEWSCASTER: ...when a construction crew came across the object... Veronica comes in from her room. VERONICA: What is it? NEWSCASTER:...buried just feet from where the body of their daughter was discovered... Veronica sits on the arm of the chair. KEITH: Nothing. It's a special report. He switches off the television with the remote. KEITH: They found the m*rder w*apon, the one used to k*ll Lilly. VERONICA: What about the glass ashtray you found in the pool? KEITH: We figured that's what he used, why else would it be in the pool. VERONICA: Okay, but that doesn’t really change anything, does it? KEITH: They found it buried in the Kane's back yard. The new owners were moving the swimming pool, and they found Aaron's Oscar statue. VERONICA: What? But doesn't that...help us? I mean, with his prosecution? KEITH: Honey, in addition to Lilly's blood, the sheriff found some of Duncan's hair on the m*rder w*apon. Veronica is stunned. EXT - HARRY'S HOUSE - DAY. Veronica walks up the steps to the door. In front of the abandoned kennel is Billy's motorbike, which Veronica notes. She knocks on the door. Billy, now with two black eyes, answers the door. BILLY: He's in his room. VERONICA: Hold it. He turns to disappear into the house, but Veronica grabs his arm. He winces. BILLY: Ow. What are you doing? VERONICA: Looks like you had a rough night. Is that your bike out front? BILLY: Yeah. VERONICA: You know exactly who k*lled your brother's dog, don't you. Same guys who ground up your face. Liam Fitzpatrick. What happened? A little late with the payment? Billy doesn't respond. VERONICA: I've learned that when someone just stands there with his mouth open like that, it means he's guilty. BILLY: Listen, just don't tell Harry. He finds out what happened-- VERONICA: Cry to someone else. This beating you've got coming. BILLY: Wait, wait. It's not me I'm worried about. My brother hears that Liam was the one that k*lled his dog, I mean, he'll go after him. I swear to god, man, Harry isn't afraid of anybody. VERONICA: So, you're asking me to lie to him to save his life? BILLY: I'm asking you not to tell him so my brother doesn't spend the rest of his life in prison because he put a razor-cut three blade broadhead arrow through Liam Fitzpatrick's throat. Harry calls down from upstairs. HARRY: [offscreen] Billy! Who is it? BILLY: [whispers] Please! Billy sidesteps with an anguished sigh to let Veronica into the house. INT - HARRY'S HOUSE - CONTINUING. Veronica walks slowly up the stairs. VERONICA VOICEOVER: So all I have to do is give Harry the name of the man who tried to k*ll my dad in cold blood last night, Liam Fitzpatrick. He's a k*ller and there's a good possibility he was responsible for the deaths of everybody on that bus. I, for one, wouldn't miss him. She reaches Harry's room, which is filled with the means and products of his hunting. Harry is sharpening one of his arrow tips. He looks over at her. HARRY: Were you able to find out who ran over my dog? Veronica takes some time to answer. VERONICA: No. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x19 - Nevermind the Buttocks"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars Veronica and Leo make out on the doorstep of the Mars' apartment in 118 "w*apon of Mass Destruction." Cut to Veronica at the sheriff's department in 119 "Hot Dogs." VERONICA: I can't date you anymore. LEO: Huh. Cut to Veronica and Keith watching the television in 212 "Rashard and Wallace Go to White Castle." NEWSCASTER: Balboa County Sheriff Don Lamb questions baseball legend Terrence Cook in connection with the Neptune High bus crash. Terrence questions Keith as he exits Mars Investigations in 213 "Ain't No Magic Mountain High Enough." TERRENCE: You'll take my case? Keith updates Woody in 217 "Plan B." KEITH: Terrence broke into his ex-girlfriend's family home, the journalism teacher who died in the bus crash. Logan interrupts them. LOGAN: There's something you gentlemen should probably see. Cut to the video sent to Woody's office. WOODY: [offscreen] That's inside my house. KEITH: I'll look into this as well. Cut to a peeved Mac at Mars Investigations in 219 "Nevermind the Buttocks." MAC: I'm not speaking to you. Butters asked if he should rent a room for prom night. Keith and Liam crash through the window of Kendall's secret house. Keith climbs into the LeBaron. Veronica shouts at Kendall, standing in front of the car. VERONICA: Move or you're a hood ornament! End previouslies INT - DOCTOR'S OFFICE - DAY. Veronica is just putting her shirt back on. VERONICA: [stunned] I've got what? DOCTOR: Chlamydia. It's a, uh, sexually-- VERONICA: I-I know what it is. But there must be a mistake. I don't have any symptoms, I don't feel anything... DOCTOR: Which is not uncommon. Have you been sexually active at all within the last year or two? VERONICA: We were, you know, safe and the guy...there's no way he-- DOCTOR: You think that but you never know. Antibiotics will take care of it. VERONICA VOICEOVER: So my Grandma Reynolds was always saying... A school bell sounds and we shift to... INT - NEPTUNE HIGH SCHOOL (NHS), HALLWAY - DAY. Frowning, Veronica exits a classroom and walks through a busy hallway. VERONICA VOICEOVER: ...when life gives you lemons, make lemonade. I wish she was still alive because I'd really like to ask what she suggests for when life gives you chlamydia. She sees Wallace and Jackie cuddling and giggling against her locker. She pushes them aside. VERONICA: Please? Get a room. In Australia. WALLACE: Hey, we're practicing for the prom. VERONICA: What debutante bit you and turned you into a prom zombie? Jackie waves at Veronica. She giggles. JACKIE: We just gave in: the whole nine yards, the ridiculous dress, the tux, lobster dinner, limo. I mean it happens once. Why not go all out? Mac approaches from behind Veronica. MAC: Because no one sold you as an indentured servant to Butters. Wallace laughs. VERONICA: Mac, I didn't think he'd actually-- MAC: He's picking me up in a Hummer limousine. We're having dinner on a replica pirate ship and I suspect he's hired a zeppelin for the ride home. I'm gonna fill my pockets with rocks, get a good grip on your ankle and I'm gonna jump off the top of a mountain. Mac is interrupted by an announcement from Clemmons. CLEMMONS: Attention students. Due to a significant number of alcohol violations on the senior trip, this year's prom has been cancelled. WALLACE: What!? The hallway erupts in the sound of students grumbling and protesting. CLEMMONS: That is all. Mac, on the other hand, is ecstatic and raises a fist. MAC: Yes! Prayer works! Veronica grins. INT - MARS RESIDENCE - DAY. Keith's cell rings. KEITH: Hello? Woody! To what do I owe-- Keith listens and sighs. KEITH: What, right now? He shakes his head. KEITH: What room number? EXT - CAMELOT MOTEL - DAY. Keith's car pulls into the motel's car park. There's a knock on a door. INT - CAMELOT MOTEL - DAY. Inside one of the rooms, a girl dressed in bra and panties lies unconscious on the well-used bed. Woody is standing next to the bed in his trousers and wifebeater. WOODY: I swear it's not what it looks like. Keith closes the door to the room. He walks over to the bed and kneels down by the girl, checking her pulse. WOODY: Okay, it is what it looks like. KEITH: And that is? WOODY: Do-do I have to spell it out? She's with the incorporation campaign. Keith rises from the bed and stares at the stuttering Woody. WOODY: We had a few cocktails. She must have mixed with pills or something because she just... Woody sinks down on the bed. He grabs his shirt and looks up at the disapproving Keith. WOODY: This is not a proud moment for me. I need help to take care of this. KEITH: I'm on retainer to help Terrence Cook, not take care of things. Keith heads for the door. WOODY: "Mayor brings mistress to ER! Booze, pills, underwear. Film at eleven." Please Keith. Keith pauses by the door, shaking his head. KEITH: I'll get her to the hospital. And I'll be discreet. WOODY: Okay. KEITH: But don't get the wrong idea. This is not the sort of thing I do. WOODY: [whispers] Okay. Thank you. EXT - CAMELOT MOTEL - DAY. Woody is at the door to room 102, looking around to see if the coast is clear. He looks back into the room, nods his head, mouths "Okay," and opens the door to the room more widely. Keith exits the room, carrying the girl whom they've managed to dress. Woody grabs his stuff from the room. Cut to Woody looking into Keith's car. The girl is slumped on the front passenger seat. WOODY: I owe you big time, Keith. Keith doesn't respond, his distaste clear as he engages the engine and backs the car away. INT - NHS, JOURNALISM CLASS - DAY. Veronica is alone in the room, checking negatives with a jewellers' glass style magnifier. Gia enters, treading daintily on high heels. She grabs the chair next to Veronica and sits. GIA: Hey. Have you ever been stalked? VERONICA: As a matter of fact. Veronica returns to examining the negatives. GIA: Because someone's stalking me. I was hoping you might have some tips or something. VERONICA: Dancing around in your underwear with the curtains open is always good. Gia, totally oblivious to the sarcasm stares at Veronica, increasingly puzzled. She shakes her head and looks around desperately. VERONICA: And it you're in chat rooms, and they suggest meeting face to face, do it in an abandoned railroad car down by the river side. GIA: No! No, no, I mean for catching the guy. I keep seeing this car following me around. Veronica sighs and stands up, still holding the negatives. VERONICA: Can you describe it? Veronica walks around the table. Gia races after her. GIA: It's totally nondescript. I mean that's what's so unique about it. VERONICA: Um, okay. Any reason anyone would want to follow you around? Veronica picks up a clip board, making notes as Gia explains. GIA: Well, last week, at karaoke, I did "Can't Get You Out of My Head" and I dedicated it to this table of cute guys, but then I realised they weren't cute. They were dweb Pan High guys and not the nice nerd kind but the weird, creepy... Veronica heads back to her original seat with the clip board, still doing two things at once. VERONICA: Potential stalker kind? Veronica continues to complete the sheet on the clip board as Gia runs back to her seat and sits down. GIA: [urgently] Is there any way that you could do some P.I. thing? Veronica pauses her work and looks at Gia. VERONICA: For you? The daughter of the most powerful man in town? That's a marker I want. Come to my house after school. Gia nods as Veronica returns to her work. INT - MARS INVESTIGATIONS - DAY. Keith enters the office. He goes first to a box on Veronica's desk and opens it. It contains copies of a sketch of a man's face. Keith takes out a few to look more closely. Something alerts him and he swings his head towards his own office. He can see a crossed pair of high-heel shod, bare legs. Keith puts the sketches back in the box. KEITH: Something I can help you with? KENDALL: You should really keep your office locked. The woman rises to her feet. It's Kendall. She lean against Keith's door, hand on her hip. KENDALL: I want my hard drive back. Keith shrugs and makes a face, as if he has no idea what she's talking about. KENDALL: Come on. My friend saw you take it from my apartment. KEITH: Your friend Liam, the drug dealer, who tried to sh**t me. KENDALL: There was an intruder in my house. He feared for his life. KEITH: Out of curiosity, did your husband know that you kept your own place? Did he know about your jail time or that you're not even really you. KENDALL: If the hard drive reappears by Friday, I won't press charges. I filled out the form. She hands Keith an open pre-prepared posting box. KENDALL: Me sending it to me, no paper trail. Kendall walks towards the main door to exit just as Veronica comes in. VERONICA: Mrs C! I trust you're well. KENDALL: Oh well, if it isn't little Miss Teen Getaway. Your dad and I were just dealing with a little trouble. VERONICA: Like Trouble, with a capital T that rhymes with C that stands for-- KEITH: [warning] Veronica! VERONICA: I was gonna say cute. KEITH: Miss Casablancas was just leaving. After exchanging looks of mutual loathing, Kendall leaves and Veronica heads for the filing cabinets. KEITH: So what did the doctor say? VERONICA: Well, you got your money's worth. KEITH: What does that mean? VERONICA: It means...the stethoscope was freezing. But I'm fine. Tip top. Veronica takes cameras out of one of the drawers. VERONICA: Can I borrow the remote cameras tonight? KEITH: What for? VERONICA: For...a school project? KEITH: [sing-song] I don't believe you. VERONICA: Okay. This girl I know suspects that one of several creepy weirdoes she sang a Kylie Minogue song to at karaoke night might be following her around. We're trying to narrow down which one it is. KEITH: I like your first answer better. You can earn it. Keith collects the box of sketches from Veronica's desk. KEITH: Send a copy to everyone on our business contact sheet. See if anyone can find him. He hands her the box. VERONICA: And who is this charming fellow. KEITH: The charming fellow who hired the escort to steal Cliff's briefcase. Veronica checks out the sketch which is of the face of a large man with short-cropped hair and a soul patch. Veronica studies it. VERONICA: And his heart. Poor Cliff. KEITH: Yeah. She must have been something. 'Cause he won't shut up about it. INT - MARS RESIDENCE - DAY. Gia is idly checking out the shelves in Veronica's room as Veronica works at her desk on the laptop. VERONICA: Cameras are on the roof so if this guy followed you here, we should be able to spot him. GIA: Wow! How Mission: Impossible. I feel like at any moment Tom Cruise is gonna dangle from the ceiling on cables. Gia giggles. Veronica looks up at the ceiling. VERONICA: Great. Now I won't be able to sleep. I hope he doesn't try to marry me. She uses a joy stick to manipulate the two cameras, scanning the street outside the apartment complex. Gia watches over her shoulder. They watch a car park. GIA: There! That's the car. Veronica switches from split screen of the two cameras to the view from the one camera that has the car GIA: Isn't it totally nondescript? VERONICA: That's a 2002 silver Gallant. Gia looks at Veronica, astonished. GIA: We should order him a pizza. He would totally freak. VERONICA: Why stop at pizza, Gia. Bet you a hot oil rubdown would really show him. Gia scoffs. Veronica uses the joy stick to zoom in on the car's California license plate: IOU875. She starts to type. GIA: And you can just look him up, right there on your computer? That's awesome. VERONICA: Actually, I'm updating my Netflix queue. The appearance that Gia was finally starting to get Veronica's sense of humour proves illusory as Gia gives Veronica a confused double-take. VERONICA: No, wait. I think we got him. On screen, the following appears: "Registered to Name: D'Amato, Leonardo SSN: 993-24-1585 DOB: 06/14/1983 Sex: M." GIA: Leonardo D'Amato? God, what kind of loser is that? VERONICA: Greek-Italian. Gia retains the capacity to be amazed by Veronica's knowledge. VERONICA: I used to go out with him. Opening credits. INT - NHS, HALLWAY - DAY. Veronica rushes to catch up with Logan striding down the hall. She keeps step with him. VERONICA: Hey, how’s it goin’? LOGAN: Oh, this is gonna be good. VERONICA: What? LOGAN: Ah, you have that "I’d rather be making out with a broken bottle" look. Which if history serves, means you’re about to say something awkward. VERONICA: This? Veronica points to her face. VERONICA: This is my "I’d rather be spelunking" look. It’s like you don’t know me at all. LOGAN: Right. So let’s have it. Logan reaches his locker and starts to open it. VERONICA: So…you remember Duncan. LOGAN: Right, blue eyes? VERONICA: Right. LOGAN: Yes. VERONICA: You wouldn’t happen to know if he was with...and by with I mean with, uhhh, someone other than Meg? Logan pauses getting his books and leans against the open locker, looking down at her. LOGAN: Well, there was this one girl. She was uh, blonde, petite. He closes his eyes and takes a deep sniff. LOGAN: Smelled of marshmallows and promises. VERONICA: Promises? LOGAN: Yep. VERONICA: That’s the name of my perfume! Logan grins. LOGAN: You know, generally speaking, I’ve kinda grown immune to your left field questions. But I’m gonna bite on this one. What do you care who Duncan did when Duncan did do dudettes? VERONICA: Would you believe, it’s for a college application. Weird, huh? LOGAN: You and Meg, that’s all I know about. Veronica nods. LOGAN: Duncan didn’t talk about his sex life much though. Veronica looks both relieved and disappointed. LOGAN: But he’d blush and shower a lot. That’s how you’d know he was getting some. VERONICA: Well, I’m going to miss these moments. LOGAN: You going somewhere? VERONICA: Oh! You see this? She indicates the hallway. LOGAN: Mm-hm. VERONICA: Uh, this is high school. We’re here for four years and then we move on. And all these people you see every day vanish from your life and you never have to think about them again. Logan gets a book out of his locker. LOGAN: So, we should savour our remaining moments. You should come to alterna-prom. VERONICA: I don’t know what that is. Logan whips outs folded card and holds it up. Veronica takes it. On the front is the word PROM with red circle around it and a red line diagonally across the circle. Inside it reads: Alterna-Prom, Friday, May 13th, 9:00pm. Neptune Grand Penthouse. Formal Attire. No Rules. VERONICA: Wow, you and your drunk 09er buddies get the prom cancelled, and then use your inherited wealth to throw a private prom. LOGAN: When you say it like that it sounds unjust. VERONICA: How does it sound when you say it? LOGAN: Mm, glamorous. Veronica is sceptical. Logan is deliberately casual. LOGAN: So...are you coming? Veronica points to her frowning face. LOGAN: What… you’d rather be spelunking? VERONICA: No! I’d rather be... She waits to give him the chance to read her. VERONICA: Strapped down on an ant hill! LOGAN: Yeah. VERONICA: Man, you’ve really lost it. I was going to console Jackie and Wallace that night. You got their prom cancelled, remember? LOGAN: Well bring them along. Bring whoever. You know, we with our inherited wealth don’t mind… long as you bathe and keep your hands off the silver. VERONICA: I’ll consider it. LOGAN: [whispers] Good. Logan watches her walk away. INT - JAVA THE HUT. Veronica is having a coffee with Leo. They are sitting on a couple of stools up at the counter. LEO: Where does any disgraced former lawman go? Private security, baby. VERONICA: Ooh, it sounds exotic. LEO: Ah, it's boring. Big firm, tons of BS. VERONICA: Same old Leo. LEO: I gotta admit I was surprised to hear from you, Veronica. I figured after the whole eased out of the department episode, I kinda fell off your radar. VERONICA: You kidding? My radar is vast. LEO: So how's your love life? VERONICA: Terrible. How's yours? LEO: Also terrible. Veronica looks over his shoulder at the sound of approaching footsteps. VERONICA: So is that maybe why you've been stalking Miss Goodman here? Gia appears and stands behind Veronica. GIA: Hi. It's Gia. LEO: Same old Veronica. Huh. It's not stalking, it's personal security. Miss Goodman is a job. GIA: I'm a job? LEO: Your dad hired the firm. A couple of us were assigned to keep an eye on you. Wanna go say hi to Earl? I'm sure he's parked outside. VERONICA: Why does he want Gia watched? LEO: I just punch the clock. My bosses don't share that kind of stuff with me. I assume there's been some sort of thr*at, but I-I don't know. Is that why you wanted to see me? VERONICA: That was pretty much it, yeah. LEO: Well, I'm a little disappointed. It's good seeing you again, Veronica. Miss Goodman. Leo eases himself off the stool and leaves. Gia moves around Veronica to take his place on the stool. GIA: You went out with him? He's cute, in a tough, mumbly kind of way. Why would my dad hire security? I wonder if it has anything to do with that thing with your dad. VERONICA: What thing? Gia pulls out a newspaper. It's the Neptune Register. The headline reads: "Supervisor questioned over private investigator's role. Former sheriff caught taking campaign staffer from Southside motel." There are a couple of pictures of Keith and Woody from the Camelot. GIA: I don't know why they're making such a big deal of it. I mean, a girl drinks too much, that's not your dad's fault. He's just doing what he was hired to. Veronica is a little shocked at the newspaper and stares at Gia. INT - WOODY'S OFFICE - NIGHT. Keith, very unhappy, marches through a number of people, straight into Woody's office. Woody's on the phone. WOODY: Just make sure those vans are at the seniors center at nine sharp. Yeah. He sees Keith who holds up a copy of the same newpaper headline. Woody holds up his hand. WOODY: Thanks. I gotta run. Bye. Woody finishes his call. His secretary hovers at the door. SECRETARY: Woody? Woody waves her off. KEITH: You blame me for this? WOODY: Keith, please, let me explain. I-- Woody stands as Keith reads aloud from the newspaper. KEITH: "When reached for comment, Goodman's office said Mars had been engaged to investigate leaks, but Mr. Goodman had interceded when he learned the investigator had plied the staffer with alcohol." Woody tries to put a placating hand on Woody's shoulder. Keith is having none of it and jerks away. WOODY: Look, you're right! You're right! Keith holds up the paper again. KEITH: I help you, and this is what I get? Woody looks anxiously through the window of his office into the outer office where there are a number of workers congregated. He rushes to the office door to close it. WOODY: How could I know the manager had a camera? I'm sorry I had to do this, but there's just so much riding on this incorporation vote. Keith wags his finger at Woody. KEITH: I think you may be confused about something, Woody. I'm voting against incorporation. Keith stares at Woody for a moment and then moves to leave. INT - MARS RESIDENCE - NIGHT. Veronica opens the door to the apartment. Gia enters. GIA: So, I dropped by my dad's office and asked him about the security thing. He said it was nothing, just normal election precautions, and he agreed to pull the security detail once I told him that it was creeping me out. VERONICA: Okay. So that's good, right? GIA: But then I got home and I found this. Gia holds up a disk. Veronica takes it. Cut to moments later. The disk is a video and it is being played on Veronica's laptop. It is of a boys' soccer game. Rodney Goodman is playing number seven. Veronica and Gia are huddled in front of the laptop on the counter, watching. GIA: That's my brother. VERONICA: I know. I met him, remember? The taker of the video moves from following Rodney on the pitch to film Gia, watching Rodney from the sidelines. GIA: What do you think it is? VERONICA: Something very creepy. The camera is closes up on Gia's body and face. INT - NHS, JOURNALISM CLASS - DAY. Gia is at work on a computer at the large central table. Veronica slides into the seat next to her. Gia is struggling. GIA: Is a lunchlady who does body building human interest? VERONICA: Human? Maybe. Interest? No. Veronica puts the disk into the computer. GIA: I can't believe I'm expected to meet newspaper deadline when I have some creepy dude stalking me. Veronica starts it up again and then pauses when the film shows a woman with a video camera. Veronica points to the screen. VERONICA: Do you know who that is? The woman with the camera? GIA: That's Mrs. Harmon. You don't think she has anything to do with-- VERONICA: No, look where she's sh**ting. Whoever made this, she probably got him on that video. Do you think you can get that tape? INT - MI - DAY. Lloyd Blankenship is in Keith's office. KEITH: Look, off the record, Lloyd. It's not that I never worked for Woody, but I never investigated any leaks and I never used a bottle of scotch to question a campaign staffer. LLOYD: Then you might want to put that out there on the record. Woody's pushing this whole thing on you, Keith. We have him on a conference call, all off the record, of course, and he more or less implied he caught you taking advantage of this girl... Lloyd checks his notebook. LLOYD: Jennifer Stansfield. KEITH: You don't believe me, talk to the staffer Stansfield. LLOYD: You know, funny thing about her. After you dropped her off at the hospital, she took off before being treated and now no one can track her down. Keith is surprised at this. EXT - NHS, LUNCH AREA - DAY. Wallace and Jackie sit side by side at one of the larger tables. Jackie's eating her lunch. WALLACE: Batting cages. There's one up north. We could get some flowers, play a little music, take out some Chinese... JACKIE: The prom is cancelled and you want to take me to a batting cage instead? WALLACE: Yeah. It's for that "so casual, it's super romantic" thing. JACKIE: That's not a thing! That's male wishful thinking. But I want to wear my dress, think fancy. Wallace sighs. WALLACE: Can we do it anyway? Maybe this afternoon. JACKIE: No, I'm going to see my dad in the hospital. WALLACE: How's that going? JACKIE: Strange. But great. It's never been worse for him, but between us? Best it's ever been. For the first time ever, it's like one of my parents actually has time for me. Veronica approaches from behind and climbs onto the table's bench, the other side of Jackie. VERONICA: Okay. I have news. The senior memories once thought lost forever can, in fact, be generated after all, albeit in a slightly degraded form. Veronica pulls out the invitation to the alterna-prom. As she does so, Corny, just taking a seat at the table behind them, notices and takes an interest. VERONICA: The rich kids are throwing a private replacement prom. Wallace takes the invitation and reads it. WALLACE: Damn, they're just privatizing everything these days. Jackie takes it from him. JACKIE: Alterna-prom. Hm. Formal attire. WALLACE: That's what I'm talkin' about. VERONICA: Please don't give us the tux speech again. WALLACE: What? You mean, how when I put on a tux, I make James Bond look like Cletus the Slack-Jawed Yokel? JACKIE: Shh. Veronica and Jackie shake their heads. Jackie feed Wallace a bite from her lunch. Mac sets her tray down on the table next to Veronica, but sees the invitation and grabs it out of Jackie's hand. MAC: Oh, please tell me Butters knows nothing about this. As Mac sits down, Corny stands over them. CORNY: Hey, what's up? Did you say, uh, alterna-something? Corny reaches for the invitation. CORNY: Hmm. INT - HOSPITAL - DAY. Terrence lies in a hospital bed. Keith is sitting in a chair next to the bed, playing with his tie. Terrence wakes up and looks at Keith. TERRENCE: Not exactly who I was expecting to see. KEITH: They're finally allowing non-family visitors. Keith rises and stands by the bed. KEITH: Thought I'd drop by, find out what the hell you were doing breaking into the Dumas family home. TERRENCE: She said she was writing a story. A tell-all. About the gambling, the debt, about how I threw a playoff game. When the bus thing h*t, I was worried her parents would find it. KEITH: So when you're accused of taking out a busload of kids to off your lover, you decide your best move is to break into her parents' house? TERRENCE: Well, their unlocked garage, actually, but yeah. This whole bus thing, I'm not their man. That story about throwing the playoff game ever got out, I'm ruined. Hey, there's my girl. Jackie arrives with a bowl of flowers and some magazines. JACKIE: Good afternoon, Mr. Mars. It's that time of day again. Clubhouse gossip. TERRENCE: My favorite time of day. KEITH: Okay, I'll be in touch. [to Jackie] Keep him out of trouble. JACKIE: I'll try. Jackie laughs and Keith leaves. TERRENCE: So what have we got? JACKIE: Well, it seems that Mets manager Willie Randolph is not happy. She bends down to kiss her father. He smiles broadly. INT - MARS RESIDENCE - NIGHT. Gia and Veronica are in Veronica's bedroom. Veronica is connecting a video camera to the laptop. GIA: So I told Mrs. Harmon that my friend's boyfriend might have been at the game with another girl. Clever. VERONICA: Not bad. You just might have a future in this racket. They sit at the desk to watch. It's video of the same soccer game, concentrated on another child, one playing for the opposite team to Rodney's. As the camera follows the child's progress, a man can be seen with a camera. VERONICA: Look. Veronica pauses and rewinds the film. The man is wearing a jacket with yellow sleeves. VERONICA: That's a Neptune letterman jacket. They continue to watch. VERONICA: He's gone. Veronica runs the film back again. GIA: But the letterman jacket's got to be something, right? VERONICA: There, look. You see? The red truck. Behind the man filming is a red pickup truck. Veronica runs the film backwards and forwards. VERONICA: It's gone. And so is he. It must be his. GIA: Snap! VERONICA: So now we just need to find a varsity letterman who drives a red pickup and we've got our stalker. Cut to morning. Keith, in his bathrobe, opens the door of the apartment and steps onto the porch, checking the ground. There's nothing there, much to his consternation. He walks back into the apartment and stops when he sees two newspapers on the kitchen counter. Veronica is in the kitchen spreading something gooey (peanut butter?) on toast. VERONICA: I wanted to see what it was like, getting your news off the ground. And the stories... Veronica pours Keith his coffee as he settles into the stool at the counter. VERONICA: ...so tawdry. There was one yesterday about you getting a girl drunk. I can't believe it. KEITH: What, you don't think a girl would have a few drinks with me? VERONICA: I just read otherwise. Enjoy your headlines. Gotta go vote. Veronica exits the apartment. Keith picks up the paper. The first story he sees is one of Lloyd's (his first name misspelled "Loyd") under the headline "Neptune vote on incorporation too close to call." It reads in part: "As Balboa County residents headed to the ballot box this morning to decide the fate of Proposition 51, county-wide polls suggested a narrow fate for Neptune's proposed incorporation." Next to that article is one about a debut and inaugural performance at the newly opened Cathy Belben Concert Hall (Cathy Belben is one of the show's writers) with its "technology-pumped doors" written by Justin Goldberg. Keith opens out the paper to see a story on Woody. "Private eye contradicts Supervisor's story. Goodman paid escort from campaign funds. By Loyd Blankenship. Senior Staff Writer. Private detective, Keith Mars, 48, has broken his silence regarding his participation in leaving Jennifer Stansfield, 25, unconscious at Neptune Memorial Hospital Monday morning. 'Supervisor Goodman was the one to ask me for help,' Keith Mars said in an on-record interview. 'I, reluctantly, agreed to clean up his mess.' Repeated calls to County Supervisor Woodrow Goodman's office went unanswered. Goodman's allegations on Monday accused Keith Mars of needing assistance in dealing with an unconscious Stansfield. 'Mr. Mars was hired, on assignment, to investigate leaks,' Goodman was quoted Monday, 'we didn't know his methods would involve alcohol poisoning.' These new accusations could not have come at a worse time for Goodman and supporters of Prop 51. 'We were already in a near-d*ad heat before..." On the right of that story is another on the effects of incorporation, with Jerome Bellows complaining about the rich getting richer. INT - VOTING BOOTH - DAY. Veronica is voting on Proposition 51. She closes the curtains. VERONICA VOICEOVER: So. Special ballot measure number 51. Should Neptune consolidate its wealth and exclusivity at the expense of the poor and the unglamorous? Answer: no. She votes. INT - NHS, HALLWAY - DAY. Logan and Dick stroll down the hall. LOGAN: Who you taking to the alterna-prom? DICK: Well, I considered a lot of chicks, but finally figured I'd just go stag. I mean, it's not the prom: it's the alterna-prom. Why narrow my options? Logan looks at Dick for a moment. LOGAN: You were sh*t down, huh? DICK: It's like a conspiracy. LOGAN: It's a good thing we're graduating. Sounds like you've h*t that point where every girl in school knows you. Dick raises his fist in the air. DICK: Bring on the sorority girls! They pass a group of students which includes Corny. He races up to them. CORNY: Dude! You need me to bring anything to the big bash? 'Cause if it's one thing I know how to do right, it's potluck. DICK: Uh, which bash is that? CORNY: Alterna-prom? I make these k*ller brownies. The secret: it's all in the butter. Logan glances at Dick and then raises his eyebrows, not happy. EXT - NHS, CAR PARK - DAY. Veronica is checking out the vehicles. VERONICA VOICEOVER: The student parking permit list doesn't show any red pickups, but that doesn't mean much here, as it's not uncommon for certain students to trade up to new rides whenever they get bored. So either our mystery student doesn't drive to school, or I'm barking up the wrong tree. Gia, looking stern, approaches Veronica. VERONICA: So, the bad news is, the only red pickup on the list belongs to a girl-- GIA: I don't care about that. VERONICA: Oh, I thought we were-- Veronica pulls out a San Diego newspaper, which has the same headline as Keith was reading. GIA: What I do care about is what your stupid dad thinks he's doing. VERONICA: Gia-- GIA: So now he's saying that it was my dad in that motel and he was sleeping with a hooker he paid in campaign money? VERONICA: My dad didn't get that woman drunk, that's all he said. GIA: I just don't get you people. I just don't. Gia thows the paper down to the ground and storms off. INT - MARS RESIDENCE - NIGHT. Keith is watching the news on Channel 5. NEWSCASTER: And there will be no incorporated town of Neptune, as the special ballot measure goes down by a three-point margin. Veronica enters the apartment and stands by Keith to watch. NEWSCASTER: Many point to the supervisor's ongoing scandals as a deciding factor. No official comment yet from the supervisor's office, but-- VERONICA: So Neptune has to keep us? KEITH: What's a yacht without barnacles? VERONICA: So I'm stuck on something, and hoped you could help me. Veronica pulls out the disk. She puts it in the player under the television. KEITH: Absolutely. Unless it's physics or chemistry. Or math. Or English. P.E. I was good at P.E. The soccer game comes onscreen. VERONICA: So, some guy's been stalking Gia. I got a tape of him sh**ting Gia's brother's soccer game. KEITH: He-what do you mean, him sh**ting? Veronica pauses the film on the man in the letterman jacket. VERONICA: She found a DVD this guy sent to her house. Creepy footage of her. KEITH: When? When did she get this? VERONICA: The other day. KEITH: Let me show you something. Keith gets up from the sofa. Cut to moments later as Keith shows Veronica the video he has on his laptop. It's the one from inside Woody's house. KEITH: He got this last month. Hired me to look into it, figuring some anti-incorporation guy crossed the line. VERONICA: That's the same thing he told Gia when she asked about that security detail. KEITH: Until I figured out that this was sh*t before incorporation was announced. All of a sudden, I'm off the case and his gardener confessed out of the blue. Keith closes the laptop. VERONICA: So what does that mean? KEITH: Woody's scared of something and he's lying about it and it's serious. I want you to leave that tape with me and stay away from this case. This is more than just some obsessed school kid and I don't want you sticking your nose in. [seriously] And I mean that. You understand? Veronica nods. INT - NHS, STUDY HALL - DAY. Veronica is putting copies of the sketch of the man who paid Cliff's hooker into envelopes with covering letters. Mr. Wu approaches from behind. MR. WU: Miss Mars, what do you think you're doing? VERONICA: Just some clerical business. MR. WU: This is study hall. If you wanted clerical hall, you should have signed up for clerical hall. Veronica smiles tightly. Wu looks up as Logan saunters in. MR. WU: Mr. Echolls, so glad you could join us. Late. Wu walks off. Logan slumps down into the desk next to Veronica. LOGAN: And that is what happens when you never get laid. VERONICA: Well why don't you invite him to your bitchin' party? LOGAN: Hey, speaking of my bitching party, a funny thing happened. That stoner dude Corny whom I don't recall inviting offered to bring dessert. Veronica, still stuffing envelopes, grins. LOGAN: Exactly how many losers are now coming to my party? VERONICA: You said invite whoever. LOGAN: Didn't it occur to you that I might not have meant it? Logan glances down at Veronica's desk and notes the sketch. LOGAN: What is that? VERONICA: Just some work stuff for my dad. Logan stares at it intently before looking away. Veronica notices. VERONICA: Why? LOGAN: Nothing. Just looks like the guy my dad shared a cell with. INT - HOSPITAL - DAY. Terrence is sitting up in his bed. Jackie is sitting next to him, her feet curled under her. They are looking at a magazine. TERRENCE: Now that's a hell of a dress. JACKIE: Yeah, Gucci knockoff. Still pretty slinky, though. TERRENCE: I thought you said your prom was cancelled. JACKIE: It was, but some kids are having kind of a replacement prom. So Wallace and I are doing the whole thing: the dinner, the limo...oh, we got his tux, which he's warning me is some kind of insanely masculine mesmeriser of women. TERRENCE: Just better be careful, Jackie. JACKIE: Relax, Dad. Jackie gets off the bed, taking Terrence's glass with her. JACKIE: I learned the birds and the bees the hard way, remember? Jackie refills the glass with water and returns to stand by the bed, handing Terrence his drink. TERRENCE: I mean, it sounds like you're really falling for this Wallace guy. JACKIE: He's a nice young man whom I like, yes. Wait, are you, like, trying to give me, like, fatherly advice? TERRENCE: Trying. How am I doing? JACKIE: Not bad. For a novice. They smile indulgently at each other. JACKIE: I like Wallace, but I'm leaving for Paris, we both know it, so there's no illusions. Which is actually nice. INT - NHS, JOURNALISM CLASS - NIGHT. Veronica and Gia are on computers at the side of the room. Veronica has a page of the Navigator on screen. Gia is typing quickly. VERONICA VOICEOVER: Deadline night. I've been lying in wait to try to walk out with Gia to warn her about her dad. But, either she's writing the greatest story about lunchlady bodybuilding ever, or she's determined to avoid me. Veronica gets up from her chair and walks towards Gia. VERONICA: Hey. Gia, I was heading out and thought maybe-- GIA: I'm really busy right now. VERONICA VOICEOVER: So, since strangling her would be counterproductive, that only leaves giving up. Veronica swings around and walks out of the room, passing a teacher. TEACHER: Night, Veronica. VERONICA: Good night. INT - NHS, HALLWAY - CONTINUING. Veronica exits the room and passes Lucky who is buffing the floor. LUCKY: Hey, Veronica. VERONICA: Hey, Lucky. EXT - NHS, CAR PARK - NIGHT. The car park is almost empty as Veronica makes her way to her car. She slows and then stops when she sees a red pickup. It is parked next to a school bus in a space "Reserved for Maintenance." Veronica pulls out her cell. VERONICA: Dad, it's me. I know you told me to stay away from this stalker thing, and I did, but it just popped up right in front of me. The red truck, it's the janitor's. And Gia's in the building with him. Call me. INT - NHS, HALLWAY - NIGHT. Veronica searches for Gia. VERONICA VOICEOVER: Fifteen minutes, Dad. That's all the longer I can be expected to wait. Have tazer, will travel. She hears giggling. Veronica follows the sounds to the door of the janitor's closet. She stands outside, watching Lucky and Gia. LUCKY: That's Kuwait. And that's Iraq. GIA: Wow. Was that freaky? LUCKY: Was it freaky? You wanna see freaky? Look. Lucky lifts up his shirt and exposes a large scar across his abdomen and side. LUCKY: It's a roadside b*mb. BOO! Gia gasps and jumps back. LUCKY: That was freaky. Lucky laughs and makes a gesture of holding a large g*n. LUCKY: The insurgency: always leaving us presents. But, hell, you know, the whole world is freaky. Right? Lucky laughs. Veronica tries to attract Gia's attention from the hallway. Gia doesn't see her. GIA: That is so wild. LUCKY: Yeah. GIA: I should do, like, a human interest thing on, on you for the Navigator. Lucky laughs again. LUCKY: You should. Hey, let me show you something else. Lucky turns his back from the door to bend down. Veronica is waving her arms frantically in the hall. Gia finally sees her and isn't pleased. GIA: What do you want? Lucky turns from his search and looks up at the door. He sees Veronica. Her presence exposed, Veronica sighs at Gia's stupidity and steps forward into the room. INT - JANITOR'S CLOSET - CONTINUING. LUCKY: Hey, Veronica Mars. Just in time. Do you wanna see something freaky? VERONICA: Um... LUCKY: Hold on. Lucky goes back to his search. Veronica gestures with her head to pull Gia away from him and into the corner of the room with her. VERONICA: [whispers] The guy with the red truck. Varsity jacket. Gia finally gets it and her mouth drops open in shock. LUCKY: Jackpot. Lucky has found what he is looking for. He turns around to face the girls, holding a large, serrated Kn*fe. LUCKY: Check it out. I got this off a...an Iraqi corpse. This sucker will do some serious damage. Serrated blade. Veronica takes a step towards the door, dragging Gia behind her. VERONICA: That's really cool, but actually we-we gotta go. Lucky plants himself between them and the door. LUCKY: Right. I'm sorry. He chuckles and leans towards them. They both jump back, clear of the Kn*fe in his hand. LUCKY: Guess the human interest story will have to wait. Lucky drops his voice to a whisper. LUCKY: That's too bad, 'cause I got some pretty crazy stuff I could tell you. He throws the Kn*fe up and catches it, forcing Veronica to step back again. He looks at Gia. LUCKY: I know your dad, you know. He backs away from the door, juggling the Kn*fe. Keith barrels through the door, pushing him and sending Lucky crashing to the ground. LUCKY: What the hell, man? Keith climbs on top of him and puts one of Lucky's wrists in one side of a pair of handcuffs. KEITH: Sheriff's on his way. Don't move. The Kn*fe is on the floor, still close to Lucky. Veronica grabs it and puts it up on the shelf. She then helps Keith by holding down Lucky's other hand. LUCKY: Get off me, man! KEITH: Why have you been stalking Gia? The videos and the break-ins, why? LUCKY: Screw you, man, just screw you! He deserved it! He deserved it! LAMB: Everyone freeze. Lamb arrives with his g*n drawn and stands at the door. A deputy behind him joins Keith to secure Lucky. Veronica scoots away. LAMB: Keith, when you call the Sheriff, you don't have to come yourself. Would you get up off the man? Keith rises, leaving Lucky to the deputy. LAMB: You said you have evidence to back up what you said? KEITH: He basically confessed already. We get him in a room for an hour-- LAMB: "We"? I appreciate the heads-up. This is a law enforcement matter now, Mr. Mars. You can go. KEITH: Go on ahead to your party, honey. Might be a little late tonight. Keith bends back down and attaches the free end of the handcuffs to his own wrist. He takes the key out of his pocket and lobs it into the nearby sink. The key disappears down the plughole. Lamb is not happy. INT - NEPTUNE GRAND HOTEL, LIFT - NIGHT. Dick, in a tux, a pale blue ruffled shirt, wearing a lei and carrying a barrel on his shoulder, makes his way into the lift where there are already half a dozen people. He turns to face the doors just as Madison steps into the elevator. DICK: Madison. Flying solo? Ditto. Just me and the party pig. Madison, very like a princess complete with wrap and tiara, turns to face the front, rolls her eyes and ignores him. The doors start to close. VERONICA: Hold it! Veronica, wearing a black strapless dress belted at the waist, runs to the door, putting out a hand to re-open the doors. She enters followed by Wallace and Jackie, and Mac and Butters. DICK: What up? What's that smell? VERONICA: Mac, you really do look-- MAC: Don't distract me. I'm planning how to k*ll you and make it look like an accident. The doors start to close again. CORNY: Oh, hold it! Corny, wearing a T-shirt displaying a tux front and a top hat, re-opens the doors and enters. CORNY: Sweet. Penthouse, please. He's followed by another couple and finally the doors close. The lift is packed. MADISON: God, longest elevator ride ever. BUTTERS: Wait for the space elevator. Veronica, Mac, Corny, Madison and a number of the other occupants stare at Butters like he's nuts. He's oblivious for a moment, then notices. BUTTERS: They're designing it now. A huge elevator on a hundred-mile carbon polymer cable that goes all the way to space. That'll be a long elevator ride. MAC: Still not as long as this one. Veronica smiles in amusement. The lift finally reaches its destination. The pinger pings and the doors open. Madison and Mac both push their way out first, simultaneously relieved. MADISON/MAC: Thank God. Everyone piles out behind them. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - NIGHT. There's a dj at work in the corner and most of the furniture is gone. People are dancing. Logan, in a white tux and a pink rose for a buttonhole, is playing host and greets the new arrivals, the first of whom are Madison and Dick. LOGAN: Hey, welcome! So tonight, there is only one thing I ask of you. He shakes Dick's hand. LOGAN: Make senior memories. Dick points to the barrel on his shoulder. DICK: Uh, that's why I brought the party pig. Logan grins as Dick spots an unattached girl and heads for her. DICK: Better watch yourself, Danielle. Here comes me and my hog. Dick attaches a tube to the stopper on the barrel. DICK: Sooo-ey. Dick offers Danielle the other end. Danielle turns away in disgust. Dick sticks the end of the tube into his own mouth. Back at the door, Wallace and Jackie enter next. WALLACE: Yo, man. LOGAN: Hey, how's it going? WALLACE: All right. Butters, who is in a dark suit and coat with a red scarf and tie, and a hat, does a little dance before holding his hand out to an unreceptive Mac. MAC: I need a drink. Mac takes flight. Butters follows. Logan watches, a little bemused as Veronica stops in front of him. VERONICA: Mac just had dinner on a pirate ship. Logan chuckles and Veronica moves past him, into the room. Logan's eyes follow her as he checks her out. He whistles appreciatively. INT - SHERIFF'S DEPARTMENT - NIGHT. Keith and Lucky are sitting side by side in a jail cell. KEITH: [softly, sympathetically] Back at the school you were saying Woody deserved it. Why? He do something to you? Someone you know? Lucky looks at Keith and then leans in, about to tell him something. He's interrupted by the sound of Lamb entering the cell. Lamb sighs heavily as he bends down and tries a variety of keys on the handcuffs. LAMB: What are you looking at, nutjob? KEITH: Cut him some slack, Don. Lamb's keys don't work. LAMB: I wasn't talking to him, Keith. Lamb pats Keith and rises, leaving the cell. Lucky laughs. LUCKY: I don't think he likes you. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - NIGHT. The party is in full swing. Jackie and Wallace are dancing very close. Elsewhere, Butters and Mac are dancing, holding each other much further apart. BUTTERS: I'm not stupid, you know. I know it's weird to force someone to go to prom with you. I know. MAC: So why did you do it? BUTTERS: Because I wanted to be true to myself. They stop dancing. Butters takes off his hat. BUTTERS: I am weird. I thought maybe you'd understand because...you're a little weird too. That's a compliment. MAC: Oh. Well, then you're really, really weird. Mac glances over at Veronica, who is watching them. Veronica sticks up her thumb in encouragement. Mac glares at her before starting to dance again. Butters leads her into an awkward twirl. Elsewhere, Madison is getting herself a drink, trying to ignore Dick. DICK: Senior year's almost over. In a month, we might never see each other again. Veronica is nearby and glances at them. DICK: Never. Think about how long that is. That's like forever, but worse. MADISON: I'm not going to sleep with you. DICK: We could fool around in the bathroom. Old times' sake? Never! It's a long time, Madison. Madison pours a glass of champagne as Veronica decides to join the fun. VERONICA: Leave her alone, Dick. You don't want to make her have to call the law, 'cause I hear the law really comes down hard. Have you heard that? Madison, uncomfortable, goes on the att*ck. MADISON: So, I guess you're here alone since Duncan, like, ran away, or whatever. VERONICA: You mean, took it on the lam? Madison takes in a painful breath as she realises the new opening she's provided. Dick, with no apparent clue as to what it means, just enjoys the barbs. VERONICA: 'Cause I can't imagine what that's like. Can you? Being on the Lamb? Think you'd just want to close your eyes and pray for it all to end. You'd have the cops crawling all over you. Right? What do you think, Madison? Madison looks desperately for an escape. MADISON: There's Gia. Madison races away. DICK: What does Madison care about Gia? Ronnie: what do you think the odds are of you and me hooking up by the end of the night? Dick sticks out his tongue in a manner he no doubt considers charming. VERONICA: I happen to have them right here. Veronica reached down the front of her dress. Dick rises on tiptoes in a vain effort to look down her dress. Veronica pulls out an imaginary piece of paper. VERONICA: They are...a googolplex to one. Ignorant, Dick celebrates his success. DICK: Right on! So I'll send over a bartender and check back in with you later. He looks over the party and spots another target. Veronica, disgusted, also glances around, seeing Madison leave Gia with the drink she poured. DICK: Hey! Shelly! Speaking of pork, wanna meet my hog? Oow! Dick heads for other pastures and Veronica races to Gia to stop her drinking. VERONICA: You don't want to drink that! Trust me. Veronica takes the glass. GIA: Hey. Thanks for rescuing me back at school. That was cool. And I'm sorry about what I said about your dad. VERONICA: He's been called worse. Music: "I Hear the Bells" by Mike Doughty. LYRICS: I hear the bells down in the canyon, It's snow in New York some blue December, I'm going to the moon about you, girl, And I'm calling to you throughout the world and well I can (I can) hear the bells are ringing joyful and triumphant And I can (I can) hear the bells are ringing joyful and triumphant, and... I hear the bells, they are like emeralds, and Glints in the night, commas and ampersands Your moony face so inaccessible Your inner mind so inexpressible I can (I can) hear the bells are ringing joyful and triumphant And I can (I can) hear the bells are ringing joyful and triumphant, and... Dum, dum, dum, dumbi-dum-dum Dum, dum, dum, dumbi-dum-dum I'm seeking girls in sales and marketing Let's go make out up in the balcony Your business dress so businesslike and I'm Tossing the blouse over a chairback and I can (I can) hear the bells are ringing joyful and triumphant And I can (I can) hear the bells are ringing joyful and triumphant, and... I can (I can) hear the bells are ringing joyful and triumphant And I can (I can) hear the bells are ringing joyful and triumphant, and... Dum, dum, dum, dumbi-dum-dum Dum, dum, dum, dumbi-dum-dum You snooze, you lose, well I have snost and lost I'm pushing through, I'll disregard the cost I hear the bells, so fascinating and I'll slug it out, I'm sick of waiting and I can (I can) hear the bells are ringing joyful and triumphant And I can (I can) hear the bells are ringing joyful and triumphant, and... I can (I can) hear the bells are ringing joyful and triumphant And I can (I can) hear the bells are ringing joyful and triumphant, and... I can (I can) hear the... Veronica spots Jackie and Wallace making out in the corner. She pats Gia and heads towards them. VERONICA: I thought I told you to get a room! WALLACE: Already done got a room. Veronica is surprised. Wallace and Jackie start to make their way out of the suite. Behind Veronica, jacketless and wasted, is Logan. WALLACE: So, Mars, I'm leaving it to you to represent the lower middle class at the Neptune Alterna-Prom. VERONICA: You can't just leave me here. JACKIE: We'd stay, but I, uh, just can't control myself. Logan watches Veronica. WALLACE: It's the tux, I'm telling you. Wallace and Jackie exit the suite and Veronica rolls her eyes. Logan watches Veronica as she moves back towards the wall. He meets her there. LOGAN: Alone again. VERONICA: Naturally. Veronica looks out over the party. Logan, carrying a bottle of champagne turns into the wall and leans against it. LOGAN: I, uh, I know the feeling. Veronica puts the glass she rescued from Gia down on the small table by the wall. VERONICA: You? Host of the greatest private replacement prom ever? Logan smiles, takes a large swig from the bottle and drags his hand through his hair. VERONICA: I'm sure you could have your pick of the bimbos. Veronica listens to the music as Logan observes her. VERONICA: I really like this song. Veronica sits back on the table. Logan glances around and then straddles the table next to her. LOGAN: You know, I'm surprised, Veronica. And as a keen observer of the human condition, I thought you saw through people better than that. Veronica looks at him questioningly. LOGAN: Bimbos? That's not me anymore. VERONICA: So what are you like now? LOGAN: You know. Tortured. Ever since I had my heart broke. VERONICA: Hannah really did do a number on you, huh? LOGAN: Come on, you know I'm not talking about Hannah. He stares at her, eyes intense and glistening. Veronica is taken aback as she realises that Logan is talking about her. She doesn't know how to react. LOGAN: I thought our story was epic, you know? You and me. VERONICA: Epic how? Logan takes another swig. LOGAN: Spanning years and continents. Lives ruined, bloodshed, epic. Logan pauses, staring intently at her. Veronica doesn’t move. LOGAN: But summer's almost here. And we won't see each other at all. Then you'll leave town then...it's over. VERONICA: Logan... LOGAN: I'm sorry. About last summer. This surprises her. Logan is nearly in tears. LOGAN: You know, if I could do it over... Logan shuffles closer to her. Veronica makes a half-hearted attempt to dispel the tension. VERONICA: Come on. Ruined lives, bloodshed? You really think a relationship should be that hard? LOGAN: No one writes songs about the ones that come easy. Logan shuffles closer to her again, his eyes never leaving her. Veronica doesn't move. She looks away, clears her throat and finally looks back at him, uncomfortable and uncertain. Logan leans his head closer to her. He reaches out and strokes her cheek. Veronica shivers slightly, sighs deeply and stares up at him. Logan leans closer and closer, about to kiss her. Veronica struggles to breath. VERONICA: [strangled] I have to go. I have to go. Veronica slides off the table and takes off. Logan watches her go. End music: "I Hear the Bells" by Mike Doughty. INT - NEPTUNE GRAND HOTEL, ROOM - NIGHT. Music: "All My Life" by DJ Harry. LYRICS: I'll come right down to it How do I accept again {} I exist I've thought about {} 'bout it And I {} in limbo I still don't know if it's something in my soul If it's something in my soul If it's something in my soul Jackie, in a white, softly ruched dress, and Wallace, his jacket off, fall back onto the bed, side by side, holding hands. They gaze at each other for a moment. They kiss gently. Jackie helps Wallace remove his shirt. With the straps of her dress eased off her shoulders, Jackie lies atop Wallace as they continue to kiss. End music: "All My Life" by DJ Harry. INT - SHERIFF'S DEPARTMENT - NIGHT. Keith and Lucky are still in the cell, attached by the handcuffs. They talk softly. KEITH: So, Mayor Goodman. Why do you want to scare that guy so bad? I mean, I admit I'm no great fan of the man's policies, but-- LUCKY: His, his policy? See, that's the thing. People always talk about him as this great guy. He's the mayor. He makes, he makes good burgers. He's awesome, Woody Goodman. But you don't know what he really is. KEITH: What is he really? LUCKY: You want to know? Keith nods his head. LUCKY: Hmm? Lucky leans in to whisper in Keith's ear but pulls back at the clash of the opening cell door. Lamb and a deputy arrive. LAMB: You might want to apologize to Sacks who spent the last hour with his arm down that drain. The deputy applies a key to the cuffs. Lucky gives Keith a pleading look. Keith rises and walks over to Lamb. KEITH: Couple more minutes. Please, Don. He's about to open up. LAMB: No can do. He's going home now, he just made bail. KEITH: Who bailed him out? LAMB: Uh... Lamb looks at the clipboard in his hand. LAMB: Stewart Manning. The deputy frees Lucky from the cuffs. KEITH: Mr. Manning, Meg Manning's father? Lucky walks out of the cell, followed by the deputy. Lucky rubs his wrist and glances back at Keith as he goes. LAMB: Guess he's got a soft spot for weirdos. EXT - MARS RESIDENCE - DAY. Keith picks up the papers from the mat. INT - MARS RESIDENCE - CONTINUING. He turns to re-enter the apartment as an agitated Veronica comes out of her bedroom. KEITH: Hey. Must not have been that wild a party if you're up this early. VERONICA: It was...whatever. Veronica evades further questions by leaving the apartment. Keith watches her go, concerned. KEITH: Ah. Whatever. He sighs and looks at the paper. He sighs again when he sees the headline: "Cook threw championship game. Woman k*lled in bus crash accused Hall of Fame hopeful of fixing ALCS. By Geoff Stack. Senior Writer." INT - HOSPITAL - DAY. Jackie is reading the same article, waiting outside Terrence's room. P.A. ANNOUNCEMENT: Doctor Watkins to Peds ICU. Doctor Watkins to Peds ICU. She drops the paper to her lap, saddened. NURSE: You can go ahead in now. Jackie rises, folds the paper and throws it in the rubbish. She puts a smile on her face and enters the room. JACKIE: Good morning. She walks towards his bed and he smiles up at her. Outside his room, a deputy guards the room. INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - DAY. Veronica walks from the lift to the door to Logan's suite. She's nervous and uncertain. She changes her mind and swings around to face the lift again. She stops, screws up her eyes and her resolve. She knocks on the door. She nearly bolts again but there is the sound of something being knocked aside and she faces the door as it opens. Logan, shirtless and massaging his head, looks at her groggily. LOGAN: Hello. VERONICA: First let me say that I'm sorry for running out last night like I did. I was a bit overwhelmed; I needed to collect my thoughts, think about what you said. Veronica is keen to get out what she has to say. Logan is confused. LOGAN: Veronica... VERONICA: Look, let me just get this out. I don't want to lose you from my life either. And I'm not saying I'm ready to dive back into anything, but after graduation, let's make it a point to see each other. See where that takes us. I remember what you said about our relationship being epic. Veronica finally sees that he has no idea what she is talking about as Logan rests his head on the door. VERONICA: ...Oh, God. LOGAN: Last night was kind of a blur. KENDALL: [offscreen] Is that our room service? Veronica and Logan are both distressed beyond description as Kendall appears in a bathrobe behind Logan. Kendall looks at Veronica over his shoulder, possessively running her hands over Logan's naked abdomen. KENDALL: No. Just Veronica Mars. What a disappointment. Come on. Let's get you cleaned up. Bye, Veronica. Kendall disappears back into the suite. Veronica forces herself to smile through the gathering tears. LOGAN: Look, whatever I said, I... Veronica shakes her head and walks away from the door. Logan steps into the hallway after her. LOGAN: You should know-- VERONICA: Stop. Logan stares as Veronica gets into the lift. She looks back at him, her face twisted in pain as the doors close. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x20 - Look Who's Stalking"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars At their apartment, Keith is firm with his daughter in 220 "Look Who's Stalking." KEITH: Stay away from this case. This is more than some obsessed school kid. In the janitor's closet, Lucky shows Veronica and Gia his big Kn*fe. LUCKY: Check it out. VERONICA: That's really cool but actually we..we have t... He blocks them from exiting and looks at Gia. LUCKY: I know your dad, you know? Cut to later as Keith and Lucky, handcuffed together, sit in a jail cell. KEITH: Mayor Goodman. Why you wanna scare the guy so bad? LUCKY: 'Cause y'all don't know what he really is. Thumper walks along side a large white vehicle parked outside St. Mary's Catholic Church. A hand reaches out from behind the van, covers his mouth and nose with a cloth, and Thumper falls to the ground, unconscious. Passing headlights shine on the rear window of the vehicle, revealing two children witnessing the event. Weevil looks down at the recumbent Thumper in 217 "Plan B." WEEVIL: Enjoy confession. Keith questions Terrence at Mars Investigations in 214 "Versatile Toppings." KEITH: So you were in the casino, that day? TERRENCE: Yeah. I say it's likely. Cut to Keith at the Seven Rivers Casino. LOBO: Terrence Cook owes me a significant amount of money. KEITH: It might be a little hard to get paid by an incarcerated man. Keith and Veronica watch TV in 219 "Nevermind the Buttocks." KEITH: They found the m*rder w*apon...the one used to k*ll Lilly--Aaron's Oscar statue. Veronica is stunned. End previouslies. INT - COUNTY BUILDING, COURTROOM - DAY. Aaron is on the stand, giving the performance of his life. AARON: In 1987, I was People Magazine's "Sexiest Man Alive." He gives a self-deprecating chuckle. AARON: I made a lot of money chasing people around with my shirt unbuttoned. If I wanted to do a movie, the movie got made. Then I got older. Aaron turns to the jury. They are staring at him intently. AARON: I started getting cast as the father of superstar tweens who have no idea who I am. It's a new age. They're the ones who are getting movies made today. I'm just some old guy. Enter Lilly Kane. Veronica and Keith are sitting behind the prosecutors. Lamb and Logan are also in the courtroom, behind the defence table, watching. Aaron's lawyer, Ethan Lavoie, is on his feet. AARON: This young, beautiful girl who thought I hung the moon. It's a very powerful thing when someone sees you as the person that you wish you were. Lavoie steps forward, keeping his voice soft and understanding. LAVOIE: Even if that person is sixteen? And dating your son? AARON: I didn't claim that it was right. I said it was powerful. LAVOIE: Mr. Echolls. Did you have sex with Lilly Kane? AARON: No. Veronica looks at Keith, unable to believe his gall. AARON: No. We...well, we fooled a little for lack of a better term... Logan shakes his head. AARON: ...but I never had intercourse with her. LAVOIE: And you ended the relationship on the day she was k*lled, correct? AARON: Yes. Lavoie nods and glances at the jury. LAVOIE: Can you tell us what happened? AARON: Well, Lilly came to the house. She wanted attention, I guess. I told her we had to stop. Logan smiles sceptically. AARON: She stormed out. It wasn't until after she'd left that I realised that she had taken my Oscar. So I went to her house to get it back. LAVOIE: And did she give it to you? AARON: No, I mean, she yelled a lot, she, uh, she threw an ashtray at me. Then her brother Duncan came out. He was enraged. Logan takes a deep breath. AARON: He was screaming at her a-about me, I-I mean, as though I wasn't even there. I probably shouldn't have left her with him. Keith glances at Veronica who is getting more and more angry at Aaron's story. AARON: But I panicked. I mean, as crazy as he was acting, I never would have imagined-- The prosecutor jumps to her feet. PROSECUTION LAWYER: Objection! LAVOIE: Yes. I'm, I'm sorry, Your Honour. Lavoie returns his attention to Aaron. LAVOIE: So, after this argument, that was the last time you saw Lilly Kane. AARON: It was the last time I saw her alive, yes. EXT - COUNTY BUILDING - DAY. There are crowds gathered on the steps, shouting support and waving banners for Aaron. Cameras and sound mikes are trained on the entrance. Barriers keep the crowd back and make a narrow pathway for access and egress. Keith and Veronica ignore the crowd as they exit the building. VERONICA: So apparently if you're handsome and famous enough, you can just lie under oath and that's cool. KEITH: It's all about the tapes now, honey. That Oscar trophy with Duncan's hair's gonna create doubt, reasonable or otherwise. But if they believe you and Logan saw Aaron having sex with Lilly, they'll convict him. Honey... Keith brings them to a stop. KEITH: When you get your chance to testify, it's important you keep yourself in check, okay? Aaron's lawyer's gonna use everything in his bag of tricks to rile you. VERONICA: Ah, but here's the thing. I'm unrile-able. Easygoing Veronica Mars. That's what the kids at school call me. KEITH: You sure you don't want to go over your testimony with the lawyers again? VERONICA: [with feeling] You know what I want? More than anything in the world? I wanna be there, in court, watching Aaron at the moment the jury reads the verdict. I wanna see that smirk wiped from his face. I wanna see his expression at the exact moment he realises he'll never be a free man again. Keith places his hands on each side of her face. KEITH: Easygoing Veronica Mars, huh? He kisses the top of her head and pulls her close to him. He leads them on, away from the crowds. KEITH: You know how fat men are sometimes called Tiny? Veronica laughs. EXT - NEPTUNE HIGH SCHOOL (NHS), LUNCH AREA - DAY. Four cupcakes, decorated with trailed chocolate and real pink orchids, and in a large pink box, are set upon an open textbook. Veronica, who was working from the book, looks up. Gia, dressed in colours that match her offering, leans away slightly, pleased with herself. GIA: That's for saving my life. VERONICA: What do I have to do for a pie? Veronica looks up from peering into the box to see that Gia's face has fallen. VERONICA: I'm kidding. They're great, thanks. Veronica closes the box and puts it to one side. VERONICA: Though I'm not sure what I did qualifies as life-saving. GIA: Sure it does. VERONICA: Well, thanks. Veronica attempts to return to her studying. Gia continues to sit in front of her, expectant. VERONICA: I-I kinda have to get back to-- GIA: So you are mad. I knew that things were gonna be weird because of that stuff with our dads. VERONICA: I'm not mad, Gia, I'm just trying to study. Gia gets excited again. GIA: We should study for the health final together. You want to? Tomorrow night? My house? I'll make flashcards. More to get rid of her than with enthusiasm, Veronica agrees. VERONICA: Fine, okay, tomorrow night. Gia's happy and bounces away. Veronica's relief that she can study is short-lived as the sound of Jackie's laughter can be heard. Wallace and Jackie slide onto the bench next to her, Wallace going straight for the pink box. WALLACE: Where'd these come from? Wallace opens the box. Veronica prevents herself from sighing and tries to keep studying. VERONICA: Saved someone's life. Can't talk. Studying. WALLACE: Well, not me, baby. I'm cruisin' through this week. VERONICA: [to Jackie] Did he just call me "baby"? Jackie, smiling, nods. JACKIE: Mm-hm. WALLACE: I got my scholarship to Hearst, my grades are fine. Good to go. VERONICA: Do you want me to cry? WALLACE: I'm just sayin'... VERONICA: Because I'll cry. I have to ace, ace all of my finals and hope that Angie Dahl chokes on one of hers and that still doesn't guarantee me the Kane Scholarship. Do you know how long I've wanted to go to Stanford? WALLACE: Since middle school. VERONICA: Elementary, my dear Wallace. Wallace and Jackie laugh. VERONICA: Do you have any idea how long I've waited to say that? JACKIE: It's so funny that you're working so hard to go to Stanford with Angie Dahl when Wallace, Mac, and your dad will all be in Neptune. WALLACE: Said the girl who's leaving all this... Wallace caresses his own chest. WALLACE: ...to go to France. JACKIE: Ah, do you see a plane ticket in my hand? Veronica, trying to get on with her studies, looks over at them dolefully. WALLACE: Seriously? You might stay? JACKIE: With Dad still in this mess... VERONICA: Could you guys tone down the adorable? Western Civ isn't gonna learn itself. JACKIE: I'm gonna need some milk to go with those cupcakes. Anyone want anything? VERONICA: Uh, peace? With a side of quiet? Jackie kisses Wallace and leaves the table. Wallace watches her go before turning to Veronica, ready to say something. Veronica makes a shh-buzz noise and holds up her finger in front of his lips. She makes a zip gesture with her hand. Wallace purses his lips, smiling. Veronica returns to making notes from the book. Wallace's attention is drawn over her shoulder. WALLACE: Veronica. Veronica jerks her head up and glares at him. Wallace indicates that Weevil is standing beside her. WEEVIL: You got a minute? VERONICA: [plaintively] Not really. Weevil doesn't move, looking desperate. Veronica puts down her pen with a sigh and gets up, walking away from the table with him. Behind them, Wallace is hailed. BOY: Hey, what's up, Wallace. WALLACE: Hey. As Veronica and Weevil walk on, Wallace leaves the table to speak to the boy. WEEVIL: I need your help with something. Um, 'kay, this is a little weird for me, you know... VERONICA: Is this going to make me nauseous? WEEVIL: I need your help with, you know, algebra. VERONICA: Like...the math? They come to a stop near the steps down to the car park. WEEVIL: To pass this year, I need to get at least a B on the final. I don't pass, I don't graduate. My grandmother wants to see me walk across that stage at graduation and now...with her being sick and everything... VERONICA: I wish I could help but I can't. I'm swamped with my own finals. WEEVIL: Yeah, all right. Weevil walks away. VERONICA: [apologetically] Sorry. Weevil doesn’t turn around. Veronica rolls her eyes at the demands being made on her and starts to head back to her table and her books. Suddenly, there are g*n. Students scream and scramble. Many duck under or by the tables and benches, including Wallace. A figure runs up and stands on one of the tables, waving a g*n. It's Lucky. As students take cover and Lucky sh**t a few more rounds into the air, Gia, standing between Lucky and Veronica, is frozen in shock. Veronica races to her, grabs her and pulls her down behind one of the tables. LUCKY: Look at this. You're like animals. He picks up the remains of some food from the table and hurls it at a girl cowering against the wall. LUCKY: Somebody's gotta clean this up you know. But not me. No, they fired me. I guess I'm good enough to drive an armoured troop transport truck to Tikrit, but not to polish the floors at Neptune High. Hey, anybody want to cut out of here? Might try to jump State Canyon. Who wants to go for a ride? What, no one? Where's my girl? Huh? G-G-G-Gia? Gia gasps, hides her face in her hands and starts to cry. Jackie, crouched at the bottom of the short set of steps leading up to the table where Lucky is standing, gets her cell phone and starts to dial. The noise of the buttons she pushes alerts Lucky to her presence. He aims the g*n at her. LUCKY: Hey! Hey, who are you calling? Jackie closes up the phone. JACKIE: [terrified] No one. LUCKY: [screaming] I said, who are you calling? Jackie starts to cry. LUCKY: [softly] Don't cry. Behind him, Wallace creeps forwards. Veronica, watching in shock, spots him moving. Lucky continues to stare down at Jackie, pointing the g*n in her face. Suddenly, Wallace does a flying tackle. He and Lucky tumble off the table onto the ledge of the wall and off the wall to the bench and ground below. Lucky drops the g*n as he and Wallace grapple. Lucky throws Wallace off, stunning him. Lucky scrambles up, grabs the g*n and stands over Wallace, pointing the g*n at his chest. The students cry and shout. Veronica watches helplessly as Lucky pulls the trigger. Wallace jerks, grabs his chest and Veronica lets out a cry. Wallace's hands find no wound. It was a blank. LUCKY: Surprise. Lucky, continuing to hold the g*n on Wallace, starts to laugh. Wallace, in disbelief, keeps checking his chest. A sh*t rings out. The students scream again. Lucky falls to the ground, revealing a security guard behind him, the g*n in his hands aimed at the place where Lucky stood. Lucky lands close to Wallace, blood seeping into his denim jacket from the middle of his back. He rolls slightly and his eyes stare out. He is d*ad. From her hiding place, Veronica chokes out a sign of relief. Opening credits. EXT - COUNTY BUILDING - DAY. Woody and his secretary stand on the building's steps. Before them is the press horde, f*ring questions. WOODY: Thomas Dohanic or "Lucky" as he was known, was a very disturbed young man. I've learned from our Sheriff's Department that he just completed a tour in Iraq. FEMALE REPORTER: Is it true that the g*n he had was filled with blanks? WOODY: Yes. That has been confirmed. MALE REPORTER: He was arrested for stalking your family. What was your relationship with Mr. Dohanic? WOODY: Honestly, we didn't really have one. He was a bat boy for the Sharks back in his teens. We had to let him go after some of the players complained about his job performance. MALE REPORTER: Why do you think he took the g*n to school? Was he looking for your daughter? INT - MARS RESIDENCE - CONTINUING. Woody's conference is the breaking story on 5 Action News. WOODY: I don't know. I doubt we'll ever be able to make sense out of the actions... Veronica and Keith are sitting on the sofa, watching. VERONICA: Look at that. His eyes are turning brown. Keith uses the remote to switch off the television. He looks at his daughter. KEITH: I'm thinking about getting you some sort of...giant hamster ball so you can roll everywhere in this protective sphere. VERONICA: It'd just draw attention to me. Nobody likes a blonde in a hamster ball. Keith pats her knee before rising from the couch. KEITH: So, I got into Lucky's apartment. He sent a whole bunch of emails to Woody, all from different email addresses. VERONICA: What did they say? Keith gets some food out of the refrigerator and proceeds to make himself a peanut butter sandwich. KEITH: Nothing. There were attachments, but Lucky trashed the original files. I'm hoping I'll be able to get a hold of 'em at Woody's. Veronica joins him at the kitchen counter. VERONICA: You really think Woody would keep thr*at emails in his inbox? KEITH: The way email works on your standard POP account, Veronica, the email remains on the server for a period of time, maybe a week, a month, longer, and then when you log on to your email application, the mail is pulled down. VERONICA: And if you don't want people to see it, you delete it. KEITH: Yes. But, the email still exists on the server. So, all one has to do is find a seldom-used computer and hope that that computer hasn't downloaded the incriminating email yet, and Woody must have six networked computers in that house of his? VERONICA: So, if you have his password... KEITH: Which I do. I looked over his shoulder once when he was signing on. VERONICA: He should know: you never log in with a Mars nearby. KEITH: Woody's got a Sharks team dinner tomorrow night, a whole table reserved for the Goodman family, the coast should be clear. VERONICA: Actually, it won't be. Gia is having her number one study buddy over. So... Veronica gestures excitedly. KEITH: Veronica. VERONICA: What? Why should you break in when I'm invited? Woody'll be at the dinner, and...we both know... Veronica shadow boxes. VERONICA: If it came down to it, I could take Gia. She holds out her hand. VERONICA: The password. Give it. Keith slaps her hand and she slaps back. KEITH: You'll remember it. It's "Mr. Goodwood." VERONICA: [grossed out] I'm so not touching his keyboard. INT - HOSPITAL - DAY. Jackie is updating Terrence. JACKIE: Wallace literally sailed over the table. Sailed! Then he just slams into this guy, just like, bam, and tackles him to the ground. TERRENCE: Thank God he was there. JACKIE: Yeah, he was pretty freaked out after, but...he's doing okay now. Terrence gives a long sigh. JACKIE: What? TERRENCE: I'm the one who's supposed to keep you safe. Supposed to make your life easier, and I...I've made it a circus. Jackie laughs. JACKIE: Okay, no more painkillers for you. Hey, you're out of your mind. My life is not a circus. No, it's the best it's ever been. INT - PRISON - DAY. A guard points Aaron to his seat in the visitor's area. GUARD: There. Aaron takes his seat behind the glass. Logan is on the other side of the glass. Aaron picks up the phone and gestures for Logan to do the same. AARON: Hello, son. LOGAN: You know, if you would've given Lilly the performance you gave today, she might've given you the Oscar. AARON: I wanted to talk to you before you testify. Logan nods. AARON: We both know the D.A.'s gonna ask what you saw on those tapes. I think it's in your best interest that you don't tell him. Logan laughs. LOGAN: What, because I want so desperately for you to be free so we can be a family again? AARON: Logan, the moment that you say you saw those tapes, you will be admitting to destroying State's evidence. I'm gonna win this, son. And there's no sense in you being convicted of a felony. LOGAN: Aw gee, Dad. You're always lookin' out for me. Thanks for the advice. Logan hangs up the phone, stares at his father for a moment and then rises from his seat. As he leaves, he gives Aaron a little wave. EXT - NHS, CAR PARK - DAY. Veronica walks through the car park. She pauses when she sees Beaver, staring down at the door of his car. Someone has scratched "Amber is a bitch" on the paintwork. Standing with Beaver is Hart, last seen with his homemade w*r movie which caught a body falling from the Coronado Bridge in 114 "Mars vs Mars." BEAVER: I don't even know an Amber, I didn't know an Amber went to this school. I just... HART: It's crazy. BEAVER: I don't know. Veronica joins them. VERONICA: Hey, Cassidy. Who's Amber? BEAVER: I have no idea. VERONICA: They keyed the wrong car? How's Amber gonna know that she's a bitch? BEAVER: No, yeah, this is, this is hysterical. Do you know how much this is gonna cost to fix? Not to mention how long it's gonna take. HART: Hey, Veronica. Veronica doesn't remember him. VERONICA: Hey...you. HART: Hart? She doesn't appear much the wiser. HART: I haven't said a thing. Hart gestures a zipped mouth. VERONICA: Good for you. Veronica starts to walk away but turns back with an idea. VERONICA: Beav. Beaver, crouched down inspecting the damage, looks up at her. VERONICA: I think I know someone who can help you. EXT - GOODMAN RESIDENCE - NIGHT. Veronica and Gia are in the dining room, studying. On the wall behind them is a large painting, a central feature of which is a man in a catcher's mask. GIA: Finals are so stupid. We already learned this stuff. Why do we have to try and learn it all over again? VERONICA: You know what we should do? GIA: [hopefully] Take a break? VERONICA: I was thinking more, take a practice test. The company that does the textbook has one online. Gia sighs and opens her laptop. GIA: You're really a good student, Veronica. It's kind of sweet. Gia looks at her screen. GIA: Oh my God! VERONICA: Doesn't look that bad. GIA: No, I'm on MySpace, and I used to have like a thousand friends, and suddenly for some reason now I only have nine hundred something. Veronica all but smirks. Glancing at Gia, she starts to h*t buttons on her laptop. She groans. VERONICA: Och, dammit! Veronica shuts her laptop with a bang. GIA: What? VERONICA: My computer just crashed. Is there another computer I can use? GIA: We have, like, eighty computers. There's one in the guest room you could use. Veronica rises from the table. VERONICA: No more cyber friends, Gia: health test. Veronica goes into the dark guest room. She partially closes the door, leaving a narrow gap of light. On the screen, she has to authenticate to unlock it. (Mac OS X requires it.) She types in Woody's password. She pulls a sheet of paper from her pocket. VERONICA VOICEOVER: Lucky's emails, Lucky's emails, Lucky's emails... It's a list of the email addresses Lucky used: [email protected], [email protected], [email protected], [email protected], and [email protected]. She holds the list up against the screen. There is a long list of email senders in addition to the ones she is looking for on screen: George Patterson, Jessica Denney, [email protected], Gia, Mike Jurgensen, [email protected], Mirage Wireless, Emily Waldorf, Ph.D., Louisa Cetlingsworth, [email protected], Phyllis Teeterborough, SuperStakes Winner, and Carlos Rodriguez. Veronica selects the ones from Lucky. She addresses an email to [email protected] with the subject heading "An Evening With the Goodmans, Fwd: Wait! Th...." The first of Lucky's emails, from his misterclean address, is dated March 15, 2006. She pushes send and the five messages she has selected, one of which has a 5.6MB attachment start to upload. As she waits, she looks along the line at the subjects of some more emails. These include ones from Lucky's anon address ("Tick Tock"), SuperStakes (SuperStakes May Have Selected You To Win!!!), Carlos Rodriguez (Need to speak with you after practice), Paul Cooper <[email protected]> (Financial question, call me when you g...), and on the topics of "Blahblahblahblahblah" (from one of Lucky's addresses), "World's Best Knock-Knock Jokes" and "Pleasure meeting you." The last on the list is from [email protected] and says "k*ll incorporation or else." VERONICA: "k*ll incorporation or else." Or else...what? Veronica clicks on it. The email was sent on May 10th at 11:40pm. It consists of an audio file of 2.3MB. Veronica glances at the door before playing it. In the background of the audio, a voice is speaking French. A voice in English then speaks out clearly and Veronica races to turn down the volume. VOICE 1: We have to tell people what Woody did to the three of us. It's gonna come out someday. A couple of the Sharks had to know about it. They'll come forward. Things like this don't stay secret. VOICE 2: Damn right. VOICE 1: Woody's a pervert. He's sick! What he did to us is wrong! We were just kids. Veronica is stunned by what she hears and frantically types a new email to Keith. She mistypes and backspaces hurriedly. VERONICA: Come on! She types in the right address and presses the send button. The light from the hall starts to fill the room as the door is pushed open. Veronica looks up in horror. WOODY: Veronica. Woody is standing there menacingly. WOODY: What are you doing in here? Veronica is momentarily frozen (or there's a commercial break). She pulls herself together. VERONICA: Hey. Mr. Goodman. Uh, Gia said I could use the computer. Veronica covers the mouse with her hand, hovering over the send status window. The file is still sending. VERONICA: I was taking a practice test and my laptop died. I hope you don't mind. Woody walks towards her. WOODY: Come on, Veronica. Mi casa es su casa. Veronica is relieved that the email is sent just as Woody reaches her. She jiggles the mouse and the PlanetZowie screen is displayed. Woody looks at the screen. WOODY: So. How'd it work out for you? VERONICA: Sorry? WOODY: Your practice test. Are you as smart as you think you are? VERONICA: [nervously] I hope so. I-I should get back to Gia. WOODY: Mmhm. Veronica races out of the room. Woody watches her go and then sits down at the computer. Veronica returns to the dining room. VERONICA: Gia? Gia isn't in her seat. Veronica quickly packs up her stuff and makes a move to leave as fast as she can. Woody is watching her from the hallway. Gia returns to the room bearing two large bowls of ice cream. GIA: Where are you going? I have study fuel. VERONICA: I have to go. I...get these headache things and I feel one coming. Veronica, who hasn't noticed Woody, freezes at the voice behind her. WOODY: It's the computer screen. All that squinting. Can't be good for you. Veronica, not turning around, fakes a laugh. VERONICA: Well, thanks. I'll see you tomorrow, Gia. Veronica walks out, forcing herself to keep a normal pace. Woody watches her go. INT - MARS RESIDENCE - NIGHT. Veronica is playing the audio recording for Keith. VERONICA: Do you hear those voices in the background? Are they speaking French? VOICE 1: We have to tell people what Woody did to the three of us. It's gonna come out someday. KEITH: "Three of us." VOICE 1: A couple of the Sharks had to know-- Veronica stops the recording. VERONICA: Didn't it just sound like two guys? KEITH: Those gaps in the audio. I think another speaker was edited out of this recording. VERONICA: "A couple of the Sharks had to know about it." Lucky was a batboy for the Sharks... KEITH: And that's when he met Woody. VERONICA: Did Lucky's emails say anything about being molested? KEITH: No, it's hard to say. Keith reaches for a pile of printed-off emails. KEITH: It's a lot of crazy ramblings, stream of consciousness ranting about w*r and the life of a soldier. It's hard to make sense of 'em. VERONICA: I'll help you. KEITH: Honey. I want you to go to bed. You have a big day tomorrow. INT - COUNTY BUILDING, COURTROOM - DAY. A hand rests on a bible. BAILIFF: Do you swear to tell the truth, the whole truth, and nothing but the truth, so help you God? Veronica is standing, holding up her right hand. VERONICA: I do. Lavoie gets up from his seat slowly. LAVOIE: Miss Mars. You find wealth and fame seductive, don't you? PROSECUTOR: Objection. LAVOIE: I'll back up. Your past two boyfriends, Duncan Kane and the accused's son Logan Echolls, certainly fit that description, do they not? VERONICA: They do. LAVOIE: And Lilly Kane was your best friend. VERONICA: Yes. LAVOIE: You looked up to her. VERONICA: Yes. LAVOIE: Emulated her? VERONICA: To a degree. LAVOIE: Is that why you propositioned Mr. Echolls upon discovering the tape of Lilly and my client kissing? Veronica looks directly at Aaron. VERONICA: You mean naked kissing? With Aaron on top, gyrating? That tape? Aaron shakes his head. LAVOIE: You watched the tape, you found Mr. Echolls at the Kane party, and you told him that you'd give him back the tapes but he had to earn them. What exactly did you mean by "earn"? VERONICA: I never said that. I didn't proposition Mr. Echolls, he hid in my back seat. Lavoie takes off his glasses and sighs heavily before replacing them. LAVOIE: Miss Mars. You're how old? VERONICA: Eighteen. LAVOIE: And you're currently completing treatment for a sexually transmitted disease? Veronica silently gasps and jerks back in her seat. PROSECUTOR: Objection! JUDGE: I'll allow it. Voices mutter in the courtroom. Lamb is amused. Keith pales a little. Veronica stares at her father and gulps. LAVOIE: Should I repeat the question? VERONICA: I've completed the treatment. The jury watches her with interest. Cut to the hallway outside the courtroom. Keith is waiting. Veronica exits, her arms wrapped around her body. She stops next to him. KEITH: Are you okay? VERONICA: Yeah. KEITH: I mean, you're okay? Everything's okay? VERONICA: Yeah, I'm fine. Keith pulls her against him and starts to lead her out, his arm around her shoulder. They exit, watched by Lamb who is loving it. From up the hallway, Sacks hurries to Lamb's side. SACKS: Sheriff. Judge Ferris wants to see you, asap. Lamb spins around to follow Sacks. Cut to the chambers of another judge. He is laughing jovially. Leonard Lobo is sitting opposite him. Lamb enters the room. LAMB: You wanted to see me, Judge? Lamb stands next to Lobo. Beyond him and to the side are another two men, sitting on a small couch. JUDGE FERRIS: There's been a development, Sheriff. Seems Mr. Lobo here was struck by a bolt of lighting. LAMB: [sarcastically] What, that he could cash old ladies' social security checks himself and get rid of the slot machines? LOBO: I was with Terrence Cook at the time of the bus crash. There's no way he could be responsible for k*lling those kids. LAMB: You sure about that? You don't want to...take another couple months to think it over? LOBO: My memory isn't what it used to be. But I was watching this nature program about sharks, and I thought, sharks: my friend Terrence Cook played for the Sharks. Lamb takes a long, deep, disbelieving breath. LOBO: And I realized I haven't seen him since...well. That's when I went and checked my appointment calendar and saw it was the day of that terrible accident. LAMB: Mr. Lobo takes the stand, the jury will find out about his...dealings. LOBO: However, the jury might be more inclined to believe either my corporate attorney or my chief financial officer. He turns in his seat to indicate the men behind him. LOBO: They were also with Mr. Cook on the night in question. The judge looks up at Lamb, expectant. Lamb is defeated and pissed off. He sighs. EXT - NHS, LUNCH AREA - DAY. Weevil and Beaver are sitting at one of the tables. There is an open book in front of them. They both seem weary. WEEVIL: This is pointless. Beaver sighs. BEAVER: No, okay, look. So you know quadratic equations, right? WEEVIL: Do I look like someone who knows quadratic equations, huh? BEAVER: I'm just, I'm just trying to see what you already know. WEEVIL: Zero. You want your car fixed? Teach me. BEAVER: Okay. Okay. All right, look, so this equation here: what do you think that we should do first? WEEVIL: Am I a five year-old girl? Huh? Lay it out for me, dawg, come on. Make me understand! BEAVER: Okay, okay, okay! Beaver gets an idea. BEAVER: Okay.Okay, so let's say that you and your buddy, you want to buy a twelve pack of a certain item. Say, like, um, like spark plugs, for x dollars, and you want to find out how many of another item, like, um, I dunno, like oil, right, like oil that you can get for the same amount, except oil is y times as much as-- Weevil, growing more and more affronted, has had enough. WEEVIL: If this is your idea of terms I'll understand, I'm going to k*ll you. Beaver stares at him, a worried look on his face. WEEVIL: Or myself. It's a toss-up. Screw it, man, I'll just cheat. BEAVER: No, but...what about my car? WEEVIL: You know power buffers, right? Well, let's say your door panel is a summer home, right, and you need to clear out the south lawn to make a tennis court so what you got-- MAC: F-O-I-L. The boys look up. Mac is sitting at the next table. MAC: That's all it is. First, outside, inside, last. All algebra, it's just the formula. WEEVIL: Now can you teach me that? MAC: You'll still fix his car? WEEVIL: That's the deal. Mac jumps up and joins them at their table. MAC: Okay. Say you and your buddy buy a twelve pack of spark plugs... Weevil glares at her. MAC: I'm just kidding. She grabs the pencil Beaver is holding out and the pad in front of Weevil. MAC: Here's the quadratic equation. She glances up at Beaver. He smiles. She grins back. INT - MARS INVESTIGATIONS - DAY. Keith is at his desk, flipping through a Sharks Record Guide for 2000. He is on the phone, somewhat impatient. KEITH: Hello? Hello? I'm trying to reach Rick Pickett. From his expression, the person on the other end of the phone is a cretin. KEITH: No, Rick Pickett. He's a freshman. Well maybe you-- The cretin obviously hangs up on Keith who makes a disbelieving and frustrated face at the handset, before returning it to the receiver. Keith looks up and shouts. KEITH: Veronica? VERONICA: [offscreen] Yeah? KEITH: Can you fly to New York, stop by NYU real quick, find Rick Pickett, and see if he was one of the batboys Woody molested? VERONICA: [offscreen] You know I don't fly coach. Keith nods. He rises from his chair and goes into the outer office. Veronica is at her desk, reading one of the emails. KEITH: So, there were three other batboys the year Lucky worked for the Sharks. Two are away at college, one is backpacking through Europe. VERONICA: I'm not doing any better with Lucky's emails. KEITH: What, you can't understand... Keith grabs it out of her hand. KEITH: "Time is the timeliness of the present. You should respond. I've left you so many presents. If you don't find them, they'll find you!" VERONICA: Wait. When I found Lucky in the janitor's closet with Gia, he was showing her a scar he got in Iraq from a present left by the insurgents. He called roadside b*mb "presents." This sparks off a bad thought in Keith's head. KEITH: Oh, no. He races for the door, grabbing his jacket on the way out. INT - WOODY'S OFFICE - DAY. Keith barges straight in. KEITH: Woody, we need to talk. Woody is going through a document with his secretary who is standing next to his chair. WOODY: I'm a little busy today, Keith. Woody makes as if to continue what he was doing. KEITH: You wanna have this conversation in private, or shall I just start talking? Woody whispers "okay" to his secretary, giving her a reassuring nod. She exits and Keith closes the door behind her. KEITH: You need to call your family and get them out of the house. Then you need to call the b*mb squad and comb the place. WOODY: What are you talking about? KEITH: The emails Lucky sent you. They referenced "presents" he's left for you. He called b*mb "presents." WOODY: [laughing] Tommy is d*ad, Keith. It's over. Wait, how did you...Veronica? He chuckles in disbelief. WOODY: Huh. Most adults don't have their children doing espionage work for them. KEITH: Most adults keep their hands off of other people's children. Woody's demeanour changes abruptly. WOODY: You should leave, Keith. KEITH: I read Lucky's emails to you, Woody. It's clear to me this is more than simply a batboy who resented getting fired. Woody's face is thunderous for a second as he stands, before resuming the jovial mask. This time, it is menacing. WOODY: I'll put this plainly. You. Are mistaken. And if you share your theories, slander me, I'll ruin you. I'll ruin your family, and you'll remember the moment you walked through that door as the moment you threw your life away. KEITH: I'm not a fifteen year-old boy, Woody. You don't scare me. Woody's face shows a hint of cracking as Keith refuses to be intimidated. Keith turns and walks out. INT - COOK RESIDENCE - NIGHT. Jackie and Wallace head for the open-plan kitchen. JACKIE: All right, stand back. It's time to watch me work my culinary magic. Wallace puts the two bags he is carrying on the counter. WALLACE: Wait, don't you want to put on a little frilly apron first? TERRENCE: [offscreen] Jackie? JACKIE: Dad? Terrence's head appears around the door. She runs towards him, excited. JACKIE: What are you doing here? She jumps up into his arms, giving him a huge hug. They both laugh. Wallace watches and Terrence swings her around. TERRENCE: They let me out. Your old man is a free man. Cut to a little later. Jackie is sitting up on the counter, next to Terrence who is leaning against it. JACKIE: I can't believe it. How did this happen? TERRENCE: A witness came forward, verified that I didn't use a cell phone at the time of the bus crash. JACKIE: So you're good to stay? TERRENCE: Right here. WALLACE: I'm gonna let you two celebrate. Congratulations, Mr. Cook. JACKIE: No, no, you're not leaving. Tonight I get to hang with my two favourite men in the whole world. The doorbell rings. JACKIE: Ah, what do you bet that'll be the first of many "I knew you were innocent all along" gift baskets? Cut to Jackie as she opens the door. JACKIE: Hello. Terrence walks slowly up behind her and sees that it is Lobo. LOBO: Out an hour, and you got some sweet young thing waitin' on you. That's my Terrence. TERRENCE: This is my daughter. LOBO: Maybe you want to send her out for ice cream or something. Wallace is hovering behind them. WALLACE: Jackie, let's go get started on dinner. Somewhat reluctantly, Jackie leaves the men alone. LOBO: Isn't there something you want to say to me? "Thank you, Mr. Lobo. How could I ever repay you?" Ah, forget it. I consider it a...business investment. TERRENCE: Leonard, soon as I get on my feet, I-I'm gonna-- Lobo takes a step towards him. LOBO: On your feet? You fixed a game, Cook. Your sport hero days are over. You're a sideshow now. But you're right: you'll be on your feet. Standing at the entrance of my casinos, glad-handing every bozo with a wallet who walks in. See, I don't know where you were at the time of the crash, but I know where you'll be from now on. Wherever. I. Put you. And if you work real hard, you'll have me paid off in a decade. Lobo gives Terrence a friendly pat on the arm before turning and leaving. Terrence is glum. INT - NHS, HALLWAY - DAY. Veronica makes her way towards an objective. VERONICA VOICEOVER: After a week of forced smiles and the occasional "hey," it's time for business as usual. Ain't epic love grand? She slows as she approaches Logan, looking through a book at his open locker. VERONICA: Been to any good m*rder trials lately? Surprised, he slaps the book shut and puts it in his locker before turning to face her. LOGAN: Uh, I have. You give an excellent testimony, by the way. Veronica strikes an it-was-nothing pose in response. LOGAN: It's gripping. VERONICA: I want to ask you about something. LOGAN: How unlike you. You never come to me out of the blue with some random question. VERONICA: Did Lucky ever tell you anything about Woody Goodman or the time he spent as a batboy for the Sharks? LOGAN: No, he never mentioned the Sharks. But there was this weird semi-baseball-related thing that happened last summer. FLASHBACK: INT - NHS, JANITOR'S CLOSET - DAY. Logan barges in, happy-go-lucky. He stops short on seeing Lucky who is standing in a large bucket wearing only jeans and a catcher's mask. LUCKY: Dude, I think I got gangrene. Lucky is pouring bleach on his feet from a large plastic bottle. LOGAN: Yeah. Uh, so I need a keg delivered to the beach tonight. Lucky is very agitated, physically shaking. LUCKY: You know, they're doin' something to me. Or I'm, or I'm, or I'm poisoning myself. END FLASHBACK. INT - NHS, HALLWAY - CONTINUING. VERONICA: He was wearing a catcher's mask? Really? LOGAN: And I thought the weird part was the foot bleaching. You know, he'd wear the catcher's mask a lot. Whenever we were going into battle. I thought it was an affectation. Logan turns back to his locker and slams it shut as Veronica ponders. KEITH: [offscreen] Veronica told me she was on her way home. INT - COUNTY BUILDING, COURTROOM - DAY. Keith is giving his evidence. KEITH: When she didn't show up when she should've, I drove the route I knew she would've taken. I saw her car, stopped, got out, I heard a commotion in the back of a nearby house and went looking for Veronica. Then I was jumped. LAVOIE: Well, Mr. Echolls testified that after Veronica lost control of the car and crashed it, um, they knocked on the door of a nearby house, asked the owner to call a tow truck, and Veronica and Aaron waited on the man's porch. Aaron nods. Veronica scoffs. LAVOIE: You arrived, saw your daughter in a compromising position, and started a physical altercation with Mr. Echolls. And this version has been confirmed by the occupant of the house. PROSECUTOR: Objection. The homeowner has disappeared, and despite being subpoenaed, has never been questioned by the prosecution. JUDGE: Sustained. LAVOIE: Does your daughter ever...lie to you, Mr. Mars? KEITH: I'm sure she's had occasion to fib. She is a teenage girl, after all. LAVOIE: Other than the occasional fib, would you say that you have a close relationship? KEITH: I would say very close. LAVOIE: So, you would expect to hear the truth on what most people would call the... Lavoie makes air quotes. LAVOIE: ..."big issues." Keith looks at Veronica before returning his attention to Lavoie. KEITH: I would. Lavoie returns to the defence table and picks up a file. LAVOIE: Were you aware that your daughter was caught breaking into the home of Stewart and Rose Manning? Veronica shuts her eyes and takes a deep breath. KEITH: No, I wasn't aware of that. LAVOIE: She was also named in a disciplinary file of Deputy Leo D'Amato. Apparently she managed to...what's the word I'm looking for...manipulate her way into the records room while he was on duty. Did you know about that? KEITH: [becoming testy] If you thought I knew about that, you wouldn't be asking me, would you? LAVOIE: For the court record, Mr. Mars, is that a no? KEITH: Yes, it's a no. LAVOIE: Did your daughter have a personal relationship with Mr. D'Amato? KEITH: Yes, they dated. LAVOIE: The county commissioner hired you to investigate the stolen Echolls tapes. Your report suggested that Logan Echolls procured the tapes due to the negligence of D'Amato. KEITH: That's correct. LAVOIE: Well, doesn't it stand to reason that your daughter, who clearly had this deputy wrapped around her finger, manipulated him in whatever way that pretty young girls manage to manipulate older men, once again? KEITH: You want to be careful there, Mr. Lavoie. Lavoie drops the file on a desk by the jury before walking slowly up towards the witness stand. LAVOIE: She knew the tapes didn't show what she said they showed. So, she convinced one... Lavoie makes air quotes. LAVOIE: ..."boyfriend" to give them to another... Lavoie makes air quotes again. LAVOIE: ..."boyfriend," who she knew would destroy them, thus deflecting blame from yet another... And yet again, bringing him right up close to a boiling Keith. LAVOIE: ..."boyfriend," Duncan Kane! Keith grabs Lavoie by the man's tie, pulling Lavoie's ear close to his mouth. KEITH: Any more air quotes and I'll break those fingers off. Keith lets go as the courtroom babbles in shock. JUDGE: Bailiff, have this witness taken-- Lavoie, having achieved exactly what he wanted, is magnanimous. LAVOIE: I'm fine, your Honour. The bailiff heading towards Keith pauses. The horrified murmuring continues around the room. Keith glances over at the jury uncomfortably. LAVOIE: Witness can be excused. Keith drops his head, knowing that he has blown it. INT - NHS, CLASSROOM - DAY. Mac and Weevil are sitting face to face using a couple of student's desks. Beaver is behind Mac, leaning against a teacher's desk, watching them. Mac uses a red pen to check Weevil's work. WEEVIL: Okay, you put another X on that paper and we're gonna have a problem. MAC: I'd put little smiley faces, but I don't know if that's gonna sell "wrong." BEAVER: I told you you went too fast on bouncing equations. MAC: I didn't go too fast. BEAVER: You ploughed right through! I didn't understand what you were talking about! MAC: No surprise there. BEAVER: What, are you saying you're smarter than me? MAC: No, I wasn't. Here's what that would've sounded like: "I'm smarter than you." Hear the difference? BEAVER: You don't really believe that. MAC: Then why'd I get it tattooed on my hip? Weevil, feeling very de trop, shakes his head. BEAVER: Well, if this is what you need to do to feel better about yourself... MAC: If I get you an A, will you shiv him? WEEVIL: Hey, I got an idea: how 'bout you two geniuses go work out your aggression in some coat room, and then come back here and teach me algebra, huh? Mac looks back at Beaver and they both laugh. INT - MARS RESIDENCE - NIGHT. Veronica enters the apartment. Keith is sitting on the armchair, his head in his hands. Veronica looks at him sympathetically, and with not a little guilt, before closing the door behind her. VERONICA: So, I did a little digging. Without breaking any laws, or putting myself in danger, and I did it at school, so you knew exactly where I was at the time. KEITH: You understand why I don't find this amusing? VERONICA: I do. KEITH: So what did you find out, Veronica? VERONICA: Logan told me he once found Lucky in the janitor's closet wearing only jeans and a catcher's mask, and bleaching his feet. This is who they hire at my high school. This triggers something in Keith. He gets up excitedly and goes over to his laptop on the counter. KEITH: He was wearing a catcher's mask? Veronica looks over his shoulder. Keith runs the video of Woody's house. VERONICA: Yeah. Why, what are you doing? KEITH: I want to look at the surveillance tape Lucky sent to Woody. I think I remember seeing something. Keith pauses the video at the end, where the film shows the Goodmans at the dining room table. The painting can be seen behind them. VERONICA: I don't understand. What am I looking at? KEITH: It's a painting behind the table. That's a catcher's mask. As Veronica takes Keith's place at the counter to look more closely at the video, Keith races over to his phone. Veronica runs the film backwards and forwards to the pictures of the baseball players as Keith punches a number. KEITH: [on the phone] Inga? Keith Mars. VERONICA: [to herself] Why is he filming the wall like that? KEITH: [on the phone] I need you to call the b*mb squad. There's a problem at the Goodman home. Veronica pauses on one of the Little League team pictures, one with eleven players and Woody. At the bottom of the picture is a placard, naming them the Sharks. A second picture next to it, also shows a Little League team but it has twelve players. VERONICA: [to herself] Woody's Little League team was called the Sharks? Veronica peers closely at the picture with eleven boys. VERONICA: [to herself] Oh my God. KEITH: [on the phone] I know, but I think Lucky may have hid a b*mb behind a painting in their dining room. Veronica pulls out a file from her bag. She opens it, checking something against the picture on screen. VERONICA: Dad? You need to see this. KEITH: [on the phone] Okay. Will you let me know? Thank you. Keith wraps up his call and joins her at the counter. Veronica points to the screen. VERONICA: That's Marcos Oliveres, and that's Peter Ferrer. Two of the boys who died in the bus crash were on Woody's Little League team, the Sharks. EXT - GOODMAN RESIDENCE - NIGHT. Vehicles are gathered outside the house, including one each from the b*mb squad, the f*re department and the sheriff's department. Woody, Mrs. Goodman, Gia and Rodney are all standing in a huddle in their night clothes. Woody steps forward to complain to Lamb. WOODY: How long is this going to take? This is ridiculous. LAMB: They found something. There was a b*mb under your car. They did a thorough sweep of the house, it's clear. Your stalker obviously meant business. Lamb walks away. Woody is bemused. INT - COOK RESIDENCE - DAY. Terrence walks into the kitchen area. Jackie is sitting at the table, eating breakfast. JACKIE: Hey. Late night, huh? I guess you're due for a couple rowdy evenings. Terrence goes to the counter and pours himself a coffee. He is in a sour mood. TERRENCE: I was working. JACKIE: So, what's this new job? You haven't told me anything. What kind of work do they have you doing? TERRENCE: The kind of work I have to do, okay? Jackie acknowledges the rebuff and tries again. JACKIE: Well, when's your night off? We still need to celebrate. TERRENCE: I can't make any plans right now, Jackie. JACKIE: Okay, that's fine. It's not like we're pressed for time or anything. I've decided not to go to Paris. At least not for a semester. TERRENCE: I don't think that's a good idea. I'm gonna be working a lot now, and...travelling non-stop. I don't know when I'm gonna be here, when I'm not gonna be here. It's not fair to you. JACKIE: But I don't mind. TERRENCE: [curtly] It's not fair to either of us, Jackie, all right? I think it's in both of our best interests if...you just go to France. Jackie nods but is gutted. INT - SHERIFF'S DEPARTMENT - DAY. Lamb has his feet up on his desk. He's listening to the audio recording. VOICE 1: Woody's a pervert. He's sick. What he did to us is wrong. We were just kids. Keith, sitting on the other side of Lamb's desk with Veronica, stops the playback. KEITH: It's Marcos Oliveres and Peter Ferrer, two of the kids k*lled in the bus crash. VERONICA: I verified Peter's voice with his teacher, Mr. Wu, and I have tapes of Marcos from a radio show he did. KEITH: Woody molested Marcos and Peter. They were gonna come forward, so he k*lled them. LAMB: By putting a b*mb on the bus. KEITH: Yes. LAMB: Then he used the same type of phone-activated b*mb on his own car to blow himself up. KEITH: There was a b*mb in Woody's car? LAMB: You were right, Keith. You thought Lucky planted a b*mb, and he did. Did you know that Lucky blew off work the day of the crash? KEITH: Lucky is not responsible for this. LAMB: You wanna hear my theory on the whole situation? You are trying to get me to arrest the mayor. You wanna turn me into a laughingstock, again. And it ain't gonna happen. KEITH: [angry] Is your ego really that enormous that you can take the m*rder of eight people and make it about you? Lamb leans back in his chair, smug. KEITH: If you don't act on this, Woody's gonna use all his money and resources to disappear. You won't be a laughingstock. You'll be the guy who let a child molester and a m*rder get away! Lamb is not persuaded. INT - COUNTY BUILDING, COURTROOM - DAY. Logan is giving his evidence. LOGAN: There was just some fuzz. Static, no picture. And then I saw Lilly wearing only her bra sitting on top of someone writhing. I couldn't see who it was at first, and then they rolled over and I saw my father. He climbed on top of her and continued to have sex with her. He actually smiled at the camera a couple times. PROSECUTOR: You're certain they were having sex. LOGAN: Yes. PROSECUTOR: No further questions, your Honour. JUDGE: Your witness, Mr. Lavoie. Lavoie gets up from the defence table. LAVOIE: Mr. Echolls, you claimed you destroyed the tapes. You are aware that's a felony? LOGAN: Yes. LAVOIE: Were you granted immunity in exchange for your testimony? LOGAN: Yes I was. Logan gives Aaron a defiant look. Aaron gazes back at him with equanimity. LAVOIE: Thank you. No further questions, your Honour. INT - NHS, CLASSROOM - DAY. Weevil sits amongst the rest of the class and yawns. A teacher is setting a test on each student's desk. Weevil shifts his in front of him and gazes at it. He kisses the cross hanging from the chain around his neck and makes a start. INT - SHERIFF'S DEPARTMENT - DAY. A Latino woman with two young boys walks into the main area. Sacks is at the counter. Lamb is next to him, checking the computer. WOMAN: I need to talk to someone about this. She hands Sacks a newspaper. It is folded to a story that reads: "Mystery Sharks' Stadium body identified as PCH g*ng leader." It is written by John McGill, a staff writer. There is a picture of Thumper, captioned with his real name, Eduardo Orozco. The story reads: "Forensic experts have positively identified the unknown remains pulled from the rubble of Sharks' Stadium last week as those of Neptune High student and PCH g*ng leader, Eduardo "Thumper" Orozco. Initial identification of the body was impossible due to the near {?} of known and identifiable features. Dental impressions and a cross-check of {?} confirmed the body to be Orozco's. Details concerning the cause of death have {?} not been forthcoming from the Sheriff's department. 'Once we let the experts {?} this case to a thorough {?}, then we'll be able to tell you more details regarding the case,' Sheriff Lamb {?} in a press conference yesterday. 'All that I'm able to say is that Mr. Orozco, with his history of arrests and sentences, will be able to {?} Neptune no further,' Lamb added. Orozco was no stranger to the law. Having been arrested {?}...." Another story can be seen underneath: "Test result errors rampant in SATs, effects immense." WOMAN: This boy that was k*lled. The night that he went missing, my boys saw someone att*ck him. Lamb takes an interest and grabs the paper from Sacks' hand. WOMAN: They say they got a pretty good look. Lamb glances at it and then tosses the paper aside. He gestures for the boys to come forward. They come around the side of the counter and Lamb crouches down to their level. LAMB: You boys feel like looking at some pictures? INT - NHS, CLASSROOM - DAY. Weevil waits nervously as his teacher marks his test. She writes the grade on the front and hands it to him. Weevil snatches it and peers down. MS. CANNING: Congratulations, Eli. On the sheet headed "Algebra Test Chapters 8-10," Weevil has a B. Weevil laughs. WEEVIL: Aw, hell yeah! INT - SHERIFF'S DEPARTMENT - DAY. The boys are looking at the mug sh*ts. They point to a picture and turn to Lamb. BOY: It was this guy. It's Weevil, holding up a placard that says "Balboa County Sheriff's Dept. 42 08952." Lamb smiles. KEITH: [offscreen] Don! He looks up to see Keith hurrying towards him, a sheet of paper in his hand. KEITH: You gotta see this. Ever sceptical, Lamb takes the sheet of paper. KEITH: Lucky wasn't at work the day of the bus crash because he was in a padded cell at a VA hospital. LAMB: [shouting] Sacks! [to Keith] I'll go pick Woody up. Sacks approaches them from behind Keith. SACKS: Well, I guess you heard. LAMB: About what? SACKS: The Echolls trial? The jury reached a verdict? INT - NHS, HALLWAY - DAY. Veronica is leaning against the wall, doing some last minute studying. Wallace, bouncy, slides along the wall next to her, bumping her hip. WALLACE: I just took my last high school test ever. Done, over. I'm outta here. Veronica continues to study. VERONICA: And you decided to celebrate by torturing me? WALLACE: Whatta you got, one more? VERONICA: Nothing like having your future rest on how much you know about the ascendancy rules of Babylon. WALLACE: Well, I gotta go clean out my locker. VERONICA: You got that salmon I left in there for you, right? WALLACE: You better enjoy this, 'cause this is as nostalgic as I get. Music: "Lost and Found" by Adrienne Pierce. LYRICS: Sleeping with the television, and all the lights on One of us is leaving soon but we're both already gone Stuck at the lost and found, we watch things disappear Looking for the missing piece but it was never here Veronica finally gives him her undivided attention. WALLACE: I just wanted to say...it was worth getting taped to a pole. Gonna miss you. VERONICA: And my stupid-ass face? They laugh. WALLACE: I gotta go grab my stuff, then I'll pick up my lady, do a little celebratin'. Wallace walks on and Veronica watches him go with a smile. As he walks away, Wallace turns to face her again, continuing to walk backwards. WALLACE: This conversation never happened! Veronica closes her book and heads for her class. VERONICA: Sure it did. INT - NHS, CLASSROOM - DAY. Veronica and other students wait while the teacher hands out the test. Veronica can see Wallace clearing out his locker through the classroom's open door. She smiles fondly as she watches him, until the teacher closes the door. Veronica's cell buzzes. She takes it out of her pocket and looks at it. The date is all screwy (Jan 4, 9:37am). The message is from Keith: "The verdict is in...." VERONICA VOICEOVER: The verdict is in. Veronica takes a deep breath. The teacher puts the test on her desk. Veronica is torn. She decides to be sensible, puts the phone back in her pocket and writes her name on the test. She pauses. She thinks hard again and this time, she's resolved. She puts down her pen, grabs her bag and leaves the classroom. EXT - COOK RESIDENCE - DAY. Wallace runs up the steps to the front door. He knocks. Terrence answers. WALLACE: Afternoon, Mr. Cook. I'm just picking up Jackie. TERRENCE: She's not here, Wallace. WALLACE: Oh. Well, she knows I'm coming, so...you mind if I wait? Wallace takes a step forward to enter the house. Terrence doesn't move, instead holding out a note. TERRENCE: Jackie left for France this morning. She wanted me to give you this. I'm sorry. Wallace, confused and upset, takes the note. Terrence shuts the door. As Wallace turns and walks away from the door, he opens the note and starts to read. KEITH: [offscreen] So Lamb, you got Woody in custody yet? INT - COUNTY BUILDING, COURTROOM - DAY. Keith is in his seat in the courtroom. Lamb is crouched down beside him. LAMB: Woody's gone. Keith sighs and shakes his head. LAMB: He took his private plane, there's no flight plan on record. BAILIFF: All rise. Lamb glances at the front of the courtroom, stands and moves away. The people in the room stand. Logan's also in the courtroom. The judge takes her seat and everyone sits except Aaron, Lavoie and the female foreman of the jury. JUDGE: Foreman, has the jury reached a verdict? FOREMAN: We have, Your Honour. On the count of m*rder in the second degree, we find the defendant...not guilty. Keith shuts his eyes in pain. Veronica is stunned. Most of the people in the courtroom are excited. FOREMAN: On the count of aggravated as*ault, we find the defendant...not guilty. On the count of statutory r*pe, we find the defendant...not guilty. Each comes as a body blow to Veronica. Aaron and Lavoie shake hands and hug. LAVOIE: Congratulations, Aaron. Logan is also stunned as he watches them, knowing his actions were in part responsible. Veronica is still in shock, staring at Aaron, her eyes filling. ANOTHER LAWYER: Congratulations, Aaron. Veronica watches Aaron thank his legal team, her mouth tight. Aaron finally looks directly at her, quietly triumphant. Veronica's mouth starts to quiver as she breaks eye contact, looking inside herself, distraught. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x21 - Happy Go Lucky"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars Veronica runs to the edge of the cliff in the wake of the bus crash in 201 "Normal Is the Watchword." Dick and Beaver are standing back from the edge, gazing down. Gia is standing at the edge, stunned. GIA: It just went straight off the cliff. They're all d*ad. Veronica finds the audio file attached to the message "k*ll incorporation or else" on one of the little used computers in the Goodman house in 221 "Happy Go Lucky." PETER: Woody's a pervert. He's sick. What he did to us is wrong. Veronica plays the audio for Keith. VERONICA: Two of the boys who died in the bus crash were on Woody's Little League team. Keith challenges Woody in Woody's office. KEITH: Most adults keep their hands off of other people's children. Lamb sits back at his desk, refusing to take action against Woody. KEITH: You'll be the guy who let a child-molester and a m*rder get away. In the courtroom, Lamb gives Keith the bad news. LAMB: Woody's gone. He took his private plane. At the high school, Weevil talks to Veronica. WEEVIL: My grandmother asked me for one thing, my whole life. She wants to see me walk across that stage at graduation. A cloth-filled hand pops out from behind a vehicle, catching Thumper and covering his mouth and nose in 217 "Plan B." THUMPER: [offscreen] It's Weevil, I'm telling you! Weevil stands over the unconscious Thumper at the back of the vehicle and takes his drug money. THUMPER: [offscreen] He set me up! Thumper, handcuffed to a urinal at Shark Field Stadium, pleads. THUMPER: I got something on you. A cloth is stuffed in Thumper's mouth by Liam Fitzpatrick. Cut to Logan depressing the plunger to detonate the expl*sives to bring the stadium down. At the sound of the first expl*si*n, Thumper realises his fate. Cut to a confessional. WEEVIL: Bless me, Father, for I have sinned. Veronica dresses in the doctor's office in 220 "Look Who's Stalking." VERONICA: I've got what? DOCTOR: Chlamydia. At the front door of his house, Terrence hands Wallace a note in 221 "Happy Go Lucky." TERRENCE: Jackie left for France this morning. At the alterna-prom, Logan, having poured in the booze, pours out his heart to Veronica in 220 "Look Who's Stalking." LOGAN: I thought our story was epic. He moves in slowly to kiss her. Veronica panics. VERONICA: I have to go. Veronica stands at Logan's door the next morning. VERONICA: I don't want to lose you from my life. Kendall makes an entrance in her bikini in 201 "Normal Is the Watchword." At Neptune High, Beaver tells Veronica about his stepmother as they walk across the empty lunch area in 203 "Cheatty Cheatty Bang Bang." BEAVER: My stepmom. She's a gold digger. Aaron has a deal for Kendall in 215 "The Quick and the Wed." AARON: You're cash-strapped. I can help. But…quid pro quo, Mrs. C. Kendall takes a hair from Duncan's shower. AARON: [offscreen] Quid pro quo. Aaron stares triumphantly at Veronica in 221 "Happy Go Lucky." JURY FOREMAN: [offscreen] We find the defendant not guilty. Veronica is near to tears. End previouslies. EXT - COUNTY BUILDING - DAY. There is a huge crowd outside the building that houses the courtroom. Most of the crowd are delighted, cheering and clapping. VOICE IN THE CROWD: Aaron! There are other various shouts and the crowd, fronted by the cameras and microphones of the press, surges forward as Aaron comes out with his lawyers (except for Lavoie). VERONICA VOICEOVER: So this is how it is. The innocent suffer. The guilty go free. And truth and fiction are pretty much interchangeable. Aaron acknowledges the crowd happily. REPORTER: Mr. Echolls, how do you feel about your acquittal? AARON: I-I feel relieved to have my name cleared of this, this...horrible crime. The crowd cheers and claps anew. VERONICA VOICEOVER: There is neither a Santa Claus nor an Easter Bunny, and there are no angels watching over us. Veronica and Keith are in the crowd, neither cheering nor clapping. Veronica is staring at Aaron, her arms crossed in front of her, miserable. Keith tightens his hold on her. KEITH: Hey. He gently touches her chin to turn her head away and starts to lead her out of the crowd. VERONICA VOICEOVER: Things just happen for no reason. Aaron continues to enjoy the adulation of the crowd, holding up the victory V sign with both hands. INT - MARS INVESTIGATIONS (MI) - DAY. This image is what appears on the front page of the Neptune Register newspaper, under the heading "Echolls Acquitted. Movie star found not guilty in teen's m*rder." Veronica slaps the paper down on her desk. VERONICA VOICEOVER: And nothing makes any sense. Veronica, sitting at her desk, stares down at the paper. Keith is standing next to her. KEITH: We will not do this. Keith reaches over her to take the paper. KEITH: You can't let this stick in your head. He has to tug to get it out of her hands. KEITH: However wrong it turned out, it's done. We're people with lives, and we will not obsess. We move on. Aaron Echolls will get his justice in his own way. VERONICA: You really believe that? KEITH: Yes. Now, come on. We're running a business here. He taps her arm with the folded up newspaper. KEITH: Look alive. Keith returns to his own office. He sits down, but it too wound up himself to do anything other than pick up the paper and start to read it. Outside in the main office, the buzz of an in-coming fax is heard. Veronica gets up to collect the fax. She reads it. In his office, Keith is agitated as he reads the paper. Veronica appears at the door and sees what he is doing. VERONICA: What happened to moving on? Caught in the act, Keith closes up the paper and tosses it aside. VERONICA: Posted today: Meg's dad offering twenty grand for the capture of Woody Goodman. She hands him the fax. KEITH: Well, I'm sure someone will get him. Keith glances at it before handing it back to her. VERONICA: Didn't you say something about "we have a business to run"? Keith nods his head, taking on an innocent demeanour. VERONICA: Shouldn't you be out hunting him down like the dog he is? KEITH: I also said something about us being people with lives. See, I have this kid who's gonna graduate from high school. I don't wanna miss it. VERONICA: This is Woody Goodman. He blew up a bus and molested children. KEITH: Guess I'm just sentimental. INT - JAVA THE HUT - NIGHT. Wallace is at one of the small tables. There is an untouched piece of cake on the table, pushed away from him. In his hand is Jackie's note. Veronica, in her work gear, slides into the seat opposite him. She has a file in her hand which she sets down on the table. VERONICA: When the management gives you free cake, you're supposed to eat it. I thought you were prepared for Jackie going. WALLACE: Never figured it'd go down like this. VERONICA: She left you a note? WALLACE: "But I was afraid if I saw you, I wouldn't be able to get on a plane. I'll always...." Well, then it's just a bunch of private stuff. Wallace, dispirited, puts his elbow on the table and rests his face on his bunched-up fist. He looks at Veronica. WALLACE: What can you do about that? VERONICA: You could use a method time-tested by women throughout the ages. Veronica points to the cake. VERONICA: Gorge on cake. Wallace glances down at it, not tempted. Veronica spots something behind Wallace. VERONICA: I'll be right back. She picks up the file and walks towards the entrance. A boy is standing there. VERONICA: Johnny Ludden? Thanks for dropping by. JOHNNY: Sure. Free gelato just to show up? Why not. From the file in her hand, Veronica pulls out a picture. It is a blow up of the picture from Woody's wall of the eleven boy Little League team. On it, Veronica has written the names of the boys she has identified: Jamie Leahy, Tyson Richarsdon (sic), Johnny Ludden, Jordan Taylor, Michael Curry, Peter Ferrer, Franklin Carvahlos, Justin Mize, Robin Luddington and Marcos Oliveres. There is one boy on the far left that she has not identified. She shows Johnny the picture, her finger pointing to the boy she has identified as Johnny. VERONICA: Is this you in Woody's old team? JOHNNY: Yeah. So, do I have to eat here, or could I get the gelato in a carton? VERONICA: Just a few more questions first. INT - MARS RESIDENCE - NIGHT. Veronica enters the apartment, staring at the photograph. Keith is in the armchair, reading. KEITH: Hey, honey. VERONICA: Hey, Dad. Neither have glanced up, both intent on their activities. The phone rings. Veronica answers. VERONICA: Hello? VINNIE: [on the phone] Hey, Veronica Mars! Is your dad home? Veronica grins and holds out the phone. VERONICA: You've got a call… Keith looks up curiously. VERONICA: ...from Vinnie Vanlowe. Keith makes an exaggerated "huh" face. INT - SHERIFF'S DEPARTMENT - NIGHT. VINNIE: So, of course you know about the bounty on this Goodman guy. KEITH: I'm aware of it, yes. VINNIE: Twenty Gs? That's big-boy money. Gonna be a lot of top guys out there for it. I had a thought. We team up. Mars and Vanlowe. Pool our resources. Split the cash. KEITH: Sheriff got you on video breaking into Woody's house. Vinnie beckons Keith closer and steps forward, revealing that Vinnie is in a jail cell. VINNIE: [quietly] But Johnny Law don't know what I got. KEITH: What do you got? VINNIE: All his records: tax, medical, corporate, the whole enchilada. We nail him, we split sixty-forty. I'm the sixty, by the way. KEITH: Fifty-fifty, if the stuff you got pans out and no action until after my daughter's graduation. VINNIE: I'm in jail! I deserve sixty. Keith holds up his hand and rubs his thumb and forefinger together. VINNIE: I risk my life to bring a fugitive to justice and you're giving me world's tiniest violin. KEITH: Guess I'm just heartless. VERONICA: [offscreen] He's got, like... INT - MI - DAY. Keith and Veronica are working at her desk, going through piles and piles of papers. VERONICA: ...ten credit cards in different corporate names. We're gonna have to put a trace on all of them. Veronica picks up another file and opens it. VERONICA: And he has a pilot's license. KEITH: Seasonal allergies, bad arches... Keith flips up the paper he's reading to the sheet underneath. KEITH: ...and he had the clap. Hm. Veronica freezes. KEITH: Treated twice for Chlamydia. Didn't see that in his campaign materials. Veronica is uncomfortable. Keith carries on, oblivious. KEITH: Bingo. Heart arrhythmia. VERONICA: So that's our strategy? Just wait for him to drop d*ad? KEITH: He has to take a pill every day. There any way you can find out Gia Goodman's cell phone access code? VERONICA: Gia's cell? KEITH: Woody's lawyer is also an old college buddy of his. If he'd call anyone, it'd be him. If we had Gia's code and could forward her calls... VERONICA: I guarantee you she hasn't changed it from the factory default. KEITH: Then I have a plan. DREAM: INT - MARS RESIDENCE - DAY. An alarm placed on a white bedside table goes off at 6:30am. Also on the table are some pictures, some candles, a spray bottle, a diary, and a porcelain dog (or pig). The room is bathed in pale pink light. Without opening her eyes, Veronica pulls a small pillow over her head, sighing. She removes it on the sound of a knock at the door. LIANNE: Up and at 'em, honey. Lianne marches in, carrying folded clothes. The room is not Veronica's bedroom at the apartment, but in a different house. Lianne sets the clothes on top of a chest of drawers. She is grinning ear to ear. LIANNE: Can you believe the big day is finally here? Lianne exits the room. Veronica, still half asleep, is confused as she gets up. Cut to a little later. Veronica, dressed in a strapless summer dress with a petticoat frill, walks out into a smart kitchen. At the end is a breakfast table. Keith is there, in his sheriff's uniform. He watches her as she approaches the table. KEITH: There she is. Veronica pauses a moment before taking her seat. VERONICA: The eyes are bright, the tail is bushy. Lianne puts pancakes on Keith's plate and then on Veronica's. VERONICA: Pancakes, Mom? Are you trying to give me an early jump on the freshman fifteen. Lianne laughs. LIANNE: Eat up. You think the dining halls at San Diego State are gonna feed you like this? She puts the empty plate from which she served the pancakes down on the kitchen counter just in time as Keith grabs her around the waist and pulls her onto his lap. KEITH: Hmm. I love pancakes. LIANNE: Well... They start to kiss. Veronica stares at them in mixed wonder and bewilderment. Keith looks over at her. KEITH: What? A comment? "Get a room"? You just gagged in your mouth? Lianne giggles. VERONICA: No, it's nice. Lianne pulls herself up from Keith's hold and leans forwards to feel Veronica's forehead. LIANNE: Are you okay? VERONICA: All right. Lianne laughs again and goes to the kitchen. Keith busies himself preparing his pancakes. VERONICA: So how's the sheriff business? KEITH: Pretty sweet. We've got Otis sleeping it off in cell one and Lamb has to wear the Clete, the Crime-Fighting Canine costume to all the elementary schools this week. Lianne returns with a camera. She sits down on Keith's lap. LIANNE: Um, listen. After the ceremony, don't run off with that boy because we want to take pictures, and lots of them. VERONICA: And I can't wait. LIANNE: Okay, then you should practice. Say "cheese." Lianne points the camera. GIRLS: [offscreen] Cheese! The scene shifts to... EXT - NEPTUNE HIGH SCHOOL (NHS), LUNCH AREA - DAY. ...a camera as it flashes. A girl takes a picture of friends as Veronica passes behind her. She is heading for one of the tables where Logan is sitting on top of it and Duncan is sitting on its bench. Both have their graduation caps on. Duncan, and many of the students milling around them are wearing their gowns. Duncan and Logan are laughing. VERONICA: They gave me the wrong cap and gown. Logan pulls the cap off of his head and looks inside it. LOGAN: Yeah, how exactly can you tell? As Dick wanders over to join them, Veronica holds up the plastic bag containing the cap and gown she has been given. VERONICA: It's got someone else's name on it. DICK: Guess who's going commando? DUNCAN: Must we? VERONICA: Does anyone know Wallace Fennel? Veronica mispronounces "Fennel." DUNCAN: I do, he's in my PE class. Awesome baller. I think he works at Sac-n-Pac. VERONICA: "Awesome baller." That doesn't really help me. Can you point him out? DICK: You didn't hear what happened to him? Sac-n-Pac got held up when he was working. Logan smiles and looks down. DICK: The robber forced him into the walk-in cooler...he got frostbite. DUNCAN: Yeah, dude lost three fingers. VERONICA: [horrified] Oh my god, that's awful. Duncan and Dick erupt into laughter, congratulating themselves. Logan slips off the table and walks towards Veronica. LOGAN: Aw, sweetie, I love you. But you have to be the most gullible girl I've ever met. He kisses her. VERONICA: I'm trusting, sue me. Duncan points into the distance. DUNCAN: There he is, that's Wallace. Veronica looks behind her. Wallace, wearing glasses, is carrying another cap and gown. VERONICA: Wallace? Veronica leaves the boys to chase Wallace. Behind her, Dick is showing the next table what's underneath his robes, causing Logan to spin around and laugh. VERONICA: Wallace. Wallace? WALLACE: Yeah. VERONICA: I think I have your cap and gown. WALLACE: That must make you Veronica Mars? VERONICA: It does. They swap. WALLACE: So. Lookin' forward to gettin' out of here? VERONICA: I guess. I don't know. High school was a blast. Right? WALLACE: Oh, you're one of those. VERONICA: What's that supposed to mean? WALLACE: Nothing. Have a good life. I'm sure you will. Wallace walks away. Veronica worries over the scene for a moment but is distracted when she sees someone by the fountain and runs to her. VERONICA: Lilly! LILLY: Hey! They hug. VERONICA: Tell me about everything! Tell me about this new guy. Tell me about Vassar. LILLY: The guy is gone. We had a little screaming over fooling around with his ex. VERONICA: That bastard. LILLY: Oh no, no. It was, um, it was me. She laughs. Veronica looks shocked. LILLY: I kinda fooled around with his ex. I mean, you'd think that guys would dig that, right? What? It's college. It's expected. You'll see. VERONICA: God, it's so good to see you. LILLY: What is this? Lilly points behind her. LILLY: A Lilly Kane memorial fountain? Do you smell bacon? END DREAM. INT - MARS RESIDENCE - DAY. In her own room, Veronica is woken by Keith poking his head into her room. KEITH: Graduation day! Get up! Lots to do! I'm making breakfast. Keith belatedly knocks on the door on his way out. Having raised her head slightly, Veronica lets it fall back on the pillow. Opening credits. EXT - NEPTUNE STREETS - DAY. A man in a business suit, carrying a briefcase, strides towards and enters a building. He is being watched by Keith, parked on the other side of the street. Keith talks into his cell. KEITH: Get ready. INT - LEE'S OFFICE - DAY. The man, Woody Goodman's lawyer Bill Lee, is met by his assistant in front of his office. ASSISTANT: Morning Mr. Lee. Gia Goodman asked you to call her on her cell. She proffers him a slip of paper. LEE: It's all right. I got the number. He goes into his office and sits down at his desk. He fits an earpiece and then dials a number from memory. It rings on the other end. LEE: Gia? Bill Lee. VERONICA AS GIA: [on phone] Hey, so, I'm trying to get a message to Dad... INT - MARS RESIDENCE - CONTINUING. Veronica, dressed in a black, halter-neck dress, is at her desk. VERONICA AS GIA: But he didn't leave us a forwarding...it's just, we got a call from Dr. Hoover and I guess his heart pills are fifty mil-something this time instead of a hundred... EXT - NEPTUNE STREETS - CONTINUING. In his car, Keith is listening and monitoring the call with some fancy tech equipment. VERONICA AS GIA: [on phone] So he has to take two. It's really important. LEE: [on phone] Got it, Gia. I'll see what I can do. You take care, honey. INT - LEE'S OFFICE - CONTINUING. Lee leans forward at his desk to dial another number. EXT - NEPTUNE STREETS - CONTINUING. In the car, Keith can listen in on the call. VOICE ON PHONE: [on phone] Quail Creek Lodge. LEE: [on phone] I need to leave a message for Mr. Underhill please. Keith places one device over another. Against the sound of a ringing phone of the call being forwarded, Keith gets a number: 775-555-0122. KEITH: Bingo. INT - NHS, GYM - DAY. The camera looks down onto the cap of a student on which is written "Neptune High Class of 2006" in chalk. The student walks on and the camera pulls up to reveal the room which is decorated with a large arch of green and gold balloons. Visitors are taking their seats in the stands. The students who are graduating are to sit in the middle of the auditorium, in front of a small stage set up on the opposite wall to the visitors. Proceeding amongst the crowd is Keith and Veronica in her cap and gown. She has a large gold medallion around her neck. KEITH: After you talked to Woody's lawyer, he immediately called the number for Quail Creek Lodge, twenty miles outside of Reno. It's a stocked hunting ranch, rich businessmen sh**ting c*ptive birds. VERONICA: You think Woody's there? KEITH: I checked Google Earth. Satellite photos show a landing strip and a building big enough to hold a plane. I'm on a flight to Reno, leaving an hour after graduation. VERONICA: I don't know if I like the idea of you running around a place full of armed, drunk businessmen. KEITH: That's why I rarely go to Texas. I'll be fine. [repeats in a whisper] I'll be fine. He leans forward and kisses her. KEITH: I'll call as soon as I have him. Keith grins proudly and goes to take his seat in the stands. Veronica watches him, and then notices Weevil escorting two small children and his grandmother to their seats. His grandmother, who, if she is Leticia Navarro, has aged considerably, is using a walker to slowly make her way to the stands. Veronica gives a little smile as Weevil's grandmother reaches up to adjust his cap. Cut to a little later. The band plays "Pomp and Circumstance" throughout the ceremony and Clemmons is in the middle of calling the students up one by one. CLEMMONS: John Enbom. There's applause as John Enbom makes his way left to right across the stage. CLEMMONS: Wallace Fennel. The cheers are louder for Wallace. Alicia is in the stands and rises to applaud her son. Veronica puts her hands to her mouth to use as a megaphone for a big whoo-hoo, clapping strenuously. Alicia does the same (without the hands) from the stands. Veronica is still clapping when a finger pokes her in the shoulder. Mac is sitting in the same row and they are separated by a male student. Veronica leans back so she can talk to Mac behind his back. MAC: Guess what? CLEMMONS: Stacey Fields. VERONICA: What? MAC: Beaver got us a room at the Neptune Grand for tonight. VERONICA: Oo-la-la. MAC: Any advice? VERONICA: Close your eyes and think of England? Mac is not impressed. CLEMMONS: Howard Grigsby. VERONICA: Just relax. Mac grins and returns her attention to the front. The entire row stands up and starts to make their way to the side of the stage. CLEMMONS: Hadley Klein. Veronica pauses at the end of the row, spotting Lamb and a deputy. Lamb passes her with hardly a glance. Veronica turns to follow him with her gaze. CLEMMONS: Phil Klemmer. Lamb stops two rows behind Veronica's. Weevil is sitting at the end of it. Lamb stares down at him. Weevil looks up at him, not happy. There's applause going on for Phil Klemmer and one of the students shouts out. STUDENT: Yo, Klemmer! LAMB: Eli Navarro. You are under arrest in connection with the m*rder of Eduardo Orozco. WEEVIL: No, man. LAMB: You have the right... WEEVIL: You're not going to do this, not here. LAMB: ...to remain silent. Anything you say may be... WEEVIL: Just give me ten minutes, okay? LAMB: ...used as evidence in a court of law. You have the right to an attorney. If you cannot afford one-- Weevil erupts, jumping up and getting in Lamb's face. WEEVIL: [screaming] Just let me graduate. Clemmons hears this from the stage and gazes worriedly at the scene. Lamb is completely unfazed and uncaring. LAMB: One may be appointed for you. Do you understand these rights? WEEVIL: Please. Don't do this, man. LAMB: Cuff him. Let's get him out of here. The deputy goes to cuff Weevil. He jerks away. LAMB: Hey, hey. You want to do this the hard way? Lamb puts his hand on his g*n. LAMB: Huh? Weevil turns his head to look back at his grandmother, who is holding the two youngsters and showing concern. Clemmons gets back to work. CLEMMONS: Todd McDade. Weevil sighs and lets himself be cuffed and led away. LAMB: Let's go. He stares at Veronica as he is led past her. CLEMMONS: Cindy Mackenzie. There's a smattering of applause. Beaver, in the stands with Dick, claps loudly and grins. Dick is clapping with less enthusiasm. CLEMMONS: Scott Markham. The boy who had been sitting next to Veronica is given his diploma. Clemmons leans down to the microphone. CLEMMONS: Veronica Mars. Keith jumps up from his seat and shouts out, clapping hard with his hands over his head. KEITH: Yep, yep. The applause is loud (although there are some boos in there as well). People shout out her name. Veronica is stunned by the volume and looks out over the gym. Mac, already in her seat, gives a loud holler. Wallace shouts out. WALLACE: Well done, V. Logan, with a crooked smile, claps. Veronica smiles proudly and goes to Clemmons, her surprise still showing on her face. Clemmons leans forward, covering the microphone with his hand. CLEMMONS: You were expecting some other reaction? He hands Veronica her scroll VERONICA: I... CLEMMONS: I can't decide if my life is going to be easier or more difficult with you gone. Anything I should know in case I get another one like you someday? VERONICA: Don't keep all your passwords taped on the bottom of your stapler. And stay cool Mr. C. Veronica grabs the cap's tassle and moves it to the other side with a grin before leaving the stage. Clemmons watches her go with something close to regret. EXT - NHS - DAY. Students and guests alike are milling around outside. Keith ducks between people to reach Veronica. She laughs. Keith pulls an envelope out of his jacket. KEITH: For you on this momentous occasion. Veronica takes the envelope and feels it up and down. She shakes it. She smells it. Keith smiles at her. Veronica jumps up and down with childish glee. VERONICA: A pony? She opens the envelope and pulls out airline tickets. She reads them. VERONICA: New York? KEITH: We leave Tuesday. VERONICA: [with increasing excitement] Broadway, Soho, the MOMA? Keith shakes his head, running down his favoured itinerary. KEITH: Yankee Stadium, Shea Stadium, Madison Square Gardens. Veronica jumps into his arms to hug him. VERONICA: Oh, thank you so much. This is awesome. She lets him go. She slaps him on the arm. VERONICA: Awesome. Now, go catch Woody. I get creeped out just knowing he's out there somewhere. KEITH: All right. You have fun tonight. VERONICA: That's the plan. Keith leaves. Veronica is looking down at the tickets when she is slapped on the ass by Dick, who is wearing a t-shirt that says "Trust me...I'm rich." She looks up, offended. Dick is oblivious. DICK: Put on your dancing shoes, Mars, 'cause tonight... He starts to dance. DICK: We're gonna up chuck the boogie to rhythm of the boogie the b*at. VERONICA: Up chuck? Dick points at her. DICK: You heard me. Veronica aims two finger g*n at his back. She heads for her car, whipping off her gown. She's still in the black halter neck dress. The LeBaron's top is down and Veronica throws her things into it before climbing in. ALICIA: [offscreen] Veronica! Veronica looks up. Alicia is standing by the other side of the car, holding a note. ALICIA: Do you know about this? VERONICA: I don't. What's wrong? ALICIA: Wallace left this note for me on my windshield. He's booked himself a flight to Paris. He's gonna try to track down Jackie. Veronica sighs. EXT - BROOKLYN, NY - DAY. A wide sh*t of the bridges between Manhattan and Brooklyn leads to... INT - BROOKLYN DAN'S - DAY. ...a small diner. CUSTOMER: Hey, can I get the check, please? The door opens and a small boy enters, followed by Jackie. CHILD: Mommy, mommy. The child runs forward into the diner, heading for a waitress named Kim who smiles at him. She then looks up at Jackie. KIM: You're ten minutes late. JACKIE: Cut me some slack, Ma. I haven't even been back two days. KIM: Jackie. You ain't in Neptune no more. Terrence Cook vanity camp is over. This is real life. Jackie has taken off her coat. She is also wearing the uniform of a waitress. She drops her coat, not thrilled by her life. A phone rings. Kim answers. KIM: Brooklyn Dan's. She listens for a moment. KIM: Yeah. Hold on. She holds the receiver out for Jackie. KIM: It's for you. JACKIE: Hello? VERONICA: [on phone] What? No bonjour? JACKIE: Veronica? INT - MARS RESIDENCE - CONTINUING. Veronica is in her bedroom. JACKIE: [on phone] How did you know? VERONICA: Well, first, three point one GPA doesn't scream Sorbonne. INT - BROOKLYN DAN'S - CONTINUING. The camera continues to switch between the locations. VERONICA: And the Java job. You're a might good service industry worker for the daughter of a model living on the Upper West Side... Jackie sighs. She glances over at Kim, who is lifting the little boy onto the counter. VERONICA:...who never held a job before. I've known for a while. JACKIE: Look, I might have lied about my life but I swear, I never lied to Wallace about how I felt. VERONICA: Whatever you told him, it really did the trick because he just got on a plane to Paris. The good news is, he's a four hour layover at JFK, so you can go tell him the truth before... Jackie glances at her mother, who is watching her. VERONICA:...he's forced to endure several ugly days of rude waiters for nothing. EXT - NEPTUNE GRAND HOTEL (NGH) - DAY. The camera pans down the building as a taxi arrives. INT - NGH, RECEPTION - DAY. Logan is collecting his mail. AARON: [offscreen] Hello, Logan. Logan looks up and at his father, before returning his attention to his post. It's fairly clear that he is not happy to see Aaron. LOGAN: What are you doing here? AARON: Well, I need a place to stay. Aaron holds up one of the hotel's brochures. AARON: How are the suites? Logan, having tucked his mail under his arm, grabs some wrapped sweets from the front desk before starting to walk to the elevator. LOGAN: Well, probably an improvement over your previous digs. Logan untwists the wrapper of one of the sweets with his teeth. LOGAN: It might be a little weird though. I don't think any of the other guests k*lled anyone. Logan continues to concentrate on unwrapping the candy. Aaron keeps pace with him. They reach the lifts and Aaron pushes the button. AARON: You know, you should really make more of an effort to be civil to me now, Logan. Logan throws the wrapper down with great force before responding. LOGAN: Why? Because you b*at a m*rder rap and suddenly you're my father again? He takes a bite of the candy. AARON: No, Logan. I never stopped being your father and I never will. But I got the purse strings back. He pats Logan's shoulder. AARON: You're my dependent again, son. Aaron indicates the lift, the doors of which have just opened. AARON: Going down? LOGAN: No, up. Aaron boards the lift, giving Logan a little wave and a warning look. EXT - QUAIL CREEK LODGE - DAY. A man with a g*n heads for a vehicle, the door of which are opened. He gets in and the doors close as the vehicle starts up. INT - QUAIL CREEK LODGE, ROOM - DAY. Inside, Woody, in wife beater, boxers and socks, is lounging in a big leather armchair, watching The Dukes of Hazzard on TV. BO DUKE: [on TV] Marijuana? Sure got ourselves in a heap of trouble this time, cousin. LUKE DUKE: [on TV] You got that right. Boss is gonna throw the book at us, not to mention the federal government. Woody gets up and heads for the bathroom. BO: [on TV] When we break our probation, we sure do a bang up job, then don't we. LUKE: [on TV] We oughta get out of prison about the time we collect social security. Woody stands at the toilet and unzips (??) his boxers. BO: [on TV] Golly, Luke. We gotta get ourselves out of this. He notices with some alarm that the bathroom window is open. Behind him, a figure slides aside the shower curtain and steps into the room. It's Keith. Woody frantically pulls a deer's head down from the wall and throws it at Keith, who sidesteps it easily. Woody heads for the open window and starts to climb out. Keith is on him, planting the taser in the middle of Woody's back. Woody cries out and sinks to the floor. Keith, panting, pulls out his cell. OPERATOR: Information. KEITH: Yeah. Can you put me through to the local sheriff's department? EXT - QUAIL CREEK LODGE - DAY. Woody, now dressed and with his hands cuffed behind his back, is sitting on a patio chair. Keith is just finishing speaking to a deputy. KEITH: Thanks. The deputy walks away and Keith joins Woody, standing by him. KEITH: So you used me. Someone blackmails you and you use me to set up the whole girl-in-a-motel thing. Incorporation dies and your special secrets stay hidden. WOODY: Keith, I know how this must look. KEITH: If you're about to insist this is all some big misunderstanding, Woody, I kinda think you don't. WOODY: I didn't crash the bus. I could never have hurt all those kids. KEITH: I don't know, Woody. The welfare of children doesn't seem to have been terribly high on your list. WOODY: That's not how it was. It wasn't that way at all. Those boys...if you knew their fathers, how they ignored them, mistreated them, they needed someone. I listened to them, I cared about them. KEITH: Woody. Just stop. DEPUTY: [offscreen] Mr. Mars. Keith looks over at the deputy who has returned. DEPUTY: They're ready. KEITH: Thanks. Keith grabs Woody and pulls him to his feet. INT - MARS RESIDENCE - DAY. Veronica is looking at the Little League photo again. Her cell rings. She checks the caller ID before answering. She smiles. VERONICA: You caught him. EXT - AIRPORT - CONTINUING. The camera switches between the two of them throughout the call. KEITH: Loading him onto his own plane as we speak. Soon as the pilot gets here, we'll be homeward bound. VERONICA: Did he confess to the crash? KEITH: Unfortunately, he insists that he didn't do it so we're gonna need a lot more evidence to nail him. VERONICA: I'm still trying to find that third kid from the tape. At the airport, a man standing near the plane waves at Keith. VERONICA: I've got everyone on the team identified except one guy. I think I know where to find him though. KEITH: Pilot just got here. I'll be in late, so don't wait up. See you in the morning, honey. They end the call and Keith boards the plane. EXT - WOODY'S HAMBURGERS RESTAURANT - DAY. Veronica climbs out of the LeBaron and heads into the fast food place. INT - WOODY'S HAMBURGERS RESTAURANT - CONTINUING. Veronica enters and walks over to the side where there is a display of Woody's baseball memorabilia. She finds the photo of the Little League Team. This picture is captioned with the names of the players. She finds the boy who is unidentified and runs her finger down to the bottom, ascertaining his name. VERONICA VOICEOVER: Derek Applegate. Who are you and where do you live? Veronica runs her eyes along the caption, finally seeing at the bottom the words "Not Pictured." The name against it is Cassidy Casablancas. Things fall into place and Veronica goes into shock. VERONICA: Oh god. Cut to a little later. Veronica is in the restroom, lifting her head from the sink, panting heavily. She is sweaty and pale as she stares at herself in the mirror. EXT - WOODY'S HAMBURGERS RESTAURANT - DAY. Veronica exits the restaurant, her cell phone to her ear. It is ringing the other end. VERONICA: Pick up, pick up, pick up. INT - NGH, FUNCTION ROOM - CONTINUING. The post-graduation party is already in full swing. Beaver and Mac, happy, smiling and holding hands, walk through the party. Mac's phone is on her hip and she doesn't hear it over the sound of the music (unidentified). EXT - WOODY'S HAMBURGERS RESTAURANT - CONTINUING. Veronica races to her car, listening to Mac's message. MAC: It's Mac. Leave a message. Veronica talks as she climbs into the car. VERONICA: Mac, it's Veronica. You have to get away from Beaver. Do whatever you have to do, but get away from him, he's dangerous. Call me when you hear this. Veronica terminates the call and puts the key in the ignition. She punches in another number. VERONICA: A listing for Hart Hanson? INT - NGH, FUNCTION ROOM - DAY. Another track plays, also unidentified so far. Dick and some others are encouraging Beaver to down a pint of beer while Mac watches. DICK AND THE CROWD: Chug, chug, chug, chug, chug, chug. Beaver finishes it with a flourish. DICK: Oh, that's what I'm talking about. It feels good to be a man from time to time, huh? BEAVER: Yes. They tap forearms. DICK: Enbom, get over here. Dick drifts away. MAC: All I ask is that you don't follow that performance with a belch. BEAVER: Do you want to go check out the room? MAC: It's liquid. It's courage. It's liquid courage. BEAVER: Yeah, well there's, uh, there's nothing up there that I'm afraid of. Mac and Beaver leave the party and head for the lifts through the lobby. Corny spots them. CORNY: Did you hear? Veronica's dad caught the mayor. It's all over the news. They're flying him out tonight on Woody's plane. That sleazoid's gonna fry. Corny relishes his rendition of the effects of an electric chair. INT - NGH, BEAVER'S ROOM - NIGHT. Against the backdrop of activity in the bed, Mac's phone buzzes uselessly on the hotel room's bureau. INT - NGH, FUNCTION ROOM - NIGHT. Veronica enters the party, looking desperately for Mac and Beaver. Another unidentified song is playing. Logan can be heard talking to some people. LOGAN: No way! No way, that's stupid, man, I wouldn't do that-- Veronica grabs his arm and pulls Logan aside. VERONICA: Hey! Have you seen Beaver and Mac. LOGAN: [slightly drunk] Yeah, they were here earlier. Logan sobers up fast when he realises how panicked Veronica is. LOGAN: What's wrong? VERONICA: I think Beaver-- Veronica stops when she realises that Dick has joined them. DICK: What? VERONICA: Where's your brother? DICK: I think he took Ghost World up to his room. They're probably up there making love. Or playing Dungeons and Dragons. Or both, at the same time. Veronica hurries away. Logan stares after her, concerned. Dick, as usual, is oblivious. DICK: They're both, like, twelfth level dorks. I'm just saying. INT - NGH, BEAVER'S ROOM - NIGHT. Beaver is lying in the bed, looking miserable, staring at the ceiling. Mac is lying next to him, looking at him. MAC: Don't worry about it. I'm having a good time and we've got all night, okay? We're cool here. I'm just gonna hop in the shower and then we can head back down to the party. Beaver lets out his breath and turns his head to look at her. INT - NGH, RECEPTION - NIGHT. VERONICA: Can you tell me which room Cassidy Casablancas is in? RECEPTIONIST: I'm sorry, we can't give out that information. I can ring his room if you'd like. VERONICA: Sure. The receptionist taps her keyboard, then smiles apologetically. RECEPTIONIST: I'm sorry. There's a "Do not disturb" on the room. Veronica spins around in frustration. She starts tapping keys on her cell. INT - NGH, BEAVER'S ROOM - NIGHT. Beaver is sitting on the bed, dressed in his jeans, contemplating his failure. Mac's phone buzzes on the bureau. Beaver walks over and picks it up. It shows that the message is from Veronica, the date (June 3, 2006) and the time (8:12). Beaver reads the text message: "Get away from Beaver. Now. He's a k*ller. I'm in the lobby." Beaver thinks for a moment, puts the phone down and goes to his backpack. He pulls out a g*n. INT - GRAND NEPTUNE HOTEL, RECEPTION - NIGHT. Veronica's phone pings. She looks at the message. It's from Mac, whose number is quoted as 1-619-555-0107, timed at 8:15 pm and received at 8:21pm, and reads: "Meet me on the roof now." Veronica hurries to the elevator, getting on while trying to dial out. As the lift doors close, she loses the signal. VERONICA: Damn it! AARON: [offscreen] Hello, Veronica. Veronica's head jerks up. She is alone in the lift with Aaron. He is holding a bottle of brandy and two brandy glasses. AARON: Well, don't look so surprised. It's a small town. Now that I'm no longer in jail, we might just run into each other from time to time. VERONICA: I'll have to pay better attention to where I'm going then. AARON: Well, it's a free country. Those founding fathers were really onto something. He walks closer to her. AARON: Freedom, it's pretty damn sweet. I like it. VERONICA: So did Lilly. Bummer you m*rder her. AARON: You know, I can see why the two of you were such good friends. You're so much alike. You're not afraid to speak your minds. You know, that just might be the best part about the day I smashed her head in with an ashtray... He looms even closer. AARON: ...knowing that once and for all, she would finally shut the hell up. The elevator arrives at its first destination. AARON: Well, have a nice night, Veronica. Aaron exits, leaving Veronica shaking. EXT - NGH, ROOF - NIGHT. Veronica strides onto the roof, looking around. VERONICA: Mac? BEAVER: [offscreen] Hey, Veronica. Veronica freezes. She turns around to see Beaver standing behind her, pointing the g*n at her. VERONICA: Where's Mac? BEAVER: A better place. Unfortunately, she never got a chance to read your message. Now, throw me your bag. Veronica hesitates, shaking her head. BEAVER: [shouting angrily] I said throw me your bag. Veronica holds up one hand to placate him. With the other, she slides the strap of her bag off her shoulder and throws the bag towards him. Beaver picks it up, taking the taser out of it. He tosses it aside. He then pulls Mac's cell out of his pocket. He holds it up. BEAVER: So "Beaver's a k*ller." It's a pretty serious accusation. What exactly do you think you know? VERONICA: You played for Woody's Little League team with Marcos and Peter. He molested all three of you. They wanted to come forward. FLASHBACK: INT - NHS, CLASSROOM - DAY. In the language lab, Peter and Marcos speak urgently to Beaver, who is wearing an earpiece attached to a computer teaching him French. PETER: A couple of the Sharks had to know about it. They'll come forward. Things like this don't stay secret. MARCOS: Damn right. BEAVER: Yeah, but, I mean, do you guys really want people to know about it? PETER: He's a pervert. The computer, designed to record Beaver's attempts at French, is recording the conversation. PETER: He's sick and what he did to us is wrong. BEAVER: Look, please don't drag me into this. MARCOS: You're already in it. You'll thank us later. Peter throws Marcos a glance as Marcos gets up from the desk. Peter follows. Beaver looks at him, pleading. VERONICA: [offscreen] Peter and Marcos were going to spill. END FLASHBACK. EXT - NGH, ROOF - CONTINUING. VERONICA: That's why they had to die. My guess? You got the expl*sives from Curly Moran. FLASHBACK: EXT - NHS, CAR PARK - DAY. Veronica sees Beaver and Hart at his vandalised car in 221 "Happy Go Lucky." VERONICA: [offscreen] I saw you with that h*m*, Hart Hanson, last week. Hart says you worked on his w*r movies with him. That you were in charge of bl*wing things up. END FLASHBACK. EXT - NGH, ROOF - CONTINUING. VERONICA: He said you knew a guy who taught you how to do it, your dad's mechanic, former stunt coordinator, Curly Moran, right? FLASHBACK: EXT - PACIFIC COAST HIGHWAY - DAY. The bus travels along the road by the sea. The limo is just behind it. DICK: [offscreen] Admit it, man. You're way happier in the limo than sitting on a bus getting eye daggers... FLASHBACK: INT - LIMO - CONTINUING. Dick and Duncan are in the seats immediately behind the partition between the driver and the rest of the vehicle, facing the back of the limo. DICK:...in the back from Meg. DUNCAN: I'd of been happier if you hadn't had that chilli dog. Two girls, in the seat along the side of the limo, giggle. Beaver is sitting in the back seat, facing the same direction as the driver. He can see the bus ahead. He has his cell in his hand. He watches carefully and then presses a button. There's the sound of an expl*si*n. END FLASHBACK. EXT - NGH, ROOF - CONTINUING. VERONICA: Curly told Weevil that he knew who blew up the bus. He figured it out, didn't he? Beaver just smiles. VERONICA: That's why you needed him gone. You know Cervando's been bragging about hustling Liam Fitzpatrick, so you convince the PCHers that Curly blew up the bus. FLASHBACK: EXT - ROAD HOG - NIGHT. Music: "Strangehold" by Ted Nugent. LYRICS: Here I come again now baby Like a dog in heat Tell it's me by the way now baby I like to tap the streets Now I've been smoking for so long You know I'm here to stay Got you in a stranglehold baby You best get out of the way Weevil is kicking Curly, who is on the ground. One of the bikers starts to walk towards the car. PCH-ER: Yo. Beaver sees him and rushes to turn on the car's lights and ignition. This alerts the bikers, who scatter. THUMPER: Come on, man, let's go. VERONICA: [offscreen] But you have to finish the job. Curly is just getting to his feet. Beaver speeds the car straight into him. Curly's scream is cut short by the thud of the car hitting him. Curly's body is thrown up onto the bonnet. Beaver climbs out of the car and walks closer to Curly. VERONICA: [offscreen] You wanted to focus any investigation in a new direction. You knew I was a key witness in the Aaron Echolls trial, so... Beaver pulls a pen out of his pocket and writes "Veronica Mars" on Curly's hand. VERONICA: [offscreen] Convenient, wasn't it? Cut to a little later, as the car, with Curly still on the bonnet, speeds forward to the cliff's edge. VERONICA: [offscreen] The Road Hog's cliff side location? Easy to dump the body. The car brakes just before the edge and Curly's body flies off, over the cliff. End music: "Stranglehold" by Ted Nugent. END FLASHBACK. EXT - NGH, ROOF - CONTINUING. VERONICA: You didn't hire me to catch Kendall cheating on your dad, did you? You knew what he was up to and you wanted to punish him for the way he treated you. You used me to do it. BEAVER: And you were marvellous. VERONICA: [voice breaking] Now let me ask you something. How is it I got Chlamydia? Beaver raises an eyebrow. VERONICA: Woody was treated for it. I ended up with it. Shelly Pomroy's party, h*m* year. You said Dick pushed you into a room with me after I'd been roofied. But you didn't run out like you said you did, did you? Nope. You wanted to prove you were a man. FLASHBACK: INT - POMROY RESIDENCE - NIGHT. Veronica is unconscious on the bed. Beaver is sitting next to her, looking down on her. VERONICA: [offscreen] It helped that I was unconscious, didn't it? Easy to imagine whatever it is you needed to imagine. Beaver unfastens his belt. END FLASHBACK. EXT - NGH, ROOF - CONTINUING. Beaver laughs. VERONICA: [emotionally] You r*ped me! BEAVER: And Dick still thinks I'm a virgin. You see, I know how to keep a secret. VERONICA: That's what this was all about, isn't it. Keeping your secret? Well, it's over, it's out, I know. BEAVER: Yeah, but I've a pretty good feeling that you won't be telling anybody. VERONICA: I already did. I told my dad. He knows. BEAVER: That's, uh, that's too bad. He's on Woody's plane with him, right, right now on his way back? See, because I have no more use for Woody. You heard about the b*mb in Woody's car, right? Yeah, 'cause there's one on his plane and all I have to do is dial. Veronica is horrified. Beaver laughs. BEAVER: You wanna call your dad? Say goodbye before I press send, go ahead. I'll give you a minute. VERONICA: [close to tears] Cassidy. No, you're not serious. BEAVER: Fifty-six, fifty-five, tick-tock. Veronica dials her cell frantically. The phone rings. Veronica starts to cry. VERONICA: Pick up. Please pick up. There's no answer and Veronica is beside herself. VERONICA: [whimpering] Daddy. BEAVER: Oh well. On a phone now giving the time as 12:21am, Beaver pushes send to 555 0107. (Faux pas as that was showing up as Mac's number on Veronica's phone.) Behind Veronica's head, in the sky, there is an expl*si*n and a fireball. BEAVER: What do you know? Veronica twists around and stares in shock, sobbing. She sinks down to her hands and knees. Beaver walks towards her and crouches down next to her on her left. BEAVER: Yeah, sorry about that. I know this might be a, uh, a real bad time to ask for a favour. How would you feel, now that you've got nothing left to live for, about just rolling yourself off? Unseen by Beaver, Veronica is punching the keyboard of her cell with her right hand. BEAVER: I just, I really don't want your DNA all over my shirt. INT - NGR, PRESIDENTIAL SUITE - CONTINUING. Logan is back in his room, considering the contents of the small refrigerator. His cell sounds. He takes it out of his pocket and looks at the caller ID. It's the 8:21 message Veronica received from Mac's phone: "Meet me on the roof now." No name comes up on Logan's cell, although it is shown to be from 619-555-0123. Logan looks at the message and then up towards the ceiling. EXT - NGR, ROOF - CONTINUING. Beaver looks at the taser in his hand with interest. Veronica is still on her knees. BEAVER: You sure like this thing. You ever wonder what it feels like to the people you actually taser? Let's give it a whirl, what do you say? Beaver jabs the taser at Veronica's arm. She jerks, pulls her arm away and holds it to her body in pain. BEAVER: You know what I was just thinking? We're Neptune Pirates, right? And this is like I'm making you walk the plank except instead of jabbing you with a sword, I'm sending three hundred thousand volts through you. Now jump. He jabs her with it in the arm again. Veronica falls forward and rolls onto her back. VERONICA: Please, don't. Beaver stands and backs away from her, pointing the g*n at her. BEAVER: You couldn't do this the easy way? You know Aaron Echolls is staying here. What do you want to bet that I can get him convicted for the death of this teenage girl. A voice rings out from behind Beaver. LOGAN: [offscreen] No! Beaver swings around and sees Logan standing behind him, some distance away. Beaver takes aim and fires. The sh*t misses Logan, ricocheting off a metal grill next to him. Logan dives to his left, behind a raised part of the roof. Beaver walks towards him. Logan pokes his head up and Beaver fires the g*n again, just missing Logan as he ducks his head down. Veronica leaps on Beaver's back and tackles him to the ground, trying to grab the g*n. He pushes her off, keeping hold of the g*n, and gets to his feet only to be tackled from the other direction by Logan. Beaver loses hold of the g*n which slides away. He and Logan grapple until Beaver uses the taser, causing Logan to release him. Beaver starts to rise but is startled when Veronica sh**t into the sky. She brings the g*n level at Logan and Beaver. VERONICA: Logan, move away from him. Logan gets to his feet, as does Beaver. LOGAN: Veronica, don't. VERONICA: [crying] He k*lled my father! Logan starts to move slowly towards her. LOGAN: Now give me the g*n, Veronica. VERONICA: He k*lled everyone on the bus! He r*ped me! Music: "See My Friends" by Gravenhurst. LYRICS: See my friends See my friends Laying across the river See my friends See my friends Laying across the river She is gone She is gone and now there's no one left Except my friends Laying across the river She just went Logan looks back at Beaver in shock before returning his attention to Veronica, inching closer. LOGAN: Look, you are not a k*ller, Veronica. Give me the g*n. His hand is nearly on the g*n. Beaver just watches. Veronica cries hard. LOGAN: You're not a k*ller, Veronica. Give me the g*n. She finally drops her arms, letting him take the g*n. He wraps his arms around her as she sobs. He rocks her, glancing at Beaver who has made his way to the edge of the roof. He looks down. Logan buries his face in Veronica's hair, comforting her. He looks up again, just in time to see Beaver hoist himself over the low wall on the edge of the roof. Logan lets go of Veronica and strides a few steps forward. LOGAN: Beaver, don't! Beaver turns around to face them. BEAVER: [passionately] My name is Cassidy. LOGAN: Cassidy, don't. BEAVER: Why not? Veronica says nothing. Logan struggles and can't find anything to say either. BEAVER: That's what I thought. Beaver takes a step back and off the roof. There's a crash and the sounds of a squeal of brakes and a horn. Logan stares in horror at the space where Beaver was. Veronica walks forward and back into Logan's arms. He enfolds her and groans. Veronica suddenly remembers. VERONICA: Mac? INT - NGH, BEAVER'S ROOM - NIGHT. The door opens and Veronica races in, followed by Logan and a hotel employee. VERONICA: Mac? All the bedding has gone. Veronica sees Mac crouched down by the side of the bed, wrapped in a shower curtain. She is distraught. Veronica gives a gasp of relief and crouches down in front of Mac. MAC: He took my clothes. He took everything. Why? Veronica, still in tears herself, leans forward to hug her. End music: "See My Friends" by Gravenhurst. INT - NGH, AARON'S ROOM - NIGHT. The brandy looks to be untouched. AARON: Oh. My. God. Aaron is lying naked on the couch. Kendall's head comes into view, sliding its way up his body. Aaron and she laugh. AARON: Oh. Have I told you how much I love freedom. KENDALL: I like it too. They rub noses. KENDALL: And any more freedoming tonight, and I'm gonna need a wheelchair. She smiles and slips off his body. Aaron wipes his mouth and sits up. He watches her walk around the couch, heading for the bathroom. As the shower starts up, Aaron pulls a cigar from the table and takes great pleasure in lighting it. He grabs the remote and flicks through some channels until he finds an old movie starring himself, dressed as a Gestapo officer, riding a motorbike. AARON: Well, well, well. Who's that handsome fellow? Now with a glass of brandy, Aaron sits back to enjoy himself. He doesn't see the sil*ncer of the g*n pointed directly at his head behind him. Two sh*ts f*re from the g*n and the screen is splattered with blood. The assassin is Clarence Wiedman. He turns and walks out of the room. EXT - MOLLYMOOK, AUSTRALIA, BEACH - DAY. Duncan is building a sand castle for baby Lilly. His cell rings. DUNCAN: CW? INT - NGH, HALLWAY - NIGHT. WIEDMAN: It's a done deal. Wiedman terminates the call. He walks on after tearing a strip of tape from the lens of the hotel's security camera. EXT - MOLLYMOOK, BEACH - CONTINUING. Duncan lets his hand with the phone drop, contemplative and regretful. Lilly gurgles. Duncan looks at her and smiles. INT - JKF INTERNATIONAL AIRPORT, NY. Wallace is checking the screens. He turns and Jackie is there. JACKIE: Hey, Wallace. Wallace grins and holds out his arms. They hug. WALLACE: What are you doing here? You headin' to Paris? What a coincidence, me too. JACKIE: I'm not going to Paris. She holds up her ticket. JACKIE: This is for the Philly shuttle. The cheapest ticket I could get to bypass security. I need to tell you some things, Wallace. I never lived on the Upper West Side. My mom isn't a model. She's a waitress who had a one night stand with Terrence eighteen years ago. I'm just another kid from Brooklyn who got screwed up on drugs and booze and all the wrong friends, but by the time I was a h*m*-- WALLACE: The past really doesn't matter to me. JACKIE: I have a son, Wallace. He's two. When he was born, my mom contacted my dad and made a deal: I'd go to California and try to start over and she'd raise my baby. When my dad just dropped me from his life, I realised that I was being a hypocrite. Here I was torn up that I wasn't the centre of my dad's universe when my mom was raising my kid three thousand miles away. I can't be that person, Wallace. I had to come back. And I have to stay. And your life is in Neptune and you have to go. Wallace is gutted. INT - MARS RESIDENCE - NIGHT. In a parallel Pieta sh*t to the one in 201 "Normal Is the Watchword," Veronica is lying across Logan's lap as he sits on the couch. They are both asleep. DREAM: EXT - SOMEWHERE - DAY. Veronica, aged about four, is sitting on a blanket on the grass, giggling. She is being entertained by a puppet show, with Keith the puppet master of two sock puppets. KEITH: You're stinky. No, you're stinky. No, you're stinky. Keith pops his head out from between the curtains. KEITH: I mean stinky. We're both stinky. You're stinky. Honk, honk. Keith suddenly gets excited. KEITH: Honey, do you smell that? Do you know what that is? YOUNG VERONICA: I smell bacon. END DREAM. INT - MARS RESIDENCE - DAY. Now in her own bed but still fully dressed, Veronica jerks awake and gasps. She races into the lounge. VERONICA: Dad! She stops when she sees that it is Logan cooking breakfast. He looks over at her as her hopeful face crumples. He takes her in his arms and holds her close. She cries. LOGAN: Here. I'm sorry. Oh, I'm sorry. I'm so sorry. Behind her, a figure appears. KEITH: Is that breakfast I smell? In disbelief, Veronica tears herself out of Logan's arms and runs to her father, jumping to hug him around the neck. Keith is surprised but his arms come out to hold her. VERONICA: You're alive? Oh, I thought you were d*ad. She pulls back to look at him, although she doesn't let him go. VERONICA: I love you so much. KEITH: Oh, honey, what's wrong? I don't understand. VERONICA: Woody's plane. Cassidy Casablancas blew it up. Keith realises the significance and pulls her into him in a tight hug. KEITH: Holy... I wasn't on the plane. Logan watches them together. KEITH: Lamb didn't want me arriving with Woody getting met by the press so he had them take me off the plane at the last minute. I rented a car, I drove home. He pulls back a little to look down at her. KEITH: I was a little surprised to find, you know, Logan on the couch, but it was better than finding him elsewhere, right? He grins and they both look over towards Logan, only to see the door closing behind him. KEITH: Now what were you saying about the Casablancas boy? Veronica sighs. INT - LEE'S OFFICE - DAY. LEE: It's most likely going to be ruled a su1c1de, so insurance-wise, that's going to be a wash. Kendall is sitting on the other side of his desk. Lee picks up a folder and flips through it. LEE: The cops found these in Cassidy's room, however, Phoenix Land Trust. It's all in your name. I-I assumed, uh... KENDALL: Right. Phoenix, the real estate thing. How am I doing these days? The lawyer chuckles. LEE: Eight million and change. Kendall does a double take. LEE: Tell him I said nice going. He hands her a sheet from the file. KENDALL: Him? LEE: Betting against incorporation? Ballsy. Feels like a Richard Casablancas move to me. Kendall beams. INT - MARS INVESTIGATIONS - DAY. Veronica is at her desk, peering closely at a brochure. Keith, in summer holiday shirt, shuffles over to her desk from his office. KEITH: I can feel it already. The little town blues are melting away. You all packed? VERONICA: Vagabond shoes and all. And pepper spray, for if we run into that Trump character. KEITH: You sure you don't want to drive with the old man? VERONICA: Logan's giving me a ride. We're supposed to... Veronica makes a small air quote. Talk. KEITH: How'd he take, um...what happened. VERONICA: Shrugs it off. Calls himself Little Orphan Annie...which I think means badly. She checks her watch. VERONICA: I should go out front. KEITH: I should get my autograph book. Carol Channing's still alive, isn't she? Having come round to her chair, he kisses the top of her head. VERONICA: Mm. KEITH: I'll see you at the gate. Keith goes back into his office and Veronica starts to collect things at her desk. LOGAN: [offscreen] So? Music: "Time Flies Tomorrow" by Paul Westerberg. LYRICS: Your heart sings a feeling It don't ache but baby its gonna Swing from the ceiling Break like a pinata Break like a whitecap In the sand you shiver With eyes like two hubcaps At the bottom of the river Time flies tomorrow Time flies tomorrow But it ain't made a move yet Time flies tomorrow And tomorrow will make a day since we've met Veronica looks up. Logan is at the main door of the office. He picks up her carry-on bag which is stacked with her suitcase at the entrance, jiggles it and grins. Veronica smiles. Cut to moments later. Veronica walks out into the small hallway outside the door to Mars Investigations, checking her bag as she goes. Logan, carrying her luggage, glances towards Keith's office, then pulls the main office door closed. He drops the luggage and catches Veronica with a kiss, holding her and spinning them along the wall. She gasps and hangs on, kissing back. VERONICA: What are you doing? He halts their progress with Veronica's back against the wall. LOGAN: I'm not gonna see you for a whole week. That's like a month. She laughs. VERONICA: Yeah, but then I'll be back and everything will be fine. LOGAN: Yeah. Logan sighs and kisses her neck and then her cheek. LOGAN: Mm, you say that but I don't know. VERONICA: I know. I can feel it. LOGAN: And you're never wrong. Veronica shakes her head. LOGAN: Yeah? Veronica giggles but any further response is interrupted by the turning on of the hall light. KENDALL: [offscreen] Aw, young love. Veronica glares at Kendall. Logan just smirks. KENDALL: No, no. Hold that position. Norman Rockwell wants to come in and paint you two. Did he pin on his pin or was he too shy? VERONICA: Why are you here? LOGAN: Yeah, I didn't know you could come out during daylight hours. Haughtily, Kendall proceeds to the office, passing them. KENDALL: I have a business proposition for your father. VERONICA: Okay, but I'm warning you, he doesn't carry much cash. Kendall appears in Keith's office. KENDALL: I need you to do something for me. KEITH: Well, I'll be back in a week and at that time, I will be happy t-- Keith reaches for his jacket. Kendall puts her briefcase on his desk. KENDALL: I need it right now. KEITH: Sorry, Mrs. Casablancas, but I'm meeting my daughter in an hour. KENDALL: I think you'll change your mind. Kendall opens the briefcase. Keith looks down at the contents. KEITH: Oh. KENDALL: Like I said, it's important. Keith stares at her. INT - AIRPORT - DAY. Veronica is waiting. Behind her, a board shows that her flight is boarding. Concerned, she pulls out her cell phone. It gives the date and time (June 6, 9:12am) but shows that it is getting no signal. She looks out, getting more and more anxious and looking lonelier and lonelier as the camera pulls back. End.

{"type": "series", "show": "Veronica Mars", "episode": "02x22 - Not Pictured"}

foreverdreaming

EXT - HEARST COLLEGE - DAY. Under a grey sky, Veronica makes her way across the campus. A large banner is set up: "Rally Against v*olence Towards Women - Take Back the Night - 4pm at Johnson Lawn - All are welcome to attend - Let's Stand United!" Veronica passes under it. VERONICA VOICEOVER: Here it is. First day of college. What do you say, Veronica? New school, fresh start. Veronica glances over at three girls, securing one end of the banner. VERONICA VOICEOVER: How 'bout you try not to piss anyone off this time around. Veronica heads for the entrance in the main building. DR. LANDRY: [offscreen] Welcome to college... INT - HEARST COLLEGE - DAY. On a screen at the front of a lecture theatre are the words "Intro to Criminology." A man walks forward from the lectern next to it. DR. LANDRY: ...where it's okay to skip class. Just not mine. The students titter appreciatively. A girl sitting behind Veronica leans forward, gazing dreamily at the professor. CATHY: Skip class? I'm gonna staple myself to the floor. Veronica growls in agreement. DR. LANDRY: Before we dive in, I've been asked to plug the Criminology Department's mentoring program. We work with at risk kids here in Neptune. Our philosophy is that it's better to prevent crimes through intervention than be forced to solve them later. My teaching assistant... Landry extends his arm in the direction of a young man sitting at the front of the room, facing the students. The young man, the spitting image of Lucky from Season Two, but in a shaggy wig, stands. DR. LANDRY: ...Timothy Foyle, will take the names of those who would like to volunteer. Timothy gives a small bow. Landry quickly moves on, pointing a remote over his shoulder at the screen behind him. DR. LANDRY: Here's a reading list for the semester. The screen changes to a list of books. DR. LANDRY: All should be available used at the Co-op. CATHY: What about your book, Dr. Landry? DR. LANDRY: Profiling is an upper level course. Gotta walk before we run. There's giggly amongst the students. Cathy leans back in her seat, satisfied with her brown-nosing. Landry claps his hands together. DR. LANDRY: All right, what do you say we start off this semester with a little bit of ridiculous fun. He picks up some envelopes from his desk and holds them up. DR. LANDRY: m*rder on the Riverboat Queen. He passes the envelopes to Timothy who starts to distribute them among the students. DR. LANDRY: If Tim hands you an envelope, that makes you a passenger and a witness on the Riverboat Queen. Go ahead, open your envelope. It'll give you all the details you need to play this role. Timothy walks past Veronica without giving her an envelope. DR. LANDRY: Who you are, what you saw. If you’re the m*rder, you're given your cover story. Now if you're not given a card, that makes you one of the Pinkertons, brought on board to solve the case. You can question any of the passengers. Timothy makes his way back to the front of the class. DR. LANDRY: The current record for solving the case is sixteen minutes, courtesy of the amazing Mr. Foyle. Timothy bows with a grand flourish. Landry chuckles as Veronica looks on, brow furrowed at the boastfulness on display. DR. LANDRY: All right, detectives. You may begin questioning your passengers... He pauses, checking his watch. DR. LANDRY: ...now. Landry goes back to his lectern, Timothy watches the class and the students start to turn to talk to each other. Some move about. Veronica looks at one of them, then turns her attention to her laptop, open on the desk in front of her. She's connected to the internet. She starts to type. Cut to a few moments later. The babbling of the students continues as Timothy paces the room. Veronica is sitting back in her seat, reading Popular Photography & Imaging. Timothy notices and heads towards her. He stands in front of her and clears his throat. Veronica looks up. Timothy folds his arms and smirks. Veronica smiles and, when he doesn't say anything, takes the initiative. VERONICA: Yes? TIMOTHY: Dr. Landry expects everyone to participate. Is it possible you ended up in the wrong class? Veronica does a little double-take. TIMOTHY: [condescendingly] Your academic advisor can get you into something else, you know. Elementary education, maybe. I think it's okay to read magazines over there, they even cut them up sometimes, make little collages. Veronica's eyes narrow to slits before she gives him a forced giggle. She returns her attention to her magazine. VERONICA: I know who did it. Timothy is flabbergasted. He goes to say something, stops himself, looks at her and then shouts to Landry. TIMOTHY: Dr. Landry! DR. LANDRY: Whatcha got? As Landry makes his way over to them, Timothy points at Veronica. TIMOTHY: This girl says she's got it, but she hasn't moved from her seat. DR. LANDRY: And you are? VERONICA: Veronica. Mars. DR. LANDRY: So, Veronica Mars. Who are you going to send to prison for the rest of his natural born days. VERONICA: The blind yet not really blind fiddle player, Rutherford Styles. Landry, impressed, looks at Timothy, who is put out. They both look down at Veronica who gives Timothy a triumphant shrug. DR. LANDRY: Congratulations, Veronica. He addresses the class as he heads back to his lectern. DR. LANDRY: All right everybody, you can stop. We have a winner and a new record holder. Six minutes. Veronica finally drops her magazine as the students return to their seats. DR. LANDRY: So, how did you figure it out? VERONICA: m*rder on the Riverboat Queen was a m*rder mystery in a box game made by Wigwam Toys in the late '80s. Fans of the games set up message boards on line that gave away details. I just ignored all the spoiler alerts, which I know is kind of douchebaggy, but... TIMOTHY: The game is set in the 1890s. You can't use the internet. Veronica looks past Timothy to Landry VERONICA: Was that a rule? DR. LANDRY: [amused] It wasn't a rule. TIMOTHY: And there are two possible K*llers in the box. I mean, [chuckling with disapproval] you just took a fifty-fifty s*ab, didn't you? VERONICA: Sorry, no. The other k*ller is Countess Magee. Dr. Landry just asked me who I was going to send away for the rest of his natural born days. That kind of sold me on blind Rutherford. There is one thing I can't figure out though. She pauses a moment and looks up at Timothy. VERONICA: What did you do for the extra ten minutes. There is laughter among the students. Timothy is beaten and knows it. He heads back to the front of the class. Veronica watches him, please with herself. Opening credits (new style). EXT - HEARST COLLEGE - DAY. Logan is sitting on a bench, disinterestedly watching people walk by. VERONICA: [offscreen and with a raspy voice] You a bounty hunter, boy? Logan smiles. The camera pulls back to reveal Veronica sitting on the bench next to him, adopting his position: arms spread out resting along the back of the bench, legs wide apart. LOGAN: I really shouldn't have pushed for the Clint Eastwood marathon. Now I've ruined you. I didn't think it was possible to make you more butch. Stupid, stupid Logan. He looks over at her. LOGAN: Well, you wanna feel like a man, walk me to class? Veronica leans forward, holding out her hand. VERONICA: Carry your books? LOGAN: Why not? Logan picks up the few books next to him as he leans forward to give her a kiss. She takes them. They stand and start walking. LOGAN: Guess who I saw on campus today? VERONICA: Some girl going wild? As I understand it, it happens all the time in college. I'm on the verge of it right now. LOGAN: No, Dick, my BFF. VERONICA: I thought he was crashing with his dad in the Caymans. LOGAN: Naw, he's back. VERONICA: You guys talk? LOGAN: Yeah, but it was brief. Shouted his name, flipped me off...the bonds of friendship. VERONICA: It was enough of a struggle getting you into Hearst, how do you think he managed it? LOGAN: Well, his mom remarried Schwarzenegger's business manager. VERONICA: Ah. LOGAN: Yeah. I'm sure a call from the Governor can get you into most colleges in the state. Logan pauses, suddenly serious. Veronica stops and faces him. LOGAN: Hey, uh...people are saying Dick's a mess, you know, on account of his, uh, brother Greg Louganising off of my roof. VERONICA: It wasn't your fault Cassidy jumped. LOGAN: Nothing's ever my fault. Logan bends down to give Veronica a quick peck, takes his books from her and walks away. Veronica watches him go with concern. INT - MARS RESIDENCE - DAY. Veronica enters the apartment carrying the post. She looks through it, swinging the door closed behind her. She is particularly interested in a large brown, padded envelope from the Sutcliffe Hotel, New York, New York (addressed to Mars Family, 1909 Seacrest Road, Neptune, Ca 98...). INT - MARS INVESTIGATIONS - DAY. Keith is at his desk. His g*n is dismantled in front of him and he is in the process of cleaning it. He looks down the barrel, then drops a weighted line through it. There's a noise from the outer office and he looks up. Vinnie Van Lowe appears, one leg to the side in the air and claps softly, making an entrance. Keith returns his attention to his cleaning equipment. KEITH: [unenthusiastically] Vinnie. What brings you to the good part of the wrong side of the tracks? VINNIE: Dollar signs, mi amigo. He grins and clicks his fingers, taking a step further into Keith's office. VINNIE: The almighty buck. I got a case that requires a little, uh, double detective duty. Vinnie accompanies this with the a little boxing jig, coming fully into the office. He points out of the window. VINNIE: Uh, Lucky Pierre owns a jewellery store and suspects that he's got an embezzler. Vinnie comes to a halt in front of Keith's desk. VINNIE: What do you say? Huh? Wonder Twin powers activate! He holds out a fist excitedly. KEITH: Can't Vinnie. Got my own case and it's taking me out of town. Vinnie looks down at the gear spread all over Keith's desk. VINNIE: A h*t? I understand there's good money in that. How does one break in? Is there a union of some kind? Put in a good word for me, would ya? Vinnie picks up the soft briefcase that is lying on the corner of Keith's desk, inspecting it. VINNIE: You know, I've thought about getting myself a briefcase, not that I really need it. Vinnie ducks his head into the briefcase. Keith, with a bit of a sigh, gets up from his chair to take it from him. VINNIE: You know, everything I need I keep right up here. Vinnie taps his head as Keith leans forward and grabs the briefcase. KEITH: Vinnie, I'm busy. Vinnie holds up his hands. VINNIE: Okay, okay, if you wanna be that guy. Vinnie pouts and turns to leave. INT - MARS RESIDENCE - DAY. Keith enters the apartment and checks the mail where Veronica has left it on the kitchen counter. VERONICA: [offscreen, shouting] Dad? Come here! Keith looks up, throws down the post and heads for Veronica's bedroom. He enters. Veronica is at her desk, the computer open before her. KEITH: You beckoned? VERONICA: Yeah. You'll never believe it. Keith settles on the chair next to her. VERONICA: A maid from our hotel in New York found the flashcard with all our vacation pictures on it. Look! KEITH: Hot dog! Veronica pauses for a moment and gives him a confused stare. VERONICA: Hot dog? KEITH: [dryly] It's an expression of excitement and enthusiasm. Joe and Frank Hardy and I used to say "Hot dog" all the time while we were waiting for the car hop to bring up our malteds at the drive-in. VERONICA: Drive-in? KEITH: I hate you. VERONICA: [coyly] You love me. KEITH: [sighing] Yeah, but it's all instinct. Veronica pounds a few keys on the keyboard. VERONICA: Okay, you'll notice that the first couple dozen photos feature your daughter doing the one-handed self-portrait... As Veronica demonstrates the action of taking a picture of herself, Keith's head drops into his arms, in shame. VERONICA: ...as her negligent father showed up three days late... Veronica pats him companionably and Keith peers up at the screen. VERONICA: ...but look, you finally make it. Here we are in front of Spamalot. Keith chuckles. The camera switches to a view of Veronica's screen, showing a picture of the two of them outside the doors of a building, numbered 405. VERONICA: [offscreen] Here we are in front of the Empire State Building. Keith points at the picture. KEITH: That's the Chrysler Building. VERONICA: No, it isn't. KEITH: Veronica, there are a few things in life to which you'll have to defer to my age and experience and that, sweet child of mine, is the Chrysler Building. VERONICA: Hm, senility. That comes with age too, right? KEITH: I...can't remember. Veronica laughs. KEITH: Oh, by the way, how was your first day? How does it feel being a college student? Veronica stretches her arms out in front of her. VERONICA: [languorously] Well, it's exhausting. I had one whole class today. KEITH: Did you make any friends? She laughs. VERONICA: Lord, no. KEITH: Enemies? VERONICA: Eee... KEITH: Yeah, well, it is a day that ends in a Y. VERONICA: Hey! You mess with the bull. Veronica holds up a corna, (a fist with the index and little fingers extended), which also illustrates the horns of a Texas Longhorn. Keith chuckles. VERONICA: Okay? She turns back to the pictures and squees. VERONICA: Oh, look, here you are stuffing cupcakes in your face at Magnolia Bakery. Keith stands up. KEITH: Say, you remember I'm gonna be gone a few days, that bail jumper I've been tracking... VERONICA: I'll hold down the fort. KEITH: Yeah...yeah. I'm afraid I put Backup in charge while I'm away. Backup, spread out over Veronica's bed, stirs himself at the mention of his name and barks. KEITH: And he's been instructed to maul your boyfriend if he's here past midnight. VERONICA: Backup's in charge? What about the bitch he's been seeing? Backup, now sitting up, barks again. Keith doesn't bite. INT - HEARST COLLEGE, WALLACE'S DORM ROOM - DAY. A small ball drops into a hoop on the wall. It falls and rolls back, via a device, towards Wallace, lounging on a beanbag on the floor. As he picks up the ball, the door opens behind him. Piz enters, struggling with a box and some sports gear. Wallace looks behind him. PIZ: Hi. Piz balances the box between the door and his knee, and holds out his hand. Wallace leans back to shake it. WALLACE: Hey. Piz enters the room and heads for the space Wallace hasn't made his own. WALLACE: You must be my roommate. Stosh? PIZ: Uh, call me Piz. But you're...Wallace? Piz puts his stuff down on the empty desk and turns back to Wallace. PIZ: Sorry, there must be some mistake. On my roommate request form, I specifically said I didn't want a roommate who was...uh, you know. Wallace stares at him with a frown. Piz shuffles uncomfortably. Wallace lifts up a hand in confusion. WALLACE: What? PIZ: Better looking than me. I made it very clear. Wallace laughs and levers himself off of the beanbag. WALLACE: Sorry, man. The fairest of them all right here. He shrugs and then points to his side of the room. WALLACE: Took this side. I hope that's cool. PIZ: Yeah, no sweat. I rarely wear clothes indoors. I hope that's cool. Wallace chuckles then shakes his head seriously (in a way very reminiscent of Veronica's response to Wanda's pep squad effort in 106 "Return of the Kane"). WALLACE: That's not cool at all. It's Piz's turn to laugh. Wallace smiles. WALLACE: You got more stuff? PIZ: Uh, just a car full of boxes containing all my worldly possessions. WALLACE: Want some help? Piz punches the air. PIZ: Yes! EXT - HEARST COLLEGE - DAY. Piz leads Wallace through an archway. PIZ: Over here. They approach a small, dirty, green car. PIZ: Yeah, this fine example of American automotive engineering is mine. Piz opens the boot and both boys stare down into it. It's empty. PIZ: Oh my god! Piz hurries to the side of the car and opens the back door. WALLACE: Where's all your stuff? He quickly slams it shut again. PIZ: It's all gone. Everything I own. It was here five minutes ago. Now it's gone. WALLACE: I know someone. She'll get your stuff back. Piz is pissed off and sceptical. WALLACE: Count on it. INT - HEARST COLLEGE, WALLACE'S DORM ROOM - DAY. Back in their room, Piz disconsolately tosses one of his few remaining possessions onto the desk. PIZ: This girl, she's, uh, she's our age and she's a [with air quotes] detective. Is she also a cartoon? As Piz paces, Wallace lounges on the chair at his desk. WALLACE: Look, she doesn't carry a magnifying glass or anything. Her dad's a PI. He used to be sheriff. Wallace expels a deep breath. WALLACE: She's picked up a few things. PIZ: Look, I appreciate that, man, but I-I think I'll just let the local police handle it. WALLACE: Yeah, good luck with that. There's a knock on the door (on the back of which is a poster declaring: Be strong in body, clean in mind, lofty in ideals - Dr. James Naismith, inventor of basketball"). Piz opens the door and is stunned by the sight of Veronica. VERONICA: Hi, I'm Veronica. Are you Piz? PIZ: Yes, um, I'm Piz. Piz doesn't know what to say and fidgets nervously. Veronica smiles and then leans around him. VERONICA: Wallace? Are you in there somewhere? WALLACE: Yeah, come in. Veronica passes Piz to enter the room. Piz regains his senses and closes the door. VERONICA: And you call yourselves college men. Behind her, Piz mouths to Wallace "Who is this?" VERONICA: Where are the posters with beer and half-naked ladies? WALLACE: Oh, it's behind the case of p*rn and my sh*t glass collection. So, looks like Piz is just gonna let the sheriff handle things. Piz tries to gesture to Wallace to stop, then takes a deep breath. PIZ: Actually, uh, I'd love your help. As Wallace nods knowingly, Veronica turns to face Piz. VERONICA: As to my fee, five hundred, payable in cash, cashier's cheque or a pre-agreed upon exchange of goods or services. PIZ: I could give you guitar lessons. VERONICA: Pass. On the bright side, if I don't get your stuff back, you owe me nothing. She turns back to Wallace. VERONICA: That's the friend of a friend rate. WALLACE: Wait, I haven't even decided if he's cool yet. VERONICA: Well act now. Time is running out on this special offer. She glances back at Piz who smiles tightly. EXT - HEARST COLLEGE - DAY. Piz leads Veronica and Wallace out of the building towards his car, talking quickly. PIZ: So I pulled into the parking lot and there was this... Piz searches to avoid saying "fat." PIZ: ...heavy set girl with a clipboard. She had a Hearst sweatshirt and cap on. Wallace is walking behind Veronica and Piz. A pretty girl passes them which distracts him momentarily. PIZ: Anyway, she checked my name off a list, told me which dorm was mine, and said she'd keep an eye on my stuff while I went and found my room. VERONICA: This girl, did she look like a student? PIZ: Yeah, I guess. She said she was front of the Hearst Welcome Wagon Committee. VERONICA: Wallace said that you lost your clothes, your computer, a guitar- PIZ: [passionately] No, not just a guitar, okay. It was a 1967 Gretsch Astro-jet Red-Top. Veronica holds up "no offence" hands as Piz throws out his arms. PIZ: It's like the holy grail of guitars, okay. I spent two summers mowing lawns just to earn enough to buy it. They reach his car, Veronica and Piz on one side and Wallace on the other. PIZ: This is, this it is. VERONICA: They stole your stuff and covered your car in dirt? You're not welcome here. Veronica inspects the door. VERONICA: Doesn't look like they jimmied their way in. PIZ: It wasn't locked. VERONICA: College campus, all your worldly possessions. Where are you from, Brigadoon? Wallace chuckles. PIZ: Portland, or, well, just outside of Portland, this little suburb called Beaverton. Real salt of the earth people, you know, mini-van in every driveway, chicken in every pot. VERONICA: Where they never ask rhetorical questions? Veronica heads around the other side of the car. Piz holds out a pleading hand before following. PIZ: The Welcome Wagon girl said she'd watch my car. Wallace is staring at the side of the car as Veronica and Piz join him. WALLACE: This is how you know you've gone from high school to college. The word "unwashed" is written on the car, with an arrow down from the H and an arrow up from the D. WALLACE: The graffiti goes highbrow. "Wash me" is so 2005. Veronica sighs and then turns to Piz. VERONICA: Come on, Beaverton. Let's go talk to your RA. INT - HEARST COLLEGE, RA'S ROOM - DAY. Be-shirted arms (Laura Ashley does shirts?) pour hot water into a mug of tea. MOE: All your stuff? Frak, that blows. The RA turns to face Veronica and Piz. VERONICA: Qu'est-ce que c'est? Frak? MOE: No Battlestar Galactica fans in the mix, I see. "Frak" is the profanity of the future. I'm trying not to swear. VERONICA: That's very enlightened of you, Moe. So what the frak is with this Hearst Welcome Wagon Committee? Moe takes a seat. MOE: Well, first off, there's no such thing, so there's that. Veronica turns to Piz who gives a wry grin. MOE: It doesn't exist. Moe holds out his mug. MOE: Oolong, anyone? EXT - PRISON - DAY. An inmate and a guard walk towards a small turnstile gate. CORMAC: You gonna miss me, Howard? HOWARD: Not for long. We'll keep the lights on. Cormac Fitzpatrick, carrying a brown paper bag, pushes the gate and exits the prison grounds, leaving the guard behind. A car pulls up where Cormac has stopped on the street. He leans in. CORMAC: You my ride? The driver is Keith. KEITH: Get in, we need to move. Cormac climbs into the car. Keith pulls away. EXT - HEARST COLLEGE - DAY. Veronica, walking across campus, pauses at the sound of clapping. She hears the speaker and veers to watch the Take Back the Night rally. The speaker's voice becomes more audible as she approaches. NANCY: ...here to ask one question to the students of this university, the faculty of this university and to the dean of this university. Nancy is a black girl with very short hair. She is holding a megaphone, addressing a small gathering who are standing in front of a set of steps, the top of which serves as a stage under the Take Back the Night banner. NANCY: How many women like me have to be r*ped, have to end up like this, their heads shaved before this administration listens to our demands? Veronica heads her way through towards the front of the crowd, the female members of which are making various supportive noises. NANCY: Two wasn't enough? Three wasn't enough. Nancy is flanked by one girl on her right and two on her left. NANCY: They say they are taking steps. Awesome. The dorm wings are same sex. Is that enough? The "no" that erupts from the crowd is largely female. NANCY: We demand more. As the crowd claps and cheers, Veronica spots Mac and moves towards her. NANCY: Mandatory sensitivity training, an official university sexual conduct code, more security personnel, more outdoor lights - twice as bright, and most of all, Dean O'Dell, shut down the fraternity houses. Nancy holds up a fist and the girls in the crowd cheer. Behind them, a group of boys in fraternity t-shirts boo loudly and gesture with thumbs down. Veronica reaches Mac, who is watching Nancy. VERONICA: [softly] Women. Bitch, bitch, bitch, bitch, bitch. Mac grins without turning around. MAC: Why can't they just look pretty and get their MRS degrees? VERONICA: Hmm. Veronica moves around to stand next to Mac. VERONICA: How's tricks, kid? MAC: Shrink asked if a lifetime without a libido was such a bad thing. I think she's given up on me. VERONICA: You just need more time. MAC: Irony of all ironies? Frozen from the waist down's new roommate? She's a one woman red light district. VERONICA: Really? MAC: Every night since orientation she's been with some new dude. The phone rings every ten minutes. If college is a boy buffet, she's got two full plates and a purse full of boys wrapped in napkins. VERONICA: Yet the void won't fill. As they turn their attention back to the rally, the sound of loud music starts up. Music: "Rump Shaker" by Wreckx-N-Effect. LYRICS: All I wanna do is zoom-zoom-zoom-zoom and a boom-boom Just shake your rump All I wanna do is zoom-zoom-zoom-zoom and a boom-boom Just shake your rump All I wanna do is zoom-zoom-zoom-zoom and a boom-boom Just shake your rump Check, baby, check, baby, 1-2-3-4 Check, baby, check, baby, 1-2-3 Check, baby, check, baby, 1-2 Check, baby, check, baby, 1 All I wanna do is zoom-zoom-zoom-zoom and a boom-boom Just shake your rump The fraternity boys start cheering. One of them holds up a portable stereo. The attention of the girls on the steps and the crowd is turned to the fraternity and no one initially notices a boy wearing nothing but Union Jack underwear and a balaclava, and carrying a blow-up doll, do a cartwheel behind the girls on the steps. As the crowd notices and starts to react, Nancy looks behind her and see him, dancing suggestively with the doll, which is dressed in a French maid's uniform. Fern, one of Nancy's supporters on the step, swings her head round too. The dancer writhes, encouraged by the frat boys. The crowd, generally depending on gender, either express approval or disapproval. MAC: It's like we never left Neptune High. Pissed off, Fern strides forward and grabs the blow-up doll. The other two supported rush at the boy and knock him to the ground. They hold him down. Fern arrives and places herself between his outspread legs. FERN: You won't be needing this. Fern draws back her leg, then knees him, hard, in the balls. The boy grunts in pain. One of the other girls lifts the balaclava and pulls it off of his face. It's Dick Casablancas. DICK: Oh, god. Oh. VERONICA: It's exactly like we never left Neptune High. Dick groans in pain. End music: "Rump Shaker" by Wreckx-N-Effect. EXT - ROAD - NIGHT. The lights of Keith's car is the only thing to be seen for miles. Inside the car, Keith drives and Cormac looks at what scenery can be gleaned in the dark. CORMAC: What you did for my Kendall, you saved her life. That's a tough lady to make disappear. Tends to stand out. KEITH: All I did was get her out of town. CORMAC: Ah, it was more than that. New passport, house, ATM card. All with my little brother hot on her heels. KEITH: We're not safe yet. Liam's still looking for her and he'll be looking for you too, Cormac. CORMAC: Naw, he doesn’t know I'm out yet. All that good behaviour. KEITH: Well, that's what we've got going for us. As I understand it, your brother believes he's entitled to a cut of Kendall's good fortune. CORMAC: Yeah, Kendall agreed. The quarrel was over the size of that cut. My little brother got greedy. That's always been a problem for that kid. Ah, that's why I'm gonna spend the rest of my days lying on some beach with the woman I love and Liam will end up shived in some state penitentiary INT - NEPTUNE GRAND, LOGAN'S SUITE - NIGHT. On Logan's bed, Veronica and Logan come up for air after strenuous, sweat-inducing sex. They lie back in the bed, side by side. VERONICA: Woof! Logan laughs. VERONICA: You should seriously consider going pro in that. LOGAN: What, and miss the college experience? Logan looks over at her and Veronica chuckles. She leans up on one elbow. VERONICA: Don't go anywhere. You're gonna get your brains spooned out whether you like it or not but first... Veronica slides out of bed. VERONICA:...Must. Have. Water. Logan watches her go with a satisfied smile. In the bathroom, having donned a t-shirt, Veronica twists off the cap of a water bottle and pours from it. She looks at herself in the mirror as she sips. VERONICA VOICEOVER: Okay, Veronica. Aren't you the girl who laughed at those idiots who tried to take their high school romances with them to college? Her head spins round at the sound of the room's telephone. In the bedroom, Logan responds by checking the clock - it's 12:15 am - turns on the lamp by the bed, and picks up the receiver just as Veronica races into the room. VERONICA: Logan! No! LOGAN: Yep. She's too late and Logan's face falls as he listens. He pulls the phone to his chest to whisper to Veronica. LOGAN: It's your dad. VERONICA: I forwarded our calls. LOGAN: We need to word on communication. He hands her the phone. LOGAN: Yeah. Veronica sits on the bed and takes the phone. VERONICA: Hi, Dad. Logan snakes his body around the back of Veronica. VERONICA: Nope. He's heading home right now as a matter of fact. He leans into her. Veronica jerks her elbow back to dissuade him. EXT - ROAD - NIGHT. Keith is still driving as he talks to Veronica on his cell. KEITH: All right, honey. Give Logan my regards as you're shaking his hand good night and I'll be sure to call unexpectedly again. Cormac is enjoying the conversation and grins. KEITH: Love you too. Keith closes up the phone. CORMAC: Well they do grow up quickly. When you got Kendall out of town, she was carrying, what, millions, right? KEITH: I saw it. Didn't count it. CORMAC: Kendall's always been a good judge of character. I mean she knows who she can trust and who she can't. A lesser man might have taken advantage. KEITH: I was well compensated. CORMAC: What'd you spend your fee on? KEITH: Bought back my daughter's love. EXT - SHERIFF'S DEPARTMENT - DAY. Veronica and Piz exit Veronica's new car, a silver Saturn. Piz points back to it as they head towards the entrance to the building. PIZ: It's a cool ride. Graduation gift? VERONICA: My dad stood me up for my graduation trip. Lucky for me, he felt really bad about it. PIZ: Stood you up? That's harsh. VERONICA: He had his reasons. PIZ: Well, a Saturn for a Mars. VERONICA: In Neptune. Yeah, the planets really aligned for this one. Now... She points towards the building with her thumbs. VERONICA: ...move your anus. The mercury's rising. INT - SHERIFF'S DEPARTMENT - DAY. Sacks walks into the hallway followed by Veronica and Piz. SACKS: Don't feel too bad. Same outfit got four other victims. At least, that's how many we've heard about. All of 'em, in the span of ninety minutes. They reached the main counter. Sacks walks around it as Veronica and Piz stop in front of it. PIZ: Yeah, I guess that's comforting. Somehow. VERONICA: Well, they must have had a truck or a van. You mind giving me a list of the other victims? Sacks takes a long, long look over his shoulder at Lamb's closed door. SACKS: [reluctantly] I don't know, Veronica. VERONICA: I track down the bad guys. Call you, you make the busts. You know what that makes everyone, Sacks? A winner. EXT - HEARST COLLEGE - DAY. Veronica walks along with a boy wheeling a bicycle. VERONICA: The woman said she was part of the Hearst Welcome Wagon? FRESHMAN BOY: Yep. VERONICA: Blonde? Chubby? FRESHMAN BOY: Sounds like the one. He walks off and Veronica stares after him. INT - HEARST COLLEGE - DAY. Rose exits the bath/shower room in her dressing down, her wet hair flat against her head. Veronica is following. ROSE: I'd been keeping a journal, kind of like a podcast spoken word thing on my iPod. And now some stranger, some thief has it. What if they're listening to it? They reach the open door of Rose's dorm room. She pauses at the door. VERONICA: All the others who got ripped off were freshman. You're a junior? ROSE: Yeah. [offended] What? Are you saying I'm dumb? VERONICA: [quickly] No. It's just...you didn't know there was no such thing as the Hearst Welcome Wagon? ROSE: I just remembered something. I don't know who you are or why I'm talking to you. Rose slams the door in Veronica's face. EXT - HEARST COLLEGE - DAY. Veronica strides across the busy campus, passing a notice board. She stops just past it and then returns to look more closely at something that caught the corner of her eye. It is a flyer for Winston's, advertising a couple of punk bands at an "All Ages Show." The support act is the Perturbed. The main act is the Unwashed. The H and the D of the name has the same arrows as were written on Piz's car. INT - HEARST COLLEGE - DAY. Veronica proceeds down the hallway of one of the dorms. She stops at one of the doors. There's a whiteboard with a pink border on the door on one side. It is covered with flowers, lips and bouncy messages, such as "Parker is hot," "Parker hearts you" and "What the frak." On the other side of the door is a small strip of tape on which is written, "Mac." Veronica laughs and then knocks on the door. Loud music can be heard within. Music: "Buttons" by the Pussycat Dolls. LYRICS: I'm telling you to loosen up my buttons babe (uh huh) But you keep frontin' (uh) Sayin' what you gon' do to me (uh huh) But I ain't seen nothin' (ah) I'm telling you to loosen up my buttons babe (uh huh) But you keep frontin' (uh) Sayin' what you gon' do to me (uh huh) But I ain't seen nothin' (ah) Typical and hardly The type I fall for I like it when the physical Don't leave me askin' for more I'm a sexy mama (mama) Who knows just how to get what I wanna (wanna) What I wanna do is bring this on ya (on ya) Backup all the things that I told ya (told ya, told ya, told ya) You've been sayin' All the right things all night long But I can't seem to get you over here To help take this off Baby can't you see (see) How these clothes are fittin' on me (me) And the heat comin' from this b*at (b*at) I'm about to blow, I don't think you know I'm telling you to loosen up my buttons babe (uh huh) But you keep frontin' (uh) Sayin' what you gon' do to me (uh huh) But I ain't seen nothin' (ah) I'm telling you to loosen up my buttons babe (uh huh) But you keep frontin' (uh) Sayin' what you gon' do to me (uh huh) But I ain't seen nothin' (ah) The door swings open to reveal Parker, a beaming, bubbly blonde. PARKER: Hey! VERONICA: Mac around? PARKER: Oh my god! Are you one of Mac's friends? Well come on in, sister! Veronica steps into the room. PARKER: Mac's friends are my friends. I'm Parker. Parker holds out her hand to shake. Veronica takes it. VERONICA: Veronica. PARKER: So. I just love Mac. Like love her, like I wish she was a little Bichon Frise I could carry in my purse. I mean, how great is she? VERONICA: She's...pretty great. Parker turns away and walks towards a shirt lying on her bed. Much to Veronica's consternation, and without pausing the gushing of words, Parker pulls her top over her head, leaving her in only a mini-skirt. She drops the top and puts on the shirt. Veronica isn't sure where to look. PARKER: I was a little weirdly disappointed because I had this idea that I'd get like this gangster street chick or some death metal girl and we'd be like all odd couple, but with me and Mac, it was just... Parker turns to face Veronica as she buttons the shirt. PARKER: ...whoosh! Instant sisterhood. Total mesh, total blend. You know, you should come watch Top Model with us tonight. VERONICA: [barely hiding her scepticism]Mac's watching Top Model with you, huh? PARKER: Mm-hm. Parker goes to hang up her top on a hook over one of the wardrobes. Next to it is a large poster of Colin Farrell. VERONICA: Oooh. Your's or Mac's? PARKER: Colin? Oh, he's all mine. He should really love me, don't you think? VERONICA: Depends. Have you had your sh*ts? PARKER: Aww. Parker stares at the poster. PARKER: Look at his eyes. He's just so...soulful and troubled and deep. You just know he'd kick ass in the back seat. Parker giggles. The door opens behind Veronica and Mac enters the room. PARKER: [cheerfully] Hey, roomie! MAC: [unenthusiastically] Hey. Veronica turns to Mac. VERONICA: Wanna go see a band play? MAC: [sincerely] More than anything in the world. PARKER: Oh my god! I'm so totally in! Just give me a sec to change. Parker turns and starts to take off the shirt as Veronica and Mac look helplessly at each other. End music: "Buttons" by the Pussycat Dolls. EXT - WINSTON'S - NIGHT. Veronica, Mac and Parker approach the front of the venue. The names of the band are on the large sign above the door. They pause for a moment. MAC: Hey. I know that guy. Waiting outside, next to the queue of people going into the club, are Wallace and Piz, who has his back to them, looking around. VERONICA: Our muscle. Short notice. PARKER: Your boyfriends? MAC: [shortly] No. Veronica leads the girls to the muscle. WALLACE: What's up, V? Hey, Mac. VERONICA: Wallace, Piz, this is Parker. Parker, Wallace and Piz. Piz and Wallace shake hands with Parker who is smiling brightly. PIZ: How do you do? WALLACE: Nice to meet you. VERONICA: And this is Mac. Mac, Piz. Mac and Piz shake hands. MAC: Nice to meet you. VERONICA: So, g*ng, [with false excitement] are we ready to rock? Veronica does cornas with both hands. MAC: No. WALLACE: Not particularly. Veronica punches the air. VERONICA: That's the spirit! Veronica marches towards the entrance. Parker, the only one genuinely excited, throws her hands up in the air and follows. PARKER: Whoo-hoo! INT - WINSTON'S - NIGHT. The Unwashed, played by real band Four Fifty One, are on stage in the middle of the last song of their set. Music: "Socks and Shoes" by Four Fifty One. LYRICS: It's a bitter one. Don't talk to me, don't tell me How I got to try and feel right now. It's too bad that you're over me now. And now (and now) Felt good when I was feeling high and you dragged me down. It's too bad that you're over me now. And now (and now) Felt good when I was feeling high. What can I say. And we go... Surely, I know and I say You're bitter too. Whilst a lot of people are dancing, Mac, Veronica, Piz and Wallace are watching the band from a table. Mac is enjoying the band, Veronica is indifferent, Piz is watching Veronica, and Wallace is finding the music positively painful. In the crowd, Parker is dancing. PIZ: She seems nice. Mac and Veronica both stare at him, half disapproving and half surprised. End music: "Socks and Shoes" by Four Fifty One. The song comes to an end and the crowd cheers. Parker jumps up and down. Mac claps with some enthusiasm. SINGER: We're the Unwashed. That's it for now, but, uh, Billy's got CDs by the door. Veronica drums the table. VERONICA: That's my cue. She spins off of her seat and races off. PIZ: Where's she going? WALLACE: [without opening his mouth] I don't know. VERONICA: [offscreen] All right, give it up for the Unwashed. Veronica is onstage. The crowd cheer and clap. Parker whistles. VERONICA: I've got a little public service announcement. My friend had everything stolen out of his car over at Hearst in the parking lot of Venice Hall. The crowd cheer loudly. VERONICA: All right. All right. We think someone here tonight might have seen something. My friend is offering a hundred dollar reward for information that'll help him get his stuff back. We're back at that table, if you know something. Veronica leaves the stage. In the crowd, Parker is being chatted up by the lead singer of the Unwashed. She laughs at something he has just said to her. PARKER: Okay. Mac and Veronica are watching from their table. MAC: Look at her. She's like boynip. Three younger boys approach the table. RAT BOY: We saw you get ripped off. VERONICA: You're twelve. What were you doing up at Hearst? FERRET BOY: Checking out the college girls laying out. Some of them go topless. WALLACE: Whoa! Whoa, whoa. Hold up right there, son. Tell us exactly where this sunbathing goes on. FERRET BOY: South quad. Where that statue is. VERONICA: What are you saying you saw? PIZ: Is it the Randolph Hearst statue or the amorphous blobby thing? Veronica brings Piz back to earth. VERONICA: Breasts or the Holy Grail guitar? RAT BOY: We'd just come back from the parking lot. We saw these two dudes in a moving van pull up by this car. They just starting throwing stuff from the car into the van in a major hurry. VERONICA: Anything you remember about the two dudes or the van? RAT BOY: They were black dudes. WALLACE: 'Course they were. FERRET BOY: And the van didn't have any windows. It was white, I think. VERONICA: Is that all? RAT BOY: That's a lot. Where's our reward? VERONICA: You didn't see squat. Motor, munchkins. Veronica shoos them away. The boys turn to go. FERRET BOY: I told ya, man. Bogus. The leader of them turns back to the table. RAT BOY: There was a chick there, a white chick. VERONICA: 'Course there was. RAT BOY: She hopped up in the cab with them. PIZ: A blonde? Chubby. The kid points at Piz. RAT BOY: Naw. That was the weird part. I thought she was a heifer at first. When she hopped in, she pulled off her sweatshirt...she had a slammin' bod. Girl was packed tight, like she was wearing a fat suit. Veronica stares at them in surprise. INT - HEARST COLLEGE, MAC'S DORM ROOM - NIGHT. Mac is in bed. There's a banging at the door. Dick's voice drifts in. DICK: [offscreen] C'mon, Parker. Why you wanna be like that, girl? Mac gets out of bed and walks slowly to the door. DICK: [offscreen] It's the right time of the night. It's the right time of the night for making... Mac opens the door DICK: ...love. Dick, who's drunk, and Mac, who's horrified, stare hard at each other. MAC: Parker's out somewhere with the Unwashed. I'll tell her that Needs Hosed Down dropped by. Dick gives her a sneer. Mac starts to close the door but pauses on Dick's response. DICK: My little brother never cared about you, you know? You were just his beard. Mac stares at him, but is saved any need to retort by the appearance of her dorm's resident advisor, who comes out into the hall from another room. ANGRY R.A.: Hey, you! What's your name? You're not supposed to be here. Dick plays the fool. DICK: Isn't this the boys' floor? Oh, gosh, I am so lost. I'm just a dumb freshman who wandered onto the wrong floor. Wow! Campus is so confusing. Thanks for understanding. I'm just gonna show myself out. Dick starts to walk away. Mac looks out to watch, still crushed by his words. ANGRY R.A.: Lemme see your school ID. DICK: We're supposed to have IDs? See, I don't know anything. College had got me plumb flustered. He turns away again, exiting post haste. DICK: Goodnight, ladies. Mac stands at her door, staring after him, looking like she wants to be sick. EXT - HEARST COLLEGE - DAY. Piz is sitting on the same bench that Logan was a few days before. He looks at his watch and over his shoulder. He fidgets and plays with his hair, anxious. He doesn't spot Veronica appear behind him, carrying a large paper bag. VERONICA: Hey! She takes a seat next to him, setting the bag on the bench between them. VERONICA: These are for you. Piz takes the bag and peers into it. VERONICA: Clothes, a friend of mine's, he can't use them anymore. You look about the same size. PIZ: Thanks. VERONICA: Hm-mm. Oh, and I think I found your guitar. It popped up on Craigslist late last night and the seller's just off campus. EXT - NEPTUNE HOUSE - DAY. Veronica and Piz exit the Saturn, parked in the driveway of a house, numbered 1752. They go to the door and knock. A man answers. DONALD: You here about the guitar? VERONICA: That's us. He invites them in. DONALD: [offscreen] I wasn't really looking for a guitar... INT - NEPTUNE HOUSE - DAY. The man carries a guitar case into the main room. DONALD:...but I went to the flea market yesterday and I found this. Girl was selling it for five hundred dollars. She had no idea what she had. You won't find one of these for under five grand. But, I'd be willing to let it go for four. He lays the case on a couch. Veronica and Piz are sitting on another couch. Piz leans forward, barely able to contain his anticipation. He and Veronica both rise as the man opens the case. PIZ: That's it! That's my stolen guitar DONALD: What? PIZ: Go ahead, look in the pick tray. There'll be two millimetre picks from Guitar Town in Portland. The man lifts the guitar and holds it up while he looks in a compartment in the bottom of the case. As Piz claimed, there are two picks from Guitar Town. DONALD: Okay, yeah, so? VERONICA: This girl who sold you the guitar, can you describe her? DONALD: Blonde, thin, pretty smokin' bod. Piz does a "there you go" slap on Veronica's arm and grins. INT - HEARST COLLEGE - DAY. Veronica walks down the hallway of a dorm. VERONICA VOICEOVER: Donald f*g, the current possessor of Piz's guitar offered to sell it back to Piz for the five hundred dollars he paid for it. A better plan, I think, is to make the thief pay for it. Veronica stops outside Rose's door. She gets her camera out of her bag and knocks. Rose opens the door. Before she even has a chance to register who her visitor is, Veronica puts the camera to her eye. VERONICA: Smile. Veronica takes a picture. VERONICA: Thanks. Veronica races away. Rose is not happy. ROSE: Hey! Wait a minute! Veronica is gone. INT - HEARST COLLEGE, WALLACE'S DORM - DAY. On the door to Wallace and Piz's room, attached to the whiteboard is the handwritten message: "Gone Bird Watching." Veronica shakes her head with a knowing smile. EXT - HEARST COLLEGE, SOUTH QUAD - DAY. There are many girls sunbathing in bikinis, laying on the grass. One of them has packed up her stuff and leaves her friends. GIRL: See ya, guys. GIRLS: Bye. She walks past Wallace and Piz, who are standing at the edge of the grassy area, purportedly playing Hacky Sack. Wallace half-heartedly tosses the sack to Piz with his foot, but Piz is too busy watching the girl go by, as is Wallace. Veronica arrives and stands in front of them as they both stare at the back of the departing girl. VERONICA: You guys are pathetic. WALLACE: It's a white man's sport. VERONICA: Right, because I was talking about the Hacky Sack. Veronica takes her camera out of her bag and walks to Piz. VERONICA: Piz, is this the Welcome Wagon girl? She shows him the picture of Rose, which he glances at, still distracted by the sights. PIZ: Hard to say, m-maybe. VERONICA: Add a few extra pounds. He looks again, trying to concentrate. PIZ: Yeah, I'm trying to. I don't think it's her. Discouraged, Veronica turns and gazes out over the quad. VERONICA: It's not often you get to see bikini babes in their natural habitat. Such gentle, yet elusive creatures. She looks back at Piz and Wallace who are immune to her sarcasm and pretty much to her very presence as they remain enrapt with the girls on the grass. VERONICA: Okay. You two have fun being gross, I'll just continue trying to find your stuff, on my own, with no help. She walks away. Belatedly, Piz responds, shouting after her. PIZ: That's why you make the big money. Wallace waves her goodbye, then has another attempt as passing the sack to Piz. It lands disregarded at his feet. EXT - ROAD - DAY. Keith is standing by the front of the car. Cormac is behind him, leaning against the side of the car. The bonnet is open and steam is rising from the engine. Keith is trying to read a map and use his cell at the same time. The phone gives off a couple of beeps. KEITH: No signal. CORMAC: And not one car for ten minutes. Keith joins Cormac and shows him the map. KEITH: Highway turns back in a few miles. Looks like if we just walk due east, we'd see the town of Granger in three or four miles. CORMAC: Nah, I don't think we want to do that. Have you spent much time in the desert, Keith? KEITH: Naw, can't say that I have. CORMAC: First time I got busted, judge gave me the option: two years in the army or two years in Huntsville. Well, I chose the army. We did our training in west Texas before they sent me to Iraq for Desert Storm. Between here and Granger, you got...rattlesnakes, coyote traps, scorpions, hippies doing mushrooms, all kinds of bad stuff. Yeah, let's, let's wait it out. You know, someone will help us. I've bided my time for five years, what's a few more hours. Keith chuckles. INT - DONALD f*g'S HOUSE - DAY. Veronica is holding up the camera with the picture of Rose on display. VERONICA: Is it her? DONALD: I'm ninety percent that's her. Eh, whoa, you know what, make it eighty, eighty percent sure. Veronica sighs, then notices something behind Donald. She points to a book: Profiling by Hank Landry, Ph.D., 2nd Edition. VERONICA: Hey, are you in Landry's profiling class? Donald glances back at the book. DONALD: Oh, last year. Yeah, man's tough. VERONICA: I have him for Intro to Criminology. Did you do the mentoring thing, 'cause I'm thinking about it? DONALD: Best thing that I did as an undergrad, working with those kids. You can read all about street crime in a text book, but mentoring takes everything out of the theoretical, really grounds it. You should sign up. Veronica feigns excitement on seeing a photo behind Donald. VERONICA: Oh my god. You can settle a debate for me. She walks around him and grabs the photo. It shows his with a large blonde girl, posing against a cityscape. She holds it out. VERONICA: Is this on the Empire State Building or the Chrysler Building? DONALD: That, that's actually the Space Needle in Seattle. VERONICA: I have to remember not to debate my dad when it comes to architecture. Veronica effects a dry throat. VERONICA: Can I have a glass of water? DONALD: Sure. Donald leaves to accommodate her. Veronica stares down at the picture. INT - HEARST COLLEGE, LANDRY'S CLASS - DAY. Dr. Landry is just finishing up. DR. LANDRY: So, by the time you finish your reading this weekend, you should be able to discuss crime and social control in relation to biological and sociological positivism. See you Tuesday. The students start to collect their belongings and leave. Veronica makes her way to the front of the room where Timothy is lingering. VERONICA: Excuse me. Um, I was interested in the mentoring programme. You're the guy to talk to, right? INT - HEARST COLLEGE, TIMOTHY'S OFFICE - DAY. Timothy takes some files from a filing cabinet and passes them to Veronica as he clears his throat. He hasn't warmed to his record-breaking successor. TIMOTHY: You can take your pick. All of them have juvenile records. He takes the seat at his desk, leaning back to look up at her. TIMOTHY: Most of the girls, it's shoplifting, fighting, chronic truancy. VERONICA: Wait. Just because I'm a girl, that means I have to mentor a girl? TIMOTHY: Yes. VERONICA: That's just in case they get their period or something, right? Mac appears at the open door behind Veronica. She taps on the doorframe. MAC: You Tim? TIMOTHY: Who are you? MAC: Dr. Landry needs you back in the lecture hall. VERONICA: I'll wait. Timothy leaves the office. Mac and Veronica share a conspiratorial smile before Mac leaves. Veronica goes to the files. She finds the file for Donald f*g from the photo of his attached to the front. Behind it are the youths he is mentoring. It is the same three youths who approached Veronica at Winston's, claiming to have witnessed the theft from Piz's car. Veronica smiles. EXT - ROAD - NIGHT. Keith is lying on the back seat of his car, asleep. A flashing light reflects on his face and there's a knock on the top of the car. Keith wakes up to see Cormac leaning into the car. CORMAC: Tow truck's here. Keith rises and sees the tow truck starting its work of connecting to the car. INT - HEARST COLLEGE, FOOD COURT - NIGHT. Veronica and Logan are sitting at a small table for two in the middle of the food court. Logan is eating while Veronica drinks from a bottle. VERONICA: Wallace says you're in his sociology class. LOGAN: Really? I haven't seen him. VERONICA: Maybe because you haven't showed up for class. LOGAN: Well, that's certainly one possibility. Logan leans down and reaches into his bag. He pulls out and slaps down in front of Veronica a gift made up almost entirely of a large red bow. LOGAN: Here. A bonus birthday gift. VERONICA: You got me a bow? A bow? How did you guess? Veronica grabs the bow and starts to try to find the actual gift. LOGAN: Open it, smarty pants. The bow is attached to a key card from the Neptune Grand. She holds it up. VERONICA: Your room key? LOGAN: Um-hm. VERONICA: What if I drop in unexpectedly? The other girls will have to- She smacks her lips and gestures with her thumb, to indicate "Scram." LOGAN: [sincerely] Stop it. You know there's no one else. I only want you. He covers her hand with his own. He bends over and kisses her hand. LOGAN: You ought to know that by now. Veronica smiles and drops her head. She is genuinely touched and at a loss for words. LOGAN: What and no quip? Veronica looks up at him but notices something over his shoulder. She points. VERONICA: Look. Logan looks around. It's Dick, heading straight for a girl sitting alone at one of the tables. VERONICA: [offscreen] It's your BFF, the town drunk. Dick takes the chair, spins it around, and takes a seat, legs akimbo. He rests his elbow on the back of the chair and his head on his hand as he leans forward. DICK: Hi, my name's Dick. What's yours? DEE DEE: Dee Dee. DICK: How long have we known each other, Dee Dee? DEE DEE: Eight...seconds. DICK: So, where's this going, Dee Dee? I mean is this thing we feel real or are we just in it for the torso butter? Dick takes some food from the table and chews. Veronica and Logan watch, Logan with increasing concern. DICK: Truth is, I've been kicked out of on-campus housing, and I know timing's a little sooner than we hoped for but what do you say we move in together? Make our own love nest. Dick sticks out his tongue lasciviously. DEE DEE: You should really walk away. DICK: You'd like that, wouldn't you? I'll admit it. The kid looks good walking away. It's all me too. Ass like Marky Mark and the entire Funky Bunch. Before Dick can make more of a fool of himself, a large boy grabs him violently from behind and throws him forcibly from the chair to the ground. Logan turns to Veronica. LOGAN: Your bag. Veronica swings it over quickly and Logan grabs it. On the floor, Dick starts to get up but the big guy punches him hard, sending him back down. The same thing happens again. The big guy grabs Dick and lifts him to a standing position. Dick just looks at him and makes no effort to defend himself as the guy pulls back his arm for another punch. Before he can throw it, there is the sound of electricity and the guy falls, revealing Logan behind him with the taser. Dick looks down at the guy and then up at Logan. DICK: [resentfully] What? Do you want a hug or something? Dick storms off. Logan looks sad. On the other side of the food court, Veronica watches. Piz arrives behind her, wearing one of Duncan's Argyll shirts (the one Logan borrowed in 206 "Rat Saw God"). PIZ: Does that sort of thing work with college girls? Veronica turns to face him. PIZ: 'Cause I'll tell ya up front. I'm a lover, I'm not a fighter. Veronica gives Piz a bemused look. Logan steps up behind and she turns back to him. LOGAN: I'm gonna try to talk to him. As he bends down to kiss Veronica, he clocks Piz with raised eyebrows. He and Veronica kiss. As he straightens up, he looks at Piz. LOGAN: Nice shirt. Logan walks away and Veronica turns to face Piz again. PIZ: You wanted me to meet you here? VERONICA: Yeah, uh... As Veronica bends down to her bag, Piz's feelings at discovering that Veronica has a boyfriend are clearly marked on his face. He's pissed. Veronica straightens and holds up the picture she took from Donald f*g. VERONICA: Is this the Welcome Wagon girl? PIZ: Yeah, that's her. INT - SHERIFF'S DEPARTMENT - DAY. The camera lingers on the picture f*g and the girl. VERONICA: [offscreen] The girl in the photo is the Welcome Wagon girl. The camera pulls back to reveal Veronica and Piz at the Sheriff's Department. Veronica has changed, but Piz is still in the Argyll. VERONICA: The guy is the ringleader. Sacks, sitting at his desk, is holding the picture. SACKS: And you're sure that's her. PIZ: That's her. Veronica pulls the files she took from Timothy's office of the youths. VERONICA: His name is Donald f*g and these three charming lads are the kids he mentors. Sacks flips through them. VERONICA: [offscreen] Thieves. All of them. EXT - DONALD f*g'S HOUSE - DAY. In a hard top area behind f*g's house, where his garage is, Veronica and Piz have set themselves up in deckchairs, with a good view of the back of the house and the garage. PIZ: Okay, so why would those kids at the club talk to us if they knew they'd stolen my stuff. VERONICA: Um, so they could steer us in the wrong direction? Then they just repeated the story to their mentor so the stories would match. PIZ: So you do realise there's not a lot of college freshman girls who do this sort of thing. You know. [whispers] Solve crimes. VERONICA: [faux surprise] There aren't? PIZ: So why do you do it? Veronica shakes her head and lets out a deep breath, but remains flip. VERONICA: Cold, hard cash. PIZ: Seriously. Veronica starts to get uncomfortable. VERONICA: Um. PIZ: Wallace told me about your friend, who was m*rder. This news is unwelcome. VERONICA: Because I'm good at it, maybe, I don't know. She shrugs. VERONICA: Wallace should stick to analysing himself. Veronica takes a long swig from a bottle of water and is spared further interrogation when Sacks exits from the small gate next to f*g's garage door, followed by a blustering f*g and another deputy. DONALD: This is not right, this is absolutely not right. You cannot just walk into my house... Veronica leans over to Piz. VERONICA: You wanna know why I do it? Here it comes. She pats his leg. VERONICA: This is the good part. f*g is still babbling. DONALD: ...come into my house, an-an-and take my things from me and then- He spots Veronica and Piz. Veronica gives his a "cheers" gesture with the bottle. Piz waves. Both are smiling. f*g drops his objections as the garage door slides up. PIZ: I might actually get my stuff back. VERONICA: I might actually get paid. As the door opens, stacks of goods are revealed. Veronica offers her bottle to Piz to clink, which he dutifully does. VERONICA: Boom goes the dynamite. Piz laughs and then gives her a quick glance. PIZ: So is that guy from last night your boyfriend? Veronica hesitates. She thinks for a moment, then looks over at Piz with some surprise. EXT - KENDALL'S HIDEOUT - NIGHT. It's pitch black as Keith and Cormac pull up at the small, isolated, shack-like cabin. They pause a moment and study the house. Kendall can be seen through the window. CORMAC: There she is. Kendall, on seeing them, races from the window. CORMAC: Ever have a woman who loved you so much, she'd do time for you? Kendall wrenches open the door and runs towards the car. Cormac climbs out and meets her halfway. She flies into his arms, her legs around his waist. KENDALL: Baby! They spin round and around under Keith's doleful gaze. INT - HEARST COLLEGE, MAC'S DORM - NIGHT. Veronica rounds the corner to find Mac sitting against the wall next to the door to her room. VERONICA: I figured out the knocking thing. You could have waited in your room. MAC: [miserably] Parker's in there with some guy. VERONICA: Well, let's head out. The midnight movie waits for no man. MAC: Our tickets are in there, stuck in the mirror... [sarcastically peppy] above her suggestion box and tip jar. VERONICA: Well, frak. Give me your keys. Mac, who hasn't moved from her spot on the floor, hands her keys up to Veronica. Veronica quietly opens the door and enters the room. The radio is playing the end of an unidentified song. Veronica looks over towards Parker's bed and hears a sexual grunt. CLUB FLUSH: You're listening to Club Flush on KRFF, Hearst College Radio. She creeps to the mirror and gets the tickets. VERONICA: Don't mind me. She secures the tickets and hurries out. INT - KENDALL'S HIDEOUT - NIGHT. Keith, in a short-sleeved shirt, is sitting in an armchair, finishing off a plateful of cake. KEITH: That's excellent cake, Kendall. Cormac is sitting on the couch. Kendall is sitting in his lap, feeding him cake. KENDALL: Well, I'll tell Sara Lee you approve. We decided where we're going to run off to, Keith. KEITH: I don't want to know. KENDALL: It's got sand and water. KEITH: Stop. But that reminds me. I've got Cormac's travel documents in the car. I'll just grab them and get outta here. Give you kids some private time. Keith rises, dons his cap and heads for the door. CORMAC: Hurry, Keith. We might not be able to contain ourselves. EXT - KENDALL'S HIDEOUT - CONTINUING. Keith exits the cabin and walks towards the car. He checks his pockets as he goes, then pauses when he doesn't find he keys. He turns to walk back to the cabin and then thinks better of it. He trots to the car, rubbing his arms with the cold. The car is unlocked. He opens the door and reaches for the briefcase, warming his hands with his breath first. He reaches into the case and pulls out a small pouch. He notices something else in the case and reaches in for it. It's a pen, marked: Vincent Van Lowe Investigations. KEITH: Ah no, Vinnie, please tell me you're not working for Liam. Keith quickly unscrews the pen. It has a transmitter inside. Keith looks up and around, deeply worried. He opens his glove compartment to get his g*n. It's not in its holster. Keith pulls out the holster, mind working quickly. He wrenches himself out of the cars and runs towards the cabin. He crashes through the door, shouting. KEITH: Kendall! INT - KENDALL'S HIDEOUT - CONTINUING. Keith freezes as he hears a sh*t. Cormac is pointing a g*n into another room in the cabin. He fires another sh*t and Keith flinches. Cormac turns to face Keith. Cormac brings up the g*n and points it at Keith. Keith takes off outside, perhaps winged by the b*llet. EXT - KENDALL'S HIDEOUT - CONTINUING. Keith stumbles as he exits the cabin. He picks himself up and runs, only to trip on a rock. He pulls himself up and crawls around a large rock. Cormac comes to the door of the cabin. CORMAC: [sarcastically peppy] Awfully cold night, Keith. Cormac walks out a little way from the cabin. CORMAC: I'll come and pick up your carcass in the morning. Guess Kendall wasn't that great a judge of character after all. Cormac goes back into the cabin, leaving Keith outside, shivering. EXT - NEPTUNE GRAND, LOGAN'S SUITE - NIGHT. Logan stands on the balcony, brushing his teeth with an electric toothbrush, looking out over Neptune, thoughtful. There's a knock on the door inside. Logan turns and looks into the suite for a moment before responding. INT - NEPTUNE GRAND, LOGAN'S SUITE - CONTINUING. As he walks towards the door of the suite, Logan throws the toothbrush onto the couch. He opens the door and comes to a halt. It's Dick. His face looks like a punchbag. He is dishevelled and in somewhat of a state. His breathing is ragged. DICK: I don't have anywhere else to go. LOGAN: Yeah, hey, it's all right, I...you can stay here. Logan jerks his head, beckoning Dick in but Dick doesn’t move. He starts to cry. Logan goes to him and puts a hand on his shoulder. DICK: I messed up bad. Logan examines his face intently for a moment. LOGAN: It's gonna be okay. Dick starts to cry harder. Logan pulls him into a hug. LOGAN: Come here. They stand in the hall, Dick sobbing in Logan's arms. INT - HEARST COLLEGE, MAC'S DORM - NIGHT. Mac and Veronica enter the hall. Veronica is tipsy. MAC: You worked in a coffee shop. How can you not know that an Irish coffee has whisky in it? Veronica heads for the wrong room. Mac pulls her back on track. VERONICA: At Java the Hut, it meant a latté with a little sh*t of Irish Cream syrup. MAC: That explains the first one you ordered. VERONICA: They were magically delicious. And they served me. Boo-yah! Veronica slaps Mac's hand. Mac giggles. MAC: Yeah, boo-yah. You probably shouldn't drive home. VERONICA: I'm fine...okay, maybe not. They both giggle. Mac uses the key to open the door to her room and pops her head in. MAC: And we're dude free. The couch is yours. Veronica pumps her fist and races into the room. Mac follows and shuts the door. INT - HEARST COLLEGE, MAC AND PARKER'S DORM ROOM - DAY. Veronica, crashed out on the small couch in the room, awakens at the sound of an anguished scream. She sits up in bed abruptly, as does Mac. Parker is staring at herself in the mirror. Her head has been shaved. She cries out again. Veronica looks over at Mac, who stares back at her in distress. Veronica returns her attention to Parker, still in shock and wailing at the mirror. Veronica is horrified. End.

{"type": "series", "show": "Veronica Mars", "episode": "03x01 - Welcome Wagon"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Kendall appeals to Keith in 222 "Not Pictured." KENDALL: I need you to do something for me. She opens the briefcase she has laid on his desk. Keith's eyes widen as he looks at the contents that we don't see. KENDALL: It's important. Keith races into the cabin in 301 "Welcome Wagon." KEITH: Kendall! Keith freezes as Cormac fires two sh*ts into one of the inner rooms, moving only when Cormac turns the g*n on him. As he runs outside, he trips, hurting his leg. Keith crawls behind a rock. Cormac can be seen in the distance at the door of the cabin. CORMAC: [offscreen] I'll come and pick up your carcass in the morning. At Hearst College, Veronica and Parker meet for the first time. PARKER: I'm Parker. VERONICA: Veronica. Mac gives Veronica the low-down on her roommate at the Take Back the Night rally. MAC: She's a one-woman red-light district. Veronica finds Mac sitting on the floor outside of her room. MAC: Parker's in there with some guy. Having snuck in to the room in which the sounds of sex are heard, Veronica grabs the tickets in the dark. VERONICA: Don't mind me. Veronica and Mac jerk awake at the sound of Parker's scream. Parker stares in the mirror in horror at her shaved head. In a new piece of footage, not shown in 301 "Welcome Wagon," she screams out in anguish. PARKER: Someone r*ped me! Veronica is stunned. End previously. INT - HEARST COLLEGE, MAC AND PARKER'S ROOM - DAY. Parker is sitting cross-legged on her bed, sobbing and recounting what she knows to a female deputy, sitting on the bed with her. PARKER: Last thing I remember, I was at the Zeta Theta rush party. I don't even remember how I got here. I just...I woke up and I was all like...out of it. And I didn't have clothes on. Parker starts to cry in earnest. VERONICA VOICEOVER: The thing about being roofied and r*ped? You may not remember the who, when, where, or why, but you know the what. Veronica and Mac are sitting on the small couch on Mac's side of the room, watching quietly. MAC: [flatly] I have "There's Gotta Be a Morning After" stuck in my head. If I start singing, k*ll me. VERONICA: The r*pist was there when I came into the room. I could have stopped it. MAC: But you didn't because I told you she was a floozy. It's a proud, proud day for both of us. The sounds from his radio precede Lamb's arrival into the room. He looks first over at the couch. He smiles maliciously when he spots Veronica. LAMB: Tell me I'm here because of you. Not that I'm counting or anything, but isn't this wolf cry number two? Veronica isn't fazed, instead smiling at the inevitability of Lamb being an utter ass. The deputy approaches from behind Lamb. FEMALE OFFICER: She's in here, Sheriff. Same as the others. Head shaved. She doesn’t remember anything. Lamb turns back to Veronica for a parting sh*t. LAMB: They always say that. He heads over to Parker's bed as Veronica gazes at him in disgust and shuts her eyes at the memories he's evoking. Lamb sits next to Parker's bed. LAMB: How are you doin'? Rough night, huh? So, um, around what time did you get back to the dorm? Nine, ten, eleven? Just give me a window. PARKER: [voice trembling] I don't know. Veronica takes a deep breath and rises from the couch. She approaches the middle of the room, towards Parker and Lamb. VERONICA: It...the r*pe...occurred at 11:45, give or take a couple minutes. Lamb and Parker stare at her. Veronica presses on uncomfortably, her arms wrapped around herself defensively. VERONICA: We had these movie passes. I...came in the room to get them. LAMB: You were here. You saw her. VERONICA: The light was off. I didn't see much. Lamb rises from the chair next to Parker's bed and approaches Veronica. LAMB: Well why the hell didn't you turn them on? VERONICA: Because I heard noises. LAMB: Noises. VERONICA: Like breathing. And buzzing. LAMB: Buzzing. Like an electric razor? VERONICA: Yeah, I guess, but at the time, I...thought it was something else. It turned off the second after I came in the room. LAMB: What exactly did you think the buzzing was? Lamb's enjoying Veronica's discomfort, attempting to force her to say "vibrator." VERONICA: Something else, okay? Just...something else. PARKER: Oh, my God. You thought...? VERONICA: I thought i-it was just sex. It-it didn't occur to me that it was against your will. PARKER: Thanks, Veronica! Parker jumps out of the bed to face Veronica. PARKER: Thanks for thinking I'm the slut of the world. You let this happen! Parker runs past her, out of the room. Veronica calls after her. VERONICA: Parker, I can't even...I'm s- Parker's gone. VERONICA: [to herself] So sorry. Opening credits. EXT - DESERT - DAY. The sun beats down. Keith is walking, using a long stick as a cane as he limps heavily. His breathing is ragged. There's a sudden snap, and Keith stumbles forward without the stick. He walks back. The stick is caught in an animal trap and is cracked about six inches from the bottom. The broken part remains attached to the stick when Keith lifts his makeshift cane from the ground. Keith jerks at it to no avail. DR. KINNY: [offscreen] As long as there has been w*r... INT - HEARST COLLEGE, LECTURE ROOM - DAY. A man is standing at a lectern. Behind him on the blackboard is written "Intro to Sociology. Dr. Kinny." DR. KINNY: ...and prisons and soldiers and orders, there has been t*rture. Wallace is listening carefully. DR. KINNY: You don't think it was invented by a handful of rednecks on the fly in Iraq? Dr. Kinny brings up a slide on the large screen above the blackboard. It shows one of the notorious pictures of Iraqis tortured at the hands of American soldiers. DR. KINNY: It's always been here. I guarantee the great George Washington and his Continental Army indulged in this sort of behaviour with the British redcoats. Logan is also in the class, more bored than attentive. DR. KINNY: We just had to sit around a couple hundred years for someone to invent the digital camera to show us what we're really capable of. Dr. Kinny clicks to bring up another picture, of a female guard holding a leash attached to a prisoner. DR. KINNY: Show of hands. Who of you saw this photo from Abu Ghraib and thought, "I would never do that to another human being"? Wallace puts his hand up, as do a majority of the students. Logan doesn't. DR. KINNY: You think it's cruel and awful and unconscionable. But guess what? Of all of you who have your hands up, only two, maybe three of you are right. In other dreary news, you have a twenty-page research project due at the end of the term about the effects of imprisonment and t*rture. As Dr. Kinny lets light back into the room after the slide show, there is a collective groan from his audience of students. DR. KINNY: There's an alternative. I'm conducting an intensive study on the prisoner/guard relationship in which volunteers are assigned those roles. If during the 48-hour experiment the guards are able to extract from the prisoners some arbitrary piece of information, they are exempt. But if the prisoners manage to keep their secret, they are exempt. No one responds. DR. KINNY: Fine. I'll sweeten the pot. The losing team still must do the paper, only ten pages. Any takers? A few hands appear. Wallace tentatively raises his hand. He looks over at Logan, who has his hand raised too. Wallace smiles. INT - HEARST COLLEGE, WALLACE AND PIZ'S ROOM - DAY. Wallace walks through the open door of his room. Veronica is lying on his bed. WALLACE: Got your message. Wallace drops his books and sits on the small couch in his room. WALLACE: What you up to? Veronica has her eyes closed and her fingers on her temples, as if suffering a headache. VERONICA: Turning my unbearable guilt into steely resolve. I think it's working. WALLACE: Well, you've had plenty of practice. VERONICA: Yeah. Good. Veronica pops up to a sitting position, lively again. VERONICA: Done. I'm gonna catch the r*pist and see him crucified. WALLACE: Don't think they do that anymore. VERONICA: First things first, I have an interview with the newspaper. Word is they actually pay for photos in college. There's a knock on the door and Moe walks in. MOE: New safety rules for the dorm. You guys heard about last night? The r*pe? WALLACE: Yeah, we did. MOE: I really thought things were gonna be better after the last incident, you know? Like how the safest time to fly is the day after a plane crash? There's a floor meeting tonight. Look for ya. WALLACE: I'm not gonna be around. I'm doing this experiment for sociology. MOE: Dr. Kinny? I did the experiment last year. It's pretty intense. He goes into a bit of a reverie. MOE: It's like...life-changing. Moe turns and walks out. Veronica and Wallace stare after him, and then at each other. EXT - DESERT - DAY. Cormac is also walking in the desert, but with more energy than Keith, not least because he is carrying a large bottle of water over his shoulder. He pauses to examine a footprint in the earth. He smiles. Somewhere ahead of him, Keith, clearly exhausted and without his stick, limps forward. He sees a ridge, and there's a hint of a smile. He struggles up the small, steep bank to the railroad track at the top. INT - HEARST COLLEGE, NEWSPAPER OFFICE - DAY. An attractive African-American woman with short hair is at a desk in a cubicle, flipping through a portfolio of photographs as she speaks on the telephone wedged between her ear and her shoulder. NISH: She's a great writer but can you see her blending in at a sorority? Uh, they're not big on Doc Martens and unibrows. As she stands, she laughs at the response. NISH: Call me back. She hangs up the phone, still intent on the portfolio. NISH: These? Are great. She exits the cubicle which, according to the piece of paper and in box stuck at the entrance to it, marks the working space of one Ashley Frohling, Operations Manager. (So Nish is a nickname?) She joins Veronica, waiting outside the cubicle, and then carries on walking. Veronica stays at her side. NISH: This other freshman gave me like a hundred pictures of his grandmother sleeping. VERONICA: Was she hot? NISH: No. Nish laughs. VERONICA: I'd take any assignment. If I don't get this job, the fine people in financial aid have a completely undesirable position in the library all picked out for me. Nish stops on one particular photo and pauses, holding it out to Veronica. VERONICA: Yeah, she's picking a wedgie... The picture is of three Neptune High cheerleaders taken from behind. Two of the cheerleaders are in the air, in mid-straddle jump. The third, closest to the camera, has her hand up under her skirt. VERONICA: ...and she ain't got no alibi. NISH: Can I tell you how happy this makes me? VERONICA: She TP'd my house in the tenth grade. Makes me happy, too. Veronica touches the picture with something approaching affection. Nish closes the portfolio and strides to a large filing cabinet. From the top of it, she takes down a stiff poster. She appears to read from it. NISH: Welcome to the home of Theta Beta. She passes it to Veronica. NISH: What do you think? The poster is in Season One Veronica colours - pink and green. At the top is the heading "Fall Rush." Under that is a crest with the Greek letters zeta, theta, and beta in a column. At the top of the crest is what looks like an Aladdin's lamp. On either side of the column of Greek letters are two pictures - a chilli pepper and the top of the Empire State (or similar) Building on the left and, on the right, an inverted top of the Empire State (or similar) Building and what looks like a box of files. At the bottom of the crest is a ribbon banner with "Zeta Theta Beta" written on it. Under the crest is a photograph of the sisters of the sorority - all dressed in the same floral dresses they will wear later. VERONICA: I think it's the gateway to hell, and I don't want to keep looking directly at it. She hands the poster back to Nish, who sets it back on top of the filing cabinet. NISH: Veronica, I have a perfect assignment for you. You've probably heard about the r*pe spree on campus. There was another last night, a freshman girl, her name's Parker something. Veronica drops her head. NISH: She was at a sorority party at the Theta Beta house. VERONICA: You think the sorority had something to do with it? They start walking through the maze of cabinets and partitions again. NISH: You wouldn't believe the rumours about what goes on in that house. I've been trying to find someone who could get inside Theta Beta during Rush Week, do a "Behind the Greek Curtain" exposé. VERONICA: And you want me to take pictures? NISH: I want you to do the story. You are exactly the type they would love to have [em] intelligent, cute... VERONICA: Combative, independent-thinking, smart-mouthed. Believe me, I'm not their type. NISH: You'd be perfect. Trust me Veronica, you'll blend right in. Nish hands Veronica back her portfolio and walks on with a huge smile on her face. Veronica doesn’t move and is not convinced. Cut to a few moments later. Veronica is reading the sorority invitation: "Zeta Theta Beta cordially invites you to Fall Rush Social this Saturday. Dress code: tasteful floral dresses, beautiful personalities." VERONICA: Tasteful floral dresses? She lets out a sigh (of near relief at the prospect of not doing this). VERONICA: All my florals are trampy. Seriously, I don't have a thing with a flower that's not in a tube-top or hot-pant family. NISH: A couple things about Theta Beta. The parties are notorious of nothing but free-flowing booze and boys and totally against school policy. VERONICA: Alcohol at a sorority party? Doesn't exactly sound like news. NISH: According to reliable sources, four of them, the Theta Betas get pledges all liquored up, take them to a secret room and have them undress while the guys from their brother fraternity watch the show through a two-way mirror. Now if this Parker girl was there- Veronica holds up a finger. VERONICA: You had me at "secret room." INT - HEARST COLLEGE, MAC AND PARKER'S ROOM - DAY. Mac slowly gathers her bag and walks to the door, looking gravely over at Parker, who is still in her bed. PARKER: Looks like you'll have a room all to yourself. MAC: I will? PARKER: My parents are driving in from Denver to take me home. MAC: Oh. PARKER: They never wanted me to go away to school. Well, my mom didn't. She said I was too immature to be on my own. Guess she was right, huh? MAC: It might be best, you know? To be with your family. PARKER: [voice quivering] Yeah. You're probably right. EXT - HEARST COLLEGE, ZETA THETA BETA - DAY. Music: "Thank Heaven for Little Girls" by Maurice Chevalier. LYRICS: Thank heaven for little girls For little girls get bigger every day Thanks heaven for little girls Veronica, dressed in white heeled strappy sandles and a red and white floral dress, walks down the street. She is carrying a large red handbag and is wearing a white Alice band in her hair. VERONICA VOICEOVER: What's really worse: getting girls to undress in front of a two-way mirror or getting them to dress like a '50s vacuum ad first? Veronica climbs the stairs of Zeta Theta Beta. A number of other girls, all in floral dresses or skirts, are standing on the steps chatting, although they all make their way into the house just before Veronica. INT - HEARST COLLEGE, ZETA THETA BETA - DAY. As she enters the house, Veronica sees six sorority sisters on the inner staircase, lined up like dominoes. End music: "Thank Heaven for Little Girls"by Maurice Chevalier. The girl at the bottom sounds a pitch pipe. VERONICA: No. The girls on the stairs start to sing Cyndi Lauper's "True Colours." ZETA THETA BETA CHOIR: You with the sad eyes Veronica can hardly believe what she is seeing. The choir continues to sing under the subsequent dialogue. ZETA THETA BETA CHOIR: Don't be discouraged Oh, I realize it's It's hard to take courage In a world full of people You can lose sight of it all And the darkness inside you Can make you feel so small But I see that's why I love you So don't be afraid to let them show Your true colours True colours Are beautiful like a rainbow Show me a smile, then, Don't be unhappy Can't remember when- A chirpy blonde appears in front of Veronica. HALLIE: Welcome to Zeta Theta Beta. I'm Hallie. What's your name? VERONICA: Veronica. Hallie writes on a heart-shaped sticky name tag. HALLIE: Oh, my God. I used to have a little Shih Tzu named Veronika. Hallie presses the name tag onto Veronica's chest. Cut to a few moments later as Veronica makes her way further into the house. She is met by another blonde bimboish sort. SHANIA: Hey there, Veronica. Hm, great dress. I just need to take your purse. VERONICA: I'm sorry? SHANIA: Don't worry. We're not gonna steal anything. It's a house thing. Veronica hands over her handbag. SHANIA: So you ready for your first Theta Beta experience? VERONICA: I'm trembling. Shania waves Veronica into a large room, full of floral-dressed girls being decorous. VERONICA VOICEOVER: Yes, I'd like a boy, a bottle of hooch, and you can fast-track me to the dirty room so I can get the frak out of here. Veronica looks around critically. Her name on the name tag is spelled "Veronika." Hallie reappears in front of her, holding up a glass in one hand and a jug in the other. HALLIE: Lemonade? Veronica grins and nods her head enthusiastically. VERONICA VOICEOVER: Worst Roman orgy ever. The choir's rendition of "True Colours" ends and there's a time shift for the choir is now in a corner of the large room, this time with a filked version of "Swing Low, Sweet Chariot," which again continues - loudly - under the dialogue. ZETA THETA BETA CHOIR: Zeta Theta Beta Coming for to carry me home Zeta Theta Beta Coming for to carry me home I looked over campus and what did I see Coming for to carry me home The Beta sisters coming after me Coming for to carry me home If you get there before I do Coming for to carry me home Tell all my friends I'm coming, too Coming for to carry me home Zeta Theta Beta Coming for to carry me home Zeta Theta Beta Coming for to carry me home Coming for to carry me home Veronica is on a couch, sandwiched between Shania and Hallie. She is holding her glass of lemonade. Plates of actual sandwiches, crusts removed, are in front of each girl on the coffee table. Shania and Hallie have something red in their glasses, which are also on the table. Veronica's head bounces back and forth between the two of them. HALLIE: I am so completely not even lying. Theta Beta is the best house. SHANIA: It is. We have so much fun. HALLIE: So much fun. SHANIA: It's really like we're all sisters. Oh, and Becky's father... Shania points to a brunette sitting on another couch, talking to other invitees. SHANIA: ...is a dermatologist and he totally hooks us up. You even think you're getting a zit and you swing by - cortisone sh*t and you are golden. HALLIE: And we have a tanning bed. MARJORIE: Fill her up? Veronica, suffering a surfeit of sugar, looks up gratefully as the red-head who stands the other side of the coffee table. VERONICA: [with fervour] Yes. Marjorie, the red-head, fills the glass in Veronica's outstretched hand. VERONICA: Any chance this one's got a little kick to it? MARJORIE: Sorry, no booze. Them's the rules. Marjorie glances over at the choir. MARJORIE: But the farther you are from the singing, the less you'll crave intoxication. Marjorie gestures for Veronica to join her, away from the choir. Veronica rises from the couch and they walk out of the big room together, into the hall. MARJORIE: Last week they tried to change the lyrics to "Macarena." I almost impaled myself on the banister. She laughs. MARJORIE: I'm Marjorie, by the way. Marjorie holds out her hand. Veronica takes it and they shake. VERONICA: Veronica. Veronica checks her name tag. VERONICA: Oh, with a C. Um, what's up with the whole purse thing? MARJORIE: I think you'll find out soon enough. Trust, sister, trust. Marjorie glances back at Shania. MARJORIE: And don't let her scare you away. Love her to death but she kinda looks at Rush Week as shopping for someone to borrow things from. They are joined by a slim older woman carrying a plate of cookies. KAREN: Shania? She's harmless. A one-track mind but a heart of gold. MARJORIE: Gold? Really? KAREN: All my girls are wonderful. The woman proceeds into the main room. MARJORIE: Karen's our den mother. She gets paid to say that. Truth is, we're all incredibly lame but we're like family. The trade-off is you have to wear a matching dress occasionally. She smiles warmly. INT - HEARST COLLEGE, UNUSED DORM WING - DAY. Dr. Kinny leads a number of students into an unused dorm wing. The walls are covered in sheets of plastic. DR. KINNY: See what a little ingenuity and an unused dorm wing can get you? He talks as he marches them along. In one hand he has a notepad. In the other, he holds up a couple of sheets of paper. DR. KINNY: These are the rules of the Neptune Conventions. My T.A. and I will be close by to make sure you adhere to them. You'll notice the cameras throughout our prison. You'll be monitored at all times. The first couple of students behind Dr. Kinny are indeed a couple. JULIA: [whispers] We should have done the paper. OMAR: It's gonna be fine. Dr. Kinny rounds a corner and stops halfway down one of the corridors. He turns to face the group, which includes Wallace and Logan. DR. KINNY: Everyone whose Social Security number ends in an even number, step forward, please. About half the group steps forward, including Wallace and Julia. DR. KINNY: You are the guards. The rest of you are now the prisoners. Logan's surprised to find himself a prisoner. Behind him, the T.A. starts to dish out striped t-shirts. DR. KINNY: Let's go over the rules. Sleep deprivation is okay. Any other kind of physical abuse is not okay. Prisoners are required to get a certain number of calories per day, and to ensure that the food isn't inedible, one guard must eat a sample meal before the prisoners are forced to eat theirs.... Time passes. By the time Dr. Kinny gets to the end of the Neptune Conventions, all the "prisoners" are wearing their stripped shirts, and all the "guards" are in combat-green t-shirts. DR. KINNY: Prisoners are not allowed to use cell phones, computers, watches. Wallace is collecting the contraband. He reaches Logan. LOGAN: Well, I hope you enjoy writing your paper. We'll never crack. Logan takes off his watch. WALLACE: That so? Logan nods and drops his watch in the box Wallace is carrying. LOGAN: Um-hm. WALLACE: Side bet? LOGAN: Loser streaks across campus? WALLACE: I'm gonna enjoy watching you do it. Logan drops his cell phone into the box. LOGAN: You would. Logan holds out his hand and they shake on their bet. WALLACE: It's on. DR. KINNY: Prisoners, come with me, please. Dr. Kinny leads the prisoners away from the guards. Once they are all separated from the guards, Dr. Kinny holds up his notebook for the prisoners to read: "The b*mb is located in the mail drop box at the corner of 116th Street and Jamison Boulevard." DR. KINNY: This is the information the guards want from you. If at any time you want the experiment to end and to just go home, all you have to do is tell one of the guards this information. LOGAN: Or click your heels three times. Some of the prisoners chuckle, although Dr. Kinny doesn’t react. He turns to face the guards. DR. KINNY: Guards! A b*mb will go off in 48 hours. You must get the location of the b*mb from a prisoner to ensure the safety of innocent people. In exactly 48 hours, 6:02 pm Sunday... The guards look up at the clock on the wall. DR. KINNY: ...the experiment will be over. Dr. Kinny exits. His T.A. stays, observing. Everyone stands around for a few seconds before one of the guards, Rafe, takes charge. RAFE: Prisoners. In your cell. The prisoners don't respond. RAFE: [shouting] IN YOUR CELL. Even the T.A. is startled by this. The prisoners stare at Rafe but first one - Julia's boyfriend, Omar - and then the rest enter one of the rooms off the corridor. Wallace and Julia share a glance at Rafe's actions. The prisoners walk into a large room furnished with a few bunk beds. Logan is behind Omar. LOGAN: Well, I hope you're cool with this. I'm planning on calling you Nancy. Omar chuckles and heads for one of the bottom bunks. He stretches out on it. RAFE: No beds. Rafe barks instructions to the other guards. RAFE: Take them apart. Put the mattresses in the guards' room. ONE OF THE PRISONERS: Oh, come on, man. Sitting up, Omar reaches into his bag and takes out a textbook. RAFE: No books either. OMAR: Chill out, man. I've got a test on Monday, and I've got to get some studying in. RAFE: Fine. Tell us where the b*mb is, you can go study right now. Omar doesn't respond. Rafe looks at Julia and another female guard, gesturing them forward. RAFE: Take their books. And their bags. The girls step forward, Julia going straight to Omar. As she takes his book, she whispers to him. JULIA: Sorry. SAMUEL: Hey, um, where's the bathroom in this place? RAFE: You'll all be using the bathroom together. There will be three breaks a day. Eight hours apart. SAMUEL: But I have to go now. RAFE: What's your name? SAMUEL: Samuel Horshack. RAFE: No! [mockingly] There-there's no way you're that short, smell that bad, and have the last name Horshack. Like, how did you not k*ll yourself in high school? You want to use the john? Tell me the address. SAMUEL: Come on, you're not serious? RAFE: You know, I'm looking around, I'm thinking the Jew or the fat chick will crack first. WALLACE: [uncomfortably] Hey, man. RAFE: What? You'd rather be politically correct than prevent hundreds of people from dying? Take it seriously, bro. Rafe walks out of the room. Wallace follows. WALLACE: You're going to need to watch that...bro. Rafe giggles. RAFE: Sorry, man. Just playing the part, you know? Let's just do this thing, get the hell out of here, right? Rafe walks on. Wallace stares after him. EXT - DESERT - DAY. Cormac trudges along the side of the railroad track. He pauses when he sees a pen sticking up from the ground. He walks towards it, but before he reaches it, the sound of metal on metal fills the air and Cormac screams. He goes down, his leg caught in the animal trap. Cormac writhes in pain. EXT - HEARST COLLEGE - DAY. Veronica heads for her car. VERONICA VOICEOVER: Cucumber sandwiches and lemonade. I'm really going to blow the lid off sorority malfeasance. She opens the car door. There is a large bunch of flowers on the driver's seat. Veronica lifts them out and reads the card out loud. VERONICA: "You have been selected to attend a special private party tonight 10 pm. Dress to impress. Respectfully, your sisters at Theta Beta." EXT - DESERT - DAY. On the ground, past the discarded animal trap, footsteps follow a trail of blood. It leads to Cormac, who is lying on the ground, his right leg mangled. He's used all his water and seems to be asleep, although he responds quick enough to the voice. LIAM: How's it hangin', my brother? Liam stands over him, holding up the pen, laughing. LIAM: Ahh, ouch. That looks painful, but it doesn’t hurt nearly as much as being betrayed by your own brother. CORMAC: Liam. LIAM: Yeah, I thought we had a deal. I take care of your trashy girlfriend, I get a cut of her cash. Liam puts his foot on Cormac's injury. Cormac screams. LIAM: Where's the money? CORMAC: I don't know! Liam pulls out a g*n, pointing it at Cormac's head. LIAM: [dangerously] Do you know now? Cormac, his arms held up over his eyes to shield them against the burning sun, begs. CORMAC: Look, Liam, I found some cash, but most of it is missing. I don't know what she did with it. LIAM: You know this is going to be the last time I ask you, right? Liam crouches down. LIAM: Dondé está [shouting] MY MONEY? The g*n is pressed against Cormac's temple. CORMAC: [desperately] It wasn't there. LIAM: I don't get it. Mom always liked you best. Liam's face is contorted with hate. A sh*t rings out. Further ahead, Keith doesn't react to the sound of the sh*t, staggering along the railway track, seriously dehydrated. He stops at the welcome sight of a town in the distance. EXT - HEARST COLLEGE, ZETA THETA BETA - NIGHT. Veronica is dressed in a tight pencil skirt and a jacket with a low-cut top underneath. VERONICA VOICEOVER: I'm not exactly sure what "dressed to impress" means but if I'm going to spend my night singing campfire songs and drinking cocoa, I'm thinking this will work. She climbs the steps up to the entrance of the house. INT - HEARST COLLEGE, ZETA THETA BETA - NIGHT. On first entry, the house seems deserted, although there are the muted sounds of a party going on. Veronica creeps in as the sound is enhanced by the clop-clop of heels hurrying down the stairs. Shania, dressed scantily, races over to Veronica. SHANIA: I am so excited you're here. VERONICA: Me too! Shania leads Veronica to the sliding doors to the large room. VERONICA VOICEOVER: I guess "dress to impress" meant dress like your favourite Pussycat Doll. Shania opens one of the doors. Music: "In Tha Den" by Brad Ormond. LYRICS: Watch your friend, we can do it again Watch the kid, we can do it again Slow, slow, we can do it again In tha den, we can do it again Watch your friend, we can do it again Watch the kid, we can do it again Slow, slow, we can do it again In tha den, we can do it again I need somebody to love I want to be the one for you, baby I need somebody to love I want to be the one for you, baby There is a serious party going on. VERONICA VOICEOVER: Boys, booze... Hallie appears in front of her, holding up a filled sh*t glass. HALLIE: Pantydropper? VERONICA VOICEOVER: Jackpot! Veronica grins and takes the glass. VERONICA: Aren't you having one? HALLIE: Oh, I'm having more than one. So what do you think? Hallie gestures at the party in front of them.. VERONICA: Awesome! Hallie grabs her arm and leads her into the room. VERONICA VOICEOVER: What do I think? I think I'd sooner drink Mark McGrath's bathwater than drink anything here. Behind Hallie's back, Veronica pours the Pantydropper into a large cup of beer. As Hallie looks over at her, Veronica pretends to have just downed it. HALLIE: Brodie! BRODIE: Hey! A shirtless boy, decorated with a collar and bow tie, approaches them with a tray of drinks. HALLIE: Pantydropper. Veronica puts her empty glass on the tray and Brodie leaves to fill the order. Hallie leads Veronica further into the party. HALLIE: The Pi Sigs are our brother fraternity. They bartend for our rush parties. They're, like, the nicest guys. VERONICA: Yeah, I hear they're super-sweet. HALLIE: I hope you don't have a boyfriend. There are so many cuties here. Like newbie legacy behind you. They pause. Behind them is the naked back of another of the bartenders for the night. HALLIE: Lost Wilson brother. Veronica turns to look at him just as he turns around. It's Dick. He shakes his head in disbelief. Veronica silently curses the gods. DICK: You look exactly like this chick from high school. Veronica turns on her inner Valley Girl. VERONICA: Oh, my God! What are you doing here? She reaches up and gives him a hug. DICK: [very confused] Fulfilling my destiny. It's a sorority party. It's why I left the womb. What are you doing here? HALLIE: Veronica's rushing, and we love her. DICK: Somewhere in a parallel universe, Bizarro-Dick is being a total killjoy- To stop him, Veronica grabs his cheeks and squishes his mouth in faux affection. VERONICA: Oh, you are so cute. HALLIE: Come on, let's get you another drink. Hallie pulls her away to a table of drinks. Veronica lets out a relieved breath. Hallie hands her another Pantydropper. Marjorie joins them. MARJORIE: This is why we take your purses. So we can leave invitations to the secret party in the dorm rooms for girls we want to get to know better. But we had to get creative with you. Marjorie laughs. VERONICA: Yeah, that's cool. VERONICA VOICEOVER: It means that anywhere here had access to Parker's room. MARJORIE: You should meet Chip, president of the Pi Sigs. Chip! Marjorie calls out to the back of a guy. He turns around. It is the same Chip that Veronica met in the Pi Sigma Sigma fraternity house in 216 "The Rapes of Graff." CHIP: Yeah? MARJORIE: This is Veronica. Tell her Theta Beta is the best house on campus. CHIP: This girl accused me of r*pe last year. Veronica laughs. VERONICA: Oh you! She hits him. VERONICA: God. Learn to take a joke. CHIP: Huh. Chip wanders away and Veronica is relieved. End music: "In Tha Den" by Brad Ormond. EXT - KRETCHMER COUNTY - NIGHT. The sheriff of Kretchmer County and his deputy exit from his office. There's a sheriff's vehicle parked outside and they head for it as they talk. SHERIFF CLAPTON: Well, just put that jalopy in the backyard so Mrs. Grimley doesn't have to look at it and I don't have to hear about it, and everybody's gonna be fine, okay? Keith, dirty and exhausted, comes into view and stands in front of them. SHERIFF CLAPTON: You okay there, sir? KEITH: There's been a m*rder. I can take you to the location. Keith points listlessly behind him. The sheriff is suspicious. INT - HEARST COLLEGE, ZETA THETA BETA - NIGHT. Meanwhile, Veronica is giving every appearance of enjoying herself at the party. She is dancing by herself suggestively. A number of boys are watching and cheering, entertained. VERONICA VOICEOVER: So the question on the dance floor: How long must a girl play drunk and willing before someone tried to get her to take off clothes? Shania and Hallie join Veronica, one pressed against either side of her and start to dance. VERONICA VOICEOVER: The '70s had the hustle, the '80s, the moonwalk. We have the faux lesbian dance. The girls dance happily. Marjorie, watching with Chip, grins. On the dance floor, Veronica spots a camera over a door. VERONICA VOICEOVER: A surveillance camera hanging over a blocked door. Yeah, that's not weird. VERONICA: Look, you guys, we're on TV! Veronica leaves the arms of Shania and Hallie and grabs a chair. She puts it in front of the door with the camera. She climbs upon the chair and starts to dance again. VERONICA VOICEOVER: If none of the guys in the room are gonna take the bait, maybe whoever's watching through this camera will. Marjorie is now concerned and after a quiet word with Chip, they both approach Veronica. Veronica bends down and takes Marjorie's arms. VERONICA: You didn't tell me there was a camera! Come on, come up here! MARJORIE: Why don't you come down? I wanna show you something. Marjorie helps Veronica down to the boos and thumbs down of the crowd. They leave the main room and Chip leads them single-file down some stairs. VERONICA VOICEOVER: Here it comes. Scary, dimly lit stairway. They think I'm drunk or worse. Veronica, bringing up the rear, gets the taser out of her bag and turns it on. VERONICA VOICEOVER: One false move and someone's getting a taste of Mr. Sparky. VERONICA: [playfully] What are you showing me? Did you get a puppy? EXT - HEARST COLLEGE, ZETA THETA BETA - NIGHT. Her hand on the taser, now deep in her bag, Veronica is led outside. VERONICA: You wanted to show me a driveway? Marjorie and Chip turn to face her. MARJORIE: I think maybe it's time to call it a night, Veronica. You're on the verge of losing points with the sisters and...you're my fave, so.... There's a Safe-Ride-Home cart coming for you. Chip will wait with you, keep you safe. Marjorie goes back into the building. Surprised, Veronica looks at Chip. He holds up his hands. CHIP: Hey, this is not how I wanted my night to end either. INT - HEARST COLLEGE, UNUSED DORM WING - NIGHT. The guards carry trays into the prisoners' room. RAFE: I hope you're all hungry. The trays are dropped on the floor. The contents are unappetising, comprising tinned fish (sardines, pilchards, or anchovies, maybe) and something in bowls that defies description. ONE OF THE PRISONERS: Ugh, what is that? OMAR: One of you has to eat it first. Wallace claps and rubs together his hands in enthusiasm. WALLACE: That would be me. Wallace crouches down and takes one of the fish from the tin. ONE OF THE PRISONERS: Oh, gross. Wallace makes enthusiastic noises. WALLACE: These are some tasty fishes. SAMUEL: I can't eat this. Rafe smirks and walks up to Samuel. RAFE: Sure you can. Maybe it's magic corn and you can grow to be the size of a real boy. Logan starts chewing, unfazed. EXT - HEARST COLLEGE, ZETA THETA BETA - NIGHT. Chip looks down at the sounds of retching and shakes his head before walking away. Veronica is on her hands and knees by a large tree trunk. VERONICA VOICEOVER: The best way to keep a guy at least ten feet away? Dry heave. Vomit is the new mace. Veronica looks around on hearing the sound of a cart. It pulls up where Chip is standing and Veronica leaps up. The driver is Fern, last seen kneeing Dick in the groin at the Take Back the Night rally. FERN: Your chariot. Veronica, still playing drunk, waves at Chip and heads around the cart to get in on the other side. VERONICA: Bye, sailor. Chip checks that she gets in okay and addresses Fern. CHIP: You have to take her to her friend's dorm. She's a commuter. Chip slaps the top of the cart a couple of times and stands back. Fern groans and sets off. Chip wipes his hands, glad to be rid of Veronica. In the cart, Veronica is more intent on looking back to ensure she's in the clear to pay much attention to Fern. FERN: I don't know why I do it. You girls get all tarted up... Satisfied that she's away, Veronica starts to pay attention. FERN: ...parade right into the belly of the beast, and drink until you can't say no. You're lucky you didn't end up with a shaved head. You should know better. The Greeks are evil. VERONICA: Okay. So here's the thing. I'm not really drunk. So, if you could just take me to the parking lot. FERN: Yeah, like I don't get that speech from everyone who sits in that seat. Fern glares at Veronica with disapproval. VERONICA: No, for real. I'm totally sober. Um, I was pretending for a story. I'm on your side. Look! Veronica touches her nose with each finger rapidly, to persuade Fern of her sobriety. Fern is not impressed. VERONICA: Hey, you pick up any Theta Beta rushes last night? FERN: I didn't. But there are a couple of carts out each night. VERONICA: Backwards alphabet? Z, x, y, w, v, u, t, s, r, q, p, o, n, m, l.... Do you want me to juggle? Back handspring? A Vagina Monologue, perhaps? Fern pulls the cart to a stop. FERN: Get out. Veronica slides out of the seat. Without a word, Fern drives away. Veronica calls after her. VERONICA: Thanks, sunshine. Keep on keepin' on. INT - HEARST COLLEGE, UNUSED DORM WING - NIGHT. The male prisoners are in the bathroom, using the urinals. Rafe claps his hands. RAFE: Hurry up! No measuring contest, just do your business like the dogs you are. Rafe spots another opportunity to humiliate Samuel. He does an impression of Arnold Horshack in Welcome Back Kotter. RAFE: Oo-oo-oo. Samuel doesn't react. He just stands silent and closes his eyes. Rafe laughs and walks around the side of Samuel. RAFE: I don't hear anything, Horshack. You all dried out? Samuel's face shows that Rafe has h*t on his problem. SAMUEL: It's kind of hard with you yelling. RAFE: [mocklingly] "I can't pee 'cause there's other boys around." Wait a minute. Are you a h*m*, Horshack? Wallace, watching from near the door, shuffles uncomfortably. RAFE: Time's up! Samuel grimaces, zips up, and leaves the urinal. Logan, stationed at the next door urinal, glances over thoughtfully. INT - DESERT, CABIN - NIGHT. Keith and the sheriff walk through the devastated cabin of ripped out walls. SHERIFF CLAPTON: Uh, no blood, no body, place tore up. It's like a robbery, not a m*rder. KEITH: They tore the place up looking for the victim's money. SHERIFF CLAPTON: Well, if it was here, they found it. The sheriff throws a question back at Keith, standing behind him. SHERIFF CLAPTON: Just tell me again what you were doing out there in the desert. Keith makes a gesture of exasperation but is spared having to make a response by a call from an inner room. DEPUTY: Hey, Sheriff. Keith and the sheriff enter the room where the deputy is. The deputy is in the process of taking a picture from the wall. On the corner is a small splatter of blood. DEPUTY: I think I found some blood. SHERIFF CLAPTON: Bag it. Let's get it back to the lab. The deputy nods and takes the picture to the outer room. He sets it on a table. Keith watches from the doorway as the deputy carefully lifts off the hard plastic that encased the picture, the blood being on the plastic, which the deputy proceeds to bag. Keith stares at the picture left behind. INT - HEARST COLLEGE, UNUSED DORM WING - NIGHT. Logan, sitting on the floor, leaning against the wall in a corner, drifts off to sleep, his head falling into the corner. There's a sudden loud burst of music. Music: "Escape" by Rupert Holmes. LYRICS: If you like Piña Coladas Getting caught in the rain If you're not into yoga If you have half a- Logan wakes up, pissed. The other prisoners awaken and grumble. Rafe is standing at the door holding a portable stereo. LOGAN: Okay, okay, I'll tell you what you want to know. Rafe switches off the music. End music: "Escape" by Rupert Holmes. Omar and the female student stare at Logan in shock. Logan beckons Rafe closer. LOGAN: C'mere. Rafe puts down the stereo, walks over to Logan and bends down to him. LOGAN: Yes, I like Piña Coladas. And getting caught in the rain. The others giggle, and now Rafe is pissed. He sees Samuel huddled away from the others. RAFE: Get up! Samuel doesn't move. Rafe storms over to him. RAFE: GET UP! Slowly Samuel rises to his feet, looking shamed. His jeans are soaked from him having peed himself. Rafe laughs in triumph. RAFE: Mother of every thing that is holy! He marches Samuel into the view of everyone. RAFE: He-mo wet his pants. SAMUEL: [pleading] I have sweatpants in my bag, Rafe. Rafe just laughs. RAFE: Sit down, prisoner. The female prisoner and Logan exchange a worried look. INT - MARS RESIDENCE - DAY. Veronica, in her pyjamas, walks from the direction of the bedroom to the refrigerator. She gets a bottle of water and starts to drink as she shuts the door and turns. She gives a start and nearly chokes. Keith is sitting in the armchair, staring into space. VERONICA: What are you doing? You nearly scared me to death. KEITH: I'm sorry. VERONICA: Why are you sitting there in the dark? And while we're at it, why didn't you call and tell me you were gonna be home a day late? Backup was worried sick. Veronica is oblivious to Keith's demeanour. VERONICA: [teasingly] C'mon, you can tell me. You've got a girl stashed somewhere, don't you? Keith bends forward, into the light. It is clear from his face that he is deeply distressed. He puts a hand on his head. Veronica finally gets it. VERONICA: Hey. What's wrong? She slides onto the arm of the chair, putting her arm around his shoulders and leaning close towards him. KEITH: [tearfully] I screwed up, Veronica. I screwed up, and someone got hurt. Keith sniffs and drops his head back in his hands. Veronica cuddles into him, putting her head on his shoulder. VERONICA: I know exactly how you feel. She reaches forward to take his free hand. INT - HEARST COLLEGE, UNUSED DORM WING - DAY. Wallace is enjoying some more of the prisoners' food. ONE OF THE PRISONERS: What is that? He swallows and smacks his lips. WALLACE: Pigs' knuckles. Ya-um. The prisoners do not look convinced. SAMUEL: I can't eat that. It's pork. RAFE: Then your mother was a pig? SAMUEL: I keep kosher. RAFE: Yeah, I don't get that. I mean, why won't your kind eat pork? It's not like it's expensive. Rafe suddenly notices that Samuel is wearing sweatpants. RAFE: Where did you get those? Samuel and Wallace exchange a quick glance. Samuel doesn’t answer. RAFE: [shouts] I'm not asking you again. SAMUEL: I'm not telling you. RAFE: Well, then, you're going to solitary. Rafe grabs him and marched him out of the room under Logan's watchful eye. RAFE: You can sit in there all curled up in the dark and pretend you're hiding from the Germans. INT - HEARST COLLEGE, MAC AND PARKER'S ROOM - DAY. Mac is lying on her bed, her laptop open in front of her. She can't help but overhear Parker and her mother and looks up uncomfortably. PARKER: No, I think the first one was better. MRS. LEE: It wasn't, honey. Parker and Mrs. Lee are standing in front of a mirror. Parker is wearing a wig, the "hair" of which is long and nearly silver with a thick fringe. PARKER: Mom! I just, I think it's more me. MRS. LEE: You should have something simple, that doesn't draw attention to you. PARKER: Everyone is gonna know it's a wig anyway. Parker pulls it off and sighs. She looks at Mac. PARKER: What do you think, Mac? Mac has no idea what to say. MAC: Uh... MRS. LEE: See, this is exactly what I'm talking about. You can't make a decision for yourself. This is why you never should have gone away to college. You're too immature. Once your father gets his pound of flesh at the Dean's office, we're taking you home. INT - HEARST COLLEGE, NEWSPAPER OFFICE - DAY. Veronica and Nish are again perambulating. NISH: Listen, it all sounds suspicious to me, Veronica, but you gotta find out what's behind the door with the camera. VERONICA: Marjorie, the cool one- NISH: Trust me, Veronica, none of them are cool. VERONICA: She left me a voice-mail checking in on me, suggesting I curtail my drinking. It just doesn't exactly sound like the advice she'd give if they were trying to get me to strip in front of the Pi Sigs. NISH: Four sources, Veronica. Something bad is going on in that basement. VERONICA: Marjorie also said they were voting tonight at seven. That's when I'll make my move. NISH: Great. VERONICA: They sent me home in a Safe-Ride-Home cart. If they sent Parker home the same way, maybe the driver knows something. NISH: Or maybe the driver took advantage of the situation. I have a friend who volunteers at Take Back the Night. Nish by now is back in her (Ashley's) cubicle. She picks up the phone. NISH: Hey, it's Nish. Question. Do you guys keep records of who you take home? INT - HEARST COLLEGE, MOE'S ROOM - DAY. Moe opens his door and smiles. The sound of the classical music he is playing spills out. Music: The first movement (Allegro vivace) from Symphony No.41 by Mozart. VERONICA: Wanna know the day you're the least safe at Hearst? Today. Why didn't you tell us you drove Parker home the night she was r*ped? Moe is at a loss for words. A moment (or a commercial break) later, Veronica is in Moe's room. He is, again, attending to his refreshments. He pours water from a kettle into his Papa Bear mug. VERONICA: If I understand correctly, you drove Parker home. She must have been totally out of it. MOE: She was. She was hammered. VERONICA: And you come in Wallace's room the next day dropping off r*pe safety rules and you don't mention you were the one who put her to bed? MOE: I didn't know Parker was the girl who got r*ped. If I knew, I would have gone to the police or something. With his tea in one hand and a plate of biscuits in the other, he turns to face Veronica. MOE: Biscotti? VERONICA: [impatiently]No. A-And what exactly would you have told the police? MOE: Whatever they asked. I didn't do anything wrong, Veronica. Moe settles himself down with his snack. MOE: She was fine when we left. VERONICA: We? MOE: There was another girl in the cart. She wasn't drunk or anything. She just took the cart so she didn't have to walk alone. Parker was so out of it, she helped me take her upstairs. VERONICA: What was her name? Moe's gesture seems to indicate that he doesn’t know. End music: The first movement (Allegro vivace) from Symphony No.41 by Mozart. INT - HEARST COLLEGE, UNUSED DORM WING - DAY. A door opens on Samuel, sitting alone on the floor in what looks like a janitor's closet. The light temporarily blinds him. Rafe looks down at him. RAFE: Guten morgen. Rafe escorts Samuel back to the prisoners' room. He pushes him in, then exits. Logan approaches Samuel. He pats him on the shoulder. LOGAN: Hats off, man. SAMUEL: What? LOGAN: I would've cracked. I almost did already but, would you believe, I forgot the damn address. Samuel chuckles. SAMUEL: It's the corner of 116th Street and Jamison Boulevard. OMAR: It's 114th Street and Jamestown. Samuel looks confused. SAMUEL: No, it's the corner of 116th Street and it's Jamison, like the liquor. FEMALE PRISONER: He's right. It's 114th Street and Jamestown. OMAR: Maybe you could say it a little bit louder next time? FEMALE PRISONER: I was agreeing with you, jerk. Logan stares at them for a moment, then back at Samuel, who is now very confused. INT - HEARST COLLEGE, ZETA THETA BETA, KAREN'S ROOM - DAY. On the wall, there's a poster of Lance Armstrong. Underneath is the message: "Pain is temporary, quitting is forever." Veronica is sitting underneath, on a floral couch. VERONICA VOICEOVER: Moe's alibi checked out. Teri Wells, a h*m* RA in Clark Hall, confirmed that she and Moe dropped Parker off at her room and that by the time she left Moe, it was midnight. So, it's back to Theta Beta, figuring out what the deal is with the mystery room, and hoping it'll give me some clue to what happened to Parker. Karen joins her on the couch, handing her a bottle of Snapple. KAREN: Here you go, Veronica. VERONICA: Thanks. I'm just so embarrassed. I-I'm really not usually like that. KAREN: We all have our moments, Veronica. Lord knows, I have. VERONICA: I just know they're not going to vote for me now. KAREN: They may surprise you. My girls are excellent judges of character. VERONICA: I really like it here, and Marjorie... KAREN: You know, you can't talk to the girls before the vote, but I can. Karen rises from the couch and leaves the room. As soon as she's gone, Veronica hurries to her desk. She searches through a couple of drawers until finding a set of keys. She pockets them. She then notices the computer screen on the desk. It shows the room in which the party was held. VERONICA VOICEOVER: So the surveillance-camera monitor is in the den mother's room? What exactly is going on here? Veronica looks around and notices a dog bed in the bathroom. KAREN: Veronica? Karen arrives back and is surprised to find her at the desk. Veronica holds out the top of the bottle. VERONICA: Just looking for the trash. Karen holds out her hand for it. KAREN: You can relax now. I don't think you have anything to worry about. Karen smiles. Veronica smiles and nods. INT - HEARST COLLEGE, UNUSED DORM WING - NIGHT. Wallace is in a chair outside the prisoners' room, but he is asleep, as is Julia next to him. Inside, Logan rouses the others. LOGAN: Psst. He nods in the direction of the window. The prisoners pad softly to it, one of them carrying a bundle. Logan opens the window and lets down the makeshift ladder of sheets tied together. INT - HEARST COLLEGE, FOOD COURT - NIGHT. The prisoners enjoy large drinks, pizza, and other junk food at one of the Food Court tables. They chat and laugh, happy about their freedom, save for Samuel who is asleep with his head resting on his arm on the table. Logan slurps the remains of his drink through a straw and throws down his napkin. LOGAN: [in a Southern accent] I do declare. That was the finest Frito pie I believe I've ever tasted. Veronica pats him on the back and stands by the table, looking down at him. LOGAN: Ah, finally, my conjugal visit. VERONICA: Hmm, lemme guess. You're out on good behaviour? LOGAN: [softly] No. He makes an announcement to his fellow escapees. LOGAN: You all know my girl, Veronica. He looks back up at his girlfriend. LOGAN: I have your picture hung in my cell. Gets me through the long, lonely nights. I lend it to my buddy, Horshack, sometimes. Hope you don't mind. VERONICA: It's good to share. Veronica picks some food off his plate and pops it in her mouth. LOGAN: Yep. Well, have a seat. We're waxing nostalgic over our time on the inside. VERONICA: Hmm, I can't. You're breaking out, I'm breaking in. Veronica gestures at the two of them for the benefit of the rest of the table. VERONICA: Star-crossed. Logan watches her go, then shifts his view as Rafe and the guards march up to the table. RAFE: What the hell do you think you're doing? LOGAN: Hm, getting a jump-start on the freshman fifteen? The prisoners start to get up from the table as Rafe verbally att*cks Wallace and Julia. RAFE: You can't hear six people jump out of a window? We're going to lose this now, and it's on you two. They all start to head out. INT - HEARST COLLEGE, ZETA THETA BETA - NIGHT. Veronica enters from the driveway. VERONICA VOICEOVER: Now, with the Zeta Theta sisters all off somewhere voting, time to see what's in the mystery room. She races up the staircase. In the main room, she puts tape over the camera above the door, then uses the keys to open the door underneath. She enters the room. It is full of marijuana plants grown under artificial lights. Veronica stares in surprise. VERONICA: Holy smokes. INT - HEARST COLLEGE - DAY. The scene of the greenhouse converts to photographs in the hands of Nish. NISH: Un-freaking-believable. This is awesome, Veronica. VERONICA: [quietly] Thanks. Nish is perched on a desk, thrilled with Veronica's success. NISH: And the secret parties with the booze and dudes? We're talking one Greek house down... She snakes her head in a dance. NISH:...nine to go. Nish laughs. VERONICA: Yeah. You know, they weren't all bad. NISH: You're going to be a real asset to us here, Veronica. You're one of us now. Veronica isn't thrilled. INT - HEARST COLLEGE, UNUSED DORM WING - DAY. Samuel is at a urinal. Rafe is looming over him and shouting in his ear. RAFE: How are you not peeing? You downed an entire Big Gulp at the Food Court and now you can't go? What is wrong with you? Samuel reacts to each charge as if slapped and finally cracks. SAMUEL: It's 114th and Jamestown. Rafe smiles. Logan and Omar race from the area of the cubicles. LOGAN: Dude! OMAR: It's only ten hours to go and you caved. RAFE: Leave him alone. Rafe pats Samuel heartily on the shoulder. EXT - HEARST COLLEGE - DAY. Veronica walks to her car. She pauses when she sees Marjorie leaning against it. MARJORIE: We need to talk. VERONICA: About what? MARJORIE: Karen has cancer. She saw you go into her private room. There's a second camera inside. What were you looking for? VERONICA: The truth? MARJORIE: If that's not too much to ask. VERONICA: A friend... Veronica realises that it is not the right word. VERONICA: ...someone I know, was r*ped after she left a Theta Beta party. I thought there might be a clue behind that door. MARJORIE: What's behind that door had nothing to do with the r*pe of Parker Lee. VERONICA: So the pot farm... MARJORIE: Karen was so sick from the chemo, she just spent the day laying on the floor in front of the toilet. We got a dog bed so at least she could lay on something soft. This botany professor friend of hers gave her some seeds. He said it would help with the pain and the nausea, and it did. She won't just lose her job over this, Veronica, she'll lose her insurance. Please don't say anything about what you saw. Marjorie walks away. INT - HEARST COLLEGE, UNUSED DORM WING - DAY. The prisoners and the guards are standing at either end of the corridor. Samuel is in between them, facing his fellow prisoners. SAMUEL: I held out as long as I could, guys. Really. RAFE: Come on, give the guy a break. Dr. Kinny arrives. DR. KINNY: You rang? RAFE: [triumphantly] We have the address. 114th and Jamestown. DR. KINNY: Congratulations. Dr. Kinny extends his hand. Rafe takes it, shaking the man's hand with fervour. The other guards quietly celebrate. DR. KINNY: You managed to get false information. Rafe is stunned. Wallace's broad smile melts away. Logan's brow rises in triumph. DR. KINNY: Call me again when you get accurate info. Dr. Kinny turns and walks away. As he goes, a "D'oh" is heard (Dr. Kinny is played by Dan Castellaneta who voices Homer Simpson) but it is unclear as to whether he says it (producers claim) or if it was said by someone else (episode's writer and editor claim in a podcast). Rafe doesn't care. He's fit to burst and turns furiously on Samuel. RAFE: Solitary, now! Samuel's face crumples and he dips past Rafe to go to the janitor's closet. Rafe turns his attention to Logan, marching straight up to him and getting in his face. RAFE: I don't know how you did this, but I know this was you. Logan smirks, satisfied. EXT - HEARST COLLEGE - DAY. Veronica is still standing beside her car where Marjorie left her. She is on her cell phone. VERONICA: Nish, it's Veronica. Listen to me, you can't print that story. I made a huge mistake. INT - HEARST COLLEGE, NEWSPAPER OFFICE - DAY. Nish is sitting in her/Ashley's office. NISH: What mistake? EXT - HEARST COLLEGE - DAY. Veronica talks as she walks to the back of her car and leans against it. VERONICA: Their den mother has cancer. She's growing marijuana for medical reasons. She got the seeds from a botany professor who was trying to help her. INT - HEARST COLLEGE, NEWSPAPER OFFICE - DAY. Nish is unmoved. NISH: And the party, the... EXT - HEARST COLLEGE - DAY. NISH: [offscreen] ...underage drinking... VERONICA: Look. Can you just give me a day, so I can verify some facts? NISH: [offscreen] As far as I'm concerned, the facts are here. INT - HEARST COLLEGE, NEWSPAPER OFFICE - DAY. NISH: The article's being published, Veronica. EXT - HEARST COLLEGE - DAY. NISH: [offscreen] You should be proud. Veronica is anything but. She drops the phone, regretful. INT - HEARST COLLEGE, ZETA THETA BETA - DAY. There's a knock at the door. Karen opens it. Veronica stands there. Karen sags a little at the sight of her. VERONICA: [genuinely] Karen. I am so sorry. Marjorie joins Karen at the door. VERONICA: There's going to be an article in the school newspaper tomorrow. You need to get rid of the marijuana before it comes out. Karen sags that bit more and turns away, leaving Marjorie with Veronica. MARJORIE: You wanna know the definition of ironic? She smiles humourlessly. MARJORIE: You got voted in, Veronica. We wanted you to be one of us. Marjorie closes the door. Veronica lets out a breath, shame and regret written all over her. INT - HEARST COLLEGE, MAC AND PARKER'S ROOM - DAY. Parker's side of the room is cleared, and everything is gone. Parker, in the horrible wig her mother said was the best choice, carries only a small bag as she approaches Mac, who is sitting on her bed working on her laptop. PARKER: I left you a card with like my numbers and stuff. If you want. She sinks onto the small couch. PARKER: I thought we were going to have a blast together. Now everything's ruined. MAC: Don't go. Nothing's ruined...but I think if you go with your parents, it will be. Stay here. I'll have your back from now on. Parker's moved and grateful. She breaks into a cautious smile. VERONICA: Thank you, Mac. Parker rises from the couch and walks towards Mac. Mac, clearly new to this sort of affection, rises slowly. They hug. Mac's expression speaks of not being sure why she's given Parker the support, but not having any doubts about it. INT - HEARST COLLEGE, UNUSED DORM WING - DAY. The clock shows the time is 6:01. Back in the corridor, all the prisoners except Logan, who is being fairly nonchalant, watch it with increasing anticipation. The guards are facing them, less enthusiastic. Rafe glances back at the clock. The minute hand moves and it is 6:02. The prisoners celebrate. After slapping hands with Logan, Omar races forward into the arms of his girlfriend, Julia. They hug. WALLACE: [innocently] Omar? Now that it's over, you gotta tell us what that address was. Logan, alert to the trap, shouts out... LOGAN: No! But Omar either doesn't hear him or ignores him. OMAR: [gloating] It's 116th Street and Jamison Boulevard. Stick that in your trophy case, baby. WALLACE: Okay. Behind Wallace, Dr. Kinny has just entered. DR. KINNY: Congratulations, guards. You've won. OMAR: What are you talking about? It's 6:03. Dr. Kinny consults his watch. DR. KINNY: It's 5:45. The two guards who fell asleep on duty were just pretending. Rafe is stunned. Wallace holds up his wrist and taps his watch. DR. KINNY: They waited for the prisoners to escape and then moved the clock forward. Omar looks up at his (taller) girlfriend. She shrugs, smiling. DR. KINNY: See you in class. Dr. Kinny turns and walks out. Logan curses silently and looks at Wallace, who beams and nods at him, before turning to the angry Rafe. RAFE: And you didn't tell me? WALLACE: Well, we were counting on you to act like a jerk. Wallace pats him companionably on the arm. WALLACE: Way to sell it. As Rafe tries to work out if that's a compliment, Wallace looks back at Logan and gives him a salute. Logan gives a small smile and nods. INT - MARS RESIDENCE - DAY. Keith comes into the kitchen where Veronica is seated at the counter eating a bowl of cereal. Her laptop is open in front of her. KEITH: 'Sup? VERONICA: I'm not acknowledging that. As he pours himself a coffee, Keith looks at his daughter with pride and affection. KEITH: Look at my dedicated college student. VERONICA: Knowledge is power. KEITH: Nietzsche? VERONICA: Mm, Schoolhouse Rock! VERONICA VOICEOVER: Here's the knowledge I've accumulated my first week at Hearst. Veronica has opened a file on the rapes. Her laptop shows a page of it. Down the right hand side is listed the subfiles - Victims, Suspects, Crime Scenes, and Timeline. Taking up most of the page is a map of the campus (and possibly the surrounding area). There are four markers, clustered in the top left-hand part of the screen, presumably showing the locations of four rapes. There is a smaller window that is superimposed over this (and may hide other locations). In it are some notes about Parker, whose name tops that window. On the left is space for a photo, of which there isn't one at this stage. Under that are Parker's basic details: Age: 18 DOB: 01/27/88 Sex: F Height: 5'5" Weight: 117 Eyes: Blue Hair: Blonde Marital Status: Single Employer: Student On the larger right-hand section, headed "Notes," the following is written: "Promiscuous frosh [or trash?]...attractive and well-liked (for obvious reason). Night of r*pe, I walked into Mac and Parker's room to get our movie tickets, heard sexual noises, saw what looked like consensual sex and heard a buzzing sound that I thought was a vibrator... Turns out it was a hair trimmer, evidence that this is the serial r*pist (due to the other three rapes involving shaved heads, the r*pist's mark)..." At the bottom of this smaller window are the following tabs: Notes, Interview, Enemies, Evidence, Save, and X. VERONICA VOICEOVER: Chip Diller seems to be around when the rapes occur, the safety of the Safe-Ride-Home is questionable, and someone in the Theta Betas had the keys to Parker's room the night of her r*pe. It's a start. INT - MUSEUM - DAY. A box is opened. Inside is the painting from the cabin. CURATOR: [stunned] Van Gogh's "Two Lovers." Do you have any idea how much this is worth? KEITH: Millions. FLASHBACK. INT - MARS INVESTIGATIONS - DAY. Kendall is standing in front of Keith's desk. KENDALL: I need you to do something for me. Keith is putting on his jacket. KEITH: Sorry, Mrs. Casablancas, but I'm meeting my daughter in an hour. KENDALL: I think you'll change your mind. Kendall opens the briefcase on Keith's desk. Inside is the painting. KEITH: Oh. END FLASHBACK. INT - MUSEUM - CONTINUING. Keith hands over some papers. KEITH: Papers are in order. Proceeds from the sale to go to the South Neptune Food Bank. CURATOR: Are you sure? Keith smiles. KEITH: Yeah, I'm sure. He turns and walks away. INT - HEARST COLLEGE, DR. KINNY'S LECTURE ROOM - DAY. Dr. Kinny's room fills up with students. Wallace enters and takes his seat, which is next to Samuel. WALLACE: Hey, Horshack. SAMUEL: Morning, Wallace. WALLACE: Good news. Looks like Rafe isn't showing up today. SAMUEL: Yeah, he's feeling a cold coming on. He asked me to take notes for him. WALLACE: [surprised] And you're doing it? SAMUEL: Yeah, I mean, all that stuff this weekend was just a game. He's a cool guy. He just likes to win. WALLACE: [sceptically] If you say so. SAMUEL: Oh, hey, where's Logan? WALLACE: [happily] Oh, we'll be seeing him real soon. Wallace turns his attention to the front of the room with a grin as Dr. Kinny starts his lecture. DR. KINNY: So, what did we learn from our little experiment this weekend? Let me hear from one of the participants. There's a bang as the door to the room swings open. Logan, naked but for a black eye mask, races into the room and down the aisle between the desks. Students titter. Logan stops at Wallace's desk, turns to face him, and salutes. Wallace, grinning, holds out his hands to shield his eyes from Logan's nether regions. Logan ends the salute on a flourish and runs on. SAMUEL: [with distaste] Oh, my God! Logan speeds to the front before an ambivalent Dr. Kinny and out of the room. The students continue to laugh and mutter. Wallace turns to Samuel. WALLACE: That happens to me all the time. INT - HEARST COLLEGE, LIBRARY - DAY. Veronica is at a library counter, stamping books. VERONICA VOICEOVER: So it looks like my work study job will be in the library. She slides the book over to the unseen receiver with a smile. She grabs a couple of books from the counter and walks over to a book cart. VERONICA VOICEOVER: My journalism career over before it even really began. She puts the books on the cart and starts to push it. She pauses on noticing a newspaper on one of the reading tables. She leaves the cart to look at the paper. The front page is "her" story. Under the large print of her picture of the crop is the caption "Harvest College? Marijuana plants flourish freely in a hidden grow-room [sic] located inside Zeta...." The headline is: "Grow room discovered in Theta Beta." There is a sub-headline: "Botany professor provides seeds." The only by-line on the story is "Veronica Mars, Contributor." As much as can be read states: "Hearst College has a cash crop on its hands. Too bad they aren't aware of it. Nestles in a secret...Zeta Theta B...away...While California's medicin...marijuana laws are regarded as quite liberal, certain regulations and safe guards are in place to ensure only certified growers operate for the benefit of ailing patients." The article then goes into Latin. Running down a column on the left hand side is a notice on "Today @ Hearst, 9 a.m. - 3 p.m." and reads "Freshmen attend the first day of New Student Orientation and receive academic planning tips and course registration assistence [sic] Student orientation will be held through September 16th." Finally, there is a note to the effect that more of today's headlines can be found at hearstfreepress.com. Veronica sighs on reading the lead story. Fern walks past behind her and notices. FERN: Well done, sister. Fern gives her a double thumbs-up and walks away. Veronica is not so proud of herself. End

{"type": "series", "show": "Veronica Mars", "episode": "03x02 - My Big Fat Greek Rush Week"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Veronica approaches the Take Back the Night rally in 301 "Welcome Wagon," where Nancy is addressing the crowd. NANCY: How many women like me have to be r*ped, have to end up like this, their heads shaved before this administration listens to our demands. Shut down the fraternity houses. The crowd cheers. Cut to later in the same episode. Veronica comes across Mac, sitting on the floor outside her and Parker's room. MAC: Parker's in there with some guy. Cut to Veronica who, having snuck into the room, takes tickets from the bulletin board. VERONICA: Don't mind me. The next day, Veronica explains her failure to stop Parker's r*pe in 302 "My Big Fat Greek Rush Week." VERONICA: I thought it was just sex. It didn't occur to me that it was against your will. PARKER: Thanks, Veronica. Thanks for thinking I'm the slut of the world. End previously. INT - MARS RESIDENCE - NIGHT. Keith is preparing dinner. Veronica, extremely uncomfortable, stands and watches him as she nibbles on a piece of food. VERONICA: This is a bad idea. KEITH: No, it's not. VERONICA: You only thinks it's not 'cause you came up with it. KEITH: Ergo, how could it be bad? Math, sweetie. Me plus idea equals good. Veronica finishes her snack just as there's a knock at the door. Keith stops chopping and looks over at Veronica, expectantly. Veronica takes a deep breath and goes to the door. Keith follows her with his eyes, amused. Veronica opens the door. It's Logan. She doesn't say anything. LOGAN: You were expecting Sidney Poitier? VERONICA: Nn-mm. Veronica steps outside the apartment and closes the door. EXT - MARS RESIDENCE - CONTINUING. Logan, also amused, faces her as she wags a finger at him. VERONICA: No jokes. No innuendoes, no quips. Don't even think of alluding to having seen me naked or [with increasing desperation] having touched any part of my body that does not have fingers. LOGAN: Can I mention that my eyes adored you? Veronica huffs impatiently. LOGAN: I got it. No calling you bobcat, no talk of milky thighs. Veronica looks up to the heavens and groans. VERONICA: Go home. LOGAN: Veronica? I won't say anything bad. Veronica sighs, but holds out her hand in resignation. Logan takes it. They grin at each. Veronica opens the door and leads him into the apartment. INT - MARS RESIDENCE - NIGHT. Music: unidentified. A little time has passed and the meal is in progress. All three are sitting at the small counter, with Keith and Logan facing each other, and Veronica at the end, between them. KEITH: So, how's school going, Logan? LOGAN: Well, I'm actually not hating it. My grades aren't exactly- Veronica interrupts quickly. VERONICA: Oh, Hearst took him in late because of his high test scores. KEITH: Oh, what classes are you taking? VERONICA: Where is this going? KEITH: My end game is to find out what classes Logan is taking. LOGAN: Just core stuff, you know, sociology, freshman comp. Mass com, which is kinda coming in handy. You know, apparently being the offspring of a m*rder doesn't get old. I'm getting all these interview requests. Larry King wants me to come on with O.J.'s kids. KEITH: Oh, you thinking about it? LOGAN: No. KEITH: Why's that? VERONICA: [with an uncomfortable chuckle] Timeout. Veronica makes the timeout sign. VERONICA: Oooh! Can we stay in the shallow end, please? Logan glances over at her and grins. KEITH: I'm sorry. I think it's a good call. I was just curious as to your reasons. Keith turns to his daughter. KEITH: I didn't realise I had to have the conversation vetted. VERONICA: I would've been happy to veto questions for you ahead of time. KEITH: Mmm, that would've been nice, huh? VERONICA: We could've packed a lunch and made a day of it. KEITH: Missed opportunity, if you ask me. VERONICA: A mistake you can learn from. Logan follows their banter with pleasure. KEITH: What then exactly am I allowed to ask Logan about? VERONICA: I... Veronica struggles to find a safe topic. VERONICA: Hobbies? Father and daughter turn their gaze on Logan. LOGAN: Surfing. KEITH: What's the attraction? Veronica drops her fork. VERONICA: Don't answer that. Keith rolls his eyes and sighs loudly in frustration. End music: unidentified. INT - HEARST COLLEGE, MAC AND PARKER'S DORM - DAY. Veronica approaches the door to Mac and Parker's room, passing a number of notices, including one advertising a "Girls Power Movies Night." She knocks. Parker, in a much better wig than the one last seen in 302 "My Big Fat Greek Rush Week," opens the door and loses her sweet smile as soon as she sees who it is. PARKER: Mac's in Bakersfield. Her great aunt died and she got the call last night. Parker slams the door shut. Veronica stands there a moment then turns with a sigh and an "It figures" smile. She pauses, drops the smiles and thinks hard. Determination results and she turns back to the door. Veronica knocks insistently. This time, Parker is ready for her and opens the door with a look of disdain already on her face. VERONICA: Look. You live with one of my best friends. I'm gonna keep coming here and having doors shut in my face is gonna get- Parker shoves the door closed again, but this time Veronica sticks out her leg and stops it shutting. She kicks the door open again. VERONICA: Old. Parker, frowning deeply, huffs. VERONICA: I have surprisingly strong legs and an hour before my next class. Parker gives in gracelessly, holding open the door and throwing out a "welcoming" hand. PARKER: Well. Veronica enters the room. INT - HEARST COLLEGE, MAC AND PARKER'S ROOM - CONTINUING. Parker shuts the door. PARKER: [sarcastically] You wanna have a rap session? Maybe in our P.J.s? We can eat brownie batter and do each other's nails. VERONICA: Do you really think that when I walked in here that night, I thought, "Hmm. Look. Parker's getting r*ped. Now where are those movie tickets?" PARKER: No. You just figured the whore was getting her freak on. VERONICA: So, you're really mad because I thought you were a whore? Because lots of people think I'm a whore. PARKER: Don't pretend for a second to understand how I'm feeling. VERONICA: I understand exactly what you're feeling, Parker. I've been understanding since Shelly Pomroy's end-of-the-year party, summer of 2004. Note: this contradicts the date of 7 December, 2003, given in 120 "M.A.D." VERONICA: I'd give you the details, but they're a little fuzzy. PARKER: Uh, I-I didn't...I had no idea. VERONICA: Not something I open with. But now that I've got your attention... Veronica takes a step closer to Parker. VERONICA: [determinedly] I will find out who r*ped you. That's job one. Parker stares down at her in some consternation but before she can respond, there's a knock at the door. Parker opens it. NISH: Parker? Hi, I'm Nish. I'm the editor of the Hearst Free Press and I'd- Veronica has come to stand next to Parker. Nish isn't happy to see her, but brazens it out. NISH: Veronica. It's good to see you. Veronica isn't such a hypocrite. VERONICA: And that's where we differ. Nish lets it go and addresses Parker. NISH: I was hoping we could talk. VERONICA: I'd be a little careful. Veronica exits the room as Nish enters, scoffing at Veronica's warning to Parker. INT - HEARST COLLEGE, MAC AND PARKER'S DORM - DAY. NISH: She a friend of yours? Veronica, out in the hall, hears this just as Parker shuts the door. She rolls her eyes and sets off down the hall. INT - HEARST COLLEGE, MAC AND PARKER'S ROOM - CONTINUING. Inside the room, Nish sweet talks Parker, now sitting on her bed. NISH: Parker. I'm doing an article on the serial rapes, and I've interviewed most of the other victims and I- PARKER: I don't want to be interviewed. NISH: One question, then. You were at the Theta Beta sorority party, the night you were att*cked. Do you remember seeing any of the Pi Sig brothers there? Parker thinks. AVI: [offscreen] The first tier... INT - NEPTUNE GRAND, LOGAN'S SUITE - DAY. Logan is enduring a lecture from a middle-aged man. AVI: ...of your trust fund was intended to last until your twenty-first birthday, Logan. At the rate you're burning through it, you've got fourteen months, maybe. LOGAN: Yeah, I looked at the statement. I should be getting more money. AVI: You think because you still have cheques, you still have money. LOGAN: [angrily] I'm not saying I deserve more. I'm saying there's money missing. AVI: It's complicated. Logan rises from the sofa. LOGAN: All right, then I'll talk to my lawyer, see if he can't figure it out. AVI: I'll do you one better. Avi stands to face him. AVI: [condescendingly] We'll send all your financial records right over. INT - NEPTUNE GRAND, OUTSIDE LOGAN'S SUITE - DAY. The lift doors at the end of the corridor outside Logan's suite ping and open. Veronica and Logan pause inside. VERONICA: You're not showing me p*rn? LOGAN: No. VERONICA: Is it a fuzzy, new-born kitten? They exit the lift and head for the suite. LOGAN: Look, the meeting with Avi Kaufman, bean counter to the stars, didn't go very well. My trust fund's evaporating faster than it should. I think he's skimming off the top. VERONICA: My dad has got a great accountant. LOGAN: I'm thinking I need more of a private detective to help me nail this guy to the wall. Logan, having used his key card, starts to open the door. VERONICA: Well, show me the records. I'm sure I can make sense of- Veronica stops short and her face falls as the door opens. Logan smirks. LOGAN: Go get 'em, bobcat. There are boxes and boxes of files (at least ten) stacked up inside the suite. Veronica sighs. Opening credits. INT – MARS INVESTIGATIONS – DAY. Keith is working quietly in his office. He glances up at the sound of steps and a light knock on the door jamb. HARMONY: Hi. A woman stands at the door, a little nervous and uncertain. HARMONY: Um, I don't have an appointment. Do you remember me by any chance? KEITH: From Judge Crawford's Christmas parties, of course. Keith rises from his desk and walks towards. KEITH: Harmony, right? HARMONY: Right. She holds out her arm and they shake hands warmly. HARMONY: You helped me with my tyre that one year. KEITH: And you thanked me profusely every year after that. They both chuckle. Keith points to a chair and returns to his. KEITH: Sit, sit, please. What-What can I do for you? HARMONY: Um, well, uh. You ever heard this one before? I think my husband's having an affair. KEITH: [surprised] Oh. HARMONY: You didn't know I was married. KEITH: I didn't. HARMONY: Everyone's always surprised. You can wear a ring, but if the husband's never around... KEITH: So, what makes you think he's involved with someone? She shrugs. HARMONY: Working late, mysterious calls, last minute business trips. I keep looking for the lipstick on his collar just so it's full-on trite, but...then there's the fact that we're in a loveless marriage, he's a kind of glorified roommate these days who happens to be a fantastic father. I had settled into that being my life, happy daughter, façade of happy marriage... KEITH: And then you got a couple "don't wait up" calls. HARMONY: I can't just leave for me. I need a reason. Do I sound awful? Keith shakes his head. INT - HEARST COLLEGE, LIBRARY - DAY. Veronica consults the computer for a waiting student. VERONICA: Russian literature, between Tolstoy and Turgenev. She nods and he walks away. Veronica continues to gaze at the screen until interrupted by Wallace. WALLACE: I liked the other place you worked better. VERONICA: Think maybe that's because we had food there? WALLACE: Did you see this? Wallace holds up the copy of the Hearst Free Press that he is carrying. VERONICA: "Pi Sig frat common thread in campus rapes." Under the headline that she has read out loud, the sub-headline is "Fraternity events overlapping rapes." There's a graphic of the Pi Sigs house and blacked out pictures of four women surrounding it, with lines running down to a big question mark placed over the porch of the house. On the left-hand side, the smaller story headlines are: "Inflate Me More," More Than Music," and "Climb This." WALLACE: There was a Pi Sig event the night of every att*ck. There's a little graphic and everything. Wallace turns the paper over to reveal the bottom half. There is a bar graph under the heading "r*pe-ternity?" Veronica takes the paper and looks more closely. VERONICA: Coloured ink. It must be true. WALLACE: The last girl, Claire, was at the Pi Sig haunted house the night she was r*ped. VERONICA: I trust Nish as far as I can throw her, but I can't throw those frat boys very far either. I'm feeling pretty anxious to give it a try, though. EXT - MARS RESIDENCE - NIGHT. Keith leaves the apartment, laden with his bag over his shoulder. He pauses after shutting the door. KEITH: Can I help you? Dick appears to be trying the door of the apartment next door. It's the one Duncan and Veronica used in 211 "Donut Run" and now appears to be occupied, given the light seen through the blind in the window. DICK: Do you know which one of these is Veronica's? Dick turns, faces and recognises Keith. DICK: Oh, guess so. This is so freaky. I've totally been to this complex before. We had to pick up our maid here once. Keith continues to observe his passively. DICK: Is Veronica home? With minimal enthusiasm, Keith unlocks the door to the apartment and opens it for Dick. Dick smiles and steps forward, making a great production out of wiping his feet on the mat. INT - MARS RESIDENCE - CONTINUING. Dick steps inside, followed closely by Keith. KEITH: Honey? Dick looks around, feigning interest. DICK: Ah, it's like a little kitchen area, huh? Oh, it's so awesome. Veronica comes out from her bedroom. VERONICA: If you're not gonna shoo it out with a newspaper, I'm stepping on it. DICK: Hey, buddy. Hope it's not weird me just showing up. I can't believe I've known you forever and you've never had me over. VERONICA: You left a flaming bag of dog poo in front of our door one time. That was kind of a play date. Dick grins and nods. KEITH: You need me to... VERONICA: It's fine. Keith nods at Dick and exits. DICK: You guys are cute. VERONICA: Dick! Why are you here? DICK: You saw that article about the Pi Sig house, right? That girl Claire gets r*ped after one of our parties, and suddenly, school's all in a bunch. There's like this hearing scheduled to try to get us kicked off campus, and that's where you come in. VERONICA: I get to do the kickin'? DICK: You get to be the spy who loves me. The guys were really impressed with how you cleared the frat of the r*pe last year. VERONICA: Were they? That means so little. DICK: They knew we had, like, this connection. So, they sent me here to hire you. We need you to do your Veronica thing and prove it's a pack o' lies. VERONICA: Is it? A pack of lies? DICK: We're a frat. Why r*pe the cow when you're swimming in free milk? Veronica snorts. VERONICA: Maybe you guys should hire someone you don't disgust. DICK: They don't care about the disgusted thing. They want you. Veronica scoffs and then pauses to think. She comes to a decision. VERONICA: I'll need full access to the fraternity. I need to know everything about the night of the haunted house. My fee is fifteen hundred up front. DICK: Really? Dick glances around the apartment, derisive. DICK: That's what you guys make? VERONICA: That's the Pi Sig rate. DICK: Okay. VERONICA: And you'll need to leave right now before I change my mind. Dick runs out of the apartment. VERONICA VOICEOVER: Who knew that when opportunity knocked, it would look like a horny surfer? After closing the door behind him, he turns back and does thumbs up, shouting through the glass. DICK: Thank you. VERONICA VOICEOVER: And he hand-delivered an invitation into the belly of the beast. EXT - NEPTUNE STREETS - NIGHT. Keith is sitting in his car, in site of a small office building, the ground floor lights of which are blazing. He punches an auto-dial button on his cell. HARMONY: [on phone] Hello? KEITH: Hi, it's Keith Mars. HARMONY: [on phone] Can I guess? She's blonde, twenty-two, no visible pores, and pierced navel. KEITH: Nope. Nope, looks like he's, uh, really working late. I've been parked by his car all night. INT - CHASE RESIDENCE - CONTINUING. Harmony is sitting on the couch in her home, fingering a card. HARMONY: Really? Huh. The camera continues to switch between the locations for the course of the call. EXT - NEPTUNE STREETS/INT - CHASE RESIDENCE - CONTINUING. KEITH: The office on the bottom floor, right? HARMONY: Yeah. The card she is turning over and over in her hand is Keith's business card. HARMONY: So, you're just sitting there looking at his car? KEITH: Yeah. It's glamorous, I know. Harmony laughs. HARMONY: At least it's your job. I did it a couple of weeks ago for sport. I was so sure he was cheating, I decided to follow him. I wore a hat and sunglasses. Keith, clearly smitten, smiles. HARMONY: Not my finest hour. KEITH: No more I Love Lucy reruns for you. HARMONY: Hey, we should have a bet. She's blonde and twenty-two, you owe me a beer. EXT - NEPTUNE STREETS - CONTINUING. KEITH: Goodnight, Harmony. HARMONY: [on phone] Goodnight. Keith closes the phone with something of a sigh. He looks down at the file open on the passenger seat. It's a file marked "Marvin Chase" and has a picture of Marvin and Harmony clipped at the top. He gazes at it until he hears an approaching car. He takes pictures as Marvin exits the passenger side. Keith takes a picture of and notes down the license plate number. A woman emerges from the driver's side. Keith snaps away. He leans back and sighs. INT - MARS RESIDENCE - DAY. Veronica is sitting at the kitchen counter, working. She is wearing a camel-coloured jacket and her hair is pulled back in a no-nonsense ponytail. Keith enters, adjusting his tie and looking spiffy in a suit. KEITH: My accountant said she'd be finished looking over Logan's files this afternoon. On seeing him, Veronica does a wolf whistle. VERONICA: Snazzy. Keith is equally surprised at his daughter's appearance. KEITH: Are we start going to church or are you addressing the junior league? VERONICA: Bland is the new hot. Keith pours himself some coffee. KEITH: Is it possible your boyfriend's financial problems are just his champagne wishes and caviar dreams biting him on the ass? VERONICA: One solid-gold foosball table and a couple of man servants and suddenly he's spendy. Keith takes a sip of the coffee, grimaces and pours it down the sink, so placing him right next to Veronica at the counter. She cocks her head towards him and sniffs as he continues to fiddle with his tie. VERONICA: Umm, did you trip and fall onto sandalwood, musk, and a hint of spicy citrus or is that cologne? KEITH: [defensively] It's aftershave. I'm going to traffic court. VERONICA: Sexy traffic court? KEITH: Hmm. Keith heads out but not before noticing Veronica's sensible shoes. KEITH: Nice shoes. You change your major to Women's Studies? VERONICA: Ha! Yuck it up, fancy pants. Veronica watches him leave, her face a mixture of curiosity and amusement. INT – MARS INVESTIGATIONS – DAY. Keith is working at his desk. HARMONY: [offscreen] Hello! KEITH: In here! Keith stands as Harmony arrives, bearing a large pizza box. HARMONY: Oh, I hope it's okay. I only have twenty minutes, so I brought lunch. KEITH: Oh, I'm booked pretty solid too. HARMONY: Oh, it's a good thing I brought a whole pie then. She places it on the desk, opens the box and sits down. KEITH: Thank you. It's very thoughtful. Keith takes his seat, grinning. HARMONY: So... Keith grabs and open his file. KEITH: The woman who dropped Marvin off is named Carly Hearn. Harmony falls back in her chair. HARMONY: Wow! How 'bout that. KEITH: I take it you know her. HARMONY: Yeah. Carly works at Reilly International. Marvin does a lot of business with them. He once told me that she's the smartest woman he's ever met. KEITH: I only saw her dropping him off. It's possible it was just business. Harmony smirks, then laughs. HARMONY: Having such a weird reaction to this. I'm supposed to be jealous, right? KEITH: I think you should probably just feel however you're feeling. Keith laughs too. HARMONY: I feel strangely... Harmony uses her arms to lift her body off the chair, stretching, before collapsing back down. HARMONY: Impressed...and relieved. I was sure it was going to be a cocktail waitress putting herself through massage school, and my daughter would want me to buy her t*nk tops with "Bootylicious" across the front. I think Carly went to Yale. Keith checks the file. KEITH: Brown. HARMONY: Still. Harmony sighs and grabs a piece of pizza. KEITH: You ever tie your husband's tie? Harmony pauses in bringing the pizza to her mouth, giving Keith a questioning look. Keith picks something up from his desk by the pizza box and holds it up. It's a tiny microphone. Harmony stares at it. INT – PI SIGMA SIGMA FRATERNITY HOUSE – DAY. Stacked pizza boxes are being rifled through to find one with contents. A frat brother sitting on the couch finds success with the bottom box and pulls out a slice. Veronica is standing in the centre of the room, waiting. VERONICA VOICEOVER: When entering a frat house full of accused rapists, the pants suit is a solid wardrobe choice. It's fashion's way of saying, "Move along, nothing to see here." Chip enters from another room, noting first his brother's activities. He points at him. CHIP: Hey, you better leave me a slice, bro. He comes to a halt in front of Veronica. CHIP: Hey, Veronica. VERONICA: Yeah, hey. So, I'll need to know where each frat brother was at the time of the r*pe. CHIP: Isn't the best way to clear us to figure out who really did it? VERONICA: That's what I'm doing. I need to know who saw what. CHIP: Yeah, fine. Whatever you want. VERONICA: So, the newspaper said that the last thing Claire remembered from the night of her att*ck was buying a drink in front of the haunted house. Do you remember who was serving drinks? CHIP: Uh... Chip laughs. CHIP: It was Charleston. Uh, you don't want to talk to him, though, he's an idiot. Veronica just smiles and stares at Chip expectantly. Cut to a small alcove off the main room where Charleston is playing pinball on a table dedicated to Baywatch. Music: unidentified. Veronica is standing somewhat impatiently by him, for Charleston is not interrupting his game for her. She consults her notebook. VERONICA: Your last name is Chu? CHARLESTON: Yeah. VERONICA: [quizzically (Charleston Chew is an American candy bar)] Charleston Chu? CHARLESTON: My first name's really Hsiang. Look. I just poured flat soda into plastic cups. I don't know anything about the r*pe. VERONICA: Wow. I didn't even have to ask. Did you work the stand all night? CHARLESTON: I guess. I don't remember every second, so, yeah, I probably served her a drink. Doesn't mean I r*ped her. Veronica writes in her notebook. VERONICA: Nope, it just means you're the most likely suspect, Token, and when the media circus starts, you know, like it did at Duke, that whole lacrosse r*pe scandal, who do you think they're gonna get to do the perp walk on the six o'clock news. Veronica puts her notebook in her bag and turns, walking away. CHARLESTON: You're supposed to be working for us. This doesn't cause her to pause and Charleston is forced to abandon his game and chase after her. CHARLESTON: Okay, wait! Veronica smiles as he catches up with her in the main room. CHARLESTON: Wait up. Wait. All right, there's...there's more. Veronica finally stops and turns to face him. End music: unidentified. CHARLESTON: Once the bank for the refreshment stand reached five hundred dollars, we were supposed to bring it up to Chip's room, right, 'cause he's in charge of the cash. So, I did but his door was locked. I heard noises, I started knocking, and then...then, like, Chip whips open the door, all pissed off and out of breath. VERONICA: 'Cause that's where his StairMaster is? CHARLESTON: He was buck naked and sweaty. Like I caught him in... VERONICA: Flagrante. CHARLESTON: No, in the middle of sex. Veronica pauses to consider the inadequacies of a college education. Behind them, a frat brother is opening the front door of the house. FRAT BROTHER: Can you believe what's going on outside? The muted sounds that could be heard as soon as Charleston and Veronica reached the main room are given clarity by the open door. It is the sound of protesters. Veronica and Charleston follow the frat brother out and stand on the porch. EXT – PI SIGMA SIGMA FRATERNITY HOUSE – DAY. PROTESTERS: No more rapes at Hearst, women's safety first. No more rapes at Hearst, women's safety first. No more rapes at Hearst, women's safety first. No more rapes at Hearst, women's safety first. No more rapes at Hearst, women's safety first. No more rapes at Hearst, women's safety first. No more rapes at Hearst, women's safety first. No more rapes at Hearst, women's safety first. No more rapes at Hearst, women's safety first. No more rapes at Hearst, women's safety first. It's something of a circus. One small and another much larger group of girls are chanting and holding up placards. Photographers are snapping the event. In the main group are: a bald Claire, holding a placard that says, "We Will Stop You," Nancy, holding a large poster bearing a picture of herself and bearing the legend "Victim #3 Nancy Cooper, Parker, holding a similar poster as Victim #4, and Nish. Amongst the other posters and placards are the following messages: "Five rapes, five too many," "We demand action," r*pe is a hate...," and "Give a hoot, don't r*pe." Parker stumbles a bit on the intensity of the chant when she sees Veronica on the porch. Veronica isn't thrilled to be seen there herself. Dick emerges from the house, shirtless and carrying a cocktail in a plastic cup. He puts his arm around Veronica's shoulders. DICK: [channelling Heather O'Rourke in Poltergeist] They're here. Veronica throws him a look of disgust. INT – MARS INVESTIGATIONS – DAY. A pair of discarded women's shoes is on the floor by the small couch in the main office. Harmony and Keith are sat on the couch, facing each other, very comfortable. Keith is telling his tales of his law enforcement days and Harmony is engrossed. HARMONY: You arrested the wrong guy? KEITH: Totally wrong guy. I'd march him away, he didn't say a word, like he was relieved just to have an excuse to get out of the house. Harmony laughs. KEITH: Now that was a rocky marriage. Their tête-à-tête is interrupted by the arrival of Veronica and Logan. KEITH: Hey, Veronica. First Keith and then Harmony get up from the couch. Veronica immediately takes in the tableau. VERONICA: Hey, yourself. HARMONY: Veronica, the liberator of lobsters? LOGAN: Awe, I never knew. VERONICA: A single lobster, once, from the Chart House when I was seven. He tells that one to all the new clients. KEITH: Uh, you know, Harmony, I, um, 'm actually expecting another appointment coming in. HARMONY: Of course. Harmony puts her shoes back on. HARMONY: Okay, I'll talk to you. Harmony makes her way out of the office. KEITH: Yeah, I'll be in touch. Thanks. HARMONY: Bye-bye. VERONICA: Bye. KEITH: Bye. Keith's gaze lingers at the door before he returns his attention to Logan. KEITH: I spoke to my accountant, and, uh, your business manager doesn't appear to be stealing anything. The Echolls estate contributes ten thousand dollars a month to an organisation called Aaron's Kids, and that's where the missing money is going. Veronica looks puzzled. LOGAN: And Aaron's Kids? Is that my dad's pathetic excuse for a charity? KEITH: I hope that helps clear things up for you. Keith returns to his office. Veronica and Logan both look dissatisfied. Cut to later. Logan, having been out, returns to the office carrying a large brown bag which he carries to Veronica's desk. LOGAN: Hey, I'm sorry it took so long. I went out for Thai and ended up getting a massage. You should have been more specific. Veronica is at her laptop. Logan bends down to see the screen. VERONICA: Your dad's charity, Aaron's Kids, was a non-profit corporation that shut down years ago. Aaron's Kidz, spelled with a Z, is still in business, however. Its chairman is Avi Kaufman, your dad's business manager, and this Aaron's Kidz isn't even remotely a charity. INT - HEARST COLLEGE, FOOD COURT - DAY. Judging by the change of clothes, it is the next day. Veronica and Logan are eating at one of the small Food Court tables. LOGAN: Hey, you think I should dangle Kaufman out of a window by his ankles? VERONICA: How 'bout you numb your fury with grease and fat, until I can do a little more homework? LOGAN: Reason, huh? Not sure I like it. Veronica sees something of interest beyond Logan. VERONICA: Here's a fun thing to say to your beau. Mind if I go put the screws to someone? LOGAN: Go ahead, screw your brains out. Veronica gives Logan a kiss on the cheek (which he promptly wipes off with a napkin) and heads over to one of the service counters where Chip has just collected some food on a tray. Veronica notices that his hands are badly bruised. VERONICA: Whoa! What happened to your mitts? Let me guess. It involved a cookie jar. CHIP: I was working the boo room at the haunted house. VERONICA: "Boo room"? CHIP: You know, it's a staple of haunted houses. It's pitch black, we dress like cat burglars, jump out, yell "boo." VERONICA: So your hands ended up bruised how? CHIP: Uh, I was crouched down and one of the guys stomped on 'em. VERONICA: Hmm. Okay, next question, and this one's tougher. Who were you knocking boots with that night? Chip laughs uncomfortably. VERONICA: The night Claire was r*ped, you were naked and sweaty, locked in your room with some mystery girl. CHIP: Charleston's pretty chatty, huh? Ah, that boy scares easy. VERONICA: A problem is just an opportunity in disguise. Tell me who you were with, I'll confirm it and you're in the clear. CHIP: No, I'm not. I could tell you but the girl I was with will never in a million years admit to it. EXT - HEARST COLLEGE - DAY. Charleston and his girlfriend, Charlotte, are sucking face. The girl giggles as Charleston pulls away. CHARLESTON: Okay, I gotta go. He pulls himself out of her arms. She waves. Charleston, as he's walking away backwards, puts his hand on his heart, then points at her. He turns and runs off. Charlotte laughs and continues to watch him go as Veronica comes to stand next to her. VERONICA: Sad to see him go, but it's nice to watch him leave. Charlotte turns to Veronica. CHARLOTTE: Do I know you? VERONICA: Oh, I'm friends with your boyfriend, Charleston...and your boy on the side, Chip. CHARLOTTE: What are you talking about? VERONICA: You and Chip. Weren't you his date to the haunted house? I hear you went as the beast with two backs. CHARLOTTE: No. Why would you even say that? VERONICA: Look, you're Chip's alibi. The time will come when you'll have to own up to it or things will really go south for Chip and the Pi Sigs. Charlotte gets snotty. CHARLOTTE: I don't need to own up to anything. She marches off. Veronica, miffed, watches her go. Dick strides up behind her. DICK: You're torturing me. Veronica turns to face his with a big smile. VERONICA: Without even trying? God, I'm good. DICK: My brothers are all sorts of pissed. They think you're coming after them, instead of trying to find the real raper. VERONICA: Do you mean r*pist? Learn the terminology. Dick does an exaggerated, "couldn't care less" shrug. In doing so, he holds out his arms and Veronica notices that one of his hands is very bruised, just like Chip's. VERONICA: What happened to your hand? DICK: Window fell on it. Whatever. Look, people are really starting to think we r*pe. The hearing is in two days, so go work your little pixie spy magic and fix this. VERONICA: Logan said you showed up at his place the night of Parker's r*pe, all wrecked, saying you screwed up. DICK: Whipped guys make the worst friends. Dick storms off. VERONICA VOICEOVER: So, Dick, a r*pist? INT - MARS RESIDENCE - NIGHT. Veronica is at her desk in the bedroom, thinking. VERONICA VOICEOVER: Two in the same household. Possibly. Quarterbacks seem to run in the Manning family. I know Logan's always worried about being genetically predestined for anti-social behaviour. Veronica gets up and walks to her whiteboard. VERONICA VOICEOVER: I suppose that's a question best left to the social scientists. Right now, it's time to figure out where his money is going. She writes on it: "Avi Kaufman, Chairman" and underneath: "DBA Micardo Enterprises." She draws a box around them and steps back to look at her handiwork. As she returns to her desk, the camera discloses the whole board on which, in addition to that she just wrote, is another box above with "Aarons Kidz" written in it. From the box she just drew, there is an arrow pointing down to a big question mark. At her desk, Veronica pulls up the Planet Zowie search engine and types in "micardo." She gets a number of hits, the top one being for Micardo Enterprises, reading: "Micardo Enterprises specializes in...Learn more about Micardo Enterprises and how we can help...All rights reserved, copyright Micardo Enterprises 2006...www.micardoenterprises.com/ - 118k." Underneath that main entries are two sub-entries: "Micardo Enterprises/Contact. ...Located in Southern California, Micardo Enterprises looks...for the employee of Micardo Enterprises that you would like to contact...Thank you, the Micardo Team...www.micardoenterpirses.com/contact/ = 109k" and "Micardo Enterprises/Strategies. Micardo Enterprises utilizes the best tools to ensure the...Founded with the goal of taking vital aspects of your business...Our responsive support staff will facilitate in the...www.micardoenterprises.com/strategies/ - 122k." Veronica clicks on the contact entry. A page from Micardo Enterprises pops up on screen, indicating that the president of the company is on Ryan Douglas (800) 555-0199 Phone, (657) 555-0147 Fax. Veronica is on the phone. VERONICA: Hi. Can I speak to Ryan Douglas, please? It's about his interest in Micardo Enterprises. Sometime later, a weary Keith enters the apartment. He puts down his stuff and then notices the light under Veronica's door. He enters her room and walks over to her desk where Veronica is still sitting staring at the whiteboard. She sighs and glances at her father. VERONICA: This new case is keeping you out late. KEITH: You look wiped out. What you up to? Keith looks over at the whiteboard. VERONICA: I was trying to seal the embezzlement case against Logan's business manager. The whiteboard is now full. An arrow from the Kaufman/Micardo box now leads to the left side of the board, to a box marked "H.Jardon Ent," also in a box. From it there are three arrows leading to different boxes, and from them, more arrows. The names include Kelly Spada (for the fan who organised the "Save Veronica Mars" plane before Season Three was confirmed) and Askwith International (for a fan who spent some time in San Diego with the crew on a project). They lead to one name - Charlie Stone. VERONICA: I discovered something else entirely. KEITH: Who's Charlie Stone? Veronica doesn't answer, but just stares up at her father. EXT - NEPTUNE GRAND, LOGAN'S SUITE - NIGHT. Logan is out on the balcony, looking out over Neptune. Veronica can be seen behind him, entering the suite. He hears the door shut and smiles, watching her walking out to join him. LOGAN: Perfect timing. I think Lonely Telescope Guy is getting tired of me just mooning him. Veronica puts her hands on his shoulders. VERONICA: [softly] I need to talk to you. I followed the trust money all the way down the rabbit hole. The payments are going to a person named Charlie Stone. Do you know who that is? LOGAN: No, should I? VERONICA: Yeah, probably. Charlie Stone is your brother. Logan is stunned. Cut to moments later. Logan is staring out into the night. VERONICA: Your dad's business manager buried him pretty deep. You weren't supposed to find out. No one was. I googled him. All I learned was that he teaches at a private school, in San Juan Capistrano, but he is in the book. Veronica hands him a slip of paper. VERONICA: Here's his number. LOGAN: Yeah, and what am I supposed to do? INT - NEPTUNE GRAND, LOGAN'S SUITE - NIGHT. It's later, Veronica is gone and Logan is inside, staring down at the number. He punches it into his cell phone. ANSWER MACHINE: Hi, this is Charlie. Please leave a message. LOGAN: Hi. Logan is very hesitant. LOGAN: Charlie, it's, uh...Logan Echolls calling. EXT - HEARST COLLEGE - DAY. Veronica runs to join Parker, walking across campus. VERONICA: Parker! Hey. PARKER: Save yourself the performance. I know you're working for the Pi Sigs. VERONICA: I'm not working for the Pi Sigs. I'm working for you. PARKER: Yeah. VERONICA: I'm just using this opportunity to get close to them so I can figure out what they're up to. PARKER: Yeah, and you're trying to find out who r*ped me by hugging it out with Dick Casablancas? VERONICA: You know Dick? PARKER: I gave him my number at orientation. I actually thought he was cute. Mac said he showed up at our room the night before the r*pe and was pounding on the door, looking for me. VERONICA: Did you tell anyone? PARKER: No, when I talked to the sheriff, I didn't know about it. He's not as harmless as he looks. Nancy said he chased her out of the haunted house, screaming at her, calling her a bitch. VERONICA: Why was he screaming at her? PARKER: Next time you guys are snuggling on the frat house porch, ask him. Parker hurries away from Veronica. EXT - NEPTUNE STREETS - NIGHT. Keith is parked outside a bar or restaurant. He has an earpiece in his ear and is listening to Marvin and Carly's conversation as they exit and walk towards their car. CARLY: I would if I could, but for now, Jerry is still the boss. MARVIN: Does he respect your opinion? CARLY: I think he sees Joe as some kind of a side project. Keith takes some pictures. Marvin takes Carly's hand to help her skip over a puddle. CARLY: He thinks he's going to get Joe to turn around. Based on what? MARVIN: Projections he came up with at bingo. He's one of those people who thinks that years he's logged are in direct proportion to how smart he is. They've reached the car and Marvin opens the door for Carly. She doesn't get in, instead leaning in for a kiss. Keith gets the sh*t. INT - HEARST COLLEGE, NANCY'S DORM - DAY. Veronica is sitting on the floor, leaning against wall in a dorm. Nancy approaches. Veronica rises. VERONICA: Can I talk to you? NANCY: You a little busy doing funnel sh*ts with the Pi Sigs? VERONICA: Aren't you? I heard you went to their haunted house. That must have been fun. Did you go as a hypocrite? NANCY: I went with Claire because we heard there was a grope room. VERONICA: And you were looking for a little grab-assing? NANCY: A little poetic justice. Veronica cocks her head quizzically. NANCY: They set up this boo room so they could fondle girls as they went through. So, we dressed up as rats and strategically put rat traps on all of our gropable parts. Veronica chuckles. VERONICA: Okay, that is pretty genius. NANCY: I was in the room all of three seconds before Dick Casablancas was caught in one of my traps. VERONICA: Their bruised hands. NANCY: It must have hurt because he ran me out of the party, screaming. VERONICA: Was Claire with you? NANCY: No. That's when I lost track of her. I looked for her forever and I thought I saw her later on down the street from the party, but it wasn't her. VERONICA: You're sure? NANCY: Yeah. I yelled for her. Nothing. The sheriff knows all of this. VERONICA: So, the girl you thought was Claire. Where did you see her? EXT - CONVENIENCE STORE - DAY. Veronica walks down a street, seen from the inside of a store. VERONICA VOICEOVER: Nancy thought she saw Claire on the street outside of this convenience store. It's worth making sure she wasn't right the first time. INT - CONVENIENCE STORE - DAY. She enters the store and heads for the counter where an elderly man is working. VERONICA: Hi. I was wondering- WALTER: I'm not hiring. VERONICA: Actually, I was wondering if you were working last Saturday night. WALTER: I work every Saturday night. What else am I gonna do? Veronica digs a picture of Claire out of her bag and hands it to the man. VERONICA: Do you remember seeing this girl. Her name is Claire. WALTER: Yeah, I saw her. So drunk she could barely stand. If your parents knew what you kids really do here... Veronica is a little taken aback at the preaching. VERONICA: A-And you're sure it was her? WALTER: She came in with a guy. She's falling asleep on my magazine rack. He's trying to scrap together change to buy prophylactics. Then he's all mad because he can't use a credit card unless he spends fifteen dollars. So, I sent him next door to the ATM. They came back later. He bought his raincoats - one less bastard child conceived by morons. Veronica's eyes widen at that. The man hands back the photo with a flourish. WALTER: Everyone's haaaaappy. VERONICA: Thanks. Slightly bemused, Veronica smiles, takes the photo and leaves. EXT - NEPTUNE GRAND, LOGAN'S SUITE - NIGHT. From inside the suite, the camera looks out on the balcony. Logan is sitting at a small table, drinking beer. He is listening to the guest sitting next to him at the table. CHARLIE: I started bugging my mom about who my dad was when I was, I don't know, six, seven. Then on my tenth birthday, my mom takes me to see Aaron Echolls in Thought Police. The camera switches to the balcony, revealing Logan's guest, a young man. CHARLIE: She points to the screen and she says, "That's the guy. That's your dad." LOGAN: She took you to see Thought Police on your birthday? Did she hate you? Charlie laughs. CHARLIE: I'm, like, mom, don't screw with my head. I'm ten. I can't deal with the news that the guy mind-wrestling with Stallone on screen knocked you up. She was a stewardess when she met Aaron. She said she met him working first class on an L.A. to New York red-eye. My mom is a looker. Charlie, not drinking beer, takes a sip from the cup in front of him. LOGAN: Yeah, I'm sure she is. CHARLIE: I didn't believe her 'til she showed me the cheques, the hush money. How many kids of single parent flight-attends score the best private schools, still I'd see pictures of your family and think that life should be mine. LOGAN: Nah, you don't want it. Trust me- CHARLIE: No, I know, that's the thing. The more I watched, the happier I was that it wasn't my family. Your dad cheats on your mom, it's on the cover of People. Your sister sh**t Nicole Richie with a BB g*n, Jay Leno opens his monologue with it. Then the m*rder. I started wondering if something was wrong with me, you know, if this is my bloodline. LOGAN: Yeah, join the club. Logan holds out his bottle and they clink drinking vessels. Charlie drains his cup and looks at his watch. CHARLIE: Ah, this has been great but I gotta run. Papers to grade. LOGAN: Well, yeah, it has. They stand. LOGAN: We'll have to do it again. Longer next time. CHARLIE: I'd like to hear about him, Aaron, the details, good or bad. LOGAN: Yeah, bad mostly. CHARLIE: There's just this void. You know him... Veronica opens the door from the suite onto the balcony. VERONICA: Oh, hello. LOGAN: Veronica, this is my half-brother, Charlie. Charlie, my girlfriend, Veronica. Charlie and Veronica shake hands. CHARLIE: Hey, nice to meet you. VERONICA: Yeah, you too. LOGAN: Oh, Charlie has to get home, grade papers. He's got an honest job. He's a contributing member of society. Very un-Echolls. CHARLIE: Yeah, and if I get them graded by tonight, I can h*t Zuma at dawn. Veronica smiles blandly, but Logan responds with enthusiasm. LOGAN: You surf? CHARLIE: As often and as long as I can. LOGAN: Man, we are brothers. Charlie pats Logan on the arm and walks past Veronica into the suite. Logan follows him. Veronica stays on the balcony, thoughtful. VERONICA VOICEOVER: I have options. I could be excited for Logan. INT - CALVERT ACADEMY - DAY. Veronica enters a school, passing a notice for a canned food drive and various others, including one that says, "Go Calvert." VERONICA VOICEOVER: Thrilled even that his new brother is such a keeper. Or, I can be me. She arrives at the classroom door of Mr. Stone (through the portals of which no food or beverages may pass). She knocks. A young, dark-haired man opens the door and smiles pleasantly. There is a classroom of kids behind him. VERONICA: Hi. Um, sorry to bother you. Are you by any chance the sub for Mr. Stone? MR. STONE: No, I'm the real deal. I'm Mr. Stone. Veronica stares at him as he glances back at the classroom. MR. STONE: Sorry, I've got a class starting. Did you need something? VERONICA: No, uh, just looking for someone else. MR. STONE: Okay, then I gotta call roll. The real Charlie Stone returns to his pupils and the door swings shut. EXT - ON THE WATER - DAY. Logan and the fake Charlie are on the water, wearing wet suits and sitting astride their surf boards. LOGAN: So, it's Christmas, right? The entire family unit is around... Logan spits out some water. LOGAN: Which was rare. And I'm, I don't know, I'm nine and Aaron hands me a gift, but he notices the box has been re-wrapped, you know, so he knows I peeked. I'm nine years old; he's re-gifting me a fruit basket. Charlie shakes his head. LOGAN: He starts shouting about how I've ruined Christmas. CHARLIE: Oh, my God. LOGAN: Yeah. And he, uh, he tells me I'm not opening another gift until I eat all twelve pears in the box. CHARLIE: Damn, man, the scissors incident, the drained swimming pool episode, now the box of pears. LOGAN: Yeah. So, I'm eating the pears and taking my time, taking these dainty bites...the man comes unhinged. Takes these pears and just starts shoving them down my throat one after another. And then...and I'm choking but he doesn't stop until my mom holds a cheese Kn*fe to his throat. To this day, I puke if I smell a pear. Charlie doesn't know what to say. He stares in the distance until Logan pushes him over on his surf board and then flips over himself. EXT - BEACH - DAY. Music: unidentified. With their wetsuits stripped off to the waist and carrying their boards under their arms, they walk up the beach, chatting amiably. Logan spots Veronica, sitting on some rocks with her laptop open, and veers Charlie and himself in her direction. LOGAN: Quick Jim, hide them hookers! Veronica gives a fake chuckle as the boys join her and set down their boards. VERONICA: Hi, Logan. Hi, Norman Phipps. LOGAN: What did you call him? VERONICA: His name. Norman Phipps. At least, that's the name of the guy who rented his rental car and a quick google check reveals that Norman Phipps is a contributor to Vanity Fair. Logan is shattered. VERONICA: Thank God for mobile wireless, huh? So, Norman, how's your story coming. NORMAN: It's great. In fact, I'm almost there. Just one thing, Logan. That fruit basket? Was it from Harry and David? God is in the details. Logan takes a thr*at stride. NORMAN: Ah, please take a swing. It'd make a great lead. Logan smiles and appears to back off, but then lashes out and punches him. Norman falls to the ground. Without a backward glance, Logan picks up his board. VERONICA: I'm so sorry. I should've just left it alone. Logan walks away. End music: unidentified. INT – MARS INVESTIGATIONS – DAY. The scene opens on Keith's picture of Marvin and Carly kissing. HARMONY: [offscreen] I guess this is the money sh*t. Keith and Harmony are sitting side by side on the small couch in the main office. HARMONY: Right? She drops the picture. HARMONY: I wanted proof, I got proof. So, now I do it, right, I leave him. KEITH: Harmony... HARMONY: Is that standard operating procedure? I mean, do I kick him out, will he move out, do I take our daughter to a hotel KEITH: Before you do anything... He reaches into his jacket pocket. He pulls out a small tape recorder. KEITH: You need to hear this. He switches it on and puts it down on the table. It plays (a different take from that shown earlier - whoops). MARVIN: [on tape] He's one of those people, thinks the number of years he's logged are in direct proportion to how smart- There's the smacking noise of a kiss. MARVIN: [on tape] Whoa, wait, Carly. Stop. I can't. I have a wife, family. I'm not gonna do this. Harmony drops her head in her hands. KEITH: They left separately. I followed Marvin back to your house. This morning he handed off the Reilly International account to someone named... Keith consults his notebook. KEITH: Uh, Daryl Derryberry. HARMONY: I should go home. Keith nods sadly. KEITH: Yes, you should. Harmony stands and walks out, her shoulders drooped in defeat. Cut to later. Keith is at his desk, regretting lost opportunity. Veronica leans against the door jamb. VERONICA: Remember that case a couple years ago where that woman was impersonating her boss? How did you [with air quotes] "obtain" the ATM photos that proved it? KEITH: I know a guy. Veronica's face indicates that she wants more. KEITH: A representative of the bank. He needs to request a court order and once the court order is issued, it only takes about an hour to get the photos. VERONICA: So, it's a piece of cake. KEITH: A monkey, with a friend who's a bank representative can do it. Veronica leans down onto the desk and smiles. VERONICA: So, Bubbles. You feel like doing me a solid? Hm? EXT - HEARST COLLEGE - NIGHT. Students are converging on the Administration building, including a group of about six Pi Sigs in suits, led by Chip and Dick. Veronica appears in their path. VERONICA: Hello, Chip, Dick, faceless Star Trek crew members. CHIP: Hey! Here to give us our money back? VERONICA: Mm. Veronica pulls something out of a file. VERONICA: The morning after the haunted house, Claire woke up alone in the park, five a.m., her head was shaved. Veronica hands Chip a picture. It shows Claire, looking out of it, standing at the ATM machine. Behind her is an Asian boy, his hands on his hips. VERONICA: This photo was taken of Claire the night she was r*ped. It's from an ATM on the corner of Stanton and Lake. Look at the timestamp. Chip hands the picture to Dick. VERONICA: Two a.m. The haunted house had been closed for two hours. She still has her hair, so we know she hasn't been r*ped yet. And look who she's with. DICK: Who's that dude? It's not one of us. VERONICA: Precisely. You Pi Sigs have exactly one Asian member and that's not him. [unenthusiastically] Voila. It's proof of innocence. Courtesy of pixie spy magic. The Pi Sigs are delighted. Veronica turns slowly and freezes. She starts to walk forward. VERONICA VOICEOVER: Hmm. When did the Greek chorus of feminist shame arrive? Claire, Nancy, Parker and Nish front a small group of girls staring at her with disgust. EXT - CALVERT ACADEMY - DAY. The real Charlie Stone arrives at Calvert Academy in his cars. There's a media circus waiting for him. PHOTOGRAPHERS AND REPORTERS, VARIOUSLY: Guys, here he is! All right, move it. Come on, get a sh*t. Can we get a sh*t, please? Charlie! ...part of the Echolls family. Sir, can you just stop for one second? I just what to ask you a few questions? Charlie avoids them all and heads into the school. INT - HEARST COLLEGE - DAY. Veronica is sitting somewhere on the campus, reading. PARKER: [offscreen] Good news. Veronica looks up. Parker puts on a congratulatory pose. PARKER: The Pi Sigs were absolved. VERONICA: [sighing] Because they were innocent. Parker drops the sarcasm and folds her arms. PARKER: Because you helped them, which is what you were trying to do all along. Veronica gives her a WTF look. PARKER: How do you live with yourself? VERONICA: I was looking for the truth and I found it. You wanna nail someone to the wall, just to have someone nailed there, or do you want the person responsible to pay? Veronica stands up to her and stares at her for a moment, long enough for Parker to show signs of discomfort. Veronica walks away. EXT - HEARST COLLEGE - DAY. Veronica walks across campus, taking a swig from the bottle of water she is carrying. Logan runs at her, grabbing her waist. VERONICA: Hey! Careful, man, there's a beverage here. Logan smiles, kisses her on the top of her head and walks along with her. VERONICA: You doing okay? LOGAN: On top of the world, looking down on creation. VERONICA: Saw you on Larry King last night, giving your half-brother a little coming out party. Life as Charlie Stone knew it is officially over. LOGAN: I'm choking with empathy. He served me up to that Vanity Fair reporter and brought it on himself. VERONICA: Well, we don't know that for sure. LOGAN: Well, how else could it have happened? Veronica doesn’t have an answer. LOGAN: Well, I'm glad you went digging. I have now officially erased any and all romantic notions about my family. VERONICA: That's me: all sorts of helpful. LOGAN: I was hoping you could bust some of it out again and help me find Norman Phipps. VERONICA: Why? LOGAN: Well, I gave him a pocket watch that belonged to my grandfather, the only decent member of my family. 'Course, he died when I was five, so who knows. Still, kinda burns thinking of Norman having it. VERONICA: In my world, the wicked don't get parting gifts. INT - NORMAN'S HOTEL - DAY. Veronica walks along a hotel corridor. She stops at the door to room 103 and knocks. Norman opens the door. He looks at her warily. VERONICA: Hey there, fake Charlie. You weren't expecting to see me again, were you? Can I come in? Veronica doesn't wait for an answer and barges past him into the room. NORMAN: Look, I was just doing my job. None of it matters anyway. The magazine dropped the story when Larry King scooped them. VERONICA: That was the plan. I'm here for the watch. Norman does an "ah" sound and goes to his suitcase, open at the foot of the bed. NORMAN: Your boyfriend got one detail wrong in that interview of his. Norman picks up the watch. NORMAN: Charlie Stone never talked to me. I tracked him down, but he wanted to remain anonymous. VERONICA: Then how did you end up meeting Logan? NORMAN: I had a tap on Charlie's phone. He hands over the watch. INT - NEPTUNE GRAND, LOGAN'S SUITE - NIGHT. Music: "Never Lonely Alone" by Space Needle. LYRICS: You don't know who you are You get your light from a star But I, I can see in the dark I found out a long time ago There's a voice in my head I can't remember what it said It said who You always answer the phone You never go out alone Though I'm never lonely alone Logan and Veronica are sitting on the couch. Logan is staring down at the watch. VERONICA: The reporter acted alone. He was tapping Charlie's line when you called. Your real half-brother is innocent. LOGAN: And I was so quick to believe that guy. And, you know, I look at you and your dad, you know, that thing that you have. I never had that. Veronica leans forward and puts a comforting hand on his arm, resting her chin on his shoulder. VERONICA: You couldn't have known. LOGAN: No, I'm sure that won't matter to him. Cut to later. Veronica is gone and Logan is alone. He dials Charlie's number. It rings. ANSWER MACHINE: Hi, this is Charlie. Please leave a message. LOGAN: Hey, Charlie, it's Logan again. Uh. Listen, I'm sorry about all the messages... Logan sighs deeply. LOGAN: Yeah, I guess I thought I'd give it another sh*t. Fourth time's a charm, right? Logan closes the phone and sighs again. He walks out onto the balcony and stares into the night. End. End music: "Never Lonely Alone" by Space Needle.

{"type": "series", "show": "Veronica Mars", "episode": "03x04 - Charlie Don't Surf"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Veronica walks towards Nancy who is leading the Take Back the Night rally in 301 "Welcome Wagon." NANCY: How many women like me have to be r*ped, have to end up like this, their heads shaved... Cut to Parker at the end of the episode. She is standing anguished and bald in front of a mirror as Veronica and Mac look on in shock. NANCY: Before this administration listens to our demands? The speech from 301 "Welcome Wagon" continues, but the scene cuts to the demonstration outside the Pi Sigs fraternity house in 304 "Charlie Don't Surf." NANCY: Shut down the fraternity houses! Veronica faces Parker in her and Mac's dorm room. VERONICA: I will find out who r*ped you, Parker. That's job one. Fern checks her phone during the radio debate in 303 "Wichita Linebacker." FERN: They r*ped Claire. [with air quotes] The blonde in the middle? Dick visits the Mars family home in 304 "Charlie Don't Surf." DICK: That girl Claire gets r*ped after one of our parties and suddenly school's all in a bunch. We need you to do your Veronica thing and prove it's a pack o' lies. Veronica shows the Pi Sigs the ATM picture she recovered, showing an apparently drugged Claire, her hair not yet shorn, in the company of an Asian youth. VERONICA: This photo was taken the night she was r*ped. DICK: Who's that dude? It's not one of us. VERONICA: Precisely. You Pi Sigs have exactly one Asian member, and that's not him. End previously. INT - HEARST COLLEGE - DAY. Veronica waits on a bench under a poster for Moliére's Tartuffe. Students emerge from one of the college rooms next to the bench. One of those students is Claire, immediately recognisable by her shaved head. On spotting her, Veronica leaps up and walks along with her. VERONICA: Claire, hi. Can I talk to you for a minute? CLAIRE: You're that girl, the girl who made a scene in the quad. You cleared the Pi Sigs. VERONICA: Yeah, that's me. CLAIRE: So, what's this to you, anyway? VERONICA: Crimes against women? It's a hobby. Plus, a friend of mine was one of the other victims. EXT - HEARST COLLEGE - DAY. Their walk has taken them out of the building. They pause between a table set up to host a "Pumpkin Sale" and a scary scarecrow erected in a flowerbed. Veronica brings up an envelope she has been carrying. VERONICA: Listen, I have the ATM photo from that night. CLAIRE: Of the guy who did this to me? VERONICA: Too soon? CLAIRE: Probably. What the hell, right? I mean, if it saves someone else. Veronica slides the ATM picture out of the envelope. Claire takes it and examines is for a moment. CLAIRE: I have no idea who this is. I'm sorry. VERONICA: You don't have to apologise. CLAIRE: This guy, I guess he made me pull my daily max off my ATM card. I got r*ped and I paid for the privilege. VERONICA: There's a logo or something on the guy's t-shirt. Can you read that? Claire looks and shakes her head and returns the picture. CLAIRE: I'm just completely useless today. VERONICA: [whispering] It's okay. Claire walks away as Veronica peers at the photo. INT - HEARST COLLEGE, LECTURE ROOM - DAY. Veronica is in her Criminology class. Timothy Foyle stands in front of posters attached to the board, all giving various information on fingerprints. TIMOTHY: Morning, all. He sets out his papers before addressing the large group of students. TIMOTHY: Dr. Landry has been called as an expert witness in the State v Wolpert case that I'm sure you're all tracking. Veronica is distracted, casting glances at the door and at her watch. Timothy notices. TIMOTHY: He's asked me to take the class today. There's a collective groan. TIMOTHY: We'll continue with our oral presentations. Now, let's see. Who do I want to hear from? Timothy waves his finger at the class and chuckles. TIMOTHY: Veronica Mars, why don't you come down here and blow us all away? Veronica checks her watch again. VERONICA: Actually, I'm not- TIMOTHY: Very well. Timothy is quick to register Veronica's failure, marking his sheet. As he does so, Weevil enters the lecture room. TIMOTHY: Moving on- VERONICA: Never mind. I'm ready. Weevil waves at Veronica. She checks her watch again and gives him a glare. Cut to a few moments later. Veronica is at the front of the room, behind the lectern. Weevil is standing next to her, facing the class. VERONICA: Eli Navarro has been in and out of juvenile detention since he was thirteen years old. Timothy is now on the front row of the students' seats, taking notes. VERONICA: By the time he turned sixteen, he was the leader of the Pacific Coast Highway Bike Club. The students are engaged. Weevil winks at one girl in particular, to be called Preppy Girl in the credits. She smiles and drops her eyes. VERONICA: By his count, he's spent more than seven hundred days in juvenile detention facilities. He's currently on parole after as*ault the PCH g*ng leader who replaced him. TIMOTHY: [pompously] Veronica, this was an oral presentation, not show and tell. VERONICA: Dr. Landry said we were allowed audiovisual aids. He's both. Audio- Veronica points to Weevil who responds on cue. WEEVIL: Yo. The class laughs. VERONICA: And visual. Weevil holds out his arms in a "Here I am" gesture to the further appreciation of the students. TIMOTHY: Fine, I'll let it slide. Veronica gives his a fairly haughty "You do that" nod before continuing. VERONICA: Today, I'll talk about the socioeconomic conditions that lead preteens into a life of crime. Then I'll open it up to questions to both myself and Mr. Navarro. Eli Navarro stole his first bicycle when he was six years old. Cut to the question and answer session. Veronica is sitting behind the desk on which the lectern is placed and Weevil is casually half-sitting/half-leaning on the desk. WEEVIL: Well, we were at it pretty late, you know, a little too much juice, a little too much smoke. The class laughs. WEEVIL: So, it's like three or four in the morning. One of my boys, Hector, comes in, wakes me up. He's like, "yo, yo, yo, somebody keyed my bike." We find this guy's truck parked on the street, hotwire it, take it to my cousin's shop, 'cause, well, that's where the car crusher is. The students laugh again, getting the sense of where the story is going. Timothy looks around at them, not at all entertained. WEEVIL: We end up leaving the cube, the one that used to be his F250, in his driveway with the license plates on top. Found out later we had the wrong guy's truck. Amidst the laughter, Weevil does a "Duh" gesture and Timothy looks around the class sourly. VERONICA: Questions? PREPPY GIRL: Do you think you can ever really leave g*ng life behind? I mean, once you've been in it that long… WEEVIL: Promise you won't tell my parole officer? PREPPY GIRL: Promise. WEEVIL: I'm trying. I really am. But truth? I- Yeah, I miss it. I miss having cash in my pocket. I miss the thrill. Veronica shakes her head slightly, smiling. EXT - HEARST COLLEGE - DAY. Veronica and Weevil leave the college building together, walking past a notice board to which has been suspended a web-draped skeleton over the usual notices. Weevil points to Veronica's necklace. WEEVIL: That's a nice necklace. Veronica's hand goes to the necklace as she fingers it. WEEVIL: It's Lilly's, right? VERONICA: I've been thinking about her a lot lately. WEEVIL: So, uh, any big Halloween plans? VERONICA: Oh, you know, the usual: slapping on my sexy nurse duds and rolling tweeners for their chocolate. Meeting the boyfriend at the Benetian after he gets out of his night class. WEEVIL: The Benetian? VERONICA: It's Room 332, Bennis Hall. Some guy runs a casino out of his room. WEEVIL: That's right. You're a card shark. VERONICA: It's not for me. I agreed to do something he likes - gambling - in exchange for something I like - dressing up and passing out candy to trick-or-treaters. And I'm not buying that as a costume, so don't come knocking. You might want to consider switching shampoos. Veronica brushes off a white substance from Weevil's shoulder. WEEVIL: It's drywall dust, okay? We're renovating the student union upstairs... Weevil is slightly distracted by the arrival nearby by of Preppy Girl. Veronica clocks his interest. WEEVIL: And I, uh, I got this stuff in crevices and cracks I didn't even know...Hey, word to the wise. You got a boyfriend? Use the short leash. VERONICA: As hard as this may be to believe, the women of Hearst aren't close to the top of my worries about Logan. WEEVIL: Wait, wait, wait. What? You're dating Logan again? After the way he treated Lilly? VERONICA: This is news? Man, the prison grapevine blows. Weevil shakes his head and walks off, giving her a look of something akin to disgust. Veronica watches him go, a little taken aback. INT - HEARST COLLEGE, CLASSROOM - DAY. The Mechanical Engineering teaching assistant is handing out marked papers to the students including Wallace. At the front, the teacher paces as he complains. WINKLER: How best to describe the results of your retest? Wallace's paper is placed face down on his books. WINKLER: Disheartening would be a start. An indictment of the U.S. public school system might get closer to the point. Wallace turns over the paper hopefully. He looks at his grade and his face falls. EXT - MARS INVESTIGATIONS - DAY. Veronica exits her Saturn and remotely locks it. She is carrying a bag of groceries. She stops to gaze at the rather nice Porsche that is parked in front of her, then turns, smiles, and makes her way into the building housing her father's business. INT - MARS INVESTIGATIONS - DAY. Veronica enters the office. The door to Keith's office is partially open and Keith can be heard. KEITH: [offscreen] There's my daughter. Veronica, presumably assuming he was on the phone, shouts out to him as she puts the groceries away in the small kitchenette. VERONICA: Hey, Dad. Back from Shangri-La. Hey, look out your window and check out the Porsche. It's four inches into the f*re zone. Let's call the city and get it clamped, you know, just for funsies. You get the lawn chairs. I'll put some popcorn in the microwave. KEITH: [offscreen] Veronica! Veronica leaves the kitchenette and walks towards his office door. VERONICA: Seriously, you blow a hundred grand on a car, I guess you think you can just park wherever you want. She dumps her bag on her desk. VERONICA: I wonder if the sense of entitlement came standard. Veronica finally pulls back the door to reveal Dean O'Dell and his wife sitting in front of Keith's desk. The dean swivels in his seat to respond to her. DEAN O'DELL: It did. And while we're on the subject of entitlement, maybe someday you can parlay your complimentary $100,000 college education into a lucrative career of your very own. It's my wife's car, by the way. Veronica, have you met my wife? O'Dell holds out his hand to indicate the young woman, stunning with long red hair, sitting next to him. VERONICA: No. Has your wife met the hot chick? MINDY: I believe there's a compliment in there somewhere. She chuckles. MINDY: Hello, Veronica. KEITH: Veronica, why don't you go- VERONICA: Matriculate myself? Okay. Veronica exits. The O'Dells turn back to face Keith. KEITH: You were about to tell me about your ex-husband. INT - HEARST COLLEGE, CLASSROOM - DAY. Wallace walks slowly up to the front of the now near-deserted classroom. The T.A. is standing at the front desk, reading something. WALLACE: Excuse me. The T.A. looks up. WALLACE: Listen, uh, I think I might have dug myself too big a hole in this class. Mind telling me what I need to do to drop it? M.E.T.A.: Build a time machine. Wallace does not see the funny side. M.E.T.A.: Sorry, man. Add/drops ended last week. Wallace throws back his head in frustration. INT - MARS INVESTIGATIONS - DAY. Back at the office, Veronica puts the ATM picture in a scanner. She copies the picture onto her laptop screen. She selects, enlarges, and sharpens the Asian youth's shirt. The logo is revealed to be an Indian headdress with the words "Camp Walterloo" over the top. VERONICA VOICEOVER: Camp Waterloo. Veronica taps into Planet Zowie. "Camp Waterloo - Summer Camp - West Virginia" comes up first: "Camp Waterloo, situated in the Appalachian Mountains of West Virginia, provides campers of all ages the opportunity to experience nature in conjunction with self-esteem building...www.campwaterloo.com/ - 17k." Under that entry are entries for the L. Menendez Correctional Camp facility at Waterloo and a badly spelled section on Klamath County, Oregon. Veronica clicks on the first entry. Camp Waterloo's page appears. At the top left of the screen is the same logo as appeared on the shirt. The menu underneath offers choices: Home, Programs, Dates & Fees, Employment, Register, and Groups. Most of the screen is taken up by the home page text and graphic. At the top, it says, "Camp Waterloo, situation in the Appalachian Mountains of We...ages the opportunity to experience nature in conjunction with self-esteem building." Under that is the large heading, "Camp Waterloo" followed by "Traditional Residential Summer Camp in West Virginia for Boys and Girls ages 7-16 - 1 and 2 week sessions." There is then an address: "7113 Mt. Bursa Road Pineville, West Virginia 24859 (304) 555-0128" and a repeat of the earlier message: "A TRADITIONAL RESIDENTIAL SUMMER CAMP in WEST VIRGINIA for BOYS & GIRLS AGES 7-16. Offering 1 and 2 Week Sessions." The graphic is of a goofy looking kid finishing off a poster on an easel. The poster reads "I" followed by a heart, then "CAMP." Veronica picks up the phone and dials the number on screen. She adopts a Southern accent. VERONICA: Good afternoon, ma'am, and how are you today? She pauses as she listens to the response. VERONICA: I'll tell you what. I'll be sugar and sunshine if you could help me. I am trying to organise a camp reunion, and I was hoping you could send me a roster of the campers for the last five years. As Veronica listens, she clicks on the camp's programs. A list appears: horseback riding, fishing, canoeing, arts & crafts, climbing wall, theatre, outdoor cooking, hiking, music, water fights, archery, Hobbie Wood, night activities, self-esteem building, and team building. VERONICA: Yes, ma'am, I sure do miss it. My backside still smarts from all that horseback riding. Veronica laughs in a very Dolly Parton kind of way. VERONICA: Well, aren't you sweet? Uh, just the names, addresses, and phone numbers, if that's not too much trouble. How long do you think it'll take? Veronica sighs and momentarily drops out of character. VERONICA: That long, huh? She quickly recovers. VERONICA: Nope, can you email that to me? It's veronica.mars and they are based at Hearst College dot org. Veronica's voice fades into the background as Keith escorts the O'Dells out of his office. KEITH: I will track him down. DEAN O'DELL: We appreciate it, Mr. Mars. We don't have to tell you that it needs to happen soon. Veronica finishes her phone call. VERONICA: Thank you so much. She watches Keith as he shuts the main office door behind them and starts to return to his office. She stands. VERONICA: Do you see why he's the college dean most frequently b*rned in effigy? Keith veers in his path to stop in front of her desk. KEITH: You might want to take it easy on him. His stepson is dying. They want me to track down the kid's deadbeat dad. The boy's dying wish is to meet his real father. Veronica is suitable chastened. INT - HEARST COLLEGE, "THE BENETIAN" - NIGHT. Music: unidentified. Veronica, dressed as Meg White of the White Stripes, enters the busy dorm room. Everyone is in costume and there's the usual party atmosphere that is associated with the gambling den. She passes a table of poker players where amongst them are two wearing the masks of former presidents: one, Jimmy Carter and the other, Richard Nixon. VERONICA VOICEOVER: As long as I'm in supportive-girlfriend mode, someone point out the sucker table? Baby needs a new pair of- In a slightly glitchy continuity moment, Richard Nixon is at the front of the room, punching out the guy standing by the door. JIMMY CARTER: [offscreen] How you like that, huh? Nixon pulls out a g*n and the crowd gasp. At the poker table, Jimmy Carter is now standing, also holding a g*n. He speaks with a heavy Hispanic accent. End music: unidentified. JIMMY CARTER: There's a bad guy coming through! Better get out of his way. He joins Nixon at the door. At the side of the room, Mercer, dressed as Alex de Large from A Clockwork Orange, holds out a hand in a "Steady" gesture as many of the others, including Veronica, hold up their hands. JIMMY CARTER: Okay, everybody, you just take it easy, okay? Now, what you're gonna do is you're gonna give me everything you got. He holds up his wrist. Both men are wearing white gloves. JIMMY CARTER: I want the watches, the jewellery, the wallets, everything. Next to him, Nixon gets a cloth pumpkin-decorated bag out of his jacket pocket and shakes it out. JIMMY CARTER: And I want you to put it all in Tricky Dick's bag, right over here. Move! Nixon pushes the bag towards the student closest to him as the rest start to take off their watches and jewellery. Veronica slowly opens her bag. Carter heads for Mercer. JIMMY CARTER: You! Give me the cashbox? It's in the drawer behind you. Mercer doesn't move. JIMMY CARTER: Now! Carter shoves the g*n closer and Mercer does as bid. Nixon continues to collect the sundry items from the others. Mercer holds out the cash box, which is equipped with a combination lock. JIMMY CARTER: The combination! MERCER: You seem highly intelligent and motivated. Figure it out. JIMMY CARTER: [shouting] The combination or... He points the g*n at one of the people at the blackjack table next to him. JIMMY CARTER: You're gonna have to find someone new to deal the blackjack, man. Mercer remains defiant. Carter turns and slaps the corpse-costumed dealer hard enough to throw him off his chair. There's a collective gasp. Carter turns the g*n back on Mercer who momentarily remains defiant, but then brings up the box and punches the combination. Meanwhile, Nixon reaches Veronica. She drops her wallet into the swag bag. Carter grabs the cash box from Mercer. Nixon waves the g*n under Veronica's chin, wanting the necklace. VERONICA: Sorry, Tricky. That stays with me. Nixon puts transfer the g*n to his right hand and reaches out to take the necklace. Veronica bats his arm away. Nixon points the g*n at her again just as Carter arrives, having seen her refusal. Carter grabs her by the neck and pushes her into the wall. He points his g*n at her head. JIMMY CARTER: What? D'you think we're playing with you? He moves his hand down to the necklace which he grips and twists. He rips it from her neck. Veronica gives a small cry. VERONICA: You're gonna regret that. Carter just stares at her, nodding. He backs away to join Nixon. They both continue to wave around the g*n as they move to the door. JIMMY CARTER: Say good night to the bad guy. He grabs the cash box and they leave, slamming the door behind them. Veronica, breathing heavily, her hand on her chest where the necklace lay, stares hard after them. Opening credits. INT - HEARST COLLEGE, "THE BENETIAN" - NIGHT. Veronica is standing against the wall, fingering the missing necklace, looking seriously pissed off. It's a little later. A campus security officer (Harrison by his name tag) is at the door. One of the students, dressed like Lebowski, heads for the open door where Harrison stands. He grabs the restless student's arm to stop him leaving. HARRISON: Hey, where are you going? RESTLESS STUDENT: I've wasted too much time already. HARRISON: We still have to get statements from everyone. Sit down. RESTLESS STUDENT: Why? So make-believe cop can make-believe he'll get my stuff back? The restless student backs away. Harrison does not stop him, but instead turns to another student he was talking to before. HARRISON: Thank you. Elsewhere in the room, Mercer is sitting at one of the gaming tables being interviewed by another campus security officer, Sasaki. MERCER: There's probably ten grand in the lockbox, give or take. SASAKI: And you expect us to help? We told you to shut this place down twice. MERCER: Trust me, I don't expect you to help. You asked a question. I answered it. Veronica sees Logan, dressed as Jack White of the White Stripes, arrive, oblivious. She takes a step towards him. LOGAN: [a la Mike LaFontaine in A Mighty Wind] Wha' happened? VERONICA: Where were you? LOGAN: I was in class, like we talked about. Less gambling, more learning. That was right after you said "jump" and I asked "how high?" VERONICA: Two guys pulled g*n, held up the casino. They took the necklace Lilly gave me. Logan immediately drops the levity and reaches out for her. LOGAN: Come here. He pulls her to him with one hand on her head. Behind them, Lamb arrives with a deputy. He surveys the room from the door. LAMB: Well, well, what do we have here? An illegal gambling establishment. Lamb makes his way into the room. LAMB: Underage drinking. He spots Veronica and Logan. LAMB: Public displays of affection. Lamb shudders. LAMB: It's like Sodom and Gomorrah in here. Barker, start collecting IDs from everyone in the room. Deputy Barker gets out a pen and makes for the nearest student. VERONICA: Uh, we had our wallets stolen. Veronica gives him a "Get it?" face and Lamb is momentarily at a loss on this exposure of his stupidity. He is saved from responding by Harrison, standing over Mercer. HARRISON: The casino's run by this student here. Now, we've asked him to shut it down, but he says- LAMB: Good work, J.V. Varsity's taking the field now. We've got it from here. Lamb smiles condescendingly. Harrison swallows his second put-down of the night. LOGAN: You know, with Scotland Yard on the case, you're sure to have that... He kisses the top of her head. LOGAN: Necklace back in no time. VERONICA: [coldly] Yeah, well, I don't think I'm gonna need their help. Pretty sure I know who did it. INT - HEARST COLLEGE, WALLACE AND PIZ'S ROOM - NIGHT. Wallace is studying at his desk. He sighs and shakes his head, struggling. A youth, Mason, leans against his open doorway. MASON: You posing for the brochure? Wallace looks up. Mason puts on an officious voice. MASON: "The dedicated students are the very picture of diligence as they strive to meet Hearst's rigorous academic standards." He ends with his hand on his heart. WALLACE: You're enjoying yourself. That's great. I'm happy for you. Wallace slams shut his book, not amused. Mason walks into the room. MASON: What's your problem? WALLACE: Nothing...just that I'm officially failing mechanical engineering, which wouldn't be a problem except I want to be a mechanical engineer. I've always wanted to be a mechanical engineer, and I've... He picks up and throws down a file card in frustration. WALLACE: Never failed anything. MASON: You need to chill. As he says "chill," Mason throws out his arms and falls backwards, landing on the beanbag in the room. WALLACE: I do? Thanks. Good to know. MASON: Wasn't it En Vogue who taught us all to free our minds, as the rest would follow? WALLACE: And that means what? MASON: It means... Mason points at Wallace. MASON: We're going out tonight. Wallace half-smiles. INT - MARS INVESTIGATIONS - DAY. Keith is in his office, on the phone. KEITH: Mr. O'Dell, it's Keith Mars. I've got good news. I've located your wife's ex-husband and he's right here in sunny Southern California. INT - HEARST COLLEGE, DEAN'S OFFICE - CONTINUING. Dean O'Dell is at his own desk. DEAN O'DELL: How'd you find him? KEITH: [on phone] He left a trail of ex-wives. DEAN O'DELL: And it led you straight to the corner where he was passing out fliers dressed as a cell phone? The camera continues to switch between the locations. INT - MARS INVESTIGATIONS/HEARST COLLEGE, DEAN'S OFFICE - CONTINUING. KEITH: The manager of his rathole apartment let me in his place. One bedroom, lots of Backstage Wests with auditions circled. O'Dell shakes his head. KEITH: Apparently he's scratching out a living working as a voiceover actor. I think I've got a plan to arrange a meeting between you, your wife, and Mr. Batando. O'Dell sinks back in his seat. EXT - WEEVIL'S RESIDENCE - NIGHT. Weevil, carrying a toolbox and a small bag, makes his way down an alley to his small apartment. Music: unidentified. He puts down the toolbox and gets out his keys, but before he can select one, he hears a dog barking inside. Weevil takes a few steps back, then bends down to get a heavy wrench from his toolbox. He opens the door and switches on the light. Veronica and Backup are inside waiting for him. VERONICA: Hope you don't mind. One of the cockroaches let me in. So, where'd you stash my necklace? Weevil stares at her. Music: unidentified. WEEVIL: You can let him go. Backup and me, we're old friends. Veronica is not in the mood. She jumps up from her seat on the couch. VERONICA: Where's Lilly's necklace? WEEVIL: Someone left a bracelet in my bed last week. Oh, wait, uh, was it a hoop earring? VERONICA: I'm not playing with you. WEEVIL: Don't you get it? I have no idea what you're talking about. VERONICA: Oh, you don't, huh? Weevil shakes his head. VERONICA: [angry] Let me spell it out. I tell you about a working on-campus casino. Six hours later, it's held up by a guy your size wearing a mask who happens to be covered in a thin film of drywall dust and the stench of Drakkar cologne. WEEVIL: My cologne stinks? So, all this play I've been getting is from pure sex appeal? She takes a step closer. VERONICA: You just told my classmates that your old life of crime was calling. You just asked me about Lilly's necklace. Weevil's own temper starts to rise as he takes a step towards her. WEEVIL: I can't believe you think I'd do that…to you. After all we've been through. VERONICA: After all we've been through, can you really blame me? Weevil drops his head and holds out his hand, deciding not to fight. WEEVIL: Yeah. Hey, Backup, you can stay. He points to the door. WEEVIL: Your girl's gotta go. Veronica huffs and fingers the site of the missing necklace before heading for the door. WEEVIL: It's a wonder you don't have more friends. Veronica pauses and looks at him for a long moment before finally leaving. INT - MARS INVESTIGATIONS - DAY. Cliff is sitting on the small couch in the outer office, reading a newspaper. He looks up as the door bursts open. It's Veronica. VERONICA: I'm here. Whew! Sorry I'm late. Hi, Cliff. Keith is just coming out of the small kitchenette. KEITH: You remember the job? VERONICA: Pretend to be your receptionist. I just wish I had some life experience to draw from. Veronica heads for her desk. KEITH: Clifford, you ready? CLIFF: [in full voiceover mode] Race fans, hot-rodders, the monster trucks are coming to Neptune, Neptune, Neptune! KEITH: That's great, Cliff, but just remember- CLIFF: Sunday! Sunday! Sunday! Keith and Veronica laugh. EXT - MARS INVESTIGATIONS - DAY. Outside, a man carrying a picture of himself and a slip of paper consults the slip of paper before stopping at the entryway to Mars Investigations. Satisfied that he has the right address, he enters, passing a sign that reads "Mars Advertising & Media Solutions." CLIFF: [offscreen] "Certain restrictions may apply. No video, flash photography..." INT - MARS INVESTIGATIONS - DAY. Cliff is reading from a sheet of paper, practicing and pacing. Keith is sitting on the couch, holding another sheet of paper. The man from the street enters. CLIFF: "Or other recording devices allowed without the express written permission of the Monster Truck Association of America. Please drink responsibly." The man glances at Cliff and Keith as he passes them and makes his way to Veronica's desk. CLIFF: Certain restrictions may apply. STEVE: Hi, I'm here for the audition. Steve Batando. He hands Veronica his picture, which she takes. VERONICA: Great, I'll take your résumé. Sign in. They'll be right with you. Steve signs in and picks up one of the "audition" sheets. KEITH: So, Mickey, you book that Olive Garden gig? CLIFF: Waiting to hear. Cliff goes back to practicing. CLIFF: ...allowed without the express- An intercom tone on Veronica's phone sounds. She picks up the phone and listens for a brief moment. Cliff stops to watch her as Steve sits on the couch, next to Cliff. VERONICA: Yeah. She puts down the phone and calls out to Cliff. VERONICA: Mickey, they're ready for you. CLIFF: Someone want to take my turn? I'm still...dialling it in. Keith turns to Steve. KEITH: Go ahead if you want. STEVE: You sure? Steve looks from Keith to Cliff for approval. STEVE: Great. He gets up and heads for the door to Keith's office. He points to it while looking at Veronica. STEVE: This it? VERONICA: Mm-hmm. CLIFF: ....Association of America... As Cliff continues to practice, Steve reaches the door. Keith's name has been covered over by a sign that reads "Casting In Session." Steve glances down at the script as he opens the door. Inside Keith's office, photos of other actors have been taped to the back of the door, again obscuring Keith's name, and to the Community Protection Award plaque just to the right of the door. Steve steps in to what appears to be an empty office. However, Keith's chair swivels around to reveal Dean O'Dell. DEAN O'DELL: Steve. Welcome. Mindy appears from the toilet to the right of Keith's desk and stands by her husband. STEVE: What the… Behind him, the door opens and Keith slips in. STEVE: No, no, no, we're not doing this. He turns to leave, but Keith blocks his path. KEITH: You can leave in a minute, but first you're gonna listen. Steve turns back to face Mindy. STEVE: Mindy, what the hell is this about, alimony? I mean, is this what you've stooped to? MINDY: This isn't about money, Steve. I just...needed to talk to you, and I didn't know any other way. STEVE: No other way? Mindy glances down at her husband before advancing towards Steve. MINDY: Jason is dying. He has bone cancer and he needs a bone marrow transplant. Steve sinks into one of the chairs in front of the desk. MINDY: He needs you, Steve. This all comes as a surprise to Keith, who falls back against the wall. STEVE: How do you know I'm a match? MINDY: From the paternity test. Mindy drops into the chair next to Steve. MINDY: You are a match, thank God. He needs you. Can you do this? This is your chance, Steve. You can be his dad again. [pleading softly] Do this. Please. STEVE: You know something? There was a time when I could have been around. I could have been there for Jason, but you kept me away from him. You turned him against me. MINDY: I did no such thing. STEVE: And you left me because I wasn't making enough money. MINDY: I left you because you were lazy, 'cause you wanted everything to come easy. STEVE: Be careful. Don't forget, you're asking me a favour. DEAN O'DELL: A favour? O'Dell rises from Keith's chair and leans over the desk. DEAN O'DELL: Yes, please, Steve, do us a favour... Steve slowly rises from his seat to face him. DEAN O'DELL: And see if you can act like an actual human for three seconds out of your otherwise completely worthless life. You're going to do this. I don't care if I have to break you in half and suck the marrow out of your bones myself. You're going to do this for your son. STEVE: He's not my son. He's your son. He points at Mindy, still sitting in the seat next to his, looking tragic. STEVE: She made that perfectly clear. He turns and walks out. Keith doesn’t try to stop him. Mindy starts to cry. MINDY: No. O'Dell starts to run after him but Keith subtly blocks his path. EXT - HEARST COLLEGE - NIGHT. Weevil wipes his forehead with the back of his hand as he heads for his car. He opens the door and sticks in his toolbox. As he does, he notices Logan walking and then pausing by the Range Rover with a girl. Weevil smirks, shuts his car door and walks towards them. The girl walks away from Logan with a smile, passing Weevil. WEEVIL: Hey, Joe College! LOGAN: José Lunchpail, the living, breathing embodiment of the American dream. Weevil, in his Hearst College maintenance overalls, bows. LOGAN: Punch any clocks lately? WEEVIL: Are you lining up your next girlfriend? Hmm? Weevil points in the direction the girl went but before Logan can make any comeback, Lamb pulls up next to him in his car, lights flashing and siren momentarily on. LAMB: I'm guessing this low rider's yours? Lamb jerks his head towards Weevil's car. Cut to moments later. Sacks is searching Weevil's car, using a flashlight. Logan is still there, standing next to Weevil. WEEVIL: Any reason why everyone suspects me for a crime I don't even know anything about? Sacks pulls out what looks to be a handful of jewellery from the car. SACKS: Got 'em. They match the robbery description. Lamb, now leaning against his car in front of Weevil, holds up handcuffs. LAMB: Yikes. He walks towards Weevil. LAMB: Hey, what do you say we do your Miranda Rights in harmony this time? I'll take lead. You take tenor? Weevil puts his arms behind his back. Lamb cuffs him and leads him to his car. LOGAN: Is it still called déjà vu when something happens more than twice, or is that something different? I'll have to look that up. Lamb gets Weevil into the backseat. Logan leans down to the car. LOGAN: Ask for cell B. It has the best light. Lamb and Sacks get back into the car. Lamb picks up his radio but looks at Logan, which makes Logan a little uncomfortable and he clears his throat. Lamb speaks into the radio, still staring at Logan. LAMB: Hey, good-looking, we'll be back to pick you up later. The car drives away. INT - SHERIFF'S DEPARTMENT. Veronica is reading a magazine, sitting in one of the reception area chairs. Lamb slaps some papers down on the counter and approaches her. LAMB: Sacks tells me you're here to see Weevil. Planning on helping him b*at another rap? VERONICA: Actually, I'm here to get my necklace back. LAMB: I don't understand. You actually believe that the bad guy did it? In shock, Lamb does the robot. LAMB: Does not compute. DEPUTY: Hey, Sheriff's doing the robot again. LAMB: Does not compute. DEPUTY: I'll get my camera phone. VERONICA: You must have been fun in the '80s. Lamb straightens up and smirks. VERONICA: So, you get a tip about the watches in Weevil's car? LAMB: Better. He used a stolen credit card from one of the wallets lifted in the casino hold-up. Charged a pizza from Mama Mia Pizza. Criminal mastermind had it delivered to his own apartment. Lamb turns and walks away, while Veronica ponders this. Cut to a little later, in the jail cells. Weevil is lying on the bench, staring at the ceiling. VERONICA: [offscreen] Be it ever so humble. Weevil looks over as Veronica reaches the bars of his cell. WEEVIL: Yeah. He sits up. WEEVIL: I'm thinking of some curtains over here, maybe a koi pond in the corner. VERONICA: [deliberately casual] Where's my necklace? WEEVIL: I don't have it. He stands and walks to the bars. WEEVIL: It was a frame job, V. Look, a prepaid pizza was delivered to my apartment. I didn't order it. Come on, what's a working man gonna do in that situation? VERONICA: So, when I look into this, and I will look into this, I'm gonna find out you didn't order that pizza? WEEVIL: Or you could just save yourself the trouble and take my word for it. They stare at each other for a moment and then laugh. WEEVIL: Okay. VERONICA: That was good. Well done. Weevil gives her a salute. Veronica drops the smile and stares hard at him before swivelling around and leaving. INT - HEARST COLLEGE, WALLACE AND PIZ'S ROOM - NIGHT. Wallace is studying again. There is a knock at the door. Wallace looks up in irritation, deciding to ignore it, and adds to his notes. The knock is repeated. Wallace throws down his pen, slams shut his book and walks to the door. He opens it to Mason and two pretty girls. MASON, JESSICA AND CHLOE: Surprise. Everybody grins, including Wallace. Mason holds up a DVD and a bag of microwave popcorn. MASON: Redenbacher and The Hills Have Eyes. You remember Chloe and Jessica from last night. Chloe and Jessica give Wallace little waves. MASON: Instant party. WALLACE: You guys, I'm studying. JESSICA: Study later. CHLOE: Yeah, Wallace. JESSICA: Let's have fun. WALLACE: I can't, y'all. Mason steps forward. MASON: I thought you might say that, and that's why I brought you this. He holds out a post-it note with the name Max written on it, together with a phone number, 555-0123. MASON: Call this number. It's a tutor. WALLACE: Is he good? Mason scoffs. MASON: Miracle worker. Got me through a course last year, and a hard one. WALLACE: You're a P.E. major. MASON: Please. Kinesiology. Feeling better already, aren't you? Wallace smiles and throws back his arm to usher his guests into the room. INT - MAMA MIA'S PIZZAS - DAY. Veronica approaches the counter. She watches as Danny, who is manning the counter, is giving instructions to one of the drivers DANNY: Listen, take the complex map. PIZZA DRIVER: All right. Danny turns back to the front and sees Veronica. His jaw drops. VERONICA: Hi, I'm looking for the manager. He or she around? Danny points at her. DANNY: You're Veronica Mars. A little surprised, Veronica searches her mind for who he is. VERONICA: And you're… She doesn’t find it but does spot his name tag. VERONICA: Danny. DANNY: Rossow. Yeah, I am. Cool. You went to my school last year. I go to Neptune High. VERONICA: Lucky you. DANNY: You remember when those bikers taped that guy up to the flagpole and you just walked up there and cut him down? VERONICA: Yeah. Listen- DANNY: [with increasing excitement and awe] Remember when you stopped those guys from bl*wing up the school? VERONICA: No one was gonna blow up the school. So, what I was going to- DANNY: On the last day, I really wanted you to sign my yearbook. VERONICA: Danny, I'm working on a case now. DANNY: That...is so awesome. VERONICA: Yeah, it is. It's so awesome, and I need your help. An order went out last night to 1172 Navasota. Do you guys have caller ID? Danny glances behind him at a computer screen. DANNY: Well, we're totally computerized. The order comes in. It logs the phone number. That way, we can answer the phone like... Danny makes a phone with his fingers and pretends to speak into it. DANNY: "Mr. Smith, thanks for calling again. Another Pepperoni Lovers for you and the missus?" Impatient, Veronica just smiles tightly. Danny drops his hand and clears his throat before turning and checking the computer screen. He glances back over his shoulder at Veronica. DANNY: 1172 Navasota? Veronica nods and Danny returns to face her. DANNY: It wasn't a call-in. It was an internet order. VERONICA: Really? Any way of knowing where the order came in from? DANNY: Only our manager, Mr. Wolfcastle, can make those requests from our internet service provider, and he's not here. VERONICA: Any way we can make like he is? It takes Danny a minute to get what she's saying. When he does, he smiles conspiratorially. Cut to a few moments later. Danny and Veronica are at the manager's desk in the back. Danny is sitting at the desk, on the phone. Veronica is next to him, her elbows leaning on the desk. Danny is speaking in a German accent. DANNY: Hello, this is Walter Wolfcastle. With who am I speaking? He pauses a second for the answer. DANNY: Listen, I need a favour 'cause my hands are full. He glances at Veronica who nods in encouragement. DANNY: I need you to track an internet order. Veronica gives him the thumbs up. Danny half-smiles nervously and nods. He then gets really into the part. DANNY: Of course I want it now. What? Should I wait 'til Tuesday? Veronica laughs and Danny nods with greater confidence. INT - HEARST COLLEGE - DAY. The scene opens on a computer screen, headed Hearst Computing Services. Showing on screen is an email from [email protected] to [email protected]. The subject is "Your request, madame...." The email reads: "Your IP address is 156.1.240.45. Hope this works! Danny." VERONICA VOICEOVER: Thanks to my one-man fan club, I now know precisely which computer... Veronica is staring at the screen. VERONICA VOICEOVER: The pizza order was placed from, a public Hearst College computer hub just forty feet away from where Weevil was dry-walling. Veronica looks around her. There are some men working on a doorway where there are signs of recent plastering. Across the busy hall, there is the office of the campus security officers. A little girl is sitting on some chairs outside their office. VERONICA VOICEOVER: So he stays in the mix. Then again, so do hundreds of people who pass through here every day. Hello, square one. Nice to see you again. Veronica gets up from the stool only to find that she has sat on a wad of sickly purple bubblegum, which is now on the back of her jeans. She pulls what she can off with a groan. VERONICA: Oh, lovely. It sticks to her thumb and she balls it up. She starts to look in her bag, presumably for a tissue, when she spots the little girl, watching her as she blows sickly purple bubbles. Veronica approaches her. VERONICA: Hi. Any idea how this gum got from your mouth to that chair? The girl stands up and meets her halfway. BRATTY LITTLE GIRL: I thought this was supposed to be a good school. Shouldn't you be, like, smart? Veronica gasps at the brat's insolence. The girls spins around and walks into the office of the Hearst College Police Dept., as it states on the door. INT - MARS INVESTIGATIONS - DAY. Cliff is in the kitchenette, smiling at Cliff's tale. CLIFF: [offscreen] So, speaking of down and dirty, you wouldn't believe the divorce case I've got. Cliff is in the main office, sitting on the couch. There is a sandwich on a plate in front of him. A couple of open cans of soda are also on the small coffee table. Cliff has a napkin tucked under his chin. CLIFF: Lady stole from her husband, repeatedly... In the kitchenette, the microwave pings. CLIFF: [offscreen] Stole from his children, had his dog put to sleep... Keith turns to attend to the microwave. CLIFF: And let the record show the dog was quite surprised by this decision. The woman slept with...everyone. Keith enters the main office, carrying a small pot of something. KEITH: And let me guess. She's your client. They both chuckle. Keith sits down on the chair next to Cliff just as the main office door opens and Lamb walks in with another man trailing behind. SANCHEZ: Gentlemen. He points to Cliff. SANCHEZ: Is this the one? LAMB: No, there's your guy. Lamb nods at Keith. KEITH: Can I help you fellas with something? LAMB: This is Detective Sanchez with the LAPD. Sanchez steps ahead of Lamb, putting an "I'll take care of this" finger on Lamb's chest, a gesture Lamb recognises and does not appreciate. Sanchez pulls a business card out of his jacket pocket and holds it out. SANCHEZ: Sir, is, uh, this your card? Keith peers at it from his seat. KEITH: Yeah. SANCHEZ: You presented yourself as an Adrian Monk... As Sanchez reads off the card, Cliff and Keith share an amused glance. SANCHEZ: A Los Angeles County Building Inspector? And I believe that's your cell phone number written on it? KEITH: And? SANCHEZ: Sir, the apartment complex manager that you handed that to says you ordered him to let you into the apartment of a one Steven Batando. Keith shrugs and plays the fool. KEITH: Ordered? Asked politely, maybe. He laughs. Lamb shuts his eyes and Sanchez isn't laughing. Keith holds out his wrists. KEITH: Congratulations, boys. You got me. SANCHEZ: That's a good one, Mr. Mars. But I'm afraid that impersonating a county employee is the least of your problems. LAMB: Batando's been missing for fifty-two hours. Guess what, Keith? You're the leading suspect in his disappearance. Cliff looks over at Keith who finally adopts a more serious demeanour. EXT - MARS INVESTIGATIONS - DAY. There is an establishing sh*t of the outside of the building, showing off Keith's immediate business neighbours: Kiki Fantastico and her School of Dancing, Completely Video, Nickelodeon Records. Lamb's sheriff's car is parked on the street in front of the entrance. SANCHEZ: [offscreen] So, Mr. Mars... INT - MARS INVESTIGATIONS - CONTINUING. Keith is still being interrogated. Sanchez has out a notebook. Lamb tries to sneak a peek over his shoulder. SANCHEZ: You mind telling us what you were looking for in Mr. Batando's apartment? LAMB: The man's girlfriend was worried sick. You should have seen her crying, Keith. It was heartbreaking. Cliff pulls off his napkin bib and stands. CLIFF: Excuse me, officers, but if I don't bring up the law, then this won't be considered a billable hour. Keith, smiling wryly, looks up at Cliff. CLIFF: Do you plan on charging my client? Lamb and Sanchez shift uncomfortably, clearly having insufficient to do so. CLIFF: Great. If you'd like to talk with him further, call my office. I'll set an appointment. My card. Cliff holds out the card he has pulled from his shirt pocket. LAMB: I know your number. It's all over the bus benches. "Call Cliff and get off." CLIFF: Plus, it's a radio jingle. Cliff starts to sing. CLIFF: "Call 555-12-" Neither of the law enforcement officers are amused. CLIFF: Well, you know the rest. Keith smiles. SANCHEZ: We'll be keeping an eye on you, Mr. Mars. Keith shivers. KEITH: Brrr. Lamb and Sanchez leave. Cliff sits back down on the couch. KEITH: Nice work, Cliff. Cliff picks up his sandwich and waggles it at him, adopting the slogan from a well-known American TV commercial for Olive Garden. CLIFF: When you're here, you're family. Cut to a little later. Keith is on the phone in his office. KEITH: Okay, thank you. Cliff is standing by the Obey poster as Keith puts down the phone. KEITH: Jason O'Dell was discharged yesterday. CLIFF: You think the dean and his wife kidnapped Batando? KEITH: It looks that way. They asked him for his bone marrow. Batando said no. CLIFF: These things tend to end badly, Keith. There's not much motivation to keep the unwilling donor alive. They tend to expire on the operating table. It's tough to press charges when you're six feet under. Cliff starts loading his briefcase with papers. KEITH: I'm gonna track down the O'Dells, scare the dean if I can find him. I'm gonna need some help. You still got your researcher working for you? CLIFF: Yep. Whatever you need. Keith sighs. INT - HEARST COLLEGE - DAY. Keith bursts into Dean O'Dell's office where O'Dell is working at his desk. KEITH: [angry] Oh, you still in town? You haven't skipped yet? Where's your wife's ex-husband? Where's your stepson? DEAN O'DELL: Mexico. Just got off the phone with my wife. She took Jason to Rosarito. She won't tell me which hospital, but they're moving forward. Mindy's brother is helping her. I'm gonna lose them both, Keith, my stepson, my wife, all because of that selfish son of a bitch. KEITH: I'll track them down. O'Dell stands. DEAN O'DELL: I'm going with you. You're gonna need to trace her call, right? KEITH: Probably, yeah. DEAN O'DELL: How do you plan on keeping her on the line? O'Dell gets his keys out of his desk. DEAN O'DELL: I can say half a sentence and get her to yell at me for three hours. Keith smiles and nods. INT - SHERIFF'S DEPARTMENT. Weevil is in his cell, bouncing a ball along his now blanket-free bench to the wall and catching it. Veronica approaches. VERONICA: You rang? WEEVIL: If there was anybody else… Veronica folds his arms. WEEVIL: One of the other maintenance guys found the masks used in the hold-up in a dumpster behind Bennis Hall. He found the g*n, too. He came to me instead of going to Lamb because he wasn't sure if it'd hurt me or help me. I'm not really sure either. VERONICA: I can track the ownership history of the g*n to see where it leads. WEEVIL: Yeah, uh... Weevil gets up from the bench and approaches the bars. WEEVIL: I doubt that's gonna work. The g*n aren't real. They're fakes. Veronica looks surprised. INT - HEARST COLLEGE. Veronica walks along the back of a stage, arriving at a group of four students, all dressed in seventeenth century garb for their production of Tartuffe, are standing silently at the edge of the stage. Veronica stands with them for a moment without their acknowledging her presence. VERONICA: Uh, excuse me? The student playing Orgon eventually responds without turning around or taking his eyes off the stage. ORGON: Yeah. VERONICA: Can someone point me to the props department? ORGON: Jenny's props. VERONICA: Where could I find- The student dressed as Elmire, also fixated on the stage, responds without looking at Veronica. JENNY: I'm Jenny. What do you need? VERONICA: Um…someone held up an on-campus casino using a couple of prop g*n. JENNY: [dismissively] We're the theatre department. We don't do g*n. ORGON: We do Molière. You want a poor man's Tarantino - that would be the film department. If you see them, tell them we just loved their little opening night present. VERONICA: Which is? JENNY: Our stage is covered in Pam. VERONICA: Who's Pam? ORGON: Pam is a cooking spray. Veronica looks down at the stage and sees that it is glistening. ORGON: We can't walk out there without falling on our asses. We had the temerity to schedule our opening night on the same weekend as their short film festival. VERONICA: Maybe this is their way of saying break a leg. The students turn their heads towards her as one and glare. Veronica backs her way out with a theatrical flourish. VERONICA: Thank you! Good night! Here all week. Try the veal. She pulls down an invisible curtain. VERONICA: And scene. She spins round and exits sharply. INT - HEARST COLLEGE - MAX'S ROOM. Wallace stops at Max's door. His whiteboard proclaims his name and the message "Do not write here." Wallace hesitates a moment, then knocks. A geeky-looking guy opens the door. MAX: Yeah? WALLACE: One of the guys on the team said I should- MAX: Uh-huh. Instructor and class. WALLACE: Um, Winkler. Engineering. MAX: Come in. Close the door. Max backs into his room. Wallace follows and does as instructed. Max gets some papers out of a filing cabinet. MAX: Winkler's used the same exams for the past three years. Max faces Wallace and taps the papers. MAX: This file does not contain the exams. It's a study guide. If you want the study guide, it's a hundred dollars. If you want the answers to the study guide, it's another hundred. WALLACE: It's a study guide, huh? MAX: Yeah, it's two hundred for the set. WALLACE: I'll take the guide. You keep the answers. Wallace gets out his wallet. INT - HEARST COLLEGE, FOOD COURT. The film festival is underway with a showing of the short film The Italian Submarine. The audience claps as it opens on a submarine sandwich. The camera shifts, in the film, to hands opening a cash register. Veronica and Logan arrive. VERONICA: Find us seats. I'm gonna get us some popcorn and grill me some film geeks. Veronica looks towards the back of the audience. Logan, instead of looking for seats, is drawn to watch the movie. LOGAN: Uh, Veronica? VERONICA: Yeah? LOGAN: You know that whole life imitates art thing? Veronica turns to look at him and then follows his eyes to the screen. In the film, two men wearing presidents masks, one of Carter and one of Nixon, are robbing the store. They race to the man at the cash register. JIMMY CARTER: You ready to screw 'em, Dick? RICHARD NIXON: Yeah, cover me, Jimmy. JIMMY CARTER: All right, hands in the air, buddy. RICHARD NIXON: Stick 'em up. Veronica stares with her mouth open. RICHARD NIXON: [offscreen] Give me the money. VICTIM: [offscreen] Yo, dude, man, all right, man, cool. RICHARD NIXON: [offscreen] Right now, you see. Right now. VICTIM: [offscreen] Don't hurt me man! RICHARD NIXON: [offscreen] And don't forget to vote. Cut to later. Some students are collecting the chairs. Veronica is interviewing the movie's maker, who keeps glancing over her shoulder. VERONICA: Loved your movie. Eight millimeter, bold choice. FILM GUY: Yeah. Logan is sitting behind Veronica, eating popcorn. VERONICA: So, in other news, an armed robbery was committed with the masks and g*n used in your little film. I was hoping you could tell me where I might find those now. The guy isn't listening. He moves past Veronica to talk to Logan. FILM GUY: You're Logan Echolls, right? I heard you were going here. Did you ever think of investing in- LOGAN: No. Logan shakes the popcorn. Veronica steps between them and snaps her fingers. VERONICA: Hey, buddy, right here. Logan points up at her with his thumb behind her back. VERONICA: You can schmooze later. FILM GUY: The g*n and the masks were stolen. Our whole equipment truck disappeared a week ago. VERONICA: Did you report it? FILM GUY: Yeah, the campus police actually tracked it down. Can you believe it? The film guy attempts to charm Logan again by sharing his joke with him. FILM GUY: Rent-a-cops. Logan gives him a huge fake smile before returning to his popcorn. FILM GUY: We got all our equipment back. Only thing missing were the g*n and the masks. VERONICA: Hmm. INT - HEARST COLLEGE, WALLACE AND PIZ'S ROOM - NIGHT. Wallace is studying again, using the study guide, writing notes frantically. He slows in frustration, clearly not understanding. He writes a little more, then crosses out everything on the page. He throws down his pen, distraught. INT - HEARST COLLEGE - MAX'S ROOM - NIGHT. Wallace knocks on Max's door. Max opens it. Wallace says nothing. He just holds up $100, fanned out. Max smiles smugly. INT - HOSPITAL, MEXICO - DAY. A frustrated Keith rounds the corner of a hospital corridor. Spanish can be heard over the tannoy system. Dean O'Dell is following him. Keith looks over his shoulder without stopping. KEITH: Call her again. DEAN O'DELL: It's not gonna work. Keith checks a room to no avail. DEAN O'DELL: Mindy's not gonna pick up the phone. And I'm no expert, but I'm pretty sure you can't trace a phone call if the person on the other end won't pick up the phone. O'Dell shakes the phone in his hand uselessly. Keith's own cell phone rings. KEITH: Cliff? As Keith listens, his frustration increases. KEITH: Thanks, Cliff. Keith drops the phone, positively gargoylish in his facial contortions. He spins round to face O'Dell. KEITH: You've got him at Sisters of Mercy in San Diego. Mindy's uncle's an oncologist there. DEAN O'DELL: Do you expect me to apologise, Keith? He's my son. KEITH: How'd you get Batando admitted? You bring him in unconscious? DEAN O'DELL: What choice did he leave us? Keith can't believe it and storms off back the way they came. INT - HEARST COLLEGE, LECTURE ROOM - DAY. The Mechanical Engineering class is taking their test. Wallace rises from his seat and walks towards Winkler, sitting at a desk at the front of the room. Winkler looks up, a little surprised. Wallace drops two paper booklets onto Winkler's desk. Wallace turns and walks away. Winkler picks up one of the booklets, opens it and starts to read. As he does, his brow furrows. He stares in the direction Wallace left. EXT - HARRISON RESIDENCE - DAY. Veronica and Backup approach a small blue bungalow. She knocks on the wrought iron screen. Harrison, the campus policeman, still in his uniform although his shirt is unbuttoned, exposing the white t-shirt underneath. Veronica waves. Harrison comes towards the door, but spots Backup and doesn't attempt to open it. HARRISON: Who are you? Veronica puts her hand around her neck. VERONICA: Come on, you remember me. I'm the girl whose necklace you stole. It's got sentimental value. I want it back. HARRISON: I see. I'll take two boxes of the Thin Mints and some Lemon Coolers. VERONICA: You can keep all the gambling money, everything else. I don't care. Just give me my necklace back, and-and we'll be cool. HARRISON: Wow, that's some hard-core salesmanship. You're good. Uh, tell you what. Throw in a box of the shortbread. VERONICA: You and your partner robbed the casino. She points at Harrison. VERONICA: You did all the talking because of Sasaki's accent. As security officers, the criminal records of all new employees cross your desk. You decide to pin your crime on the new ex-con maintenance guy you see every day just outside your office. This also explains why you were covered in drywall dust. She points at him again. VERONICA: You knew about the casino. You even tried to shut it down a couple times, but those spoiled college boys didn't listen to you. Harrison laughs in bemusement. VERONICA: I'm guessing you got the idea when you found the masks and prop g*n in the film department van. Veronica puts on a broad Hispanic accent. VERONICA: D'you theenk I meessed anyting? HARRISON: Well, one thing. Proof. VERONICA: Not quite true. From her bag, Veronica pulls out a plastic bag containing the presidents masks. VERONICA: Look what I have. HARRISON: Prints? The witnesses said the hold-up men wore gloves. VERONICA: Yeah, but you wouldn't believe how much hair is inside these masks. It's kind of gross, actually. It's like a sack of DNA. So, I'll trade you. This bag for my necklace. Harrison glances back into the house, then furtively checks the street. He makes to open the screen and grab the bag, but Backup growls as soon as his hand nears the door. HARRISON: I'll need a day to get your necklace back. VERONICA: Yeah, that's not gonna do it. Both react to the sounds of a siren, Veronica's in mock-shock, Harrison's genuine. HARRISON: What did you do? Veronica smiles, shrugs and pulls up from her shirt a small microphone. She goes Hispanic again. VERONICA: Say hallo to my leettle friend. Harrison knows he is caught. EXT - SISTERS OF MERCY HOSPITAL, SAN DIEGO - DAY. An establishing sh*t of the hospital leads to... INT - SISTERS OF MERCY HOSPITAL, SAN DIEGO - DAY. Keith striding through the door. O'Dell is right behind him, pleading. DEAN O'DELL: Keith, please. I'm begging you. Keith, for God's sake, just hear me out. KEITH: I've been hearing you out since Mexico. I'm done, Cyrus. This game is over. DEAN O'DELL: It's not a game. You need me to get on my knees, I'll get on my knees. You stop that operation, that's it. My son's d*ad. He's nine years old. You go up there, he dies. KEITH: If I stay down here, I'm partly responsible for another d*ad man. Having arrived at the elevators, Keith turns and faces the dean. KEITH: The only way you and your wife get away with this is if Batando dies. Keith punches the button for the lift. DEAN O'DELL: We're not gonna let Batando die. That's not the plan, I swear. KEITH: Then you, your wife, and your wife's family members who helped are going to prison for a very long time. DEAN O'DELL: And Jason will live. Small price to pay, don't you think? What would you do if it were Veronica? This gets Keith's attention. EXT - HARRISON RESIDENCE - DAY. Lamb exits Harrison's house, #3028. Veronica is waiting. VERONICA: Find my necklace? LAMB: Nope. Veronica sighs heavily. LAMB: But we found a dozen other items, couple Rolexes, dozens of credit cards. These are the guys. Maybe the other one has your necklace. We have a car on the way over there right now. They both hear a vehicle pull up and look. LAMB: Oh, look, someone tipped off the local news. That's my cue. Lamb walks past Veronica to talk to KSVU 9, but turns back to impart a few words of wisdom in Veronica's ear. LAMB: Do you see how well this works when you play by the rules, Veronica? Veronica isn't interested, still stroking the place where the missing necklace should be. Music: "Busted" by Johnny Cash. LYRICS: My bills are all due and the babies need shoes But I'm busted Cotton is down to a quarter a pound And I'm busted I got a cow that went dry and a hen that won't lay A big stack of bills that get bigger each day The county will haul my belongings away I'm busted The food that we canned last summer is gone And I'm busted The fields are all bare and the cotton won't grow Me and my family's gotta pack up and go Where I'll make a livin' the Lord only knows But I'm busted Lamb carries on to the reporter and camera. REPORTER: Hi, Sheriff Lamb. Can you comment on... Veronica turns and walks back to her car. She starts the engine but pauses when she sees a school bus arrive. She slowly puts on her seat belt, watching the bus. It drives away, having deposited the bratty little girl, who has stopped in front of her father. Harrison is in handcuffs, in the charge of three deputies. He's kneeling in the grass to talk to his daughter. They both look in Veronica's direction. The two male deputies take Harrison away. The brat starts walking towards and screaming at Veronica. Veronica watches her closely as she approaches the car. BITCHY LITTLE GIRL: You think you're such a big deal, but you're so not. Veronica punches the button that rolls the window down. BITCHY LITTLE GIRL: You did this. You set up my daddy, you stupid cow. Go back to Hearst where you belong. You come into this town and treat everyone like dirt. Veronica reaches out of the window, grabs the necklace the brat is wearing and rips it off. The girl gasps and puts her hands up to her throat. She examines it to confirm it is hers and without a glance at the brat, rolls up the window and drives away. INT - HEARST COLLEGE, WALLACE AND PIZ'S ROOM - DAY. Wallace opens the door to his room. His face falls, although he doesn't seem surprised to see the teaching assistant. He holds out an envelope. INT - HEARST COLLEGE, LECTURE ROOM - DAY. The teaching assistant leads Wallace into the lecture room where Winkler is waiting. Wallace walks to him slowly. INT - SHERIFF'S DEPARTMENT - DAY. The door to Weevil's cell is slid back. The deputy holds out a paper bag. Weevil grabs it and leaves. INT - SISTERS OF MERCY HOSPITAL, SAN DIEGO - DAY. Jason O'Dell lies in a hospital bed. He is on breathing equipment. Dean O'Dell and Mindy stand over him. O'Dell puts a comforting arm around Mindy. INT - SHERIFF'S DEPARTMENT - DAY. Lamb is in his office, going through papers. On screen appears the words "One Week Later." End music: "Busted" by Johnny Cash. Keith knocks on the door. KEITH: Don? Lamb looks up and sees Keith come into his office, followed by Steve Batando. KEITH: Meet Steve Batando. I believe you were looking for him. Lamb puts down the paper he is examining. LAMB: [sceptical] You're Steven Batando? STEVE: I want to apologize for-for causing so much trouble. I mean, I had no idea people were looking for me. I just went, you know, camping for a week and-and didn't tell anybody, left my cell phone. I mean, I can't believe I caused all this fuss. It would be funny if it wasn't so, almost, I mean, you-you know- LAMB: Ridiculous? STEVE: Yeah. Lamb looks up at Keith who maintains his innocent look. EXT - SHERIFF'S DEPARTMENT - DAY. Keith and Steve exit the Sheriff's department. STEVE: You tell my ex-wife I own her now. No more talk of alimony, no more child support. We're beyond even. KEITH: It's been made very clear in the documents you signed. Steve stops at Mindy's Porsche. STEVE: Nice ride, huh? KEITH: Think of it as a Father's Day gift. Batando climbs into the Porsche. Disapproving, Keith watches him drive away. INT - HEARST COLLEGE - DAY. Veronica is at the same computer at which Danny sent her the information about the pizza order. Computer Lab Rules are attached to the back of it. On screen, Veronica pulls up her email. She has emails from Wallace (snickerdoodleme? :D), Keith (Paco's Tacos run for dinner? My treat), Mac (Re: Fwd: Truth in Conspiracy Theory), some junk "Invest Now" mail and a note to confirm her change of password. She gets a new email, from Camp Waterloo, the subject being the Waterloo alumni list. Veronica smiles in satisfaction. EXT - NEPTUNE STREET - DAY. Veronica and Logan are walking down the street. Backup is with them. LOGAN: What makes you think this is the guy? VERONICA: The fifth victim, Claire, was caught in an ATM photo the night she was r*ped, clearly already roofied, but still with her hair. She was with an Asian guy. Veronica points to the house they are coming upon and they veer towards the front door. LOGAN: So we're knocking on the doors of every Asian guy in San Diego? VERONICA: This guy was wearing a Camp Waterloo shirt. I got a list of everyone who went to the camp in the past five years. There's only one Asian male in Southern California. This is his house. Veronica knocks on the door. She glances over her shoulder at Logan. VERONICA: Look tough. LOGAN: Always. The door is opened by a non-Asian youth in a baseball cap. He looks at her expectantly. VERONICA: Hi, is Wang Yi here? BEN: Sorry, he's at class now. VERONICA: When will he be back? BEN: Why? Veronica holds out the ATM photo of Claire. VERONICA: Because he r*ped this girl. BEN: Claire? I doubt it. VERONICA: You know her? BEN: Yeah, she's Wang's girlfriend. Veronica looks down at the photo and back at Ben, shocked. End.

{"type": "series", "show": "Veronica Mars", "episode": "03x05 - President Evil"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Keith is in his office. Harmony arrives at the door in 304 "Charlie Don't Surf." HARMONY: Hi. Do you remember me by any chance? KEITH: Harmony, right? HARMONY: Right. Mason tempts Wallace to ditch his studying in 305 "President Evil." MASON: What's your problem? WALLACE: Just that I'm officially failing Mechanical Engineering. MASON: Call this number. It's a tutor. Wallace turns up at Max's door brandishing the cash to pay for the answers to his upcoming Mechanical Engineering exam. Cut to Fern on Piz's radio show, receiving a text message from Sara M. saying that Claire was r*ped in 303 "Wichita Linebacker." FERN: They r*ped Claire. [with air quotes] The blonde in the middle? Veronica and a nearly bald Claire talk in front of a pumpkin sale stand in 305 "President Evil." VERONICA: I have the ATM photo from that night. CLAIRE: The guy who did this to me? The picture shows Claire with all her hair but in an incapacitated state accompanied by an Asian youth. CLAIRE: I have no idea who this is. Veronica and Logan arrive at the home of the Asian youth and speak to his housemate. VERONICA: Is Wang Yi here? BEN: Why? Veronica holds up the ATM picture. VERONICA: Because he r*ped this girl. BEN: Claire? I doubt it. She's Wang's girlfriend. End previously. INT - HEARST COLLEGE, DEAN'S OUTER OFFICE - DAY. The door to Dean O'Dell's office is closed, but voices from inside can be heard clearly. CLAIRE: [offscreen] Dean O'Dell, give me the chance to explain! DEAN O'DELL: [offscreen] I don't care what kind of point you're trying to make. The camera moves back from the door to reveal Nish and Veronica sitting on either end of a small couch, separated by far more than the width of a cushion. They are listening, both looking fairly unhappy. DEAN O'DELL: [offscreen] Fake a r*pe, then bring in your lawyer? What universe do you live in? Have you gone completely insane? Nish looks over at Veronica. NISH: So is this what you wanted? VERONICA: [flatly] You think this is what I wanted? The couch is opposite a desk on which a phone can be seen. The intercom on the phone sounds. DEAN O'DELL: Angela, get 'em in here. Nish, with an exasperated huff, leaps up from the couch. INT - HEARST COLLEGE, DEAN'S OFFICE - CONTINUING. Inside the office, Claire is sitting in front of Dean O'Dell's desk. There is a man sitting next to her. Nish and Veronica enter. MR. DAVIS: If you examine it closely, Dean O'Dell, the facts are still- Dean O'Dell is standing behind his desk, waving around a wad of papers. DEAN O'DELL: The facts are Miss Mars's story here, and she has the notes and evidence to back it up, I believe? He looks up at Veronica, who has just entered and closed the door behind her, coming to a halt next to Nish. Veronica nods. DEAN O'DELL: Yes. We have photos, we have witnesses, we have the boyfriend who helped. There's no question Claire lied about the r*pe and the Hearst Charter is quite clear about this. You want to challenge the charter, that's fine. We have lawyers too, and they're a lot scarier than you, Mr. Davis. Miss Nordhouse. You're expelled from Hearst College as of this moment, and so it your lawyer. That's all. Claire looks shocked. She glances at her lawyer who remains silent. She rises quickly from her seat, as does her lawyer, to exit the room as Dean O'Dell takes his seat at his desk. As Claire passes Veronica for the door, she throws her a parting sh*t. CLAIRE: Happy? Veronica doesn’t respond, but simply watches them both leave before returning her attention to O'Dell. DEAN O'DELL: Madame Editor, why didn't I read this story in the Hearst paper? O'Dell holds out a copy of the Hearst Free Press. DEAN O'DELL: I found the facts fairly simple to corroborate. NISH: I felt I had a responsibility to exercise some caution with a story implying the rapes might have been faked. In case you haven't noticed, it's a powder keg out there. DEAN O'DELL: I noticed, but I didn't see much caution when you implicated the Pi Sigma house. You're supposed to at least pretend to be objective. I'm afraid I'm gonna need you to step down as editor of the Free Press. NISH: It's a student paper! You can't. DEAN O'DELL: I'm a devious old man, Nish. You'd be surprised what I can do. You're done there, as of this moment. O'Dell punctuates his decision by rising to his feet. NISH: [thr*at] You'll regret this. Nish slowly rounds past Veronica, leaning in to her for her own parting sh*t. NISH: [softly] And so will you. Veronica watches her leave with a look that is less concerned and more "Get over yourself." INT - HEARST COLLEGE, OUTSIDE THE DEAN'S OFFICE - CONTINUING. Wallace is now sitting on the same small couch, looking very anxious. The door to O'Dell's office is open from Nish's exit and Veronica can be seen still standing there. O'Dell passes by her and comes to the door, addressing Professor Winkler, who is sitting on a chair by the door. DEAN O'DELL: David. Sorry to keep you waiting. Winkler rises from his chair. Veronica, realising that she has been dismissed, turns to leave the office. DEAN O'DELL: It's been a hell of a week. Come on in. As Winkler passes Veronica in the doorway, Wallace rises slowly. Veronica gazes at him questioningly as she passes him. O'Dell gestures for him to enter his office. DEAN O'DELL: Mr. Fennel. Wallace stares back at her, swallowing hard, before following Winkler into the office. O'Dell shuts the door. INT - HEARST COLLEGE, DEAN'S OFFICE - CONTINUING. Winkler occupies the chair left vacant by Mr. Davis, with Wallace next to him. WINKLER: This is hardly the first time we've caught an athlete cheating. With Mr. Fennel, I'll take some of the blame. We usually don't take athletes in the programme, it's just too demanding, especially with standardised test scores as low as his. Wallace sinks down uncomfortably in his seat. WINKLER: If I'd paid closer attention to the- Winkler is interrupted by the arrival of Mindy O'Dell who enters the office without knocking, carrying a small paper bag.. MINDY: Oh, I'm sorry. She heads for her husband. DEAN O'DELL: Pardon us. My important lunch. Mindy chuckles and puts the bag on the desk which the dean reaches for immediately. Winkler watches, smiling indulgently. DEAN O'DELL: Better be a cookie in there. MINDY: Oh, of course there isn't. O'Dell pulls out a sandwich and an apple. DEAN O'DELL: Why do you punish me like this? MINDY: Because I'm your wife, that's what I'm for. Remember? Mindy glances at Wallace who smiles at her. Mindy leans to her husband. MINDY: [softly] Be merciful. She kisses the side of his head glancing back at Wallace as she does. She leaves the office. DEAN O'DELL: She probably ate the damn cookie herself. So, what do you have to say? WALLACE: I'm with her on the mercy thing. O'Dell nods. INT - HEARST COLLEGE, CRIMINOLOGY LECTURE ROOM - DAY. Professor Landry is at the front of the room. Timothy Foyle is passing out papers amongst the students. LANDRY: The whole of human knowledge, right there online, and these papers are thin. Am I crazy to expect better? And if you're confused as to what better is, let me direct you to the front... Landry slides off the desk on which he was resting to walk back to the blackboard. Written on the board behind him is the heading "Test Next Week," followed by: "Intro to stalking concepts. Is to provide law enforcement, investigators, and others with a conceptual overview of the development of stalking both as behavior and as a crime. Terms, definitions & tech." One paper is pinned to the top of the board. LANDRY: Where I've posted our only example of A-calibre work. Timothy has reached Veronica and hands her graded paper to her. On the front, in red ink, is written "A - excellent work." LANDRY: Nice job, Miss Mars. The other students grumble at this, some turning to stare hostilely at Veronica. VERONICA VOICEOVER: Well, this should make me popular. LANDRY: All righty, that's all for today. See you next time. The students start to rise and collect their stuff together. LANDRY: Don't forget. Read both chapters. Both! Timothy approaches Landry with a wad of papers. TIMOTHY: Professor [?right?], the Columbia studies...maybe we can, if you want to- Landry isn't interested and holds up a hand to stop him. LANDRY: [dismissively] Just make copies for tomorrow, Tim. Landry calls over Timothy's shoulder. LANDRY: Uh, Veronica! Landry leaves Timothy behind. Veronica turns at the calling out of her name and steps towards Landry. LANDRY: You free for lunch? Timothy watches, pissed off. INT - HEARST COLLEGE, FOOD COURT - DAY. Music: unidentified. Landry and Veronica are sitting at one of the small tables in the middle of the Food Court. Veronica is hanging on every word. LANDRY: [enthusiastically] Databases, chemistry, psychology, that's where the action is. Are you taking any psych? Veronica shakes her head. LANDRY: Take Wagner's class, he's the best. If you want a double major- Veronica gulps. VERONICA: Double? I haven't even declared one major...yet. She laughs and picks up her drink. LANDRY: Consider this a sales talk. I not only think of you as a very bright woman in general, I also think that you're a natural when it comes to criminal work. Now, I'm not saying this to be nice or supportive. I'm saying it because it's true and it's because I want someone like you in my programme. I think I should be your faculty advisor. Veronica's eyes widen. LANDRY: I think you're capable of great work here, Veronica, and I'd like to help you do it. End of sales talk. Veronica stares at him with something approaching adoration. KEITH: [offscreen] He sounds like a hell of a guy. INT - MARS RESIDENCE - NIGHT. End music: unidentified. Veronica and Keith are in the kitchen area, washing and drying dishes. Veronica is waxing lyrical. VERONICA: Not only is he smart, but he's the biggest g*n in the department, so him offering to be my advisor, it's just... Veronica finishes the washing up and dries her hands as Keith vigorously rubs the plate she's handed him. KEITH: Yeah, I'm not surprised. But I wish you would consult with me before you start phasing me out of your life. Veronica smiles and heads for the small hallway. VERONICA: Dad. KEITH: He's smart, huh? Is he smarter than your old man? Veronica turns and points at him. VERONICA: You know, actually, you two have a lot in common. You'd like him. Keith shouts after her as she disappears into the hallway, heading for her bedroom. KEITH: Can I take him in a fight? Be honest. Veronica throws him a last smile before leaving him alone. As he finishes drying the dish, the phone rings. Keith picks it up. KEITH: Hello. HARMONY: [on telephone] Keith, hi, it's Harmony. KEITH: Hi! Uh... Keith glances furtively down the hallway to check for Veronica. KEITH: Is everything okay? HARMONY: Oh, fine, actually. INT - CHASE RESIDENCE - CONTINUING. Harmony is walking in the lounge at home. HARMONY: I know that our professional relationship is over, but... She sinks down onto the couch. HARMONY: I enjoyed, you know, talking. The camera switches between the two locations for the duration of the conversation. INT - MARS RESIDENCE/CHASE RESIDENCE - CONTINUING. KEITH: [hesitantly] Uh, yeah, me too. HARMONY: So, my husband has taken our daughter to Orlando for a couple of weeks. I've got passes to the Noir Festival at the Orient and no one to go with and I was thinking, you're a guy with an interest in... KEITH: In the noir business? HARMONY: Right. And maybe you might want to, you know, join me, just grab a movie. Keith casts another glance towards Veronica's room and swallows hard. HARMONY: Keith? INT - HEARST COLLEGE, FOYLE'S OFFICE - DAY. Veronica appears at the door. Behind her can be seen a large notice board, covered in posters and notices, including one calling on students to "Save Darfur" and one still seeking a bassist. Veronica knocks on the door jamb with a humourless smile. Timothy, thumbing through a filing cabinet drawer, looks over at her. VERONICA: I got a text message... Veronica holds up her cell phone. VERONICA: Saying you wanted to see me. Veronica's smile is replaced by a defiant glare. TIMOTHY: I think it was "needed," not "wanted." Timothy matches her tone as he shuts the drawer and heads for the bookcase. VERONICA: Ah. How did you get this number? I don't give it out to anyone. Timothy concentrates on picking out a book. TIMOTHY: You're not the only one at this school who has certain...gifts. VERONICA: Gifts. That was my grandmother's term for, um, female... Veronica gestures a woman's curves with her hands and whistles. VERONICA: Just so you know. What did you need to see me about? Timothy turns to face her. TIMOTHY: You know, Hearst has a pretty strict policy when it comes to plagiarism. VERONICA: Yes. Did, uh, someone plagiarise? Timothy points at her. TIMOTHY: Well, you did. Veronica is bemused. TIMOTHY: One of your classmates turned you in. There's a programme we run to check papers. It scans online for similar phrases- VERONICA: I know how it works, but I- Timothy moves to his desk. TIMOTHY: Your paper lit up like a Christmas tree. VERONICA: What?! I didn't copy my paper! TIMOTHY: So I assumed, but... Timothy taps some keys on his keyboard. TIMOTHY: Well, that's your paper there. Veronica hurries around the desk to peer at the screen. On screen is a pdf file of Veronica's paper. At the top is the identification of the student, title and info: "Veronica Mars, 33-92811. Integrating Criminological Theories and Perspectives for A Truer Underst.... Processed on 11-04-06 at 3:34PM. Word Count: 3347." The bottom part of the front sheet can be seen: "Veronica Mars. November 3, 2006. Professor Landry. CRIM 102," as can the top of the next page, marked "Mars 2": "Integrating Criminological Theories and Perspectives for a Truer Understanding. Various theories and methods exist in the field of criminology, each purporting to be the one, sole tool to be used to uncover the inner workings of the accused and guilty. I suggest that no single perspective for explaining any forms of criminal behavior is sufficient or holds true explanatory power on its own regarding its subject. Assuming the subjective approach, I will draw on biological, psychological and psychiatric perspectives on my examination of the most infamous serial k*ller and r*pist of the century, Jack Billet. Competing sociocultural, psychological and biological factors underline any explanation for a given form of criminal behavior patterns. Objective approaches to studying criminological phenomena use a predominantly sociocultural perspective. Subjective approaches rely on the subjects own experience and relationship toward his/her environment, including familial structures and other personal relationships." Almost the entire content of the two paragraphs that can be seen are highlighted. VERONICA: There's no way. Someone is trying to screw with me. TIMOTHY: You think it's me? You think I'm trying to get you out of Landry's class because I don't like you? VERONICA: Wait. You don't like me? Timothy laughs. TIMOTHY: This will have to come to Landry's attention. Bummer... Veronica scoffs. TIMOTHY: Since I know that you and he are now close. So, how 'bout I give you a choice? VERONICA: A choice? TIMOTHY: Either you can tell him, or I can. LANDRY: [offscreen] Tell who what? Veronica and Timothy are both startled as Landry appears at the open doorway. Opening credits. INT - HEARST COLLEGE, FOOD COURT - DAY. Music: unidentified. A troubled Veronica walks across the food court, deep in her own thoughts when Piz calls out to her. PIZ: Hey, Veronica. She pauses. Piz gets up from his table, carrying an album. PIZ: Can you believe this? Some lady threw her husband out of the house, right, and now she's having a garage sale of all of his stuff. He holds up the album, London Calling by the Clash. PIZ: London Calling, vinyl, unscratched, ninety-nine cents. Awesome, right? VERONICA: My would-be mentor/professor just gave me three days to prove I didn't plagiarise a major paper. The universe is currently aligned against me, so nothing's awesome. PIZ: You know what you should do? You should come bowling. VERONICA: [incredulous] Bowling? Veronica suddenly realises what he's suggested. VERONICA: You mean, like, just the two of us? PIZ: Yeah. And Wallace, you know, the whole g*ng. I mean, Thursday nights are dollar night Fun Bowl. VERONICA: Will bowling take my mind off of the fact that everyone's out to get me? PIZ: It worked for Nixon. Veronica chuckles in spite of herself. PIZ: It will be fun. Veronica nods. End music: unidentified. INT - HEARST COLLEGE, GYM - DAY. Wallace, Mason and other members of the basketball team are sitting on the floor of the gym. Behind them, at the top of the pushed back stands, is a banner reading "Rough Ride Into the Night." A couple of the coaching staff stand over or walk past them. MASON: Dude, I don't get this sad clown face. I thought he let you drop the class. WALLACE: I haven't decided if I'm gonna. MASON: What's to decide? Two weeks after Add/Drops, lets you drop a class that's kicking your ass. That's a gift. You can take it and smile. A whistle sounds. COACH: Okay, okay. Five by five scrimmage. Let's go, move! ONE OF THE PLAYERS: Let's do it. The players jump up from the floor. The coach, carrying a basketball, walks towards Wallace and Mason. COACH: Fennel. The coach throws the ball at Wallace who catches it. COACH: You run first team today. Mason looks back at Wallace, who is well chuffed, then at the coach. MASON: [complaining] Hey, coach! COACH: You want to keep your starting job, Mason? Start showing me something. The coach backs away and claps. COACH: Let's go. A happy Wallace runs past the disgruntled Mason. INT - HEARST COLLEGE, CRIMINOLOGY LECTURE ROOM - DAY. The Criminology class is filling up. Veronica drops her bag on her seat at the end of one of the middle rows, then continues to walk down the stairs to the front of the class. Timothy is as the lectern. VERONICA VOICEOVER: Apparently, if you look hard enough, everyone looks like they're hiding dark secrets. So, if you're looking for something specific, you gotta try the direct approach. Veronica stands at the front, waiting for the students to settle a little. VERONICA: Hi. Uh, some of you might know who I am. Veronica Mars. There's no reaction so Veronica hurries on. Her paper is still pinned to the blackboard. VERONICA: Okay. So, I wrote that paper... She points back at the paper. VERONICA: And now someone in this class has accused me of plagiarising it, which I absolutely did not. So, I was kind of wondering who it was. Again, there is no response. VERONICA: So, is this silence, like, it wasn't any of you or, like, no one wants to face me? Veronica glances back at Timothy. VERONICA VOICEOVER: Or like no one actually did it and our weaselly T. A. is trying to- One of the students raises his hand. JEFF: I did it. Jeff Ratner. VERONICA: Ratner. Um, have we met before? JEFF: We have, but you probably don't remember, so...whatever. VERONICA: So, you reported me. Why did you- JEFF: Why? Maybe 'cause I'm a common man kind of guy, and I like it when some teacher's pet who's destroying the curve for everyone, gets exposed as a cheat. Yeah, you cheated. I caught you. Deal with it. The students love it and some clap in approval. Veronica and Jeff exchange defiant glares. INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - DAY. There's a knock on the door. Veronica opens it from outside and leans in. VERONICA: Wallace! Wallace is lying on his bed, playing disconsolately with a model airplane. WALLACE: Not here. VERONICA: And you would be... WALLACE: Evil Wallace. And I know Veronica doesn't hang with the evil and morally bankrupt. Veronica steps into the room and closes the door. VERONICA: Evil Wallace wouldn't have confessed and faced punishment. Nope, you're regular Wallace. WALLACE: Well, regular Wallace has been given a chance to drop Mechanical Engineering scot-free, which will mean giving it up as my major. I mean, man. Wallace sits up on the bed. Sympathetic, Veronica walks over and sits on the end of Wallace's bed. Wallace gestures at the plane. WALLACE: This was the first thing I was ever into. Figuring out how stuff works. It's all I ever wanted to do. VERONICA: You'll work it out. I know it. That's also very regular Wallace. Oh, by the way, who's the guy you bought the test from? WALLACE: So this whole after-school special monologue here didn't make much of an impression on you. Veronica grins at him. Wallace falls back onto the bed. WALLACE: His name's Max. He's in Clark Hall. Why? Veronica just raises an eyebrow and keeps smiling. INT - HEARST COLLEGE, CLARK HALL - DAY. Veronica makes her way down a corridor, stopping at Max's room. His whiteboard is still, as per instructions, comment-free. Veronica knocks on the door. Max opens it and can't believe his luck. VERONICA: Hi, Max? I was hoping you could help me. MAX: Well, I'm hoping I can too. He grins goofily. INT - HEARST COLLEGE, MAX'S ROOM - DAY. Max and Veronica sit side by side in front of Max's computer. The screen shows "Termpaper Maestro - the #1 deadline life line!" The header claims to "b*at the Deadline with Term Paper Maestro." Max has already run a search for "modern forensics" without success. The advice on the screen reads: "Maybe you misspelled your topic or we currently do not have that specific paper on file. You can request or suggest topics by clicking here. Try again?" A list of courses runs down the right-hand side: Accounting, Administration, Africa, Anatomy, Animal Rights, Anthropology, Argumentative (!), Art & Architecture, Asian Studies, Biographies, Biology, Black Matters, Book Reports, Business, Canadian Studies, [?Counter?] Culture, Chemistry,...Creative Writing. Max clicks on another window, bring up "University Savior," which is "All Free!" This site claims to be "The Leader in Original, Updated & Scholastic Writing!" On the bar at the top is written: "You've Been Saved : : : University Savior . com." Max talks with his mouth full of snacks that he keeps feeding himself from a bag next to him - Cheetos maybe? MAX: Okay, so you wanna a new paper on Modern Forensics, but different enough so they won't guess who- Veronica is exasperated, as if she's had to explain a dozen times. VERONICA: No. This paper, or one like it, is posted online. I need to find it. MAX: Uh, correct me if I'm wrong, but you already have that paper. Veronica takes a deep breath and speaks slowly. VERONICA: I told you. My paper got zapped by the plagiarism scanner. I need to find out why and from what. Max still doesn't get it, nor care to. MAX: Okay, whatever. He punches a few more keys. MAX: Uh...um... Having searched University Savior, Max brings up the first full page of Veronica's paper. Whoever's done it has replaced the "Mars 2" in the top right-hand corner with the number one. MAX: Ah, here you go. VERONICA: That's my paper. MAX: See. That's why I never use these free sites. No security. Checkers'll catch you every time. VERONICA: Posted last year? Somebody must have faked that. I wrote this paper by myself, last week. MAX: This must be a real Kafkaesque experience for you. Veronica glances at him impatiently. VERONICA: Does it say who posted it? On screen, the title of the paper is shown and is the same as Veronica's. It also shows that it was purportedly posted on October 14, 2005. Max clicks to bring up the information on the poster: "Posted by: [email protected]." MAX: Ah...Rory dot Finch at Hearst College dot org. That's not you is it? That might explain everything. Veronica throws Max yet another incredulous look. INT - HEARST COLLEGE, CLASSROOM - DAY. The minute hand of a clock on the wall moves from 1:59 to 2:00. Underneath the clock is a blackboard on which is written "Sociology test today." A proctor turns from watching the clock to the class. PROCTOR: And pencils down. Bring 'em up. Amongst the students, everyone except Logan has put down their pencils. Logan races to finish his sentence. The rest of the students leave their desks and drop their test papers on the desk in front of the proctor. PROCTOR: Good day. Logan finishes and takes his test up to the front. He throws it on top of the other test papers. The proctor grabs it and hands it back to him. PROCTOR: I'm sorry. LOGAN: What about? PROCTOR: I called time and you kept writing. I can't accept your test. LOGAN: Yeah, I was just finishing my- PROCTOR: Time was called. I'm sorry. LOGAN: So you keep saying, dude, but, come on. PROCTOR: Mm-um. LOGAN: [stroppy] Do you have any idea who I am? PROCTOR: I don't and I don't care. Rules are rules for everyone. The proctor turns his back on Logan to walk over to the side of the room to collect his jacket. Logan stuffs his papers in amongst the others, shuffling them so the proctor can't ascertain which is his test. PROCTOR: No matter who they think- He turns and sees Logan shuffling the papers. Logan smirks and leaves with a wave disguised as him putting his pencil behind his ear. MERCER: [offscreen] That is classic. INT - HEARST COLLEGE, FOOD COURT - DAY. Logan and Mercer are sitting at one of the small tables. Logan talks with his mouth full. LOGAN: Well, it was a proctor. Professor wasn't even there. Logan wipes his mouth as Mercer laughs. Music: unidentified. MERCER: That is so awesome. Mercer spots Veronica coming towards them. He performs for her as she comes to a halt behind Logan. MERCER: But...I do not condone it any way and had nothing to do with your decision to do it. VERONICA: Do what? MERCER: Cheating. I told him it was wrong and he was gonna burn in hell. You're gonna burn in hell, man. Logan nods and smiles. LOGAN: And I'll see you there. Mercer points amiably at him, then grabs his tray and leaves. Veronica throws her leg over the chair next to Logan and sits down. VERONICA: You cheated? Logan puts his arm on the back of Veronica's chair and carries on eating. LOGAN: I took ten extra seconds on a test. I thought you loved bad boys. Logan smirks. VERONICA: I do, but if that's your idea of bad, you need to turn in your badge. Veronica rests her arm over Logan's and leans forward to grab his drink. VERONICA: Hey, do you want to go bowling tomorrow night? LOGAN: Sure. Unless it's some critical analysis of bowling seminar, then I... VERONICA: No, it's just Wallace's new roommate and some other guys. Could be fun. Veronica shrugs as Logan gazes at her. Veronica looks out over the food court and pauses, a concerned look on her face. LOGAN: What? Across the food court, Parker is sitting by herself, looking sad and lonely. VERONICA: Just, Mac's had this project all week and Parker's all alone. I think we should invite her along. LOGAN: Um, how very Emma of you. VERONICA: Did you just make a Jane Austen reference? It's official, the end of days are upon us. Veronica gets up and walks over to Parker's table. VERONICA: Hey, Parker, what's up? PARKER: Nothing. Parker grasps her tray and rises, wrinkling her nose in disgust. PARKER: I think I just ate something's beak. She starts walking. Veronica keeps pace. VERONICA: Hey, do you want to come bowling with us tomorrow night? PARKER: Bowling? [suspiciously] Why? VERONICA: You know. Hatchet-burying, etcetera. Plus Nixon found it soothing. Look, if you don't want to go because you'd rather see me fed to bears, fine. Parker grins in spite of herself. End music: unidentified. EXT - ORIENT THEATRE - NIGHT. The Film Noir Festival is on, showing Maltese Falcon and The Big Sleep. Keith and Harmony exit the theatre and walk along the street. HARMONY: So, would you call that an accurate depiction of life as a private eye? KEITH: Pretty close. I personally have never been hired to locate a Maltese falcon per se, but there was the case of the Maltese dog. HARMONY: Oh, solid gold dog? KEITH: Real dog. This guy got some low-life to kidnap his ex-wife's show dog. Harmony laughs as they round the corner by the side of the theatre. HARMONY: Not exactly how I imagined the criminal underworld. KEITH: If they were all like Peter Lorre, my job would be a little more interesting, but- Harmony spins around to face him, bringing them to a halt. HARMONY: Thanks, Keith, for coming. These days, my husband and I are just logistics. Can't remember the last time I just hung out and talked. KEITH: Sure. It's great talking to someone for whom Bogart isn't a verb. Harmony laughs again. KEITH: Well, goodnight. It's an awkward moment as Keith holds out his hand to shake Harmony's hand. They shake hands, but it's not enough. Keith then gives her a quick hug. INT - HEARST COLLEGE, OUTSIDE THE DEAN'S OFFICE - NIGHT. Veronica checks a large key ring she is carrying as she heads for the door to the dean's office. She reaches the door and tries the key in the lock. VERONICA VOICEOVER: The upside of landing Weevil the maintenance job? It doesn’t work. She selects another. VERONICA VOICEOVER: I get to baby-sit his keys while he's away at his cousin's wedding. It doesn’t work either. Veronica huffs as she searches the key ring again. VERONICA VOICEOVER: So, if I want to check the Hearst email files for Rory Finch, I can do it on my own time. That attempt also fails and Veronica is showing signs of frustration. VERONICA VOICEOVER: Of course, he didn't bother to label them, so... She leans back against the door to check through the keys again, only to find the door is open and gives way. She looks at it, looks around, and with a "Hmm" expression, goes into the office. INT - HEARST COLLEGE, DEAN'S OUTER OFFICE - CONTINUING. Veronica goes straight to a large filing cabinet and opens one of the drawers. She runs her finger down the tabs. She looks up, as if she's heard something, then closes the drawer. She moves to the next drawer and is about to open it when... DEAN O'DELL: Veronica? The dean appears. Veronica twists away, hiding that she is pulling her earring off of her left ear. VERONICA: Dean O'Dell. I'm so glad you're here. O'Dell stares at her. He's chewing something. He leans over to switch on the overhead light. VERONICA: I...lost an earring, um, at the meeting and I wanted to find it before they vacuumed... Veronica bends down to check the floor. VERONICA: But it was...well, it's a good thing you happened to show up. DEAN O'DELL: Well, go ahead, search away. Veronica breathes a sigh of relief. O'Dell turns his back on her, walking into the inner office. Veronica quickly opens the second drawer. INT - HEARST COLLEGE, DEAN'S OFFICE - CONTINUING. In his office, O'Dell switches on a television and continues to munch snacks from the bag he is carrying. There's a boxing match in progress on the TV and it's commentary continues on in the background through the scene. O'Dell calls out to Veronica. DEAN O'DELL: Do you follow boxing? INT - HEARST COLLEGE, DEAN'S OUTER OFFICE - CONTINUING. Veronica quietly pushes the drawer closed and grimaces, realising that she won't be able to search in peace. She calls back and starts towards the inner office. VERONICA: I only follow sports that are done to music. INT - HEARST COLLEGE, DEAN'S OFFICE - CONTINUING. On the television, two men are punching each other. Veronica comes up behind O'Dell. VERONICA: Wouldn't this be more comfortable, say, at home? DEAN O'DELL: Kind of my little secret. The wife's against it all: the scotch, the cigars, the televised v*olence. So, I kind of sneak it in whenever she has a charity function, a work function, whatever other function modern women seem to have all the time. Something on screen excites him. DEAN O'DELL: Oh, that's a haymaker! Veronica uses his distraction to walk backwards out of the inner office and into the outer office again. The dean settles himself on the small couch in his office, his eyes fixed on the TV, never looking behind him through the glass partition at what Veronica is doing. DEAN O'DELL: So, if you run into her, you didn't see me. Some things she just doesn't need to know. He takes a cigar from the table next to the couch. INT - HEARST COLLEGE, DEAN'S OUTER OFFICE - CONTINUING. Veronica has the filing drawer open and is taking the top off a pen. She calls out her response. VERONICA: Absolutely. Veronica returns her attention to the files and makes a note. INT - HEARST COLLEGE, MECHANICAL ENGINEERING LECTURE ROOM - DAY. The class has just started and students are still sitting down. Winkler and his T.A. are passing out papers. WINKLER: Now, I expect these formulas to be memorised as soon as possible. Winkler pauses as he sees Wallace walk into the room. WINKLER: Mr. Fennel. I was under the impression you dropped the class. WALLACE: I said I'd think about it. WINKLER: You sure this is a smart choice? WALLACE: Probably not. But you've seen my standardised test scores. I'm not a particularly smart guy, right? I'm taking the zero. There are four more tests. If I average Cs or above on all of them, I'll pass. Even I can do that, man. WINKLER: Okay, here you go. Winkler smiles and hands him the formulas he's distributing. Wallace takes his seat. INT - HEARST COLLEGE, LIBRARY - DAY. Veronica collects her things from the library counter. Wallace is working at the table near it, listening to music through his iPod earplugs. Veronica swoops down on him. VERONICA: [whispering] You're going to ruin your eyes with all that book-learning. Veronica slides into the seat next to Wallace. Wallace responds, speaking loudly over the music playing in his ears. WALLACE: I stayed in Winkler's class. I took the zero. Veronica cringes and points to her ears. Wallace realises and takes out the earphones. WALLACE: I need to study. VERONICA: I suspected that might happen. WALLACE: So, you figure out what was up with that plagiarism thing? VERONICA: As a matter of fact, a paper just like mine was posted online by Rory Finch at Hearst College dot org. A Hearst email, but there's never been a student by that name. The address was set up three days ago from an IP address at - get this - the Neptune Grand. WALLACE: After you turned in your paper. Veronica nods. VERONICA: Um-hm. WALLACE: So, you're off the hook. It's over. VERONICA: Ah, my innocent and naïve Wallace. When I find out who did this, and I make them sing like the proverbial fat lady, that's when it's over. Wallace gives her a regretful look at her thirst for revenge but doesn't challenge her, instead returning his attention to his books. Veronica leans in to give him a pep talk. VERONICA: Okay. You're Rocky. Mechanical Engineering is Mr. T. "Eye of the Tiger" is playing. I'll see you later on. Veronica twists out of the chair and races off. WALLACE: Yeah. It takes a moment to sink in, whereupon Wallace throws down his pen and stares after her. WALLACE: What? Veronica is already disappearing out of the door. WALLACE: When? LIBRARY USER: [offscreen] Shhh. INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - DAY. Piz, in a bowling shirt, holds up his arms. PIZ: Boom! He points to his shirt for the benefit of Wallace, who has just come into the room. PIZ: I'm set. Are you ready for a night of bowling? Huh? Fun, fun, fun. Wallace, having dumped his bags on his bed, sits down with his books at his desk. On the wall above his desk, Wallace has a small white board on which he's written the weekdays with things to do on each, including: "Mon - learn to read," "Tues - learn to spell my...," "Wed - stop counting on my toes," and "Fri - meet w. Jonathan." WALLACE: Ugh. Pretty sure I won't be ever having fun again. Ah, damn, that's tonight. I'm sorry, man, but it's impossible. PIZ: No, dude, you have to go. I invited Veronica. I said there's a whole g*ng going, including you. So, if you're not there- WALLACE: It's gonna look like you asked her out. Yeah, that sounds awkward. But it's not my problem. Wallace points to his books. WALLACE: This is. Piz narrows his eyes and shakes his head at his roommate. He is not happy. INT - MARS RESIDENCE - NIGHT. Keith has the phone in one hand and the leaflet for the Film Noir Festival in the other as Veronica enters the apartment. VERONICA: Hey, Dad. KEITH: Hey, honey. Keith keeps a wary eye on Veronica, who immediately heads for her room, before talking on the phone. KEITH: So, uh, tomorrow's Out of the Past. INT - CHASE RESIDENCE - CONTINUING. Harmony is lying on the couch at home. KEITH: [offscreen] It's one of my all-time favourites. She runs her hand through her hair. HARMONY: I've got a conference at the Neptune Grand. I don't think I'm gonna be free, but I'd like to do something else. INT - MARS RESIDENCE - CONTINUING. Veronica comes out of her room carrying a bowling shirt and a t-shirt on hangers. She gestures to Keith that she needs his attention. KEITH: Okay, keep me posted. Buh-bye. Keith finishes the call. VERONICA: So, for bowling. Veronica holds the pale blue with white trim bowling shirt against her body. VERONICA: Earnest "I'm really bowling" or... Veronica swaps it for the t-shirt which appears to advertise a Waffle House, ending with "It's Moose-tastic." VERONICA: "I'm too cool for bowling and I'm only here ironically." KEITH: When did crappy old shirts with stupid stuff on them become cool? Veronica casts a critical eye on the t-shirt before putting both shirts down on the counter. VERONICA: I don't know why I ask you these things. KEITH: I don't either, frankly. Veronica picks up the Film Noir Festival pamphlet. VERONICA: Were you just making a date? Look at you, Mr. Noir Secrets. KEITH: No, I was just seeing if Harmony wanted to see- VERONICA: Harmony? Harmony with the husband-who-isn't-cheating Harmony? KEITH: [a little defiant] Yeah. So? VERONICA: So, you're going on a date with a married woman. Keith scoffs. KEITH: It's not a date. Saw a movie, had a drink, and talked. VERONICA: Which is a date. KEITH: That's all we did. We're mature adults who happen to be friends. Veronica isn't buying it and gives him an "I know better" look. She grabs the shirts and returns to her bedroom. Keith calls after her. KEITH: And I like the dumb shirt. Keith stares after her, uncomfortable. INT - NEPTUNE GRAND, PRESIDENTIAL SUITE - NIGHT. Veronica, in her ironic bowling garb, breezes into Logan's bedroom. (He's taken over Duncan's old room.) VERONICA: Hi, honey, I'm home. Logan is sitting on the ottoman at the end of the bed trying his shoe laces. LOGAN: Hey, moosetastic, hm? VERONICA: Um. Veronica sits close next to him. LOGAN: What's that- She plants a kiss on his lips. LOGAN: Ummm. VERONICA: I'm so tired of explaining. Hey, you've lived here a while. Do you have any inside connections? LOGAN: Inside connections like wha...? VERONICA: Like someone on staff you're pals with who might sneak you info they maybe aren't supposed to? LOGAN: Hmm. Logan thinks for a moment, then looks at her. INT - NEPTUNE GRAND, FOYER - NIGHT. Tina, an attractive girl with long, blonde hair, is working at reception. Veronica and Logan are waiting further along the counter. Tina smiles as she hands a key card to a guest. TINA: There you go. GUEST: Thank you. Veronica leans into Logan and whispers. VERONICA: Your pal? Logan opens his mouth and nods. VERONICA: Of course. Tina arrives in front of them. LOGAN: Hi, Tina, uh, this is Veronica. Veronica... TINA: Hi. What's going on, Logan. LOGAN: Just that I've got a little favour. Tina leans forward and whispers. TINA: Anything. LOGAN: Mm. I'm trying to find out if, ah, a person, you know, was registered here. Someone named... VERONICA: Rory Finch. TINA: This isn't illegal, is it? No, I'm just kidding. Hold on. Veronica glances up at Logan who lifts his eyebrows and continues to smile. TINA: Yeah. Rory Finch. He stayed with us for a night a week ago and a few other times over the last couple of months. Always one night stays. VERONICA: Is there an address? Credit card number? TINA: Mm, post office box and paid in cash. All I've got's a name. VERONICA: If I left my cell number, could you call me if they check back in? Tina beams. TINA: Sure. Any friend of Logan's. VERONICA: Girlfriend of Logan's. Veronica possessively takes Logan's arm. VERONICA: Come on, boyfriend, let's bowl. Logan, a little embarrassed, gestures and mouths at Tina as he is led away. LOGAN: Thank you. INT - FUN BOWL - NIGHT. Veronica strides along the aisle. Logan is a long way behind her. Piz, perched on the railing between the aisle and the lanes, slides off to greet her. PIZ: Hey, Veronica. He points at her t-shirt. PIZ: Cool shirt. He clutches his bowling shirt. PIZ: I-I went for the, uh, post-ironic route. VERONICA: Hey, Piz, where's... Piz looks up and sees Logan for the first time. PIZ: Oh. Hey, uh... LOGAN: Logan, her boyfriend. We met. PIZ: Right. VERONICA: So, where's Wallace and the rest of this g*ng? PIZ: Right, uh, the g*ng, uh, well, Wallace had a crisis, so he can't make it, and, um... Piz shakes his head. VERONICA: So, it's just... Veronica looks back at Logan who smirks and is about to quip when they are joined by Parker. PARKER: Veronica! Hi. VERONICA: Hey, Parker. How's it going? PARKER: Hey. VERONICA: Uh, you met Logan, right? PARKER: Yeah, hi, sure. VERONICA: And you remember Piz. Piz holds out his hand and he and Parker shake. PARKER: Yeah, hi. So, um, where is everyone? There's an awkward silence until Piz laughs and thinks of something to say. He clicks his fingers. PIZ: Hey, shoes, we need shoes. LOGAN: Yeah, let's get shoes. Logan looks down at Veronica. LOGAN: Uh, darling, what size are those dainty feet that I love so much? VERONICA: Six. Logan walks forward and pats Piz on the back as he leads him away. LOGAN: So, bowling, huh? Is this [??] something you do a lot? You and the g*ng? Parker is looking seriously disgruntled. VERONICA: So, shoe size? PARKER: A whole g*ng? VERONICA: Well, Parker, some people couldn't make it, but it's- PARKER: I can't believe you invite me out for the first time since I was...r*ped on some cheesy, double date set-up with that Piz guy. She looks over her shoulder at Piz and Logan, now at the shoe counter. VERONICA: It's not a set-up, I swear. Parker stares at her suspiciously. PARKER: Size seven, but this is not fun. Cut to later in the evening. Music: unidentified. A bowling ball heads for the centre pin in alley fourteen. It's a strike. The camera switches to the other end of the alleys, revealing the sign over them: "Wednesday - The Big Lebowlski." Parker was the bowler. She throws her arms up in the air. PARKER: Ya-hoo! She spins around, triumphant. PARKER: That's two-thirds of a turkey, bitches! She marches back to the seating area where she slaps the hand of her partner, Logan, so hard that he shakes his hand. Piz rises somewhat disconsolately and walks forward for his turn. PARKER: Ah, you're in a deep hole, Piznarski. We're going to totally humiliate you, but, you know, no pressure. LOGAN: Refreshments? PIZ: Ten martinis. LOGAN: Anyone else? He addresses Veronica with a grin. LOGAN: Dearest darling? Veronica, the other half of the losing team, just stares at him balefully. Logan heads off and Veronica takes a seat. Parker sits behind her. Veronica shouts at Piz, now holding his ball and preparing to bowl. VERONICA: Come on, Piznarski. We're dying. Veronica speaks more quietly to Parker. VERONICA: Correct me if I'm wrong but...this is fun. PARKER: Veronica. I'm sorry I was so grumpy before. You're right. It feels good to just...be out in the world. Piz has bowled his ball. He gets a split, leaving the two outmost pin standing. PARKER: Oh no! Seven-ten? That's the worst pair in bowling. Piz walks back, seriously put out. PARKER: Whatever shall you do? Veronica tries to encourage him. VERONICA: Come on, Piz. We need that spare. Parker continues to be, from Piz's point of view, obnoxious. PARKER: Don't blow it, Piz. Piz takes the ball again, glaring at her. He approaches the alley again. PARKER: So, what's the story with him? VERONICA: Him? Nothing. I've got a boyfriend. PARKER: No. No, no, no, no. I mean, is he free? VERONICA: Free as in...? PARKER: As in he's cute, don't you think? Piz bowls. His ball goes in the gutter. PIZ: Damn it straight to hell. PARKER: Find out what he thinks of me. VERONICA: What? Parker stands without answering as Logan returns. Veronica is not happy with having been asked to play go-between. End music: unidentified. INT - NEPTUNE GRAND, PRESIDENTIAL SUITE - NIGHT. Veronica collapses onto the couch as Logan changes his shirt in his bedroom behind her. VERONICA: No more fun. Too exhausting. LOGAN: Yeah. Next time we'll get in some weight training before we bowl. VERONICA: Just the soap opera. Parker wants me to find out if Piz likes her. What do I do? Pass a note? Scribble it on his Trapper Keeper? Veronica notices something in front of her. She leans forward to look more closely. VERONICA: Hey, did you get an A? LOGAN: Yeah, but the cheating kind of cheapens the whole thing. VERONICA: You're only cheating yourself. Veronica throws Logan's paper back on the ottoman that serves as the sofa's coffee table. LOGAN: Yeah, well I got off easy. Logan leaps over the back of the couch to land next to Veronica. LOGAN: You know that kid Horshack? From the, uh, that prison experiment? He got caught doing two tests. They busted him. And guess who else? That, uh, that psycho guard that was tormenting him so bad, Rafe? Yeah, he, uh, he was taking his test for him. You believe that? Veronica shakes her head. LOGAN: People are crazy, huh? There's a knock at the door. LOGAN: Oh, thank God. Real food. Logan gets up to get the door as Veronica relaxes with her arms behind her head. She hears the door open. WAITER: [offscreen] Good evening, Mr. Echolls. VERONICA VOICEOVER: That voice! LOGAN: Yeah, hi. VERONICA VOICEOVER: I recognise that voice. LOGAN: Here's five, thanks. WAITER: [offscreen] Have a good evening, thank you. Veronica leaps up and races to the door. She gets there and sees the waiter. It's Jeff Ratner. VERONICA: Wait! Excuse me? Jeff Ratner. What a surprise. Logan pulls the trolley into the room as Veronica stares at Jeff, her arms folded. LOGAN: Ah, you guys know each other? Jeff just stares at Veronica defiantly. VERONICA: You want to tell him, Ratner? JEFF: What's to tell? VERONICA: This is the guy who's trying to get me tossed out of Landry's class. JEFF: You should be. You cheated. VERONICA: Now it turns out you work at the Neptune Grand which happens to be where the fake paper was posted from. Strange, huh, Rory Finch. JEFF: What are you talking about? I don't happen to work here. I've worked here two years. You've seen me a hundred times but you don't notice the little people, 'cause you're too busy lounging with... Jeff points at Logan. JEFF: Captain Moneybags, here. LOGAN: That's Admiral Moneybags. JEFF: I trust the steak's to your liking. LOGAN: Always. JEFF: Goodnight, then. Jeff spins on his heel and walks away. Veronica stares hard after him. LOGAN: Well, that's my girl, spreading sunshine wherever she goes. VERONICA: That boy doesn’t know it yet but he's the living d*ad. Logan kisses the top of her head. INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - DAY. The alarm next to Wallace's bed is sounding. It's 9:06. Wallace is fast asleep on top of the covers, a textbook open across his body. Piz returns to the room from the bathroom. He shouts from the door. PIZ: Dude! There is no reaction. He steps over to Wallace's bed. PIZ: Dude. Hey... He stumbles against the table in front of the small couch and picks up a tennis racket from the table. PIZ: Hey look, man, it's school policy that if you're d*ad, I get to keep your stuff, so, if you are d*ad, just-just don't say anything. There is still no response. Piz pokes Wallace's leg with the racket. Wallace finally stirs. PIZ: Well, that's disappointing. Wallace rolls over and sees the clock. WALLACE: Oh, crap. He leaps up to a sitting position and starts collecting his stuff. PIZ: Yeah, I could have just left you there and taken your iPod and so.... Wallace doesn't even hear him and races out of the room, stumbling over the beanbag as he goes. PIZ: You're welcome. Piz stares after the departing Wallace for a moment, and then leans over the bed, trying to stop the alarm with the racket. INT - HEARST COLLEGE, GYM - DAY. Basketball practice is well underway. There are shouts across the court of basketball talk. The ball is thrown to Mason who bounces it away, revealing the door to the gym which Wallace runs through. WALLACE: Coach! The coach pointedly looks at the watch on his wrist. WALLACE: Sorry, I missed my alarm. COACH: Come here. Mason has chased the ball to the bench behind the coach and stops to comment. MASON: If it ain't Sleeping Beauty. COACH: Play the game, Mason. Mason returns to the game. COACH: You have a chance to start this year, as a freshman. Don't blow it by staying up all night, partying. You need to buckle down, Fennel. And go suit up. WALLACE: Okay. Wallace backs away, rubbing his face, then turns and runs to the locker room. INT - HEARST COLLEGE, RADIO STATION - DAY. Music: "Prince of Wands" by Douglas Armour. LYRICS: Want to hear your name on the radio Oh, Lisa, hi... Here you come and then there you go Oh, Lisa, I... It's always sunny where you lie Don't ask why Things don't work out the way you plan It's always funny when you cry Veronica walks into the outer room of the radio station, where all the albums are kept. VERONICA VOICEOVER: Eight years ago, I was sent to ask Brad Stark if he liked Suzy Doyle. Piz is on the phone. Veronica waves at him and Piz, a big smile on his face, waves back. He gestures for her to give him a minute. VERONICA VOICEOVER: The two of them never spoke again. Veronica sighs heavily, uncomfortable with her commission. VERONICA VOICEOVER: In the intervening years, I haven't gotten any better at this. PIZ: No, okay. We-we'll talk later, all right? Bye. Piz finishes his call and puts the phone down. PIZ: Hey, Veronica. VERONICA: Hey, Piz. Hey, thanks for bowling the other night. That was fun. Piz walks over to the room's couch and takes a seat. PIZ: Good, yeah, great, um, did Logan have a good time? VERONICA: He did, as well. We both did. Piz shuffles on the couch and gives a little laugh. PIZ: So, everyone had a good time then. I declare bowling a success. VERONICA: And Parker had a good time too. PIZ: Oh, yeah, good. She seems nice. VERONICA: You think so? The reason I ask is because... Veronica flails and puts her hand to her head. VERONICA: I'm sorry, I'm having a traumatic stress flashback to the sixth grade. Piz looks up at her with a quizzical smile. VERONICA: Parker thought you were cool. Piz nods, still not getting it. VERONICA: And also cute. Finally, he does. PIZ: Oh, huh. Ah, well... He falls into an embarrassed loss for words. PIZ: Oh. VERONICA: Oh, what? PIZ: I mean, no, she's really nice, it's j-...but she's not really my type. VERONICA: Oh. You have a type. PIZ: Yeah, kinda. And it's not her. He glances up at Veronica through his fringe. She smiles a little sadly and nods. End music: "Prince of Wands" by Douglas Armour. INT - HEARST COLLEGE, MECHANICAL ENGINEERING LECTURE ROOM - DAY. Professor Winkler is handing back work to the students. WINKLER: Okay, so remember, this was just a practice quiz, but all this material will be in your next exam. He reaches Wallace. WINKLER: [without sarcasm] Mr. Fennel. Sixty-seven, D+. That's a real improvement. Wallace takes and looks at his paper. He throws it down on the desk in frustration and sighs. INT - HEARST COLLEGE, LIBRARY - DAY. A chirpy Parker enters to see Veronica, working at the help counter. PARKER: Hey, Veronica. Guess what I just found out? Piz has a radio show. VERONICA: I know. PARKER: Tonight. You know the station's right in the student union. Let's drop by. VERONICA: It'll be late. PARKER: Ah, late schmate. It'll be fun. VERONICA: Everybody's always saying that. INT - HEARST COLLEGE, RADIO STATION - NIGHT. Piz is broadcasting. PIZ: Join us next time when we ask: why does everyone hate America? Veronica appears at the window that looks out onto the Food Court. PIZ: Is the rest of the world crazy or just stupid? Piz looks up and they smile at each other. PIZ: Well, that's it for the Piz. Stick around for Club Flush. Piz ends with a gesture to the production booth. Music: unidentified. Piz removes his earphones just as Parker arrives to stand next to Veronica. She waves cheerily at him. Piz, not so excited to she her, gives her a less genuine smile and half-hearted wave. Cut to a few minutes later as Parker walks into the inner broadcast booth. PARKER: This is so cool. Piz is still sitting in the DJ's spot, finishing off. PARKER: Why didn't you say you had a radio show? VERONICA: You know, I-I meant to mention it, but I guess it just slipped my mind. Piz, now standing, throws a glare at Veronica, who is leaning against the door behind Parker. VERONICA: We were just in the neighbourhood. PARKER: I always wanted to know how it all works. Maybe you could show me what all this stuff is sometime. PIZ: Yeah, the guy who does the club and house show is supposed to start now. Parker is thwarted, but not defeated. PARKER: Well, what's everyone doing after? I could totally use pizza. A voice calls out from the outer room. MERCER: [offscreen] You can have this. Veronica and Parker move to the outer room. Mercer is standing there with a slice of pizza in one hand and some records in the other. Piz follows them out. MERCER: I only licked it a little. Hey, Veronica. VERONICA: Hey, Mercer. You're the club and house show? MERCER: The down and dirty clubbin'-est. Mercer steps forward, throwing his pizza slice on top of the albums, and proffers his hand to Parker. MERCER: Hi, I'm Mercer. PARKER: Hi. As Parker shakes his hand, her smile falls away, replaced by a look of something very different. PIZ: Well, I haven't eaten dinner, so I could grab a slice. Parker drops Mercer's hand. PARKER: A-actually, uh, w-we gotta go. She points to Veronica, who is surprised by the sudden change of tactic. PARKER: Um, w-we'll see you later, Piz. Parker grabs Veronica's arm and hurries her out of the room in something of a panic. Mercer, seemingly oblivious to Parker's sudden chill, calls after them. MERCER: Uh, nice meeting you, Parker. Piz is confused. End music: unidentified. INT - HEARST COLLEGE, HALLWAY OUTSIDE RADIO STATION - CONTINUING. Parker is clutching Veronica's arm as she leads her out of the room. Veronica is concerned and puts her hand over Parker's. VERONICA: Parker, are you okay? PARKER: Oh, that guy, Mercer. I, just...his cologne. I smelled it before. Veronica turns to look at her, bringing them to a stop. Parker looks sick and is breathing fitfully. VERONICA: Yeah? PARKER: It's like b*rned into my brain...from the night I was r*ped. Veronica looks over Parker's shoulder and watches Mercer go to the large bookcase housing the station's vinyl collection. PARKER: I mean, I-I can't be sure but...oh, I just-I just got the worst- VERONICA: Vibe? Yeah. Veronica takes her arm and leads her further down the hallway, away from the radio station. VERONICA: He'll be in there for the next two hours. I'll look into it. INT - HEARST COLLEGE, MERCER'S DORM ROOM - NIGHT. Veronica lets herself into Mercer's room with the big bunch of keys. VERONICA VOICEOVER: Because I've still got twenty-four hours with Weevil's keys. She shuts the door and puts the keys back in her bag. She picks up a sweater from the floor and places her hands inside it so that she can search without leaving any prints. She starts with a small table by the door, opening the drawer and rifling through the clothes folded inside. She moves to the closet and searches there. She doesn't find anything of interest. She then walks over to a large chest of drawers. On top, there are various bottles and grooming products. She picks up a bottle of cologne. She replaces it and writes the name of it down on a small pad she is carrying, having divested herself of the sweater to do so. She grabs the sweater, which she had hung over her bag, replaces her hands into it and checks the drawers. She pauses at the second drawer down. She lifts a piece of clothing to reveal hair clippers and what looks like a plastic bottle of pills (or shoe polish.) Veronica finds this significant. INT - SHERIFF'S DEPARTMENT - DAY. Lamb is heading to his office, muttering to himself. LAMB: You wanna know why? 'Cause I'll stick my foot so far up your- He stops short at the door on seeing Veronica sitting at his desk. He shouts. LAMB: Hey! He spins round to address the office in general. LAMB: Can someone let me know when some girl is in my office? He turns back and walks into his office. LAMB: What are you doing here? VERONICA: I'm here about the rapes at Hearst. LAMB: Already aware of them. Thanks for coming by. I'm real busy. Now behind his desk, Lamb does a bow-come-gesture to usher her out of his sight. Veronica ignores it as he drops down into his seat. VERONICA: This is sketchy, but- LAMB: If it's Bigfoot, we checked. He's got an alibi. VERONICA: Oh, r*pe humour. It never gets old. I know one of the victims. Yesterday, she thought she recognised the guy who r*ped her, by his cologne. Lamb scoffs and throws his pen across the desk. VERONICA: And that I just happened to be in his room and I saw some clippers. LAMB: Does this man have a name? VERONICA: Mercer Hayes. Lamb is suddenly interested and leans forward towards her. LAMB: The kid who ran the card room who got robbed. VERONICA: That's him. What? LAMB: We finally found the stolen cashbox and...along with all the money, we found something interesting. Lamb goes on, more thinking aloud than sharing. LAMB: Two vials of GHB, the same date r*pe drug the r*pist used on two of his victims. INT - HEARST COLLEGE, GYM - DAY. The coach is working on plays on a blackboard set up on an easel in the gym. He hears someone approaching and looks up. COACH: Hey. Wallace walks towards him slowly. The coach continues to writes on the board. COACH: How's my diaper dandy? Here to get some extra work in? WALLACE: Actually, coach... The coach pauses his work and looks over at Wallace. WALLACE: I got this class that's k*lling me and I could drop it, change majors, but it's what I want to do for a living. Uh, I think I need to take the semester off. I'd be back by mid-season. I know you don't have to keep me on scholarship. COACH: Keep the scholarship, Wallace, but you do realise you're throwing away your chance to start. You probably won't smell the court this year. Are you prepared for that? Wallace's brow furrows at what it is costing him, but nods firmly. INT - NEPTUNE GRAND, FOYER - NIGHT. Veronica walks towards the reception desk. VERONICA VOICEOVER: I assumed after I called Ratner on this Rory Finch thing, it was over, until my new friend, Tina Callas, told me he just made a reservation. Tina sees her coming and gives her a quick smile before taking on a professional demeanour. VERONICA: You rang? Tina hands her a card. TINA: There you are, Miss. Veronica takes the Neptune Grand business card and turns it over. On the back is written: "Rory Finch room 906." Veronica smiles and walks away from the desk, putting the card in her bag. As she walks across the hotel foyer, Veronica spots something that surprises her. It's Keith, standing at the bar. He turns around and does a double-take on seeing her. They exchange a long glance before Veronica joins him at the bar. VERONICA: What are you doing here? KEITH: Just grabbing a drink. Are you, um... Keith points upstairs, indicating Logan, but before he can verbalise the question, the bartender sets two martinis down in front of him. BARTENDER: Two martinis, sir. Veronica raises an eyebrow and catches the worried glance Keith throws over her shoulder. She looks around and sees Harmony waiting at one of the bar's tables. She looks back at Keith. VERONICA: What are you doing? KEITH: Honey, I told you. It's completely innocent. We're just friends. VERONICA: You think the other person's great and you have a great time doing stuff together friends? KEITH: And there's nothing wrong with it. Veronica looks back at Harmony. VERONICA: Unless your friend is a very attractive, unhappily married woman. KEITH: Veronica. I know a little more about this than you. Don't worry. VERONICA: I worry. Veronica backs away from him. Keith watches her go, looking guilty. INT - NEPTUNE GRAND, ONE OF THE ROOM FLOORS - NIGHT. Veronica walks purposively up the hallway. VERONICA VOICEOVER: Okay, number 906, behind which lies the answer to everything. Veronica reaches room 906 and knocks firmly. She shows shock at seeing who it is. MINDY: Veronica Mars? Mindy is dressed in a hotel bathrobe. VERONICA: Mrs. O'Dell? Veronica is stunned and at a temporary loss for words. VERONICA: I-I was looking into a term paper thing and I...I'm sorry. Uh, wrong room. Veronica backs away, looking perplexed. Mindy shuts the door. Veronica heads back to the lift slowly, her brow furrowed. VERONICA VOICEOVER: So now I'm actually confused. What is the dean's wife have to do with the mysterious Rory Finch? In front of her, there's the sound of the ping of the lift and the doors open. She looks up to see Professor Landry, casually dressed and carrying a bottle of champagne. He stops short on seeing her. LANDRY: Oh. Veronica. He starts forward again and they pause as they pass in the hallway. VERONICA: Professor. Hi. I...got off on the wrong floor. LANDRY: Ah. Well, nice seeing you. VERONICA: See you in class. They both head on their way. Veronica gets into the newly arrived lift and watches him for moment as he heads for the corner around which is only room 906. Veronica calls out. VERONICA: Rory Finch? Landry stops and stares at her as the doors of the lift close. Veronica sags, disappointed in her academic knight. INT - NEPTUNE GRAND, FOYER - NIGHT. While Veronica is having her adventure upstairs, Keith is having his own in the bar having returned to the table where Harmony waited with the martinis. HARMONY: Perfect. Harmony holds out her glass to clink glasses but Keith has already g*n to lift his to his lips. HARMONY: Oh... KEITH: Oh. Keith grimaces at his faux pas and quickly clinks her glass with his. Harmony chuckles. HARMONY: You know what they say about martinis. KEITH: Um, something involving breasts. Both sip. Harmony smiles. KEITH: One's two few, etcetera. I'll have to settle for one if I'm going to make it home. Keith takes another sip. HARMONY: We don't have to worry. I mean, if we don't want to. KEITH: What do you mean? HARMONY: I mean... Harmony stares at him intently, willing him to understand. He doesn't, and she puts down her glass with something like a sigh. HARMONY: Well, honestly, um, I need to tell you something. I wouldn't, but all alone at the house I've got a lot of time on my hands to think, and one of the things that I think is knowing that I don't want to be lying on my death bed some day just counting regrets. KEITH: I'm still not sure what you mean. Keith is still being obtuse and takes another sip of his martini. HARMONY: [slowly, staccato] I mean, I got a room, here, if-if we think we might have use for... Harmony is horrified by the idea that she's gone too far. HARMONY: Oh, no. KEITH: Harmony, I don't know if that's such a good idea, right now. HARMONY: Oh, no, Keith, I'm sorry, I've ruined- KEITH: No. You didn't ruin anything because I really, really, really want to say yes. You are an amazing woman and...I just can't. Harmony smiles through the embarrassment and shakes her head. KEITH: I don't want to be on my death bed counting regrets either, but I just can't figure out which I'd regret more, going up or not going up, so, I have to, uh... Keith struggles as Harmony watches him. KEITH: I'm sorry. HARMONY: Yeah, mm-hm. Keith slinks away as Harmony remains where she is, swallowing hard. Music: "I'm Not In Love" by 10cc. LYRICS: I'm not in love, so don't forget it It's just a silly phase I'm going through And just because I call you up Don't get me wrong; don't think you've got it made I'm not in love, no, no, it's because... I like to see you, but then again That doesn't mean you mean that much to me EXT - NEPTUNE STREET - NIGHT. Keith drives home, still pondering his decision. He pauses as a junction, waiting to turn left. A car barrels out of the road he wants to turn into and straight into Keith's car. There's a cacophony of sound as metal scrunches and grinds on metal. The pickup truck that caused the accident stops past the point of impact. Keith's car has been turned more than ninety degrees by the impact. The man in the truck gets out and looks back. DRIVER: Oh, man! Keith is pressed against the back of his seat by the inflated airbag, covered in glass. The driver makes his way over to Keith. DRIVER: I totally didn't see that sign. Keith punches back the airbag. DRIVER: Are you okay? The driver leans in towards Keith. DRIVER: Are you okay? Keith pushes himself out of the car. KEITH: Yeah, yeah, I-I'm okay, I'm okay. The drives breathes a sigh of relief. DRIVER: Man, I-I guess I...I'll get some help. The driver races away. Keith, still dazed, gingerly touches his head. He takes a step back and surveys the damage before falling aback against the car in relief at still being alive. He laughs as he looks into the car, where the radio is still playing. His face then becomes serious and he shakes his head. The music gets louder. INT - NEPTUNE GRAND, HARMONY'S ROOM - NIGHT. There's a knock on the door and Harmony rises on tiptoes to peer through the peephole. She drops down and opens the door. There's no mussing and no fussing as Keith puts his hands on her face and kisses her hard. They grab each other hungrily. Keith slams the door shut with his foot before starting to slide Harmony's dress from her shoulder. He lifts her and they spin to another part of the room, never breaking their frantic kiss. End music: "I'm Not In Love" by 10cc. INT - MARS RESIDENCE - DAY. Veronica, still in her dressing gown, is stirring scrambled eggs in a pan on the stove. She calls out to Keith. VERONICA: Dad? This nutritious breakfast isn't going to eat itself. Come on, up and at 'em! Veronica gets no response. She turns off the heat and puts the pan back on the stove after a final stir. VERONICA: Dad! Veronica goes to his bedroom. VERONICA: Dad, come on. She knocks on the door and on getting no answer, she opens it. Keith's bed has not been slept in. Veronica looks both worried and disapproving. INT - HEARST COLLEGE, FOYLE'S OFFICE - DAY. Timothy is working in his room. Veronica appears, knocking casually on the open door before sauntering in. She's carrying a sheet of paper. TIMOTHY: Miss Mars. Do you need something? VERONICA: Just to give you this. She lays the piece of paper on his desk. He picks it up. VERONICA: This proves that whoever posted the paper I supposedly copied online did so after I'd already turned mine in. I didn't cheat, this proves it, and that's the end of that. TIMOTHY: Great. Timothy discards the sheet of paper and leans back in his chair, looking up at her. TIMOTHY: So you're off the hook. Did you prove who did it? VERONICA: More...process of elimination, but I'm still not sure why, so I thought I'd ask. Why did you do it? Timothy laughs. Veronica leans towards him, dropping her voice. VERONICA: Why did you want me to follow that trail to Rory Finch. You could get in a lot of trouble, you know, if I decided- TIMOTHY: Let me interrupt and preface this entire conversation with this. Uh, I didn't do it, and you can't prove that I did. Hypothetically, uh, I can see where one might think someone in my position would want to set up this sort of treasure hunt. I mean, after all, I was Professor Landry's protégé for three years before you showed up. A star pupil, right hand man. I got his dry cleaning, ordered Chinese when we worked late. I was like you: "What a professor! Smart, charming, such a great guy." VERONICA: And then you find out he had affair with the dean's wife. TIMOTHY: There were others before. The dean's wife, that's recent. Timothy bends forward, resting his elbows on the desk, now dropping his voice. TIMOTHY: A person in my position might have thought he was doing you a favour. Since the professor thinks so highly of you, it might be helpful to demonstrate who he really is before you go too far under his spell. Veronica straightens and Timothy leans back in his chair again. VERONICA: Do me a favour, will you? Don't do me any more favours. Veronica turns around to leave the office. As she goes, she notices what's on a large board on the wall next to the door. VERONICA VOICEOVER: What's this? The board is filled with a map of the campus and press clippings and notes about the rapes. There are various headlines, like "Second r*pe victim comes forward with details" and "Campus rapes continue to go unpunished," with the work "unpunished" highlighted. There are the pictures Parker and Nancy used to make the posters they carried in 304 "Charlie Don't Surf," and a similar one of Claire. On the map, various locations have been marked. A triangle has been made of the locations of rapes one, two and four with a central building, another of r*pe two and that same building and another. Four rapes are marked up. r*pe #3, Nancy's, is shown as occurring in Bennis Hall (based on that being marked as Logan's location in 303 "Wichita Linebacker." On the locations he's marked, Timothy has written various comments, like "Forced entry?" and "Need key to access." Veronica studies the board. VERONICA: You have the same kind of crazy press clipping board every movie serial k*ller keeps. TIMOTHY: You know, there's been no DNA evidence so far. No semen, no hair. Makes you wonder. Veronica peers more closely at the board, in the vicinity of Nancy's picture. VERONICA: Huh. TIMOTHY: [eagerly] You-you see something I don't? Veronica smirks and shrugs, giving nothing away. VERONICA: Maybe. Realising he's not going to get anything more, Timothy returns to his scam. TIMOTHY: You really thought Ratner did it. Veronica whips her head around to stare at him as she realises something. VERONICA: Oh, crap. EXT - NEPTUNE GRAND - DAY. Two managerial-looking hotel staff are opening a car, presumably owned by Jeff, who is standing between them, watching. The boot opens to reveal stacks of hotel goods - soaps, shampoos, towels, at least one bathrobe, at least one ice bucket. JEFF: No, no. Jeff steps forward to look more closely inside. JEFF: I did not put those in there. He doesn't appear to be believed as one of the managers shakes his head. INT - HEARST COLLEGE, MECHANICAL ENGINEERING LECTURE ROOM - DAY. Professor Winkler is lecturing. He underlines the words "Hooke's Law" on the board. WINKLER: Hooke's Law and a prismatic rod. Length L and cross-sectional area A, we treat as a linear spring. So, extension is linearly proportional to tensile stress by a constant factor... Wallace has given up his seat in the back of the room in favour for one in the front row. He listens carefully and frantically takes notes. WINKLER: The inverse of its modulus of elasticity. Winkler glances down at him with a hint of approval. INT - HEARST COLLEGE, FOOD COURT - DAY. Veronica carries her lunch tray into the seating area. DEAN O'DELL: Ah, Miss Mars. She's startled and turns to see the dean at one of the small tables, eating his lunch. DEAN O'DELL: Join me, would you. VERONICA: [hesitantly] Uh, sure, Dean. She looks around briefly before laying her tray at his table and sitting down. DEAN O'DELL: I just don't want more kids coming and giving me their ideas about how to run the school, my biggest problem as dean. He leans forward and confides in Veronica in a loud whisper. DEAN O'DELL: I don't like college students. Most of them anyway. VERONICA: So why do you eat here? He holds up the hamburger he is eating. DEAN O'DELL: This damn burger. I love it. If you see my wife, don't tell her. There's some things she's better off not knowing. Veronica is uncomfortable at this and swallows hard. VERONICA: Dean, I... He turns his face to her so abruptly, alert to what she has to say, that Veronica's resolve fails her and she passes it off by gesturing that he has food on his chin. VERONICA: Just some, uh... DEAN O'DELL: Hmm. The dean wipes his mouth with a napkin just as Logan arrives behind Veronica. He bends down, speaking urgently. LOGAN: Hey, I need to talk to you. Logan looks up and notices who Veronica is sitting with, for what appears to be the first time as he is a little taken aback. VERONICA: Sorry, I'll be right back. Veronica rises from the table and follows Logan a little away from it. VERONICA: So, what's up? LOGAN: [gravely] I need your help. VERONICA: What's wrong? LOGAN: It's Mercer. Lamb just arrested him for the rapes on campus. He didn't do it, okay? You have to help. VERONICA: How do you know he didn't do it? LOGAN: 'Cause I was with him the night of the r*pe this summer. VERONICA: Where? Doing what? LOGAN: I can't tell you, okay, but you have to trust me. He's innocent. Veronica stares at Logan. End.

{"type": "series", "show": "Veronica Mars", "episode": "03x06 - Hi, Infidelity"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... In the Food Court, Veronica takes a swig of her drink in 307 "Of Vice and Men." She later tries to get to her car, under the influence of the drug with which her drink has been spiked. She collapses by her car and her keys slip out of her hand. As a dark figure approaches her, she reaches out for them. The car alarm sounds briefly. Logan gallops along the line of cars, searching for her. Having found her, he cradles her in his arms, noting as he does the lock of hair left on the parking garage floor. He checks the back of her head, exposing that a patch has been shaved, leaving a bloody balk spot. Cut to Veronica walking across campus towards the Take Back the Night Rally in 301 "Welcome Wagon." NANCY: How many women like me have to be r*ped, have to end up like this, their heads shaved, before this administration listens to our demands? Shut down the fraternity houses! Many in the crowd cheer. Cut to the Theta Beta Zeta sorority house in 302 "My Big Fat Greek Rush Week." Hallie enthuses at the undercover sorority prospect. HALLIE: Welcome to Zeta Theta Beta. I'm Hallie. What's your name? VERONICA: Veronica. The dean tears into Claire and her lawyer, in the presence of Veronica and Nish, in 306 "Hi, Infidelity." DEAN O'DELL: There's no question Claire lied about the r*pe. You're expelled from Hearst College as of this moment. Veronica is caught by a couple of Pi Sigma Sigma fraternity brothers at their sexual conquest scoreboard in the basement in 216 "The Rapes of Graff." CHIP: What the hell are you doing here? VERONICA: Three hundred points? Nice work. Chip attempts to steer Veronica away. CHIP: Look, this is our business. I don't have to apologize- VERONICA: For being a r*pist? At the Theta Beta Zeta sorority house rush party, Marjorie pulls Veronica over to meet someone in 302 "My Big Fat Greek Rush Week." MARJORIE: You should meet Chip. He's president of the Pi Sigs. CHIP: This girl accused me of r*pe last year. VERONICA: Oh, you! Veronica playfully punches him, as if he is kidding. End previously. EXT - HEARST COLLEGE - DAY. Music: "Made to Be Broken" by Paul Minor. LYRICS: Goodness and kindness are down on their knees They're both begging, "Won't somebody please" "Put us out of our miseries" "Before somebody else does the choking" I'm hung up and hungry, and mad at the world My spirit was made to be broken On a patch of grass, a couple of boys, Bob and Ted, are playing with a Frisbee. As Bob runs back to catch the Frisbee, he trips over something. Rubbing his elbow, he looks back. It is the unconscious and stripped-to-his-underwear Chip Diller. The hair on Chip's head has been shaved. He laughs and crouches down next to him. He gestures to his friend. BOB: Ooh! Dude, come here! Ted walks over, having seen enough to be getting out his cell phone. TED: Dude! It's Chip Diller! Laughing, Ted crouches down the other side of Chip, taking a picture. INT - HEARST COLLEGE, NEWSPAPER OFFICE - DAY. End music: "Made to Be Broken" by Paul Minor. Former front pages line the walls. Nish's replacement walks into the cubicle formerly hers, checking through a file. He takes his seat. According to the yellow notice taped on the wall, he is Wilson Behan and he is talking to Veronica. WILSON: Your portfolio was still in a former editor's desk when I took over. I understand you two had some baggage but that's irrelevant to me. I'll take a talented photographer where I can find one. VERONICA: Great. Thanks. WILSON: You free tonight? Veronica is a little taken aback. VERONICA: Um...to take photos? WILSON: Yes. [condescendingly] It's why you're here. You know about the election? VERONICA: The board of trustees is voting on a resolution to remove the Greek system from Hearst. WILSON: That's the one. Vote's tomorrow. Tonight there's a reception - that's university speak for "cocktail party" - for the Board of Trustees. We need art. VERONICA: Yeah, I can sh**t it. WILSON: Bonus points if you get the dean wearing a lampshade. But mostly we want pictures of our most famous alum and board member, Selma Rose. Wilson rises from his seat and starts to walk. Veronica joins him. VERONICA: Selma Hearst Rose? They pass another yellow staff notice, noting that for today, the Operations Manager is Chris Flores. WILSON: The very. Granddaughter of our illustrious founder and heir to the Hearst-Mart fortune. They polled all the trustees. Word is Selma's the swing vote. Wilson delivers notices to the other cubicles as they pass. VERONICA: My mom, California's last flower child, loved her. She had a poster of her; you know the sh*t I'm talking about? He finishes his job and passes the file he is carrying to someone else, turning to head back to his cubicle. WILSON: Flying over Watts in '73, dumping out sacks of cash, her entire trust fund. She's giving the thumbs-up, huge smile on her face, while millions rain down on the ghetto. VERONICA: Well, she had her heart in the right place. They pause on route at the counter where the public enter. WILSON: Riots ensued. She was arrested when she landed. Served a month in county jail. Perhaps the most embarrassing case of noblesse oblige in the twentieth century. TED: Yo! Ted enters, carrying a photograph. Bob is behind him. TED: You guys pay for photos? WILSON: Sometimes. TED: Great. I got your front page right here. Ted slides the picture across the counter. It is the picture he took of Chip. Wilson picks it up. WILSON: Is that Chip Diller? Ted chuckles. Behind him, Bob is grinning. Veronica takes the picture from Wilson's hand and peers at it. TED: President of the Pi Sigs in all his glory. Yep She doesn't find it as funny as her male contemporaries. INT - MARS RESIDENCE - NIGHT. Veronica, garbed in a red frilly dress, grabs her bag as she exits her bedroom, shouting at Keith, who is in his own bedroom, as she goes. VERONICA: I'm off to steal the souls of the rich with my evil image-capturing device. KEITH: [offscreen] Have fun. Oh, and call Logan. He left a couple messages. VERONICA: I will. Bye! Veronica reaches the door and pulls it open just as Logan was about to knock. LOGAN: Wow, synchronicity. VERONICA: Hey there, tall, dark, and timely. LOGAN: I've been trying to reach you all day. Did you get my messages? VERONICA: I did. I'm sorry. I was gonna- Logan enters the apartment, walking past her. LOGAN: We need to have a talk, a serious one. VERONICA: Yeah, I got that from your messages. That-it's why I haven't called. I haven't had time to have a talk. LOGAN: Well, then I'll make it quick. I want you to stay away from the r*pe case. Okay? Just let it go. And it's clear the r*pist knows who you are. Veronica holds up a hand in a warning gesture, glancing towards Keith's room. She drops her voice and fingers stray to her hair, back in a bun. VERONICA: He doesn't know about the hair, just about the getting dosed part. LOGAN: Well, maybe he should be in the loop on this one. VERONICA: Don't you dare. LOGAN: Fine. Just stop digging around. Okay? No more looking into the serial rapes. No more putting your nose where it doesn't belong. Veronica is beginning to take umbrage at being told what to do. VERONICA: My nose kind of belongs wherever I decide to put it. LOGAN: I'm worried about you. Okay? I want you to stop now. I'm not kidding. VERONICA: Kind of a one-eighty, isn't it? Can we rewind a week? Cue it up to the part where you were asking me to exonerate your Mexican vacation buddy, Mercer. LOGAN: That was before you were att*cked. [increasingly agitated and loud] Why can't you for once just leave things alone? VERONICA: Okay, now you're starting to piss me off. Logan raises his voice. LOGAN: Frankly, Veronica, so what?! You're not invincible, and you're not always right! Keith, in his dressing gown, comes out of his bedroom. KEITH: Hey! Logan looks over his shoulder at him. Veronica takes a deep breath. KEITH: You might want to stop yelling at my daughter. LOGAN: Yeah? You might want to start. Logan storms past Veronica and out the door while Veronica placates Keith who appears to be determined to follow Logan out. VERONICA: Dad, please, it's okay. He's just worried about me. They both reach and pause at the door. KEITH: Does he have a reason to be? Veronica sighs heavily. VERONICA: The Hearst r*pist has everyone on edge. Keith looks out again, presumably at Logan's back. His face softens. He looks back at Veronica KEITH: Well, you take care of yourself. I'm always a phone call away. Veronica smiles. VERONICA: I know you are. She reaches up to give him a hug. He chuckles. VERONICA: Ciao, Papa. Veronica leaves. Keith stares after her and sighs. INT - HEARST COLLEGE, RECEPTION ROOM - NIGHT. The reception is in full swing. Snatches of conversations can be heard as the great and the good gather. A couple of waiters circulate with trays. Veronica is taking photographs. She turns and can see Dean O'Dell with Selma Hearst Rose. O'Dell grabs an appetizer from a passing waiter. DEAN O'DELL: Selma, who am I gonna tell? SELMA: How can I be the swing vote if you know which way I'm going to swing? VERONICA: Mind if I take a quick sh*t for the Hearst Free Press? DEAN O'DELL: Which one of my good sides do you want? SELMA: I'm guessing the one without the trail of Thousand Island. Selma passes him her napkin and he wipes his face. DEAN O'DELL: You should really be nice to me. I'm about to kiss your ass. O'Dell puts his arm around her and they pose for Veronica. She takes the sh*t. Cut to later. O'Dell taps the microphone and addresses his guests, standing at a small lectern in front of a fancy sign: "Welcome Board of Trustees." Under the words is the crest and "Hearst College." DEAN O'DELL: I want to thank you all for coming. Hearst College is extremely fortunate to have such well-respected members on its board. And we're especially thrilled tonight to add Selma Rose to our distinguished panel. O'Dell leads a round of polite applause. Veronica takes a picture of him before dropping the camera and listening. DEAN O'DELL: Since taking over the family business two years ago, Ms. Rose has step-by-step turned Hearst-Mart into a leader in corporate responsibility. Veronica checks her camera then readies herself for the money sh*t. DEAN O'DELL: Ladies and gentlemen, I give you Selma Hearst Rose. O'Dell holds out a welcoming hand and the small crowd clap. The clapping dies away when Selma doesn't appear. DEAN O'DELL: Selma? You're not waiting for me to carry you piggyback, are you? O'Dell chuckles at the joke that only he appreciates. Everyone else in the crowd looks around, perplexed. DEAN O'DELL: Selma? O'Dell puts his hand above his eyes, scanning the crowd. Veronica looks intrigued. Cut to later. Most of the guests have gone and two waiters are collecting glasses. Veronica is still there in the background, talking to one of the lingering guests. At the door to the main reception room, Lamb is talking to O'Dell. LAMB: Foul play. You think? What makes you say so? DEAN O'DELL: An extremely wealthy woman disappears in the middle of a reception held in her honour. Don't you find that, I don't know, odd? LAMB: Well, I mean, there's "odd" and there's "foul play." Rich ladies aren't the most reliable creatures. DEAN O'DELL: Of course, she must have remembered her tennis lesson. How silly of her to forget. I don't suppose there's someone I can speak with who would take this seriously. LAMB: Dollars to doughnuts, you'll find her sobbing into a mojito at the club because she lost an earring. DEAN O'DELL: Well, you'd be the doughnut expert. Excuse me. O'Dell marches past Lamb, into the room. Lamb watches as O'Dell approaches Veronica. DEAN O'DELL: Veronica, I'd like to talk to your dad. O'Dell points back at Lamb. DEAN O'DELL: This man is no help whatsoever. EXT - HEARST COLLEGE - NIGHT. Veronica is striding confidently down a portico running alongside one of the buildings, talking on her cell phone. VERONICA: Beer off your belly, hand out of your boxers. Put on some pants. I'm bringing home a visitor. She stops short on the sound of glass breaking. She looks behind her, but doesn't see anything. VERONICA: Okay, I love you. Bye. She switches off the phone and looks around her again. It is very dark and she sees a figure in the shadows, taking a quick step out of what light there is. Veronica digs into her bag as she takes a few more steps forward and looks out across the courtyard she needs to traverse. She clutches the taser she has retrieved from her bag and runs across. INT - MARS RESIDENCE - NIGHT. O'Dell sets down his coffee mug onto the kitchen counter. DEAN O'DELL: I've known this woman for almost twenty years. If there's a microphone and an audience, she's not going anywhere unless dragged. Keith is sitting opposite him at the counter. Veronica is standing behind Keith, leaning against the stove. KEITH: You talked to her husband? DEAN O'DELL: He's terrified. I'm telling you, anyone who knows Selma knows something is seriously wrong. Look, the Sheriff is an idiot. I've met smarter sandwiches. Keith and Veronica both smirk at that. DEAN O'DELL: I'm afraid she's been kidnapped, Keith. Hearst College has had riots, rapes...and now abductions? I need you to find her. Opening credits. INT - MARS RESIDENCE - CONTINUING. Cut to a little later. Keith is showing O'Dell to the door. KEITH: So, I'll do what I can on the computer tonight and start with the legwork in the morning. DEAN O'DELL: Thanks, Keith. O'Dell steps outside, but turns back to face Keith on a thought. DEAN O'DELL: Oh, one last thing. One of the board members said he saw Selma talking to a waitress as I began my introduction. He turned around as I was calling for her, and she was gone. KEITH: All right, we'll follow up on that. They point at each other in farewell. KEITH: Good night, Cyrus. O'Dell leaves and Keith shuts the door. He folds his arms and turns to his daughter. KEITH: So, here's my thought: I'll go talk to the family tomorrow, and you talk to the waitress and the caterer. VERONICA: Ah...high road... She points at him, then back at herself with her thumb, forming a g*n. VERONICA: Low road. She clicks her tongue. VERONICA: Got it. Veronica heads for her bedroom as Keith grins in his amusement. He shakes his head and sighs. INT - HEARST COLLEGE, RECEPTION ROOM - DAY. The same room that served as the location for the reception now serves as a dining room. The tables are more or less set. Linda, the caterer, is folding napkins and placing them in the glasses. Veronica, complete with a bandana on her head, is following Linda around the tables as she works. VERONICA: So, one of the board members said they saw Selma Rose talking with a waitress before she disappeared. I was hoping to get the names and numbers of your waitstaff. LINDA: Who are you again? VERONICA: Veronica...Mars. I'm working for the dean. You can call him if you want. LINDA: Well, if it was a waitress and not a waiter, then you only need one name. There was only one girl working last night. INT - HEARST COLLEGE, HALLWAY - DAY. Veronica is leaning against the wall, waiting for one of the classes to disgorge. She spots her target. VERONICA: Hey, Fern. What up, girl? FERN: What do you want, Buffy...Tiffany...whatever your name is? Veronica keeps pace with Fern up the hallway. VERONICA: "The Female Voice in Celtic Literature." I am woman, hear me bore. Fern snorts. VERONICA: I heard you had a little chat with Selma Rose last night, right before she disappeared. Fern slows and Veronica steps in front of her. VERONICA: Can I guess? She was contemplating a nose ring? FERN: I was letting her know she had a phone call. VERONICA: Who was calling for her? FERN: I don't know. Some woman. The phone was ringing off the hook in the kitchen. It was driving me up the wall, so I answered it. Someone wanted to speak to Selma Rose and I was nice enough to relay the message. VERONICA: You didn't ask who was calling? FERN: I didn't care. Fern sets off walking again. VERONICA: You know what's funny, and not like funny "ha ha," a driving force in getting the Greeks kicked off campus... Veronica points at Fern. VERONICA: That's you - is the last person seen speaking to the trustee with the swing vote. FERN: You know what else is kind of funny? The girl who saved the Pi Sigs is apparently leading the charge to track down that swing vote. VERONICA: I wasn't saving the Pi Sigs, I was getting to the truth. FERN: Well, the truth is that your Pi Sig friend just kicked off SexQuest '06. You know what that is, freshman? VERONICA: Yeah, they award themselves points for getting laid. Fern pats Veronica on the arm before walking away. FERN: Just watch what you drink. Veronica stares after her. EXT - ROSE RESIDENCE - DAY. Keith walks up to the front door of what appears to be a palatial house, with marble on the porch and ornate arched double door with fancy wooden fretwork on glass. He rings the bell and is let into the house by a maid. INT - ROSE RESIDENCE - DAY. Inside, Keith steps closer to a wall of pictures and citations, one of which is from Hearst College. It is a certificate of recognition for outstanding mentorship awarded to Budd and Selma Rose. There are a number of pictures, including one of Budd with Jimmy Carter, and, set in wood, is a brass plaque next a brass carp. This particularly attracts Keith's attention as he is greeted by a voice. BRANT: Mr. Mars. Sorry to keep you waiting. Keith points to the carp. KEITH: What is that? Is that a goldfish? Keith fingers the sculture. BRANT: It's a carp, a golden carp awarded- Brant notices what Keith is doing and clears his throat. BRANT: Please don't touch it. Brant takes a cloth from his jacket and prissily wipes the carp of fingerprints. BRANT: My name is Brant. I am Mr. Rose's personal assistant. Unfortunately, Mr. Mars, my employer won't be able to see you at the moment. He's resting. KEITH: I believe he's expecting me. Keith points towards the interior of the house as Brant returns the cloth to his inner jacket pocket. BRANT: Mr. Rose is understandably distraught, as I'm sure you can...understand. KEITH: I've been hired to find Mrs. Rose. I'm sure Mr. Rose will want to do everything possible to help. BRANT: Of course he does. But as I mentioned, he's not available at the moment. A voice rings out from further inside the house. BUDD: Brant, will you stop harassing our guest? Bring him in here. Brant, put out, sighs and waggles his finger indicating that Keith should follow him. Brant leads Keith into a large room. BRANT: Mr. Rose, this is- Budd is sitting at a large chess set, placed inside a bay window. He is in a wheelchair. BUDD: Yes, Brant, thank you, I know. BRANT: Can I get you- BUDD: No, just some privacy, please. Budd manoeuvres the electric wheelchair to face his visitors. Brant nods his head unctuously, turns, glares at Keith, and then leaves the room, playing the dignified martyr. Keith walks into the room, holding out his hand to Budd. BUDD: I'm sorry about Brant. They shake hands. BUDD: He, uh, he tries to protect me from, well, just about everything, actually. Do you have any news about my wife yet? KEITH: I'm sorry. Not yet. BUDD: Cyrus fears she's been...kidnapped. Is that what you think? KEITH: Right now, it's a missing-person case. There's no ransom note. No reason to jump to that conclusion. BUDD: No, no, right. I know. I know. I should be stronger about all this. KEITH: Has your wife had any business problems that, uh, you might be aware of? BUDD: Selma's always having business problems. She's had to fight the board tooth and nail for every bit of reform she's brought about. Keith nods. BUDD: I'm afraid I-I don't know much about the business anymore. Her brother Roger's flying in later today. Um, he was coming in for a meeting anyway. He'll be taking care of their company in her absence. KEITH: It would be helpful to speak to him. BUDD: Oh, yes, of course. I'll have Brant give you the number to his assistant. She flew in yesterday. He likes to call her his "advance team." Budd chuckles. BUDD: Well, she's worse than Brant, actually. Keith raises his eyebrows, as if such a thing couldn’t be possible. EXT - ROSE RESIDENCE - DAY. Brant escorts Keith back to his car through the well-tended grounds. BRANT: Please let me know if I can be of any further assistance, Mr. Mars. Keith turns at the sound of yapping dogs. Though the doors of a guest house can be seen two small white Pomeranians. BRANT: Terrifying, aren't they? Keith smiles and they walk on, coming across a silver BMW. KEITH: Nice car. Yours? BRANT: No. That belongs to the grossly overpaid dog walker. KEITH: I should get his name. Keith gets out his pad. BRANT: It's a she. In the back window of the car, there's a Hearst College sticker. INT - SHERIFF'S DEPARTMENT - DAY. Lamb is at his desk, writing on a pad. Sacks knocks and enters, grinning. SACKS: Guess who's on the phone for you. LAMB: Someone who wants to sit on hold while you play stupid games. Sacks shakes his head, still smiling. SACKS: Martina Vasquez. Sacks waggles his eyebrows suggestively. LAMB: Martina Vasquez? The h-hottie from Channel 9? SACKS: Said she had a few questions about Selma Rose's disappearance. Lamb hurriedly puts his pad down and leans to the phone. LAMB: Put her through for me? Sacks snaps his fingers and points at the phone. Lamb places the phone in front of himself, then taps on his keyboard. He's on Planet Zowie and types in the name. LAMB: Martina Vasquez. He brings up a Channel 9 KTML page under the sub-heading "Meet the Channel 9 News Team". Martina is described as an Anchor. The end part of her bio can be read: "...numerous accolades for her honest, thorough reporting. Originally from Tucson, Arizona, Martina quickly rose through the news ranks KRAC, staring with copy editor assistant and rising to daily local news coverage. For years, Martina Vasquez charmed Arizona viewers on KRAC, but in her heart, she always wanted to live and work in Southern California. So when Channel 9 came calling, she packed her bags and headed straight to San Diego. You can find her as co-anchor for Channel at 8am and 12pm every weekday. Martina also tackles the latest social issues, exposes and revelations in her exclusive 'Society Revealed' reports every Tuesday and Thursday at 8am and Fridays at 12pm on Channel 9. Born and raised in Austin, Texas, Martina has an Associate of Arts in News Casting and a Bachelor's degree in Creative Writing. Be sure to tune in to Martina Vasquez every weekday morning at 8am and again at 12pm!" Down the right-hand side, Doug the weatherman gets up plug for his 24/7 Weather Updates. Lamb clicks on the link to "Martina's Latest Topics!" He picks up the phone. LAMB: Miss Vasquez, what can I do for you? He listens for a moment. LAMB: Well, I am here to help in absolutely any way that I can. By the way, I caught your most recent piece on, uh... Lamb leans into the screen to read the list of Martina's latest topics: "Morning After Pill Myths Debunked," "Megan's Law: A Look Back," "700 Miles of Protection?: The Fence," "Annual Fete Round Up," Animal Fights: The Dark Side of SD," "Missing From Work: Immigration News," and "The Good Fight: Morals Over Beliefs." LAMB: The morning-after pill. It was...informative. INT - MARS RESIDENCE - CONTINUING. The other side of the conversation is revealed. It's Veronica, sitting on her bed with her laptop on her lap. She fakes a quasi-Mexican accent, twirling with her hair to get in a flirty mood. VERONICA: Well, thank you, Sheriff, I'm glad you enjoyed it. We've learned that Selma Rose received a phone call before she went missing. Have you learned who the call was from yet? The camera continues to cut between the two locations. INT - SHERIFF'S DEPARTMENT/MARS RESIDENCE - CONTINUING. LAMB: Actually, Martina, we checked that out, and it was false information. There was no record of an incoming call that night. VERONICA: You are sure? LAMB: Yeah, if you'd like, I can keep you in the loop with this sort of stuff. Lamb hears a click on the line and Keith's voice. KEITH: Hello? VERONICA: [whispering quickly] Dad, I'm on the phone. KEITH: [shouting] Oh, sorry, honey! Let me know when you're off. Lamb's face turns as black as thunder. VERONICA: Sheriff...you were saying you'd be able to keep me in the loop? Lamb slams the phone down and stares at it malevolently. INT - MARS RESIDENCE - CONTINUING. Veronica switches off the phone and shouts out to Keith. VERONICA: I'm off! INT - HEARST COLLEGE, FOOD COURT - DAY. Dick has a hamburger and onion rings on his plate. He picks up his hamburger, ready to take another bite but senses a presence behind him. He glances back to see Veronica, hands on hips. He sighs, disgruntled. VERONICA: The Pi Sigs are doing their SexQuest again. Dick resumes interest in his hamburger, taking a bite. VERONICA: Collecting points for conquests? Think that's such a good idea at a university with a serial r*pist on the loose? Dick continues to face forward, talking with his mouth full. DICK: You raise an uninteresting point. But, hey, don't worry your pretty head about your pal Dick. My points are in order, courtesy of Miss Bonnie Capistrano. Her curvature of the spine is hardly noticeable. Veronica, her arms now folded, gasps in distaste. DICK: But I still got the handicapped bonus. VERONICA: You're repugnant, Dick. DICK: Seriously, you'd hardly notice it. Dick takes another bite of his burger as Veronica finally moves to join him at the table. VERONICA: Ever stop to think that the Pi Sig's SexQuest might be connected to your Pi Sig president getting his head shaved, like it's a warning? Or retribution or something? DICK: Actually...that kind of makes sense. Okay, I'm so not supposed to be telling you this, but it's...way too good. So, not only did Chip get Kojaked, someone put a Roman numeral in one of those little plastic Easter eggs and stuck it in his where-the-sun-don't-shine place. And you know where that is. Veronica stares at him open-mouthed for a second before the corners of her mouth turn up. VERONICA: Worst Easter egg hunt ever. DICK: Not a banner day for Chip Diller. He had to get one of the brothers to help unpack his suitcase. Dick crunches on one of his onion rings. VERONICA: What was the number? DICK: What? VERONICA: You said there was a Roman numeral in the Easter egg. DICK: You're missing the point. Dick attempts a Cockney accent for emphasis. DICK: They put it up his bleedin' bum. Dick laughs in appreciation of his own wit. VERONICA: Which speaks to the number being significant, don't you think? DICK: I guess. I don't know what the number is. It wasn't a baby shower. We didn't all sit around waiting for him to open the egg so we could see what he got. Dick accompanies this last comment with an impression of a kid at a birthday party. VERONICA: Do you know what he did with it? DICK: If it's not in his hope chest, I'm thinking he threw it out. VERONICA: When is your garbage collected? DICK: And you think I'm "repungent." VERONICA: Yes, Dick. Yes, I do. DICK: The garbage truck comes Friday morning. Morty the homeless dude comes Thursdays to pull out the bottles and the cans. I can't tell you if they recycle keister eggs. INT - HEARST COLLEGE, HALLWAY - DAY. Fern comes out of another of her classes and sighs loudly. Veronica is waiting again. On the board behind her are a number of notices, including ones offering such diverse delights as the Existential Angst Café and Coffee House and a Mu Theta Pi pizza and music party starting at midnight. FERN: Why are you following me around? VERONICA: Fulfilling my gym requirement. Yoga had a written final. So, it turns out there was no record of an incoming call the night of Selma Hearst's reception. FERN: Well, maybe the call came from another extension in the building. You ever think of that? She hadn't and realises it is a good point. VERONICA: Oh. Fern moves to press past her but Veronica isn't finished and steps back in front of her. VERONICA: Hmm. Just one more thing. When you stick an Easter egg in a frat boy's "out" door, do you kiss him first? FERN: Is that a riddle? VERONICA: Poor Chip. You really wrecked him. Fern jerks her head back, but it's not clear if she got Veronica's pun on "rectum" or not. She could simply think Veronica is crazy. She walks away, leaving Veronica to celebrate her play on words alone. VERONICA: Ba-dum-bum. Veronica thinks for a moment before turning to watch Fern as she carries on up the hallway. EXT - PI SIGMA SIGMA FRATERNITY - DAY. A man, grubby and unshaven, is rooting around in a garbage skip. Dick knocks on the skip. DICK: Morty, my man! Morty looks out and is surprised to see Dick and Veronica. DICK: So, this is my friend Veronica. Veronica, Morty. Morty, Veronica. Morty holds out his hand to shake. Dick and Veronica both avoid doing so, Dick with a double thumbs up and Veronica with a salute. VERONICA: This might sound like a strange proposition but...while you're down there... Veronica holds out a $20 note. Cut to a few moments later as they wait for Morty to finish his investigations. The skip is at the back of the Pi Sigma Sigma house and a girl exits from the back gate. Dick throws up his arms. DICK: What the hell, Bonnie?! BONNIE: That's exactly what I was thinking. Another cute frat boy. What the hell? DICK: [crossly] You realize you're worth, like, half the points now. You went from top shelf to bargain basement in, like, three seconds! BONNIE: It was more like the third-floor bathroom to the pinball machine in, like, forty-seven minutes. Bonnie happily walks away, happy with herself. Veronica and Dick watch her go, Dick shaking his head in disappointment. Veronica turns back to him, reminded of "Pinball Wizard" by the Who. VERONICA: She always gets a replay. Never tilts at all. Veronica mimics a drum smash and holds up her fingers, doing a bizarre dance. She only stops on hearing Morty's voice from the skip. MORTY: Got it. Morty's head and rubber-gloved hand can be seen at the top of the skip. He brings up his other hand. A garishly pink-coloured egg rests between his thumb and forefinger. VERONICA: Aah. The incredible, inedible egg. Veronica unfurls and slaps out a plastic bag, holding it towards Morty. He drops it into the bag. Veronica seals the bag. ROGER: [offscreen] Selma's fine. INT - ROSE RESIDENCE - DAY. Roger Hearst leads a procession, comprising Keith and Roger's assistant Barb, down one of the marble-floored halls. ROGER: Trust me. I know my sister. This is her just flaking out. Roger is more intent on a call he is trying to make. ROGER: Again? Without a break in his stride, he holds up his cell phone to show Barb. ROGER: Why is it doing that blinking thing? Barb hurries to catch up and take the phone from him. She punches at the buttons. ROGER: She's probably wrapped in algae somewhere outside of Santa Fe with a couple of cucumber slices on her eyes. Roger clicks his fingers at Barb, who returns the phone to him. KEITH: If she decided to "flake," as you put it, don't you think the middle of her reception is an odd time? By now, they've arrived at a large reception room overlooking a fountain in the grounds through large, curved windows. There is a grand piano on one side, in front of a floor to ceiling tapestry on the wall. ROGER: Oh, it's the perfect time, right before she had to make a decision. KEITH: Doesn't sound like the behaviour of the top executive of a Fortune 500 company. ROGER: Oh, my sister's not a businesswoman. She's a humanitarian. Not a big profit margin there. He fiddles on the phone for a moment, then holds it out for Keith to see the screen. He chuckles. ROGER: Have you seen what Selma's disappearance has done to our stock? KEITH: I haven't. ROGER: [gleeful] It's skyrocketing every day that she's missing, just on the assumption that we'll continue to sell merchandise manufactured in Asia. Selma actually wanted Hearst-Mart to deal only American-made products, which - here's a hot tip - we won't. Roger looks down at his phone again. ROGER: I still don't have anything from Evan. BARB: I've left four messages for him. ROGER: [obnoxiously] And a fifth would k*ll you? Barb turns around to use her own cell to get hold of the elusive Evan. ROGER: My guess? She probably took off to get some time away from Budd. Word is she's already talked to a lawyer. KEITH: Your sister was considering getting a divorce? ROGER: Since the accident, Budd has become more and more clingy. He follows her around like a pull toy. At this point, she probably cares more about her dogs than she does her husband. In the background, Barb has managed to reach Evan and hands her phone to Roger. He takes it. ROGER: I wouldn't be surprised if she left everything to little Ernest and Julio in her will. Roger turns his back on Keith to take the call. ROGER: Evan! Keith's face remains passive, although his distaste for Roger is pretty obvious. INT - HEARST COLLEGE, FOOD COURT. Wallace, who is now sporting a much shorter Afro, is getting his food from one of the counters. Veronica is with him, holding up her notebook. WALLACE: They glued "travel Scrabble" tiles? VERONICA: "CXI" and "CMIII." Veronica shows him the pad as they walk forward to a table. WALLACE: Inside a plastic Easter egg and stuck it... Wallace's thumb jerks upwards. VERONICA: Halfway to China. WALLACE: I'm never going on another Easter egg hunt again. VERONICA: And I'm never playing Scrabble again. They find a table and Veronica slaps her pad down as they sit. VERONICA: In Roman numerals...it's 111 and 903. And, for better or worse, you're my numbers guy, so...go. She holds up the pad to Wallace on which is written the two Roman numerals with 111 and 903 under them, each circled. Wallace is confused. WALLACE: What am I doing? VERONICA: Telling me what these numbers mean. WALLACE: They mean we got some twisted sickos here. Anything else I can help you with, that's free of charge. Veronica pulls back the pad and looks at the numbers again. VERONICA: Come on. It's one digit short of a phone number. It could be a locker number. WALLACE: Why would someone stick an egg... VERONICA: That's what I'm trying to find out. Ooh, driver's-license number. Check number? WALLACE: Just one egg, right? VERONICA: [warningly] Wallace. Wallace smiles at the hint to get his mind off the egg. WALLACE: Maybe it's a student ID number. VERONICA: Brilliant. Veronica slaps down her pen and gets her student ID out of her bag. She holds it against the pad to compare the numbers. Her ID number is U073456753. She shakes her head. VERONICA: No. One too many digits. Veronica can't count. Even without the U0, it's actually two to many digits. VERONICA: It's almost like you don't want to help. She sighs, giving him a sidelong look. Wallace looks back balefully. Something occurs to Veronica. VERONICA: Hold the phone. Something on the ID card has her try something. She writes on the pad: "11/19/03." VERONICA: Six. It's a date. WALLACE: It's almost exactly three years ago. Three years and two days. INT - HEARST COLLEGE, LIBRARY - NIGHT. Veronica is scanning back copies of the Hearst Free Press, bound together in a large volume. VERONICA VOICEOVER: Closed library? Not to the help-desk girl. She opens to headlines that include "Using animals to entertain is disgusting and inhumane" and "Student Union renovations should wrap by Februrary [sic]." VERONICA VOICEOVER: To me it's wide-open with all its lovely back issues of the Hearst Free Press just waiting to tell me if something significant happened on campus on 11/19/03. Veronica reaches a page of interest. She ignores a couple of headlines: "Study Abroad Programs draw record number of students - Students flock to Europe and beyond" by Stepley Coleman and "Pell Grant freeze cools applications - Cuts force students to abandon dreams" by Seth Nibbler, going straight to one on the lower left of the page: "Theta Beta pledge falls off house roof - Pitrelli '07 falls off sorority house roof while girls were sunbathing" by Tammy Gittelson. There's a picture of the Greek letters on the wall of the sorority the caption to which reads: "Slippery Sunbathing. Zeta Theta Bets girls were sunbathing Tuesday when of their new pledges fell off the roof of their house." In the course of the article, (and skipping over the untimely mention of a "serial r*pist") the Pi Sigma Sigma fraternity is mentioned as being known on campus as "Animal House." Veronica hears something that makes her lift her head and look around. Seeing nothing, she returns to her reading. VERONICA VOICEOVER: Patrice Pitrelli falls off sorority house roof? Veronica hears a noise again, a squeaking noise. She pushes back her chair to look behind her. This time the library itself seems thr*at, and Veronica gets up, her bag already on her shoulder, and runs. She races down the stairs last seen in 303 "Wichita Linebacker" and heads for the counter where she crouches down and hides. The squeaking noise is steady, rhythmic and getting closer and Veronica's terror is plain to see. A man's legs come into view and stand near her. Veronica breathes jerkily. Finally a bucket on wheels and a mop appear. It's a janitor cleaning the floors. He's wearing an iPod through which something raucous is pouring into his ears. Veronica lets out a huge sigh of relief. INT - MARS RESIDENCE - DAY. As Keith sits at the kitchen counter, Veronica emerges from her room. She's a little fragile. KEITH: Morning. VERONICA: Yes, it is. She reaches for the coffee pot. VERONICA: It came a little bit earlier than I would have liked. She pours herself a cup of coffee. Keith holds up a sheet torn from his notebook. KEITH: So, I ran the plates for the Roses' dog walker. VERONICA: You want me to go check her out? Size her up? Shake her down? KEITH: If you wouldn't mind. Veronica takes a gulp of her coffee before walking forward to take the sheet of paper. VERONICA: Lucky for you...I can do that in my sleep. She checks out the name and address: Hallie Piatt, 8684 Elm St., Neptune, CA 90909. VERONICA: Huh. Veronica smiles and Keith chuckles. EXT - HEARST COLLEGE, SOUTH QUAD - DAY. Hallie is lying on her back sunbathing in a leopard-print bikini. A shadow falls over her. She opens her eyes to look up at the obstruction. HALLIE: You're blocking my sun. VERONICA: Oh, is that yours? I'm so sorry. Veronica giggles and drops to the ground, lying on her stomach. VERONICA: Oh, my God, Hallie. Bemused, Hallie rises up on her elbows. VERONICA: Are you, like, so totally worried about your missing boss? I know she had the power to kick you and your sisters off campus, but you must be, like, a basket case and a half. Your face is getting a little pinkish. You should flip. Cut to a commercial break later. Hallie and Veronica are now in sitting positions, facing each other. HALLIE: I'm Selma Rose's dog walker. So? VERONICA: You having a job? Shock right there. It requiring that you wear a plastic bag on your hand while waiting for Fido to kick out a lodger? That makes me dizzy. HALLIE: You don't know the first thing about me, Veronica. VERONICA: I know like eight, possibly nine things. But you're right. I have no idea which one is first. Is it that you're a Theta Beta that'd do anything for her sorority? Hallie scoffs. HALLIE: You think I had something to do with Mrs. Rose's disappearance? VERONICA: Perhaps. HALLIE: If there's anyone you should be concerned about, it's that guy Brant. Mr. Rose's assistant? He's, like, in love with Mr. Rose, like Swimfan love. He won't let anyone talk to him. He follows him everywhere. At one time, Mr. Rose was taking a nap, and I saw Brant stroking his hair...so completely creepy. Ugh. Oh! And just a couple weeks ago, Mr. Rose asked him to help him with an anniversary party for Mrs. Rose, and Brant threw a teacup at the wall. She laughs derisively. HALLIE: I mean, the guy's been married for ten years, and Brant thinks he's going to switch teams for a sorry, teacup-throwing ass? I don't think so. Hallie reaches for her pink shirt and puts it on. VERONICA: That's very helpful, Hallie. HALLIE: Uh, yeah. 'Cause it's the truth. VERONICA: And sharing the truth is good. I say we ride that honesty wave all the way home. Side question: what do you know about Patrice Pitrelli? She scoffs again. HALLIE: God! What's with all the questions? What's next? Do you want to know where I buried Jimmy Hoffman? VERONICA: Dustin's brother? Hallie doesn't understand that Jimmy Hoffman isn't Jimmy Hoffa and gives Veronica a quizzical look before dismissing it. HALLIE: I don't know who you've been talking to, but nothing happened with Patrice. I mean, I didn't go here yet, but my sisters told me everything. She had one too many hard lemonades and she fell off the roof. That's it. No one did anything to her. VERONICA: I didn't suggest anyone did. Did Patrice claim someone did something to her? HALLIE: No, it's all lies. Ask anyone in her pledge class. VERONICA: That's an excellent idea, Hallie. Thank you. So what happened after she fell? HALLIE: Nothing! It's not like she died or anything. Oh, and speaking of, you'll be happy to know. Karen? Our den mother? We had a car wash and raised enough money for another round of chemo. Veronica sighs. HALLIE: Stay sweet, Veronica. Bye. Hallie picks up her towel and bag, and strides off. INT - MARS INVESTIGATIONS - DAY. Veronica enters Keith's office from the hall outside the front door of Mars Investigations. VERONICA: I don't know about you, but I am dripping with information. KEITH: And I have so much information, I have no place left inside for food. VERONICA: Spill. Keith goes into an over-the-top Jimmy Cagney impression. KEITH: Hmm. Roger Hearst is halting Selma's "Buy American" plan, hmm? It'll save the company hundreds of millions, but it is exactly the kind of business practice Selma is fighting against. Hmm, suspicious? Hmm, I think so. Hmm. Veronica plays along. VERONICA: Hmm. Well, I rattled that sorority girl's cage, and she sang like a canary. She thinks that guy Brant is a wack job. KEITH: Well, he's not a big fan of hers either. Veronica heads for her own desk, talking as she goes. VERONICA: Apparently, Brant is the Smithers to Mr. Rose's Monty Burns. There are tales of hair-stroking, Swimfan-ian-like love. Mr. Rose asked for help with his ten-year anniversary party. Brant's response? Throwing a teacup. KEITH: A ten-year wedding anniversary? Keith bangs on his desk in a moment of revelation. KEITH: Have I taught you nothing?! Veronica gets it immediately. KEITH: What do we call a tenth anniversary in the P.I. biz? VERONICA: Dine 'n' ditch. KEITH: After ten years of marriage, a spouse is entitled to half of his partner's assets, so you cut the cord before ten years, you don't have to pay. VERONICA: But she's the one with the loot. KEITH: That's my point exactly. The brother says the marriage is in trouble. VERONICA: You think the husband had her...you know... Veronica gestures the breaking of a neck. VERONICA: Crrk! KEITH: That's one extreme possibility. VERONICA: Yeah, what's the other? KEITH: Play a hunch? Brant said Selma's dogs are the children she never had. If Budd's trying to, say, keep her hidden, I bet she'll be a lot quieter with her kids around. Veronica smiles. EXT - ROSE RESIDENCE - NIGHT. Keith gives Veronica a hand up as she climbs over the wall by the gates to the property. She pauses at the top to whisper back at Keith. VERONICA: This is just like that time we went to Disneyland! If I have another altercation with Snow White and her disapproving dwarfs, you're taking Sneezy this time. Keith nods indulgently. KEITH: Okay. Veronica jumps down the other side, impersonating Jaime Sommers in The Bionic Woman. VERONICA: Sha-na-na-na-na-na-na! She grins and walks back to the gates, holding the bars as if peeking out of a cell. VERONICA: The park is closed. The walrus out front should have told you. Keith isn't in the same light mood and grimaces. Veronica dances back from the gates to find the point where the remote picks her up and opens them. She makes an "Open Sesame" sweep with her arms as they do. Keith walks in to join her. KEITH: Honey, stealthy, remember? Veronica hops. VERONICA: Right! She takes her place at his side with a skip. VERONICA: Sorry. At the door of the guest house, Ernest and Julio, the Poms, bark excitedly and scratch at the glass. Keith places a skeleton key in the door and opens it. INT - ROSE RESIDENCE, GUEST HOUSE - CONTINUING. The lights are on inside and someone is watching television. The dogs bark and wag their tails. TV FEMALE: You are not going to find this anywhere else. TV MALE: This is one of the top-rated bagless vacuum cleaners on the market- TV FEMALE: On the market today, and if you call right now, you're not only going to get the upholstery attachment, but we are going to give you the... Keith and Veronica venture in slowly. Keith does a double take. Selma is in her dressing gown, sitting on a large, comfy couch, watching television. KEITH: Mrs. Rose? Selma is mildly startled to see them. She points the remote at the TV to switch it off. KEITH: Are you all right? SELMA: I'd be better if you'd close the door and didn't try to rescue me. Veronica and Keith glance at each other, confused. Keith walks forward towards her and Veronica follows. KEITH: Mrs. Rose, my name is Keith Mars. I'm a private investigator. Cyrus O'Dell hired me to find you. Keith and Veronica stop and stand in front of Selma. Selma pats the settee to invite the dogs up. SELMA: Poor Cyrus. He can't get anything right, can he? Selma notices Veronica. SELMA: You were at the reception. KEITH: This is my daughter, Veronica. She works with me...occasionally. VERONICA: Ryan. Tatum. Keith grins. VERONICA: When he gets in a jam, I make with the cute. SELMA: Well, you can tell Cyrus I'm safe. KEITH: Well, can I tell him how you wound up missing in your own guesthouse? Selma sighs and stokes one of the dogs which is on her lap. KEITH: Are you in some sort of trouble? SELMA: I will be if you tell anyone you saw me, so I would appreciate it if you didn't. I can appreciate it monetarily if that's necessary. KEITH: It isn't. I'm already being paid by someone who's extremely concerned about you. Selma gets up from the couch, heading for the kitchen area behind the couch. SELMA: Well, how about I tell you my story and you find a way to let Cyrus know I'm okay without giving me up? KEITH: No promises. He's afraid you've been kidnapped. SELMA: Nope. No kidnapping here. Selma opens a cupboard and gets out a glass to pour herself a drink. SELMA: Just good old-fashioned blackmail. My husband knows about my lover, and he's demanded I "disappear" until after our tenth anniversary. Veronica gives Keith a proud look. She pats him on the chest. VERONICA: The dine 'n' ditch. What? He'd only wind up with ten million instead of a hundred? SELMA: Something like that. Look, I've just got two days to go. You could stall Cyrus that long. VERONICA: But why make you disappear? Why not just wait to make you sign the divorce papers until after the ten-year anniversary? SELMA: I wish I knew. KEITH: I know! Your brother is k*lling your "Buy American" plan. He's negotiating with southeast Asian companies. In a few days, your company will be locked in the contracts. Your stock's going through the roof. Budd stands to make millions more in a 50-50 split. Veronica shakes her head. VERONICA: What a bastard. Keith admonishes her. KEITH: Hey. Veronica. SELMA: She's right. Our marriage was great until after his accident. Suddenly, he had something to prove, and having sex with as many women as possible was, apparently, the way to do it. KEITH: You know, I'm sorry if this is out of line, but plenty of couples have split over infidelity. I'm sure you can find a lawyer who could get you out of this less expensively. SELMA: Have you ever been a walking punch line, Mr. Mars? I mean, on a national scale? KEITH: Actually... SELMA: Because I've been, and I've spent the rest of my life trying to earn back a certain measure of respect. Selma has walked back to one of the kitchen drawers and pulled out a couple of large sheets. SELMA: This would put me back at square one. She hands them to Keith. They are photographs of Selma in the arms of Hallie Piatt. Veronica is stunned. VERONICA: Hallie?! SELMA: So you've met. She called me out of the reception and broke the news. She didn't love me. She seduced me for Budd. They're going to run away together and live off my money. KEITH: Maybe we can fix this another way. Were you wearing those earrings the night you went missing? SELMA: I was. KEITH: And do you have access to Budd's e-mail accounts? Selma looks at Keith quizzically. WALLACE: [offscreen] So the plan's in motion? INT - HEARST COLLEGE, FOOD COURT. Veronica and Wallace are eating at one of the tables. VERONICA: As we speak. We found the perfect eyewitness to the "kidnapping." Veronica uses air quotes. WALLACE: That's not me, is it? Wallace grins. Veronica checks her phone as she quotes Carole King's "You've Got a Friend." VERONICA: Whatever happened to "winter, spring, summer, or fall; all I got to do is call, and you'll be there"? Wallace smiles and cocks his head at her but is then distracted by something he sees over her shoulder. WALLACE: Man, all my orifices just went on lockdown. Veronica turns to see Chip Diller, a baseball cap on his head. He is, standing uncertainly with his tray. He walks forward towards the tables. Three guys are sitting at the table between Chip and Veronica and Wallace's table. They spot him and grin. One of them leads the others in a sing-song. CONDUCTOR FRAT GUY/CONDUCTOR'S BUDDY/RIVAL FRAT GUY: [singing] Here comes Peter Cottontail Hoppin' down the bunny trail Hippity-hoppity Easter's on its way Passing the table, Chip initially ignores the taunt, but once past he stops and decides to respond. He spins around and throws his tray at Conductor Frat Guy, followed by himself, leaping over the table to get to him. A girl passing behind Conductor Frat Guy is caught in the momentum as Chip, Conductor Frat Guy and Conductor Frat Guy's chair all crash into her and send her flying. She can't get up as the chair pins her to the next table and the fight pins the chair against her. Her similarity to Jane Kuhne or his natural tendencies lead Wallace to leap up and pull her out of the fray. Chip and Conductor Frat Guy are locked in a fight as Conductor's Buddy and Rival Frat Guy look on. Having got the girl clear, Wallace tries to break up the fight. WALLACE: Hey! Hey! Stop! Wallace gets as far as starting to pull Conductor Frat Guy off of Chip, which gives Chip the opportunity to punch Conductor Frat Guy. Rival Frat Guy pulls Wallace off and punches him. This galvanised Veronica who grabs the taser and races in, using it on Rival Frat Guy as he pulls Wallace up for another punch. Conductor's Buddy is behind her and behind him, coming up fast is Mountain Man. Conductor's Buddy grabs Veronica, holding her arms to her body. CONDUCTOR'S BUDDY:Who needs a spanking? Veronica starts to struggle but Mountain Man is there before her, grabbing Conductor's Buddy by the head and then the arms, bodily flinging him across another table. Mountain Man then grabs Veronica, who starts to scream. VERONICA: Aah! Mountain Man puts his hand over her mouth and lifts her from the floor. He takes her out of the Food Court. INT - HEARST COLLEGE, HALLWAY OUTSIDE THE FOOD COURT. Veronica is still struggling as Mountain Man sets her down. MOUNTAIN MAN: It's okay, Veronica. It's okay. I'm here to help. Veronica wrests herself out of his arms and turns on him angrily. VERONICA: What the hell is going on?! MOUNTAIN MAN: Just calm down, all right? Mr. Echolls has been concerned about your safety. I've been hired to keep an eye on you. Veronica is furious. INT - SHERIFF'S DEPARTMENT - NIGHT. Lamb walks into the department, checking his cell. He looks up on hearing Deputy Sacks. SACKS: Sheriff, hey. This man came in, wanted to file a report and- Lamb snaps his fingers at Sacks to speed him to the point. SACKS: He claims to have seen Selma Rose the night she went missing. Lamb looks over Sacks shoulder. LAMB: That guy? Sacks looks back. SACKS: Yeah. Said he saw her having a fight with a girl from the college. I got him looking at a Hearst yearbook right now. MORTY: Found her! Both law-keepers look back at Morty, who is pointing to a picture in the yearbook. EXT - NEPTUNE STREET - NIGHT. Lamb gets out of his vehicle. He has pulled over the silver BMW. Hallie checks her lipstick, gearing up to charm her way out of a traffic offence. Lamb reaches her and leans against the car. HALLIE: Oh, my God. Was I, like, speeding? 'Cause I so didn't know. LAMB: No, no, no. You were fine. HALLIE: Oh, okay. I didn't think I was. Hallie grins at him. Lamb brings up a document to show her. LAMB: I'm gonna need you to step out of the vehicle. Hallie's smile fades when she realises that things are not as she thought. The document is a Search Warrant and Affidavit (For the Seizure of a Person for whom a Warrant of Arrest Has Been Issued) sworn out by Lamb. INT - NEPTUNE GRAND, LOGAN'S SUITE - NIGHT. Logan, watching TV, looks up as the door to the suite slams shut. Veronica, in high dudgeon, marches in to confront him. Logan readies himself but does not rise from the couch. VERONICA: [angry] I have spent the last few days being terrified that I had some whacked-out r*pist following me! LOGAN: [softly] Look, I had the same fear. VERONICA: So you pay someone to tail me? LOGAN: No, so I asked you to stop putting yourself in danger, and you told me to piss off. Then I hired someone to protect you. VERONICA: You had no right to do that. LOGAN: Look, that's probably true...okay? It's just I don't care. VERONICA: [disbelieving] You don't care? LOGAN: Look, I don't give a rat's ass if it's right or fair. I don't care if you're angry. I care that you're safe. VERONICA: That's all sweet and great, but it doesn't really work that way. It's not like this is all some new facet of my personality. You know who I am! You know what I do. LOGAN: And? VERONICA: And...it isn't gonna change. And if you can't accept that, this isn't gonna work. Logan stands. LOGAN: You know who I am. And you're constantly expecting me to change. And even right now, as you're thinking, "crap, he's got a point," you still think you're ultimately right. Veronica frowns, her eyes filling as she stares into space. LOGAN: I love you, Veronica. This brings her stare back to Logan. LOGAN: I love you. Veronica looks away again. LOGAN: But, do you love me? Veronica takes a moment before staring at him again, the tears thr*at to fall. She responds without conviction. VERONICA: Yeah. Logan nods and drops his voice. LOGAN: Well then, can we try to go a little easier on each other? He finally approaches her, stopping in front of her. Veronica's response is strangely casual. VERONICA: Yeah, I think that's a good idea. She doesn't look at him. He puts his arms around her. LOGAN: So, are we okay? She holds him back. VERONICA: Yeah...we're okay. INT - ROSE RESIDENCE - NIGHT. The doorbell rings and Brant struts to the door. BRANT: Can I help you? LAMB: Yes. Lamb holds up the warrant. LAMB: You can move out of my way. Brant backs away from the door quickly. Budd calls out from inside the house. BUDD: Brant, who is it? He rolls into view. BUDD: Oh, is this about Selma? H-have you found her? LAMB: No, sir, we didn't find your wife. We did find one of her earrings, though. It was in your girlfriend's car. Budd is stunned. LAMB: We also found love letters from you on Hallie's laptop. I can see why you like her so much. She's a very sweet girl. Not very tough, though. She said we should take a look in your guesthouse. Budd swallows hard. INT - SHERIFF'S DEPARTMENT. Budd is in one of the interrogation rooms. Lamb paces. LAMB: Cute, young girlfriend, rich, older wife. I'm kind of shocked I'm not investigating a m*rder. Lamb settles down on the table between them. BUDD: Look...you can keep on talking all you want. But, I'm not saying one more word until my lawyer gets here. There's a knock on the door and Sacks enters. SACKS: Uh, Mrs. Rose is hoping for a moment alone with her husband. Lamb glances back at Budd, then gestures for Sacks to bring her in. Sacks opens the door further and Selma walks in. Lamb and Sacks leave them alone, shutting the door behind them. SELMA: Was Roger in on it, or were you just counting on him to do the wrong thing? Budd snorts. BUDD: He is reliable that way. Selma drops a divorce settlement agreement onto the table. SELMA: An early anniversary present, unless you had your heart set on prison. Budd looks at it and then away. He sighs. INT - HEARST COLLEGE, RECEPTION ROOM - DAY. The room is now furnished with a comfortable suite. Keith is sitting in an armchair as the dean pours himself a glass of water. DEAN O'DELL: I'm grateful for your help but a little surprised I didn't get a discount - repeat customer and all. The dean sits on the couch as Keith takes out an envelope and lays it on the coffee table. KEITH: I didn't charge you for the photocopies or the stamps. DEAN O'DELL: Oh, that was nice. Both men look up at a knock at the door and rise to their feet. SELMA: Who knew the cavalry would be so handsome? DEAN O'DELL: Don't be nice to me, Selma. It'll ruin everything. SELMA: I'm on my way to vote. Fate of the Greeks in my hands, and all. DEAN O'DELL: How are they faring? I know it's a difficult decision. SELMA: My official vote is "screw 'em." They're out of here. Selma walks away. Keith grins but the dean is shocked and disappointed. INT - HEARST COLLEGE, HALLWAY - DAY. Veronica pushes a button for a lift. She sees Hallie walking along the corridor. Hallie initially ignores her but has second thoughts. She returns to face Veronica. HALLIE: I know you think I'm some kind of gold digger, but I love Budd. VERONICA: And all of his beautiful money? Or is true love so blind you didn't notice he's an adulterer older than your father and confined to a wheelchair? HALLIE: Budd Rose is more of a man than you could ever begin to handle. VERONICA: Slow down, Anna Nicole. You're skeeving me out. And the fact is I don't care if he's Ron Jeremy on wheels. Hallie's eyes narrow. VERONICA: You want to impress me? Tell me the truth about Patrice Pitrelli. Hallie backs away from Veronica. HALLIE: I told you. I didn't go here then. Besides, Patrice's best friend in the whole world just faked a r*pe. Why aren't you picking on her? VERONICA: Patrice was friends with Claire? HALLIE: Yeah, they were in the same pledge class. INT - NORDHOUSE RESIDENCE - DAY. Veronica knocks on the door. It cracks open and Claire appears. VERONICA: What did Chip Diller have to do with Patrice Pitrelli falling off the roof of the Theta Beta house? CLAIRE: Come in. We'll enlighten you. VERONICA: Who's "we"? Claire opens the door wide, revealing Fern, sitting on a small couch, and Nish, sitting on a tall backed-stool at the kitchen counter. CLAIRE: Look who just showed up asking about Patrice. NISH: Veronica Mars. Veronica steps inside with some trepidation. NISH: Well, I'm impressed with your tenacity, if not your politics. Claire shuts the door. Veronica smiles and snarks back. VERONICA: I can die happy. Claire passes Veronica and goes behind the kitchen counter. FERN: What did you hear about Patrice? VERONICA: She fell off the roof of the Theta Beta house. CLAIRE: She didn't fall. She walked right off. VERONICA: Why? Claire stirs the cup of tea she is making. NISH: Finally, a smart question. CLAIRE: The Theta Betas used to take some pledges to a secret room where they'd have them undress. VERONICA: Are you still trying to sell that? Nish glares at Veronica. VERONICA: I've been there. There is no two-way mirror. NISH: Then they panelled over it. CLAIRE: No, I saw it. The rush officer would have the girls strip in front of the mirror. Then they'd point out the parts that they thought needed work, like they were being helpful. They'd circle them with a magic marker like a plastic surgeon does during a consultation. VERONICA: They did that to you? CLAIRE: No. They only did it to the girls who they thought needed...help. VERONICA: And Patrice needed help. CLAIRE: They practically covered her in circles. I mean, she was pale and pudgy, but a legacy. She was already crying when someone turned on the light in the secret room. And there they were. A crowd of Pi Sigs laughing their asses off. Chip Diller started calling her "marshmallow," and the name stuck. NISH: They used permanent marker. So not only does she have to deal with being called "marshmallow," she had those marks all over her for weeks. Claire takes her tea and moves to sit next to Fern on the couch. CLAIRE: The sorority sisters kept telling her a tan would fix everything. They kept insisting she lay on the roof with the rest of us. But she was still all marked up. She surprised us one day by walking out on the roof. But instead of plopping down on a towel, she just strolled right off the edge. VERONICA: What happened to her? FERN: She was in the hospital for a couple of months. Now she's in a mental-health facility. Veronica looks away and shakes her head. FERN: You don't believe it? VERONICA: Oh, I believe you. And I think it's horrible. I also think it's powerful motivation for someone to take desperate action. Fake a r*pe, right? Possibly a series of rapes. Claire looks guilty. VERONICA: How many of them were real? Nish scoffs. VERONICA: I mean, other than Chip Diller's. Both Claire and Fern are uncomfortable. VERONICA: There hasn't been any forensic evidence; no semen, no hair found on any of the victims. Nish slides off the stool to walk towards the other two. NISH: The Greeks would be gone if you hadn't gotten them off. Are you proud of that fact? VERONICA: The moral superiority would fit better if there wasn't already one fake r*pe on your résumé. Nish glances over at the other two. VERONICA: Nothing hurts the cause more than that. Both Claire and Fern looks as if they might, in retrospect, agree. VERONICA: You know I'm right. Nish on the other hand remains defiant. Fern looks up at her questioningly. VERONICA: I'll show myself out. Veronica turns and exits the room. INT - HEARST COLLEGE, FOOD COURT. Music: "Poison Cup" by M. Ward. LYRICS: Wine, wine, wine One or two won't do 'Cause I want it all And I hope I hope Hope you know what I'm thinking of I want all of your love Veronica is at one of the food counters, having just paid for her food. Her cell phone starts to ring and she digs it out of her bag. She checks the caller ID. It's Logan calling from 1-858-555-01087. Veronica stands with her tray, staring at the phone. She punches "Ignore" or another button that stops the phone ringing and puts it back in her bag. She doesn't see Logan standing at the door to the Food Court, his cell phone at his ear, watching her. Veronica walks to a table and sits down. She starts to eat. Logan, devastated, lets the phone slip from his ear. He continues to watch her. With the phone still in his hand, he brings his hand to his mouth, his face one of despair. End. End music: "Poison Cup" by M. Ward.

{"type": "series", "show": "Veronica Mars", "episode": "03x08 - Lord of the Pi's"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Bonnie exits through the back of the Pi Sig house, much to Dick's disgust, in 308 "Lord of the Pi's." DICK: What the hell, Bonnie? BONNIE: Another cute frat boy. What the hell? In the Food Court, Veronica assures Landry in 307 "Of Vice and Men." VERONICA: I was never gonna tell anyone about your...situation with the dean's wife. In his bedroom, Logan explains to Veronica what happened in Mexico. LOGAN: The whole motel was going up in flames. We had to get out of there. VERONICA: You didn't stick around to try to help? You didn't see if everyone was okay? Logan drops his head in shame. In the Food Court, Veronica elects to ignore Logan's call which Logan watches her do it in 308 "Lord of the Pi's." He's devastated. Elsewhere on campus, Keith and the dean speak to the "rescued" Selma Hearst Rose. SELMA: I'm on my way to vote. Fate of the Greeks in my hands and all. DEAN O'DELL: How are they faring? SELMA: Screw 'em. They're out of here. Veronica and Mac are awoken by Parker's scream in 301 "Welcome Wagon." Parker looks at her shaved head in the mirror in horror. PARKER: Someone r*ped me! Veronica reassures Keith in 308 "Lord of the Pi's." VERONICA: The Hearst r*pist has everyone on edge. End previously. EXT - HEARST COLLEGE, PI SIG FRATERNITY HOUSE - NIGHT. Music: "Right Here, Right Now" by Fatboy Slim. LYRICS: Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here The Pi Sigs are having a party. Outside the house, a stage is set up outside the back of the house. People are dancing on the stage and on the lawns, most holding white plastic cups. The place is packed as is evident as the camera swings around. It comes to a rest on the two people standing on the roof of the porch of the house. Holding a white cup and a red cup respectively, Piz and Mac are staring out at the guests. Mac is looking increasingly concerned. MAC: You seen Veronica? Piz, without ceasing his scan of the crowd, shakes his head. PIZ: Not in a while. INT - HEARST COLLEGE, BENES HALL - NIGHT. The music gets louder as the scene shifts to Veronica, running for dear life in the corridors of Benes Hall. She hits a wall, casts a terrified look back and then races on. She reaches stairs and runs up them, sobbing. She comes to another corridor and hurries to the door of Wallace and Piz's room. She bangs on it desperately. VERONICA: Wallace, Piz, help! There's no response and she sinks down to the floor. Her nose is bloody and she has a nasty gash over her left eye. She pants and looks over at the way she came. As she turns her head back, she becomes aware of a pair of legs coming to a stop next to her. Her eyes travel slowly up the body in fear. End music: "Right Here, Right Now" by Fatboy Slim. Opening credits. LILITH HOUSE GIRLS: [singing offscreen] Na-na-na-na Hey, hey... White writing across a black screen states that it is two days earlier. EXT - HEARST COLLEGE - DAY. The Lilith House girls, led by Nish, Fern and Claire, are celebrating in a one-float parade. They have created the float with a dune buggy and a trailer, with a large pink pig in a diaper at the back of the trailer. The pig wears a neck comprised of the Greek letters pi, sigma and sigma. A large poster for Lilith House is attached to the dune buggy, and one saying "Good Bye!" to the trailer. Some tipping polystyrene columns and glittering gold lengths of tinsel complete the decorations. The girls, standing in the trailer in front of the pig, are exuberant, clapping and singing "Na Na Hey Hey (Kiss Him Goodbye)." LILITH HOUSE GIRLS: [singing] Hey, goodbye Na-na-na-na, na-na-na-na Hey, hey, hey, goodbye Their song continues in the background. Reactions differ from the students they pass, some giving thumbs up and some giving thumbs down and booing. Veronica watches the float pass. VERONICA VOICEOVER: If the Lilith House's mission was to protect women on campus, I'm not sure this display is doing the trick. Sure, the Board of Trustees voted to dismantle the Greek system, but there's still a r*pist at large. That hasn't changed. LILITH HOUSE GIRLS: Hey, hey, hey, goodbye DICK: Sponduly! Veronica turns and looks over her shoulder at hearing Dick's shout. Dick and Logan emerge from one of the college buildings, laughing and joking around. There is some conversation too faint to hear. Veronica observes their playfulness. VERONICA VOICEOVER: Ah. So the boy can still smile. Seems like a week since I've seen his teeth. She rises from her perch and walks towards them. Logan sees her and the smile fades. VERONICA: Hey, handsome. DICK: Shh. Not in front of the old man. He's the jealous type. Logan is much more quiet and serious. LOGAN: Hey. VERONICA: Hello, Dick. Veronica looks over at the float, still circling the area. VERONICA: I can't believe they got such a perfect likeness. Did you actually model for them? Logan and Dick look over at the float. DICK: Yeah, you know, that reminds me. They left out one important detail. Excusez-moi. LILITH HOUSE GIRLS: [singing] Na-na-na-na Hey, hey, hey, goodbye Dick steps up onto the low wall next to where they are standing. He drops his pants and moons the float. Veronica turns away in disgust with a gasp. DICK: [shouting] Take a picture, ladies. It'll last longer. Dick wiggles and slaps his bare bum to the cat calls of the girls. Dick pulls up his pants and jumps down. VERONICA: Great job, Dick. I'm sure you won that debate. LOGAN: Well, he's a master debater. DICK: You two kiss, hold hands, head to the soda shop for some malts. I'm out of here. Dick waits to be persuaded to stay. DICK: Okay. Don't try and stop me. Dick backs away, still hoping for an invitation that is not forthcoming. Finally, Veronica and Logan are alone. Veronica leans in towards the again serious Logan. VERONICA: You weren't outside my criminology class. She intimately takes hold of his shirt, pulling him in ready for a kiss. VERONICA: I waited. Logan shuffles uncomfortably. LOGAN: Yeah. VERONICA: Something wrong? She smiles. Logan, on the other hand, is gearing himself up. He takes a moment staring down at the ground before getting it out. He finally looks her in the eye. LOGAN: I can't do this anymore, Veronica. Veronica stares at him in disbelief. Logan looks back at the ground frequently as he continues. LOGAN: You know, I've been thinking, and, uh...this isn't working. You know, I don't think I quite measure up to the person that you want me to be and...and I just can't take feeling like a disappointment anymore. VERONICA: Logan, I don't- LOGAN: Hey, let me get this out, okay? The other thing...you told me you weren't built to let people help you. VERONICA: That's not exactly what I said. LOGAN: It's close. And you know what? I'm not built to stand on the sidelines. Veronica nods her head, her eyes glistening with tears. LOGAN: I don't know, I think we have a choice. And I think we can take a tough but survivable amount of pain now... Logan pauses, staring at her. LOGAN: Or stay together and deal with unbearable pain later. Veronica lets out a deep breath. LOGAN: So, I vote for the pain now. Having expelled her breath, Veronica nods imperceptibly. Logan himself is close to tears as he looks down on her. LOGAN: But I'm always here...if you need anything. He steps forward, puts his hands on either side of her neck and kisses her on the forehead. LOGAN: [resigned] But you never need anything. Veronica can't speak. Logan looks down at her in pain and then takes a step back. He turns and hurries away. Veronica takes a breath to hold herself together. INT - HEARST COLLEGE, DEAN'S OFFICE - DAY. Weevil is fixing the dean's television. The picture on screen of a woman addressing an audience is jerky and interrupted by static. Dean O'Dell is lounging on the small leather sofa in his office, watching him. WEEVIL: Yeah, but heavyweights weren't always a freak show, man. Ali, Frazier, those were fighters, you know? Just seems nowadays... DEAN O'DELL: All the talent's in the lower weight classes. You're so right. The average fight fan? He doesn't care. Weevil swivels the TV back into place, the picture now as it should be. WEEVIL: You should be good. You gonna test it? The dean uses the remote and flicks on a couple of channels, including one featuring Vincent Price. DEAN O'DELL: Hot damn, I'm back in business. What would I do if you ever left me? WEEVIL: Call human resources and have them send a replacement? O'Dell shrugs. WEEVIL: It's just a guess. Listen, you don't have high-def yet. I'll swing by when the receiver gets in. Page me if it goes out again. DEAN O'DELL: Thanks, Eli. As Weevil leaves the office, he passes Mindy on her way in. She sees him lounging on the couch. MINDY: Oh, hard at work, I see. DEAN O'DELL: This job is easy. To what do I owe the pleasure? MINDY: I brought you the minivan. She holds out some car keys, embellished with a furry ball. He takes them reluctantly. MINDY: You're gonna have to haul around Gram's drums tonight. Just got called up to Sacramento to meet with Helm's people. DEAN O'DELL: Can't they send Wally? MINDY: Wally's going, too. I need the Volvo keys. She holds out her hand. O'Dell digs in his pocket. DEAN O'DELL: Gonna be bored. I may be forced to speak to our children. He hands over the Volvo keys. MINDY: Oh, remind them of how things used to be. She sits down on the couch next to him. MINDY: They love that. She leans in to give him a quick kiss. The dean is more interested in something more substantive and pulls her back in for a longer one. She avoids it by presenting her cheek. MINDY: I'll be home tomorrow by noon. She pulls away, much to his disappointment and puzzlement. MINDY: Okay? You can order pizza, can't you? DEAN O'DELL: I'm sure someone will show me. Mindy chuckles. They are interrupted by a knock on the open door. Cora, the dean's (new? - what happened to Angela?) assistant, pokes her head around the door jamb. CORA: Dean O'Dell, I'm sorry for interrupting. DEAN O'DELL: What is it? Mindy takes the opportunity to extract herself from the dean's arms and exits. CORA: I have a man waiting for you who doesn't have an appointment. He won't give me his name or put out his cigar. DEAN O'DELL: Is that so? The dean gets up from the coach and goes to the door of his office. INT - HEARST COLLEGE, DEAN'S OUTER OFFICE - CONTINUING. A man is sitting on the couch seen in 306 "Hi, Infidelity." He's reading a paper and puffing on a big fat cigar. He looks up at the dean, who looks a little stunned on seeing him. MEL: Cyrus, we need to talk. INT - HEARST COLLEGE, DEAN'S OFFICE - DAY. Cut to a few moment later as an ashtray is set down in front of the man, Mel, who is settled on one of the chairs in front of O'Dell's desk. DEAN O'DELL: So, Mel, what can I help you with? Mel has a deep, gruff voice. MEL: You know what I liked best about my days here at Hearst, Cyrus? The dean shakes his head and takes a guess. DEAN O'DELL: A quality education? Mel chuckles long and loud at that. MEL: No. It was hanging out on the front porch of my frat, watching the girls go by, drinking beer. I had such a good time here at Hearst, in fact, that I've been very generous over the years. Wouldn't you say I've been generous? Mel makes it sound like a thr*at and O'Dell nods haplessly with furrowed brow. INT - HEARST COLLEGE, FOOD COURT - DAY. A plate of pasta with a piece of garlic bread on the side is served up to Veronica. SERVER: Here you go. Veronica takes it unenthusiastically. She is in the queue with Mac and Wallace next to her. They watch with concern as Veronica stares listlessly down at her food. Veronica doesn't move. Mac glances at Wallace, then back at Veronica. MAC: Veronica? Veronica looks up, as if coming out of a trance. VERONICA: I'm fine. Mac and Wallace speak simultaneously. MAC: I know. We know. But it's okay if you're not. WALLACE: Nobody said you weren't. You're Veronica Mars. Veronica hurries to reassure them. VERONICA: I'm fine, seriously. I just told the two of you 'cause I figured you should know. I'm not looking for a pity party. WALLACE: That's good. I always get stuck bl*wing up the pity balloons. MAC: Is there anything that we can do for you? VERONICA: Nope. I...we're done with this topic. I just shared some info. Moving on. Veronica's smile doesn't reach her eyes. The three of them are joined by Piz who joins the end of the line. PIZ: Hey, g*ng. What's the word? Is it "avuncular"? All three stare at him. Piz is oblivious to the mood. PIZ: No? Just a sh*t in the dark. Hey, set your dials to K-Ruff tonight. I mean, we're already moving on as to what to do with the whole Greek Row ghost town next semester. He laughs. PIZ: I got this one guy coming on the show - wants to turn it into an ROTC training b*ttlefield. Quality radio, people. Veronica is staring at the floor whilst the other two continue to stare at him as if he was from outer space. Piz's smile finally starts to fade in his confusion. PIZ: What? INT - MARS INVESTIGATIONS - DAY. Keith finishes pouring two cups of coffee in the small kitchenette. O'Dell is standing at the door to the kitchenette. KEITH: You say your wife doesn't kiss you like she used to? DEAN O'DELL: I know how it sounds, Keith. Keith hands one of the cups to the dean. KEITH: How long you been married? DEAN O'DELL: Six years. Keith moves out of the kitchenette, but O'Dell stays by the door, so Keith leans the other side of the door frame to face him. KEITH: Simply sounds normal, Cyrus. I'm sure everything's fine. O'Dell takes a swig from his "Life Ain't Fair" mug. DEAN O'DELL: Still, I'd like to be able to shake this feeling. She's on the 4:30 to Sacramento. She is, as she usually is, travelling with her associate, Wally Wernkey. He's handsome, he's a bit more age-appropriate for my wife, and I've seen him wipe Ranch dressing from her chin at a faculty function. Keith nods sagely. The dean is a little desperate. DEAN O'DELL: Will you take the case, Keith? Keith sighs. INT - MARS RESIDENCE - DAY. Keith is at the kitchen counter, writing a note to Veronica on a post-it, when he hears her enter the apartment. He doesn’t look up. KEITH: Hey, there you are. Veronica sees his bag on the counter. VERONICA: Going somewhere? Keith does Charlie Chan, which slightly startles Veronica. KEITH: Oh, very good, number-one daughter. You might make a detective yet. He glances at her as she slouches against the counter. KEITH: I'm off to Sacramento. Husband thinks his wife is fooling around in capital city. Here's my hotel information. He passes over the post-it, sticking it on the counter in front of her. Veronica nods. He has picked up her mood and looks at her with concern. KEITH: You all right, honey? VERONICA: Logan and I broke up. KEITH: I'm sorry to hear that. Are you okay? Veronica nods. KEITH: I can put off this assignment. VERONICA: No, you go. I'm fine. Just kind of unexpected. KEITH: You sure? Keith rubs her back. Veronica nods again and speaks softly. VERONICA: Go. Keith leans forward and kisses her on the forehead. He takes another look at her before walking around her and grabbing his bag. He looks back at her. She's staring into space. He pauses with his hand on the door. KEITH: Honey? Veronica turns to him with a smile. VERONICA: [firmly] Go. A little reluctant, Keith goes out the cut. Cut to later as Veronica steps into the shower. She takes a deep breath and turns to wet her hair. She turns back and is finally losing her composure. She starts to cry. INT - HEARST COLLEGE, RADIO STATION - NIGHT. The Food Court outside the station as seen through the large window is in full operation. Piz has a couple of guests - a conservatively dressed girl and a boy in combat gear. PIZ: We're back and we're talking about Greek Row. Jennifer? JENNIFER: Dean O'Dell refused to even read our proposal to turn one of the deserted Greek houses into a residence for devoutly Christian students. Had I been lobbying on behalf of the African American students or gay students, would I have been dismissed out of hand like that? No way. PIZ: Uh...as always, we have an empty chair here for Dean O'Dell, should he ever accept We Were Just Talking's standing invitation to join us on-air and defend himself. Piz points to his other guest. PIZ: Lieutenant McGee, you have a radical plan for what should become of the Greek houses. They all turn around at the sound of the door to the studio opening. Dean O'Dell strides in. He points to the broadcast table and paraphernalia. DEAN O'DELL: Which one of these is mine? Piz, somewhat surprised, indicates the empty chair next to him. PIZ: T-take that one. As the dean clears his throat, Piz gestures to his engineer to switch on the dean's microphone before returning to the broadcast. He claps. PIZ: And like magic, we have our illustrious dean here with us. Dean O'Dell, What do you got for us? DEAN O'DELL: I felt it was imperative to get this news out as quickly as possible to the student body. It was recently discovered that one of our Board of Trustees members who voted to abolish the Greek system at Hearst owns property currently leased by several of the Greek houses. Due to this conflict of interest, his vote has been nullified. A few people in the Food Court are starting to take an interest and gather at the window. DEAN O'DELL: Hearst Charter dictates that the dean of the university is allowed to cast the, uh, dissenting vote in just such an occurrence, and I voted to retain the Greek system. A couple of boys sitting at one of the tables stands and cheers. One of the girls gathered at the window does a disgusted "What?" Behind her, the boys high-five. DEAN O'DELL: Thank you for your time. That is all. The dean stands and exits as quickly as he arrived. Piz's guests are disappointed. PIZ: Uh, all righty, then. The Greeks are back. Let's go to the phones. There are a few lines flashing on the telephone in front of Piz. He selects the first. EXT - HEARST COLLEGE - DAY. Music: unidentified. It's the turn of the Pi Sigs to celebrate. Being too lazy/pissed/uncreative to make a float, they simply ride around in an SUV with big wheels. A few frat brothers, including a shirtless Dick, stand on the back seat, appearing through the sun roof. They whoop and cheer as they drive slowly around the campus. DICK: Yeah! Whoo! Yeah! What's up, girls? Ha-ha! Like the Liliths before them, they garner differing reactions from the students they pass. End music unidentified. Music: "Have You Never Been Mellow" by Olivia Newton-John. LYRICS: Have you never been mellow? Have you never tried- The dean is also driving through the campus, listening to his choice of music on the radio/CD player. He peers in astonishment at the sight of the Pi Sigs. End music: "Have You Never Been Mellow" by Olivia Newton-John. Music: Unidentified. Outside, Dick continues to cheer. DICK: Yeah! Whoo! The SUV slowly passes the dean as he stares up at them. End music unidentified. Music: "Have You Never Been Mellow" by Olivia Newton-John. LYRICS: Have you never been happy Just to hear your song? Have you never let someone else be strong? Running around as you do with your head up in the clouds The dean shakes his head and then carries on. He slows as he sees two small groups of girls hanging around the entrance to the parking area. They stare at him as he passes the first group. In front of him, Fern emerges from behind a parked van. She walks into the road, blocking his path. In the empty parking space beside the van is another, larger group of girls waiting. Dean O'Dell stops the car and stares at Nancy. He jerks back when an egg hits the windshield. It signals all the other girls to throw eggs and att*ck the car, rocking it in place, shouting as they do. ANGRY GIRLS: r*pist! Traitor! Pig! You're gonna pay for what you did to us! End music: "Have You Never Been Mellow" by Olivia Newton-John. INT - HEARST COLLEGE, DEAN'S OUTER OFFICE - DAY. The dean, clearly flustered by events, bursts through the door from the corridor, heading for the inner sanctum of his office. DEAN O'DELL: Get me a roster of all the women of Lilith House. CORA: You have a guest. O'Dell pauses and turns to face his assistant, seeing as he does Keith sitting in a chair in the corner behind her. CORA: I told him that without an appointment- DEAN O'DELL: Keith, come right in. INT - HEARST COLLEGE, DEAN'S OFFICE - CONTINUING. Keith follows O'Dell into the inner office. DEAN O'DELL: Have a seat. KEITH: Thanks. Both men take their seats. Keith gets out a notebook. DEAN O'DELL: So...what you got? KEITH: Only good news. You have nothing to worry about except, perhaps, your apparent lack of gaydar. DEAN O'DELL: I don't know what that is. KEITH: Wally Wernkey's gay. O'Dell leans back in his chair, surprised. KEITH: Your wife spent the night in her room alone, and Wally, on the other hand, visited, in succession... Keith reads off his notebook. KEITH: The Boathouse, Oilcan Harry's, and Taboo. DEAN O'DELL: Let's both just forget that I ever doubted my wife. KEITH: [whispering] Consider it forgotten. Cora knocks on the door on her way in, carrying a newspaper. CORA: You need to see this. I circled it. She hands it to O'Dell. DEAN O'DELL: What is it? CORA: It's a classified ad warning the student body to stay away from the Pi Sig party. The newspaper is opened in the classified. As well as the circled announcement, there are ads for jobs (including one for Trixie Showgirls on the promise of "money your parents don't need to know about," and for someone who might "Know fish? We can't see to keep...friends alive for long enough to enjoy. Maybe we're doing something wrong but we've tried everything"), for places to rent (for example, for a newly refurnished condo where students can "Study in style"), and for services ("Bills dragging you down? Don't let them take you to Depressionville, our Personal and Business financial assistants will help you find you way out of the mired fields of debt you've accumulated. Call Kevin or Patricia today with your problems. We'll help them disappear."). The dean reads the circled ad aloud. DEAN O'DELL: "I'll choose my next victim at the Pi Sig party tomorrow night. You've been warned." O'Dell looks up at a troubled Keith. EXT - HEARST COLLEGE - DAY. Veronica, now sporting a fringe, strides down one of the pathways, passing a Take-Back-the-Night table. Parker is working at the far end of it and calls out to her. PARKER: Veronica? Hey, come here. Cut to a few moments later. Veronica is holding up the same paper, reading the same ad. She drops the paper, appalled. VERONICA: "I'll choose my next victim at the Pi Sig party"? Parker shakes her head. PARKER: The r*pist is getting cocky. VERONICA: Yeah, or Nish just wants to scare girls away from the frat blow-out. PARKER: If that was the plan, I don't think it's working. We probably had a hundred girls stop by and pick up these. Parker holds out a coaster. Veronica takes it and stares at it. VERONICA: Coasters? PARKER: Special coasters. You pour a drop of your drink on them, and they'll turn red if there's any GHB or Rohypnol in it. VERONICA: You mind if I take a bunch of these? PARKER: Planning on tying one on? You can test ten drinks on one card. VERONICA: I suddenly find myself with free time and in need of a project. Parker reaches down to pick something else up from the table. PARKER: You do get one of these, as well. She holds it out for Veronica to take. PARKER: A r*pe whistle, just in case. VERONICA: You actually think people would come a-running, huh? Parker shrugs. VERONICA: You have more faith in mankind than I do, my friend. INT - HEARST COLLEGE, DEAN'S OFFICE - DAY. Veronica is sitting in front of the dean's desk. He is holding the coaster. DEAN O'DELL: What's it do? VERONICA: It turns red if there's a date-r*pe drug in the drink. You should require the Pi Sigs make them available at the party. DEAN O'DELL: I think I will. O'Dell shouts out. DEAN O'DELL: Cora, track down Chip Diller for me. VERONICA: I poked around at the newspaper office. No explanation on how the ad made it into the paper. They think it was changed at the printer's. DEAN O'DELL: You're a credit to the college, my dear. VERONICA: Well, aren't you warm and cuddly for being the most reviled man on campus? DEAN O'DELL: My life doesn't begin and end at the university. My wife's getting back from Sacramento today, and I've got something special planned. Veronica immediately gets the significance. VERONICA: Sacramento? INT - HEARST COLLEGE, CRIMINOLOGY LECTURE ROOM - DAY. Veronica pulls back her hair as she watches and listens to Landry, pacing at the front of the room under a slide projection of a close-up fingerprint. LANDRY: What an enlightening weekend I had. You learn a lot about people when you read their "Plan a Perfect m*rder" papers. I must say, I'm a little frightened to appear before you today, and it's not just that a good half-dozen of you offed me. He looks down at one of his students in the second row. LANDRY: A chain saw, Biggles? Really? Biggles shrugs. LANDRY: Let's see. We got rid of a full score of ex-girlfriends and ex-boyfriends, the local sheriff bit the dust... Veronica's expression reveals the author of that particular paper. LANDRY: And several of you decided to turn yourselves into only children. As to how perfect your perfect m*rder were, eh, the results fell pretty naturally into a bell curve. Didn't even have to adjust. Tim Foyle is in the process of handing out the graded papers. He hand Veronica hers. She got an A. There's an additional note on the front: "See Me, Tim." LANDRY: I will be posting the three A papers on the class website so you can see examples of what I am looking for. Timothy stands over her long enough for her to acknowledge the request with a rueful expression. LANDRY: For those of you who got A's, congratulations. You can get away with m*rder. Veronica smiles. INT - HEARST COLLEGE, FOYLE'S OFFICE - DAY. Veronica knocks on the door of Tim's darkened office and pokes her head around. VERONICA: Tim? He is not there. Veronica steps in anyway and walks over to the board that contained all the r*pe material her last visit. VERONICA VOICEOVER: Okay, but you should know, if you're gonna make me wait, I'm gonna pore over your creepy r*pe-investigation board. Added to what was seen in 306 "Hi, Infidelity" is a picture of the current (?) Pi Sigs - forty-one of them. A few of the pictures are circled. VERONICA VOICEOVER: What's this? Dick, Chip Diller, and what's his face? Behind her, Tim enters the office and sees her. TIM: Can I help you find something? VERONICA: What's with the circled Pi Sigs? Are you onto something? TIM: Did I miss something? Are we working together now? Are we Starsky and Butch? VERONICA: Cagney and Pastey. TIM: I think I'll keep my findings to myself. Tim heads for his desk. TIM: When I solve it, I want Dr. Landry to know where credit's due. VERONICA: And here I thought we were trying to protect girls. TIM: Huh. Then you want to share your working theories with me? Veronica doesn't respond. TIM: Excellent. Now, about your paper, I-I wanted to give you the opportunity to fix some of these syntax and book marking errors before I post it online. Steps are heard behind Veronica and Tim looks up and smiles. TIM: Ah, Veronica, have you met my girlfriend? Veronica turns and sees Bonnie Capistrano whom she last saw leaving the Pi Sig house after sleeping with Dick and another Pi Sig frat brother. Bonnie steps towards in a friendly manner. BONNIE: Hi. Bonnie looks at her quizzically. BONNIE: Have we met? Veronica takes a moment before sparing them all the scene. VERONICA: I don't think so. INT - MARS RESIDENCE - DAY. Veronica is at the kitchen counter, having soup and contemplating events. VERONICA VOICEOVER: So Tim Foyle's girlfriend likes Dick and sundry other Pi Sigs. So what, if anything, does that mean? Keith enters the apartment. He looks at the soup and grimaces. KEITH: Soup? You know how I feel about soup. It's a side dish. VERONICA: There's a meat loaf in the oven. KEITH: Now we're talking. Keith heads for the oven. VERONICA: Dad, you know that case you took up in Sacramento? KEITH: Yeah. False alarm. I got to deliver good news for once. Keith gets his meatloaf out of the office. VERONICA: Dean O'Dell's wife is cheating on him with Dr. Landry, my criminology professor. Keith stares at her unhappily. KEITH: And how'd you- VERONICA: I dropped by his office. He told me his wife just got in from Sacramento. Two and two. KEITH: And how'd you- VERONICA: I saw the two of them together at the Neptune Grand. He checks in under the pseudonym Rory Finch. You should double-check, but I'm certain it's true. Are you gonna tell him? KEITH: You know the rules, honey. I have to. Keith is saddened by this turn of events and is clearly not looking forward to what he has to do. INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - DAY. Moe, arms folded across his body, is staring down at Wallace and Piz, sitting side by side with Wallace on his desk chair and Piz on the end of Wallace's bed. MOE: I don't exactly know how to put this. It's the sort of thing that makes me hate being a resident advisor, but I have to ask. Someone has been leaving a surprise in the third stall every day for the past two weeks. Wallace glances at Piz and smirks. Piz looks back at Wallace, hardly believing what he is hearing. He puts on a straight face. MOE: This person apparently never learned how to flush, and it's my amateur medical opinion that he's also suffering from what must be a terminal disease. So? WALLACE: Not guilty, man. Piz is thinking very hard. PIZ: Third stall stage right or stage left? Wallace laughs as Moe takes the question seriously, working it out with his fingers. MOE: Stage right. PIZ: Yeah, not guilty, either. Veronica arrives in the room, her thumbs tucked in her belt. VERONICA: Howdy, boys. Anyone up for going to a Pi Sig blow-out? Beer and ladies and music and other stuff guys like, I'm sure. Veronica is getting no response and tries harder, much to the amusement of Wallace and Piz, and the bemusement of Moe. VERONICA: Fast cars, loose slots, electronic gadgetry, televised sports, p*rn. Nothing? None of this grabs you? PIZ: We were already planning on going. WALLACE: I think everybody at Hearst is gonna be there. VERONICA: Awesome. Then you can help me out. WALLACE: Suddenly it sounds like a lot less fun. Veronica points at Moe. VERONICA: What about you? Moe, are you going? MOE: Sort of. I'm driving the Take-Back-the-Night cart for the early shift. Veronica holds out her hand. VERONICA: Give me your phone. Moe does so without hesitation, pulling it from his pocket. Veronica punches some buttons. VERONICA: Here's my number. Call me if you pick up any girls who are beyond drunk or shady guys lurking around. MOE: Sure. VERONICA: Excellent. Meet you boys out front, nine sharp. I really appreciate it. Veronica spins around and prances out. Piz stares after her, confused, as Wallace, the experienced campaigner, looks up at the ceiling. PIZ: What are we doing? Wallace shakes his head. INT - HEARST COLLEGE, MAC AND PARKER'S DORM ROOM - DAY. Mac is sitting cross-legged on her bed, staring up at Veronica in disbelief. MAC: Are you freaking kidding me? The Pi Sig mega apocalypse? Veronica nods. MAC: Hump the furniture, party back to the Stone Age, fifty-keg bacchanalia? Veronica smiles brightly. VERONICA: Sounds fun, right? MAC: Will they let me in? I think all the glitter has come off my p*rn star tube top. VERONICA: Please, Mac. I could really use the help. Mac continues to frown, seemingly implacable. Veronica sighs and sinks to her knees. She smacks her hands together in prayer and gives Mac her puppy-dog stare. Mac stares back for a moment. MAC: [resigned]Resistance is futile. Veronica grins. INT - HEARST COLLEGE, DEAN'S OUTER OFFICE - NIGHT. O'Dell exits his own office. Cora is at work by her desk. DEAN O'DELL: Thanks for coming in on a Saturday, Cora. Here's to a better week next week. CORA: Night, Cyrus. O'Dell goes out to the corridor. INT - HEARST COLLEGE, HALLWAY - CONTINUING. He starts walking down the corridor but comes to a halt when he sees Keith. From his face, the dean knows what is coming. Keith looks at him sympathetically. INT - HEARST COLLEGE, DEAN'S OFFICE - NIGHT. Cut to a little later. The dean, in a state of shock is sitting at his desk. Keith is standing in front of the desk, pointing at various parts of papers laid out in front of O'Dell. KEITH: I've highlighted the cell phone calls they've made to each other, as well as the numerous charges made to Professor Landry at the Neptune Grand. O'Dell nods. He swallows hard. KEITH: He always checked in under the pseudonym Rory Finch and paid cash for the room but charged drinks at the bar and dinner at the restaurant. Those dates mean anything to you? DEAN O'DELL: If I recall correctly, these coincide with the nights of Mindy's junior league meetings. O'Dell's voice quivers and when he picks up the papers, his hands are shaking violently. Keith looks close to tears for the man. He swallows. EXT - HEARST COLLEGE, PI SIG FRATERNITY HOUSE - NIGHT. Music: unidentified The party has started and there is a large crowd already outside the front of the house, queuing to get in. Veronica and her troops are next in line. They are about to face the frat brother at the door - Drew Barndale, last seen having his drink thrown over him by Veronica in 216 "The Rapes of Graff." Drew spots Veronica and is not thrilled to see her, but he carries on dealing with others while Veronica gives out her orders. VERONICA: So, here's the plan. She hands Piz a stack of coasters which he splits between himself and Wallace. Veronica hands more to Mac. VERONICA: Do your own thing at the party, but if you see a girl who looks out of it, sneak up to her drink, dip the coaster in, see if it turns red. If it does, the drink is dosed. WALLACE: If you see a really cute girl and you want to dance with her? VERONICA: Dance. Just know that your libido caused some girl to get r*ped. WALLACE: That kinda takes the fun out of it. VERONICA: Hey, it's your life. WALLACE: Since when? VERONICA: See? Veronica gets something out of her bag. VERONICA: You give me a hard time, I'm less enthusiastic about giving you the little "thanks for helping" presents I made for everybody this afternoon. Veronica holds out three ID cards. VERONICA: Congratulations. You're all twenty-one. Wallace laughs. Mac is awed. PIZ: I can buy myself a beer cup. Veronica turns to the small table by the front door at which Drew is sitting. On the table are stacks of large plastic cups, some white, some red, a cashbox, and a box of wrist tags. There's a sign by the table: "If under 21 $5.00 Red Soda Cup. 21 + Up $10.00 White Beer Cup. Drew looks up at Veronica and her party. Seeing who it is, Veronica's eyes turn heavenward. DREW: Looky here. My favourite drink tosser. I'm so happy you came to Hearst. WALLACE: Seriously, does anyone like you? Drew puts her money in the cashbox and goes into his spiel. DREW: IDs out. Show them to our friend from the Hearst police department. Veronica, Wallace and Piz all show their fake IDs to a person standing at the door. Drew holds up a white cup. DREW: Beer cups are ten bucks. He holds up a red cup in his other hand. DREW: Soda cups are five. Everyone must purchase one or the other. Piz hands over his money for a white cup. Drew passes him a wrist tag and his white cup, together with a pen. DREW: Right wrist. Print your name legibly on this cup. Use only this cup. Do not share that cup with a minor. In the meantime, Veronica has picked up the coasters available on the table. She checks them. Mac passes over $5.00. MAC: I'll take a soda cup. Drew hands her a red cup and label. She notices Piz staring at her in horror. MAC: Like I'm gonna drink in there. Veronica holds out one of the Pi Sig coasters. VERONICA: These are your r*pe-testing coasters? This is what you're handing out? DREW: Yeah. Don't get r*ped. VERONICA: Where's Chip Diller? Drew points to inside the house. Veronica spins around and marches in. INT - HEARST COLLEGE, PI SIG FRATERNITY HOUSE - CONTINUING. End music: unidentified. It's packed inside. The music is mixed as the sounds of what is playing out front and out back (the Diamond Smugglers playing live) mix. Most people are drinking from white cups. Veronica threads her way through the crowd before finding Chip in a corner, talking to a girl. He is still sporting a very short haircut. VERONICA: Chip? He's not thrilled to see Veronica. She holds up one of the Pi Sig coasters which is blank on one side. VERONICA: I want you to take a look at these coasters and see if you can spot the difference. Item one - printed on two sides with the name of the drug-testing manufacturer on it, distributed at the Take-Back-the-Night booth. Item two - printed on one side, handed out at the Pi Sig party. One tests for date-r*pe drugs. My guess? The other tests to see whether drinks are wet. CHIP: You don't know that. Find me a laced drink, and let's see if it works. Go on, go on. Find one. He checks his watch. CHIP: I'll time you. Veronica sneers and drops the real coaster she is holding into his companion's drink. VERONICA: There you go, Bambi. If it turns red, he's trying to r*pe you. If it doesn't, he still might be trying to r*pe you. How do you live with yourself? Chip smirks. CHIP: Oh, it's a struggle, but I manage. With an expression of disgust, Veronica walks away. EXT - HEARST COLLEGE, PI SIG FRATERNITY HOUSE - NIGHT. On the stage set up in the back garden, the Diamond Smugglers, a Neil Diamond tribute band, are playing live, doing their rendition of "Sweet Caroline." Behind them, huge and made out of crushed beer cans, are the Greek letters of the fraternity. The crowd are having a great time. Wallace and Piz are elevated above them, surveying the people. DIAMOND SMUGGLERS: Hands, touchin' hands Reachin' out, touchin' me, touchin' you Sweet Caroline Good times never seemed so good PIZ: You know, when you think about it, it's not so different from going to a party normally, except instead of trying to avoid the girl that's gonna puke in your car- Wallace points at a couple in the crowd. WALLACE: Look. Drunk girl, ten o'clock. The girl has her arm up on the shoulders of a much taller boy. She's holding her white cup but otherwise looks out of it, the boy keeping her up as they slow dance. DIAMOND SMUGGLERS: And I've been inclined Piz suddenly appears before the couple, dancing. DIAMOND SMUGGLERS: To believe they never would Piz points at them, getting the guy's attention. He goes into a unique dance, keeping him distracted as Wallace appears behind them and dunks a piece of the coaster into the girl's cup. DIAMOND SMUGGLERS: Oh, no, but look at the night He looks at it for a moment, then up at Piz, whose dance is getting more and more bizarre. DIAMOND SMUGGLERS: It don't seem so lonely We fill it up with only two Piz spots Wallace in desperation. Wallace finally shakes his head and gestures at his throat, indicating that Piz can stop. Piz finishes on a bow. INT - HEARST COLLEGE, PI SIG FRATERNITY HOUSE - CONTINUING. Back in the house, Dick is sitting on one of the couches. Bonnie is sitting in his lap. Veronica sees them and heads over to them. Dick says something that amuses Bonnie and she giggles and taps his nose. BONNIE: You're so cute. Before they are even aware that she is there, Veronica dips a piece of coaster in her drink rapidly before sitting on the arm of the couch. VERONICA: Hi, Bonnie. So, where's your boyfriend tonight? BONNIE: Do you see a ring? DICK: Hey, Veronica. Where's your boyfriend tonight? Oh, wait, I'm so sorry. You don't have one anymore. Bummer. VERONICA: Man, when I look at the two of you, all I see are a couple of Petri dishes. My advice? Use protection, lots and lots of protection. Veronica leaves. Bonnie nods happily, not sensing the sarcasm. Dick leans in and they start to kiss. EXT - HEARST COLLEGE, PI SIG FRATERNITY HOUSE - NIGHT. Back outside, the Diamond Smugglers have moved onto "Thank the Lord for the Night Time." DIAMOND SMUGGLERS: Daytime turns me off I don't mean maybe Mac is standing, watching them, her face dour. She has her red cup in her hand and "Ask me about my STD" on her t-shirt. DIAMOND SMUGGLERS: Nine to five ain't takin' me where I'm bound A guy comes upon Mac and makes no disguise of looking her up and down. Mac senses his presence without enthusiasm. RICO: Hey, there. DIAMOND SMUGGLERS: When it's done, I run out to see my lady He grins. Mac's expression doesn’t change. He presses on regardless. RICO: Hey, there. You have an STD. He laughs. RICO: Classic. DIAMOND SMUGGLERS: We get groovin' when the sun goes down RICO: You are one major minor, you know that? Mac raises her eyebrows. Rico pulls out a flask. DIAMOND SMUGGLERS: Thank the Lord for the night time To forget the day RICO: Want me to slip a little whiskey in that cola of yours? DIAMOND SMUGGLERS: No more uptight time 'Cause I chase it away MAC: Sure. Mac holds out her cup and Rico pours whiskey from the flask into it. He then takes a swig. DIAMOND SMUGGLERS: I get relaxation More time to groove Mac dips in a piece of coaster and holds it up to examine. Rico is bemused. Satisfied that it isn't drugged, Mac pours the contents of her cup out behind her. DIAMOND SMUGGLERS: Thank the Lord for the night time I thank the Lord for you MAC: Thanks. Mac smiles and returns to watching the band. Rico is taken aback. He watches the band for a moment then raises his flask to Mac before hurrying away, defeated. INT - HEARST COLLEGE, DEAN'S OFFICE - NIGHT. Dean O'Dell pours the last of a bottle into a glass. DEAN O'DELL: What makes a man do it, Keith - sleep with another man's wife? Is there no honour left? He's moved over to the small couch, with Keith on one of the chairs to face it. Keith frowns, hardly in a position to be too damning. KEITH: Less than there should be, I'm afraid. He makes a quick, rueful grin. O'Dell tries to get up with the empty bottle but falls back onto the couch. DEAN O'DELL: Whoa. Ow. KEITH: Can I help you with something, Cyrus? DEAN O'DELL: A refill. It seemed a much shorter distance earlier. Keith takes the glass. KEITH: What's the rest of your evening entail? DEAN O'DELL: Passing out on this couch. KEITH: All right, then. Keith gets up and takes the glass over to a side table. DEAN O'DELL: They warned me, Keith. "She's much too young for you." Keith picks up a bottle. O'Dell gasps. DEAN O'DELL: Keith, no! He sighs in relief having stopped Keith from cracking open the bottle. DEAN O'DELL: Do you know what you're holding? Keith looks down at the bottle. KEITH: A bottle of scotch. DEAN O'DELL: That's a forty-year-old bottle of Glen Cracken. One of the chief joys of my existence is the anticipation of tasting the contents of that bottle. But for tonight, I'm just getting drunk. Pour me the swill. Smiling, Keith replaces the bottle and picks up another one. EXT - HEARST COLLEGE, PI SIG FRATERNITY HOUSE - NIGHT. The band is still on "Thank the Lord for the Night Time." Wallace and Piz make their way through the crowd. DIAMOND SMUGGLERS: It seems like just one time I'm feelin' cool They tap a girl who is dancing on the shoulder. DIAMOND SMUGGLERS: Thank the lord for the night time When I forget the day She turns to face them. JANIA: Yeah? WALLACE: Ah, is that your friend? Wallace points down and the camera follows his gaze, revealing another girl lying on the ground, unconscious. She glances down. JANIA: So? PIZ: You think she's okay? JANIA: We called the Safe-Ride-Home people already. She points behind them. JANIA: Look, there they are. Happy? DIAMOND SMUGGLERS: Thank the Lord for the night time Thank the Lord for you Moe is making his way through the crowd. He is followed by Fern. MOE: Hey, guys. Mind helping us out with this one? PIZ: Yeah, no sweat. We got it. Here. Piz goes to hand Moe his cup but in the meantime Fern has bent down, picked the girl up and slung her over her shoulder. She glares as Wallace and Piz. FERN: Nice way to take care of your friend. Wallace and Piz are too stunned to protest and Fern carries the girl off. MOE: Don't mind her. Moe rolls his eyes. MOE: She's always like that. DIAMOND SMUGGLERS: Thank the Lord for the night time Yeah, yeah, yeah. INT - HEARST COLLEGE, DEAN'S OFFICE - NIGHT. The dean is now lying on the sofa. Keith is slipping on his jacket, gazing at him with some concern. KEITH: Sure I can't give you a ride home? DEAN O'DELL: What's the point? My wife has a junior league meeting tonight. Ha! I'll just sleep here. He snuggles into the couch looking for all the world as if he is about to go to sleep. Keith leaves. O'Dell instantly becomes more alert, checking that Keith has left the outer office. Once satisfied, O'Dell goes to his desk. He opens one of his drawers and gets some keys. He unlocks a lower drawer and pulls out a revolver. He spins the chamber. INT - HEARST COLLEGE, PI SIG FRATERNITY HOUSE - NIGHT. Music: unidentified. Veronica comes down the stairs, still actively looking for potential victims. She pauses when she sees Tim Foyle enter the fraternity. VERONICA VOICEOVER: Tim Foyle? Here? This can't be good. Tim enters the lounge and sees Bonnie and Dick. He races over to them. TIM: That's it, Bonnie. I've had enough! He screams this and accompanies it with a grand gesture. Veronica, who has followed him in, pauses at the door, observing. TIM: I've known about all of them. I've known about every knuckle-dragging frat boy you've given a free ride, but guess what. I wasn't sitting back and taking it. Not at all! For every guy you were with, I was with someone new myself. Did you think I didn't know? I know everything! End music: unidentified. It's quite a performance and Tim has succeeded in gaining the attention of everyone within hearing distance. He looks around and then storms off. Veronica sets off to follow him, passing a barely fazed Bonnie and a barely conscious Dick on the way. BONNIE: Looks like I'm single. As Veronica rounds the corner, she freezes. Logan is chatting to a blonde girl. Mercer is next to him, talking to a brunette. BLONDE: You do? LOGAN: So, what? Did you mother give that to you or something? BLONDE: What? Yeah. BRUNETTE: Yeah, I saw that one, too. So good. Logan looks up and sees Veronica. They stare at each other across the room. The two girls bid farewell to the hot guys. BLONDE: I'll see you later. BRUNETTE: What? Okay. Bye. They leave and Veronica walks forward to stand in front of Mercer and Logan, having eyes only for the latter as he does for her. MERCER: Hey, Veronica. VERONICA: Hey. LOGAN: Hey. Mercer looks from one to the other and quickly forms the opinion that he is de trop. MERCER: Okay. You two have fun. Mercer makes to leave. VERONICA: You don't have to go, Mercer. I'm just saying hi. MERCER: Be that as it may, they're turning my show on after the band. Hope you brought your dancin' shoes. Mercer makes a sharp exit as Veronica and Logan continue to stare at each other. LOGAN: Well, let me guess. You're here because of the investigation. VERONICA: I am what I am. Any further discourse is interrupted when Wallace and Piz race over to them. Piz is holding out a piece of coaster. WALLACE: Hey! PIZ: We got a positive. LOGAN: A positive what? WALLACE: This cup was dosed with a date-r*pe drug. It belongs to some... Wallace checks the white cup he is holding. WALLACE: Kim Kaiser. VERONICA: So where's Kim Kaiser? PIZ: We asked around. N-no one's seen her, but we found someone who knows where she lives. She's off campus by the marina, uh, the Harbour View Apartments. VERONICA: All four girls were r*ped in their own rooms. We've got to get there. I parked on campus and walked. Who's got the closest car? LOGAN: I do, but you're staying here. I'll go. VERONICA: If you think- LOGAN: Veronica, please! Let me do this part. Veronica still has doubts but concedes. VERONICA: Okay, go. Be careful. WALLACE: I'll go with you. Wallace jerks his head and leads Logan out. Veronica shouts after them. VERONICA: Get her out of her apartment. EXT - HEARST COLLEGE, PI SIG FRATERNITY HOUSE - NIGHT. Outside, the music is climaxing as the Diamond Smugglers are finishing their set. Veronica and Piz race through the cheering crowd to get to the stage. The music ends and the lead singer talks to the crowd. DIAMOND SMUGGLERS LEAD SINGER: That's all for us tonight, people. Club Flush is up next. Without any hesitation or apology, Veronica barges up and takes over the microphone. The lead singer backs away with his hands up. VERONICA: Hi, uh, we're looking for Kim Kaiser. We think she's been given a date-r*pe drug. If you've seen her or you're friends with her, please come find me. I'll be right in front of the stage. Veronica leaves the mic to take her place at the front of the stage. INT - NEPTUNE GRAND HOTEL - NIGHT. Professor Landry is lounging back in a bed, naked and sated. He's watching someone and groans. LANDRY: Don't go. Mindy, dressed and at the mirror, putting on her earring, smiles. LANDRY: I've got crème brûlée arriving any second. She finishes with her earring and adjusts her hair. MINDY: You know, maybe someday we'll have sex and you won't be stoned. I swear I'm having an affair with Annie Hall. Landry chuckles and Mindy laughs, turning to view him directly, rather than through the mirror. She walks over to the bed, bends down and gives him a long kiss. It is interrupted by a knock at the door. Mindy glances at it, strokes Landry under the chin, and then goes to answer the door. It is her husband. She gasps in shock. DEAN O'DELL: Mind if I come in? He doesn't wait for an answer, pushing past Mindy. Landry sees who it is and bolts upright in the bed. Mindy watches O'Dell, her breathing quickened. EXT - HEARST COLLEGE, PI SIG FRATERNITY HOUSE - NIGHT. Music: unidentified. Veronica is standing on the stage, at the front still keeping a watchful eye on events in the crowd. A girl comes up behind her and taps her on the shoulder. KIM'S FRIEND: Are you the girl looking for Kim? Because Kim didn't come to the party. VERONICA: I saw her drink cup. KIM'S FRIEND: She lent her ID to her little sister, Carrie. VERONICA: Where's Carrie? KIM'S FRIEND: She wasn't feeling good. She was walking back to her room. VERONICA: Which dorm? KIM'S FRIEND: Benes Hall. You think she's all right? Veronica is already on the move. She jumps down from the stage just as Mercer's voice rings out. MERCER: Line one. You're first caller. What do you want to hear? End music: unidentified. Mercer's last sentence is warped, as the tape stretches. CALLER: Yeah, man, you got any Chicks on Speed? MERCER: Always, my friend, always. Music: unidentified by Chicks on Speed. LYRICS: Ow-ow-ow Ow-ow-ow Veronica looks back at the side of the stage, realising four things simultaneously: Mercer's phone-in request show can be taped, she is listening to a taped version, Mercer isn't there and Mercer is the r*pist. She hurries away. End music: unidentified by Chicks on Speed. INT - SHERIFF'S DEPARTMENT - NIGHT. Sacks is taking point, working at Inga's station. A nervous deputy approaches him. ROOKIE DEPUTY: We just got a call, said a b*mb was gonna go off at one of the residential halls up at Hearst. Sacks scoffs. ROOKIE DEPUTY: Should we evacuate it? SACKS: It's nothing. Happens all the time around finals. Let the Hearst police handle it. It's their jurisdiction. The deputy is uncertain. ROOKIE DEPUTY: Maybe I should ask the sheriff. Sacks glances back at him. SACKS: You want to call and wake him up? This is not an attractive prospect. INT - HEARST COLLEGE, CARRIE'S DORM ROOM - NIGHT. The door opens into the darkened room. Someone enters and closes the door. The bedside lamp is turned on, revealing Mercer. He looks at the shelves above the lamp. MERCER: Unicorns, really? He glances down at the shape in the bed and sighs. MERCER: Well, we'll definitely be needing some mood music. He turns on the radio. Music: "Right Here, Right Now" by Fatboy Slim." LYRICS: Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here Waking up to find your love's not real Waking up to find your love's not real Waking up to find, waking up to find Waking up to find, waking up to find Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, here, here, here Waking up to find your love's not real Waking up to find your love's not real Waking up to find, waking up to find Waking up to find, waking up to find Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, right now Right here, here, here, here Mercer moans appreciatively. MERCER: You know, techno has a bad reputation, but I think it's undeserved. He addresses the lump under the covers. MERCER: Groan if you disagree. There's no response. MERCER: Good. We're on the same page. Mercer half-walks, half-dances over to the desk and takes off his jacket, hanging it on the back of the chair. He walks back over to the bed and sits on the side of it, next to the body. MERCER: It's unfortunate that when you wake up, all you'll know is that your hair is gone... He leans down and whispers. MERCER: Because it's gonna be good. I'd wager your best ever. He sits up again. MERCER: And it's a me thing, I'm sorry to say. I...have no patience. I mean, if I'd met you in a bar or, uh, at a party, I would have had you back here and on your back in an hour. [with increasing anger] But that's an hour of my life I would have never had back, an hour of listening to you talk about unicorns... He gets up and walks over to his jacket. MERCER: And your high-school boyfriend and how you hate the taste of beer. I'm just taking what you would have happily given. He takes the clippers out of his jacket pocket. He switches them on and off again. MERCER: I mean, that's hardly a crime. His monologue is interrupted by a thump from the closet. Mercer freezes for a second, looking in that direction. He throws the clippers down on the desk and strides to the closet. He opens it. Carrie is slumped there, unconscious. MERCER: What the- Behind him, Veronica, who is dressed in Carrie's pink quilted jacket, races to att*ck him with the taser. Mercer realises a split second before she reaches him and turns, managing to grab her arm and avoid the worst of the taser's bite. He throws her away from him, causing the taser to slide under the bed, out of reach. Veronica and Mercer end up on the floor, side by side on their backs. Veronica tries to scramble away, but Mercer gets hold of the jacket. Veronica wiggles out of it and gets to the door, but Mercer grabs her leg and pulls her down. She bangs her head hard on the floor as she hits. Mercer pulls her along the floor, away from the door. Veronica screams. VERONICA: Help! Mercer turns up the radio so the music blares out. MERCER: What are you doing here, Veronica? No one invited you. He lifts her up by her hair. Veronica cries out in pain. Bringing her to a standing position in front of him, his hands still firmly gripping her hair, Mercer looks down at her. MERCER: What am I gonna do with you? With a free hand, Veronica reaches up and scratches Mercer hard on his left cheek. It's his turn to cry out and he lets go of Veronica. MERCER: Aah! She starts to run again, but he grabs her. He punches her, sending her reeling to the ground. MERCER: [furious] That's my face, you bitch! He walks over to a full length mirror and checks the damage. Veronica has managed to score deep scratches on his cheek. In the mirror, Mercer can see Veronica trying to crawl away. MERCER: Oh, come back here, Veronica. Veronica has managed to get halfway under the bed. MERCER: Let's fix that hair of yours. Veronica gasps as she is pulled out by her ankles. She reaches out and grabs a discarded unicorn as she slides out. She spins around as she comes out from under the bed, s*ab Mercer in the leg with the unicorn's horn. He screams. MERCER: Aah! Mercer stumbles back from her, the unicorn still in his leg. He falls back against a chest of drawers. Veronica makes the most of the opportunity, scrambling up and out of the room. INT - HEARST COLLEGE, BENES HALL - NIGHT. She hits the wall immediately outside the door and starts to run. She casts a terrified look back and then races on. She reaches stairs and runs up them, sobbing. She comes to another corridor and hurries to the door of Wallace and Piz's room. She bangs on it desperately. VERONICA: Wallace, Piz, help! There's no response and she sinks down to the floor. Her nose is bloody and she has a nasty gash over her left eye. She pants and looks over at the way she came. As she turns her head back, she becomes aware of a pair of legs coming to a stop next to her. Her eyes travel slowly up the body in fear. It's Moe. MOE: Veronica, are you okay? VERONICA: It's Mercer. Mercer's the r*pist. Moe is stunned. End music: "Right Here, Right Now" by Fatboy Slim. INT - HEARST COLLEGE, MOE'S ROOM - NIGHT. In Moe's room, gingerly touches her face as she huddles on one of his chairs with a cup of tea. Moe is on his cell phone. MOE: Room 212 Benes hall. Get here as fast as you can. There's been an attempted r*pe, and the r*pist may still be in the room. Hurry, please. Moe closes up the phone. MOE: They're on their way. VERONICA: The girl, Carrie Kaiser, she's still in the room. We can't wait. To soothe Veronica's agitation, Moe kneels down in front of her, holding up a reassuring hands and leaving the cell phone on his desk. MOE: I'll get a bunch of guys and go down there. Stay in here. You'll be safe. Veronica nods gratefully. Moe exits the room, locking the door behind him. Veronica glances around the room. Her eyes rest on the notice board. In addition to a Silver Sun poster, a notice of some sort, a couple of postcards and a post-it note with a phone number are a number of pictures of Moe. The one in the centre is of Moe in the t-shirts used in Dr. Kinny's experiment to denote prisoners. Next to him is Mercer, in the t-shirt of a guard. Veronica stands and moves towards the board to get a closer look. As she reaches it, she starts to feel the tell-tale effects of being drugged. The picture and the increasing disorientation make her realise that she is not out of danger. She backs away from the notice board in horror, stumbling slightly against the chair. The mug drops from her hand and smashes onto the floor. Increasingly incapacitated by the drugs in her system, she gets to the door, but she pulls and twists the handle futilely as it is locked from the outside. She leans back against the door, in a panic. She spots the window over which the curtains are drawn. She weaves her way to it and wrenches open the curtains. She opens the window and looks out. She's at least three floors from the ground and below is hard concrete. She gasps again, in terror and turns back into the room. She sees something that gives her some home. Cut to a few minutes later. She is hiding in the closet. She has Moe's cell phone. Her vision is seriously impaired as she clumsily tries to punch in a number - 555-0123. She brings the phone to her. It rings. VERONICA: [whispering] Dad, pick up. As she waits, she spots something on the top shelf of the closet above her. Keith answer machine picks up the call. KEITH: Hi, this is Keith Mars. Please leave your message after the tone. Veronica pulls herself up and reaches for the object, a hammer. It is resting under a box full of hair. Veronica manages to get it and sinks back down. She looks at the phone again and sees with shock that her hand has pulled down some loose hair as well. More falls on her and she brushes it away quickly. She freezes on hearing voices. Veronica stops breathing. MERCER: [offscreen] You said she was here, Moe. MOE: [offscreen] She was. EXT - HEARST COLLEGE, BENES HALL - NIGHT. From within Moe's room, Moe and Mercer look out of the open window to the concrete below. INT - HEARST COLLEGE, MOE'S ROOM - CONTINUING. They pull back and Mercer bangs on the window frame in frustration. MERCER: You let her get away, Moe? MOE: I'm sorry, sir. Mercer punches him in the face. MERCER: I don't care that you're sorry. In the closet, the cell phone rings. Veronica gasps and goes to answer is quickly. In the room, Moe and Mercer hear the phone. VERONICA: Dad, help. The door to the closet opens. MERCER: Get the phone. Moe leans in to take the phone. As he goes to grab it, Veronica brings the hammer down on his foot. Bones crack. Moe screams. MOE: Aah! Oh! Moe hops away. Mercer grabs Veronica by one ankle and drags Veronica out of the closet. He leaves her on the floor to scream at Moe. MERCER: Shut up! Stop blubbering, prisoner. MOE: What are we gonna do with her? MERCER: I'm thinking. MOE: We're gonna get caught. Mercer backhands Moe across the face. MERCER: Shut up. We're not gonna get caught. Give me all the GHB you've got left. We'll get it down her throat. She won't remember last year, let alone last night. As Mercer barks orders at Moe, Veronica feels something in her pocket. She struggles to get it. MOE: I'm out of it. Mercer grabs Moe by his vest. Moe cringes away. MOE: No. MERCER: Then watch her. I'll go to my room. I got plenty. Veronica has managed to get the r*pe whistle out of her pocket and up to her mouth. She blows it for about three seconds before the boys get it away from her. INT - HEARST COLLEGE, BENES HALL, HALLWAY - CONTINUING. A couple of girls are walking up the hallway, oblivious to the r*pe whistle, but one of the dorm room doors opens. Parker emerges from her room, alert to the sound. She looks up and down the hallway. INT - HEARST COLLEGE, MERCER'S ROOM - NIGHT. Mercer hobbles into his room. He goes to a low locker and pulls out a can. He unscrews the top and shakes a small bottle into his hand. He gazes at it determinedly. INT - HEARST COLLEGE, HALLWAY OUTSIDE MOE'S ROOM - NIGHT. Mercer gets back to Moe's floor, limply badly. He looks up. Parker is standing in the middle of the hallway, hands on hips, like Fury. MERCER: Hey, there. Uh, Parker, is it? PARKER: Going somewhere? Mercer points behind her. MERCER: Uh, yeah, as a matter of fact. He tries to pass her but Parker moves to stand in his way, putting her hand on his chest. PARKER: Where is she? MERCER: Uh, excuse me. Mercer puts his hand on her wrist to remove her arm. Parker starts to scream. PARKER: r*pe! Parker drops her arm and leaps (in so much as he can) back. MERCER: Whoa! Parker is screaming at the top of her lungs. People start to come out of the rooms, including Moe. PARKER: r*pe! r*pe! r*pe! MERCER: I just touched you. A beefy resident arrives from behind Parker. He steps between them. BEEFY RESIDENT: Buddy, what's up? He looks back to Parker. Another RA is standing near Moe. MOE: Mercer, what's going on? BEEFY RESIDENT: Who blew that whistle? MOE: [with increasing panic] Mercer, what do we do? Parker looks back at Moe, suspiciously. The questions are coming thick and fast and Mercer doesn't have an answer. The beefy resident looks down at Mercer's leg where one of the trouser legs has a large bloody patch. BEEFY RESIDENT: What happened to your leg, man? MERCER: Pet cougar, all right? Look, show's over, people, okay? Moe, shut up and get in your room. Good night, everyone. Sweet dreams. Parker continues to stares in accusation at Mercer. It gets to him. MERCER: [nastily] What are you looking at? Whether he heard something, or it simply served the script that he should say so out of the blue, the second advisor pipes up. SECOND RESIDENT: You got someone in your room, Moe? MOE: Mercer? Parker looks back at Moe again, getting that Moe is behaving like Mercer's bitch. MERCER: All right, you all have fun, okay? I'm out of here. Mercer backs up. There are two RA looking types students behind him. Although one seems to move to block Mercer's exit, they let him slip between them. MERCER: She's just a psycho, and you're all falling for it. Mercer turns and hastens to the doors to the staircase. MOE: Mercer, where are you going? Mercer! Moe races after him. Parker and the beefy resident watch him go. The second resident approaches Parker. SECOND RESIDENT: Are you okay? Breathing shakily, Parker nods and whispers. PARKER: Yeah. She runs to Mercer's door. INT - HEARST COLLEGE, MOE'S ROOM - CONTINUING. She bursts in and gasps on seeing Veronica lying on the floor. She bends down to her. PARKER: Oh, my God, Veronica. Oh, my God. She lifts and cradles Veronica's head gently. INT - HEARST COLLEGE, DEAN'S OFFICE - NIGHT. The dean is asleep on the couch in his office, his arms folded into his body. An egg hits one of the windows, having been thrown from outside. He wakes up at the tap-tap sound as more eggs h*t the window. Momentarily disoriented, he gets up and walks towards the source of the sound. He looks at the window and more eggs h*t their target. Looking somewhat tragic, he watches as the g*n slides down the glass. A last egg is thrown. Someone opens the door to the office, casting light and a shadow on the dean as he gazes at the window. He turns his head and looks at the visitor in surprise. DEAN O'DELL: What are you doing here? INT - SHERIFF'S DEPARTMENT - NIGHT. Keith is chewing out Sacks. KEITH: When a b*mb thr*at's phoned in, you evacuate the building. That's procedure, Sacks. SACKS: Sorry, Keith. KEITH: I'm taking my daughter home now. Veronica is perched on the side, on the table where the coffee sits. She has a drink in a paper cup. She is still out of it, but less so than earlier. Keith helps her up. SACKS: Sheriff Lamb's on his way in. He wanted to talk to her. KEITH: [at a whisper] Yeah, right. Keith ignores the implied order than they stay, holding Veronica close and walking her towards the door. VERONICA: [groggily] I called you from Moe's phone. You've got his number saved on your phone now. He's not smart enough to turn it off. Keith nods. INT - MOTEL ROOM - DAY. In some anonymous motel room, Mercer, his trousers pulled down is surveying the damage to his leg. His breathing is ragged with the pain. He looks up and nods. Moe applies a pair of pliers to the wound. Mercer's breathing quickens at the increased pain and he screams as Moe extracts the unicorn horn buried deep in the leg. With Moe still holding the pliers over the leg, the door to the room is kicked in. Both guys look up in shock. It's Keith and he has his g*n pointed straight at them. KEITH: Your ride back to Neptune is here, boys. I suggest you don't give me any more reason to sh**t you. INT - MARS RESIDENCE - DAY. Veronica, her face still showing the effects of the night before, is curled up at one end of the couch, her face free of makeup and her hair pushed back with a hair band. VERONICA: Moe was the setup man. She is explaining to Mac, sitting at the other end of the couch, Wallace, sitting on the arm of the couch behind Mac, and Piz, crouched on the floor next to Wallace. VERONICA: He'd dose the victims, then call Mercer with the room number and give him the master keys he needed to get in. Moe was the one who shaved me in the parking lot. I don't think he ever planned on raping me. He was just providing an alibi for Mercer. WALLACE: Well, what did the Pi Sigs have to do with it? VERONICA: Nothing, just nights Moe and Mercer could be sure there'd be plenty of drunk girls, plus a convenient scapegoat. MAC: Has Logan been by? She shakes her head. VERONICA: I haven't seen him. INT - DINER - DAY. Two deputies are sitting at one of the booths by the big glass window. Their Sheriff's department vehicle can be seen through the window, parked on the opposite side of the service road in front of the diner. Music: "Can't Get Over You" by the Digbees. LYRICS: Baby, I could make a list of things that I would much rather do today But I think I'll lay right here and say The deputies are deep into their reading. The bonnet/hood of a black Range Rover can be seen parking on this side of the service road. The sound of someone exiting the car alerts one of the deputies, who looks out of the window. It's Logan, staring intently at the deputies through the window, to make sure he's noticed, as he makes his way purposefully towards their car. He's carrying a baseball bat. The other deputy looks up in time to see Logan raise the bat and smash the windscreen. The deputies scramble to extricate themselves from their booth. End music: "Can't Get Over You" by the Digbees. INT - SHERIFF'S DEPARTMENT, CELL - DAY. In the cell, Moe is lying in the top bunk, facing the wall. Mercer is in the bottom bunk, lying on his back and staring at nothing. He doesn't react steps approaching the cell, the rattle of keys or the opening of the cell door. Logan enters the cell. Mercer finally looks over and sees Logan, never more like his father than now, flexing his fists. As the cell door slides shut behind Logan, Moe also turns to see the new arrival. Logan's eyes are burning into Mercer, thr*at grievous bodily harm or worse. Mercer opens his mouth as if to say something, then closes it and sighs. INT - HEARST COLLEGE, DEAN'S OFFICE - DAY. Weevil manages to get the door to the office open, despite carrying the large piece of equipment that will turn O'Dell's television into a wonder of high definition. He backs into the room and turns, glancing around the office, ready with a smile. He stops at the sight he sees. Dean O'Dell is slumped on his desk. His head resting on his keyboard. There is a b*llet hole in his temple. Weevil stares disbelievingly. End.

{"type": "series", "show": "Veronica Mars", "episode": "03x09 - Spit & Eggs"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Professor Landry and Mindy O'Dell kiss in the hotel room at the Neptune Grand in 309 "Spit and Eggs." At home, Veronica is telling Keith all about it. VERONICA: Dean O'Dell's wife is cheating on him with Dr. Landry, my criminology professor. At Hearst College, the dean is gutted to see Keith waiting for him in the hallway. VERONICA: [offscreen] Are you going to tell him? KEITH: [offscreen] You know the rules, honey. I have to. Weevil enters the dean's office and finds him slumped over his keyboard, a b*llet hole in his temple. Cut to Veronica and Mac in the crowd at the Take Back the Night Rally in 301 "Welcome Wagon." MAC: The shrink asked if a lifetime without a libido is such a bad thing. I think she's given up on me. VERONICA: You just need more time. Logan breaks up with Veronica in 309 "Spit and Eggs." LOGAN: Yeah, I think we can take a tough but survivable amount of pain now or stay together and deal with unbearable pain later, so I vote for the pain now. Logan walks away from Veronica. End previously. INT - MARS INVESTIGATIONS - DAY. Veronica is at her desk in the main office, sliding a letter into a manila folder. VERONICA: You should hire someone to do this. Keith is sitting on the small couch, a box file in front of him. KEITH: Hey, you're lucky I'm not a farmer. You'd be out ploughing a field. Veronica pauses to gaze at another manila folder. VERONICA: What is manila anyway? Keith rises from the couch, picking up the box file to carry to his office. KEITH: I don't know. Is it a substance, a colour maybe? "In the kitchen, we'll do a nice manila." VERONICA: I'd say more like, "by the time we dug him up, he turned manila." KEITH: Don't you have to get to class? VERONICA: On my way. Veronica taps at the keyboard. VERONICA: Oh, and Wikipedia says: "Not a what, but a where, called 'manila' after hemp from the Philippines." Veronica rises from the desk, grabbing her bag and shutting the lid of the laptop. She freezes at the sound of steps and sight of the person making them. VERONICA: Oh. Good morning. It's Mindy O'Dell, who walks towards her desk slowly. Keith, unaware of her presence, calls out to Veronica as he exits his office to join his daughter at her desk. KEITH: Guess that would explain why this filing was giving me a k*ller buzz. He sees Veronica's look and turns to see Mindy. KEITH: Oh. Can I help you, Mrs. O'Dell? MINDY: I hope so, Mr. Mars. KEITH: Please, come in. Keith gestures to his office and Mindy walks into it. He and Veronica share a curious look as Keith follows and closes the door behind them. After gazing after them for a brief moment, Veronica heads out of the office. In Keith's office, Mindy is settled in the chair opposite Keith's desk. MINDY: My husband didn't k*ll himself. KEITH: [gently] What makes you think that? MINDY: Because I know my husband. KEITH: Mrs. O'Dell, I saw him that night. He had just learned of your infidelity. He was drinking heavily. MINDY: Well, it was in him to sulk, to divorce me, even, but he would never in a million years k*ll himself over me. KEITH: The sheriff ruled it a su1c1de six weeks ago. Why come to me now? MINDY: Honestly? Money. As his death was ruled a su1c1de, his life insurance is denying benefits. I'm a widow with two children to take care of. KEITH: You told Mr. O'Dell you were at a junior league meeting the night he died. MINDY: Are you asking for my alibi? KEITH: If it is a m*rder, you'll be asked for it repeatedly. Your husband implied that your junior league nights were a cover for your affair with Professor Landry. MINDY: I was with Hank...all night. Look, I didn't k*ll Cyrus, Keith. Neither did Hank Landry. But someone did. KEITH: Well, let me dig around. If I find anything, I'll take the case. MINDY: Thank you. INT - HEARST COLLEGE, LAB - DAY. Mac walks into a darkened lab room. The place looks like it has been tossed. Empty cages litter the room. Two students in white coats are crouched on the floor, starting to clear up the mess. MAC: Wow, this is one trashed lab. All that's missing is a big hole in the wall shaped like the Hulk. Mac chuckles, but her smile fades as the students stare at her, not amused. MAC: Somebody called tech support? PAULINE: I did. The female student rises and points to the side of the room where the computer is, leading Mac towards it. PAULINE: We had a break-in. Our computer was sabotaged, and it's d*ad. There's a year's worth of research on that hard drive. Our professor will have med students practicing autopsies on us. GIL THOMAS: Professor McGregor has to understand it's not our fault. Gil Thomas glances at his colleague, who is glaring at him. GIL THOMAS: I locked up, Pauline. MAC: Do you have a backup? PAULINE: Yeah. He's gone, too. MAC: Your backup's a he? GIL THOMAS: Twenty-five, our research monkey. Gil Thomas points to an empty cage behind him. He shuts the door of the cage. GIL THOMAS: He is the research. Even if you save the hard drive, without Twenty-five, the whole project is d*ad. PAULINE: And we'll be d*ad, too, if McGregor finds out we lost him. Who do you go to, to find a stolen monkey and twenty control-group rats? INT - HEARST COLLEGE, FOOD COURT - DAY. Veronica is sitting at one of the tables, playing with her food listlessly. She is staring at Logan who is standing at one of the food outlets. He is glancing around, but doesn't appear to have seen her. VERONICA VOICEOVER: Logan Echolls, don't you get it? Ex-boyfriend. That's your new title. It comes with certain restrictions. Logan starts walking out of the Food Court, carrying his purchase. VERONICA VOICEOVER: This is my Food Court time. You're not a breakfast person. You're not even an early-lunch kind of guy. Can't we just agree this is Veronica time? Veronica's pity-party is interrupted. MAC: Veronica. VERONICA: Mac. Veronica looks up to see Mac, accompanied by the two students from the lab, still in their white coats. VERONICA: And the people coming to take me away. MAC: Veronica Mars, Pauline Elliott and Gil Thomas Pardy. They're missing a monkey. Veronica frowns. GIL THOMAS: And twenty rats. VERONICA: We're talking "monkey" as in... MAC: "Touch my..." PAULINE: It's not just any monkey. VERONICA: Please tell me he plays piano. Mac grins at this, although neither Pauline nor Gil Thomas appreciate Veronica's levity. PAULINE: Twenty-five is a genetically altered capuchin monkey. Its uptake-inhibitor proteins have been coded to allow us to monitor cholesterol breakdown at a cellular level. Pauline sighs at the realisation that this has not excited or motivated Veronica. PAULINE: And he can play "Chopsticks." VERONICA: Excellent. Veronica grabs her tray, rises from the table and walks over to the bins. VERONICA: Any idea who would want to nab... She slides the tray contents into the bin and turns to face the group, who have followed her. VERONICA: Um, what's his name again? PAULINE: It's not a pet. We don't name them or wrap squeaky toys up for Christmas. Veronica holds up her hands in a "mea culpa" apology. PAULINE: His research ID number is twenty-five. Yes, I know exactly who stole him. It was those damn fat kids. VERONICA: Because, I take it, monkeys are delicious? And, dude, "girth-challenged" is the preferred nomenclature. GIL THOMAS: P-H-A-T. People for Humane Animal Treatment. They've done this kind of crap before. They liberated him and took a year's worth of research in the process. Please, this is our future. We need that monkey back. Opening credits. EXT - HEARST COLLEGE - DAY. Veronica and Mac are walking across the campus. MAC: I just can't wait for that moment when you're in a tree, going, "here, monkey, monkey," and holding out a banana, and then the branch breaks and hilarity ensues. VERONICA: Ah, if there's hilarity, I charge extra. Think you can salvage anything off their hard drive? MAC: Iffy. Looks like someone poured something on it. Veronica comes to a stop in front of one of the campus notice boards. VERONICA: Aha. MAC: You've solved the case. Veronica taps one of the posters. VERONICA: PHAT is having a recruitment meeting tonight. The poster Veronica is referring to reads as follows: "Attention Students: Hearst College Chapter of People for Humane Animal Treatment (P.H.A.T.) invites you to our spring semester orientation meeting, Wednesday, 8pm, Guyot Hall 310. We'll be presenting an informative slideshow covering the various ways in which mainstream corporations' abuse and mistreat animals. Their inhumane actions will never cease unless you, the public, demands respect and humane treatment for these animals." The notice is pinned on top of other posters, including a handwritten one regarding the "borrowing" of someone's car ("I will hunt you down...") and another "borrowed" from the World Can't Wait-Drive Out the Bush Regime Steering Committee statement read out at rallies around the country on October 5, 2006 and only bits of which can be seen: "In just the past year we have seen government spying bolted into law; Alito and Roberts installed in the Supreme Court, the Patriot Act passed again, theocratic ante-abortion and anti-gay laws spreading intolerance; w*r in Iraq more m*rder; w*r on Lebanon approved and fuelled; w*r on Iran in preparation, t*rture legalized..." VERONICA: Square one. MAC: Want some company? Veronica raises her brows, seen despite her sunglasses. MAC: What? This soft spot here... Mac gestures in the general direction of her heart. MAC: It's for all creatures, great and small. VERONICA: Okay, the more, the merrier. [with faux-excitement] All we need is one more angel, and we've got a show. I'll come by your room. Dress cruelty-free. We want to blend. MAC: Got it. Off to class. Mac walks off, leaving Veronica at the notice board. Veronica takes a last look then turns from the board. She walks straight past Keith, registering his presence with surprise. She doesn’t pause in her stride, but slides the sunglasses off her face. Keith follows her. KEITH: Hi. VERONICA: Hi. What are you doing here? KEITH: Looking for you. I need to find Weevil. VERONICA: You two palling around now? KEITH: I need to ask him some questions. Mindy O'Dell doesn't think her husband k*lled himself, and Weevil found the body, so... VERONICA: You think Dean O'Dell was m*rder? KEITH: Uh-uh. Not really. I think he had his heart broken and sh*t himself. I suspect his wife feels a tremendous amount of guilt. VERONICA: So why take the case? KEITH: I haven't yet. I'm checking it out. VERONICA: Physical plant after 6:00. Veronica, having put her sunglasses in their case and back in her bag, pulls out and glances at her cell phone. VERONICA: How did you find me? My cell phone is not on. KEITH: Maybe I'll tell you someday. Keith passes behind her and goes on his way. INT - HEARST COLLEGE, MAC AND PARKER'S DORM ROOM - DAY. As Mac searches through her closet, Veronica is sitting on Mac's bed reading from the PHAT website. VERONICA: According to the PHAT website, we should stay away from fur, obviously, down, leather... MAC: The one day I feel like wearing a leather miniskirt. VERONICA: If it ever had a face or parents, you can't wear it. MAC: So my mollusc shoes are cool? Mac pulls out an unattractive jumper and walks to the centre of the room, holding it up. Beyond her, Parker is sitting at her desk, reading. She looks up at the sweater. MAC: Oh, does this say "cruelty-free"? PARKER: It says, "I've given up. Don't look at me." Before the doleful Mac has a chance to respond, there is a knock at the door. It opens to reveal a girl carrying a clipboard. PARTY ORGANISER: Hey. She beams and then consults the clipboard. PARTY ORGANISER: You guys haven't picked a country yet. Parker looks at her blankly. PARTY ORGANISER: For the around-the-world party. Every dorm room dresses itself up like a different country. Party, fun? Mac looks singularly unexcited. Veronica returns her attention to the website. PARTY ORGANISER: No? MAC: I prefer most of the people on the floor, you know, not in my room. Parker, now on her feet, sighs. PARTY ORGANISER: Okay, well, if you change your mind, let me know soon. Most of Western Europe goes down fast. The girl leaves. Parker swings around to face and point to Mac. PARKER: Single. Parker steps towards them and points at Veronica. PARKER: Single and on the rebound. Veronica looks back at her sourly. PARKER: Just so you know, we're approaching critical, pathetic mass if the girl who most wants to host gentlemen callers is the most recent victim of a sexual as*ault. We should be out there! Or, at the very least, not barring them from coming to us. Veronica and Mac glance at each other, unconvinced. Parker lets out an exasperated sigh and turns back to her side of the room. INT - HEARST COLLEGE, GUYOT HALL, ROOM 310 - NIGHT. In the classroom, there is a PHAT banner on the blackboard which, as well as setting out the name, declares that animal dealers traffic two million animals a year. Set in front of the blackboard is a screen for slides. A slide shows the PHAT logo. People are entering the room, including Veronica and Mac who are at the door. They pause as Veronica takes a sheet of paper being handed out by Darla. She is assisted by another PHAT member. On the other side of the door is a guy writing in the notebook. Mac gazes into the room unhappily. MAC: Okay, I get cruelty-free, but I'm an animal, too, and the clove cigarettes and no-bathing thing is cruelty to me. Veronica doesn’t respond, noticing the guy who has overheard Mac. He closes his notebook and drops his head. Mac turns and sees him, and backtracks. MAC: Oh. He chuckles. MAC: No. Not you. You're... She leans towards him and sniffs. MAC: Fine. He walks them into the room, taking a perch on one of the tables. BRONSON: You guys ever been to one of these things before? MAC: Me? No. I come from a meat-and-potatoes kind of family, minus the potatoes. My first pacifier was made of jerky. He chuckles again, clearly taken with Mac. BRONSON: Well, it, uh, it could be fun. MAC: Or it could be a lot of speechmaking by politicos-in-training. BRONSON: Or that. He holds up crossed fingers. Veronica, getting his interest, smiles at Mac. Mac glances back with a bit of a frown and they move towards the back of the room. Cut to a little later. The guy is at the front of the room, fronting the group. BRONSON: My name is Bronson Pope. I'm the chapter president of PHAT here at Hearst. Veronica glances at Mac who is chagrined. BRONSON: I'd like to thank everyone for coming out. Bronson turns off the lights to start the slide show. The slides reflect what he is saying. BRONSON: From food industries to clothing to medical research, corporate America employs horrible cruelty to animals, simply to maximize profit. It's a tragic state of affairs that we fight with education. People who disagree aren't the enemy. They're the goal. Veronica sh**t her hand up and clears her throat to get Bronson's attention. BRONSON: Yeah? VERONICA: This is in addition to some of the more active stuff? There was a rumour that someone liberated some research animals. I was just wondering if we'd be doing anything like that. The rest of the attendees stare at Veronica for her interruption, which she notices. VERONICA: What? I raised my hand. Mac grins. BRONSON: That's really not our thing, but if you're eager for action, how about joining us tomorrow night to launch our letter-writing campaign? Bronson switches the lights back on. VERONICA: [unenthusiastically] Sure. That sounds almost as good. DARLA: You know, Bronson, that psycho bow-hunting rocker guy Ed Argent is playing downtown tomorrow night. We should consider picketing the show. BRONSON: You ever meet an Argent fan, Darla? Uh, they'd pay double to spit on our picket line. There's a muttered agreement amongst the rest of the group. INT - HEARST COLLEGE, DEAN'S OFFICE - NIGHT. Weevil, with his ring of keys jangling, leads Keith into O'Dell's office. WEEVIL: So, I came in at around seven. First, I thought he just had a bender and fell asleep at his desk, but then I saw blood..and the note. KEITH: A note? WEEVIL: Yeah, on the computer. He had a memo on the screen, saying, "Goodbye, cruel world zzzz." I guess his head fell on the Z. It's a shame, man. He was pretty cool...for a weird, old, white dude. Keith is less interested in Weevil's observations, and more intent on the bottle of Glencracken, still on O'Dell's drinks table. He picks it up. WEEVIL: So, uh, what, you just wanted to see if he left any booze? Keith looks at Weevil, deep in thought. INT - LOGAN'S SUITE, NEPTUNE GRAND HOTEL - DAY. It's apparently morning. Dick, garbed in a dressing gown and naked underneath, amuses himself by taking a picture of his penis and throwing the picture off the balcony window. Logan, in t-shirt and boxers, comes to the door to the balcony. LOGAN: I think I told you, the management asked if you'd stop doing that. DICK: That's exactly what's been wrong with you lately. Since when do you side with management? Dick looks back over the balcony to see the results of his gift to the world. DICK: Ooh, best-case scenario: old lady. Logan doesn't respond and turns to walk back into the room. Dick is exasperated with him and Logan pauses. DICK: What's with you? That is awesome! Dick strides past Logan, going back into the suite, nudging him on the arm as he passes. DICK: How about a little life? Dick turns back to face Logan. DICK: So what, you're just going to mope around like that guy in...what's that book where the guy's mom dies and he comes back to Jersey? He's got that motorcycle sidecar. LOGAN: Garden State was never a book. DICK: It wasn't? Oops. [to himself] So much for that paper. Dick heads back to and settles on the couch as he lectures Logan. Logan rests on the arm of the couch at the other end of the settee. DICK: But if this were a book, the theme of my essay would be the symbolism of how your character had his man parts ripped off by the Veronica Mars character. LOGAN: [crossly] My man parts are intact. DICK: Show me. LOGAN: Well, you'll have to take my word for it. DICK: I mean, symbolically. We're young, single men in our sexual prime, and the only reason why we're not out there going hog-wild is because of your feelings? What, are we on "The View"? Am I Rosie O'Donnell? Here's something I read. "Today is the first day of the rest of your life." Dick gazes at Logan, wide-eyed in wonder and with a grin. DICK: Think about that. Logan is unmoved. DICK: Really, think about it. LOGAN: Yeah, well, as a statement, it seems, you know, obvious and pointless. DICK: Which means...that's what your life is. You need help. I'm offering, okay? Nothing too major, just baby steps. Just, please, let me help you. Dick ends pleadingly. Logan nods, considering the offer. INT - HEARST COLLEGE - NIGHT. The PHAT team have set themselves up in another classroom and are stuffing envelopes. Bronson is watching over Darla when he looks up and sees Veronica and Mac at the door. BRONSON: Hey. He races over to them. BRONSON: Thanks for coming. Um, lick or stuff? He leads them into the room, pointing out the various areas of activity. BRONSON: Letters are there, envelopes there. You know, this is what it's all about. Yeah, if people knew that every research animal on campus is caged, tested, and k*lled, you know, they might not be here in the first place. VERONICA: Every research animal? Bronson nods. BRONSON: Yeah, that's why this is so important. Veronica is a bit shocked by this. MAC: Well, I'd like to stuff. BRONSON: Okay, come on. Bronson leads Mac away to the stuffing table. Veronica, having recovered her composure, heads for Darla. She sits down next to her. VERONICA: Darla, hi. I'm Veronica. I think your idea to protest Argent was great. If you go through with it, I'm in. I do a wicked picket. Veronica glances around conspiratorially, then leans towards Darla, lowering her voice. VERONICA: Look, I know letter writing isn't all you do. You got to be careful with new members. I get it, but, just so you know, I'm ready. Darla passes her a stack of envelopes and a sheet of stamps. She pats Veronica on the arm. DARLA: Good to know. Darla gets up and walks away, leaving the girl detective foiled and unenthusiastic about her assigned project. Elsewhere in the room, Bronson is sitting with Mac, stuffing envelopes. BRONSON: Your friend seems pretty g*n ho. MAC: Veronica? She played pee wee soccer; she made her own penalty cards so she could red-card players she didn't like. Bronson smiles. BRONSON: I'm glad you guys came. I don't usually have much fun at these. He grins at her. Mac grabs some more envelopes. MAC: The letter stuff seems fun. She rises and races away. Cut to a little later. Mac is sitting with Veronica at the table where stamps are put on the letters, concentrating on her task. Veronica is concentrating on something over Mac's shoulder. VERONICA: Do me a favour. Casually look over there. Mac looks over her shoulder. Bronson is staring at her, smiling. He holds her gaze for a moment before going back to work. Mac looks back at Veronica. MAC: What? Veronica rolls her eyes at Mac's obliviousness to Bronson's interest. Sam, the other PHAT member who greeted them at the door at the orientation meeting, joins them at their table. SAM: How's it going? Darla casually drifts into view to stand behind Sam. VERONICA: Great. Maybe we should throw in some low-interest credit-card apps, really grab their attention. SAM: Yeah, letter writing's good, but, uh, some of us aren't so patient. Some of us want to get the message out a little more...actively. DARLA: If you're interested, maybe you can prove yourself. VERONICA: What do you have in mind? SAM: Just something that gets our attention. He shrugs. SAM: Surprise us. Veronica looks at them thoughtfully and then at Mac, who stares back at her questioningly. INT - MARS RESIDENCE - NIGHT. Veronica enters the apartment to see Keith leaning back against the cooker in contemplative mode. Veronica frowns at him as she shuts the door and enters the apartment. VERONICA: You look sad. You and your friend Weevil have a fight or something? Veronica drops her bag and takes a seat at the kitchen counter. KEITH: Just thinking, if I was going to get drunk and sh**t myself, I'd probably drink the good stuff first. VERONICA: Sheesh. Good thing we don't have any good stuff. KEITH: Dean O'Dell did, a bottle of forty-year-old single malt. Said he lived in anticipation of drinking it. So why, if he's going to commit su1c1de, does he drink the cheap stuff instead? Keith turns back to stir whatever is cooking as Veronica watches. KEITH: You had a few run-ins with the dean, right? What were your impressions of the man? VERONICA: I...admired him. He had character, or was one, or something. I don't know, just... Keith drops a bowl of bread on the counter. KEITH: How 'bout his rhetorical style? Businesslike and bland? Veronica thinks about this. VERONICA: More...Old Testament sarcastic. KEITH: Sarcastic? Like he might leave a dumb cliché as a note, as a joke? VERONICA: What did the note say? KEITH: "Goodbye, cruel world," typed as a memo. VERONICA: Like on the computer screen? KEITH: Yeah, why? VERONICA: Just...we had to do these papers for Landry's class, like plan the perfect m*rder. I got an A, just in case you were wondering. KEITH: And what does this- VERONICA: Mine was a fake su1c1de, where you leave a note on the computer, so you can't check the handwriting, and write something clichéd so you don't study the message. My example was, "Goodbye, cruel world." They absorb this little titbit. EXT - HEARST COLLEGE - DAY. Veronica is sitting on the steps of one of the buildings. She looks back at students emerging from the building and jumps up when she sees Piz. Veronica puts on her most persuasive charms. VERONICA: Hey, Piz. Piz grins. They carry on walking together. VERONICA: Ed Argent is in town. Think you can pull some of that Oregon-mountain-man, k*ll-what-you-eat, g*n-rack charm and book him on your show? PIZ: Everything north of San Francisco is just Thunderdome to you, isn't it? VERONICA: It's for a case involving...a missing monkey. PIZ: The case of the missing monkey? VERONICA: Mm-hmm. You'd be helping science and me, and you might help classic rocker and conservative wild man Ed Argent connect with a whole new audience. So everybody wins, which is nice. PIZ: That is nice. So, how is Ed Argent connected to the missing monkey again? VERONICA: I didn't say, and I can't. Client privilege. You'd be doing me a favour I'd really appreciate. Piz smiles. INT - HEARST COLLEGE, LAB - DAY. One of the cupboards in the room is opened. It's empty. PAULINE: Look. Twenty-five's food is gone. It was here after the break-in, and now it's gone. Pauline is showing this to Veronica. Gil Thomas is working to the side. PAULINE: Obviously, those PHAT fanatics are trying to take care of him. What did you find out? VERONICA: There might be a splinter cell. I'm setting something up to get inside. Pauline sighs in frustration. VERONICA: So, what happens to Twenty-five...after you complete your research? PAULINE: The only way to conclusively prove test results is through an autopsy. VERONICA: So...that monkey good life includes a blindfold and a last smoke? GIL THOMAS: You sound like one of them. VERONICA: It's just a question. PAULINE: Ah, a question like, how do we cure cancer or discover new vaccines? They are interrupted when a door into the room is flung open. Another student scientist marches into the room and checks the thermostat. She makes an exasperated gesture as she adjusts the control. EMMY: You've got the A/C on full. She spins around, confronting the others with her arms crossed. EMMY: If you want to see my nipples, just ask. Gil Thomas raises his hand. She ignores him. EMMY: How many times do I have to say, "temperature affects rates of carbon assimilation"? PAULINE: I don't know, Emmy, a billion? Emmy trounces back through the door, slamming it behind her. VERONICA: Friend of yours? INT - HEARST COLLEGE, EMMY'S LAB - DAY. Emmy's room is much smaller than the one used by Pauline and Gil Thomas. Her experiments revolve around plants, which fill the room. As Veronica checks out the room, Emmy continues to work at a microscope on the narrow bench against the wall. EMMY: I was in my lab until around nine, locked up. Didn't see anything suspicious and went home. I already talked to campus police. VERONICA: I'm sure you did all you could to help your pal Pauline. EMMY: They have twice the space I have. For what? To find a pill so fat guys in the suburbs can keep eating cheeseburgers. It's ridiculous. Look, I may not love Pauline and Gil Thomas, but I'm a scientist. I'd never vandalise a lab...ever. Veronica sighs, seemingly persuaded by her passion. INT - HEARST COLLEGE, RADIO STATION - NIGHT. Piz and Ed Argent finish their interview and Piz shakes his hand as he leads him out of the broadcasting room. PIZ: Hey, that was awesome, man. Thanks a lot. Veronica, Parker and Mac are waiting in the outer room. They are all wearing pink sweatshirts which say "Zeta Theta Beta." Veronica, holding another sweatshirt similarly labelled, sh**t up from the couch, acting the deranged fan. VERONICA: Oh, my God, oh, my God, oh, my God! I am your biggest...super biggest fan. I joined the NRA after they covered you in g*n Magazine. Parker, also very into her role, rises from the couch, clutching her chest and gushing. PARKER: Oh, I loved that article. Everyone except Parker, who is grinning manically at Argent, glances at Mac. She is finding it harder to adapt. She slowly stands revealing yet another sweatshirt on the couch behind her, folded. MAC: Totally. The second amendment is, like, my favourite. She tails off, embarrassed. Veronica leaps in again, still jumping up and down. VERONICA: We were so hoping to get a picture of you in our sweatshirt for our celebrity wall. Veronica holds up the sweatshirt with the "Zeta Theta Beta" prominently displayed. ARGENT: Anything for a fan. VERONICA: Awesome. Unnoticed by Argent, Mac grabs the sweatshirt behind her, and she and Veronica swap it with the one Veronica was holding as Veronica makes her way over to Argent. Mac throws the other one back over the couch and accompanies Veronica to Argent, who puts on the sweatshirt he was given. Parker is waiting with a camera to take a photo. Argent doesn't glance down at the sweatshirt he is wearing, which proclaims "Meat Is m*rder." ARGENT: Maybe, after the show, I could stop by the sorority. VERONICA: Ooh, I think the Theta Betas would really enjoy that. Parker nods enthusiastically, then readies them for the picture. PARKER: Okay, say "meat"! ARGENT, VERONICA, MAC: Meat! The picture shows Argent and Mac grinning. Veronica has her lion face with her tongue sticking out. While Argent gets in a bull horn's gesture, Veronica's fingers, whilst in approximation of the same formation, look more like the classic sign for a loser. INT - HEARST COLLEGE - DAY. Veronica gets up from one of the hallway computer terminals and walks into Sam. SAM: Hey. Look at this. He hold out a copy of the Hearst Free Press, turned to a page which features the photograph of her, Mac and Argent in the "Meat is m*rder" sweatshirt. It is printed under the headline "Argent tells KRFF listeners: rock hard, eat what you k*ll." The caption under the picture reads "...Cuddly? The brash rockster, Ed Argent [?], poses with Cindy Mackenzie [?] and Veronica Mars [?]." SAM: Tell your friend you guys are in. He slaps a slip of paper into her hand. SAM: Three o'clock, that room. He walks away, leaving Veronica to open and read it. She is well satisfied. INT - HEARST COLLEGE, SAM'S DORM ROOM - DAY. Darla opens the door to Veronica and Mac. DARLA: Great, you're here. Come in. Darla hurries back into the room as Veronica and Mac step inside. MAC: I've never been initiated before. Think I'll get a code name? Veronica smiles and closes the door behind them. Sam is at a computer on the desk in the room. Darla is standing between him and a camera on a tripod, in front of a brown curtain. DARLA: We really loved what you did, and we want you to join our anti-fur campaign. Darla goes to the camera as Sam gets up and grabs a couple of large cards. SAM: Congratulations. You're one of us. Sam hands one card each to Veronica and Mac. Mac's card says "No," with a prohibition sign over a rabbit for the O. Veronica's card says "Fur." Veronica and Mac smile and hold up their cards. DARLA: We have a lot of work to do, so just go ahead and take 'em off. VERONICA: Uh, take what off? SAM: Your clothes...for the calendar. You are committed, right? Veronica and Mac watch, stunned, as Sam goes over to the computer and pulls up a picture of himself, naked except for the "No Fur" card that covers his genitals. VERONICA VOICEOVER: It's an ongoing question in the private-eye game: "how naked are you willing to get for a case?" SAM: This campaign epitomises what we're about. VERONICA: Oh, yeah, totally, but- DARLA: We know you guys believe in the cause - that fur is the unnecessary k*lling of animals for nothing more than human vanity. So, you want to pose together? Veronica looks down at the size of the card, then at Mac, who is speechless. Veronica is still working out what to say when the curtain is pulled back and the rest of the PHAT team, including Bronson, are revealed, laughing. Darla takes a picture of Veronica and Mac's faces. SAM: Sorry. We do this to all the real g*n-ho recruits. DARLA: But we totally love you guys. Veronica chuckles more in relief than amusement. DARLA: That Ed Argent thing was genius. Bronson steps forwards and addresses Mac. BRONSON: So, um...some of us are going to grab a bite, if you want to come along. MAC: I'm good. I had some mints. Veronica can't control her WTF?! face as she stares at Mac in dismay. BRONSON: Ah. So...you have any plans this weekend? Veronica jumps in, nudging Mac in the arm as she does. VERONICA: We have that around-the-world party tonight, remember? You should come. Every room is a country. Very educational. BRONSON: Yeah, great. Uh, what country are you guys? Mac just stares at Bronson with a fixed smile. Veronica gives herself thinking time by pretending she didn't hear the question. VERONICA: Hmm? INT - HEARST COLLEGE, BENES HALL - DAY. The party organiser, dressed in a Chinese costume, is checking out the decorated rooms. She wanders through "Italy" with a bottle of Chianti. PARTY ORGANISER: Bella, bella. She leaves the room, handing the Chianti to one of the room's residents. PARTY ORGANISER: Ciao. She walks out into the hallway and spots a girl putting up paper laterns. PARTY ORGANISER: I love your enthusiasm. Love it. She walks to the door of another room which is decked out as Cuba. There's a neon palm tree on the back wall and one of the room's residents is dressed up like Fidel Castro. She walks away, fanning her face. PARTY ORGANISER: Ooh, caliente! [Translation: Ooh, hot!] She walks to the door of another room which is decked out as Cuba. There's a neon palm tree on the back wall and one of the room's residents is dressed up like Fidel Castro. She walks away, fanning her face. She reaches the door to Mac and Parker's room. The contents of Parker's whiteboard haven't changed since 304 "Charlie Don't Surf" and Mac still displays her name solely with a strip of tape. New to the door, however, is a strip of tape on which is written: Canada. The party organiser looks at the door, bemused. She slides off her coolie hat and enters the room. INT - HEARST COLLEGE, MAC AND PARKER'S DORM ROOM - DAY. Parker, sitting on the small couch reading a magazine looks up. PARTY ORGANISER: So, you're participating now? The party organiser looks around. PARTY ORGANISER: What about this is Canada? Veronica, standing by a small picture of a moose, does a "duh!" face and points to the picture. MAC: Uh, our accents. Eh? The party organiser snorts. Parker looks confused, as if she didn't know what they were up to. VERONICA: And I almost forgot aboot... Veronica leans over in front of Mac to turn on a CD player. Music blares out. Music: "One Week" by the Barenaked Ladies. LYRICS: It's been one week since you looked at me Cocked your head to the side and said, "I'm angry" Five days since you laughed at me Saying get that together come back and see- Mac and Veronica jerk to the music, Veronica rather more enthusiastically, complete with tongue sticking out and air guitar. MAC: There you go. The party organiser glances down at Parker and sceptically accepts the "effort." PARTY ORGANISER: Okay. She walks out of the room and the music is switched off. End music: "One Week" by the Barenaked Ladies. Parker stares at Veronica and Mac, who are smirking. PARKER: I'm confused. I thought you were against the whole party idea. VERONICA: We were. And then... Veronica rolls her eyes and jerks her head in Mac's direction. VERONICA: "The guy" happened. This excites Parker. PARKER: Ooh! But embarrasses Mac. MAC: No. Veronica looks back at her, appalled. MAC: In a way. I don't know. VERONICA: Somebody was doe-eyed, tongue-tied, and, dare I say, twitterpated? MAC: Hey, there's enough guys for everyone. Maybe Piz will show up. PARKER: Ugh. God, I'm so over that. I don't know what his problem is. I think he has a girlfriend back home. It's a new day. No more games, no more waiting around. I'm ready to be wooed! VERONICA: Amen, sister! This also excites Parker, forcing Veronica to backtrack. VERONICA: That was supporting, not joining. I do not want to be wooed. PARKER: Don't you want to hear all about how great you are? I mean, don't you want to see the look on some cute guy's face when he realizes that you're not only smokin'-hot but funny and smart? Why, you're the catch of the century, Veronica Mars... She looks over at Mac. PARKER: And so are you. VERONICA: Are you saying we ought to... Veronica pretends to struggle with the word. VERONICA: Mingle? PARKER: I'm saying there's a saddle, Veronica, and we should be back in it. INT - HEARST COLLEGE, MAC AND PARKER'S DORM ROOM - NIGHT. "Canada" is well-attended. Music: "One Week" by the Barenaked Ladies. LYRICS: Chickety china, the Chinese chicken You have a drumstick and your brain stops tickin' Watchin X-Files with no lights on, We're dans la maison I hope the smoking man's in this one Like Harrison Ford I'm getting frantic Like Sting I'm tantric Like Snickers guaranteed to satisfy Like Kurasawa I make mad films Okay I don't make films But if I did they'd have a Samurai Gonna get a set a' better clubs Gonna find the kind with tiny nubs Just so my irons aren't always flying off the backswing Gotta get in tune with Sailor Moon 'Cause the cartoon has got the boom anime babes That make me think the wrong thing How can I help it if I think you're funny when you're mad Tryin' hard not to smile though I feel bad I'm the kind of guy who laughs at a funeral Can't understand what I mean? You soon will I have a tendency to wear my mind on my sleeve I have a history of losing my shirt It's been one week since you looked at me Dropped your arms to your sides and said "I'm sorry" Five days since I laughed at you and said "You just did just what I thought you were gonna do" Three days since the living room We realized we're both to blame, but what could we do? Yesterday you just smiled at me 'Cause it'll still be two days till we say we're sorry In a corner on Parker's side of the room, Veronica is talking to a guy described in the credits as "super hot." SUPER HOT GUY: It's just hard when you know you've tried your best. You know? VERONICA: I do. It's a bitch. SUPER HOT GUY: I really wanted that relationship to work. I was committed, which is hard for me. Think I should call her? Veronica is saved from giving or considering advice to the lovelorn when she notices Mac unhappily wandering around the room. VERONICA: Can you excuse me for just one sec? She runs over to Mac. MAC: So, how's it going? VERONICA: I'm trying to keep an open mind. You? MAC: I think I've been around the world, and I want my room back. This just isn't my scene. Can you manage Ultimate Boy Quest 2007 solo? VERONICA: He didn't show. Mac shakes her head and shrugs. Veronica sighs, then calls out to the room. VERONICA: Okay, everybody, Canada is closing! Sorry. Border-control issues. There's general groans and mutterings of complaint. VERONICA: Sorry. Veronica gestures for everyone to get out. VERONICA: Pbht! Mac smiles at her gratefully. End music: "One Week" by the Barenaked Ladies. INT - HEARST COLLEGE, BENES HALL, DORM REPRESENTING RUSSIA - NIGHT. A large bust of Lenin and a version of "Lara's Theme" greet visitors to this room. A few Russian dolls and posters are scatter about. By the door, Veronica is being chatted up by a seemingly interested guy. SEEMINGLY INTERESTED GUY: So, what do you do, like, for fun? VERONICA: Um...I don't really know. SEEMINGLY INTERESTED GUY: You play any sports or anything? VERONICA: Nope. SEEMINGLY INTERESTED GUY: So you just, like, hang out? He scoffs a little. VERONICA: Not really. I...my hobby is more like a job... He raises his eyebrows and rapidly loses any interest in her. He starts to scan the room for other opportunities. Veronica is initially oblivious to this. VERONICA: Which is kind of like a compulsion. But it's fun sometimes. It doesn't really leave time for what most people consider... She looks up and realises immediately that he has tuned out and is making eyes at a Cossack-costumed girl across the room. She nods. INT - HEARST COLLEGE, MAC AND PARKER'S DORM ROOM - NIGHT. The room is now cleared of everybody except Mac who is lying on her bed reading a book and listening to music through headphones. Parker enters the room and shakes Mac on the shoulder to get her attention. PARKER: Mac? There's someone here to see you. Mac looks bemused as Parker's body is blocking any view of the guest. Parker steps away. It's Bronson. Mac scurries to a sitting position, smiling and a little nervous. MAC: Oh. Hey. BRONSON: Hey. Parker holds up Bronson's wallet and hands it back to him. PARKER: I checked his ID at the border, and all seems on the up-and-up. She grins and walks out of the room, closing the door behind her. INT - HEARST COLLEGE, BENES HALL - NIGHT. Veronica threads her way through the crowd gathered in the hallway. Parker catches up with her. PARKER: So, how's it going? VERONICA: I'd say it's boys zero, me zero! Think I'm calling it. PARKER: Well, we can't go back to Canada. They both note the closed door. PARKER: "The guy" showed up an hour ago. Veronica takes Parker's arm and leads her away. INT - HEARST COLLEGE, MAC AND PARKER'S DORM ROOM - NIGHT. Bronson and Mac are sitting on her bed. BRONSON: Sorry I've got to go so soon, but... MAC: That's why I wasn't doing much activism. Cuts into my partying. They both chuckle as they head for the door. Bronson puts on his jacket. BRONSON: You should have seen me before I quit Greenpeace and the Sierra Club. Now at the door, Bronson turns to face her. MAC: Jeez, why are you so down on people raping the planet? I mean, really. BRONSON: Yeah, well, thanks for showing me Canada. MAC: Sure. Bronson steps forward to kiss her. Mac quickly backs away to avoid it. MAC: Sorry. Um, I... BRONSON: No, it's...yeah, well, I guess I should go. Mac opens her mouth to say something, but nothing comes and Bronson leaves the room. Mac shuts the door behind him and leans back on it, pissed off with herself. EXT - BEACH - DAY. Logan stares out over the beach. Other surfers are walking to and from the waves. Logan's suit is stripped to his waist and he is carrying his white NulLoa board. Dick, his suit draped over the yellow surfboard he is carrying, is in a red t-shirt and calf-length pants. He stands next to Logan. DICK: Okay, baby steps. Just some dudes, some tasty waves, and some tasty brews. It's all we need. Logan nods. Both turn as they hear a shout. CHIP: [offscreen] Where the hell you been?! They head for the shouter. It's Chip Diller, also in his suit stripped to the waist. A couple of boards and some towels adorn a small wall-less wooden building on the beach. Chip is holding some beers. DICK: What? You think I just roll out of bed looking like this? It takes time. Chip, who has elected to keep the very short haircut, rubs his head. CHIP: Low maintenance. You should try it. DICK: What? Getting chewed by an angry mob of lesbians who stick eggs up people's butts? No, thanks. CHIP: I'm just saying, it does simplify one's personal grooming. LOGAN: Are we here to surf or swap hairdo secrets? They reach the construction. Dick turns and sees something of interest on the beach. Girlish laughter can be heard. DICK: Dude, wait. Check it out. Three girls, all carrying surfboards and in wetsuits, walk by, checking them out.. LOGAN: I thought all I needed was some dudes, some tasty waves, and some tasty brews. CHIP: Well, we didn't bring enough beer to make them hot anyway. Chip passes a can to Logan and tosses another to a grinning Dick. EXT - NEPTUNE STREET - NIGHT. Mac is effectively being marched up the street by Parker and Veronica, one on each side of her. MAC: This is dumb. I blew it. It's over. PARKER: It's not dumb. Just keep it simple. Mac pulls out and holds up the driving license that was in her pocket. MAC: "Hi, my insane friend stole your driver's license." PARKER: It wasn't stealing. It was making an excuse to see him again. So you say, "Hi, you forgot your ID at the party. We're going out, thought we'd drop it off, and, hey, you want to come along?" They've turned into the path leading up to a house. MAC: You want me to say that? PARKER: Mac, he tried to kiss you. MAC: And my libido(n't) kicked in. VERONICA: Mac, he understands. He seems like a really great guy. Just a regular vegan JFK looking for his Mackie O. Veronica reaches out to knock firmly at the door. Parker gives Mac's arm a reassuring rub. Veronica and Parker let Mac go and step back slightly behind. A pretty girl opens the door. This surprises all three girls. AMY: Hey, there. Bronson appears behind Amy, pleased to see Mac. BRONSON: Hi. For a moment there is an uncomfortable silence until Mac finally responds. MAC: You left your ID. There's another long moment until she hands the license to him. MAC: Here it is. He takes it and nods, bemused. MAC: Good seeing you. Mac tries to turn around to leave, but Parker and Veronica step closer together behind her to prevent it. BRONSON: Well, hey, um, come in. I want to show you some results. Bronson puts his hands on Amy's shoulders. BRONSON: Oh, and this is Amy, everyone. Amy holds up a hand in greeting. Bronson and Amy head into the house. Mac, confused, follows reluctantly after giving Veronica and Parker a dirty look. They follow. INT - POPE RESIDENCE - NIGHT. Bronson leads them into a living room. Amy follows behind them and settles on the sofa with a magazine. Bronson picks up a letter from a table. He turns back to face Mac, Veronica and Parker. He hands the letter to Veronica. Parker concentrates on checking out Amy. BRONSON: Letters from Bellissima Cosmetics. They quit animal testing, thanks to the letter campaign, because they make all their money off of college kids. Bronson notices their clothes, which are sparkly. BRONSON: You're pretty dressed up. Where you guys off to? MAC: Uh...Club...Club. It's new. Veronica smiles. Amy glances up. Mac panics. MAC: Mind if I get a glass of water? BRONSON: Yeah, kitchen's in the back. Let me- MAC: No, it's okay, I'll find it. Mac hurriedly escapes the room. Veronica hands the letter back to Bronson. VERONICA: That's really cool. In the hallway, Mac pauses on route to the kitchen as something catches her eye in one of the rooms. She steps forward to take a closer look. EXT - BEACH - NIGHT. Chip, Dick and Logan are sitting around a large f*re. They are still drinking beers and there's a cool box between Dick and Logan. All have changed out of their wetsuits, wearing sweatshirts and shorts. DICK: See, you did it. LOGAN: Did what? DICK: You lived. I told you, chicks are just a distraction. You're better off without that broad. LOGAN: Yeah, well I'll admit, this has its charms. TAYLOR: Hey! All three look over in response to the shout. TAYLOR: You got any more beers? The three girls they saw earlier are heading towards them. Chip speaks softly to Dick and Logan. CHIP: Okay, new category: hot enough. He shouts out to the girls. CHIP: Yeah, sure! The girls put down their surfboards and head for the f*re. Logan's not that thrilled at the company. LOGAN: How about "chicks are a distraction," huh? DICK: I didn't say a bad distraction. The girls arrive. Taylor falls onto her knees in the sand next to Logan. TAYLOR: Hmm. What have you got? Logan looks in the cool box. He closes it and looks back at Taylor. LOGAN: Apparently, we're into the cheap stuff. TAYLOR: Hmm. Logan nods and opens the cool box to get beer for the girls. LOGAN: Yeah. INT - POPE RESIDENCE - NIGHT. Bronson sits down on the couch next to Amy. Mac is still out of the room. BRONSON: If you guys get bored of Club Club, you should come by Goldfinger's. I tend bar there. PARKER: Hmm. Parker directs a question to Amy. PARKER: Do you hang out there a lot? AMY: Not really my scene. We have slightly different ideas on... Amy continues talking as Mac returns and whispers to Veronica. MAC: Might want to grab a drink. His bedroom. Veronica interrupts Amy. VERONICA: Um, okay if I grab a quick H-2-O, as well? It's important to hydrate. BRONSON: Yeah. Bronson points towards the kitchen. Veronica leaves the room. Bronson glances at Mac. She smiles. In the hallway, Veronica quickly finds and enters the bedroom. There are a number of glass cages containing black rats. Veronica takes a picture with her cell phone. She then gazes at them unhappily. VERONICA: Rats. Veronica returns to the living room, giving the appearance of being very excited. VERONICA: Why didn't you say anything? Bronson looks at her quizzically. VERONICA: I saw them, the test rats you liberated. Where's the monkey? Bronson rises from the couch. BRONSON: Um, I don't have the monkey, and I didn't free the rats. They just showed up. VERONICA: Like, in a tiny van with a sob story about needing a place to crash? BRONSON: Like, in a box on my doorstep. Yeah, people know I'm the animals guy. It happens. VERONICA: Can I see the box? Bronson is surprised. Cut to a little later, in another room. Bronson and Parker are watching as Veronica picks up the shredded paper from the box. PARKER: So...Amy seems nice. Mac, standing next to Veronica, is horrified. PARKER: How long have you been together? BRONSON: Uh, nineteen years. Parker looks at him with a double-take. BRONSON: She's my sister. Parker nods and grins. PARKER: Oh. She and Bronson leave the room. Veronica and Mac are smiling. Veronica is stuffing the shredded paper into her bag. Mac watches with concern. MAC: So, um, are you going to tell Pauline and Gil Thomas about the rats? VERONICA: They're clients. I kinda have to. Veronica steps past her to leave the room. Mac isn't happy. EXT - BEACH, LOGAN'S CAR - NIGHT. Logan, the recent recipient of a blowjob, endures Taylor's kiss on the mouth as she rises, then wipes his mouth quickly. TAYLOR: Boy, oh, boy. You are bad. Taylor is excited and giggly. Logan is deeply unhappy with the situation as he attends to his zip. TAYLOR: Man, I can't believe I just did that with Aaron Echolls' son. This goes down like a lead balloon with Logan. Taylor, oblivious, giggles. INT - HEARST COLLEGE, LAB - DAY. The scene opens on the picture Veronica took of some of the rats, these black, white, and black-and-white. Pauline and Gil Thomas are sitting at one of the tables. Veronica is standing behind them, leaning on the backs of their chairs. VERONICA: They were in a rat habitat in Bronson Pope's bedroom. He said someone dropped them off. PAULINE: Dropped off? Funny. What about Twenty-five? VERONICA: He says he didn't get the monkey, but you have the rat photos, so it- PAULINE: Can we get the sheriff's department to get a search warrant? Veronica's cell starts to ring. VERONICA: Excuse me. Veronica walks away from the table to take the call. VERONICA: Hello. MAC: [on phone] Veronica, hey. I found something interesting in this hard drive. EXT - POPE RESIDENCE - DAY. Bronson opens the front door. He doesn't look too surprised to see Deputy Sacks. SACKS: We got a report about some stolen rats. Got a warrant. Sacks holds out a piece of paper and steps inside. Bronson takes it and starts to read. INT - HEARST COLLEGE, MAC AND PARKER'S DORM ROOM - DAY. Veronica, looking thwarted, steps into Mac's room. Mac, working on the bed, grins. MAC: Hey! Mac races over to her computer on her desk as Veronica shuts the door behind her. MAC: So, you know, I figured some sort of liquid was poured over the computer with all the research on it. I had to remove the ram card to let it dry out, but- VERONICA: You told Bronson? Mac doesn't respond. Veronica approaches her, disappointed. VERONICA: The cops raided the place, and the rats were gone. MAC: I didn't want him to get into trouble. I believe him. I'm sorry. Veronica sighs. Mac reaches into one of her drawers and brings out a small plastic bag. MAC: I found these on the motherboard. Veronica takes the bag and looks at the contents. VERONICA: Looks like little leaves. MAC: Do you think it means anything? INT - HEARST COLLEGE, EMMY'S LAB - DAY. Emmy is not pleased to see Veronica. EMMY: Oh, good. You. Veronica waves the plastic bag. VERONICA: We found these in Pauline and Gil Thomas' hard drive, some sort of leaves. Any idea where they might have come from? Emmy impatiently grabs the bag and gives the leaves a cursory look. She sighs and opens the bag. She takes out a pinch and smells the contents. EMMY: Congratulations. You just narrowed down the suspects to anyone who had access to green tea. VERONICA: Green teeth? Emmy grabs a container of green tea from a shelf above her. In taking it down, she reveals a plastic banana hidden behind it. Emmy notices that Veronica has seen the banana. EMMY: I stole it off Twenty-five's cage a few weeks ago. The sound was driving me nuts on the weekends. Emmy takes the banana down and hands it to Veronica. Veronica stares at the banana. She squeezes it, causing it to produce a squeaking sound. INT - HEARST COLLEGE, LAB - DAY. Veronica goes into the empty lab. She checks the counter where the kettle is and finds green tea. She ponders. INT - MARS RESIDENCE - NIGHT. Veronica is working at the light box in her bedroom. She has paste some of the strips of shredded paper onto a sheet of paper. The resulting completed sheet is a picture of a girl with little on. VERONICA VOICEOVER: In the movies, when they piece back together shredded magazines, they always find an address sticker. All I've found are near-naked ladies. INT - PARDY RESIDENCE - NIGHT. Gil Thomas walks down the hallway to his apartment. He stops short when he sees Veronica waiting for him outside the door to his apartment. She is holding the plastic banana. VERONICA: Did you name him? Is that what happened? Gil Thomas scoffs. GIL THOMAS: Named who? VERONICA: Twenty-five. Veronica points at the door with the banana. VERONICA: I heard him behind the door. Sounds like he misses you. Veronica holds the banana out to Gil Thomas, who sighs. Cut to inside the apartment. Twenty-five is enjoying himself, playing with a toy car. He drops it and runs over to Gil Thomas, sitting on an armchair opposite Veronica. The monkey settles on Gil Thomas' lap. VERONICA: There were tea leaves in the hard drive. You just grabbed the handiest thing around and poured it in the drive? GIL THOMAS: Pauline's the one who drinks tea. VERONICA: But I'm guessing she doesn't subscribe to...lad magazines. When reassembled, the shredded pages from the rat box were mostly almost-naked babes making almost-naughty quotes. The monkey has jumped up to the back of the armchair, leaning on Gil Thomas' head, giving him the appearance of wearing a fur hat. VERONICA: You knew you could pin the break-in on PHAT, and you knew Bronson would take care of your lab rats. The monkey jumps back down and sits down next to Gil Thomas. Gil Thomas smiles indulgently. GIL THOMAS: I started coming in on the weekends to catch up on work. I bought him a few toys, let him play with them while Pauline wasn't around. He holds up the banana. GIL THOMAS: His favourite, by the way. Always had to take it back before I left. One day, I'm halfway out the door, when I turn around and he's holding it out through the bars for me. He knew I was leaving. You know why we don't name them? Because, to do the work, we have to turn our compassion off, because things are harder to k*ll when they've got a name. The monkey moves back into Gil Thomas' lap. GIL THOMAS: Veronica Mars...meet Oscar. Veronica watches them and smiles. INT - HEARST COLLEGE, LAB - DAY. Veronica enters the lab. Pauline is standing next to a man who is sitting at a table, working on a computer. Gil Thomas arrives from the back of the room. PAULINE: Oh, Veronica, this is, uh, Professor McGregor. You said you had news. Gil Thomas waits anxiously. VERONICA: Um... Veronica holds out a cheque. VERONICA: Here's your cheque back. I wasn't able to find him, I'm afraid. Gil Thomas is relieved. PAULINE: Oh, those idiots at PHAT! They're paving the road to hell. VERONICA: Well, the good news is, Mac was able to recover most of your hard drive. MCGREGOR: Oh, for crying out loud, I thought you said you were getting him back. PAULINE: I said I thought we were. MCGREGOR: Well, the data could still be useful as a comparison. The professor starts tapping on his computer. MCGREGOR: If we can rush-order another one, we might- VERONICA: Another one? MCGREGOR: Yeah. We should have another monkey in another...six days. Science marches on. Veronica is not happy to hear this. EXT - POPE RESIDENCE - NIGHT. Mac walks up to Bronson's door. She hesitates a moment and knocks. When there is no immediate response, she shuts her eyes and turns to hurry away. The door opens behind her. BRONSON: Mac! Music: "Fair" by Annuals. LYRICS: I know there's no hope in holding up this weight It just won't float Man, I tried, but the tide It knows no sides If that's what's not fair, then what could be wrong with my life? If that's what's not fair, then what could be wrong with my life? Maybe she needs love to put the bottle down Maybe she needs me to be around The pain in her stare is drawing me shapes Oh, so fair The pain in her stare is making me wish I was there With something to declare Well it's quite possible I won't make it out alive Because I'm quite sure that I could die Because what's best is what's left when nothing is left but the sound of The rain on your head, a woman asleep in your bed Dreaming in my bed Something's got to happen Now Bronson steps out and Mac turns back. BRONSON: Hi. MAC: Hi. Bronson. I was just...wasn't just in the neighbourhood. I was more actually coming by because I was wondering... Bronson, smiling, nods to encourage her. MAC: What I'm trying to say, or ask, is, I guess...do you like movies? BRONSON: Um, yeah. MAC: Because they're doing 2001 in 70-millimeter tomorrow night and- BRONSON: Yeah. Let's go. MAC: Um, okay. Great. Mac giggles. MAC: Bye, then. Mac turns and starts down the steps. Bronson looks up at the heavens, thanking his lucky stars. As Mac reaches the bottom step she turns and hurries back up the steps. She kisses Bronson and he kisses her right back. INT - HEARST COLLEGE, FOOD COURT - NIGHT. Veronica pays for some food in the all-but deserted Food Court. She glances over at the radio station. Piz is in the booth. He looks up and sees her. He smiles and holds up a hand. She smiles back. PIZ: [offscreen] It's kind of lame, but a really hot girl band is playing at the Roxy. It's a little later and Piz has joined Veronica at a table in the Food Court. PIZ: So they all went out to try and score, which is both never going to happen and ridiculous, so I just took a shift to get out of it. VERONICA: I know how you feel. I mean, different team, sure, but the whole chasing, hooking-up, people-go-round. Parker has been going nuts, like I'm some sort of freak because I'm not grabbing anything within ten feet. It's exhausting. PIZ: Totally. I mean, it's like music. You know, I love music, but it doesn't mean I have to listen to it at all times and anything will do. I'm not going to throw in a Hasselhoff CD just because I left my Nico Case in the car. VERONICA: Like, why bother with something that's not good? Because if it's not good... PIZ: It's bad. Exactly. But these guys were all like, "as long as she's got a pair of..." Piz cups his hands in front of his chest, then notes Veronica's raised eyebrows. PIZ: You know, it was indelicate. VERONICA: What's indelicate about shoes? PIZ: I figure, you know, I mean, I know what I like. Why waste my time? VERONICA: Like, why bother with something not good just because it's something? PIZ: Especially when you know the difference, which not many people do. I mean, do you? VERONICA: I...I think I do. PIZ: You see, I think that's like ninety percent of life, just knowing the difference. Veronica considers this. Piz grins. They carry on chatting as Veronica finishes her food. INT - LOGAN'S SUITE, NEPTUNE GRAND HOTEL - NIGHT. Logan is alone, sitting on the couch, looking sad. There's a knock at the door. He looks up but doesn't react until there is a second knock. He walks to the door and opens it. Veronica is standing outside. They stare at each other with longing. Veronica rushes into his arms and they kiss passionately. Logan uses his foot to slam shut the door. End music: "Fair" by Annuals. INT - BAR - NIGHT. Music: "Long Long Time" by Linda Ronstadt. LYRICS: Everything I know to try and make you mine... And I think I'm gonna love you for a long, long time Caught in my fears Blinking back the tears I can't say you hurt me when you never let me near And I never drew one response from you All the while you fell all over girls you never knew Cause I've done everything I know to try and make you mine And I think it's gonna hurt me for a long long time Wait for the day You'll go away Knowing that you warned me of the price I'd have to pay And life's full of flaws Who knows the cause? Keith, having put this on the jukebox, moves to the bar counter where Landry is sitting, nursing a drink. Keith takes a seat a couple of stools from Landry. BARTENDER: What'll you have? KEITH: Scotch, please. Landry glances at him and the two men acknowledge each other with a nod. KEITH: It's a hell of a song. Landry nods. Keith's drink arrives. BARTENDER: Here you go. KEITH: Thanks. Wish someone felt that way about me. You married? LANDRY: Nope. KEITH: Involved? Landry smiles and takes a belt of his drink. LANDRY: Somewhat. Keith makes a toast. KEITH: To women. LANDRY: Women. Both men drink. KEITH: What's she like? LANDRY: What are they all like? KEITH: Crazy. Or we are. I haven't figured it out yet. LANDRY: Probably us. Keith chuckles and shakes his head. KEITH: What's the craziest thing you ever did for a woman? Landry doesn't respond. KEITH: I knew this girl once, best-looking woman the world had ever produced, as far as I could tell. She tells me her ex-boyfriend's bothering her, always showing up at the same parking lot she hangs out in with her friends. So one night, I went and I filled a jelly jar with gasoline, stuck a rag in it, figuring, Molotov cocktail. I'll light the guy's car on f*re. No more bother in the parking lot. She'll be impressed. LANDRY: You torched a guy's car? KEITH: You ever light a rag soaked in straight gasoline? Thing exploded in my hands. I torched my car. Landry laughs. LANDRY: Must have been a hell of a girl. KEITH: What the hell was I thinking? Have you ever done anything like that? Landry gives Keith an appraising look. LANDRY: That why you put this song on, Keith? I read your book, all the way to your picture in the back. So, no, I've never done anything like that, like, for instance, k*ll Cyrus O'Dell for a woman. I wrote a book, too, about profiling, reading people. Landry drains his drink and rises from his seat. LANDRY: Maybe you should check it out. Landry exits, leaving Keith thwarted. End music: "Long Long Time" by Linda Ronstadt. INT - MARS INVESTIGATIONS - DAY. Mindy is in Keith's office. KEITH: I've thought it over, Mrs. O'Dell. I'll take the case. MINDY: Good. Thank you. So, uh, what made up your mind? KEITH: Just...the scotch. INT - HEARST COLLEGE, FOOD COURT - DAY. Music: "Greenland" by the Kingsbury Manx. Veronica is sitting at one of the tables, staring into space. She looks up as Piz approaches. PIZ: Hah. And good morning. Piz slides into the seat opposite her. VERONICA: Oh, morning, Piz. PIZ: I was actually figuring, you got dinner last night, maybe I could spring for breakfast. VERONICA: Oh, um, actually- Logan arrives bearing a tray which he sets in front of Veronica. LOGAN: As ordered. Logan takes the seat next to her as she smiles at him. LOGAN: Hey, Piz, what's new? Piz, gutted, looks from one to the other. He swallows hard. PIZ: Uh, nothing, apparently. I'll, um, I'll let you guys... Piz rises makes a quick exit. Veronica stares after him as Logan stares at her. End. End music: "Greenland" by the Kingsbury Manx.

{"type": "series", "show": "Veronica Mars", "episode": "03x10 - Show Me the Monkey"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Dean O'Dell sits up groggily in 309 "Spit and Eggs." There's a thump-thump. He walks unsteadily towards the window and watches as more eggs are thrown against it. He turns as the creak of the door. O'DELL: What are you doing here? Weevil enters the dean's office where the dean's head is lying across the keyboard on his desk. There is a b*llet hole in his temple. Cut to Mindy O'Dell in Keith's office in 310 "Show Me the Monkey." MINDY: My husband didn't k*ll himself. KEITH: What makes you think that? MINDY: Because I know my husband. Cut to Veronica and Piz in the Food Court. VERONICA: Why bother with something not good just because it's something? PIZ: Especially when you know the difference, which not many people do? I mean, do you? VERONICA: I think I do. Logan pulls open the door of his suite to find Veronica. They kiss. End previously. INT - HEARST COLLEGE, FOOD COURT - DAY. Veronica and Logan are at one of the tables. Logan is eating chips. Veronica appears to be concentrating on her reading as Logan eats his chips. She speaks without looking up as he picks up another chip. VERONICA: Are you gonna eat that? Logan holds up the chip. LOGAN: This? VERONICA: Yeah, that fry in particular. LOGAN: That was the plan. VERONICA: I'm just saying, if you weren't, or if you were just gonna consume it out of obligation or to meet someone else's expectations, I know someone who might be willing to take it off your hands. Logan starts to feed the chip to her. VERONICA: Maybe add a little ketchup, make it worth a girl's while. Logan sighs, but dutifully dips it in tomato sauce first, then puts the chip in her mouth. VERONICA: You're welcome. Logan grabs his books and stands. LOGAN: Well, I'm off to astronomy. He pulls a magazine out from the small piles of books. LOGAN: Did you see the Lampoon yet? VERONICA: Unh-unh. He gives her his copy of the Lampoon. LOGAN: Enjoy. He kisses her and walks off. Veronica looks at the Lampoon, the cover of which has the work "Egg" across it. Opening the magazine reveals "-ed" on the inside cover. As Veronica amuses herself with reading the accompanying article on page one, entitled "Multiple eggings b*at fear into Lampoon editors," Weevil arrives with a tray and joins her at the table. WEEVIL: Don't tell me they actually wrote something funny in there. VERONICA: Better. The Hearst Lampoon offices got egged the night after Dean O'Dell reinstated the Greeks. She turns and holds out the magazine for Weevil to see the article, and in particular, a large illustration of a map at which the Pi Sig house, the Randolph Hearst statue, and the Lampoonoffices are shown to be the targets. The illustration is titled "Huevosnacht!" VERONICA: See, that's where the egg was launched at the Pi Sig party by unknown persons. Read the Lilith House girls. WEEVIL: I can't believe how dumb these people are, you know? They're mad at the dean, so they egg his window, like he's the one who has to clean it up. VERONICA: The dean's window? It doesn't mention the dean's window. WEEVIL: That night, they egged the dean's office, too. This surprises Veronica. WEEVIL: I don't know why they didn't put that in there. Maybe they couldn't find a way to make it funny. He was a good guy, the dean, you know. It's a damn shame. This information puzzles Veronica. INT - SHERIFF'S DEPARTMENT - DAY. Keith is waiting with increasing impatience as Deputy Sacks searches through files at the front desk. KEITH: I filled out the request form a week ago. Sacks finally finds what he is looking for. He pulls out a thin file. SACKS: Ah, got it. Somebody filed it under D. He hands it to Keith, who turns to walk out, already scanning. Lamb is coming in and Keith pauses in front of him. SACKS: [apologetically] Mr. Mars requested the report on Cyrus O'Dell's su1c1de. LAMB: You know you're not sheriff anymore, right? KEITH: Just an interested citizen. SACKS: It's a public record, Sheriff. [a little desperately] He filled out the form. Lamb sighs heavily. LAMB: Always looking for a crime where there isn't one. I think you need a new hobby, Keith. KEITH: Oh, I don't know. I find solving an investigation very relaxing. You should give it a try sometime. LAMB: Yeah, yeah. I'll get right on that. KEITH: Hmm. Keith smiles, nods and walks around Lamb. EXT - HEARST COLLEGE - DAY. Veronica is heading for an external staircase. Max, the student who provides others with test papers and answers last seen in 306 "Hi, Infidelity," runs to catch up with her. MAX: Veronica, hey. They continue up the staircase. VERONICA: Sir Cheats-a-Lot. How's business? MAX: Booming. It's like no one here wants to do his own work. I've actually brought in employees. VERONICA: Question. Does your team provide study guides for ethics exams? MAX: Every day. Yeah, the irony has kind of faded over time. So, my own question. Is it true you're, like, a junior private investigator? Because if it's true, A: that's really cool, and B: I-I've got a case for you. They reach the top of the stairs and come onto an outdoor eating area with tables and food stands. VERONICA: You're just like the rest of them, aren't you? You just want to use me for my skills and pay me for my time and effort. MAX: Do I have an option of using you for your skills and not paying? VERONICA: The friends-and-family plan...unfortunately, you're neither. Veronica helps herself to a cup of something liquid from one of the stands. MAX: Then I guess I'll pay. Here's the deal. The woman I love is getting married next week. I have no idea where or to who. I don't know her address, her phone number. I don't even know her last name. Veronica drops some change into a pay-box and looks at Max curiously. MAX: If you don't find her, I'm taking a bath with my blow-dryer. Opening credits. EXT - HEARST COLLEGE - CONTINUING. Veronica and Max continue walking through the piazza. VERONICA: So we're straight, this girl you love: you don't know where she lives, who she's marrying, or, if I understand correctly, her name. They reach and walks along a balcony. MAX: I know her first name. VERONICA: A triumph. MAX: And she's from Poughkeepsie. She mentioned that. VERONICA: How do I put this delicately? Does she know who you are? MAX: Yes. We met at this convention thing. We got to talking. We h*t it off. We ended up staying up all night in my hotel room talking about, you know, life, the big picture. We connected on some higher plane. Last names, at that point, seemed trivial. VERONICA: Uh-huh, so, what was the convention? Is there actually a fake-term-paper and stolen-test-provider union? MAX: It was Comic-Con. Veronica stops and Max turns to face her. VERONICA: You didn't get all sweaty in your Wookiee suit, did you? MAX: Yuk it up. You know, it's not all Trekkies and Star Wars nerds. I was there because Dave Gibbons has a new graphic novel that he scripted as well as drew. Veronica starts walking again. VERONICA: Sounds cooler now. So, about the one that got away, she was dressed as a Cylon, and you only knew her as Six, right? MAX: Her name is Chelsea, and she was in regular clothes. And, yeah, after the Dave Gibbons thing, I may have drifted into the Battlestar Galactica session. And, yeah, that's where we met. And, okay, we started out talking about how the Cylon raiders on BSG look like Batman's car when it turns into a plane. But then...then we started talking about our crappy relationships with our parents and, and Chuck Klosterman and moral grayness. VERONICA: And how when you see a plastic bag flying around, you think there's so much beauty in the world you can't take it? MAX: You get the picture. VERONICA: I do. Connection, higher plane. Then you frakked. MAX: No, but sex was hardly the point. What we had was better. I took her to the airport in the morning. We were running late. She said she left me a note by my bed with all her information on it. By the time I got back to the room, housekeeping had been there, and the note was gone. VERONICA: Are you sure she actually left it? MAX: Positive. They reach another external staircase and start down the stairs. VERONICA: So, how do you know she's- MAX: A few days ago, she sent me a text message. It said that she was giving up waiting for me to call, that her and her ex were getting back together and they're getting married. VERONICA: So, why am I here? MAX: Because I've got to stop her. She's only marrying him because I didn't call her back. VERONICA: Well, if she sent you a text, then you've got her number. Call her and explain it all. Max shakes his head. MAX: I've called a bunch of times. Some guy answers, says he's never heard of Chelsea. VERONICA: Can I see the text? They reach the ground. Veronica stops again, turning to face Max. MAX: I showed it to my roommate, and he accidentally erased it. I have the number the text came from, though. VERONICA: Where? INT - HEARST COLLEGE, CLARK HALL, MAX'S ROOM - DAY. Max opens the door to his room and Veronica follows him in. MAX: Have a seat. Max immediately goes to a small table to get the number. VERONICA: No, thanks. It's easier to be nosy if I can mill about. Veronica walks towards his computer, which is paging through photographs. She sees one of Max and two other guys. She recognises the room the picture was taken in. VERONICA: You know Mac and Parker? This is their room. MAX: Who? As she watches, it changes to another picture taken in Mac and Parker's room of the three guys. VERONICA: Uh, this photo. MAX: No, that's from the around-the-world party. That's my roommate, Brian, and my friend, Fred. I think that room was supposed to be Canada, but it was kind of lame. VERONICA: Hmm. Max hands Veronica a post-it note. MAX: Here's the number. Veronica pulls her cell phone out of her back pocket. VERONICA: Let's give it a sh*t. She punches in the number. It rings. PHONE GUY: [on phone] Yeah? VERONICA: Hi, I'm sorry to bug you again, but my friend is trying to track down someone who sent him a text message from this phone. PHONE GUY: [on phone] I told him, I don't know a Chelsea. VERONICA: Yeah, but 845, can you tell me where that area code is from? PHONE GUY: [on phone] Goshen, New York. VERONICA: Is that near Poughkeepsie? PHONE GUY: [on phone] About forty-three miles. VERONICA: Is that where you are now? Maybe someone borrowed your cell phone. PHONE GUY: [on phone] I didn't lend anyone my phone, and I'm not in Goshen. I go to college out in California. VERONICA: Really? Where? INT - HEARST COLLEGE, FOOD COURT - CONTINUING. The phone guy, wearing a large, white apron, turns out to work at one of the concessions in the Food Court. PHONE GUY: It's this tiny west coast liberal arts college no one's ever heard of: Hearst. VERONICA: [on phone] Actually... INT - HEARST COLLEGE, CLARK HALL, MAX'S ROOM - CONTINUING. VERONICA: I've heard of it. Could you check your phone, see if the text message is still in your outbox? PHONE GUY: [on phone] I just got it last month. I haven't quite learned all the features yet. Veronica rolls her eyes. VERONICA: Mind if I come check for myself? INT - HEARST COLLEGE, FOOD COURT - CONTINUING. PHONE GUY: How are you gonna do that? INT - HEARST COLLEGE, CLARK HALL, MAX'S ROOM - CONTINUING. VERONICA: Just tell me where you are. I'll handle the travel arrangements. INT - HEARST COLLEGE, FOOD COURT - DAY. Music: "Never the Same Again" by Moonlight Towers. LYRICS: Sometimes I get lost inside a world that's not my own Why I try to go outside, I just can't get where I belong Just because all the wheels keep turning It doesn't mean that the f*re still burns It's never going to be the same again It's never going to be the same again It's never going to be the same- Veronica is at the stand where the phone guy works and has his cell phone in her hands. She manipulates the buttons as he watches. VERONICA: It's right here, under "messages." Just scroll down to "sent," and bingo. Here it is. "Max, I don't know why I haven't heard from you. I guess I was wrong about our night together." PHONE GUY: I didn't send that. VERONICA: When was the last time you were back east? PHONE GUY: Christmas. VERONICA: Maybe you were out on the town, a couple eggnogs to the wind, some sweet, young thing asks to borrow your- Behind the phone guy, a fellow worker appears with a large tray, heading for the display case. BRIAN: Hot stuff, coming through. And he's carrying a tray of muffins. VERONICA: I know you. The colleague is one of the guys in the picture with Max at the around-the-world party. He looks up at her, confused. BRIAN: Uh... VERONICA: You're Max's roommate, aren't you? BRIAN: Yeah, I'm Brian. Hey. VERONICA: Brian. Really? He nods, still bemused. VERONICA: You look more like a Chelsea. His eyes dart as he stares at her guiltily. End music: "Never the Same Again" by Moonlight Towers. INT - HEARST COLLEGE, CLARK HALL, MAX'S ROOM - DAY. Max opens the door of his room and smiles at the sight of Veronica. She hurries in. MAX: News? Already? She turns to face him as he shuts the door. VERONICA: The glass-is-half-full version: Chelsea's not getting married. Max is overjoyed. MAX: Are you serious? VERONICA: Yeah. The half-empty version is...she's a hooker. Max is gobsmacked. VERONICA: Brian and Fred, as demented as this sounds, thought you'd have more confidence with girls if you...lost your virginity. Max is momentarily speechless and fights to get his voice back. MAX: I'm gonna go k*ll my friends now, so if you could just leave me a bill. VERONICA: The impression I got, they thought they were doing a good thing. MAX: I'm sorry, but on what planet am I a sexual charity case? Like I haven't had opportunities? I've had opportunities, but I have standards. High standards. Max, beside himself, sinks down onto the armchair next to his desk. MAX: Maybe...maybe that's why they picked her, 'cause they could tell. VERONICA: [gently] They didn't interview her, Max. They weren't matchmaking. They coached her. They told her you were a Battlestar fan. They gave her the "so say we all" t-shirt she was wearing. That line about the Cylon raiders looking like Batman's car; they fed her that. MAX: What about the text message? VERONICA: When they saw you pining, they wanted to find a way to put you out of your misery without...well, crushing you. Brian found out a guy he works with is from upstate New York. He swiped his phone, sent you a message as Chelsea saying goodbye so you'd get over her. MAX: Can you still find her? VERONICA: Um...yes. But she'll still be a prost*tute. MAX: I'm not stupid, Veronica. Okay, we had something. I know it. Veronica sighs. MAX: There's some things you can't fake. VERONICA: There are some things women are universally known for faking, and this girl is a professional. MAX: When I dropped her off at the airport, she had tears in her eyes. VERONICA: Are you sure she wasn't thinking of the cab fare back? Max gets to his feet. MAX: Fine. Think what you want. The job was to find her, not tell me her occupation. [challenging] Are you gonna do it or not? INT - HEARST COLLEGE, FOOD COURT - DAY. Veronica, Brian, still in his apron, and Fred, the other guy in the photo, walk into the Food Court. FRED: He wants you to track her down? He laughs. FRED: You can't do this. I mean, you're just fuelling his f*re. He's obsessed. VERONICA: He thinks she's the one. BRIAN: She's the first girl to touch where his bathing suit covers. Fred chuckles. BRIAN: Of course he thinks she's the one. Brian pulls off the apron. VERONICA: Actually, she's not. Both look at her in astonishment. BRIAN: He wasn't a virgin? FRED: We spent five hundred each on a hooker, and he wasn't a virgin? VERONICA: No, you spent five hundred each, and he's still a virgin. Brian and Fred exchange a WTF?! look. BRIAN: Okay, she better have done some crazy, like, circus act. VERONICA: They talked and connected. Veronica finds an empty table and sits down. BRIAN: This is the worst moment of my life. The guys sit down. FRED: Well, he didn't say anything. We just figured he's one of those gentlemen guys who doesn't talk about it. BRIAN: Wait, is that why he wants you to find her, 'cause he wants to sleep with her? VERONICA: No. I mean, he probably does want to sleep with her, but mainly, he thinks they have a connection. BRIAN: You definitely told him she was a hooker? Veronica nods. VERONICA: I think he needs to see it for himself. A little brutal truth. So, how did you find her? The guys glance at each other. INT - HEARST COLLEGE, FRED'S DORM ROOM - DAY. Veronica is on the computer at Fred's desk. Brian and Fred stand next to her, leaning down against the desk to view the screen. On screen is the home page for "The Erotic Critique." The O in "Erotic" incorporates the symbols for both male and female. Under the banner, are a number of subheadings under which there are short paragraphs: "Welcome to the Erotic Critique - Glad you've finally arrived, we've been expecting you. Community - All reviews, both individual and service, are exhaustive and.... Premium Access - As a Premium Client you have complete access to the site..." VERONICA: A hooker search engine. What will you boys come up with next? Brian smiles and Fred chuckles, a little uncomfortable but nonetheless proud of themselves. VERONICA: Chelsea, Chelsea, Chelsea. And thar she blows. One Chelsea. On the screen are the details for a male escort/massager/role player, dressed as a woman in one picture and au natural sans makeup in a second. His "agency" is Forbidden Fruits and his city is Tierrasanta. VERONICA: That explains why Chelsea was into comic books. Chelsea's a dude. FRED: That's not her. BRIAN: They change their working names all the time. VERONICA: Great. There are only 18,731 escorts listed on the site. Much as I'd like to peruse their pages individually... BRIAN: Try narrowing the search by preference. Veronica looks at Brian quizzically. BRIAN: You know: hair colour, height, bondage preferences. VERONICA: You know Max's preference? FRED: Hey, that's easy. Yeah, we just described Milla Jovovich with a b-cup. BRIAN: And found one into role-playing. VERONICA: How very Weird Science. Let's see. Veronica taps some keys. She gets to the page where preferences are entered, for example, under "Hair Color," some of the options include "bleached" and "blonde," under "Breast Size," "non-existant," "tiny," "normal," "full," and "luscious." VERONICA: It's like a Zagat Guide for hookers. How did people find sex before there was an internet? Whoa, overall looks we've got everything from "model material" to "tripple bagger." There are ten choices under this category: "Tripple Bagger [sic], Transient, Horney [sic], OK if Wasted, Plain, Attractive, Head Turner, Hottie, Gorgeous, Model Material." VERONICA: I can only assume... She hits "Type of Experience" and the dropdown menu offers a series of acronyms: "DRE, GFE, PSE..." VERONICA: What's GFE? BRIAN: Girlfriend experience. VERONICA: She has to be an experienced girlfriend? BRIAN: It's the type of experience you want her to have. You want it to be like she's your girlfriend, it's a GFE, girl friend experience. But if you want to act like you're in a p*rn, it's a PSE: p*rn-star experience. Fred smirks and nods his head. VERONICA: Is there a reality experience, where she reminds the guy she's only there because he's paying her? The boys have the grace to look momentarily abashed. VERONICA: Okay, boys, let's find that hooker. Veronica submits the preference information. The detailed search returns two candidates, Lizette and Fiona. There is a near full-body picture of each, although their faces are blurred. Lizette is listed as "Provider, Southern California." Both girls are described identically: "Available, Escort/Massage, Outcall, Day/Nighttime, Agency, Petite, 5'0-5'4", 18-24, Blonde, Short (hair length), Brown Eyes, Full Lips, 32-36 Breasts, A to B Cup, White, Model Material, GFE." VERONICA: From 18,000 down to two. Your attention to detail has served us well, young Jedis. So, which blurry-faced, fatherless girl is she? The boys peer at the screen, uncertain. FRED: Pink bikini, maybe? BRIAN: I don't know. I think the one we picked had a longer torso. Veronica's brow furrows at their indecision. INT - MARS RESIDENCE - DAY. Keith is sitting on the couch, writing notes furiously. Veronica enters the apartment. On Keith's failure to react or greet her, she shuts the door with a little force. VERONICA: I come home after a hard day at work, and there you are, lounging with your bonbons and your Harper's Bazaar. There better be some freshly pressed shirts in my closet, or so help me. Keith just sighs and looks at her. VERONICA: What? You got nothing? He shrugs. KEITH: Hmm. Maybe I'm not in the mood. VERONICA: [demanding] Amuse me, damn it. Amuse me now. With little enthusiasm, Keith does a literal song-and-dance, albeit still sitting. KEITH: [singing] I finally got the police report on the dean's su1c1de. He ends with his arms outstretched. Veronica gazes at him sadly. VERONICA: That needs work. Keith drops his arms. VERONICA: Did the report say anything about the dean's office getting egged? KEITH: Nope, but then again, it looks like it was done by a tenth grader. I swear it might as well have heavy-metal band logos sketched in the margins. Keith slaps the police report down on the coffee table in disgust. VERONICA: There are these girls from Lilith House, activists with a real grudge against the Greeks. Veronica gets herself a bottle of water from the fridge. VERONICA: They hated the dean. One of them, Nish, was the editor at the newspaper. When O'Dell fired her, she swore he'd regret it. They went on an egging spree the night of his su1c1de, protesting him reinstating the Greeks. KEITH: Do you mind talking to them? VERONICA: Yeah, I think I've dipped into that well one too many times. They're not big Veronica fans. She sinks into the armchair next to him. VERONICA: I think you're probably gonna have to handle this one yourself. If you go undercover as a student, no Daniel Boone jacket, no peace signs. The times, they have a-changed. Keith gets up from the couch, tapping her on the knee as he does. KEITH: Will you be home for dinner? VERONICA: No, I'm meeting two hookers over at Logan's later. Keith, heading for the kitchen, pauses in surprise and turns to stare at her. KEITH: On a school night? VERONICA: Off-peak hours. Save a few bucks. Keith isn't sure how serious she is. KEITH: You're not really. VERONICA: Fiona and Lizette. They're just a couple of gals putting themselves through college. Keith stares at her, genuinely concerned. Veronica grins and gets up from the chair to go to her room. VERONICA: Man, quit bringing me down with your bourgeois hang-ups. Keith chuckles uncertainly. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Veronica and Logan enter the suite. Veronica has a bag of take-out food. LOGAN: Hey, should we have gotten more for the hookers? Logan shuts the door behind them as Veronica digs in the bag and pulls out a hamburger. She passes it to Logan. VERONICA: As I understand it, they prefer the term "escorts." LOGAN: Hmm. She gets out her burger, throwing the bag on the ottoman and they sit on the couch, facing each other. VERONICA: So, have you...ever been with one? LOGAN: An escort? VERONICA: Yeah. LOGAN: Do we really want to go there? VERONICA: I guess we don't have to now. LOGAN: Come on, that wasn't me answering the question. VERONICA: It kinda was. Logan gives a dismissive, high-pitched laugh. LOGAN: No, it wasn't. That was me knowing there's a land mine and trying to figure out where to put my foot. VERONICA: Well, I guess you picked your spot. Look, why not dispel any romantic notions? If we see each other, warts and all, and still like each other, that's a real connection. LOGAN: Well, maybe I enjoy my romantic notions. Maybe I don't care to see any warts, you know, yours or mine. Now you see, you're smiling, all right, so I think it's all fun and safe, but it's a slippery slope from "Have you ever been" to "How many" and "How often." VERONICA: So you've been with multiple hookers on several occasions. LOGAN: I'm not having this conversation with you. Logan turns his body away from her. Further discussion is forestalled by a knock at the door. Veronica gets up to answer it. It's Max. Veronica, with her mouth full, just steps aside to let Max in. Logan, also chewing, stands. VERONICA: Logan, Max. Max, Logan. Logan nods and smirks at Max. Veronica takes another bite of her hamburger as Max stands there, increasingly uncomfortable under Logan's gaze. MAX: Yeah, I-I didn't know she was a hooker at the time that- LOGAN: No one's judging, man. Logan smiles. Cut to later. Sense and Sensibility is playing on the television. ELINOR DASHWOOD: As you know, we are looking for a new home. And when we leave, we shall be able to retain only Thomas and Betsy. Veronica and Logan are sitting at one end of the couch, watching. Max is in the corner where the L-shaped couch turns. Veronica looks towards the suite's door anxiously. She checks the time on her phone and sighs impatiently. Logan notices. LOGAN: What, you think hookers are known for their punctuality? MAX: Where's your bathroom? Logan points in the direction of the bedroom. As he goes, there's a knock at the door. Veronica gets to her feet, followed quickly by Logan. LOGAN: It's wrong that I'm nervous, right? Veronica smiles and heads for the door. Logan precedes her as she waits behind him. Logan turns to check that she's ready. She nods, he nods back, and then opens the door. A girl in a deep-V-necked, glittering top and tight hip-hugging miniskirt smiles brightly. LIZETTE: Hey, there. She holds out her hand to be kissed. LIZETTE: I'm Lizette. LOGAN: Hello. Welcome to my place. Logan stands aside for her to enter. LIZETTE: Thank you. She's happily concentrating on him and it takes a moment for her to see Veronica. LIZETTE: Oh! Well, hey, there, to you, too. I'm totally up for it, guys, but, um, it's gonna cost you extra, right? Veronica frowns at her as Max appears behind her. MAX: That's not her. It's Lizette's turn to frown. VERONICA: Sorry, Lizette. Looks like we're gonna have to reschedule. Pay the girl, Max. LOGAN: If we're paying her anyway... VERONICA: Honey? Veronica shakes her heads at Logan. Max hands Lizette an envelope, putting the smile back on her face. MAX: Sorry, I was looking for someone else. She snatches it and shrugs. LIZETTE: I'll live. She spins round and heads for the door. LOGAN: This is just wasteful. Logan opens the door for her. LOGAN: Thanks. At the door is another girl, about to knock. Lizette leaves and the second girl smiles. FIONA: Hey, there. I'm Fiona. Max gasps. MAX: Chelsea. Fiona/Chelsea looks into the room and is stunned to see Max. FIONA/CHELSEA: Oh, my God. Max, is that you?! She runs to him and they hug tightly. FIONA/CHELSEA: Oh, my God! Logan and Veronica watch. Logan beams. Cut to a little later. Sense and Sensibility is still playing. Fiona/Chelsea and Max are paying no attention as they make out on the short end of the L-shaped sofa. Veronica looks over at them and sighs. Logan leans in to grab some popcorn out of the microwave bag on her lap. LOGAN: [softly, to Veronica] This is nice. We should hang out with your friends more. [louder, to Fiona/Chelsea] So, Fiona, where are you from, originally? Fiona breaks off from kissing Max. FIONA/CHELSEA: Uh, actually, um, this is a bit awkward, but my name is really Wendy. MAX: Really? Wendy. I like it. They start kissing again. VERONICA: You guys need a refill...or a room? MAX: We're good. Thanks. Max is happy to ignore Logan and Veronica and carry on kissing, but Wendy has better manners and breaks off. WENDY: Oh, sorry. I guess we're being pretty rude. It's just...I never thought I'd see Max again. VERONICA: I bet. WENDY: God, I was such a girl when he dropped me off at the airport, all misty and dramatic. MAX: I missed the misty? Max laughs. WENDY: When he was leaving, I felt this rush. I thought about everything that led to that moment. Um, all the choices that I made that got me to that exact spot, that exact time...how, if I made different ones, I could be with this sweet guy who was dropping me off at the airport, all teary-eyed. Max blusters. MAX: Well, I-I mean...I wasn't teary-eyed. Wendy nods to contradict him with a smile. MAX: I hadn't slept much, and, you know, my eyes were... WENDY: Hmm. They start kissing again. There's a knock at the door. VERONICA: Three to one, Dick forgot his key card again. LOGAN: Hmm. VERONICA: Takers? Logan reaches for the popcorn and takes the bag out of Veronica's lap so she can get the door. She opens it and looks at the guest with horror. Madison Sinclair looks back at her with disdain. VERONICA: Madison. MADISON: Oh. It's you. So, are you and Logan, like, dating again, or are you hotel staff? Without waiting to be invited, Madison struts into the suite. Veronica gives a fake laugh. VERONICA: Did somebody order a PSE? Dick's not here. MADISON: Hey, Logan. Logan looks up. He's not thrilled to see Madison. LOGAN: Hey. MADISON: So, uh, what are you kids up to tonight? Logan looks over at Max and Wendy. LOGAN: Oh, same old, same old. MADISON: Well, this looks like super fun, but I should probably go do something that doesn't suck. She spins on her heel, passing Veronica to get to the door. She looks back. MADISON: [sarcastically] Don't party too hard, you guys. Veronica shuts the door behind her and walks back into the room, breathing f*re. WENDY: Friend of yours? VERONICA: No, Madison is pretty much the physical embodiment of all things I loathe. If Dick starts dating her again, you're gonna need to get a different roommate. Logan doesn't respond. INT - MARS RESIDENCE - DAY. Keith slides back the door of his wardrobe and reaches in. He pulls out something hanging in a suit bag. Cut to a few moments later when he's dressed. He's wearing his old uniform, considering his appearance in front of a mirror. Veronica arrives at the door to his room. VERONICA: Morning. Whatcha doing? KEITH: Just getting dressed for work. VERONICA: Wait. You're missing something. She disappears only to return with a portable CD player that she hands him with a flourish. VERONICA: Now, remember, when you rip off the breakaway pants, thrust your pelvis toward the bachelorette, okay? She illustrates. VERONICA: It's her special day. Veronica walks off. Keith looks at the player then drops it down to his side. He turns back to the mirror and sighs. INT - NORDHOUSE RESIDENCE - DAY. Claire, her hair grown out enough to look like a short cut, opens the door to her apartment and is immediately worried by the sight before her. KEITH: Claire Nordhouse? CLAIRE: Uh... KEITH: Mind if I ask you a few questions? Fern appears at Claire's side. FERN: I'm sorry. What is this about? KEITH: Just a few questions, ma'am. Do you mind if I come in? Keith doesn’t wait for an invitation, pushing past them both into the flat. KEITH: You're Fern Delgado? FERN: Yeah. What are you doing here? Fern shuts the door behind him. Claire and Fern stay by the door as Keith turns to face them. KEITH: Oh, just following upon some things from the night Cyrus O'Dell died. CLAIRE: The dean? KEITH: Right. Dean O'Dell. The night he died, someone egged his office. FERN: [scoffs] So that's a crime now. KEITH: Always has been. So, you did it? FERN: I didn't say that. KEITH: Okay, well, I am. I'm saying you girls egged the dean's office the same night you were out egging the Lampoon office and various other campus hotspots. So I'd like to ask you a few questions about it. CLAIRE: So, what? You think a few eggs -- and I'm not saying we threw them -- made the dean up and k*ll himself? Keith takes a step towards them. KEITH: Actually, we believe the dean was m*rder. The girls glance at each other in shock. KEITH: So, what I think is that you guys were in the area when this happened. You were known to carry a grudge against the man. CLAIRE: Hold on. We didn't k*ll anyone. KEITH: Who's "we"? Who else was on this little egg adventure? FERN: It was just us. KEITH: Just the two of you. No one else? CLAIRE: And...Nish. FERN: No she wasn't. Nish was not with us when we egged the dean's office. KEITH: But she was with you when you egged the Lampoon office and the statue. Interesting. So, where was she? Fern sighs. Keith gets more aggressive. KEITH: When you were outside his office, throwing eggs at his window, where was your friend Nish? The girls look at each other, as if to decide something. Keith wags a finger at them. KEITH: Don't look at each other and don't you dare lie. Where'd she go? Would you rather talk at the station, with your lawyer? Nish emerges from the room next to the kitchen. NISH: What, are you kidding? Keith turns around to face Nish. NISH: Mr. Mars? Is this some kind of a joke? He's not a cop. He used to be. He's a private eye. Do you two ever watch the news? KEITH: Nish, you were out egging buildings the night the dean died, but you weren't with them when they egged the dean's office. Where were you? NISH: First of all, I don't have to say anything. And second of all, I'm pretty sure what you're doing right now is illegal. But I'll tell you. What the hell, I got nothing to hide. I went around and egged the dean's car. KEITH: His car. NISH: That Volvo that he loved so much. FERN: He says the dean was m*rder. Nish stares at Keith, defiant, disbelieving, and thoughtful. EXT - NEPTUNE STREET - DAY. Music: "Yeah!" by the Golden Dogs. LYRICS: Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Lamb pulls up at a junction, rocking to the music. A dark car pulls up beside him. He glances over and sees that Keith is the driver. He glances at him with indifference, not immediately noticing that Keith is wearing the uniform of the Neptune County Sheriff's Department. He finally does a double-take. Keith gives him a casual salute, checks the lights and drives off, leaving Lamb standing and befuddled. End music: "Yeah!" by the Golden Dogs. INT - HEARST COLLEGE, CLARK HALL, MAX'S ROOM - DAY. Max opens the door of his room to Veronica. VERONICA: I got your text. She walks in and sees some of Wendy's underwear on the bed. VERONICA: I take it your connection with Wendy has found an even higher plane? MAX: I want to hire you again. Make Wendy disappear. I guess she needs a new ID, a new name, someone to close out her old apartment. VERONICA: Max, you think maybe this is all too fast? I'll admit, I was surprised. She seemed to be really fond of you, but- Wendy, now looking like a college student, enters the rooms with a bag full of stuff. She sees Veronica. MAX: Veronica's gonna help us. WENDY: Oh, my God. Thank you. That's the thing about being a working girl. Easy to break into, not so easy to get out of. It's not like I'm one of the big earners, but I have this client, a judge. VERONICA: Ooh, a judge? Which one? WENDY: Cramer. VERONICA: No freaking way! My dad busted him for taking bribes, and the old bastard still got re-elected. WENDY: He is the kinkiest out of all my clients. No sex, he just likes to sneak me into his office at the courthouse. Max listens with increasing discomfort. WENDY: All he wants to do is have tickle fights and walk around in my shoes. VERONICA: [disgusted] Och! Wendy glances at Max and senses his feelings. She looks down at the floor. Max does his best to recover. He puts his arm around her. MAX: Well, you don't have to worry about him stretching out your shoes anymore. She smiles and snuggles into his neck. WENDY: Mm-hmm. MAX: [to Veronica] Whatever it costs. Veronica nods. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY. Logan responds to an urgent knock at the door. He smile fades as he sees the hooker standing there. She's one not seen before, with dark hair. She has a black eye and blood coming from her mouth. She puts her hand wearily against the doorframe. NICKI: Where's Wendy? Logan gazes at her in shock. Cut to later. Nicki is on the couch, a washcloth and what looks like a bag of frozen peas pressed to her eye. Wendy is sitting next to her. NICKI: If you don't come back with me and with a thousand dollars for your time last night, Mr. Happyfists is gonna play connect the bruises on me. Max, sitting the other side of Wendy, leans forward with determination. MAX: She's not going back. [to Wendy] We're getting you away from this. Veronica and Logan are sitting at the other end of the couch, quietly watching. NICKI: Yeah, please, get her away from this so I can get my ass kicked a little more. WENDY: [gently] Max, I have to go back. MAX: Let me talk to your pimp, explain things. I-I have a head for business. Nicki scoffs. NICKI: You'll end up with a head for a hood ornament. WENDY: There's no other way, Max. I have to go. It was a great night, wasn't it? Maybe my best night ever. Max reaches into his pocket and pulls out an envelope. MAX: This was supposed to be for paying you, but...it's a thousand, right? Nicki grabs the envelope. NICKI: Yeah, a thousand. MAX: Hey, we'll figure something out, okay? Wendy nods, close to tears. NICKI: Come on, Wendy. We got to go. Nicki grasps Wendy's arms and pulls her from the sofa. Max falls back against the corner, distraught. Cut to later still. Veronica, in Logan's bedroom, slowly open the door to the sitting area to reveal Max, still sitting on the couch. LOGAN: Is he still out there? Logan is sitting on the bed behind her. VERONICA: He hasn't moved. Logan sighs, completely fed up. LOGAN: That's it. I'm kicking him out. VERONICA: No, let me talk to him. Logan sighs again but complies, and closes the door behind her as she moves over to Max. She perches on the edge of the couch near him. VERONICA: You'll always have Comic-Con. Max looks at her but doesn't respond. VERONICA: For what little it's worth, I was totally wrong. You and Wendy do have something. You two are great together, and I'm sorry. She takes a deep breath. VERONICA: And this just plain sucks. Max just sighs. VERONICA: That was my useless speech. I will now busy myself by bringing you a glass of water. Veronica gets up and grabs the washcloth and peas from the table to take them with her. She looks down at them and pauses. She spins around. She takes another deep breath. VERONICA: Max? He looks up. She holds up the washcloth. It has a large purple splodge on it. MAX: So? She wears makeup. VERONICA: It's purple makeup. The bruise was a fake. You've been had. They duped you. Nicki didn't get worked over by her pimp. She and Wendy just conned you out of a grand. MAX: That's crazy. VERONICA: Crazy? She screws people for money, Max. That's what she does. Max is gutted. Veronica softens her approach and drops down onto the couch. VERONICA: I'm sorry. That wasn't- MAX: No, I'm an idiot. VERONICA: You're not. From where I stand, Wendy's the idiot. And now we must crush her. She ponders. VERONICA: How to make the happy hooker not so happy. Cut to later still. Veronica is on her cell phone. VERONICA: Got it. Thanks. She finishes her call and waves her notebook, satisfied. VERONICA: Judge High Heels' home phone. LOGAN: This is a bad idea. VERONICA: It's blackmail. It's the go-to idea. In case of emergency, break glass or blackmail. LOGAN: Uh, excuse me if I can't get jazzed about my girlfriend extorting a judge. VERONICA: Look, I'm not doing a back handspring about it either, but I'm getting Max his thousand dollars back, and I'm taking away Wendy's best client. It works on so many levels. MAX: You don't have to do this. Logan glances back, knowing how wrong he is. VERONICA: I'll use your cell phone. They won't be able to trace the call back to me. As Max walks forward to hand over his phone, Logan sighs unhappily. Veronica makes the call. VERONICA: Judge Cramer. You don't know me, but I know a lot about you. No, really I do. I know you're a judge. I know you have a weekly date with a hooker at the courthouse and that you have a proclivity for high heels and tickling. All I need is a thousand dollars to keep quiet. Get a locker at the Neptune bus station. Leave the money. Call me with the locker number and passcode. You have twenty-four hours. Veronica ends the call abruptly and hands the phone back to Max. MAX: Well, I guess I should get out of your guys' hair, go mope around my dorm. Thank you. Max exits. Veronica walks towards Logan and puts her arms around his neck. VERONICA: I can't believe I had to blackmail a judge just to get some alone time with you. LOGAN: You really don't have to work that hard. VERONICA: Sure, I do. Logan gives her a brief a peck on the lips and smiles. And later still... Music: "A Thousand Kisses Deep" by Leonard Cohen. LYRICS: The ponies run, the girls are young The odds are there to b*at You win a while, and then it’s done Your little winning streak And summoned now to deal With your invincible defeat You live your life as if it’s real, A thousand kisses deep I’m turning tricks, I’m getting fixed I’m back on Boogie Street You lose your grip, and then you slip Into the masterpiece And maybe I had miles to drive And promises to keep You ditch it all to stay alive, A thousand kisses deep And sometimes when the night is slow The wretched and the meek We gather up our hearts and go A thousand kisses deep Confined to sex, we pressed against The limits of the sea Veronica and Logan are in bed. Logan's arm is resting around Veronica's waist and she is pulled up against his body. VERONICA: You know, if I were a hooker, this snuggle would cost you. LOGAN: I'll gladly pay. VERONICA: Really? LOGAN: For this? Cash money. Veronica twist around to face him. VERONICA: But seriously, folks...have you? LOGAN: What? Ever been with a hooker? Veronica nods. LOGAN: Why does it matter? VERONICA: I just want to know. I assume the answer is yes. Look at it as an opportunity for me to show you how cool I can be. "Hooker? Who cares?" LOGAN: Well, here's your chance to be cool. Stop asking. VERONICA: I just want to get to a place with you where we can be really...intimate. LOGAN: That's what the female praying mantis says before she bites the male's head off. VERONICA: I'm just saying, buried secrets tend to surface when I'm around. Logan reaches out to briefly touch her face. LOGAN: Maybe that's because of all the digging, huh? VERONICA: I'm giving you the chance right now to come clean. You tell all. I tell all. Go from there. LOGAN: Hm, fine. Ask away. Ask anything you want. VERONICA: Have you ever been with a hooker? LOGAN: No. She smiles. He smiles and then laughs at her smile. VERONICA: You want to ask me anything? LOGAN: Have you ever been with a hooker? VERONICA: [impatiently] No. LOGAN: No. Logan sighs, gearing up for the next question. VERONICA: The night you were in Mexico with Mercer- LOGAN: Are you kidding me? This cuts him and he turns away from her to stare at the ceiling. VERONICA: How was he able to get back to Neptune, commit a r*pe, and return to Mexico without you knowing? Logan thinks. He sighs. LOGAN: Uh...I must have passed out. I don't know, it felt like a couple minutes, but it could have been hours. Although, maybe he drugged me or something. He turns back to her, although he still seems to be thinking about it. VERONICA: Your question. LOGAN: You can have my turn. Veronica smiles. VERONICA: Were you with anyone while we were broken up? LOGAN: Land mine. Veronica holds her breath. LOGAN: I fooled around with this horrible girl who meant less than nothing to me, and I couldn't regret it more. Veronica twists around to take her turn at staring at the ceiling. LOGAN: Thinking of it makes me ill. Logan also takes to staring at the ceiling. LOGAN: So, there. Presto. Intimacy. A long moment passes. LOGAN: [with dread] Still love me? A slow smile spreads across Veronica's face. VERONICA: Yes. Logan takes a deep breath of relief and looks over at her. They reach for each other and kiss deeply. INT - MARS RESIDENCE - DAY. Veronica is eating a bowl of cereal. Her cell phone rings. End music: "A Thousand Kisses Deep" by Leonard Cohen. Veronica answers the phone. VERONICA: Hello. INT - HEARST COLLEGE, CLARK HALL, MAX'S ROOM - CONTINUING. Max is pacing in his room. MAX: Judge Cramer called. He dropped off the money. Feel like coming with me to pick it up? INT - MARS RESIDENCE - CONTINUING. Veronica grins. VERONICA: The pickup is the best part. I'll meet you in twenty minutes. Veronica grabs her bowl. INT - NEPTUNE BUS STATION - DAY. Veronica opens a locker as Max watches. The locker is empty except for a folded sheet of paper. Veronica takes it out of the locker and opens it out. It reads: "Go outside. Get in the limo. Or Wendy gets hurt." Veronica and Max share a worried look before hurrying out of the bus station. EXT - NEPTUNE BUS STATION - DAY. They walk out to see a long, black limo waiting. A man deserving of the credit writer's descriptive title, Imposing Guy, is waiting by the limo. When he sees them, he opens the door. Max walks towards him and gets in without hesitation. Veronica, on the other hand, hesitates on the wisdom of this action. IMPOSING GUY: Get in. His voice is deep and thr*at, and Veronica actually trembles. She gets in. The limo, bearing the number WER9878, drives away. EXT - LIMO - DAY. The car pulls into a nearly empty car park by what looks like a train station. VERONICA: [offscreen] Okay, look, maybe calling the judge wasn't a great idea, but one of your girls ripped off my friend, and we were just trying to get his money back. INT - LIMO - DAY. The limo is the inverse of Doctor Who's Tardis - smaller on the inside than on the outside. Veronica and Max are sitting on a seat with their back to the driver. Imposing Guy is wedged between them, barely fitting in the car and crushing them both against the doors on either side. VERONICA: So, could you let us out of the car now? Lesson learned. Veronica has been addressing a large black man opposite, as wide as Imposing Guy is tall. HAPPY: Not me. Her. He nods at the woman next to him. VERONICA: Her? MADAME: Me. I'm the one who gets called when one of my girls does something dumb. VERONICA: You mean you're the- MADAME: I'm Wendy's agent. The man has Veronica's bags and pulls out the taser. He turns it on and the charge buzzes across it. HAPPY: I don't think this is street legal. What's the voltage on this? MADAME: [impatiently] Put it down, Happy. VERONICA: Wait, there really is a Mr. Happyfists? I thought that was just colourful language. MAX: Look, Wendy didn't do anything dumb, okay? I did. I called the judge. MADAME: I don't think you did. He said it was a girl's voice. And Wendy has done a bunch of dumb things. She fell for a client. This causes Max's brows to rise. MADAME: She tried to leave me without saying goodbye. She told a client about the judge. MAX: I'm sorry. Did you say she fell for a client? MADAME: She asked out. But there's a problem, you see. Wendy owes me money. Braces aren't cheap. Tattoo removal isn't cheap. Clothes and housing aren't cheap. Now, she could work it off- MAX: I'll pay. MADAME: You're a hell of a negotiator, Max. Don't let anyone tell you otherwise. The madame thinks for a moment. MADAME: Ten grand and a promise that you never talk to another one of my clients again. And next time, I won't go the makeup route with the bruises. She smiles at Veronica. MADAME: They're gonna be the real thing. VERONICA: Max, think about this. MAX: Fine. Ten grand. You want to run me by my bank? Veronica drops her head back against the seat, discouraged. INT - HEARST COLLEGE, CLARK HALL - DAY. Max and Veronica walk down the hallway, heading for Max's room. VERONICA: You just handed over a hundred hundred dollar bills. MAX: Yeah, I was there. VERONICA: And what guarantee do you have that- Max pulls to halt once round the corner. Veronica stops mid-sentence. Wendy is crouched by Max's door. She has her bags with her. She looks over and sees them. She stands, uncertain of her reception. Max runs to her and they hug. Veronica watches, her cynicism challenged once again. They kiss as Veronica watches. INT - HEARST COLLEGE, FOOD COURT - DAY. Max is at one of the stands. He looks back, a goofy grin on his face and gives a little wave. Wendy, sitting at one of the tables with Veronica, waves back with a big smile on her face. VERONICA: That boy is smitten. WENDY: Yeah, isn't he great? VERONICA: Yeah, pretty great. So, what is the secret to making a guy fall for you like that? WENDY: Dumb luck...and interesting lingerie. Never underestimate the power of lingerie. WEEVIL: Yo, Veronica. Veronica looks up to see Weevil approaching the table, bursting with news. WEEVIL: I'm sorry. I got to tell somebody about this. You're never gonna guess what somebody tried to flush down the commode in the faculty lounge. Veronica shakes her head just as Weevil notices that she's not alone. WEEVIL: Hey, I-I know you. VERONICA: Weevil, this is Wendy. WEEVIL: Fiona, right? Max arrives at the table, behind and unnoticed by Weevil. WEEVIL: You used to dance at the Electric Lady. My buddy was a bouncer up there. WENDY: You must be thinking of someone else. WEEVIL: No, I don't think so. You have a tattoo, red dragon, left cheek. Am I right? VERONICA: [sharply] Weevil, you got the wrong girl. Weevil is about to argue, but one look at Veronica's face stops him. He looks back, sees Max, and finally gets it. WEEVIL: Yeah, yeah, you're right. I'm sorry about that. See you around, V. Max and Wendy share an uncomfortable glance. INT - MARS RESIDENCE - DAY. Keith walks into Veronica's room, carrying the police report into O'Dell's death. Veronica, reading and curled up on her bed, looks up. VERONICA: Man, you just love that report. KEITH: Your buddy Nish said specifically that she egged the dean's Volvo, but according to the report, the dean was driving the minivan. That's the car they found in the parking lot. VERONICA: So, Nish is lying? KEITH: Or maybe the dean's Volvo was also there. Keith sits down on the bed. KEITH: That's the car Mindy was driving that night. Maybe she paid a visit to her husband. VERONICA: Why wouldn't she mention that to you? KEITH: That's exactly what I'm wondering. INT - HEARST COLLEGE, CLARK HALL, MAX'S ROOM - DAY. Music: "Wheels" by Mark Lanegan. LYRICS: Light ahead, proves that the wheels broke down Here I am, still hangin' on Well alright Shadows only disappear Just look around there's no one here A little spirit turned my light on out and now Can never be no doubt I'm gonna wait til the stars come down My little love smiles on a wing For all a raindrop and tears not wasted there Been pourin' down all day Runnin' round catchin' 'em baby Run around catchin' 'em baby Whichever way they fall Won't stop lovin' you baby Whichever way you go Oh yeah Here I am Here I am Just runnin' round catchin' 'em Whichever way they fall All night long Max is sitting in his armchair, reading. One foot is up on the desk chair between Wendy's legs. She is painting his toenails. She pauses and looks up at him. WENDY: Are you okay? MAX: Yeah. Why? WENDY: You've just been quiet. That's all. MAX: It's just-it's just, I have to have this read by Tuesday. WENDY: Yeah, that's fine. She gives a nervous little laugh. He goes back to his reading, but with it preying on his mind, he looks up at her instead. MAX: There was a dragon on your purse the first time we met. I guess you're a fan of dragons. WENDY: [sadly] Yeah. I like dragons. Further discourse is halted by a knock on the door. Brian walks in. Fred is with him. Brian stops short on seeing the scenario before him and looks back at Fred. They snigger. Brian looks back at Max. BRIAN: Uh, Stewpot warning. He's sniffing around. MAX: Thanks. WENDY: Who's Stewpot? BRIAN: Stewart Potter, our RA. I think he saw you with the bags. He can be a pain. WENDY: Thanks for letting me hang out. It will just be a couple days. I just need to find a place, get a job. BRIAN: I might actually know of a job. WENDY: Really? FRED: Yeah, that's what we came to see you about. BRIAN: My older brother is getting married next Saturday, and the guy organising his bachelor party has this really uptight wife, so they didn't book a stripper. Wendy's face falls in disappointment. BRIAN: We're scrambling to get someone. Um, it should be a good gig. They're all, like, lawyers. MAX: [angrily] Hey, dudes! That's my girl you're talking to. WENDY: And I'm retired, actually. BRIAN: Of course. Of course. I'm sorry. I didn't know what the story was. It's cool. We can find somebody else. Brian and Fred hurry out. Wendy sits with her head hanging down as Max puts down his book. MAX: Do you mind if I ask you a question? WENDY: Probably. But go ahead. MAX: When I dropped you off at the airport and you said you left all your information back at the hotel? I got back and the room was clean. So, I guess my question is, uh, did-did you really leave it for me? He swallows hard. MAX: Was it really there? With tears welling in her eyes, Wendy shakes her head. WENDY: No. Max nods. WENDY: But I really wish I left it. This doesn't assuage Max's feelings. It's all too much and he makes an excuse. MAX: I think I'm gonna take a walk. He walks out of the room. A tear trickles down Wendy's cheek. INT - HEARST COLLEGE, LIBRARY - DAY. End music: "Wheels" by Mark Lanegan. Veronica is working behind the help desk. Max arrives. MAX: I haven't paid you yet. I don't want you to come collecting. VERONICA: If it isn't the Man of La Mancha. How's tricks? Veronica realises her poor choice of words. VERONICA: Sorry. I mean things. How are things? MAX: Things? They suck. Wendy left. The upside? I actually got a note this time. She said it wasn't gonna work out. VERONICA: You bought her out of prostitution, and she left you? Please tell me you don't want me to find her again. MAX: No, no. I think she may be right. She said, uh, what'd she say? She said, uh... He pulls a note out of his back pocket and reads it. MAX: "The-the day we met was one of the best days of my life. I-I fell for you that day, but you didn't know what I was then, and now you do and it shows in the way you look at me. It shows in the way you touch me but I'll never regret it. You made me realise what I was missing. Love, Wendy." VERONICA: Ten thousand is a lot to pay for a life lesson. MAX: She's gonna pay me back as soon as she can, Veronica. Veronica can't believe his faith in her. VERONICA: Max, please don't get your hopes up. Max pulls out a large stuffed envelope and slaps it down on the counter. MAX: She already paid me a thousand. Veronica opens the envelope. It is full of money. MAX: She made some good money last night. I hope you don't mind getting your money in vertically folded singles. Veronica sighs at the implication of how Wendy is making her money. She comes round to his side of the counter. VERONICA: Oh, Max. She puts her arm around him. INT - LINGERIE SHOP - DAY. Veronica walks through the shop carrying a couple of teddies on hangers. VERONICA VOICEOVER: I heard it from a pro. Lingerie. Maybe I should get into the spirit of doing things normal girlfriends do. I should make more of an effort to please my man. First comes sexy underthings. She lays them on the counter, a little nervously. She is startled by the sound of a hateful voice as Madison comes out of one of the dressing rooms near the counter. MADISON: Um, do you have the thigh-highs with the seams up the back? VERONICA: I think I saw some between the pasties and the edible underwear. MADISON: You know, it's kind of smart of you to raid the sale rack like that. It's almost a waste for me to spend all this money on something that will be ripped right off of me. VERONICA: If you're trying to get Dick back, I don't think you have to work that hard. Seriously, a hefty bag and some duct tape, and he'd be good to go. Madison scoffs. MADISON: Dick? Please. VERONICA: You came over. I figured... MADISON: Oh, Logan and I hooked up in Aspen over the holidays. I guess you two were split, huh? I was in town and thought he might have some free time, but, oh, well. Oh, and, as a friend, he's not so big on the one-piece numbers. Madison walks off, having enjoyed every second of the encounter. Veronica looks close to throwing up. End.

{"type": "series", "show": "Veronica Mars", "episode": "03x11 - Poughkeepsie, Tramps and Thieves"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Weevil walks into O'Dell's office to find him slumped over his desk in 309 "Spit and Eggs." Cut to Mindy in Keith's office in 310 "Show Me the Monkey." MINDY: I didn't k*ll Cyrus, Keith. Neither did Hank Landry. But someone did. KEITH: I'll take the case. Keith and Steve Batando walk out of the Balboa County Sheriff's Department in 305 "President Evil." STEVE: You tell my ex-wife I own her now. No more talk of alimony, no more child support. We're beyond even. Steve drives off in Mindy's Porsche. Cut to Veronica coming down the stairs at the Pi Sig party in 309 "Spit and Eggs." VERONICA VOICEOVER: Tim Foyle? This can't be good. Veronica watches as an emotional Tim finds Bonnie and Dick. TIM: That's it, Bonnie. I've had enough. Cut to Madison having fun telling Veronica all about it in the lingerie store in 311 "Poughkeepsie, Tramps and Thieves." MADISON: Logan and I hooked up in Aspen over the holidays. I guess you two were split, huh? Veronica is gutted. End previously. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Music: "Western Meadowlark" by Brown Recluse Sings. LYRICS: The country is destroying itself outside your window Hear the pulsing machines breaking down See the buildings crumble to the ground You, perched on the edge of your comfortable bed Like a beautiful songbird Veronica, her fingers entwined in Logan's, wakes up. She glances back at Logan and smiles. She slides carefully out of bed. Logan stirs and smiles, cuddling her pillow. LOGAN: Hmm. He watches her as she dresses. LOGAN: I don't want you to go. She looks back at him adoringly. VERONICA: I wish I didn't have to. Veronica leaves the bedroom and picks up her sweater from the couch. She puts it on, struck by something outside. She walks out to the balcony where the wind is howling. The balcony is covered in snow. As she looks out, instead of the usual Neptune vista, she sees the mountains of Aspen. She observes the phenomenon more in wonder than in confusion and wraps her sweater closer around her. There's a girlish giggle from inside the suite. Veronica walks back in slowly, approaching the bedroom. Madison is naked and astride Logan. They kiss. Madison looks back over her shoulder at Veronica in triumph. Veronica stares at them in shock. End music: "Western Meadowlark" by Brown Recluse Sings. INT - MARS RESIDENCE - DAY. Veronica wakes up from her dream/nightmare at the sound of a ringing phone. She reaches for it wearily. VERONICA: Hello? INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. Logan is walking towards the sideboard in his suite. LOGAN: Either you're affecting a sexy phone voice or you even make "hello" sound good. INT - MARS RESIDENCE - CONTINUING. Veronica's mind flashes back to Madison on top of Logan. VERONICA: What time is it? She sits up and groans. VERONICA: I've got to go. I'm late for work. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. Logan starts making himself a hot drink. LOGAN: Work, right. Are you sure you're not getting a body wrap and a blow out for our fancy date tonight. INT - MARS RESIDENCE - CONTINUING. Veronica doesn't have the energy or heart to play along and her responses are flat. VERONICA: You got me. I better haul ass if I want to fit in that brow shaping. LOGAN: [on phone] And Veronica? VERONICA: Yeah? INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. LOGAN: Don't go changing. He grins. INT - MARS RESIDENCE - CONTINUING. She doesn't, still wrapped up in dream and her exhaustion. VERONICA: See you later. She switches off the cell phone and sets it down on the coffee table. She rubs her hand across her face. VERONICA VOICEOVER: Oh, I've changed, from a girl who slept to one who doesn't. Closing my eyes means popping in the Madison tape and pressing play. EXT - HEARST COLLEGE, LIBRARY - DAY. Veronica is having a hard time concentrating. She half-heartedly sorts some pens and then throws them down, leaning her head against her hand. She doesn’t hear the footsteps that approach her. BONNIE: [offscreen] Veronica? Veronica jerks her head around. Bonnie, last seen at the Pi Sig party in 309 "Spit and Eggs," approaches the help desk in some trepidation. VERONICA: Bonnie. BONNIE: Can we talk? VERONICA: Sure. BONNIE: Tim's talked about you. A lot. VERONICA: Affectionately, I'm sure. So what can I do for you? BONNIE: Um... Bonnie drops her head and pauses to gather her courage. BONNIE: I got pregnant and someone slipped me RU-486. VERONICA: RU...? BONNIE: It causes a miscarriage and I want you to find out who it was. Opening credits. EXT - HEARST COLLEGE, LIBRARY - CONTINUING. Veronica walks around the desk to face Bonnie. VERONICA: The miscarriage...you're sure it was intentional? BONNIE: I didn't think so at first, but then the doctor saw that I had this weird rash and that my hands and feet were numb. He said it looked like I was having an allergic reaction to the RU-486. I told him I didn't take any. He did a blood test. Confirmed it. Another student walks by them nearby and Veronica leads Bonnie towards the bookcases to get some privacy. VERONICA: I'm so sorry, Bonnie. I'm looking for the least rude way to ask you if you know who the father was... Veronica takes a deep breath. VERONICA: And that's what I came up with. BONNIE: It was Tim...or Dick. VERONICA: Fair enough. So, did Tim or Dick know about the baby? BONNIE: They both did. At first I was just so freaked out, I didn't even think I wanted to keep the baby. I went to Dick and asked if he'd help pay for the procedure. A student (whose line must have been cut as he's in the credits as Russian Lit. Student) starts looking at the shelf near them, so Veronica pulls Bonnie deeper into the stacks. VERONICA: How did that go? BONNIE: He said he'd pay...after I got a paternity test. VERONICA: Yeah. He's a classy dude. BONNIE: But Tim has been so sweet. I mean, he is just so great in crisis mode. VERONICA: You two are back together? BONNIE: Right. I forgot you saw the famous Pi Sig-party fight. I felt awful. I just left Dick at the party to go see Tim. The Russian Lit student drifts closer again. After giving him a look of exasperation, Veronica pulls Bonnie away again. BONNIE: I had to beg. But he forgave me. VERONICA: Excuse me for asking, but...why Tim? BONNIE: It'll sound twisted, but Tim takes care of me. He's like my dad that way. VERONICA: Okay, then. So, how did Tim react in the moment you told him? BONNIE: I didn't tell him. He found out. They reach the stairs to the next floor and sit down on them. BONNIE: We got back to my place one night, and there was this balloon bouquet from my parents. Bonnie does air quotes. BONNIE: "Congrats from Grandma and Grandpa." Any other guy would have lost it, but Tim offered to marry me. VERONICA: [intrigued] Your parents sent balloons? BONNIE: Turns out our family doctor's not the firmest believer in the whole doctor/patient confidentiality...which, um, kind of changed the equation in terms of keeping the baby or not...'cause my parents are pretty religious. And then, you know, Tim wanted me to keep the baby. Veronica nods. VERONICA: I'll see what I can find out. BONNIE: Just please, Veronica, don't let Tim know I hired you. I would feel horrible if he even thought for a second that I didn't trust him. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Logan is sitting on the bed in his room in the suite. He's got on a shirt and tie, and is concentrating on putting in his cufflinks. He hears steps and looks up. Veronica arrives at the door, not dressed up. She has her arms wrapped tightly around her body. Her eyes glitter with wetness. LOGAN: Jeans. Bold choice. I hope the maitre d' is fashion-forward. VERONICA: Did you and Madison have sex over winter break? Logan looks up at her, horrified and then drops his head. She knows the answer from his face. VERONICA: [strangled] I asked you point-blank. LOGAN: And I lied. He slowly rises to his feet and walks towards her. LOGAN: Point-blank. It wasn't information that you had a right to know. I knew you wouldn't be able to deal with the Madison thing. VERONICA: [with increasing anger] Which thing are you talking about? The "she roofied me" thing or the thing when I stumbled to my car in the morning, wondering where my virginity was, and she'd written "slut" on my windshield? Was that what you thought I couldn't deal with? I am so genuinely sick right now. If I could have eaten anything today, I'd be throwing up all over your floor. She turns and starts walking out. LOGAN: [desperately] We were broken up at the time. Veronica whirls around, her face contorted with emotion. VERONICA: You know how I feel about her. There's no way that, at some point while it was happening, that you weren't thinking about how much I'd hate you being with her. LOGAN: It wasn't like that. VERONICA: No? Do you want another variation? Veronica gestures weakly at her head. VERONICA: 'Cause I've got a million sickening scenarios running on a loop right now. Her words bring flash images of Madison giggling and being naked with Logan. Logan steps towards her. LOGAN: I wasn't trying to hurt you. Veronica jerks back, away from him. VERONICA: Oh. Really? Imagine if you tried. Veronica turns around again to walk out. Logan follows her. LOGAN: What do you want me to do? What can I do? She stops and turns back, the anger gone. Her lips quiver. VERONICA: Make it not true? Get it out of my head and never let me think about it again? 'Cause...unless you can do that, this is something I'm never getting past. She turns and leaves, and this time Logan lets her go. He stares after her, distressed and fighting back the tears. EXT - O'DELL RESIDENCE - DAY. Keith and Backup are at the door of a large house, although small by 09er standards. Keith knocks. Mindy opens the door and smiles. MINDY: Hello, Mr. Mars. She chuckles at the sight of Backup. KEITH: I was out dog-walking, and I thought of a question I wanted to ask. You know we're only ten blocks away? MINDY: No, I didn't. KEITH: I thought I'd save myself a phone call. There seems to be a discrepancy in the police report concerning your husband's death. I mean, knowing the sheriff, I'm sure it's a mistake. MINDY: What did you find? KEITH: It says a minivan was parked in Cyrus' spot the night he was k*lled. My daughter told me he normally drove an old Volvo? MINDY: He did. The minivan's mine. We traded cars for the weekend. Cyrus needed the van to haul his son's drum kit around while I was out of town. She gestures to the house's interior. MINDY: Would you like some coffee? KEITH: Oh, I'm afraid he wouldn't stand for it. In another thirty seconds, he's gonna pull my arm out of the socket if we don't get moving. Mindy smiles. Keith starts away from the door. KEITH: But, uh, thanks for the info, and, uh, I'll keep you posted on what I find. Mindy waves him off. EXT - HEARST COLLEGE - DAY. Dick has found himself an ideal leering spot at a busy pedestrian intersection. He is sitting on a stone bench in the centre with a plastic cup of coffee, watching the girls go by. VERONICA VOICEOVER: The best way to forget about your own problems? Dive into someone else's. Veronica slides next to him. He's not pleased to see her. VERONICA: So, Bonnie Capistrano tells me you knocked her up and blew her off. DICK: Yeah, whatever happened with that? VERONICA: You do your hair like that to cover up the three sixes on your scalp, right? DICK: I told her to get a paternity test. I'm not here to help her turn a profit. VERONICA: I just feel like you have this wadded-up Maxim magazine where your heart is supposed to be. DICK: Oh, I'm heartless? First Duncan, now Logan. You're running out of rich bachelors' heads to mess with. Is it some kind of weird sport for you, you know, breaking dudes' hearts? What, you put another notch on your lipstick case? VERONICA: Logan slept with Madison when you guys were in Aspen. This cuts, although Dick hides it as well as he can. He shrugs as if it is no big deal. DICK: And? Veronica can see how upset he is and has a momentary pang of conscience. VERONICA: Sorry, Dick, I probably shouldn't have... DICK: Wot, me worry? Can we be done? I've got things to do. He looks up and spots someone. DICK: Redheaded things. [shouting] Nadia! Dick gets up and chases after the girl as Veronica watches. NADIA: There's my big, dumb blonde. They walk off together and Dick takes the opportunity to throw his arm around Nadia's shoulders. He glances back at Veronica defiantly. VERONICA VOICEOVER: It must be a liberating thing not to be cursed with a moral compass. INT - HEARST COLLEGE, BONNIE'S DORM ROOM - DAY. Veronica knocks on a dorm room door. The whiteboard displays various messages: "#1 this is #2 do u read?" "Kermit the Frog? He He He," "are you going 2 studygroup," "Ask Why?" "Lacey was here," and "Complacent Reasoning establishes unrealistic ra...." The door is opened by a pretty girl. VERONICA: Hi. Is Bonnie here? PHYLLIS: She's still at class. You're Veronica? Bonnie told me about you. I'm Bonnie's roommate, Phyllis. Come on in. Phyllis waves Veronica into the room. The first part of the room is Bonnie's and is covered with archaeological objects and posters. VERONICA: Wow. Raiders of the lost dorm room. PHYLLIS: Oh, yeah. God, Bonnie would love that. Her dream is to be the female Indiana Jones. Veronica walks through to Phyllis's half, where she is putting on a sweater. Her walls disclose nothing more than a regard for Josh Ritter. PHYLLIS: She can spend three hours watching a documentary on people digging up a tooth. Phyllis starts gathering her books together. VERONICA: So, you know what happened to Bonnie? PHYLLIS: Yeah, Bonnie and I have been best friends since seventh grade. Not much happens in our lives that we don't share. VERONICA: What do you think about Bonnie getting back with Tim? PHYLLIS: I hated the arrogant little toad from the first time she introduced him. VERONICA: Don't hold back, Phyllis. PHYLLIS: I've kind of turned a corner on Tim, though. The boy came through in the clutch. He found out about the baby, and he stepped up. He bought her What to Expect When You're Expecting. He got her, like, prenatal vitamins. VERONICA: So he was handing her pills? Could he- PHYLLIS: There's no way it was Tim. He offered to marry her. He was gonna talk to her dad and everything, and you know how intimidating that would be. VERONICA: Yeah, Bonnie said her family is pretty religious. PHYLLIS: Do you not know about her dad? VERONICA: Should I? Phyllis doesn't answer but instead finds the remote control. She switches on the television. TV: $5,000... Phyllis zaps, passing a noir film, until she finds the channel she wants. A man is preaching. Behind him is a large banner inscribed with the legend "Capistrano Ministries." The same words are at the bottom of the screen. REV. CAPISTRANO: ...and if there's only one thing you got to remember, it's this... PHYLLIS: There's Papa Capistrano. He's on all the time. REV. CAPISTRANO: God may hate the sin, but god loves you. CONGREGATION: [offscreen] Amen. REV. CAPISTRANO: Say it to yourself. God loves you. CONGREGATION: [offscreen] God loves you. VERONICA: Bonnie's a preacher's daughter. How very Footloose. INT - HEARST COLLEGE, TIM'S OFFICE - NIGHT. Veronica walks past a janitor who is cleaning the floor of the dark and deserted hallway. VERONICA VOICEOVER: Unless Tim was able to convince a gynaecologist he was a pregnant female, I'm betting he scored the RU-486 online. If I can't question Tim, maybe his computer will give me some answers. Veronica gets to the door of Tim's office but is thwarted as the door is locked. She glances back at the janitor. VERONICA VOICEOVER: Sometimes when things don't work out the way a girl wants them to, there's nothing quite as satisfying as the hissy fit. Veronica rattles the doorknob with a show of increasing frustration and distress. VERONICA: [whining] Oh, I hate this stupid day! Ugh! She gives the door a final try by trying to break through with her back and then slides down into a heap. The janitor looks over with concern. Veronica, as much as she can crouched at the foot of the door, stamps her feet. VERONICA: Uuuugh! She starts to "cry" loudly. JANITOR: Are you okay? She sniffs wetly. VERONICA: [sobbing] No. This is, like, the worst day ever of my entire life. I was supposed to meet my brother at his office, and he's not here. And he's not picking up his cell, and he's not even my brother anyway because my parents just told me I'm adopted. The janitor sighs and looks at the door. JANITOR: Is this his office? VERONICA: Uh-huh. The janitor leans his broom against the wall and gets out his keys. He opens the door for her and watches her enter. She turns to face him, wiping her nose on her sleeve dramatically. VERONICA: Thanks. You've been so helpful. She gives him a quivering smile and he shuts the door. Veronica walks over to the door, watching his image through the frosted glass as it moves away from the door. She looks and takes a big breath of relief. She heads for Tim's desk. VERONICA VOICEOVER: It's so much easier letting the twitch of a man's lip tell you he's guilty than relying on him to not empty the cache on his hard drive... On screen, a password is requested. Veronica sags back into the chair. VERONICA VOICEOVER: Or trying to figure out his password. Onto Plan B. She sneers at the screen. She sighs and sets her bag on the desk. She searches through her bag and pulls out a device. INT - MARS RESIDENCE - NIGHT. Veronica is in bed, restless. She stares at the ceiling. VERONICA VOICEOVER: The only thing worse than being up all night obsessing over Madison Sinclair is knowing how much she'd enjoy it. An image flashes up: Madison and Logan naked in bed with Logan pulling Madison's head down to kiss her. Veronica presses her hands to her face. VERONICA VOICEOVER: If I have to see this one more time, I'm having my frontal lobe removed. She sighs. She hears the door and leaps out of bed. Keith is just entering the apartment. He throws his case down on the kitchen counter. He looks up to see Veronica coming through from her room. KEITH: Good. You're up. I've got a little conundrum. Veronica slumps onto one of the counter stools. KEITH: Nish says she egged the dean's Volvo on campus the night he was m*rder. Veronica is hardly listening, looking down at her hand at which she is picking. KEITH: Mindy says she had the Volvo parked at the Neptune Grand all night. Any guess as to who's lying? VERONICA: [listlessly] Both of them? I don't know. KEITH: Your lack of opinion concerns me. VERONICA: Logan and I broke up...again. My idea this time. KEITH: Ah, I am sorry. You doing okay? VERONICA: No... She forces out a strained laugh VERONICA: No, no, no, no, no. Keith reaches out and takes her head in his hands. He kisses her forehead gently. Veronica, close to tearing up, makes a quick exit. VERONICA: Night. Keith watches her go with concern. INT - HEARST COLLEGE - DAY. Veronica approaches Tim who is just finished a conversation with a colleague. When he sees Veronica, he starts walking quickly back to his office. TIM: I'm in a hurry, Veronica. VERONICA: I know you enjoy screwing with me, but it's kind of losing its charm. TIM: I have no idea what you're talking about. VERONICA: I checked my grade online. It said I got a B. You and I both know I got an A. TIM: I entered an A. You were looking at someone else's grade. He stops and turns to look at her. VERONICA: Like I didn't look carefully. Either you did this on purpose, or you messed up the entry. Tim looks down at the floor and sighs deeply. He goes into his office. INT - HEARST COLLEGE, TIM'S OFFICE - CONTINUING. Veronica follows him in. TIM: Why didn't you print out a grade report, hmm? She follows him around to his side of his desk as he bends over his computer. VERONICA: I shouldn't have to. I should have the grade I earned. Tim hesitates and looks at her. TIM: Veronica? VERONICA: Yes? He indicates his desk. TIM: My space. He indicates the other side of it. TIM: Your space. He grasps his hands together in a prayer and Veronica finally walks back around the desk. She takes a seat in the visitor's chair. Tim goes into his computer. Veronica fiddles with a role of black tape under the desk, unseen by Tim. TIM: Ah, here it is. An A, like I said. VERONICA: Huh. Maybe I was looking at someone else's grade. Veronica shrugs and rises from the desk. Tim watches. EXT - NEPTUNE STREETS - DAY. Veronica is sitting in her car. VERONICA VOICEOVER: If there is a justification for my actions right now, it's this. Veronica squeezes her eyes shut. VERONICA VOICEOVER: I have gone completely crazy. She looks across the street. Madison is exiting a day spa. VERONICA VOICEOVER: When I'm lying in bed and I can't sleep because of visions of Madison and Logan rolling around, she wins. When I've got her in my sights, I'm in control. Madison hands her parking ticket to the valet and sighs with impatience as he runs to get her car. Cut to a little later. Madison, driving a BMW convertible, pulls into a house. It appears that the Sinclairs have moved since last seen in 111 "Silence of the Lamb." Veronica, now wearing sunglasses and a cap, pulls up on the other side of the road and watches as Madison get a large, full laundry basket out of the boot of the car. VERONICA VOICEOVER: How does it empower you, Veronica, to know Madison brings her laundry home from USC each weekend? Shut up, sane Veronica. I'm in charge now. A dark-haired man, presumably Mr. Sinclair, meets Madison partway to the house and takes the basket from her. He sets it down and takes her arm. He leads her back to the driveway in front of the garage. One of the doors of the garage opens automatically. There are shouts and claps. MADISON'S FAMILY: Surprise! A brand new red Mercedes CLK 350 is slowly backed out. It has a large red bow on it. It bears the licence plate GOTZMINE. MADISON: Aah! Oh, my god! Madison hugs the driver who, if she's Mrs. Sinclair, has gone blonde. VERONICA VOICEOVER: And watching her get a new Mercedes for her birthday...very healing. At least it's reminded me that I need to buy Mac a present. MADISON: Oh! Thank you! Veronica aims the camera at the licence plate and takes a picture. VERONICA VOICEOVER: "Gotzmine." You win, crazy Veronica. She's all yours. INT - HEARST COLLEGE, TIM'S OFFICE - NIGHT. The door into the office squeaks as it slowly opens. A hand reaches down and tears away the strip of black tape obstructing the lock. Veronica enters. She gets to Tim's desk and computer. It is still asking for a password. Veronica turns on the lamp. She reaches up and pulls a small device from the inside of the lampshade. She pulls out something that looks like an iPod and, by technical wizardry that I'm incompetent to describe, she downloads the film from device to device to Tim's computer, finally getting a sh*t of Tim's keyboard. She slides it forward to the time she was in Tim's office earlier. TIM: [on video] My space. Your space. Veronica raises a derisive brow. On the film, Tim starts to log on. Veronica slows it down and writes what she sees on her hand. VERONICA VOICEOVER: His password is "Dick Tracy"? Aw. That is adorable. Veronica logs on to the computer. Tim's wallpaper is a silhouette of Sherlock Holmes. VERONICA VOICEOVER: Okay, Tim, let's see where were you browsing three weeks ago? Veronica pulls us the internet history. Amongst the sites listed are for that day are: Monomania Magazine - If You're Going to College", "MonTele - The News Leaders", "ZowiePedia Beta 2.2", "Balboa County Sheriff's Department Website", "PlanetZowie - Search the Web", "Weather Report - Zip Code 90909", "Hearst College - Grover Hayes Library Refined", "Nationwide Crime Statistics - m*rder Document. Those partially listed for the day before are: Hearst College - Course g...", "DownloadVibe 2.1 for Wi...", "SNAFU Great Flash Games!", "Criminology Today", "PlanetZowie", "Apple - Movie Trailers", "Untitled", "truthout - News, Polit...", "Hearst College - Server D...." The next list is for five days ago and includes: "PlanetZowie Search - tim f...", "Books Beyond Borders", "Green Apple Technology", "The Smoking Nun - Dumb...", "Hearst College", "Criminology Department", "Hearst College - Staff List", "Weather - Zip Code 90909", "SignOnNeptune." Veronica highlights this and starts scanning down the list. More site names are seen: "Establishment Foundations", "PAPERCLIPS™ - Online C...", "ASC - The American Soci...", "ListServe - Criminology Dis...", "Discussion Board - Acade...", "CribCatcher - Plagiarism...." VERONICA VOICEOVER: Nothing, nothing, nothing. Veronica sweeps past "The Smoking Nun - Keith...," "Horizons Airlines Flight S...," Utopia Bank - Account Lo...," New York Bridge Mutual," "Hearst College - Student...," and "Hearst College - Staff List...," taking interest only in "NEPTUNE WOMENT'S CLINIC." VERONICA VOICEOVER: Neptune clinic? In addition to the clinic, Tim browsed: "Pregnancy," "Pregnancy Week to Week," and "What to know about preg...." Veronica then notices another file on Tim's computer, one entitled "O'Dell - su1c1de?" VERONICA VOICEOVER: Whoa. She opens it. There are three files within: "Forensics," "Suspects," and "Witnesses." VERONICA VOICEOVER: Tim's investigating the dean's death? She clicks on "Witnesses." There are two names: Anthony Martina and Eli Navarro. VERONICA VOICEOVER: Anthony Martin? There's no Anthony Martin mentioned in the police report. Veronica clicks on Anthony's name and reads out what she sees on the screen. VERONICA VOICEOVER: "Earwitness, heard sh*t while walking home from Pi Sig party. Witness was drunk, couldn't determine time of death." INT - HEARST COLLEGE - DAY. Veronica knocks on the door of Anthony's room, which he shares with Glen. There's no answer, so she leaves a note on his whiteboard amongst the messages from Chris, G., John, Lisa, Dru M., and Jeff M. : "For a good time, call." INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Music: "I'll Take Care Of You" by Mark Lanegan. LYRICS: I know you've been hurt By someone else I can tell by the way You carry yourself But if you'll let me Here's what I'll do I'll take care of you Logan is in a state. He's in his room, still dressed in the shirt he was wearing when his world came crashing down. There is an empty pizza box and newspapers strewn on the bed. The doors to the room open. He looks up. Dick stares at him for a second, before challenging him aggressively. DICK: Did you hook up with Madison? Logan nods. LOGAN: I did. Dick is not happy. LOGAN: It just happened, you know. I didn't think you had any feelings left over her. DICK: It's still uncool. You don't do that to a buddy. Dick turns to walk out of the room and Logan watches him go. Dick stops and turns back. DICK: And by the way, you laying in here in the dark is pathetic. Dick heads for his own room. Logan drops his head. End music: "I'll Take Care Of You" by Mark Lanegan. EXT - NEPTUNE STREET - DAY. Veronica walks along a street. VERONICA VOICEOVER: I have an appointment to discuss my options at the clinic Tim contacted. In the meantime, a little spiritual advisement wouldn't hurt. She stops at the site of a flashy car. It bears the licence plate GODZLUVV. Along the edge is a pattern made of up groups of four of the letter S. They are gold and almost look like dollar signs. VERONICA VOICEOVER: Exhibit A on why I don't trust TV preachers. Veronica heads for the premises outside of which the car is parked: Capistrano Ministries. It's a plain, poorly maintained building, marked 469 and decorated by a fancy frame around the door and a picture of Jesus with lambs painted on the side. Veronica enters. INT - CAPISTRANO MINISTRIES - DAY. There's a hubbub of soft sound. People are packing up. Veronica looks around at them, a small stained glass window, a statue of an archangel, a picture of Jesus, and various boxes, colour-coded for storage and other destination. A man comes across the office, carrying another box. THURMAN: Carl, did you pack up those TCP forms? CARL: Yeah, I just finished them. Thurman puts the box down on a desk and spots Veronica. THURMAN: Can I help you, Miss? Veronica affects a troubled persona. VERONICA: Sorry, it's kind of personal. THURMAN: Well, if you're here to see if your skirt is long enough, the answer is "no." Thurman laughs, delighted with his own "joke." THURMAN: Ah, I'm an old fogy. He gestures to indicate the room. THURMAN: Actually, you know, you kind of caught us at a bad time, I, uh... REV. CAPISTRANO: What is it, Thurman? The reverend, working quietly in a corner behind him, comes towards them. THURMAN: I-it's nothing, Ted. This young lady was... VERONICA: Hester. Veronica quickly holds out her hand to Rev. Capistrano. They shake. VERONICA: I was hoping you could help me. REV. CAPISTRANO: I can always try. Cut to a few moments later. Veronica and Rev. Capistrano are now alone, on either side of the reverend's desk. His office too shows all the marks of being steadily emptied although the desk is still there, littered with papers and boxes. The nameplate on the desk shows his first name to be Ted.. REV. CAPISTRANO: So, what can I do for you? VERONICA: [tragically] I'm pregnant, and now I don't know what to do. REV. CAPISTRANO: Well, I can't imagine you came in here thinking that I was going to say anything other than that you should keep your baby. Veronica drops her head. VERONICA: Yeah, I guess. Just...my parents will never understand. They'll disown me. REV. CAPISTRANO: Oh, I wouldn't be too sure about that. The promise of a grandchild is a powerful thing. VERONICA: Yeah, if I were thirty. I'm sure you wouldn't be thrilled if your teenage daughter came home pregnant. REV. CAPISTRANO: Well... Rev. Capistrano leans forward on the desk towards her. REV. CAPISTRANO: Actually, I was. My daughter is about your age, and she became pregnant. You know what her mother and I did? We celebrated. But our desire to meet our grandchild far outweighed any regrets about the circumstances of the pregnancy. He leans back in his chair again. REV. CAPISTRANO: Maybe your parents will surprise you. He's suddenly overcome with emotion. He struggles to keep it in. VERONICA: Reverend Ted? REV. CAPISTRANO: I'm...I'm sorry. His voice shakes and he is trembling. REV. CAPISTRANO: She lost her baby. Veronica is deeply touched and, after a little nervous hesitation, lays a hand over his in comfort. INT - NEPTUNE WOMEN'S CLINIC - DAY. Veronica follows a woman in a white coat down a corridor. DR. CHAMBLISS: So, you think your friend was slipped RU-486? They reach the doctor's office. VERONICA: Yeah, and this is the only place to get it locally. DR. CHAMBLISS: That's an awful story. They sit. The nameplate on the doctor's desk declares her to be Dr. Chambliss. VERONICA: I'm thinking it could be one of the guys she thought might be the father. Is there any scenario where a guy could come in and say it was for his wife or girlfriend? Dr. Chambliss shakes her head. DR. CHAMBLISS: Not on my watch. VERONICA: So, if a girl comes in and says she wants RU-486... DR. CHAMBLISS: She would take it here in the office. No exceptions. VERONICA: Is it possible for someone to hide it under her tongue or palm it, make it out of here with the pill? DR. CHAMBLISS: I guess. Anything's possible. VERONICA: Is there any way you could tell me who came into the clinic between Thursday, the- The doctor chuckles. DR. CHAMBLISS: You don't really expect me to say "yes," do you? VERONICA: Had to ask. DR. CHAMBLISS: Okay. EXT - NEPTUNE WOMEN'S CLINIC - DAY. Veronica walks along the side of the clinic, holding her cell phone to her ear. VERONICA: Hello? She listens as she strides up to the "Neptune Women's Clinic" sign. VERONICA: Anthony. Just the guy I wanted to hear from. I am absolutely a good time. INT - HEARST COLLEGE, ANTHONY'S DORM ROOM - DAY. Anthony Martin is the same guy who offered Mac whiskey in 309 "Spit and Eggs" where he was credited as Rico Suave Nerd. He's a soccer fan, there being a large poster behind him, together with one for a boy band of some description. He is sitting on the couch in his room with his feet up on the coffee table, watching as Veronica paces in front of him. VERONICA: So, if I understand correctly, you got pretty blitzed at the Pi Sig party, and you wandered back to your dorm room late. You passed the administration building, and that's when you hear the g*n. ANTHONY: That about sums it up. VERONICA: Why didn't you report it? ANTHONY: Report what? A guy sh*t himself. I read it in the paper the next day, and I was like, "oh, that's what that was." Besides... He leans forward and drops his voice. ANTHONY: I don't need another alcohol infraction on my record. VERONICA: So, how did Tim Foyle find you? Is he a friend of yours? He shakes his head. ANTHONY: Never met the guy. I guess I told a bunch of people when I realized what I had heard. It must have gotten back to him. How'd you find out? VERONICA: I found out from Tim. So, what did he want to know? ANTHONY: You know. What I heard, what I saw, and what time it was. VERONICA: And what did you tell him? ANTHONY: I didn't see anything, I heard a g*n, and I had no idea what time it was. VERONICA: Okay. Well, if you think of anything... Veronica grabs her bag from the coffee table and starts to head for the door. Anthony, anxious to please, is loathe to see her go. ANTHONY: Uh, wait! He bounces up and, with a wry smile, Veronica turns to face him. ANTHONY: I just remembered. I turned on Space Ghost. Terry Jones was the guest. They went on about spam. Anthony grins, pleased with himself. INT - HEARST COLLEGE - DAY. Veronica exits Anthony's room. She starts walking slowly away as she ponders. VERONICA VOICEOVER: According to the website, they re-run Space Ghost at 2:30. It probably takes ten minutes to stumble from the administration building back to the dorm. On her left, a girl is chatting to a guy at the door of his room. From the back, she looks like Madison. She laughs. Veronica gets another flash of Madison on top of and then under Logan. Veronica slows as she passes the couple. It's not Madison. She breathes a heavy sigh of relief. INT - HEARST COLLEGE, CLASSROOM - DAY. Weevil is fixing something electrical that resides above the light switch of an empty classroom. Veronica approaches. WEEVIL: Oh, you sought me out. That can only mean one thing. You need a favour. VERONICA: Is it a favour if it's something we both would enjoy? Remember you told my criminology class about how you stole some guy's car and had it crushed? WEEVIL: Yeah. Why? VERONICA: Maybe I was thinking about having someone's car stolen and crushed. WEEVIL: Oh. What happened? You broke up with Logan? Weevil chuckles. One look at her face tells him he's right. WEEVIL: Good for you. I'd be happy to have Logan's car crushed. What's he driving? Weevil completes his task and moves away from the wall. Veronica follows. She gets a piece of paper out of her bag and hands it to him. VERONICA: Not his. A little Mercedes at this address. You can't miss it. The plates read "gotzmine." WEEVIL: Wow. I'm surprised somebody hasn't crushed it already. Whose is it? VERONICA: Madison Sinclair's. WEEVIL: From high school...I remember. She lost a hubcap and told the principal I stole it for drug money. So, you want her car cubed or- They are interrupted by the arrival of a teaching assistant who seems very taken with Weevil. BOOKISH FEMALE TA: Thank you so much. WEEVIL: Oh, no problem. And the next time I need some literature compared, I know you'll be there for me. Weevil gives her a little wave. She simpers, returns the wave, and then leaves them to their discussion. WEEVIL: Now, this has nothing to do with you and Logan, right? VERONICA: Did I come here for therapy, or to get a car stolen and cubed? WEEVIL: "Gotzmine," huh? Yeah. I have been wondering if I still have the touch. And, uh, it's gonna cost you five hundred. That is the going rate, isn't it? Weevil closes his tool box and walks away. Veronica is a little stunned at being charged. INT - MARS RESIDENCE - NIGHT. Veronica walks into the apartment. She is pleased to see Keith to tell him her news. VERONICA: Hey, Dad. Keith is sitting on the couch, looking sombre. He has something in front of him. KEITH: Hey, honey. VERONICA: So, I found out something on the O'Dell case. There was a guy who heard the sh*t around 2:20. Keith just stares at her with concern. VERONICA: What? KEITH: Is there anything maybe you want to tell me? VERONICA: About what? He pulls a large photograph from the pile in front of him. KEITH: Well, I found this in our mailbox today. Veronica, looking bemused, walks over and sits down next to him, taking the picture. It is of Veronica leaving the Neptune Women's Clinic. Keith picks up a letter from the pile and starts to read it out loud. KEITH: "Dear Sir, the enclosed photographs were taken at Neptune Women's Clinic, which performs abortions." Veronica can't believe it. Keith looks at her, waiting. He swallows hard. VERONICA: [affronted] I can't believe these people. She looks at a second picture which shows her by her car, the licence plate clearly displayed. VERONICA: They sit up in a building with their telephoto lens and take pictures of people in their most private, personal moments. That's disgusting. KEITH: Uh, honey, that's how we pay the rent. VERONICA: It's different. KEITH: I like to think so. Back on point. Is everything okay? Does this have something to do with you and Logan? VERONICA: No. Veronica suddenly gets the concern. VERONICA: No! Dad, no, I am not now, nor have I ever been, pregnant. Keith's world just as suddenly comes back together again and he takes a relieved breath. VERONICA: I visited the clinic for a case. Someone slipped this girl RU-486, and it caused a miscarriage. KEITH: That's awful. VERONICA: Yeah. Where did this come from? Keith looks at the envelope, emptying the remaining contents as he does. KEITH: There's no return address. No postage. He looks at one of the pamphlets and reads from it. KEITH: "Does everyone go to heaven?" VERONICA: Actually, what does it say? I've got intro to theology next semester. KEITH: Mmm. Doesn't look like it. Veronica picks up a bookmark. VERONICA: Well, here's a bookmark if you can't make it all the way through. Keith takes it and peers at it. KEITH: "Good Word Press, San Diego." VERONICA: Harassing women in crisis since 1973. You think maybe you want to get all up in their "bid'ness"? Keith nods his head, anxious to repay the hours of anxiety he's just been through. KEITH: Mmm. INT - GOOD WORD PRESS - DAY. Veronica and Keith enter Good Word Press. It's a small printing company and the front room is unattended. A door to the back opens and a man comes out. EDDIE: Yeah? Who are you? KEITH: My name is Carson Drew, and this is my assistant, Nancy. We're trying to find who published this. Keith holds out the pamphlet. EDDIE: You found him. Eddie Nettles. KEITH: Mr. Nettles, some of your materials ended up in a packet sent anonymously- EDDIE: Whoa, whoa, whoa, whoa, I told you people before, this here's my constitutional right. If you have a problem, see my lawyer. KEITH: We're private investigators working on a rather delicate matter. You see, our clients...their son is engaged to a girl who...well, um... VERONICA: They don't know much about her, so they asked us to look into... They appear to be making it up as they go along. KEITH: They suspect that the bride-to-be may have misled the groom regarding past indiscretions. VERONICA: They heard she recently terminated a pregnancy at the Neptune free clinic. Eddie makes an expression of disgust. VERONICA: I know. And if it's true, the parents want their son to know. Is there any way you could point us in the direction of the person who took the photos? EDDIE: Man, this world, huh? He shakes his head. EDDIE: I got them. There's the binders there. The photos are arranged chronologically. You're free to take a look. Veronica walks over to the bookcase where Eddie indicated. She takes down the first binder. She opens it at pictures taken on January 16th. She flicks back to January 8th. She spots Nadia, Dick's redhead, leaving the clinic on January 5th. As she takes that in, Thurman Randolph walks in. THURMAN: Hey, Edward, how's it going? EDDIE: Thurman. Just put them with the others, huh? THURMAN: Who are these folks? Thurman takes a step closer to Veronica who is trying to stay turned away from him. EDDIE: This is Carson Drew and his assistant... Eddie snaps his fingers at Keith. EDDIE: What's your assistant's name? KEITH: Nancy. Thurman, having bent around to check Veronica's face, straightens up. THURMAN: They're lying to you, Eddie. She came into our office yesterday calling herself Hester, claiming she was troubled. Keith walks over to them. He takes Veronica by the shoulders to lead her out. KEITH: She really is troubled. Veronica's supporting expression is priceless as they leave. EXT - GOOD WORD PRESS - DAY. KEITH: Well, we've done better. They reach the street. Parked in front of the building is the same car Veronica saw outside Capistrano Ministries. KEITH: "Godzluvv." Tasteful. They start walking up the road. VERONICA: We did okay. KEITH: How so? VERONICA: One of the girls in the photo binder. I've seen her with Dick. KEITH: The Casablancas kid? VERONICA: Who might have been the father. KEITH: Hmm. INT - HEARST COLLEGE, FOOD COURT - DAY. Music: Unknown. Dick is leering again, under the guise of sitting at one of the tables, reading Monomania (the same magazine that Tim was browsing). The cover features the scantily clad Ashley Findley. Veronica sits down next to him. VERONICA: Wow. Impressive. I hear "Modern Breasts" is a really hard class. DICK: The rebound starts with me? Nice! VERONICA: That redhead from the other day, Nadia. Does she have a last name? DICK: Comaneci. Veronica gives him a baleful look. DICK: What? VERONICA: Dick, do you think I'm an idiot? Nadia Comaneci is an Olympic gymnast from Romania. DICK: You sure? I mean, she doesn't have an accent. VERONICA: Don't play dumb, Dick. Some girl I see you hugging on pops up at the women's clinic a week after Bonnie told you she's pregnant? I have to ask. Was she picking something up for you? DICK: Hopefully a box of sponges. Look, if we're not gonna have an empty sexual encounter, I kind of got stuff to do, so... He waits for a second, just in case. DICK: Yeah. He leaves Veronica to ponder. End music: Unknown. EXT - HEARST COLLEGE - DAY. Veronica is hanging around outside one of the buildings. She spots the person she's looking for — Nadia. VERONICA: Hi. Are you Nadia Fassano? NADIA: Yeah. VERONICA: Thank goodness. I had to go through the whole freshman facebook and flirt with the registrar to get your schedule. NADIA: Okay. Why? VERONICA: 'Cause I wanted to talk to you, but your pal Dick wouldn't give me your real name. NADIA: I have a pal named Dick? VERONICA: Dick Casablancas. Nadia is still clueless. VERONICA: Nadia, I know you know him. I saw the two of you walking together, and when I asked about you, he told me your last name was Comaneci. Nadia laughs. VERONICA: I just want to know- NADIA: Okay, that Dick. Yeah, um, I got drunk at a party, and I made out with him for like five seconds, and then I gave him a fake name. Veronica looks confused. NADIA: What? Would you want him calling you? Nadia laughs again and walks off. Veronica, thinking about the last question, has to give it credence. INT - MARS RESIDENCE - NIGHT. Keith is drying dishes. The phone rings. KEITH: Hello? INT - O'DELL RESIDENCE - CONTINUING. Mindy is in a large bedroom. Gram O'Dell, the dean's son is sitting in a large armchair. Jason, Mindy's son, is sitting next to her on the bed. MINDY: Hi. Keith, um, i-it's Mindy O'Dell. Mindy gets up and walks across towards the window, away from the boys. MINDY: Listen, can you come right away? Uh, there's someone in the house downstairs. INT - MARS RESIDENCE - CONTINUING. KEITH: Where are you? INT - O'DELL RESIDENCE - CONTINUING. MINDY: I'm in my bedroom. I'm with the boys. INT - MARS RESIDENCE - CONTINUING. KEITH: You call the cops? MINDY: [on phone] You're closer, and you're competent. Keith, hurry, please. EXT - O'DELL RESIDENCE - NIGHT. Keith, dressed in black, creeps up to the house. He looks in one of the windows. He sneaks along the house and waits in the indent between the window and the door. The door opens and another man in black quietly exits the house. He looks to be carrying a crash helmet. Keith knocks him out by hitting him hard in the back of the head with something baton-like. The man goes down and the helmet rolls away. Keith turns him over. It's Steve Batando. INT - O'DELL RESIDENCE - NIGHT. Cut to later, inside the house. Batando is laid out on the couch. Keith slaps his face a few times and Steve rouses. KEITH: And good morning, Mr. Batando. Keith looks back at Mindy who's watching. KEITH: You might want to dial the cops now. STEVE: Yeah. Give 'em a call. Steve is not in a good way. His eyes are sunk deeply into his head and he is trembling. STEVE: I'm sure they'd love to hear about all the fun and games my ex has been up to, and you, too, Mars: accessory to kidnapping, stealing my bone marrow. The sheriff'd love to hear all about that. KEITH: No one made you sign that settlement, Steve. You got money and a Porsche. STEVE: Which they just repo'ed. She stopped the payments...to me and on the car. This surprises Keith, who looks back at Mindy. STEVE: I was just taking what she owed. MINDY: Since Cyrus died, I haven't been able to afford it. Jason comes down the stairs. JASON: Dad? STEVE: Hey, there's my boy. Jason heads towards his father, but Mindy stops him and holds him by her. Steve reaches out for him. STEVE: Come here. Mindy lets Jason go and he sits on his father's lap. STEVE: Mom and Dad were just going over some stuff. Gram also walks down the stairs, but takes no interest in events, walking straight past everyone to go to his room. Steve takes Jason's arm from around him and starts to get up from the couch. STEVE: I think I should get going. Jason goes back to stand with Mindy as Steve gets up and heads for the door. STEVE: Now, maybe next week we go see a Laker game and...and, uh, I'll see if I can get my hands on some tickets. Jason smiles. Steve spots a vase of flowers near the door. He picks it up and takes the flowers out, examining the crystal. STEVE: There's that vase. He looks up at Mindy, challenging her to stop him. She doesn't, her hands stills on her son's shoulders. Batando goes out the door. MINDY: Okay, time to go to bed. Okay? Let's go. Mindy casts a glance back at Keith, then leads Jason to the stairs. Music: Unknown. Gram is in his heavy metal/goth inspired room. The predominant colour of his décor is black. He's sitting on his bed looking gloomy, fiddling with his iPod or a garrotte — it's not clear. He looks up sourly at the knock on the door. Keith opens it and pops his head in. GRAM: [sulkily] What do you want? KEITH: Just checking to see if everything's okay. GRAM: Everything's awesome. Keith studies him for a moment before leaving him to his brooding. End music: Unknown. In the lounge, Mindy is pacing as Keith joins her. KEITH: Well, he seems...I'm not sure if "okay" is the word, but... MINDY: Yeah, long story. You know Cyrus was considering sending him to a teen-discipline school? But I don't even know if that would work. KEITH: Well, I should get going. Keith heads for the front door. KEITH: If he comes by again, you should really call the cops. People with his kind of problem can, uh, be more trouble than you realise. MINDY: Yeah, "problem"? Which problem? KEITH: Back when I was sheriff, I saw my share of meth heads and, uh... MINDY: Yeah, I know. He's been in and out of rehab. Keith nods his nead. KEITH: Goodnight, Mrs. O'Dell. He reaches for the doorknob. MINDY: Actually, um, would you mind staying, just until I check on Jason? My nerves are still a little jangled. KEITH: You mind if I pour myself a drink? My nerves are a bit frayed myself. MINDY: No, anything you can find is yours. Cut to a moment later. Keith is in the kitchen, getting a glass which he sets down on the counter. He pauses and glances back towards the main part of the house before walking over to the door that leads to the garage. He finds the light. The Volvo is there. Keith inspects the windscreen for a moment. He pulls out one of the wiper blades and runs his finger along it. He finds what looks like a piece of egg shell. Mindy arrives behind him. MINDY: Keith? KEITH: Growing up, my parents would keep the adult beverages in a fridge out in the garage. MINDY: Yeah, well, we keep ours in the kitchen. KEITH: Oh. Keith heads back to the kitchen. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Music: "No Direction" by Longwave. Logan is on the balcony, drinking. He walks back into the suite, slamming down his empty glass. He still hasn't changed his shirt. He picks up the phone and punches a single number. The phone rings. VERONICA: [on voicemail] It's Veronica. Leave a message. LOGAN: Ah! Veronica's voice mail! He does one of his chuckles that doesn't come from humour. LOGAN: So, where are you, Veronica? Out digging through someone's trash, maybe? Interrogating one of your friends? Beating out a confession? You know, if you dig deep enough, you're gonna find that everyone's a sinner. Judge not, Veronica, et cetera, et cetera. All right, stay on message, Logan. He sinks down onto the couch. LOGAN: Okay, honestly...it's encouraging that someone still has such high expectations of me. He takes a deep, shuddering breath. LOGAN: Veronica, I would give anything if I could take back that night in Aspen. I'm sorry it causes you so much pain. I'm sorry it happened. And I really love you, Veronica. End music: "No Direction" by Longwave. INT - MARS RESIDENCE - DAY. It's morning and Veronica goes out to the kitchen. Keith is at the counter, reading the newspaper. KEITH: And how are you this a.m.? Veronica gets a mug from one of the cupboards and pours herself a coffee. VERONICA: Cramming for philosophy. Have you seen my copy of Either/Or? Keith "does" Groucho Marx, down to the waggling cigar. KEITH: No, but I've got an old issue of Buts you can have. VERONICA: The comedy styling of Keith Mars, ladies and gentlemen. KEITH: Hey, look, it's that guy from the printing office. Thurman Randolph's picture appears in an article headlined "New Life Cathedral opening ceremony today in San Diego — s*ab ministry raises millions for 3000 seat 'fellowship hall.'" The paper is dated Tuesday, January 30, 2007 and the article, next to one about the EPA written by senior staff writer Gwen Bagnall, is by Tammy Johnson, Associated Press. As much as can be read says: "Evangelicals of the greater San Diego area have a new place to worship. The modern and highly touted New Life Cathedral will celebrate by cutting the ribbon on a project started four years ago. Capistrano Ministries is responsible for bringing the cathedral to live. After four years ministry in San Diego's industrial district, Rev. Capistrano...." The caption under Thurman's picture reads "Thurman Randolph, CFO." Veronica takes the paper to see. KEITH: Apparently the preacher's leaving cable access for the big-time. VERONICA: That guy Thurman is the ministry's CFO? KEITH: Should a ministry have a CFO? Veronica shakes her head. KEITH: You don't think he did it, do you? He struck me as being aggressively pro-life. VERONICA: How do you think a televangelist with a pregnant, unmarried daughter would play to his flock? A fly in the collection plate, perhaps? Veronica reaches over and takes Keith toast. She takes a bite and heads for her room. Cut to a few moments later. In her room, Veronica is on the phone. VERONICA: Bonnie, hey, it's Veronica. BONNIE: [on phone] Hey. INT - HEARST COLLEGE, BONNIE'S DORM ROOM - CONTINUING. BONNIE: So, what have you heard? Are you making any progress? INT - MARS RESIDENCE - CONTINUING. VERONICA: Yeah, it's coming along. Do you know Thurman Randolph very well? INT - HEARST COLLEGE, BONNIE'S DORM ROOM - CONTINUING. VERONICA: [on phone] He works for- BONNIE: My dad, yeah. INT - MARS RESIDENCE - CONTINUING. VERONICA: You trust him? INT - HEARST COLLEGE, BONNIE'S DORM ROOM - CONTINUING. Bonnie shakes her head. BONNIE: Not really. INT - MARS RESIDENCE - CONTINUING. VERONICA: I want to search his office during today's service. Can you get me in? INT - HEARST COLLEGE, BONNIE'S DORM ROOM - CONTINUING. BONNIE: Um... Bonnie holds out the phone to check the time. BONNIE: If you can get here in fifteen minutes. INT - MARS RESIDENCE - CONTINUING. BONNIE: [on phone] Do you have church clothes? Cut to later still. Veronica, dressed in a bland suit, exits her bedroom. She shouts into the bathroom. VERONICA: So, I'm heading out. Keith, brushing his teeth, looks out, surprised at her appearance. KEITH: Hmm. Veronica smiles and picks up her phone. She sees that she has a new voice mail message. She dials to get it. LOGAN: [on phone] Ah! Veronica's voice mail! She sinks down onto the arm of the chair to listen. LOGAN: [on phone] So, where are you, Veronica? Out digging through someone's trash... Keith, still brushing his teeth, looks out and notices as she bites her thumb and shakes her head. KEITH: Something wrong, honey? Veronica drops the phone and punches a button.. VERONICA: No. AUTOMATED VOICE: Message erased. VERONICA: Just...old crap. She puts the phone in her bag VERONICA: I got to run. INT - HEARST COLLEGE, BONNIE'S DORM - DAY. As she heads for Bonnie's room, the phone rings. VERONICA: Hello? WEEVIL: [on phone] Hey. It's me. EXT - SCRAP YARD - CONTINUING. Weevil has the Mercedes. WEEVIL: So, if you want to see German engineering reduced to a cube, come by the yard this afternoon around 2:00. INT - HEARST COLLEGE, BONNIE'S DORM - CONTINUING. Veronica grins. VERONICA: I'll be there right after church. Having reached Bonnie's door, Veronica knocks. VERONICA: Thanks, Weevil. EXT - SCRAP YARD - CONTINUING. VERONICA: [on phone] Bye. Weevil takes the phone from his ear and looks down at it, brow furrowed. WEEVIL: Church. INT - HEARST COLLEGE, BONNIE'S DORM - CONTINUING. Veronica hears a footstep as she puts her phone away. It's Rev. Capistrano. REV. CAPISTRANO: Hello. VERONICA: Hi. REV. CAPISTRANO: I didn't know you knew Bonnie. VERONICA: We only met recently. The door is opened by Bonnie. BONNIE: Oh, hi. You two met? The reverend enters. REV. CAPISTRANO: We did. Hester didn't tell me the two of you were friends. BONNIE: Hester? Veronica follows, giving Bonnie an innocent look. INT - HEARST COLLEGE, BONNIE'S DORM ROOM - CONTINUING. REV. CAPISTRANO: I, uh, hope you're well. Phyllis comes round from her side of the room and shrieks in pleasure. PHYLLIS: Reverend Ted! Equally enthusiastic, the reverend holds out his arms. REV. CAPISTRANO: How's my other daughter? They hug. REV. CAPISTRANO: Are you ready to celebrate? PHYLLIS: You look like you lost a little weight. REV. CAPISTRANO: Well, three thousand regular parishioners, each with their own cheesecake recipe. I finally had to clamp down. PHYLLIS: You mean vomit. While this is going on Veronica, who was standing quietly over by the bookcase, spots the copy of What to Expect When You're Expecting, and particularly the bookmark in it. She takes the book from the shelf and checks the bookmark: "Does everyone go to Heaven?" VERONICA: Bonnie. I think Tim slipped you the RU-486. REV. CAPISTRANO: What? Bonnie? What is she- BONNIE: Why do you say it was Tim? Veronica holds out the bookmark. VERONICA: This bookmark is...a gift, sent by a pro-life group to everyone who comes out of the Neptune clinic. It's the only clinic in the area that provides RU-486. It's some sort of a shame campaign. I just found it in the pregnancy book Tim gave you. Veronica holds up the book. Bonnie, looking stunned, looks over at Phyllis. Rev. Capistrano continues to stare at Veronica, stunned. VERONICA: By the way, your CFO works with the same group. Voice full of concern, the reverend turns to his daughter. REV. CAPISTRANO: Somebody slipped you...Bonnie, why didn't you tell- Bonnie's not listening, staring in horror at Phyllis BONNIE: Phyllis. VERONICA: Bonnie? BONNIE: Tim didn't give me that book. Phyllis did. PHYLLIS: Bonnie, let me explain. I did it for you. Do you really think those guys were worthy of you, of being the father of your baby? The reverend stares at her too, putting his hands on Bonnie's shoulders in comfort. PHYLLIS: And think what it would have meant. [with increasing desperation] All of your plans, all of your goals? No career at all, just divorce and a baby to support, and you have dreams, Bonnie. And I was trying to help you. Bonnie can't speak and shakes her head. PHYLLIS: I know you. You wanted to give up the baby, and you were going to until your parents found out. Bonnie...Bonnie, I'm sorry. BONNIE: Sorry? You're sorry? [screaming] Get out! I can't look at you right now! I want you out of my sight! The reverend is physically holding her back. Phyllis, also distressed, holds up her hands. PHYLLIS: Bonnie, please! REV. CAPISTRANO: Bonnie! Bonnie! BONNIE: Go to hell! Go to hell! Phyllis disappears around to her side of the room. The reverend pulls the distraught Bonnie into his arms. REV. CAPISTRANO: Bonnie! That's enough! It's done. Veronica sees Phyllis sink onto her bed, her head in her hands. REV. CAPISTRANO: She didn't mean to hurt you. She didn't mean to. Try to be forgiving. It's the only way. Bonnie weeps in his arms as his hands rubs up and down her back. He speaks gently. REV. CAPISTRANO: Anger will tear you down. It'll make you less of the person that you want to be. He glances at Veronica. REV. CAPISTRANO: And it will tear apart your soul. EXT - SCRAP YARD - DAY. It's raining. Veronica, holding up an umbrella, arrives with the reverend's words still ringing in her ears. REV. CAPISTRANO: [offscreen] The bible teaches us that he who is slow to anger is better than the mighty and he who rules his spirit can capture a city. Veronica stands by Madison's Mercedes and watches as another car is placed in the crusher and crushed. REV. CAPISTRANO: [offscreen] He who is slow to anger has great understanding, but he who is quick-tempered exalts folly. Weevil arrives. WEEVIL: So, we're all set to go as soon as they finish. I even washed it so it'd be shiny when we crush it. I know it doesn't sound logical, but trust me, it's much better. VERONICA: Let's not do it. WEEVIL: Are you sure? 'Cause, you know, I...I did go through all the trouble of stealing it. VERONICA: Here's a little something for the effort. Veronica hands him a wad of cash. He takes it. He's not sure what to think. VERONICA: Maybe you could open a can of tuna, set it inside her A/C vent, then park it back on the block. Weevil smiles. WEEVIL: I can do that. VERONICA: Yeah. Veronica turns and walks away. Weevil calls out to her. WEEVIL: You're going soft, Mars.

{"type": "series", "show": "Veronica Mars", "episode": "03x12 - There's Got to Be a Morning After Pill"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... O'Dell's face falls at the sight of the smoking man in his outer office in 309 "Spit and Eggs." MEL: Cyrus...we need to talk. Later, in his office, Mel reminds O'Dell of his obligations. MEL: I've been very generous over the years. Cyrus nods. Cut to Weevil as he finds O'Dell's body. MINDY: [offscreen] I'm a widow with two children to take care of. Keith sees Mindy in his office in 310 "Show Me the Monkey." MINDY: I didn't k*ll Cyrus, Keith. Keith turns on the light in the O'Dell garage and inspects the Volvo, finding eggshell under one of the wiper blades, in 312 "There's Got To Be a Morning After Pill. KEITH: [offscreen] I've got a little conundrum. Nish says she egged the dean's Volvo on campus the night he was m*rder. Veronica seeks Veronica's input back at home. KEITH: Mindy says she had the Volvo parked at the Neptune Grand all night. Any guess as to who's lying? Logan readies for the dream date that is not going to happen. VERONICA: Did you and Madison have sex over winter break? LOGAN: We were broken up at the time. VERONICA: You know how I feel about her. The basketball coach throws the ball to Wallace in 306 "Hi, Infidelity." COACH BARRY: Fennel, you run first team today. MASON: Wait, coach- COACH BARRY: You want to keep your starting job, Mason, start showing me something. Let's go! Mason is pissed. End previously. INT - HEARST COLLEGE, LOCKER ROOM - DAY. A fist punches one of the lockers. COACH BARRY: Damn it! Can someone tell me just what the hell we're doing out there? The team looks miserable. COACH BARRY: We're on a basketball court in basketball uniforms, but what we're playing? That's not basketball. Wallace is sitting next to Josh Barry, taking the heat. Mason is leaning against some lockers. He is still wearing his team jacket and obviously has yet to play. Wallace glances up at him. He looks away. COACH BARRY: Where's the passing? Where's the teamwork? Where's your heads?! And where are you, Josh? You gonna pull your head out of your ass and start playing ball? You're getting back-screened every trip down. JOSH: I'm trying, Dad. They just- COACH BARRY: I don't want excuses, Josh. I want you to grow up. You know what you got to do, so how about instead of whining about how you can't do it, you just man up and do it? Does that sound like something maybe you can manage? Josh jumps to his feet. JOSH: You know what, Dad? Not really. So, why don't you just lay off me? Josh starts to walk away. COACH BARRY: Josh, damn it. Don't. Josh turns back angrily. JOSH: Don't what? Quit? Hey, that might be something I'm capable of. He pulls off his shirt and throws it at his father. Coach Barry stares after him for a moment. Josh is held up at the door by the assistant coach. Like Josh, he's dark-haired. He also wears a team jacket. ASSISTANT COACH: Wait! Josh, you don't want to do this. Your dad's been...always has been...just wait! Josh! His words are drowned out by the coach gathering together the rest of the team. COACH BARRY: Come on, everybody. So, they're k*lling us inside. The assistant coach has no luck and Josh walks out. Fennel looks over to watch. COACH BARRY: Fennel, look alive. Wallace puts on his determined face and nods. INT - HEARST COLLEGE, FOOD COURT - DAY. Veronica and Wallace are eating ice cream. Veronica takes a mouthful of hers. VERONICA: Well, look on the bright side. WALLACE: Of a twenty-point loss? In which the All-Conference small forward quit the team. VERONICA: Well, you did play a lot of minutes for a guy who had to quit the team first semester. That's a side, and it's somewhat bright. WALLACE: Me starting means Mason isn't. And that's been awkward. VERONICA: Why? If you're the better player... Wallace is more dabbing his spoon into his bowl, rather than actually enjoying it. WALLACE: That's the thing. He smiles and shakes his head. WALLACE: I'm not sure I am. It's just that Mason's always in the coach's doghouse, and I'm- VERONICA: You're you. WALLACE: So, he hasn't been speaking to me. Bright-side-wise, it's break-even at best. You get one more try. VERONICA: Well... Veronica plays with the ice cream in her bowl as she ponders. She finally gives up, s*ab the ice cream with her spoon and leaving it there. She pushes the bowl towards him. VERONICA: I got nothing. Walk it off, Fennel. Veronica gets up and grabs her bag. She pauses as she passes Wallace. WALLACE: You doing okay? With the Logan situation, I mean? VERONICA: I've been trying really hard not to think about it, so thanks for bringing it up. She pats him companionably on the back and walks off. INT - MARS RESIDENCE - DAY. It's another day. Veronica exits her bedroom to find buttered toast waiting for her. She grabs a slice and takes a bite before picking up the note Keith's left. She reads it to herself. KEITH VOICEOVER: "If you've eaten any of this breakfast, you now owe me. Invoices have to go out today. See you at the office." Veronica grimaces and crumples up the note. She gestures her acknowledgement and faux-frustration that he's caught her fair and square. As she gathers together more of the prepared food, she shakes her head. VERONICA: And I always fall for it. Veronica races out the door, still chewing and carrying her breakfast. INT - HEARST COLLEGE, OUTSIDE ECONOMICS CLASSROOM - DAY. Dick saunters down the hall, checking out the girls who pass him. He is unexpectedly joined by Professor Corrigan, a fact that doesn't thrill him. He increases his pace, and the professor matches it. PROFESSOR CORRIGAN: Mr. Casablancas, I don't suppose your buddy Logan Echolls is gracing us with his presence today. DICK: Doubtful. When they remove a grapefruit-sized tumour, they really recommend bed rest. Dick enters the classroom. INT - HEARST COLLEGE, ECONOMICS CLASSROOM - DAY. The professor follows and Dick turns to face him. PROFESSOR CORRIGAN: You might let him know that if he misses another class, he shouldn't bother showing up again. He'll fail automatically. DICK: I'll let him know your prayers are with him. Dick smirks and the professor gives him a warning look. INT - NEPTUNE GRAND HOTEL, OUTSIDE LOGAN'S SUITE - DAY. The hotel manager is outside the room to Logan's suite. Jeff Ratner is with him, in his hotel uniform. Jeff is leaning on a tablecloth-covered trolley that has a covered dish on top of it. The manager is shouting. HOTEL MANAGER: Mr. Echolls, I'm more than happy to give you your hamburger. The lift door pings. HOTEL MANAGER: We'd just like to take some of our trays. Dick comes out of the lift and into the corridor in time to hear Logan shout back through the door. LOGAN: Leave the food and go. Jeff speaks quietly to the manager. JEFF: We're out of salt and pepper shakers. The manager sighs and shouts back at Logan. HOTEL MANAGER: I'm afraid I can't do that, sir. [lamely] We're running out of salt and pepper shakers. This needs to stop. Having observed, Dick takes charge. DICK: Why don't you let me handle this? He claps and shouts through the door as he gets out his key card. DICK: Yo, Logan. It's me. I'm coming in. I'm bringing the food. He holds up the key card in triumph to show the hotel personnel. He uses it to open the door. DICK: Wait here. Dick takes a look at what's under the cover. He pinches a chip, grins at the manager, and pushes the trolley into the suite. They watch him enter with some frustration. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY. Dick rolls in and looks around the suite. It's a bit of a mess, and there is a battery of uncollected tables. Logan sits in the middle of the chaos, on the couch. He hasn't shaved in days, giving him a designer stubble. DICK: Did you hear about the f*re in Veronica's neighbourhood? This gets Logan's attention as his eyes dart to Dick. DICK: Somebody's meth lab blew up or something. Bet you can see it from the balcony. Dick rolls the trolley out to the balcony. Logan gets up and follows him out. Logan heads straight for the view, searching for the fictitious f*re. Behind him, Dick exits the balcony, shutting and locking the door. Logan turns to see Dick give him a grin and two thumbs up. Logan walks up to the glass to see Dick open the suite's door to the hotel manager and Jeff. DICK: I'm gonna take a shower. You guys go to town. Dick grins and disappears into his room. The manager and Jeff step into the room. They stare at the mess distastefully. Cut to later. Dick's had his shower. He comes out of his room, dressed and towelling his wet hair. There are maids in the room, vacuuming and cleaning furiously. Dick walks to the balcony door and opens it. He joins Logan at the edge. DICK: You're not still looking for the f*re, right? Logan doesn't respond except to fold his arms. DICK: So, I got a message for you from the guy who teaches our economics class. You got to show up, or he's gonna fail you. It's a sad state of affairs when I'm the academic on the balcony. So, in other news, I met this girl a couple weeks ago at a party. Dick sings it out like a horny soprano. DICK: Hot! Logan couldn't care less and doesn't respond. DICK: Like, volcanic hot. Like, I might have to use an oven mitt to feel her up. Dick leans over subtly to see Logan's face. It's blank. DICK: Blink if you understand. Logan finally deigns to look at him. DICK: She's coming here tonight, and she's bringing her sister, who, I might add, she described as practically her twin. By the way, I did a little research on pathetic sad-sackery, and "hot sister" is the recommended treatment. LOGAN: [mumbling] No, thanks. DICK: You sure? We're thinking about going to the swim team's beach blanket blow-out. You can wear your t-shirt that says, "I'd rather be home crying." Dick checks to see if he is making any impression. He isn't. He gives up and goes back inside, leaving Logan staring out into the distance, or into his soul. INT - MARS INVESTIGATIONS - DAY. Veronica comes in shouting. VERONICA: So, per my understanding of contract law, my eating the breakfast in no way obligates me to perform any- Having grasped the door handle and pulled it open, she stops short on realising that Keith has company. Cliff is standing by the window. In the chairs in front of Keith's desk are Josh Barry and a woman. Keith makes the introductions. KEITH: My daughter, Veronica. She works for me. Veronica gives an embarrassed smile. KEITH: Veronica, this is Coach Barry's wife and son. Cliff brought them in. Coach Barry was found m*rder last night beside the PCH. Sheriff suspects Josh, and we've been asked to help find the real k*ller. Opening credits. INT - MARS INVESTIGATIONS - DAY. The action picks up where it left off, Veronica having taken a perch on the table near the door. KEITH: So, why don't you tell me what happened? JOSH: I told the sheriff already. We had this fight at halftime, me and my dad. And, you know, I said I quit, and he got all mad. You know, it was like that. There's a spot out on the PCH, this little turnout overlooking the ocean. My dad goes there after losses just to sit and mellow out, so I went out to, you know, try and talk with him. KEITH: What did you fight about? JOSH: Dumb basketball stuff. "Buck up," "be a man," all those, you know, famous sports clichés. When I got there, I thought he already left 'cause his car wasn't there. Then I-I saw...I saw this body on the ground, and I saw blood. So, I ran over, and...it was Dad. He was d*ad. sh*t. KEITH: You call the sheriff then? JOSH: No, I couldn't. I mean, I-I-I tried, but you can't get a signal there, so I...I didn't know what to do. All I could think of was Mom and Bobby and... MRS. BARRY: Bobby is his little brother. JOSH: I just-I just drove home so they wouldn't have to hear it from the sheriff. MRS. BARRY: When he came in, he looked like he was in shock. He had blood all over his shirt. I-I told him to take a shower 'cause I didn't want Bobby to see him like that. KEITH: What led them to suspect Josh? CLIFF: Someone must have found Tom's body and called in, because after Josh showered, the sheriff arrived. He found the bloody clothes, then he found the ring...Tom's N.I.T. championship ring. Josh holds up his hand. He's wearing the ring. KEITH: [surprised and a little appalled] You took the N.I.T. ring off your dad's finger? JOSH: No, he left it for me. After I quit, I took a shower, and when I went to my locker, it was just in there. I figured it was some kind of peace offering or something. That's why I went out to find him. CLIFF: The PCHers have been responsible for a number of carjackings out there. MRS. BARRY: I don't know why the sheriff is so focused on Josh. Those g*ng kids k*lled Tom. They stole his car. It's obvious, and he should be after them. Keith glances up at Veronica. KEITH: Is there anyone else who might have had a grudge with your dad? JOSH: Mel Stoltz. MRS. BARRY: [reproachfully] Josh. JOSH: Well, he hated Dad. He told anyone who listened he wanted him gone. KEITH: Mel Stoltz, Stoltz industries? VERONICA: Hearst's primary benefactor. MRS. BARRY: He wanted your father fired, not d*ad. KEITH: We'll look into it. Keith looks up at Veronica again and she nods. KEITH: And don't worry about the sheriff. He has a long and proud history of being wrong. And I'm very sorry for your loss, Mrs. Barry. We'll do everything we can. Cut to a few moment later. Cliff shows the Barrys out of the office. Veronica is at her desk and Keith is sitting on the edge of it. KEITH: It's as bad as she says? Lamb's going after the kid? CLIFF: Well, he was thinking very hard about it, or he really had to pee. It's hard to tell with that man. Veronica considers this and agrees. KEITH: And you believe the wife? She could be lying to cover for her son. CLIFF: There's always a chance. I mean... He shrugs. CLIFF: I believe her. I've believed many things that turned out to be lies, but, well, you know, why even ask me? KEITH: Well, how about the little brother. Bobby? He glances back at Veronica to check he has the name right. Veronica nods. KEITH: He can back up their story. CLIFF: Bobby is severely autistic. He won't be testifying for anyone. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY. The TV is on, advertising something loaded with coconut oil. Dick is standing haplessly in front of it. DICK: Dude, you're not helping. He tosses a dirty sock at Logan who is back on his place on the couch. He turns his head so the sock doesn't h*t him in the face. He pulls it off the side of his head. LOGAN: I'm aware of that. DICK: I live here, too, you know. Dick starts picking up the discarded items of clothing littering the place. DICK: This is my home. He continues to throw them at Logan's head. DICK: People walk in, they don't think, "This little clean area is Dick's, and the hidden bottles of urine are Logan's." Logan starts bundling the items on his lap. DICK: They think "Silence of the Lambs basement," and their desire to get naked near me takes a nose dive. There's a knock on the door, and Dick slaps down the last item on Logan as he heads for it. DICK: You're lucky you're rich. This would be completely disgusting. Logan doesn't stir. Dick gets to the door and opens it. DICK: Hello, gorgeous! Come in and meet Logan. This rouses Logan enough to lean forward and peer in the direction of the newcomers. DICK: He doesn't normally look like this. Uh, some chick ripped out his heart and stomped on it. The guests come into view. One is a girl of Dick's age, intent on smiling at him. The other is an eleven-year-old girl, grinning from ear to ear. DICK: Logan Echolls, Melinda and Heather Button. The girls look at Logan. Behind them, Dick finds it hilarious and shrugs helplessly. LOGAN: [wryly] Which one's yours? INT - HEARST COLLEGE - DAY. Weevil turns on the light in a maintenance room. He lifts his bag onto a table. Veronica appears at the door. VERONICA: Hey, Weevil. Weevil glances at her with a bit of a sigh, and then returns to his bag which he starts to empty of tools. VERONICA: I'm trying to have a word with whoever's running the PCHers these days, and I was hoping you might be able to hook me up. WEEVIL: Sure thing. Let me just call my parole officer and give him a heads-up I'll be cavorting with known criminals. I'm on the straight and narrow. VERONICA: It's official business. I could get you a few hundred bucks. Weevil gives her a resigned look. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Logan is in hell, watching Dick and Melinda, arms around each other and Melinda's legs on Dick's lap, on the far end of the couch. Heather is wandering around, touching everything. DICK: It's a true fact. The swim team is crazier than any frat on campus. They're wild men. MELINDA: It's a party on the beach, like with a bonfire and stuff? I want to go so bad. DICK: So, let's go. Melinda frowns and nods her head towards Heather, who is checking out the hotel TV menu giving the options of "watch tv," "movies," "amenities," and "checkout." Dick glances at Heather, and then at Logan. DICK: So, maybe you could keep an eye on- LOGAN: No. HEATHER: I don't need a babysitter. I can just watch TV. DICK: Brilliant. Problem solved. Dick jumps up. He grabs Melinda and grabs her in a fireman's lift. She screams in delight. Dick marches her to the front door. She calls out to Heather. MELINDA: Be good! Heather watches her go. Logan sighs heavily and gets up. LOGAN: You can order a movie if you want. I'm going to bed. He holds out the remote. LOGAN: You scroll through like that and click on whatever you want to see. He shoves it in her hand and heads for his bedroom. LOGAN: Try to stay out of the p*rn. HEATHER: Gross. INT - STOLTZ INDUSTRIES - DAY. The reception area for Stoltz Industries was decorated by someone on crack, mixing as it does every style from Chinese antique to big-game hunter to California terracotta. MEL'S ASSISTANT: Stoltz Industries. Thank you. Described in the credits as Mel's assistant, a woman more accurately called a receptionist is answering the phone at the reception desk. Keith, no doubt feeling his stomach acid bubbling at his surroundings, is waiting amongst the d*ad animals with increasing impatience. MEL'S ASSISTANT: Stoltz Industries. Thank you. Unable to take it any longer, he marches over to the woman. KEITH: My appointment was for an hour ago. MEL'S ASSISTANT: He's pretty backed up. We can reschedule you for next week if that works for you. Keith squeezes shut his eyes, although whether it is at the sound of Mel's laughter around the corner or the thought of having to bear the décor again isn't crystal clear. Whichever it is, it spurs him to go on his own manhunt. With a smile at the receptionist, he heads for the sound of Mel's voice. The woman protests... MEL'S ASSISTANT: Mr. Mars. ...futilely. Cut to a golf ball running into the back of the fake hole (i.e. it wouldn't have stayed in the hole had Mel been on the back nine). Mel is practicing his putting as he talks into a phone's hands-free headpiece. MEL: Uh-huh. Uh-huh. The golf ball is conveniently sh*t back out to him. He lines up to take another tricky sh*t of...oh...three feet when Keith arrives at his door. Keith walks into the office, brusque to the point of courtesy. KEITH: Mr. Stoltz, a couple questions. I'll make it quick. Did you want Coach Tom Barry d*ad? And where were you at the time of his m*rder? Mel sighs and touches the headpiece. MEL: I'll call you back. He removes it, throws it on the desk, and looks at Keith with some measure of disdain. This does not, of course, interrupt his golf. MEL: Barry was a loser. It's been six years since our last conference title. I wanted him gone. He putts. MEL: Fired would have been fine, but d*ad...it does the trick just as well. He puts. MEL: As for my whereabouts, I was 35,000 feet in the air on a plane travelling back from Seattle. KEITH: You mind telling me the airline? MEL: Air Stoltz. KEITH: Air Stoltz, huh? I'll look into it. Keith turns and starts to walk out of the office. MEL: You do that. Keith looks back so they can glare manfully at each other. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY. Music: "White Balloons" by Stephen Ashbrook. LYRICS: Hey, you I am one, and you are one, and that makes two And it's twice what we're used to I'm not quite sure if this is something that'll comfort you Mmm, hmm, hmm If it hurts, it's supposed to And the world keeps spinning on and on around you Watching white balloons disappear into the blue Hey, you You've been standing like a stone on solid ground And they say it's okay to break down And the world keeps spinning on and on around you Watching white balloons disappear into the blue On overhead camera circles on and descends over Logan, moping as he lies upside down on his orange-sheeted bed. He glances behind him to the door at a sound and rolls to get up. Cut to him opening the door into the lounge. Heather is watching The Ant Bully on the TV. She has a large towel wrapped around herself. There's a table trolley next to her. One dish is eaten, the other is still covered. LOGAN: You're still here. Logan walks across the suite. HEATHER: Either that or you're dreaming. Logan opens the door to Dick's room. The bed hasn't been slept in. Logan stares at it, catching flies with his mouth hanging open, possibly for the antelope that lives in Dick's headboard. Heather shouts from the other room. HEATHER: They didn't come home. The phone rings and Logan turns to go back to the lounge. He checks the caller ID as he picks it up. LOGAN: Where are you? Why aren't you here? DICK: [on phone] Dude, I'm in Vegas. Things got a little crazy last night. We decided to take a road trip. INT - LAS VEGAS, DICK'S HOTEL ROOM - CONTINUING. Dick's happy in his garishly appointed hotel room. In the background, there's a window through which can be seen the Paris Las Vegas with a fake Eiffel Tower and a fake hot-air balloon. DICK: I think I'm in love, man. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. LOGAN: Mazel tov. Logan glances at Heather, then turns away from her, lowering his voice. LOGAN: Get your ass back to Neptune. INT - LAS VEGAS, DICK'S HOTEL ROOM - CONTINUING. DICK: I would, but we just got here. The ride was a bitch. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. LOGAN: Imagine how much you'll hate it bound in the trunk of my car. INT - LAS VEGAS, DICK'S HOTEL ROOM - CONTINUING. DICK: It's not like you're leaving the suite anyway. Dick takes a step forward, revealing the bed and Melinda, in a vest and pink knickers, bouncing thereon. DICK: And I wasn't going to play this card, but... Dick sits on the bed just as Melinda crash dives onto it. DICK: Shuffle, shuffle, shuffle — you slept with my one long-term girlfriend, dude. Melinda nibbles his ear before standing up and starting to jump again. DICK: Their parents are out of town, so I think a day of playing the nanny is the least you could do. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. LOGAN: Well, look. Be home by tonight. Heather watches, unsurprised by this turn of events. LOGAN: Yeah, yeah. Bye. Logan hangs up, not happy. INT - LAS VEGAS, DICK'S HOTEL ROOM - CONTINUING. Dick stares at the phone with a bit of a frown for a millisecond before turning to the bouncy Melinda and laughing. With a cowboy yell... DICK: Oooww! ...he grabs her around the waist and pulls her down. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. Heather grins at Logan. HEATHER: I got you some eggs. She points to the covered dish. HEATHER: But they're probably cold. Logan nods. Heather looks at him quizzically. HEATHER: Is that all you do is sleep? Logan glares at her. End music: "White Balloons" by Stephen Ashbrook. EXT - INDUSTRIAL AREA - DAY. Veronica and Weevil are leaning against their respective cars. Veronica peers into the distance, then glances back at Weevil. Weevil checks his watch. WEEVIL: I don't know what to say. g*ng kids are usually quite punctual. VERONICA: It's all right. Part of me actually hopes they don't show. WEEVIL: Veronica Mars, scared of a few bikers? Weevil scoffs as he walks to stand next to her. WEEVIL: Not even a quarter college-educated and already you're square as- Veronica smiles. VERONICA: It's not the bikers, per se. It's more what they represent. WEEVIL: I rest my case. Veronica shakes her head. VERONICA: If they show, they probably didn't do it, which would look not so good for Josh. If they don't show, there's a good chance they did it. The noise of motorcycles puts an end to the speculation. Three bikers round the corner. WEEVIL: Maybe they're here to confess. The bikers come to a stop in front of them. Veronica turns back to Weevil. VERONICA: I am interested to see who replaced you at the top of the food chain. The lead biker removes his helmet. It's Arturo. When Veronica sees him, she can't quite believe it. Weevil glances at her as if he too is a little embarrassed. Arturo climbs off his bike and walks towards them. ARTURO: You brought me here to talk to her? WEEVIL: You know each other? VERONICA: I caught Arturo here mugging pizza boys last year and taped him to a pole. You gave me the impression running the g*ng was a man's job. Weevil sighs heavily. WEEVIL: It was. ARTURO: [peevishly] Hey, I don't have to be here. VERONICA: Sure, you do. The law is coming down on you hard. Lots of people think you're responsible for the coach's death. If it wasn't you, tell me why I should believe it. ARTURO: '96 Roadmaster. VERONICA: Is that some kind of code? WEEVIL: It's a car. A ten-year-old station wagon. ARTURO: That's what the paper said the coach was driving. You think we're gonna k*ll a dude over an $800 crap-mobile? Besides, g*n? It ain't our style. VERONICA: So, what is your style? Arturo holds up his right hand, flat and horizontal. ARTURO: Nail board on the road. He makes a fist with his left. ARTURO: Target hits it. Tire goes flat. Pulls over. And just as the dude finishes changing the tire, we roll up. Your average white dude in a BMW? Gets all jumpy when he's surrounded by brown people on bikes. [proudly] They usually give up the keys without us asking. Weevil and Veronica exchange a significant glance. ARTURO: That all you wanted to know? WEEVIL: That's it. ARTURO: Okay. Arturo heads back to his bike. He turns back to them on having another thought. ARTURO: Find out who did it. This d*ad coach is k*lling my business. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY. Music: "White Balloons" by Stephen Ashbrook. LYRICS: I'm not quite sure if this is something that'll comfort you Mmm, hmm, hmm If it hurts, it's supposed to And the world keeps spinning on and on around you Watching white balloons disappear into the- Heather braves the lion's den and walks into Logan's room. He's lying on the bed, staring up at the ceiling. HEATHER: Are you sick? She walks to the side of the bed and leans on her hands on it. LOGAN: No. HEATHER: You want me to put highlights in your hair? Logan turns his head long enough to give her a baleful look. LOGAN: No. HEATHER: Could you show me how to hook up your Game Cube? Logan sighs in the realisation that there is no getting rid of her. He pulls himself into a sitting position and gets off the bed, every step an ill-disguised effort. End music: "White Balloons" by Stephen Ashbrook. Cut to later, in the lounge. Mario Kart is being played on the TV. One character overtakes the other on the application of a m*ssile of some description. Heather and Logan are playing, sitting side by side on the couch. HEATHER: Ooh! That was so awesome. Did you see that? LOGAN: Hmm. Logan manages the barest of smiles. LOGAN: Yeah, if you're Daisy or Peach, you can use a heart to protect you. HEATHER: If I had this game, I would play it every second. Heather looks up at him. HEATHER: We should have a tournament. LOGAN: Yeah, I'm beating you as Peach. You need practice. HEATHER: Your life is so cool. You have this huge TV with video games and a balcony. You live in Neptune. LOGAN: Yeah, it's Shangri-la. HEATHER: My family comes to Neptune every year for vacation. Do you ever go to Zip's? Heather is rapturous. HEATHER: Best ice cream in the whole world. LOGAN: No, no. Amy's is better. HEATHER: It can't be. LOGAN: It can. And it is. HEATHER: I don't believe you. He stares down at her for a moment before returning his attention to the game. LOGAN: Why should you be any different than any other woman? Heather forgets the game and looks up at him critically. HEATHER: So, are you all sad about a girl? Logan doesn't take his eyes off the screen, but his vision goes elsewhere. HEATHER: [slowly] Well, I guess so. She thinks for a moment. HEATHER: I don't guess you have any extra-small clothes around? I'm starting to smell like you. This snaps Logan out of his reverie, and he glares at her again. EXT - BARRY RESIDENCE - DAY. Veronica, having parked in the street, gets out of the Saturn and pockets her keys. She walks up to a very modest grey house with a red door. INT - BARRY RESIDENCE - DAY. The front room has a bookcase, the top and one shelf of which is covered with trophies. Josh opens the door. JOSH: Veronica, hey. Come on in. Veronica walks in slowly, thoughtful. VERONICA: Hey. Can you show me the spot where you found your dad? JOSH: The cops already checked. VERONICA: They didn't know what they were looking for. EXT - BARRY RESIDENCE - DAY. Josh follows Veronica out of the house. JOSH: It's so weird that he's gone. Are you close to your dad? VERONICA: Yeah, very. JOSH: That's cool. VERONICA: Were you close with yours? They pause on the sidewalk. JOSH: It's funny. He was my best friend and my worst enemy. Josh heads for the car. Veronica stares after him, not sure how to read him at all. INT - SHERIFF'S DEPARTMENT - DAY. Lamb is working/playing on his computer. There's a knock on his door and Deputy Sacks walks in. SACKS: Sheriff, there's a kid who says he saw something on the cliff the other night. With just a glance back at what is his screen, Lamb moves with unusual alacrity as he gets up from his desk. He leads Sacks out of his office and heads straight for the witness, who has his back to him. LAMB: You say you saw something? The witness turns around. It's Mason. Cut to later. Lamb and Mason are alone in one of the interrogation rooms. Lamb is writing in a notepad, then puts down his pen. MASON: So, after the game, I was heading to San Diego to see my girlfriend. I'm heading down the PCH, and I see the coach's car and the coach. He was arguing with someone. LAMB: Did you see this someone? MASON: I went by pretty quick, but I got a good look. It was Josh Barry. EXT - CLIFFTOP - DAY. Veronica and Josh are at the little turnout that overlooks the ocean. Veronica, hands in her back pockets, is looking around carefully. Josh, his hands in his jacket pockets, watches her. VERONICA: No pieces of board or motorcycle tracks, but it's possible they were erased by other cars. Veronica spots something at the edge of the cliff and strides towards it. Josh follows her. VERONICA: It's weird. Veronica points down at the flattened grass and deep indentations in the dirt. VERONICA: It...looks like a car went off right here. Veronica goes to the very edge and look down. Josh, who has hung back a little, walks purposively up behind her. For a moment, his intentions aren't clear, but he stands by her side and they both look into the churning waves below. EXT - BARRY RESIDENCE - NIGHT. Darkness has fallen by the time they are driving back. JOSH: I don't get it. Why would they push the car over, I mean, if it was a carjacking? Veronica doesn't have an answer and shakes her head. She sees lights flashing and notes Lamb's car outside the house. VERONICA: Something's up. Lamb, leaning against his car, pushes himself off and walks towards the Saturn as Veronica parks on the opposite side of the road. She and Josh get out of the car. VERONICA: Howdy, Sheriff. A kitten get stuck up in a tree? LAMB: Not now, Veronica. Josh Barry? Josh nods. On the porch of the house, his mother stands in trepidation. LAMB: You're under arrest for the m*rder of your father. Josh looks resigned to it, Veronica is shocked, and Mrs. Barry starts to cry. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Logan and Heather are out on the balcony, sitting at the table. His laptop is open in front of them. Logan lifts a used plate from the table to put it back on the trolley. Heather twists the laptop to face Logan. His screen wallpaper is a picture of Veronica. HEATHER: Is this your girlfriend? LOGAN: Mmm. Ex. HEATHER: She's pretty. The phone starts to ring. LOGAN: Is she? I hadn't noticed. Logan gets up disconsolately and walks to the phone inside the suite. He grabs it and checks the caller ID before answering. LOGAN: Where the hell are you? You're supposed to be back. INT - LAS VEGAS, DICK'S HOTEL ROOM - CONTINUING. Music: "Too Much to Ask For" by Radio 4, instrumental part only. The curtains are still open for the Paris Las Vegas by night scene. Dick starts in deadly earnest. DICK: Guess what, dude. He throws his arm up in the air and grins. DICK: I'm married! INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. There is the faint possibility that Logan's panic is in response to concern for his friend's welfare, rather than for the thought of another day with the kid. LOGAN: Get back here, man. INT - LAS VEGAS, DICK'S HOTEL ROOM - CONTINUING. Dick is not is not impressed by Logan's version of "Congratulations." He stumbles drunkenly towards the bed and sinks down on it. Melinda is passed out. DICK: Dude, where's the love? I'm on my honeymoon. God. Dick closes up the phone and looks over at his unblushing bride, still wearing his look of disgust. End music: "Too Much to Ask For" by Radio 4. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. Logan still has the ear to his phone, not expecting the hang up. He drops it as Heather hurries past him, heading for the door with all her stuff. LOGAN: Where are you going? She turns to face him, grinning. HEATHER: Oh, a guy I was chatting with online wants to meet me, so he's gonna pick me up out front and then take me to Zip's for ice cream. LOGAN: Yeah, you're not going anywhere. HEATHER: Uh, yeah, I am. LOGAN: No, you're not. HEATHER: You can't make me stay here. LOGAN: Heather- Heather starts to giggle. Logan is confused. HEATHER: Like I'd really go meet a guy that I met online. Logan nods and grins back. LOGAN: Nicely played. He turns to walk back to the balcony and she follows. Without looking round, he holds out his hand behind him for her to slap. She does, hard. HEATHER: So, who was that on the phone? LOGAN: Oh, just your brother-in-law. INT - SHERIFF'S DEPARTMENT - DAY. Veronica saunters into the cell area. Josh, laying on the bottom bunk, sees her and gets up. They meet at the bars. VERONICA: So, how's it going? JOSH: The sheriff's a tool, but otherwise... Veronica nods. JOSH: You find out anything? VERONICA: They found your dad's car in the water below the cliff. Carjacking is off the list, and that's not great for you. JOSH: What? God, now with Mason, it's like they're just lining up against me. I...I don't understand. VERONICA: Is there any reason Mason would lie about seeing you, grudges or anything? Josh shakes his head. JOSH: Naw, just against my dad. He lost the starting job a few games ago. VERONICA: Still... JOSH: He's got a temper...and a g*n, I've seen it. At a party once, he was, like, showing it off. I told the sheriff. He didn't care. No one believes me. You believe me, don't you? Veronica searches for the right answer. VERONICA: At Mars Investigations, believing our clients is just one of the many services we offer. Is there anything I can get you? JOSH: Ah, I don't know. Something to read, cookies, peanut butter if possible, a hacksaw. Veronica smiles. VERONICA: I can do reading materials, but the sheriff personally inspects all the food, and it rarely makes it back to the intended inmate. JOSH: Well, I'll live. They smile. INT - MARS INVESTIGATIONS - DAY. Keith is on the phone at his desk. KEITH: Hi, is this maintenance? He listens for a moment. KEITH: Yeah, I was wondering if anyone at your airport refuelled a Gulfstream V last Friday. He listens again. KEITH: Yeah, that's right. As he awaits the information, he readies himself to write. KEITH: About what time did you see Mr. Stoltz? His pen hovers over his pad, but he's not too happy with the information he is getting. KEITH: Thank you. He puts the phone down and makes a note. A little disgruntled, he adds the note to the file, closes it, and takes it to the filing cabinet in his office. As he drops in it, Mindy arrives at the door behind him. MINDY: I got your call. Keith freezes for a second, then slams the drawer shut and turns to face her, looking sombre. MINDY: Did I catch you at a bad time? KEITH: I'm afraid I was calling to say I want off the case. MINDY: I don't understand. KEITH: Mrs. O'Dell, I found eggshell under the wiper blade of your Volvo, the car you were driving that night, the same night his office was egged by a bunch of disgruntled students. MINDY: No, Keith, I-I didn't leave that hotel until just before dawn. I have no idea how eggshell ended up on the car. KEITH: I can only come up with one answer, and it isn't one you'd like. But that's only half of it. I also discovered a mysterious call on your cell phone the night of your husband's death. MINDY: [showing horror] You tracked down my cell-phone bill? KEITH: If you and Landry were together all night at the Neptune Grand, then why did you need to call his cell at 1:32 in the morning? MINDY: I'm sorry. I don't know why. It doesn't make any... She stops and then has a revelation. MINDY: Yes. I remember now. Um, I r-ran down to the lobby to get some toothpaste. KEITH: And you called Hank? MINDY: Yeah, it was for him. One of his students works in the hotel, and he didn't want to be seen by him. I just wanted to know what brand he used. Keith doesn't look convinced. A cell phone rings. EXT - HEARST COLLEGE - CONTINUING. Professor Landry is walking across the campus. LANDRY: Hello? Keith Mars, what can I help you with? INT - MARS INVESTIGATIONS - CONTINUING. Keith is at his desk and Mindy is still with him. Keith has Landry on the speaker phone. KEITH: Well, as you know, Dr. Landry, I'm working with Mrs. O'Dell to try to prove her husband was m*rder, and I was just trying to tie up some loose ends. LANDRY: [on phone] The crime... EXT - HEARST COLLEGE - CONTINUING. LANDRY: Is that you've taken the case. Cyrus O'Dell k*lled himself. You're simply taking money from his grieving widow. KEITH: [on phone, equably] I appreciate your firm ethical stand. INT - MARS INVESTIGATIONS - CONTINUING. KEITH: I'll mull that over, but in the meantime, I was wondering why there's a cell phone charge between you and Mrs. O'Dell at 1:30 a.m. I was led to believe the two of you were together the entire evening. EXT - HEARST COLLEGE - CONTINUING. LANDRY: As I recall, she called me from the lobby asking what brand of toothpaste I preferred. INT - MARS INVESTIGATIONS - CONTINUING. LANDRY: [on phone] I do hope that helps. Now, if you excuse me, I have a class. KEITH: I appreciate your time. Keith cuts off the phone. MINDY: Look, I can't explain the eggshell. I wish I could, but I need to know if you're still working to find my husband's k*ller. KEITH: You still want me? MINDY: Well, you're digging, albeit in the wrong place, but...it's more than I can say about the sheriff's department. Keith gazes at her thoughtfully. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY. Another Mario Cart game is in action. Logan is chirpier as he plays until... HEATHER: Why is that girl your ex? He looks down at her, then back at the screen. LOGAN: Because that's the nice thing you call people when you stop dating them. HEATHER: Well, why aren't you dating if you still love her? Logan sighs loudly and looks down at her again. She holds his stare. HEATHER: It's pretty obvious. They both return their attention to the game. LOGAN: Because I screwed up. HEATHER: How? LOGAN: [getting a little fed up] I did something that I shouldn't have done, okay? Heather laughs that off. HEATHER: Well, did you tell her you were sorry? LOGAN: [sharply] Yes. HEATHER: Like, in a way so she knows you mean it? LOGAN: Yeah. HEATHER: Are you sure? Frustrated, Logan manipulates his control to pause the game. The game screen holds on "continue," offering "restart," "change course," "change characters," and "quit." Logan looks down at Heather. LOGAN: [intently] I poured my heart out to her on her voice mail, and she never even called me back. She's done. HEATHER: Well, maybe you should try harder. Call her again. LOGAN: Well, you need to keep your mind on the race. You're not getting any better at this. Logan starts the game up again and puts an end to further discussion. INT - NEPTUNE GRAND HOTEL - DAY. In what one can easily imagine to be the bowels of the hotel, a man sits in a security room, watching a television screen. Keith arrives at the open door behind him and knocks on it. The man swivels around. KEITH: How are the ponies treating you, Reggie? REGGIE: I'm still working here, aren't I? They shake hands and Reggie's view is revealed. He's watching security cameras on a bank of four screens. REGGIE: What's up? You want me to check up on your daughter again? KEITH: Just want to confirm a client's alibi, and I figured you'd be the guy to talk to. REGGIE: What date are you looking for? KEITH: December 10. Reggie shakes his head. REGGIE: Oh, no can do, Keith. The hard drive starts recording over itself after a month. That stuff's history. Hey, if you know their plates, I could talk to my buddy who works valet. They keep those records in the computer forever. Reggie smiles. Keith nod approvingly. EXT - HEARST COLLEGE - DAY. Mason exits one of the buildings. Veronica races towards him from the side and walks by his side. VERONICA: Mason, hi. I'm Veronica, Wallace's friend. Actually, I'm working with the Barrys. MASON: Oh, yeah, he told me. It's too bad. Looks like Josh's dad pushed him too far, huh? VERONICA: What did you tell the sheriff you saw that night? MASON: Oh, just what I saw. I was heading south on the PCH, saw the coach's car, saw the coach, saw Josh. They were arguing. They climb up some stairs. VERONICA: Were they facing each other? MASON: Yeah. VERONICA: So, how did you see both? Veronica illustrates with her hands. VERONICA: If you're coming this way and you see the coach arguing with someone, it sounds like that person's back is to your direction of travel. MASON: No, it was him. I saw his hair, the Hearst basketball jacket. And, yeah, I looked back and saw his profile when I went by. It was him. They come out the other side of the passage through Hepner Hall. VERONICA: Josh suggested you've been pretty upset with his dad about losing your starting job. Mason is incredulous and comes to a halt. Veronica turns to face him. MASON: You really think that I would k*ll my coach because he wasn't starting me? VERONICA: A woman in Texas hired a h*t man to take out the mother of her daughter's cheerleading rival, so, you know, I'm pretty much willing to consider anything. Where do you keep your g*n? Mason's had enough. MASON: Man, screw you, okay? He walks off in a huff. INT - MARS RESIDENCE - NIGHT. Keith enters the apartment. He is a little astonished to see Veronica baking. She glances up and grins. He shuts the door behind him. KEITH: Did you suffer a blow to the head? VERONICA: It's work. They're for Josh. Keith leans against the counter and watches her as she sections off the dough to make cookies. KEITH: So, this means you believe him? VERONICA: I'm not sure. I certainly want him to believe I believe him. KEITH: Ahh, sneaky. He may need some cheering up. I checked with Mason's girlfriend. She confirmed he was with her the night of the m*rder. Veronica stares at him sadly for a moment. VERONICA: Dad, do me a favour. KEITH: Anything. VERONICA: [sincerely] Don't get m*rder. KEITH: Honey. Veronica speaks with increasing emotion. Keith straightens up to stand closer to her. VERONICA: Because I couldn't live without you, and all I've been doing is thinking about what I would do if I didn't have you. KEITH: [gently] Maybe you should let me handle this case by myself. VERONICA: [with faux-humour] You know that won't work. She lets out a half-laugh, half-cry to shake her out of her moment of vulnerability. VERONICA: I only brood when I'm not doing anything. She looks up at Keith to reassure him and goes back to business, albeit that she's about to load a tray of cookies into the oven. VERONICA: How did Mindy take it when you told her you dropped the case? KEITH: I didn't quite drop it. Veronica straightens from putting the tray in the oven and stares at her father, puzzled. KEITH: She had an excuse for the phone call that checked out. I h*t up my sources at the hotel, but they don't keep surveillance tape that long. Veronica scraps some mixture from the bowl with the spoon. VERONICA: Tell me again why you have a relationship with Neptune Grand security. She passes the spoon to Keith. KEITH: I may have learned something bigger. Keith slowly peels the dough from the spoon. KEITH: According to valet records, someone took out the Volvo at 1:51 a.m. and returned it at 2:59 a.m. He pops the dough in his mouth. Veronica is excited. VERONICA: The witness said they heard the g*n somewhere between 2:20 and 2:30. KEITH: I know. VERONICA: So, it's one of them, right? It has to be. KEITH: It doesn't have to be, but it looks that way. My relationship at the Grand doesn't have access to registration receipts. You know anyone over there who might be willing to bend some rules? Keith licks his fingers. VERONICA: Possibly. INT - NEPTUNE GRAND HOTEL, RECEPTION. Veronica heads for the reception desk. Tina, last seen in 306 "Hi, Infidelity," is manning the desk. TINA: Good evening, Logan's girlfriend. Veronica, right? VERONICA: That's...right. TINA: How can I help you? VERONICA: You remember Rory Finch. TINA: Your mystery guest. Veronica nods. TINA: Haven't seen him in a while. VERONICA: Like, since December 10th? Tina checks her computer. TINA: Precisely. That's his last day. VERONICA: Do you have a record of the charges made to the room that night? TINA: Let's see. Tina taps a few more keys. TINA: They have a room-service charge, crème brûlée just before midnight. And then they started a pay-per-view movie at 2:02 a.m. VERONICA: I know it always says that the movie title isn't listed on the bill, but you guys know, right? TINA: [conspiratorially] So true. She taps. TINA: It was Kiss Kiss Bang Bang. VERONICA: You don't have any way of checking to see who delivered the room service, do you? TINA: No, but I know who works the graveyard. His name's Jeff Ratner. They stuck him on the shift after they busted him for stealing toiletries. VERONICA: Rrrratner, eh? INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE. Music: Unknown. Heather excitedly pulls Logan into Dick's room. HEATHER: Come here! You have to listen to this. She pulls him over to the chest at the side where a radio is playing. HEATHER: I called KRAC like two hundred times. I kept getting this recording, and then finally, I got through. They're gonna play my request. LOGAN: Uh, local calls are two dollars each. Heather's face falls. Logan stares at her. She opens her mouth to say something but can't. Logan relents. LOGAN: I'm teasing. Heather grins and Logan smiles back. He glances with concern at the radio. INT - NEPTUNE GRAND HOTEL, KITCHEN. End music: Unknown. The radio's on in the kitchen too, just as Veronica is looking for Jeff. DJ: I've got a dedication going out from a very sad boy... Music: "What's Left of Me" by Nick Lachey. LYRICS: I feel you Crawling underneath my skin Like a hunger Like a burning To find a place I've never been Now I'm broken And I'm faded I'm half the man I thought I would be But you can have what's left of me- Veronica passes the radio without a glance. DJ: To a very special girl. So, if you're out there and you're listening, Veronica... Veronica freezes. DJ: This is from Logan. He's sorry, girl, and he wants you back. Disbelieving, though whether from the fact of the dedication or the song choice is unclear, Veronica turns to stare at the radio. She walks back slowly and stares at it for a moment. She switches it off. End music: "What's Left of Me" by Nick Lachey. She turns to resume her search and runs straight into Jeff Ratner bringing through some food for a table trolley. JEFF: Take it from the guy who has to clean up after him. Jeff carries a covered dish of food to a newly laid table trolley and sets it down. JEFF: You don't want what's left of Logan Echolls. He just lies around in bed all day and smells. VERONICA: Jeff Ratner. Just who I was looking for. Let's talk crème brûlée. Jeff gives her a wary look. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE. Music: "What's Left of Me" by Nick Lachey. LYRICS: I want you I feel you Crawling underneath my skin Like a hunger Like a burning To find a place I've never been Now I'm broken And I'm faded I'm half the man I thought I would be But you can have what's left of me It's falling faster Barely breathing Give me something To believe in Tell me it's not all in my head Nick's still powering it out in Dick's room. Logan is cringing. Heather is beyond enrapt. LOGAN: I really wish you hadn't have done that. HEATHER: You're gonna thank me. Logan is not so sure and stares down at the ground. HEATHER: Girls love that stuff. They like it when you make them feel like they're a big deal, like you'd do absolutely anything to be with them. People in love shouldn't break up. Giving up is just stupid. Logan nods and reaches out to put his hand on top of her head. He pats her in a way that shows how foreign the gesture is for him. He turns around and walks out of the room. Heather follows him into the lounge. HEATHER: Okay, I'm starting to feel like I'm living in a hamster cage. Is there a workout room or something? LOGAN: Yeah, I'll show you. End music: "What's Left of Me" by Nick Lachey. INT - NEPTUNE GRAND HOTEL, CORRIDOR. Jeff leads Veronica to the door of the room Mindy and Landry shared the night the dean died. JEFF: This is the room. This is where I brought the crème brûlée. This is right where I was standing when I heard the fight. Can I leave now? VERONICA: A fight? What kind of fight? JEFF: People yelling at each other. VERONICA: What were they saying? JEFF: You know, I didn't hold a glass to the door. You'd be surprised what you overhear working in a four-star hotel. I figured it was the wrong time to deliver the crème brûlée, so I left and came back later. VERONICA: Who answered the door when you came back? JEFF: I don't know. Some lady. VERONICA: The one you heard yelling? JEFF: No. This surprises Veronica immensely. VERONICA: Are you sure? JEFF: Yes, I'm pretty sure. I heard two men yelling. Veronica does a bit of a double take. INT - NEPTUNE GRAND HOTEL, ELEVATOR. Elevator doors open to reveal Veronica and Jeff waiting to board. Logan and Heather are already in there. Veronica and Logan are each stunned by the presence of the other. Jeff hurries in. He sighs as he turns and realises that Veronica hasn't moved. JEFF: Getting in? She spares him a momentary glance from staring at Logan to nod. She steps onto the lift. Logan shuffles aside and she stands uncomfortably next to him. She struggles before coming out with... VERONICA: Hi. Logan stares straight ahead. LOGAN: Hey. Another moment of uncomfortable silence goes by. Veronica looks around Logan at Heather. VERONICA: Is that my shirt? Heather looks down at her t-shirt. LOGAN: Yeah, she was out of clothes. VERONICA: Oh. Heather looks over at Veronica, who is completely bemused and at a loss. Heather recognises her and starts to get excited. She starts to bump Logan, whispering and squeeing. HEATHER: It's her. It's her. LOGAN: Yeah. Veronica can't help but hear and be even more embarrassed. She looks at Jeff who narrows his eyes. Logan casts her a quick glance. HEATHER: It's her, isn't it? Oh, my God! It's her. Tell her! LOGAN: Shh. HEATHER: Tell her how you feel. LOGAN: Shut up. Logan is desperately wishing this isn't happening. Heather can't contain herself. She steps out from Logan's side, a huge grin on her face. HEATHER: Excuse me, Miss Veronica? Yeah, were you listening to super hits 98? 'Cause there was just this dedication. VERONICA: Yeah, I, um... She darts a glance at Logan. VERONICA: Heard it. HEATHER: Well, it's true. Logan's sorry, and he misses you. And he wants you back. And you two should get back together... The elevator pings HEATHER: Because he totally loves- LOGAN: This is our floor. Logan can't push Heather out fast enough. He gets them out but can't resist staring back at Veronica. They look at each other an age before the door closes between them. JEFF: Trouble in paradise? Veronica looks up at him, a little shell-shocked. INT - NEPTUNE GRAND HOTEL, CORRIDOR - CONTINUING. Outside, Logan walks away from the elevator, also shell-shocked. Heather gushes. HEATHER: I can't believe you blew that. That was the most perfect opportunity. Why didn't you tell her how you feel? Logan finally snaps and turns on her. LOGAN: Because I'm not eleven, and I'm not delusional. You don't know a single thing about love, Heather. Heather's face crumples. LOGAN: You know, it isn't writing someone's name o-on the back of your notebook and drawing a heart around it. It is easy to be happy all the time when you're eleven. You talk to me about love when you know something about it. Logan storms off, and Heather is left to cry alone. INT - HEARST COLLEGE, CRIMINOLOGY CLASS - DAY. The subject for the Criminology class is "Advanced Applied Victimology." Landry drops his bag by his lectern and digs around in it. VERONICA VOICEOVER: Knowing that Dr. Landry and Mrs. O'Dell left the Grand in time to k*ll the dean adds a whole new level of weirdness to attending Landry's profiling class. Veronica finds her seat in the lecture room, but before she can sit down.... LANDRY: Miss Mars, can I talk to you for a second? A little hesitantly, Veronica walks down the stairs towards him. LANDRY: Good news. You've made it to the second round of the FBI internship. It seems that the feds were as impressed with you as I am. VERONICA: Oh. Great. Thanks for pushing me to apply and the recommendation. LANDRY: Well, I'm sure the dean's letter didn't hurt either. VERONICA: The dean's...? LANDRY: I put a notice on the faculty blog asking if anyone would want to contribute an additional letter. Cyrus... He bends down and pulls out a file. LANDRY: Came through for us. A copy of your application. He hands it to her. Veronica opens the file and starts to read the letter. She is stunned. LANDRY: Are you okay, Veronica? VERONICA: Yeah. Fine. She closes the file and recovers herself. VERONICA: It just reminds me of that one scene from Kiss Kiss Bang Bang. LANDRY: Really? VERONICA: Yeah, you know, after Robert Downey Jr. dies, Val Kilmer gets a message from him? LANDRY: Kiss Kiss Bang Bang? Robert Downey survives the whole film. VERONICA: Oh, I must be confused. Landry doesn't think so. INT - MARS RESIDENCE - DAY. Veronica is sitting on Keith's desk as seen from the side door from the hall. KEITH: And you brought up the movie with him? VERONICA: Yeah, and he was up on the details. It sounds like he watched it. Dad... Veronica pulls out the file Landry gave her. VERONICA: Look at this. Keith takes it and opens the file. VERONICA: I guess Dr. Landry asked Dean O'Dell to write me a recommendation letter for the internship at the FBI. Keith reads the letter out loud. KEITH: "Dear Sir, in my twenty-five years working in academia, I have not come across a young person with more initiative, intelligence, and character than Veronica Mars." Keith sits up a little straighter and smiles. He continues reading. KEITH: "I enthusiastically recommend her and would be happy to discuss this remarkable young woman in greater detail. Sincerely, Cyrus O'Dell, Dean of Students, Hearst College." Veronica's eyes fill. VERONICA: I would have settled for, "I find her nosiness charming." KEITH: Man had good taste. Let's honour him by putting his k*ller behind bars. VERONICA: Agreed. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY. Logan is back to lying on his orange sheets. The phone by his bed sounds. He sighs and picks it up, having checked the caller ID. LOGAN: Where are you? EXT - ON THE ROAD - CONTINUING. Dick's driving. DICK: Hey, buddy. Got a question for you. You know a good lawyer? Melinda, in the passenger's seat, casts him a withering look. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. LOGAN: I know a lawyer. DICK: [on phone] Good. I'm gonna need one. EXT - ON THE ROAD - CONTINUING. DICK: Like, we're on the road. We'll be home in a couple of hours. Wifey-poo wants to talk to you. Dick holds out the cell phone to Melinda. She snatches it. MELINDA: Hey, Logan, is Heather doing okay? INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. LOGAN: Yeah, is she ever not? Is she always like this, so...bubbly? MELINDA: [on phone] That's kind of her new thing. Logan looks in the direction of lounge, now concerned. EXT - ON THE ROAD - CONTINUING. MELINDA: Well, she started acting weird when our dad walked out. I don't think she can get it through her thick skull. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. MELINDA: [on phone] It can really wear you out, huh? EXT - ON THE ROAD - CONTINUING. MELINDA: Just make sure she takes her Prozac, or she'll just drive you nuts. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. Logan doesn't respond, instead rolling his eyes at himself. Cut to a little later. Logan is standing at the closed door to Dick's room. He knocks. Heather shouts though the door. HEATHER: Go away! Logan, leaning against the doorjamb, puts his hand on his hip. LOGAN: Well, now you made me want ice cream, so... He sighs heavily. LOGAN: I'm going to Amy's. Come with me if you want. The door eventually opens. Logan smiles warmly at her. Heather relents and smiles back. INT - MARS RESIDENCE - DAY. Keith is by Veronica's office, checking some files, when Mindy arrives. MINDY: So, any progress on the case? Uh, your message sounded urgent. KEITH: Significant progress, I think. Mrs. O'Dell, what can you tell me about Kiss Kiss Bang Bang? MINDY: Um, I can tell you it's a movie. KEITH: Is that it? She laughs uncomfortably. MINDY: Why on earth is this important? KEITH: Because I heard that was the movie playing in your hotel room at the time your husband died. She shrugs. MINDY: Well, maybe Hank started it after I fell asleep. KEITH: [with increasing aggression] I also have the valet log showing that your Volvo was checked out roughly thirty minutes before the m*rder and checked back in roughly thirty minutes afterwards. MINDY: No, then someone is framing me. KEITH: Who was in your room with you that night? MINDY: Hank, but you- KEITH: Other than Hank. MINDY: No one. KEITH: A witness says he overheard two men arguing loudly at approximately midnight in your room. MINDY: No. Then-then he heard the TV. KEITH: [sharply] I don't believe you, Mrs. O'Dell. MINDY: I don't need to listen to this. You're off the case, Mr. Mars. She starts to walk out of the office. KEITH: You can f*re me, Mrs. O'Dell, but I'm afraid you can't take me off the case. She turns back to glare at him. KEITH: I quite liked your husband. She shoulders her bag and walks out. He watches her go without qualm. INT - NEPTUNE GRAND HOTEL, OUTSIDE LOGAN'S SUITE - DAY. Heather and Logan get off of the elevator and walks towards the suite. HEATHER: Okay, this is better than the place I used to go with my parents. LOGAN: Well, with age comes wisdom. You know, you can play Mario Kart online. We should have a weekly game or something, keep you sharp. Logan sticks the key card in the door to open it. Heather looks up at him with disgust. HEATHER: Quit flirting with me, old man. I'm eleven. Logan grins. HEATHER: Jeez. That's creepy. LOGAN: Yeah. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING. They walk into the suite and slap-bang into a domestic as Dick and Melinda are screaming at each other. MELINDA: You called me a freak! DICK: I called your toes freakish. I didn't call you a freak. It's supposed to go big toe, little toe, and then on down the line, not big toe, bigger toe. MELINDA: You really make me sick. DICK: I make you sick? You're the freak. Logan and Heather watch happily. LOGAN: Ahh, newlyweds. Melinda turns on them. MELINDA: Where the hell have you been? I've been waiting to go for like twenty minutes. Logan and Heather glance at each other. MELINDA: Get your stuff. We're going. Melinda grabs her bag and marches to the door. Heather, still in Veronica's t-shirt, collects her backpack and heads to follow her, passing Logan. HEATHER: Fridays at four are good for me. She hugs him around the waist. Logan holds her and smiles down at her. Dick gives Melinda a salute and she returns it with a filthy look. The girls leave. LOGAN: [amused] There goes the old ball and chain, eh? DICK: I need a shower. Disgruntled, Dick heads for his room. INT - SHERIFF'S DEPARTMENT - DAY. Veronica arrives at the jail cell bearing gifts. VERONICA: Here you go, sheriff-approved reading material. She passes a small pile of books and magazines through the bars, which Josh takes. The book at the top of the pile is Alexandre Dumas's The Count of Monte Cristo. VERONICA: I think you'll really enjoy the Dumas book. Josh flicks open the pages. After the first few, he finds a stash of cookies in an area cut out through the pages. VERONICA: It's quite chunky. He smiles down at her. JOSH: Thanks, Veronica. Veronica nods. JOSH: I've been thinking it over. It's Mason. Why else would he lie? It makes sense. You got to find that g*n. VERONICA: Josh, if he did do it, he probably threw the g*n in the ocean. JOSH: Yeah. You're probably right. Thanks anyway for the stuff. VERONICA: Hang in there, okay? Josh nods and Veronica leaves. Josh takes the books back to his bunk. He opens the Dumas and takes out a cookie. He looks at it for a moment, and then up at his cell mate on the top bunk. The cell mate, giving the appearance of an emaciated homeless man, peers down at Josh and the cookies. Josh looks at the cookie again before popping it in his mouth. INT - HEARST COLLEGE, OUTSIDE ECONOMICS CLASSROOM - DAY. As unaffected by life as ever, Dick marches happily down the hall. He points. DICK: You coming? Logan, clean-shaven and smirking, joins him in the march to the classroom. LOGAN: Let the learning begin. Dick turns into the classroom. Logan continues straight on to Professor Corrigan. He holds up a shiny, red apple. LOGAN: You miss me? Corrigan, who's obviously never read Snow White, takes it with a sceptical glare. Logan spins around and walks into class. INT - HEARST COLLEGE, CRIMINOLOGY CLASSROOM - DAY. In criminology, Landry is in full flow. LANDRY: In all these cases, the criminals operated for years unsuspected within the completely ordinary settings, the classic, "He seemed so nice..." On the slide screen, is a somewhat disturbing picture of Aileen Wuornos grinning. LANDRY: "He kept to himself." The slide changes to a picture of John Wayne Gacy. LANDRY: Knowing the signs, we can identify the criminal among us before... Landry pauses as he spots Lamb and a deputy enter the lecture room. LAMB: Oh, sorry, Professor. I need one of your students. Veronica Mars? Veronica rolls her eyes. She holds up her hand. Lamb smiles and walks until he stands right behind her. LAMB: Miss Mars. He takes her wrist, still held in the air, and slaps on a pair of handcuffs. LAMB: You are under arrest for the aiding and abetting of the escape of Josh Barry. Veronica is taken aback and Lamb pulls her to her feet. Lamb is enjoying himself as he pulls her arms behind her. Landry watches curiously. LAMB: You have the right to remain silent. Anything you say can and will be used against you in a court of law.

{"type": "series", "show": "Veronica Mars", "episode": "03x13 - Postgame Mortem"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Weevil walks into the dean's office to find Cyrus O'Dell slumped over his keyboard in 309 "Spit and Eggs." KEITH: [offscreen] A man of good taste. Cut to Keith and Veronica in Keith's office in 313 "Postgame Mortem." KEITH: Well, let's honour him by putting his k*ller behind bars. Veronica nods. Cut to later in the office. MINDY: You're off the case, Mr. Mars. KEITH: You can f*re me, Mrs. O'Dell, but I'm afraid you can't take me off the case. Cut to Coach Barry getting ready to yell at the basketball team. KEITH: [offscreen] Coach Barry was found... Cut to Keith in his office, explaining to Veronica. KEITH:...m*rder last night beside the PCH. The sheriff suspects Josh. Cut to Veronica visiting Josh in a jail cell. JOSH: It's Mason. Why else would he lie? It makes sense. Cut to Veronica and Mason outside Hepner Hall. MASON: You really think that I would k*ll my coach...because he wasn't starting me? Cut back to the jail cell as Veronica arrives, bearing gifts. VERONICA: Here you go. There are cookies inside one of the books. VERONICA: Sheriff-approved reading material. Cut to Lamb taking his pleasure in Landry's classroom. LAMB: Miss Mars. You are under arrest for the aiding and abetting of the escape of Josh Barry. He cuffs her and pulls her out of her seat. End previously. INT - SHERIFF'S DEPARTMENT - DAY. The interrogation room is lit from Venetian blind covered windows, casting strips on the shadows of the walls and on the watching Deputy Sacks. Lamb is doing his best to intimidate Veronica... LAMB: Where is he, Veronica? Where's Josh? ...without success. She and Lamb sit on opposite sides of the table in the room. VERONICA: Think back, Sheriff. Where did you have him last? LAMB: Josh's cellmate says you snuck him a peanut-butter cookie. VERONICA: And he bribed one of your deputies with said cookie? Veronica casts an amused glance at Sacks. Lamb slaps his thigh. LAMB: He was allergic, but you know that. After the paramedic revived him with an epinephrine sh*t, Josh overpowered him and escaped out of the back of the ambulance. VERONICA: You didn't have a deputy with him? Lamb gives Sacks an irritated glance. Sacks shuffles, embarrassed. LAMB: He was riding up front. As his accomplice, I would think you would want to get yourself out of hot water and tell us where he is. Veronica leans forward as if to confide. VERONICA: Don't I get a phone call? Lamb snorts. INT - BARRY RESIDENCE - DAY. A child is playing "Solfeggietto" by Carl Philip Emanuel Bach on a piano. He looks to be about ten-years-old. He's in a room to the side of the Barry's dining room, where Keith and Mrs. Barry are sitting at the table. MRS. BARRY: Please, Keith, find my son. KEITH: It's likely he'll try to contact you. When he does, you've got to convince him to turn himself into me. She nods. KEITH: It will be safer than turning himself in directly to the sheriff. Keith's cell phone rings. Keith glances over at the boy, Bobby Barry, who is still playing, but is startled by the phone's ring. Keith holds up the phone to Mrs. Barry. KEITH: I'll just take it in here. She nods and Keith gets up from the table. He walks into the kitchen before answering the call. KEITH: Yeah? OPERATOR: Keith Mars, please hold for Veronica Mars. Keith frowns. He waits, stopping by a pile of mail on the counter. He notices that the top letter, addressed to Kathleen Barry, 23 Emperior Ct., Neptune, CA 90909 (a popular address!), is from Vincent Van Lowe of 4563 Finders Way, Neptune CA 98081. KEITH: Yeah? Honey? It's me. He listens with growing incredulity. KEITH: You're where? INT - SHERIFF'S DEPARTMENT - DAY. Veronica is in a jail cell. She is being very butch, doing press-ups with gusto. She's gained a tattoo on her left arm and plaited her hair on that side close to the scalp. Keith arrives in the area behind her, on the other side of the bars. KEITH: Please tell me you didn't help an accused m*rder escape jail. Veronica jumps up and starts shadow boxing. VERONICA: Yo, pops, check it out. This girl ain't gonna be nobody's bitch. You better recognise. KEITH: What's that on your arm? She points proudly to the tattoo. Under the banner "Thug Life" is a pony in the style of My Little Pony. VERONICA: I've had some free time. And, no, I didn't help Josh escape. Veronica grabs the bars and pulls herself up closer to Keith. VERONICA: Not intentionally. It turns out he's allergic to peanuts. His plan was to take advantage of my kindness. KEITH: That's got to be the first time that's worked for anybody. This amuses Keith and he hides his face. Veronica gives him a woeful look as Cliff arrives behind Keith. VERONICA: Clifford. Something wrong? CLIFF: I just remembered I need to return Caged Heat to the video store. You folks want to hear the good news or the bad news first? KEITH: I'm gonna say the good news. CLIFF: Josh's cellmate and key witness to the cookie incident ate the evidence and, icing on the cake, blew a point two-one on the breathalyzer when they booked him. No way Lamb can get a conviction and he knows it. Veronica, who has moved back into the cell to sit on the bunk with her "workout" towel around her neck, gives a sigh of relief. KEITH: Well, that sounds like great news. CLIFF: Um, but he's gonna hold Veronica as long as he possibly can. Veronica slaps the towel on the ground in frustration before falling back onto the bunk. KEITH: Can I get you anything, honey? VERONICA: Oh, a couple cartons of smokes. Keith is disapproving. VERONICA: What, dad? It's currency on the inside. KEITH: Any guess where I might find Josh? VERONICA: Mexico? KEITH: So you think he did it? She rolls off the bunk and walks to the bars again, serious. VERONICA: I don't know. If he didn't, he sure panicked quickly. KEITH: That was my thought, too. CLIFF: Anyone want to know what I think? Veronica gives his a sceptical look. CLIFF: Fine, I'll keep it to myself. Cliff clears his throat and moves to the back of the room, but can't resist giving them his thoughts after all. The Mars pair indulge him. CLIFF: I'm just saying, my entire workday is spent sorting through my various clients' lies. This kid? I think he's on the up-and-up. Veronica is interested in that view and watches Keith leave the cell area. KEITH: Okay. I've got an appointment with Dean O'Dell's old assistant. I can't just put his m*rder case on hold. Veronica nods. Keith starts to move off, but pauses as he looks at her and sighs. VERONICA: What? He smiles. KEITH: Just...I thought this sight would be more traumatic for me, but... He shrugs. Veronica is offended. Cut to a few moments later as Keith is leaving the department. He stops when he sees Vinnie Van Lowe at the front desk with one of the deputies. There's an elderly man with his hands behind his back next to Vinnie. KEITH: Vincent. Vinnie raises his eyebrows before turning to look behind him. Keith walks towards them. KEITH: You bringing in a fugitive or picking up your dad? Vinnie points to the man. VINNIE: Old-timer, fraud warrant. Turns out, his uncle isn't Nigerian royalty. Another deputy grabs the man and leads him away. KEITH: Hey, uh, question. I saw what looked like an invoice from you at the home of Coach Barry's widow. Any chance we're working the same case? VINNIE: Negatory, Mrs. Barry hired me about a month ago, wanted to know if her husband was cheating. KEITH: What did you learn? VINNIE: Keith, I am bound by the exact same ethical codes you are. KEITH: Yeah, well- Vinnie bursts out laughing. VINNIE: I was pulling your leg. I had you, though. No, never got a money sh*t. Uh, but I did catch him getting friendly in a parking lot with a very attractive married lady. KEITH: Any chance I could get a copy of that picture? VINNIE: Yeah, what the hell? It'll be good having you owe me one. I guess you're tracking that kid? I was thinking of diving into that. KEITH: Well, I'm...looking for the coach's k*ller. VINNIE: Oh, didn't you hear? It's the kid. Keith rolls his eyes and turns and walks away. INT - HEARST COLLEGE, DEAN'S OFFICE - DAY. Someone is scrapping the "O'Dell" from the painted "Dean O'Dell" sign on the glass door leading into the outer office. In the office, Keith is sitting at Cora's desk. CORA: I spoke to the sheriff two months ago. Is there anything- KEITH: Just routine follow-up on some insurance matters. If you could just tell me anything you can recall about the day the dean died. Cora has the diary for December 10th open in front of her. CORA: Just the usual stuff, meetings. There was one strange thing. Mel Stoltz showed up, no appointment. I didn't know who he was until he left. He seemed to agitate Cyrus. KEITH: Really? Mel Stoltz? CORA: Oh, and, um, he was out of Xanax. I had to call in the prescription. KEITH: Did he pick it up, do you know? CORA: Mmm, he was stuck here all day, and the pharmacy closes at 7:00, so... INT - MARS INVESTIGATIONS - DAY. Keith is back in his office, on the phone. KEITH: A prescription refill called in on December 10th. Do you have a record of who picked it up? Keith listens with interest. KEITH: Bye. As Keith puts down the phone, footsteps approach. It's Landry, who marches into Keith's office, fiddling with his cell phone. KEITH: Dr. Landry, what brings you- LANDRY: Question, Keith. I found this bug in my cell phone. Did you put it there? He tosses the bug onto the desk. Keith looks at it long and hard before responding. KEITH: No, Hank. LANDRY: Did Veronica do it? KEITH: I'm sure she had nothing to do with it. LANDRY: You're sure, sure? She's got a lot of initiative. You know, the other day, she asked me something about the movie that I watched in the hotel that night, and then I realised she was probing my alibi. KEITH: She does have a lot of initiative. LANDRY: She also has got a lot of promise, and she doesn't need to be slumming it in a P.I. office the rest of her life. And, uh, just for the record, that night I checked into the Grand at 7:30. I watched the Clipper game in my room until Mindy showed up, about 8:15. The rest of the evening was occupied by the usual business of an affair, followed by a pay-per-view movie, then sleep. There's no more to say. And there's no more for you or your daughter to find. So please stop trying. It's starting to piss me off. INT - SHERIFF'S DEPARTMENT - DAY. Keith approaches the front desk. KEITH: I need to see the sheriff. SACKS: I don't know, Keith. He looks kind of busy. KEITH: Well, that's something I got to see. Sacks smirks. Cut to a little later. Keith in with Lamb in the latter's office. LAMB: So, if I'm hearing you right, you're calling me a dumbass. KEITH: All I said was the dean's death was a m*rder, not a su1c1de. I wanted to bring you what I had as a concerned citizen. You remember from the toxicology report he had traces of Xanax in there with the booze. LAMB: And he had a prescription for the stuff which proves zilch. KEITH: But according to his secretary, he had run out. She'd just called in a new prescription, which was picked up that night, I learned, by Mindy O'Dell. This does get Lamb's interest and a response. Lamb shouts out. LAMB: Sacks. Sacks enters the office. LAMB: Call over to Hearst. See if they stored any of the dean's stuff. Computer, phone or whatever. We can dust for prints. SACKS: Sure, Sheriff. Sacks starts to leave, but Lamb has further instructions. LAMB: And bring Mindy O'Dell in. I'd like to ask her a few questions. Sacks pauses a second just in case, then exits. Keith sits back, satisfied. Lamb stares at him thoughtfully. Opening credits. INT - SHERIFF'S DEPARTMENT - DAY. Keith arrives at Veronica's cell. She's lying in her bunk and looks over at him. VERONICA: You bring my harmonica? I've got the blues, pa, the sittin'-in-my-jail-cell blues. KEITH: Did you bug Hank Landry's phone? VERONICA: [suprised] Wait, what? KEITH: He just came storming into the office, saying he found a bug in his cell phone, asking me if I planted it. I didn't. Did you? VERONICA: No. He stares hard at her. Veronica sits up. VERONICA: Really. Come on, dad. She draws a circle around her head with her hand. VERONICA: This is the face of truth. KEITH: Yeah, that played better in a different context. But, okay, I'm a sucker. I believe you. Veronica walks towards the bars. KEITH: Word of advice: you might want to start looking for a new mentor. VERONICA: Wait. He suspected me? KEITH: Vigorously. Though he emphasised that it was my bad influence, that you're a sharp kid, just a bit misguided. VERONICA: The movie. He knew why I asked about Kiss Kiss Bang Bang. KEITH: You want to pick at his alibi, you should have asked him about the Clippers game that night. Men routinely accept the idea that women don't know sports. That's just a...mentoring sample, for if you're interested. Keith gives a cheesy grin and points to himself. He turns serious again. KEITH: You didn't bug him? VERONICA: No. Keith smacks his lips at her in a big kiss and exits the cell area. He heads out of the department, meeting Logan in the corridor coming in. LOGAN: Mr. Mars. KEITH: Logan. They stare at each other a moment. KEITH: Down the hall, on the right. They nod to each other and Logan continues on his way. Keith watches him go. Back in the cells, Logan approaches the bars. Veronica is back to lying on the bunk. VERONICA: Logan? LOGAN: No holiday decorations, huh? She sits up. VERONICA: Actually, that's just why I'm in jail, to avoid Valentine's Day. Logan smiles and Veronica gets up to walk towards the bars. VERONICA: Glad to see you. LOGAN: We're both adults now, right? We can be civil. Veronica nods. Logan steps closer to the bars. LOGAN: You need anything? VERONICA: There is one thing you could do for me, if you're heading back to campus. Logan nods. VERONICA: Get my wireless card back from the deputy. I was taking it to Mac when I got arrested. She said she needed it for a thing tonight. LOGAN: Sure. Veronica takes another step closer to the bars. VERONICA: Thanks. She grasps the bars. VERONICA: You've nearly warmed this cold, cold heart of mine. Logan smiles, steps back, and brings up his cell phone. Veronica looks confused. He takes a picture. He grins. LOGAN: Well, this definitely warms mine. Elsewhere in the building, Lamb is back in the interrogation room, leaning against the wall. Mindy is seated at the table. Sacks is standing in the corner of the room behind her. LAMB: You don't remember the movie? MINDY: Hank must have ordered it after I fell asleep. LAMB: That's pretty late for a movie. Don't you think he'd have been pretty tired after all your...activities? MINDY: I guess that some people have stamina. Lamb smirks. LAMB: You didn't leave the room? MINDY: No. LAMB: Lying to me is a crime, you know. He moves forward and takes the seat opposite her. MINDY: You might be thinking of perjury. LAMB: I am thinking of perjury. MINDY: Well, then you might be confused about what perjury is. Me lying to you here is not perjury. Lamb sighs in irritation at having his bluff called. MINDY: But I'm not lying. LAMB: You're aware the dean had traces of Xanax in his system? MINDY: Yes, and alcohol. They told me. LAMB: Any idea where he got those pills? MINDY: He had a prescription. LAMB: Which had run out. MINDY: Well, he must have had some left. LAMB: Mrs. O'Dell, did you sign for a prescription for Cyrus the night he was k*lled? MINDY: Yes. LAMB: But you didn't see him after that. MINDY: That's right. LAMB: So if I found that bottle, there wouldn't be any missing pills? MINDY: There are several missing. LAMB: Where did they go? MINDY: I took them. My husband's su1c1de left me with a certain amount of anxiety. Lamb doesn't buy that this cool, collected woman in front of him would have a problem with anxiety, but is frustrated that there's sod all he can do about it. INT - HEARST COLLEGE, STORAGE ROOM - DAY. Weevil, carrying a flashlight, wheels a trolley down an aisle between shelves in a large storage room. Sacks is behind him. Weevil shines the torch onto one of the shelves. WEEVIL: One-three-zero-zero-four-seven-nine. The former computer of Cyrus O'Dell. He turns to Sacks. WEEVIL: She's all yours. Knock yourself out, Magnum. Weevil pats Sacks on the arm and leaves him to it. There is heard a knock on a door. INT - HEARST COLLEGE, MAC AND PARKER'S DORM ROOM - DAY. Parker opens the door of her room. PARKER: Logan. LOGAN: Hey. Uh, is Mac around? PARKER: Yeah, come in. Logan steps in just as Mac is passing from Parker's side of the room to her own. Bronson is sitting on Mac's bed. MAC: Hey. LOGAN: Hey. Uh, Veronica asked me to bring you this. Logan gets the wireless card out of his pocket. MAC: Performing a favour from a jail cell? The girl has serious friendship skills. Mac throws the card on her desk and turns her attention back to Bronson, joining him in sitting on the bed. Bronson sighs at the message on his phone. BRONSON: Jason can't do it, either. He's out of town. Parker steps forward to stand next to Logan, groaning in frustration. Logan turns to leave. PARKER: Logan, can we, like, borrow you? LOGAN: Will I be returned in my current pristine condition? PARKER: Yes. LOGAN: Go on. Mac and Bronson grin. INT - SHERIFF'S DEPARTMENT - DAY. Veronica's latest visitor is Wallace. WALLACE: So, big news today: Mason didn't show at practice and no one's seen or heard from him. VERONICA: Any chance Mason is lying about seeing Josh with his dad? WALLACE: Man, I don't know. They are interrupted by the arrival of Cliff and Lamb. CLIFF: Who wants out of jail? Veronica jumps up and down like a little girl. VERONICA: Aeee duuu! Aee duu! [translation: I do! I do!] Lamb, reluctance oozing from every pore, opens the cell. Veronica heads for the door where Cliff is standing. Wallace follows her. Lamb notices Wallace. LAMB: I know you from somewhere. Wallace turns to face him as Veronica and Cliff watch from the door. WALLACE: Yeah, you told me to go see the Wizard and ask him for some guts. LAMB: [smugly] Well, did you? WALLACE: Yeah. He said to let you know you're the only sheriff in America who he considers a true friend of Dorothy. Behind him, Veronica is shocked and awed by Wallace's gibe. Wallace walks out of the room. Veronica glances at Lamb who realises that he's been insulted but doesn't quite know how. (Being a macho-man bigoted type, Lamb would be insulted. In gay slang, a "friend of Dorothy" is a term for a gay man.) EXT - SUNSET CLIFFS APARTMENTS - NIGHT. Veronica gets out of a car in front of the apartments where she lives. A figure is walking towards her in dark, unseen by the car's driver. Veronica shuts the car's door and turns back to the driver. VERONICA: Thanks, Cliff. CLIFF: Goodnight, V. Cliff drives off. Veronica turns to walk into the apartment block but is grabbed by the arm by the passing figure. JOSH: Hey. Veronica resists for a second. JOSH: It's me. Josh, his head covered by the hood of his jacket, leads her along the street, not letting go of his grip on her arm. JOSH: Just keep walking. I need to show you something. Cut to the boot of a car being opened. Mason is in there, terrified. He has duct tape over his mouth and binding his hands. VERONICA: Oh, Josh. JOSH: He did it, Veronica. I know he did. He k*lled my dad. Josh pulls out a g*n, much to Veronica's horror. JOSH: You gotta believe me. It's the g*n I told you about. He had it. He k*lled my dad, Veronica, and this proves it. Josh keeps pointing the g*n at Veronica. JOSH: I know how this looks, but I didn't have a choice. VERONICA: Let me see the g*n. Josh glances down at the g*n, then back at Veronica who is quaking under an icy calm exterior. VERONICA: Can I see it? Veronica's hand closes on the g*n and Josh doesn't stop her when she takes it. Veronica gives a huge sigh of relief before inspecting the g*n. VERONICA: This is a .22-calibre p*stol. Your dad was sh*t with a .45. Josh bends down and grabs Mason by the shirt, screaming at him. JOSH: Why are you lying about me?! VERONICA: Josh! Josh ignores her and continues to shout at Mason. JOSH: I wasn't with him! VERONICA: Josh! Let him go. Josh quivers with rage, but finally starts to listen. VERONICA: Let him go. Josh pulls back, shaking. VERONICA: You have to turn yourself in. If you run, you'll look guilty. JOSH: I already look guilty. I'm gonna get out of the country, but I need cash. I-I have ten grand in rare coins my grandfather left me in a safe deposit box. I need an ID that says I'm twenty-one to pull them out without a parent's signature. Can you help me with that? Wallace showed me the fake ID you made him. Veronica thinks for a moment. VERONICA: Buy a disposable cell phone and call me in twenty-four hours. Josh nods. VERONICA: Go! Josh hurries away, leaving Veronica and Mason in the car park where he had left the car. Veronica reaches in to release Mason, pulling the duct tape from his mouth first. VERONICA: Are you okay? MASON: [furious] I was jumped and thrown in the back of my own car by some psycho who thinks that I k*lled his father! So, no! I've had better days. Veronica's managed to remove the tape binding his hands and pulls him out of the boot. Mason drinks in the air, panting heavily. He staggers and turns to Veronica. MASON: Thank you for believing me. Veronica slams the boot lid down. VERONICA: You lied about having a g*n. MASON: But I wasn't lying about what I saw. VERONICA: He seems convinced otherwise. MASON: Oh, really? I-I must have missed that. He glares at her before walking towards the front of the car. INT - HEARST COLLEGE, FOOD COURT - NIGHT. Music: "Undone" by Todd Deatherage. LYRICS: I know you said I better not show my head Around here anymore I've heard that before I should have known You wanted to be alone You sold the bed And you kept the rent Guess everything I wanted is said Or is never gonna get said 'Cause our love is already d*ad To you We've come undone Thought love was gonna be fun But we've come undone Yeah, we've come undone You packed my- The Food Court is decorated for Valentine's Day. People in red t-shirts which declare "Find the Love" on the back, have set up a table and are handing out decorated Cupid's arrows to other students, in groups of fours, some with their own team t-shirts. Logan, Parker, Mac and Bronson are one such team, although they have eschewed the matching look. Logan takes their arrow, around which there is wrapped a scroll. LOGAN: Will this require math? PARKER: I hope not. LOGAN: 'Cause I'm bad at math. MAC: I'll do the math. You just be male and drive. PARKER: Mmm-hmm. They turn their attention to Sid, the head red t-shirt and organiser of the Valentine's Day Scavenger Hunt. This title is what adorns the front of the red t-shirts. SID: Okay, so, here's how it works. You've just been given a clue that will lead you to a set of instructions. You must take a cell phone photo of your team performing the task, as instructed. Send it to me, and I'll send you the next clue. The first team to finish wins backstage passes to all tomorrow's parties. The collected students cheer and clap. SID: So, okay, couples! Are we ready for the Valentine's Day scavenger hunt? There's more cheering and clapping. SID: Then open your clues. Logan unrolls the scroll. He opens it out for the others to see. In cutesy font, it reads: "Clue #1: Demonstrate 127 of HQ470.S3V3." Logan shoves it at Mac. LOGAN: You do the math. I'll drive. Logan starts moving. Mac grins and Parker laughs, jumping off the table on which she was sitting to follow. End music: "Undone" by Todd Deatherage. INT - MARS RESIDENCE - NIGHT. Keith leans out from the refrigerator to call to Veronica in her room. KEITH: Honey...why is there a p*stol in the freezer? Veronica is laying on her bed, reading a textbook. VERONICA: Because there's this guy, see, and I want to put him on ice. Keith starts walking towards her. VERONICA: Because revenge is a dish best served cold. He reaches her room and stares down at her. VERONICA: Because I want to commit m*rder in the 28th degree? KEITH: Stop. VERONICA: Josh paid me a surprise visit when I got home. She closes her textbook and lifts herself up to a sitting position, taking in the concerned look on Keith's face. VERONICA: I'm fine. He had Mason shoved in his trunk. The g*n was Mason's. KEITH: It's a .22. VERONICA: Yeah, I pointed that out. It's weird. If Josh is guilty, what's he doing going after Mason? That's what an innocent man does. KEITH: Yeah, I'm forming a new theory about that. Keith has an envelope in his hands. He takes a seat on Veronica's bed. KEITH: Mrs. Barry thought her husband was having an affair. Before he was m*rder, she hired Vinnie to tail him. Vinnie snapped these. Keith hands her the photographs he has extracted from the envelope. Veronica examines them. There are three, taken from various distances. They show Coach Barry with a woman. They are standing in a car park, at the back of a car, license plate number 456POI3. VERONICA: You think Mrs. Barry hired someone to k*ll her husband? KEITH: That's one possibility, but it would be odd for her to hire us after that. Veronica waits in anticipation. VERONICA: I'm not gonna provide a drum roll. Keith grins. KEITH: I was able to ID our mystery woman from her plates. Her husband is a captain. Official side arm of the navy? Colt .45. I wonder if the captain found out about the affair. Veronica nods. KEITH: I'm gonna pay a visit tomorrow. Keith gets up from the bed and walks towards the door. VERONICA: Be careful. KEITH: And where did you leave things with Josh? VERONICA: I told him to turn himself in. KEITH: Good. VERONICA: And I called the sheriff's department and told them he made contact. KEITH: Good. VERONICA: And I might have also promised to help him sell his coin collection so that he could skip the country. Veronica pulls a face. KEITH: Veronica. VERONICA: I'm not really gonna do it. But it will help us bring him in. We can lay a trap. She mimes casting out a fishing line. Keith looks resigned and walks out of the room. INT - HEARST COLLEGE, LIBRARY - NIGHT. Mac, Logan, Bronson and Parker troop down one of the sets of library stairs. MAC: See? I told you. It's a library of congress number. They start checking the shelves. LOGAN: Am I the only one who misses good old Melvil Dewey? And there it is, all the knowledge I retained from fourth grade. Melvil Dewey. Oh, and the types of clouds. You know, stratus, cumulus, cirrus- As Logan drivels on, Bronson finds and pulls a book out of the bookcase. He holds it up to show the others through the gap between the books and the bottom of the next shelf. BRONSON: Indian Sutras. MAC: Hmm. The others race around to join him. Bronson is flicking through the book. Parker joins him. Logan unrolls the scroll. MAC: Demonstrate... Mac checks the scroll. MAC: 127. Page? She joins the other two poring over the book as Logan watches. Bronson sees something startling. BRONSON: Whoa. He flicks past a few more pages. BRONSON: Ah, look. "The Kama Sutra, plate number eleven...Congress of the Cow." MAC: So, we, like... PARKER: Demonstrate. She lets out a slightly embarrassed laugh. PARKER: Happy Valentine's Day. Mac and Bronson exchange a long look before Mac glances at Parker. MAC: Okay, you first. BRONSON: Yeah. Parker gives Logan a slightly worried look, and then thinks "What the hell." She walks over to him. LOGAN: Yeah. They start positioning their bodies with Parker trying to get her leg on Logan's shoulder. Mac readies her cell phone to take a picture. Bronson starts a private perusal of the book. Logan halts his and Parker's contortions. LOGAN: Wait. That's "Splitting of a Bamboo." Can I see that for a second? BRONSON: Yeah. Bronson holds out the book with shows the woman standing in front of the man, holding up her right leg with one hand and the man's left leg with the other as he stands behind her. LOGAN: Oh, sh**t. PARKER: Okay. Parker and Logan assume the position. Mac takes the picture and grins. BRONSON: That's good. Bronson and Mac nod at each other. INT - HEARST COLLEGE, RADIO STATION - NIGHT. Music: "Lovers Who Uncover" by the Little Ones. LYRICS: Where do all the lovers Meet with one another In an effort to uncover What has happened to their salad days? The sprite ones on the corner- Sid is now ensconced in the broadcast booth of the radio station. One of his fellow red t-shirts knocks on the window and points to Sid's computer. Sid sits down by it and checks the screen. He laughs as the pictures of Parker and Logan, and of Mac and Bronson, appear on the screen. End music: "Lovers Who Uncover" by the Little Ones. INT - MARS RESIDENCE - NIGHT. Veronica eases back into the armchair. She points the remote at the TV. Live coverage of the crowd at a basketball game fills the screen. SPORTS COMMENTATOR: ...and with that match- STATION ANNOUNCER: And a reminder: our regularly scheduled programming can be seen an hour after its usual time. Veronica groans and throws her head back on armchair. She jerks her head up as a thought occurs to her. She gazes intently at the screen. INT - DRUGSTORE - NIGHT. A box of Super Titans condoms is pushed across a counter. The clerk picks it up to scan it as Logan gets cash out of his wallet and slaps it on the counter. DRUGSTORE CLERK: [sceptically] Super Titans? LOGAN: It's a curse, actually. Logan picks them up and holds them up with a cheesy grin for a picture. Another box is handed to the clerk. She scans it and looks down at them with a smirk. Mac, less composes than Logan, pushes her money across the counter. She looks up at the clerk. MAC: Just hand them to me, please. The clerk does and Mac holds them up, smiling tightly. Parker grins as she takes the picture. Bronson is smirking behind Parker. INT - HEARST COLLEGE, RADIO STATION - NIGHT. Music: Unknown. LYRICS: Let's get it right We'll get it right We want it Let's get it right- Another red t-shirter gestures behind the window to Sid. He checks his computer screen. There are pictures of each of Bronson, Mac, Logan and Parker with their box of condoms, followed by pictures of the condoms blown up like balloons and twisted in animals. Sid grins. There's the sound of a knock on a door. End music: Unknown. INT - MARS RESIDENCE - NIGHT. Veronica is in deep concentration at her desk. Keith walks in. KEITH: Hey. You know you're missing that show where women have sex in an urban setting. Veronica finishes what she's doing, announcing her conclusion. VERONICA: It's an hour off. She finally acknowledges Keith. VERONICA: You said Hank watched a Clippers game that night. Channel 9 pushes all their programming back an hour for Clippers games, which means on the night of the dean's m*rder, our earwitness was watching Space Ghost at 3:30, not 2:30. KEITH: Which means the sh*t he heard came an hour later, also after Mindy's car was returned to the hotel valet. Veronica nods and they both ponder the importance of this information. EXT - BEACH - DAYBREAK. Music: "Lost to the Lonesome" by Pela. LYRICS: Hey, we should crash the party on Christmas eve Hey, we should write our name on every wall we see Hey, we should break our wallets at every bar Hey, we could break the bed without broken hearts La la la la and we could leave the lonely and lost to their lonesome hearts Don’t just stand there with your face in your hands Don’t just stand there Clean up your broken glass! Hey, we should crash the party on New Years Eve And hey, we should write our name on every wall we see La la la la and we could leave the lonely and lost to their lonesome hearts Don’t just stand there like a ghost in my room And don’t just stand there with that same old TV set Don’t just stand there pointing out west And don’t stand there telling me I'm nothing It's dawn as Logan's Range Rover pulls to a stop on the beach near a lifeguard station. Laughing, the four pile out of the car. MAC: Tell me the next challenge is to sleep on the beach for twelve hours. Logan reads the text message on his phone. LOGAN: "Go to the top of the lifeguard station to rescue your final clue. Don't forget to bring your buddy." Logan looks at Parker, smiling, and runs up the sand towards the lifeguard station. The others follow and they jog to it. BRONSON: Buddies, buddies. LOGAN: Come on. PARKER: Where are we going? LOGAN: Let's go. MAC: Come on. BRONSON: You go first. They stumble up the steps and enter. PARKER: Okay. LOGAN: Hey. Look there. They start searching. Logan points Parker to the area above the door. She jumps up on something to reach. After a moment, Logan steps out of the building onto the porch and looks over the ocean. BRONSON: There's nothing here. LOGAN: Turn around. They all look out in the same direction. There's a buoy in the water on the top of which is a balloon. They file out and line up against the rail facing the water. BRONSON: Here's the thing...I'm not what you would call a strong swimmer. MAC: Yeah, Bronson can't swim. Parker sighs before adopting a determined face. She starts to unbutton her jacket. PARKER: Okay. Logan looks at her sceptically. LOGAN: Uh, do you have any idea how cold that water is? PARKER: Please. I'm from Denver. Parker peels off her jacket and starts to unbutton her sweater. LOGAN: Right. Which means you've never actually touched the Pacific Ocean. PARKER: I thought you were some kind of surfing badass. Logan laughs and accepts the challenge, throwing off his jacket. LOGAN: Okay. But I have a wet suit in the car. Why don't we just grab that? PARKER: We're in a race against time, Logan. We have no time for you to change out of your panties. With that, Parker heads down the beach. Logan grins as Mac and Bronson laugh. LOGAN: Panties. BRONSON: Ooh. LOGAN: Okay, that's fine. Logan follows Parker onto the sand, starting to unbutton his shirt. Parker takes off her shoes as Logan takes off his shirt. He shouts back to Bronson. LOGAN: You can't swim, huh? Logan and Parker run down to the water. Bronson and Mac watch. Bronson whispers in Mac's ear. She smiles and they kiss. Cut to later. Mac and Bronson lead the wet and cold Logan and Parker back to the car. Parker's got the balloon, but is shivering. Logan throws his jacket over her shoulders. LOGAN: Hey. Here you go. PARKER: Thanks. They climb back into the car. End music: "Lost to the Lonesome" by Pela. INT - SHERIFF'S DEPARTMENT - DAY. Keith and Veronica hurry into the main room. Lamb is standing in the area behind the main desk. KEITH: You got a second, Sheriff? LAMB: You two kids are sure up early. Just complete a shift snapping dirty pics at the Camelot? Lamb walks over to the coffee machine to pour himself a cup. VERONICA: We got O'Dell's time of death wrong. It wasn't until an hour later that the witness overheard the g*n. LAMB: I'll be sure and get that noted on the dean's autopsy. Thanks for the bulletin, Keith. Lamb dismisses them and marches past Keith with his coffee. KEITH: According to the valet, Mrs. O'Dell was back at the Neptune Grand at the time of her husband's death. Lamb turns back to face them. LAMB: So, what, now I'm a jerk because I listened to a concerned citizen? VERONICA: No, just 'cause. SACKS: Sheriff! Sacks' shout startles Lamb and he jerks, spilling his coffee over his hand. LAMB: Does everyone need a piece of me this morning? Lamb starts licking the coffee from his hand as Sacks approaches him. SACKS: We got the results on the keyboard you wanted. KEITH: You got prints off the dean's computer? LAMB: By all means, Sacks, tell me the forensics results in front of Neptune's favourite amateur crime-fighting duo. Lamb glares at Sacks with a tight smile. Sacks hesitates. SACKS: I can't tell, Sheriff, are you being sarcastic- LAMB: Did you ID the prints or not, Sacks? SACKS: Yeah. Sacks checks the file. SACKS: Someone named Steve Batando. Keith and Veronica exchange significant looks. Lamb spins on his heel and heads into his office. SACKS: Sheriff? Keith and Veronica silently agree to make their exit, leaving the main office. VERONICA: Surprise. Batando can type. KEITH: Enough to write, "Goodbye, cruel world." I don't know, Veronica. He just doesn't seem like the perfect-m*rder kind of guy. VERONICA: Ratner said he overheard two men arguing in Landry's room. What if the second one was Batando? KEITH: Hmm. INT - HEARST COLLEGE, FOOD COURT - DAY. Mac, Parker, Bronson and Logan race into the Food Court from outside. MAC: Okay, guys. PARKER: Stop it. BRONSON: Follow me. Follow me. They get to the organiser's table. Parker hands over the balloon with glee. PARKER: Yes. SID: Congratulations. You guys got third place. Sid holds out a small heart-shaped box. The team's face falls. Logan takes the box and they turn away from the table, groaning and giggling at their failure. Logan opens the box and checks a voucher inside. LOGAN: Hey, a $50 gift certificate for the Neptune Grand restaurant. That ought to come in handy. Mac grabs the voucher from him. BRONSON: Well, hey, it's still third place. MAC: More like second loser. Parker laughs. Logan throws up the box for Bronson to catch, although the latter is a little slow on the uptake. BRONSON: All right. Bronson gives Logan a companionable pat and walks away. PARKER: Bye. BRONSON: Bye. Logan watches Bronson walk away as Parker turns to Mac. MAC: See you. PARKER: See you. Mac also walks away. Logan turns to Parker. LOGAN: Hey, I had a good time last night. PARKER: Yeah. Me too. You're a sport, Logan. Parker takes off Logan's jacket. Here. She passes him the jacket. I'll, uh, I'll see you around. Okay. Logan watches her go. He heads out of the Food Court, passing Mac who's been caught by someone the credit writer's appear to call "Food Court Employee," although there's nothing to show that he is anything but hairy. HAIRY GUY: I keep on sending an error message... He continues mumbling incoherently. Mac is more interested in Bronson, who is waiting by a pillar. She ends the discussion. MAC: Okay. I'll see you. HAIRY GUY: Yes, see you tomorrow. Mac hurries to Bronson. MAC: What's wrong? BRONSON: Nothin'. I've just got O-Chem at eleven. By the time I get back to my apartment to take a nap, I'll have to come straight back. MAC: Or you could just come to my room. We could...I don't know...crash for an hour? Bronson takes his time consider the offer. BRONSON: Okay. Mac smiles. INT - HEARST COLLEGE, MAC AND PARKER'S DORM ROOM - DAY. Music: "Swimmers" by Broken Social Scene. LYRICS: I was waiting for you I was standing around I was getting older I was going down If you always get up late You'll never be on time If you always make it After work Ba ba da-da-da After work Bronson and Mac are spooned in her bed, sated after sex. They giggle. BRONSON: And this is what you meant by "crash"? MAC: Oh. Yeah. I meant "bang." They both laugh. MAC: I got my onomatopoeias mixed up. BRONSON: I don't think "bang" is the right word, either. Mac giggles and twists around in bed to face him. MAC: Well, not when you're all sweet and tender about it. BRONSON: I like being sweet to you. MAC: I'm really glad. They kiss. MAC: Wait. Can I say something else, instead of that? BRONSON: Oh. Uh, I like being sweet to you. MAC: Now all I got is..."thank you." BRONSON: That's okay. They laugh again and start kissing. End music: "Swimmers" by Broken Social Scene. INT - SHERIFF'S DEPARTMENT - DAY. Steve Batando is hurled into a chair in the interrogation room. Lamb perches his butt on the table in front of him. Sacks is watching, standing in front of the door. BATANDO: What is this? Don't you have to charge me or something? LAMB: I just need you to answer a few questions. If Dean Cyrus O'Dell is found sh*t to death in his office, what are Steve Batando's fingerprints doing on his computer keyboard? BATANDO: You got to be...you think I k*lled that old bastard? LAMB: The last thing typed on his keyboard was a su1c1de note, and whoever wrote it also put a b*llet in the dean's head. Batando appears to run things through his head. BATANDO: That bitch is setting me up. LAMB: "That bitch" being your ex-wife? Batando gazes up at Lamb. BATANDO: I'm done talking. I want a lawyer. Lamb grins and leans down to him. LAMB: You got it, Stevie. Lamb slaps him on the arm. Cut to later. Batando is pacing in the cell. CLIFF: [offscreen] Mr. Batando? He looks up at the entrance to the room. Cliff stands at the door in shadow. He steps forward. CLIFF: Brace yourself for the best free legal representation in Neptune county. Batando stares hard at Cliff, half-recognising him from the scam in 305 "President Evil." BATANDO: Do I know you? Cliff has an instant of being uncomfortable before he brazens it out. CLIFF: I've got one of those faces. Cut to later still. Lamb, Batando and Cliff all take a seat at the interrogation room table. CLIFF: I'd like to remind my client that he is answering these questions only as a courtesy to the sheriff. LAMB: Is that it? CLIFF: That's it for now. Lamb tears into Batando. LAMB: Mr. Batando, where were you on the night of December 10th, approximately- CLIFF: Hold on. Cliff is reading the paperwork. He holds up a finger. CLIFF: It says here Mr. Batando was picked up at the laundromat on El Camino. LAMB: So? CLIFF: Just pointing out that my client was taken into custody a hundred yards inside Santa Rita County. You don't have jurisdiction there. Any information you gather today will be inadmissible. I'm sure you know that. Do go on. Batando smirks. Lamb sighs heavily. EXT - ANDRIOTTI RESIDENCE - DAY. A man in the uniform of a naval officer kisses a woman on the lawn of a well-appointed house. Keith watches as the man drives off. Keith gets out of his car, parked discreetly on the other side of the road, around a corner. He runs up to the house to catch the woman before she goes inside. KEITH: Mrs. Andriotti! The woman turns and watches as Keith jogs to get to her. He has the envelope with the photos in his hand. KEITH: Keith Mars. Sorry to bother you. I'm a private investigator looking into the death of Tom Barry. A few weeks before his death, his wife hired another P.I. to follow him. Keith takes out the pictures and hands them to her. KEITH: She suspected he was having an affair. Mrs. Andriotti, if you know something... DR. ANDRIOTTI: It's Dr. Andriotti. I'm a neurologist. Mr. Barry was a patient. KEITH: He was sick? DR. ANDRIOTTI: Have you heard of Creutzfeldt-Jakob disease? Keith shakes his head. DR. ANDRIOTTI: He was terminal. And what he was about to go through...all I know is whoever k*lled him probably spared that poor man a lot of suffering. INT - MARS RESIDENCE - NIGHT. Veronica enters the apartment. She sees Keith sitting at the counter. VERONICA: You're alive. I'm always happy to come home and find my dad hasn't been sh*t by a naval officer. She pats him on the back on route to dropping her bag on the armchair. KEITH: Some interesting twists in the Coach Barry case. It turns out the coach's wife took out an additional life-insurance policy on her husband a couple of days after Vinnie showed her the pictures of her husband with another woman. Veronica pauses in getting herself something to eat to respond. VERONICA: Oh, my. KEITH: And that's not all. The new policy had a double-indemnity clause. If his death is ruled an accident -- say, a carjacking/m*rder, for instance -- it paid out double. As it stands, the family will be sitting pretty with a five million dollar payout. Veronica gets her dinner out of the microwave. She brings it over to the counter. VERONICA: Mrs. Barry was at home with the younger son and the babysitter at the time of the m*rder. You think she hired somebody? KEITH: That was my first thought, but with what? They took out a second mortgage to pay for their younger son's medical expenses. It's not like they'd find ten grand in the couch cushions. And it's not like h*t men work on spec. Veronica pauses chewing her food as she remembers the coin collection. KEITH: Veronica? She doesn't share. VERONICA: Nothing. KEITH: Wait till you hear the kicker. The coach wasn't having an affair. The woman he was seeing is a neurologist. The coach was dying of Creutzfeldt-Jakob disease. It promised a grim, prolonged, and expensive death. She may have actually done him a favour. Veronica goes into deep thought. EXT - BARRY RESIDENCE - DAY. Keith walks up to the Barry's house. (It's still the same house, but bears a different number from that on Vinnie's invoice: 585.) He rings the bell. Kathleen Barry opens the door. She's surprised to see him. MRS. BARRY: Keith. INT - MARS RESIDENCE - DAY. Veronica is working on her laptop. She is creating the fake ID for Josh. Her cell phone rings. It's a call from "Number Unavailable - Unknown." She answers. VERONICA: Josh? EXT - NEPTUNE BANK - DAY. Veronica's Saturn parks opposite the Neptune Bank. Josh is in the passenger seat. VERONICA: Here. She holds up the ID. VERONICA: Your new ID. Josh takes it. JOSH: Thanks, Veronica. VERONICA: Good luck. Josh climbs out of the car and heads to the bank. Veronica watches him go through the wing mirror. VERONICA VOICEOVER: You think you're nervous now? What if you knew that there's a chance those coins will be gone, and if they're gone, it means your mother had your father k*lled? EXT - BARRY RESIDENCE - DAY. Keith and Mrs. Barry are sitting at a table on the back patio. MRS. BARRY: Mr. Mars, it sounds to me like you're asking if I had my son k*ll my husband for insurance money. KEITH: Not exactly. MRS. BARRY: Wait here. I want to show you something. Mrs. Barry gets up and walks into the house. Keith watches her go warily. INT - NEPTUNE BANK - DAY. Keith walks up to one of the bank tellers who, according to her name tag, is called Angela. JOSH: I need to get into my safe deposit box, please. ANGELA: Can I see some ID? Josh hands over the ID. The teller examines it carefully, looking up at Josh. He smiles nervously. INT - BARRY RESIDENCE - DAY. A door opens to a cupboard under stairs. Mrs. Barry scoots in a little ways, her hand searching around the back of a doll's house. She pulls out a g*n. She cocks it. INT - NEPTUNE BANK - DAY. The bank teller leads Josh into a room. Josh is carrying a safety deposit box. ANGELA: Here you go, Mr. Barry. I'll give you your privacy. She leaves him in privacy. Josh sits down at the table and opens the box. EXT - BARRY RESIDENCE - DAY. Mrs. Barry returns to the patio. To her consternation, Keith isn't there. MRS. BARRY: Mr. Mars? INT - BARRY RESIDENCE - DAY. Mrs. Barry walks softly in the house, pulling the g*n from her pocket. As she passes an open door, Keith darts out, grabs her wrist, twists, and takes the g*n from her. Mrs. Barry grimaces in pain, having been forced to her knees. Keith disarms the g*n. KEITH: That's a colt .45. Something you want to tell me, Mrs. Barry? On her feet, she glares at him, panting heavily. INT - NEPTUNE BANK - DAY. Josh has pulled a smaller box from the safety deposit box. He stares down at it for a moment, then opens it. It is full of coins. Josh checks the safety deposit box. There's nothing else there. He is about to replace the lid of the coin box when he sees a computer disc in a paper case jammed inside. His name is on it. He pulls it out and stares at it. INT - BARRY RESIDENCE - DAY. Keith and Mrs. Barry are in the dining room. She's sitting at the table while Keith stands at one end of it. The g*n is on the table. Mrs. Barry is rubbing her arm. MRS. BARRY: Mr. Mars, I was not planning to sh**t you. That is so ridiculous. I don't even know how to use a g*n. KEITH: You pull the trigger. MRS. BARRY: Listen to me. I got the g*n to show it to you. When Josh told me that my husband was k*lled and the police showed up, I hid it. KEITH: Because he did it? MRS. BARRY: Because I thought it would make him look guilty. But then I read on the internet that they can test them, can't they? That's why I wanted you to have it, to prove that my son is innocent. Keith sighs and drops into the chair. MRS. BARRY: It was Tom's old g*n from his army days. He coached there, you know. Keith sighs again. EXT - NEPTUNE BANK - DAY. Josh heads back to Veronica's car, carrying the coin box. He gets in. VERONICA: So? He opens the box, showing her the coins. VERONICA: Relieved? Josh holds up the computer disc. JOSH: This was in there, too. It's my dad's handwriting. Veronica takes the disc. VERONICA: Do you have any idea what it is? Josh shakes his head. JOSH: None. Veronica looks at it suspiciously. INT - SHERIFF'S DEPARTMENT - DAY. A g*n in a plastic bag drops down on Sacks' desk. Sacks stares at it. SACKS: Hey, Keith. What's that? KEITH: Something Mrs. Barry neglected to turn over. She wants it tested for powder residue. She thinks it'll help prove her son didn't do it. Sacks picks it up but before he can do anything with it, Lamb hurries through the office to his g*n, shouting. LAMB: Let's move, Sacks. He talks into his radio. LAMB: Give me that address again. RADIO: 112 Delmar Circle. KEITH: Something happen at the O'Dell's'? LAMB: Yeah, another breaking-and-entering call. KEITH: It's Batando. LAMB: That's what I'm hoping. Lamb pauses to buckle on his w*apon. KEITH: You want me to come along? It's just I've dealt with him before. The guy's a little unhinged. LAMB: I think I can handle it, Keith, but I'll tell you what. I'll give you a call if I need any backup. Sacks, hurrying to get his buckle secured, gives Keith an apologetic smile and follows Lamb out. EXT - O'DELL RESIDENCE - DAY. Lamb and Sacks run from their vehicle to the house. Their g*n are drawn. Lamb opens the back gate. He sees that the glass in the back door has been broken and that the door is slightly ajar. LAMB: Make sure he doesn't slip out. Sacks is a little surprised at being told to stay, but does as he is told. INT - BARRY RESIDENCE - DAY. Lamb enters the house through the back door which leads to the garage. Lamb holds out his g*n, checking as he passes the Volvo. He opens the door to the kitchen. Cut to a moment later as he comes into the main hall of the house. There's a shout from upstairs. BATANDO: You better hide, you crazy bitch! It's followed by the sound of smashing glass. Lamb heads up the stairs which are covered in plastic, as if in preparation for being painted. EXT - O'DELL RESIDENCE - DAY. Keith's car pulls into the driveway. He gets out of the car and looks up at the house. INT - BARRY RESIDENCE - DAY. Inside, Lamb is making his way slowly up the stairs. He gets to the first room at the top. The double door is ajar. He pulls on one and steps back, checking what he can see of the room. He pulls the other door open, holding his g*n in front of him. He walks into the bedroom, also in readiness for redecoration. He glimpses a movement in his peripheral vision, turns, and fires at a mirror, which shatters. EXT - O'DELL RESIDENCE - DAY. Keith drops by his car at the sound of the sh*t. Sacks jerks and looks towards the back door. INT - BARRY RESIDENCE - DAY. Lamb ducks and cringes at the flying glass. He stares at the mirror in disgust, lowering his g*n. He looks down at the glass, not seeing the shadow behind him until it's too late. He turns just as the figure att*cks, catching him in the face and bringing him down. Batando raises the baseball bat again and brings it down hard on Lamb's head. BATANDO: You like that?! Huh?! Lamb is unconscious, blood starting to pour from his head. He raises the bat over his head to do it again, but there is a sh*t and he stumbles, falling against the wall. Sacks is at the door, having sh*t him in the chest. Batando clutches his chest as he slides down the wall. Sacks keeps the g*n on Batando, and crouches down next to Lamb. He shakes him. SACKS: Sheriff? Lamb doesn't open his eyes but groans out. LAMB: I s-smell bread. Sacks is in shock, close to hyperventilating. He hears steps on the stairs and points the g*n at the door. Keith crouches down and holds out his hand. KEITH: Sacks. Once identified, Keith clamours up the rest of the way and steps into the room. Sacks is back to pointing the g*n at Batando. Keith puts his hands on Sacks' arm. KEITH: Sacks. It takes a second but Sacks pulls himself together enough to listen to Keith. Keith forcibly lowers Sacks' g*n. KEITH: I need for you to go call for an ambulance now. Sacks straightens, still staring at Batando. He slowly exits the room, still breathing jerkily. Keith looks down at Lamb. He checks for a pulse at Lamb's neck. His expression says that it doesn't look good. EXT - BEACH - DAYBREAK. Josh is staring out at the ocean. Veronica arrives behind him, carrying a laptop. They load the computer disc. It's Coach Barry on video. COACH BARRY: Son, if you're watching this, you're twenty-one years old, I'm long gone, and the statute of limitations has run out on our insurance claim. It's time you know. I was responsible for my own death. Joshua, as I make this tape, I'm dying of a disease that will sap me of my mind and our financial resources. I had my first att*ck today. And I won't allow myself to have another. I didn't want to go out like that, but I won't leave our family destitute, either. The person I asked to help me wasn't a k*ller. He was a dear friend who knew everything. Son, please know that I am proud of you. I know I was tough on you, but I was preparing you to be man of the house. I leave this earth with no doubt you've taken good care of your mother and brother the past couple of years. That's simply the kind of man you are. The coach smiles. Josh is stunned. He wipes away a tear. Veronica watches him sympathetically. On the disc, the coach indicates to someone that he's done. A figure can be seen in a reflection behind him, operating the camera. VERONICA: Josh, there's someone else in the room. The back of a dark-haired figure wearing a team jacket can be seen in the reflection. VERONICA: It looks like you. Josh peers down at the screen. JOSH: That's, uh, that's Coach Yeager. He was my dad's assistant coach. He played for him at army. VERONICA: That's who Mason saw. INT - MARS INVESTIGATIONS - DAY. Veronica enters the office. She walks to Keith's office where he is sitting at his desk at his laptop. VERONICA: They said on the radio that Sheriff Lamb is still in intensive care. Keith leans back in his chair and stares at her. KEITH: My buddy in customs found footage of Josh crossing the border on a fake ID. Please tell me it's just a coincidence. VERONICA: Dad- KEITH: [angry] You want to give me plausible deniability? I suggest you remember to unplug the laminator next time. Keith thumps his desk. KEITH: Why, Veronica? VERONICA: You know Josh didn't do it. KEITH: Only guilty people flee the country, honey. VERONICA: Here's something you need to see. Veronica pulls the computer disc out of her bag. She hands it to Keith who snatches it. The phone rings at her desk. With a final look pleading for understanding, Veronica goes to answer the phone. VERONICA: Mars Investigations. INT - HEARST COLLEGE, BASEMENT - DAY. Weevil and his boss, both equipped with flashlights, are making their way past leaking pipes. WEEVIL'S BOSS: The same thing happens every year. "Heat's not working." The furnace smells bad." Wah, wah, wah. Hell, the thing's as old as the damn university. They get to what looks like a boiler. WEEVIL'S BOSS: Trustees might as well put it on the historical registry. Look at that. Rusted clear through. Hey, Weevil, why don't you clean the flue, long as we're down here, huh? WEEVIL: Sure. Weevil gets a flue brush and opens a door into the flue. He sets his flashlight down in the flue. He leans in and looks above. He starts to use the brush but he catches a bag which falls down into the flue. He pulls it out of the flue and opens the bag, pulling out a shirt. There's blood on it. WEEVIL: Whoa. Boss. I think you should see this. Weevil's boss stops his work and shines his flashlight at Weevil's hands. Weevil is holding out a pair of blood-stained gloves. INT - MARS INVESTIGATIONS - DAY. Keith is watching the end of Coach Barry's video. COACH BARRY: [offscreen] That's simply the kind of man you are. VERONICA: It's the County Commissioner's office. Keith shuts his laptop. KEITH: So, Josh is planning to stay gone until his family's insurance money is safe? VERONICA: That's his plan. He said he'd try to get in touch with his mom, tell her what really happened, but that it was more important for her and his little brother to be taken care of. He said it was time for him to be a man. Keith is in deep thought about this. VERONICA: Dad, the County Commissioner. Keith picks up the phone. KEITH: This is Keith Mars. Sure, Commissioner. Keith listens. KEITH: No. Keith pauses again. KEITH: What? Veronica looks over at Keith and stops what she is doing at her desk to watch him. KEITH: [offscreen] I'm very sorry to hear that. Veronica walks to his door. KEITH: [offscreen] Of course. Keith is very sombre. KEITH: First thing in the morning, fine. Keith nods. KEITH: Okay. Goodbye. He hangs up the phone and looks up at Veronica. He stands. KEITH: He, uh... Keith struggles a little. He stares down at the phone before looking back at Veronica. KEITH: He says Sheriff Lamb's d*ad. Veronica is shaken. INT - HEARST COLLEGE, FOOD COURT - DAY. Veronica and Wallace have trays and are at the till of one of the booths. WALLACE: I can't believe Josh did it and just disappeared. Wallace sighs heavily. WALLACE: How awful for that guy's family. Veronica seems to consider telling his the truth for a moment, but decides not to. As Wallace pays, she steps forward to find a free table. She stops short on seeing Logan and Parker at one of the tables, chatting happily. Logan is smiling. Veronica stares at them until Wallace comes up behind her and nudges her. She looks back and then follows him. INT - SHERIFF'S DEPARTMENT - DAY. Sacks opens an interrogation room door and indicates for Mindy to step inside. She does so, fed up. Sacks follows her in. MINDY: I really don't understand why you had to drag me down here- She breaks off on seeing Keith, in his sheriff's uniform, at the door. KEITH: I know. I'm a tough man to shake, Mrs. O'Dell. Keith walks in and shuts the door behind him. MINDY: What do you want, Keith? KEITH: Sheriff Mars. Mindy sits down on one of the chairs. Keith approaches her with a file in his hand. KEITH: Two maintenance workers found a bag of bloody clothes on campus. He hands her the file. She opens it and pulls out photographs of a bloody shirt. On one of the close-ups, the initials HRL can be seen on one of the pockets. Keith points to it. KEITH: The shirt belongs to your boyfriend, Hank Landry. So, here's the deal. Either you're covering for him, or he's covering for you, and you're gonna tell me which it is right now. Mindy looks genuinely stunned by what she sees. She thinks for a moment before turning her big baby blues up at Keith.

{"type": "series", "show": "Veronica Mars", "episode": "03x14 - Mars, Bars"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Weevil walks into the dean's office and finds him slumped over his desk in 309 "Spit and Eggs." Cut to Mindy in Keith's office in 310 "Show Me the Monkey." MINDY: I didn't k*ll Cyrus, Keith. Cut to Hank in Keith's office in 314 "Mars, Bars." LANDRY: I found this bug in my cell phone. Did you put it there? KEITH: No, Hank. Cut to the O'Dell residence. Steve Batando lays into Sheriff Lamb with a baseball bat. BATANDO: You like that?! Huh?! Blood starts to pour from the back of Lamb's head. Cut to Mars Investigations. KEITH: He says that Sheriff Lamb's d*ad. Cut to the basement of Hearst College. As Weevil starts to clean the flue, a bag drops down. He opens the bag and pulls out a bloody shirt. KEITH: [offscreen] Two maintenance workers found a bag of bloody clothes on campus. Cut to an interrogation room in the Sheriff's Department. Pictures of the bag's contents are in Mindy's hands. Keith points to the monogram on the pocket of the shirt. KEITH: The shirt belongs to your boyfriend, Hank Landry. Mindy goes pale. KEITH: [offscreen] Either you're covering for him or he's covering for you. End previously. INT - HEARST COLLEGE, CRIMINOLOGY CLASS - DAY. Veronica walks uncertainly down the central steps towards the front of the class. VERONICA VOICEOVER: So, here's something the freshman guidebook failed to address: your dad is acting sheriff, he thinks your favourite professor may have m*rder your favourite dean. Landry is at the whiteboard in the front of the class, writing. Under the heading "Theory versus Reality, pg 136, part 2," he is in the process of writing a list: "1. First, was this an intentional crime? 2. Second, was there wanton cruelty? 3. Third, is this a hostile person?" VERONICA VOICEOVER: So where do you sit in class? Veronica approaches her usual seat and hesitates. VERONICA VOICEOVER: Up front now seems awkward. She turns and looks towards the back of the room. VERONICA VOICEOVER: But isn't a seat in the back like hanging an "I think you're guilty" sign? Landry notices her dilemma and hurries towards her. LANDRY: I hope you're not relocating. She spins around to face him. VERONICA: Oh, Professor. No. No. I was just, um... LANDRY: I know, Veronica. It's kind of a weird situation, but I-I don't want you to think that this disagreement that your father and I are having will in any way affect things between us. A student like you comes along once, maybe twice, in a career. I'm glad that I get to be the one to mentor you, and I really hope that you don't forget that amid all this... VERONICA: I won't. Thanks, Dr. Landry. Landry goes back to the whiteboard and Veronica takes her seat at the front. Tim nods to her as he passes. INT - SHERIFF'S DEPARTMENT - DAY. Mindy is still in one of the interrogation rooms with Keith. She is sitting at the table. Keith is pacing behind her. MINDY: This doesn't make sense, Keith. KEITH: Sheriff Mars, actually. I am acting sheriff now. So, sorry... MINDY: Okay. Sheriff. Keith leans against the wall in front of her. MINDY: Why am I still here being questioned by you in that tone of voice? You said that you found my ex-husband's fingerprints all over Cyrus' computer keyboard. Steve was clearly unstable. You found his prints on the keyboard. Isn't that what you people call a smoking g*n? KEITH: "Goodbye, cruel world." That sentiment uses eleven letters. Unstable ex-husband Steve's prints are on every key on the keyboard. And, of course, there's the matter of the gloves found in the incinerator. Did the k*ller bother to wear gloves for the m*rder, only to take them off and leave prints all over the computer? So, no, that's not what we call a smoking g*n. Keith starts pacing again. MINDY: [with increasing desperation] I didn't k*ll Cyrus, Keith! Keith perches on the edge of the table next to her. KEITH: Sheriff Mars. Mindy sighs in frustration. KEITH: You said you and Hank Landry were alone at the Neptune Grand on the evening of your husband's death, but a witness heard two men fighting in your room at midnight. You say you never left the hotel, but at 1:30, your car is checked out of valet and checked back in an hour later. In that time, a phone call is made between your cell and Landry's. You claim you never left the hotel and this call concerned toothpaste. Roughly thirty minutes after your car is checked back in, a student passing near your husband's window heard the g*n. Toxicology reports show that your husband had a large dose of Xanax in his system. The dean's assistant said he was out, but records show you picked up a refill prescription for him earlier in the evening. Mindy is uncomfortable. Keith pushes off the table and walks behind her. KEITH: It just doesn't add up, Mindy. He grabs a chair and pulls it next to her, sitting down close to her. KEITH: I believe Hank Landry k*lled your husband, Mrs. O'Dell. I believe I can prove it. My question to you is this: are you gonna take the fall with him? Mindy opens her mouth but nothing comes out. She thinks and then comes to a decision, slapping the table. She turns to Keith. MINDY: The man who came to the hotel room. That was Cyrus. He was furious. FLASHBACK: INT - NEPTUNE GRAND HOTEL, HANK'S ROOM - NIGHT. The keynote colour is gold. O'Dell is waving the g*n around. Mindy is dressed and pacing in front of him. Hank is naked and still in bed. MINDY: [offscreen, narrating] He had a g*n. LANDRY: Put the g*n down, Cyrus. Let's talk about this. O'DELL: Oh, "Cyrus"? Oh, we're on a first-name basis now? I can see how you might be confused... As O'Dell approaches the bed, he pushes Mindy out of the way. She tries to appeal to him. MINDY: Cyrus. He ignores her. O'DELL:...about our relationship, what with you sleeping with my wife and all. But let me remind you, I'm your boss. LANDRY: Please, put the g*n down and then we'll talk. MINDY: Cyrus, please! Please! O'DELL: There's nothing to talk about. You're done, Hank, and I don't mean just at Hearst. I mean everywhere. No tenure, no more happy days in academia bedding impressionable students and easily charmed wives. Mindy reaches out to O'Dell, going for the forearm of his g*n-wielding hand. MINDY: Cyrus, please. END FLASHBACK. INT - SHERIFF'S DEPARTMENT - CONTINUING. KEITH: He thr*at to end his career? MINDY: Well, Hank's career means everything to him. Cyrus could k*ll him at every reputable college in the country. Cyrus stormed out, and Hank freaked. I said that I would go and try and talk him down. I went to the house, but his car wasn't there, so I went by his office. KEITH: And the phone call? MINDY: Hank wanted to know how it went. KEITH: How did it go? FLASHBACK: INT - HEARST COLLEGE, DEAN'S OFFICE - NIGHT. Eggs h*t the window. MINDY: [offscreen, narrating] Well, his office window had just been egged, so he wasn't in a good mood. O'Dell senses a presence and turns from the window to the door. O'DELL: What are you doing here? MINDY: I'm here to ask you one more time, Cyrus, to please be merciful. END FLASHBACK. INT - SHERIFF'S DEPARTMENT - CONTINUING. KEITH: That's when you gave him the Xanax? FLASHBACK: INT - HEARST COLLEGE, DEAN'S OFFICE - NIGHT. Cyrus is pouring himself another drink. MINDY: [offscreen, narrating] I thought it would do him some good. Mindy hands Cyrus a bottle of pills. KEITH: [offscreen] Three pills practically left him helpless. O'Dell taps out three pills into the palm of his hand before tossing them into his mouth. MINDY: [offscreen, narrating] I just gave him the bottle. He handled the dosage. Mindy watches Cyrus follow the pills with a slug of alcohol. MINDY: [offscreen, narrating] Look... END FLASHBACK. INT - SHERIFF'S DEPARTMENT - CONTINUING. MINDY: I was there for five minutes. He yelled, I left, end of story. Keith gets up from his chair with a sigh. He walks over to the window that looks into the rest of the department. KEITH: What did you tell Landry? MINDY: Nothing. When I got back, he wasn't there. KEITH: You came to me to prove your husband was m*rder. It didn't occur to you that your lover might have done it? MINDY: I knew that Cyrus didn't k*ll himself. I wanted to know who did, even if it was Hank. KEITH: You provided his alibi. MINDY: Until you told me about Hank's bloody clothes, I believed someone else was responsible. Cyrus had plenty of enemies. KEITH: You'll testify Hank was worked up? That he panicked at the thought of losing his career? MINDY: Yes. Keith heads for the door before pausing to look back at her. KEITH: I've known three men in your life, Mrs. O'Dell. Two are d*ad. The great state of California may see to the third. MINDY: How am I supposed to react to that? KEITH: Reflexively. Keith opens the door. KEITH: Don't leave town. INT - HEARST COLLEGE, CRIMINOLOGY CLASS - DAY. Landry is in the full flow of his lecture. LANDRY: Many agencies requesting criminal profiles are unified by the misperception that the profiling process can somehow circumvent the work of analyzing physical evidence on a particular case... Landry is interrupted by the sound of police radios. He looks up at the back of the classroom where Sacks and another deputy have appeared. Veronica looks back at them and the other students get restless. LANDRY: Uh...uh... The deputies just stand there and Landry presses on. LANDRY: Review conducted by Horvath and Meesig determined that physical evidence is used less than 25% in the cases- This time he reacts quickly as a door at the side of the front of the room opens. Keith walks through, closing it behind him. Landry hurries to meet him, his voice lowered. LANDRY: All right, then. May I ask what this is all about? Keith steps very close to speak discreetly into Landry's ear. KEITH: I'm going to arrest you, Dr. Landry. You should feel free to dismiss your class. There's no reason for the students to see you led out of here in cuffs. Landry nods. He turns to the class. LANDRY: Class, the acting sheriff has some questions he'd like to ask about a case, so I'm gonna let you go early. The buzzing in the class gets noisy. Tim, sitting at the side, rises from his seat. Veronica, fully aware of what is going on, gives her father a regretful look. LANDRY: Uh, read chapter six by next class. Opening credits. INT - SHERIFF'S DEPARTMENT - DAY. KEITH: Say it again, please, into the microphone. Landry is now in the interrogation room. Keith pushes a microphone in front of him before backing away and leaning against the wall. Landry leans towards the microphone. LANDRY: I'm happy to answer questions without a lawyer present. KEITH: Mindy flipped on you. LANDRY: I don't believe you. KEITH: She says she went back to the dean's office that night. She talked to her husband, gave him his Xanax. When she got back, you were gone. Keith walks back towards the table, leaning on it. KEITH: The dean was m*rder at three a.m. You sure you don't want a lawyer? Landry doesn't respond. Keith sinks into the chair opposite Landry. KEITH: Mindy said the dean visited your hotel room. She says he thr*at to destroy your career, and she went back to his office to try and plead for you. LANDRY: That's what she said? Keith nods. LANDRY: That's all she said about his visit? Keith continues nodding. LANDRY: Well...the dean did more than thr*at me. FLASHBACK: INT - NEPTUNE GRAND HOTEL, HANK'S ROOM - NIGHT. O'DELL: No more happy days of academia bedding down impressionable students and easily charmed wives. The g*n is loosely pointed at Landry. Mindy reaches out to press Cyrus's arm down. MINDY: Stop it. If you just put the g*n away- O'Dell turns on her. O'DELL: And you! You will find your things on the lawn tomorrow morning, okay? I'm so sorry I didn't take my friends' advice about marrying you, but thank god I took their advice about a pre-nup. We are done, and you get nothing, you hear me?! Nothing! END FLASHBACK. INT - SHERIFF'S DEPARTMENT - CONTINUING. LANDRY: She didn't go back to save me, Keith. She went back to save herself. KEITH: She was back at the hotel room by the time the dean was d*ad. LANDRY: The ex-husband, Batando. KEITH: It's not looking like Batando. A maintenance worker found something interesting while cleaning out the incinerator at Hearst. LANDRY: You want to fill me in? KEITH: A bag...containing a dress shirt and gloves -- yours -- covered in O'Dell's blood. This rocks Landry who, for the first time, loses his confidence. He blinks rapidly and stares into space. He speaks in a whisper and almost to himself. LANDRY: Mindy. She set me up. She can get to my clothes. I don't know how she got her car back to the hotel, but- KEITH: Her alibi checks out. How about you finally tell me where you were at three a.m. the night of December 10th? LANDRY: I left the hotel and drove home alone. He appears to remember something. LANDRY: I stopped at a convenience store for cigarettes. KEITH: You charge them? LANDRY: No. And the clerk didn't even look up from his little TV set. Keith isn't impressed. Landry recalls something else.. LANDRY: Wait. FLASHBACK: INT - CONVENIENCE STORE - NIGHT. Landry walks away from the service counter, opening a pack of cigarettes. He goes through the door. FLASHBACK: EXT - CONVENIENCE STORE - NIGHT. WOMAN: [offscreen] Can I bum one of those? Landry turns back to see a woman approach him. We can only see her from the back. She has shoulder-length, dark blonde/light brunette hair. Landry takes a couple of cigarettes out of the pack. LANDRY: Here. Take two. I don't really smoke. END FLASHBACK. INT - SHERIFF'S DEPARTMENT - CONTINUING. KEITH: So, this mystery woman, anything you can tell me about her? LANDRY: Uh, late thirties, early forties. Brunette. KEITH: I don't suppose you can tell me how your clothes ended up covered in the dean's blood? Landry has no answer to that. KEITH: I suggest you find a lawyer, a very good one. You're a smart man. You got to see I have a case. Landry stares at him. Cut to later. A deputy leads Tim into the cell area. The deputy stays at the door as Tim walks to the centre of the room. TIM: Professor Landry. Landry is on the bench at the side partially obscured from sight. Landry sighs. LANDRY: Tim. Of course. It's always Tim. Tim walks close to the bars. TIM: What's going on? They think you k*lled the dean. LANDRY: I didn't. Their case is... He sighs heavily. LANDRY: Just... Tim nods. LANDRY: There are two things you can do, though. Landry finally stands and walks to the bars. He whispers. LANDRY: I found a bug in my phone. TIM: A bug? LANDRY: I need to find out who put it there and how long it's been there. TIM: Okay. What else? LANDRY: I need you to find a needle in a haystack. Tim nods. INT - MARS INVESTIGATIONS - NIGHT. Veronica is working at Keith's desk, using only the desk lamp as light. She looks up on hearing someone enter the main office. She can see that the person is using a flashlight. She quickly turns off the lamp, grabs her bag and heads out of the office through the door that leads into the hallway. She leaves the door ajar and watches. She sees the figure go to Keith's desk and start searching his drawers. As the flashlight shines onto the drawer nearest her position, she sees that the intruder is Tim. She takes on a look of disbelief and marches in. Startled, Tim sh**t up from his crouching position at the desk, trying to close the drawer. He starts to run, but trips over with a loud clatter. VERONICA: What the hell are you doing? TIM: I, uh, I'm- VERONICA: Formulating a lie, realising it's futile, begrudgingly telling the truth? He gets to his feet. TIM: I'm trying to help Landry, okay? He gave-he gave your father the bug that someone planted in his phone. I'm hoping it will-it will lead to Mindy. VERONICA: How is it gonna lead to Mindy? TIM: I don't know. Uh, serial numbers? VERONICA: They don't have serial numbers. TIM: Well, I didn't know! There's got to be a way. How would you do it? VERONICA: [angry] Hmm. Well, first, I'd break into someone's office, act really weaselly, and then ask their advice. TIM: Pardon my manners, Veronica, but I'm a little desperate. Landry...he didn't k*ll the dean. Mindy's framing him. He's a great man. I'm gonna do everything I can to help him. He has an alibi. He was at a convenience store at the time of the m*rder. VERONICA: And he's got the credit-card receipt to prove it? TIM: No, but he-but he talked to a woman. He gave her a cigarette. I-I know it means nothing, but your dad doesn't believe him. He's not looking for the witness. I'm his only hope...unless you help me. Veronica is incredulous. VERONICA: You want my help? TIM: Well, I...I need it. I'm-I'm not-I'm not good in the field. I am more of a thinker. I have to find this woman, talk to her. You might be an asset. Veronica stares at him. INT - CONVENIENCE STORE - NIGHT. RANDY: I don't know. Veronica and Tim are in the same store as the one shown in Landry's flashback. She is holding up a picture of Landry for the clerk, whose name is Randy. RANDY: Maybe or...I don't know. Lots of people come through here. I don't, like, memorise their faces or anything. Sorry. Veronica glances up at an obvious surveillance camera. VERONICA: How long do you keep the surveillance tapes? RANDY: Um, like, no long. Veronica gives him a quizzical look as Tim folds his arms behind her. RANDY: It's not hooked up. It's just for show. VERONICA: You usually work the night shift? RANDY: Yes. You gonna buy anything? Veronica sighs and turns away from the counter. TIM: This is ridiculous. VERONICA: Welcome to "in the field." TIM: Well, it just seems hopeless. We have no idea who this woman is. She could've just been driving through town, or she could live next door and gone on vacation for a year. As Tim talks, the bell of new arrivals sounds, causing both Veronica and Randy, in sh*t behind her, to look up at the door. Three woman of questionable reputation walk in, one of whom looks like an older Lizzie Manning in her wilder days, but in the school uniform of her post-Meg life. Veronica stares at them. VERONICA: Or she could have been a down-on-her-luck catholic schoolgirl smuggling cantaloupes in her shirt. She turns back to Randy. VERONICA: So, are they, like, sh**ting a Mötley Crüe video here or- RANDY: Strip City's just across the street. Three o'clock's the shift change. Veronica smiles and heads for the strippers. The Lizzie look-alike, called Catholic School Girl by the closing credit writers, is complaining bitterly to her companion, Blue Stripper. CATHOLIC SCHOOL GIRL: It's not like Buckcherry wrote it for Tory. I have seniority. VERONICA: Excuse me. Hi. Um, have you seen this guy? She holds up the picture of Landry. TIM: It would have been here, eight weeks and two days ago to be exact. CATHOLIC SCHOOL GIRL: What are you, some kind of little detective team or something? TIM: Well, as a matter of fact, we happen to be- VERONICA: We're just trying to find my dad. He left home again without paying the rent. I'm sure there's a valid reason, but if we could just find- CATHOLIC SCHOOL GIRL: Yeah, there's a valid reason. Men are scum. Mystery solved. She looks over at the clerk and smiles. CATHOLIC SCHOOL GIRL: Except for you, Randy. Let me see. Veronica holds up the picture again. CATHOLIC SCHOOL GIRL: No. I'd remember that one. VERONICA: Two months ago? Any of you maybe bum a cigarette off him? BLUE STRIPPER: Do we look like we smoke? Tim ponders her for a moment. TIM: Yes. BLUE STRIPPER: It's bad for your skin. Sorry, we didn't see him, but try tomorrow. Tory's on, and she smokes like a big, old slutty chimney. Catholic School Girl and the other stripper snigger. Veronica nods and heads out of the store. INT - HEARST COLLEGE, FOOD COURT - DAY. Music: Unknown. LYRICS: ? No one knows I'd say it so loud If I knew what I ought to say Logan, carrying his lunch tray, walks up behind Parker, sitting at one of the tables with her. LOGAN: Hey! PARKER: Hey. She smiles as he slips into the seat next to her. PARKER: I didn't think you were gonna make it. How was Econ? LOGAN: Uh, Econ? PARKER: Tuesdays and Thursdays Econ? That class about economics. LOGAN: Oh, yeah. I flaked. But we agreed no lectures on college responsibility. PARKER: Nope. I just-I thought that was your only class today. LOGAN: Yeah. She stares at him, puzzled. He's all "so...." Elsewhere in the Food Court, Wallace is with a couple of other students. They are laughing as they traverse the Food Court. Wallace slows when he sees Parker and Logan, by now all smiles and giggles. End music: Unknown. INT - REGENCY LIFE INSURANCE - DAY. Mindy is sitting at the other side of the desk of one Nick DiCintio, signing a document. She finishes. DiCintio leans forward to turn the page and expose a new one. DICINTIO: And at the bottom, and we're done. Mindy signs the bottom sheet. DiCintio opens his top drawer and pulls out an envelope. Mindy puts on her large sunglasses. DICINTIO: Regency Life Insurance is very sorry for your loss, Mrs. O'Dell. He holds out the envelope. Mindy takes it. She checks the contents. MINDY: Well, that means a lot. EXT - MARINA - DAY. A smiling salesman walks down the gangway between moored boats, calling out. SALESMAN: Good afternoon, ma'am. You maybe interested in buying a boat? The customer is Mindy. She is standing next to an Ambassador Boats "Cayman Carver 3" according to the placard. She points to it. MINDY: Yes. I want that one. INT - HEARST COLLEGE, FOOD COURT - DAY. Music: Unknown. LYRICS: ? Wallace and Veronica are sitting together. Veronica is digging into her salad, but Wallace is not touching his, instead screwing up his resolve. WALLACE: All right. So, I'm a guy, and I don't know or care about this stuff...but I feel like I'm supposed to tell you this. VERONICA: I'm starting to get a moustache? WALLACE: [bemused] No. VERONICA: Then why are you staring at my lip? WALLACE: Because you just made me. Veronica covers her mouth in mock horror. VERONICA: Stop! WALLACE: I saw Logan and Parker having lunch. VERONICA: Here? WALLACE: Yeah. VERONICA: In the cafeteria? At lunchtime? God, why doesn't he just run me over with a truck? Wallace shakes his head. WALLACE: Man, I'm just telling you this because it looked like it was something, like they were connecting, you know? Veronica nods, gazing at him intently. WALLACE: What? VERONICA: I'm just trying to figure out which Gilmore Girl you are. Wallace shakes his head some more at Veronica's coping tactics. End music: Unknown. INT - SHERIFF'S DEPARTMENT - DAY. Veronica carries a large box of donuts into the main office. VERONICA: I know he says he doesn't eat them, but leave a jelly if you know what's good for you. She leaves them on the table by the coffee-maker. Sacks goes to check them out. SACKS: [resentfully] The last time you said that, you didn't actually get any jellies. I almost had a heart att*ck. He opens the box and examines them critically. Veronica leaves him to it, innocently grabbing a newspaper as she comes to rest by the filing cabinet. She sneaks open one of the drawers and pulls out a file. Cut to a moment later. Veronica pops her head around the door of the sheriff's office. Keith is working at the desk. He looks up and sees her. She smiles at him. KEITH: Are you in trouble? VERONICA: Has anyone told you you look very convincing behind that desk? KEITH: So, is that a no on the trouble? VERONICA: I'm just saying I like it better when we're not civilians. She steps in and heads for the chair opposite him. VERONICA: Speaking of, if I'm gonna be able to run red lights with impunity, I think a siren would be helpful. She starts casually looking through the file. Keith points at it. KEITH: Care to tell me where you got Landry's case file? VERONICA: The filing cabinet? I'm hoping his testimony might help us find his alibi. KEITH: Veronica.... Between his bloody clothes and Mindy's testimony, things are not looking too great for Professor Landry. VERONICA: Well, they'll look better when we find this alibi, which we will. Steps approach the office door, followed by a soft knock. Keith looks up. SACKS: Keith, DA's on line two. Keith nods then returns his attention to his daughter. He lowers his voice and wags a finger at her. KEITH: Okay. But you might also get used to the fact that he might have done it, sweetie. Just...consider it. Keith picks up his phone. KEITH: This is Keith Mars. Mindy O'Dell? Wasn't her deposition- Keith's voice goes hard. KEITH: What do you mean, missing? He and Veronica share an "Oh, boy" glance. EXT - CONVENIENCE STORE - NIGHT. Tim and Veronica outside the convenience store - Corey's Market (or possibly Gorey's -- it's that sort of font where the C and G are hard to tell apart). The sign boasts the availability of liquor. Veronica is eating from a bag of snacks whilst Tim is drinking from a large cup. TIM: Isn't that all the proof they need? I mean, why would Mindy leave if she weren't guilty? VERONICA: She's still got an alibi for the time of the m*rder, although we know she gave him the Xanax. Maybe she set him up for the k*ller. TIM: What, like maybe Batando? VERONICA: He is a guy who can be bought. TIM: Or it could be anyone. Everyone hated the dean. VERONICA: Not everyone. Veronica looks up at the sound of approaching steps. VERONICA: Strippers ahoy. Tim turns to watch as two women approach the store. One of them, with shoulder length, blonde hair throws down a cigarette and steps on it before heading into the store. Tim points to her. TIM: The one with the cigarette. I'll bet that's Tory. VERONICA: Ooh, you are a thinker. Let's see how you do in the field. Tim puts his drink on top of a phone box and heads for the store. Veronica hesitates, checking in her bag. INT - MARS RESIDENCE - CONTINUING. Keith walks into Veronica's deserted bedroom. He gets out his phone and checks the time. EXT - CONVENIENCE STORE - CONTINUING. Veronica still hasn't moved when her phone rings. She checks who is calling and answers. VERONICA: If you're wondering where I am, I'm hanging out outside a convenience store eating corn nuts and watching strippers. INT - MARS RESIDENCE - CONTINUING. KEITH: Are you doing drugs? EXT - CONVENIENCE STORE - CONTINUING. VERONICA: No. KEITH: [on phone] Good. INT - MARS RESIDENCE - CONTINUING. KEITH: So, Mindy definitely split town. She shipped her kids to her parents in Surrey, England. EXT - CONVENIENCE STORE - CONTINUING. VERONICA: Which shouldn't be a problem since you know Landry did it. KEITH: [on phone] No comment. Now... INT - MARS RESIDENCE - CONTINUING. KEITH: It's three a.m. Can I expect you home anytime soon? EXT - CONVENIENCE STORE - CONTINUING. Veronica is formulating an answer when she notices another woman, a brunette, approaching the store. The woman pulls out a cigarette. VERONICA: Got to go. Out of corn nuts. Bye. Veronica hangs up and catches up to the woman before she makes it inside. VERONICA: Excuse me. Can I ask you a quick question? Have you ever seen this guy? She holds up the picture of Landry. The woman studies it. She nods. WOMAN: A few months ago. He gave me a cigarette. Why? INT - SHERIFF'S DEPARTMENT - DAY. Keith is interviewing the woman as she sits at one of the deputies desks in the main office. KEITH: So, you say you saw Hank Landry the night of December 10th? WOMAN: I bummed a cigarette from him. KEITH: You remember some guy you met in a parking lot two months ago? WOMAN: He actually looked kind of like the guy I just broke up with, and it kind of freaked me out. I mean, what kind of loser breaks up with a girl two weeks before Christmas? KEITH: And you're sure you saw Landry at exactly 3:30 that morning? WOMAN: Around there, yeah. KEITH: Were you wearing a watch, Miss...? WOMAN: I stop there sometimes when my shift ends. Keith is clearly sceptical. WOMAN: Hey, you know, I just came in here because they said the guy was in trouble. I don't care if you believe me or not. Keith is not happy. Cut to later. Landry exits the main office into the corridor where Tim and Veronica are waiting. He sighs heavily. LANDRY: Thanks, you guys. I wish there were a grade higher than an A. TIM: Mindy's disappeared. She got her insurance money and vanished. VERONICA: We think there's a chance she's working with Steve Batando. Landry is deep in thought. TIM: If you want, we can keep- LANDRY: No. No, you've done too much already. Thanks again. Terrific work. Landry scurries out, leaving Tim and Veronica standing. VERONICA: If I had to bet, I'd bet my dad isn't gonna leave it at that. TIM: We have to find those tapes. If Mindy was working with Batando, I bet Steve was the one planting the bug in Landry's phone, an insurance policy in case things went bad. VERONICA: Batando's keys are still in evidence. TIM: Is there any way we get ahold- VERONICA: [scoffing] "Is there any way?" Veronica walks to one of the deputies desks. She grins at a passing deputy as she picks up the phone, but instead of dialling, she reaches into the desk and pulls out the keys to the evidence room. She slips them into her bag. INT - BATANDO RESIDENCE - DAY. Tim is at the computer, wearing gloves. Veronica approaches from behind, staring at the gloves. TIM: [whispering] There's nothing here. He notices her staring. TIM: [whispering] What? Veronica doesn't bother to whisper. VERONICA: Nice gloves. You headed to the parlour to strangle Colonel Mustard after this? TIM: [whispering] We're breaking and entering. I can't leave prints. VERONICA: Use your sleeve. It's less creepy. She starts to look around. VERONICA: So, where else would you hide illicit recordings? She stops by a bookcase, full to bursting with CDs. She smiles. Cut to a little later. Tim, still in his gloves, is sitting on the floor with Veronica. They are going through the CDs. VERONICA: I didn't know Night Ranger had this many albums. Tim, who has finally gotten over his need to be stealthy, laughs. TIM: Well... He gets up and walks over to another bookcase, this one containing the television set and a load of DVDs. He crouches down to look at the bottom shelf. TIM: So, there's these dvds. VERONICA: Does he have A Bug's Life? TIM: No. He stands and scans the top shelf. TIM: But he does have Taps. He reaches for the case. It's a copy of the 25th Anniversary Special Edition. He opens it. Inside, the movie disc has been replaced by a b*rned disc marked "11/26-12/26." He shows Veronica. Cut to a few moments later. They have the disc on the computer and the screen shows a list of MP3s by date and time. TIM: Um...December 10th, 1:30 a.m. VERONICA: The night of the m*rder. Tim chooses a file (actually marked 12-10 1732 PM) and plays it. MINDY: [on tape] Hello. LANDRY: [on tape] Mindy, for God's sake, come back. MINDY: [on tape] Hank, I-I have to go. LANDRY: [on tape] Mindy, don't be stupid. He's not exactly in control of himself, and he's got a g*n. MINDY: [on tape] I won't let this happen. I won't let him take everything. I just won't. LANDRY: [on tape] Damn it, I'll take care of this. MINDY: [on tape] How? LANDRY: [on tape] Just...I will, Mindy. Don't worry. MINDY: [on tape] No. No, Hank, I can't risk it. The recording ends. (The call is now on screen as 12-10 0130 AM) Veronica points to an earlier call. VERONICA: Anything else from that night? What's that one? TIM: It's, uh, it's that day. Probably just another... This one is shown as 12-10 1732 PM, (which should be the 9th, or the death was in the early hours of the 11th, but hey ho). As Tim waves it off, Veronica plays it. LANDRY: [on tape] Hello. REID: [on tape] Hey, Hank, Bob Reid at Pepperdine. I'm calling about a job application we got from your teaching assistant, Tim Foyle. He put you as a reference, so I'm calling for your thoughts. LANDRY: [on tape] Yeah. Well, um, Tim is loyal and hardworking. Tim grins. LANDRY: A good TA, kind of a kiss-ass. Tim's smile fades. LANDRY: Very linear thinker. No imagination. You could do worse, but, honestly, Bob, at Pepperdine, I'm sure you could do better. Veronica watches with sympathy as Tim turns off the recording. VERONICA: Tim... TIM: No, it's fine. It-it doesn't matter. INT - SHERIFF'S DEPARTMENT - DAY. Keith is shouting into the phone as he walks through the main office. KEITH: No, sir. I'm just saying if your judge had given me the warrant to tap his phone, we wouldn't be having this problem. A deputy hands him a slip of paper. Keith glances at it and nods, continuing his recriminations on the phone. KEITH: And I asked for an ankle tracker. Bye. Keith slams the phone down. Sacks approaches him. KEITH: Did you talk to the airports? SACKS: L.A.X., yeah, but I'm still waiting to hear from John Wayne. Veronica, just arriving, hears this and adopts John Wayne's gait and does her best impression. VERONICA: And you're not gonna, pilgrim, 'cause what I am is d*ad. KEITH: What are you doing here, Veronica? VERONICA: I'm bringing you this. She hands him the disc. VERONICA: It's a recording of Mindy and Landry's phone call from the night of the m*rder. It really sounds like she did it, Dad. I really think Professor Landry is innocent. KEITH: Well, I'm glad you do, honey, but right now I'm more concerned with finding him. VERONICA: Wait. Finding Landry? KEITH: Yeah. He disappeared, too. Keith walks back to his office, leaving Veronica astonished. INT - MINDY'S BOAT - NIGHT. Mindy is asleep on the gently rocking boat. She wakes to the sound of the boat's engine starting. She gets out of bed and walks fearfully up the stairs and up to the top of the boat. Landry is piloting. He looks back at her. LANDRY: So, you finally got that boat that you always wanted. INT - HEARST COLLEGE, LIBRARY - DAY. Veronica is putting books away while listening through headphones. CARRIE: [on tape] My name's Carrie and I read one of your books. I really enjoyed it... VERONICA VOICEOVER: I'm into hour three of listening to the recordings off Landry's cell phone, trying to find one that will connect Mindy and what I'm now afraid is her partner, Professor Landry, to the dean's m*rder, or, just as importantly, discover where they might have gone. She pauses her activity to listen carefully. MINDY: [on tape] Oh, all this sneaking around is driving me crazy. I wish we could just take a time-out. LANDRY: [on tape] Yeah, tell me about it. A week at Papa's cabin? MINDY: [on tape] Oh, God, baby, that would be so great. Veronica rushes to the help desk, removing her iPod. She picks up her cell phone and dials. INT - HEARST COLLEGE, TIM'S OFFICE - CONTINUING. Tim is working at his desk when the phone rings. TIM: Hello. VERONICA: [on phone] Hey, it's me. Do you know if Landry's father or his grandfather has a cabin? TIM: A cabin? I don't know. Why? He leans back in his seat. INT - HEARST COLLEGE, LIBRARY - CONTINUING. VERONICA: They mention it on the tapes -- "Papa's cabin" -- like a getaway spot. INT - HEARST COLLEGE, TIM'S OFFICE - CONTINUING. TIM: Well, I've never heard of a cabin, but we can poke around. Uh, meet me at his house. I've still got his key. Bye. INT - HEARST COLLEGE, LIBRARY - CONTINUING. Veronica closes up the phone and turns just as Parker arrives and approaches her. PARKER: Hey. VERONICA: Hey. PARKER: Long time, no see. Veronica hurries to gather her stuff together. VERONICA: Yeah. What's up? PARKER: Nothing. No, it's just, uh, it's...it's kind of weird. Um, I don't know if you know, but, um, Logan and I...we're sort of, I don't know, hanging out... VERONICA: Actually, Parker, I'm just running out. Is it okay if we catch up later? PARKER: Yeah. Okay. Veronica hurries past her to leave. Parker watches her go over her shoulder. Veronica glances at her, glad to have avoided the conversation. Parker sighs heavily. INT - HEARST COLLEGE, FOOD COURT - DAY. Parker is alone at one of the tables. There's food, a drink and an open book in front of her, but she is staring sadly into space. Logan arrives, carrying some books. LOGAN: So, guess who went to a class today? He slides into the seat next to her with something of a proud flourish. LOGAN: Me. And guess what? I learned. He sees her mood. LOGAN: You don't seem your very usual ebullient self. PARKER: Actually, Logan, I have to, um...I don't know. LOGAN: What? PARKER: Having a friend like Veronica...that's important to me. I'm just worried, you know? LOGAN: Yeah. Yeah, I know. Logan stares at her for a moment before grabbing his books, He stands and looks down at her. LOGAN: [softly] Okay. He walks away. Parker sighs regretfully. INT - LANDRY RESIDENCE - DAY. Veronica is in Landry's lounge, sitting on a leather couch. She is poring over a photograph album. VERONICA VOICEOVER: So, I guess it's true. Little future m*rder play with dinosaurs like everyone else and have cuddly, old grandpas. She stops on the picture of an elderly man standing in front of a cabin. There's a camper van parked in front of the cabin. Veronica calls out. VERONICA: Hey, Tim, I may have something. Tim comes in from another part of the house. He's carrying a picture. TIM: Me too. He sits next to Veronica and passes the picture to her. TIM: This was on the fridge. It's a picture of Mindy and Landry standing in front of a man who looks to be serving drinks. There are a couple of black and white photographs behind them, one of a tree and one of a man. VERONICA: Looks more like a bar. Do you think they remodelled? Veronica, who is using her sleeves to avoid leaving prints even though Tim has eschewed the gloves, holds the picture above the one she was looking at to compare them. VERONICA: You think this is the same place? TIM: Hmm. They stare at it. Veronica glances at Tim's hands, noticing that he is playing with a cell phone. VERONICA: What's that? He hands it to Veronica. TIM: Oh, it was in the office...trash. VERONICA: What's he doing with a disposable cell phone? Get a pen and paper. Veronica punches redial. TIM: Wait. What are you do- VERONICA: Redial. She stands and starts to pace as Tim digs out pen and paper from his jacket. VOICE: [on phone] Hello? Veronica puts on a bright and sunny disposition. VERONICA: Hi! This is K-RAC fm. Congratulations! You may have just won a new iPod. To claim your prize, press "pound." Nothing happens for a moment and Veronica makes an impatient face. She gives the unseen recipient a wind up sign. Finally, there is a tone on the phone. VERONICA: Please hold. TIM: Oh, oh, oh! So you get the phone number, then we look it up, and then you track down the address, right? Veronica, having grabbed the pad and pen, sets the pad on the table. VERONICA: That's one way to do it. She returns to the phone. VERONICA: Hi, it's Anna from K-RAC. How are you? VOICE: [on phone] Good. Is this real? VERONICA: If you can tell me our call number. VOICE: [on phone] Yeah. 103.1 fm. VERONICA: And you win! I just need you to confirm your name and address, and the K-RACing good-time van will show up with your iPod. VOICE: [on phone] Sure. J.D. Sansone. 18 Emberwood, Number 8. Tim is impressed. TIM: [mouthing] Number 8. INT - SANSONE RESIDENCE - DAY. Tim and Veronica are standing in a corridor, outside an apartment. Veronica knocks. The door is opened by a teenager. VERONICA: J.D. Sansone? J.D.: Yeah. Are you the radio people? VERONICA: My name is Miss Crockett. This is my partner, Mr. Tubbs. Tim unsuccessfully hides his surprise at Veronica's choice of alias. VERONICA: We're here conducting an investigation. TIM: An official investigation. J.D.: For what? VERONICA: How do you know Hank Landry? J.D.: From, like, the juvie board. VERONICA: Can you explain? J.D.: Just me and my buddies got nabbed stealing cough syrup from a drugstore. A woman's voice sounds out from within the apartment. MRS. SANSONE: [offscreen] J.D.! Homework! Now! Who is it? The woman pulls back the door. It's the woman from the convenience store. J.D.: Mom, this is Crockett and, uh, Tubbs, yeah. The woman sighs heavily. J.D.: They're doing an investigation. INT - SHERIFF'S DEPARTMENT - DAY. Keith, Veronica and Tim walk down the corridor towards the main office. VERONICA: So, it was blackmail? KEITH: Hank was on the juvie board overseeing her son. The kid was one strike away from foster care. She says she was on her lunch break the other day and Hank called and thr*at to take the kid off probation unless she showed up at that convenience store and said she saw Landry the night of the m*rder. VERONICA: And Landry? They've reached the door to the sheriff's office and pause in front of it. KEITH: Still gone. No leads. We're kind of busy, so if you two... TIM: That's why we wanted to bring you these. Tim passes an envelope to Keith. Cut to a few moments later, in the sheriff's office. The two photographs from Landry's house are laid out on the desk. VERONICA: On the tapes Batando had, Landry referred to "Papa's cabin." TIM: Like it was a getaway or hideout. VERONICA: So, we searched his house for ideas where that might be. No property records, but we found these. We're not sure if this is the same place or not. Keith picks up the picture of the elderly man. KEITH: Do we know anything about Landry's dad? TIM: Grandfather. He called him "Papa." VERONICA: Brewer Landry lives in Florida. KEITH: This doesn't look like Florida. Veronica takes the picture to look at it more closely. VERONICA: It looks like the mountains. Those are aspen trees. Tim grabs the picture. TIM: Quaking aspens, so western mountains. Veronica grabs it back as they continue to play out-doing each other. VERONICA: And on this one, you can actually make out the license plate on this truck: navy letters on white. TIM: The most common pattern, so it could be anywhere: Virginia, Alabama, Illinois, Kansas. VERONICA: Quaking aspens, Western U.S. TIM: Okay. So, uh, Oregon, Washington, Wisconsin, Utah, or California. Keith tunes out of the competition, picking up and looking closely at the other picture. VERONICA: California has red state letters. So does Washington. TIM: Not on the endangered animals specialised plates. Tim grabs the contentious picture back again. TIM: That could be a whale. VERONICA: Or a lake... Veronica grabs it back. VERONICA: As in crater lake, a specialised Oregon plate. KEITH: Or "Papa" could be Ernest Hemingway. Keith holds out the picture he's been examining for them both. The black and white picture behind Mindy and Landry is of Ernest Hemingway. Veronica snatches it as Keith moves around to the computer on his desk. VERONICA: Papa's cabin. Keith looks it up on PlanetZowie. The first entry identifies it as a retreat in Mexico. Keith clicks on and reads from the page. KEITH: "Papa's Cabin, Cabo San Lucas. Unwind at the hideaway once beloved by Ernest Hemingway." Keith smiles as Veronica and Tim accept his victory. EXT - CABO SAN LUCAS - DAY. Music: Unknown. LYRICS: Y acaba yo mostrar dentro Para el campo conocer Y acaba yo mostrar dentro Oh, oh, Para el campo conocer Papa's Cabin is a beachside bar. A police vehicle pulls through a gate onto the beach, stopping nearby. Keith climbs out of the back as the driver and the local police chief head for the bar. Keith looks out over the ocean. The Mexican officers join him. KEITH: Anything? CHIEF: A pretty positive ID from the manager. The guy didn't rent the room. Just paid to moor boat. They all look out at the boat moored off the beach. End music: Unknown. EXT - MINDY'S BOAT - DAY. A Policia Federal boat approaches Mindy's boat, the Anna Grace. Keith watches as the pilot steers the police boat alongside it. INT - MINDY'S BOAT - DAY. One of the officers secures the boats together. He helps Keith board the Anna Grace. The chief follows him on board. Keith takes out his g*n. They proceed carefully below decks. In the galley, there's a single glass with the remnants of a drink next to a nearly empty bottle of brandy. Keith approaches the closed door of the bed area. KEITH: Hello! The door opens. It's Landry. He's tired, emotional and still drunk. LANDRY: I didn't k*ll him, Keith. KEITH: You must know this little trip to Mexico might lead me to take that statement with a grain of salt. Keith goes down the short run of steps as Landry steps out of the bedroom. Keith checks it. LANDRY: It was her. KEITH: Mindy? LANDRY: She did it, Keith. All I did for her and she set me up. Landry has a deep cut over his eye. KEITH: What did you- LANDRY: I tried to cover for her, put it on Batando. KEITH: The keyboard? LANDRY: Yeah, I just switched it with the dean's. It might have worked, too. Having climbed up to the galley level, Landry drains the remains of the glass. He sinks onto the couch. LANDRY: But then you took over as sheriff. KEITH: Where is she, Hank? Where's Mindy? LANDRY: There was an accident. I just wanted to talk, find out how she could turn on me like that. She must have thought I was gonna k*ll her. We fought...and I h*t her, and she fell... Landry lets out a long breath. LANDRY: Over. It was dark. I looked, but... KEITH: But what? Where is she, Hank? LANDRY: I swear. I swear, Keith, it was an accident. Landry starts to sob. EXT - BEACH - DAY. A fourth boy runs to join three others, two with surfboards, who are standing on a beach, around the body of Mindy O'Dell. EXT - HEARST COLLEGE - DAY. A wide sh*t shows many students making their way around campus. INT - HEARST COLLEGE, HALLWAY - DAY. Veronica is hurrying down the hall towards Tim's office. Logan calls out to her. LOGAN: Mars. Veronica pauses and waits for Logan to join her before carrying on down the hall. VERONICA: We're on a last-name basis now? We skipped right over androgynous nicknames? LOGAN: I tried calling you "Chuckles," but it didn't stick. Logan looks down at her. LOGAN: You know, some people are afraid of you. VERONICA: Huh. So, what's up, Echolls? LOGAN: Nothing. Just, uh... Logan brings them to a stop and Veronica turns to look at him. LOGAN: I wanted to...ask you about something. You know, it's kind of weird, but...you know, I was thinking of asking Parker out, and I wanted to make sure it was cool with you. Veronica is saved from an immediate response by Tim, who calls out from his office. TIM: Veronica, are you coming in? VERONICA: Yeah, uh, one second. She looks back at Logan, putting on a brave face. VERONICA: Of course. Thank you for asking. LOGAN: Sure. I know we're friends. Veronica nods. VERONICA: Yeah. They stand there a moment, each pretending to be cool about it, until Veronica points to Tim's office. VERONICA: See ya. And good luck. Logan, disappointed, watches as she backs into Tim's office, smiling. INT - HEARST COLLEGE, TIM'S OFFICE - DAY. The smile disappears as soon as Veronica gets into Tim's office. TIM: Oh, uh, thanks for coming in. VERONICA: Yeah. She shuts the door and walks automatically to the seat in front of Tim's desk, her mind still on Logan. Tim is fumbling with files. TIM: Uh... He takes his seat. TIM: So since Landry's been, you know, arrested... He chuckles. TIM: Well, it's kind of caught everyone, uh, by surprise, including me, as you know. VERONICA: Yeah. It kind of caught everyone by surprise. TIM: Anyway, I've been asked to take over his classes until they can find a replacement, and, uh, it's kind of a big job, and as you are kind of a... He smiles. TIM: Star pupil, I was hoping you might, uh, be my TA... Veronica's brows rise in surprise. TIM: While I try to get a handle on all this. Tim taps the files on his desk. TIM: 'Cause I could really use the help. VERONICA: Of course. TIM: Great. Tim laughs. TIM: Can you pick up my dry cleaning? Veronica gives a disbelieving chuckle and Tim laughs. INT - HEARST COLLEGE, CRIMINOLOGY CLASS - DAY. Tim is at the front of the class, He writes "Opportunity, Motive, Mental State" on the board. Veronica is passing out papers to the other students. TIM: So, as you probably know, uh, Professor Landry is no longer with us. Veronica takes a seat at the back of the class. TIM: I will be your instructor for the time being. Veronica sees that the student sitting in front of her is holding a newspaper, the headline of which reads: "Professor arrested in m*rder of Hearst Dean, Wife -- Affair alleged between Professor Landry and Dean's wife, possible motive." Another headline under it reads: "Sea lions att*ck swimmers near breeding... -- Vargas, 31, to be arraigned on multiple counts of animal..." TIM: So if you'll take your handouts from the Webber text- The student puts down his paper and holds up his hand. TIM: Yes? STUDENT #1: What happened? TIM: What do you mean? STUDENT #1: I mean, our professor m*rder the dean. Can't we discuss that? The other students murmur their agreement. STUDENT #1: I mean, this is criminology, right? TIM: Well, it's a little awkward for me... Contrary to the emotion expressed, Tim is smiling and seems to enjoy the attention. He holds out his hands and slams shut the textbook. TIM: But okay. He takes off his jacket. The students shut their books, ready to listen. TIM: This is criminology. So, Landry kills O'Dell. Tim starts to stride up and down the central walkway. TIM: A crime of passion? Opportunity? Premeditation? What do we know? Well, passion clearly was a factor. Dean O'Dell's wife, Mindy, and Landry were engaged in an affair. The dean caught them, thr*at to ruin them, destroy Landry's career. So motives pretty much a classic- STUDENT #1: Is it true he got the idea from one of our perfect-m*rder papers? Tim glances at Veronica. She's not enjoying the moment. TIM: Possibly. Again, opportunity. The idea in this paper probably suited the situation. He knew he had a limited window to act. He knew the dean was drunk and upset, and he had a g*n. So a fake su1c1de suited the circumstances. Another student calls out. STUDENT #2: Any chance the dean's wife helped set him up? He was drugged, right? TIM: An anti-anxiety drug, yes, but he had a prescription. Now, is it possible they colluded? Yes. Will we ever know? Well, with Mindy d*ad and Landry not speaking, probably not. Landry was a smart man, but the bloody clothes he thought he incinerated got stuck in a chute, and once they were found, everything unravelled. Another interesting thing about this case is once a perpetrator starts improvising, the sloppier his work becomes. They find the bloody clothes, so Landry first tries to frame Mrs. O'Dell's ex-husband, and then, when he was arrested -- in this room, as you all remember -- he fakes an alibi. STUDENT #3: How? TIM: He called a woman whose son he oversaw in the juvenile probation board. It might have worked, actually, if the phone he had called them with hadn't been found. This furrows Veronica's brow and starts her thinking. TIM: Again, chance. If you remember from reading Holst, 80% of- Veronica holds up her hand. TIM: Veronica. VERONICA: When? TIM: Uh, when what? VERONICA: When did he call her? L-Landry was arrested here and taken straight to the sheriff's department. When did he have the time to make the blackmail call to fake his alibi? TIM: Well, uh, s-someone mentioned the possibility that he and Mindy colluded. She could have called while- VERONICA: It was a male voice on the phone. TIM: Well, then it's possible he called earlier, anticipating his arrest. Veronica is struggling with this. Tim turns his attention back to the rest of the class. TIM: Remember. This is a man who, at this point, knew his crime had been exposed. He knew Mindy was under investigation and had sent her children to relatives in England. This hits Veronica. TIM: He could easily have assumed that she had turned against him. Veronica stares in horror at her phone. She reaches for it as Tim continues his lecture. TIM: Anyway, in 80% of cases... Tim's voice catches and he clears his throat, having reached the lectern at the front of the room. TIM: The breakthrough evidence was- He clears his throat again as Veronica opens the back of her phone. TIM: Was obtained outside the usual police protocols. Veronica pulls out a bug. She slowly puts down her phone, her mind racing. TIM: An interesting point of-of Holst, I think, he makes here, is that... Veronica raises her hand. Tim calls her, his voice a little desperate. TIM: Veronica? VERONICA: How did you know she sent her kids to England? TIM: I'm actually not sure, but- VERONICA: So whoever bugged Landry's phone knew that the dean caught Mindy and Landry together and that the dean was drunk in his office? TIM: Well, if you're suggesting Batando k*lled them, it's possible. If you follow the thread through- VERONICA: So this person would also be aware that Professor Landry sh*t down your chances for a teaching job at Pepperdine. The students in the room gasp. VARIOUS STUDENTS: Oh, my God. Did you hear what she just said? TIM: Yes, if they listened- VERONICA: To all the tapes... Veronica gets to her feet. VERONICA: Which it sounds like you did. TIM: I...I'm-I'm not sure I understand. VERONICA: I do. When my dad called to tell me that Mindy had sent her kids to relatives in England, you couldn't have heard. You were in a convenience store talking to a stripper. Some of the students titter. Veronica holds up the bug. She starts walking towards him, her voice thickening with accusation. VERONICA: You bugged my phone. You bugged Landry's phone. You knew he sh*t down your job application. You knew the dean thr*at him. You knew the dean was zonked out on Xanax and scotch in his office, and you had access to Landry's clothes. You m*rder Dean O'Dell to destroy Professor Landry...because he used you, then betrayed you. And when he said he had an alibi, you faked it, so you'd be sure he'd go down... She's close to him now and her voice drops. VERONICA: Bet he'll change his mind about you not being that smart. Tim frantically tries to think, but he can't. He glances at the students and then back at Veronica's face, full of righteous anger, but has nothing to say. ANCHOR WOMAN: [offscreen] And in a shocking development in a local m*rder investigation... INT - MARS RESIDENCE - DAY. The television is on showing KTML 9's exclusive. Reporters surround Tim as he is led through the Sheriff's Department. The video gives way to the anchor woman and a picture of Tim, captioned "T.A. Foiled." ANCHOR WOMAN: Timothy Foyle, the teaching assistant of accused k*ller Hank Landry, has confessed to the m*rder of Cyrus O'Dell... Veronica stands watching, clutching a couple of dinner plates. VERONICA VOICEOVER: The one big downside of justice: it feels good, but it doesn't change anything. She gets on with laying the plates on the counter where glasses of water, salad and bread are already set. VERONICA VOICEOVER: A k*ller's in jail, but the dean is still d*ad, which remains fundamentally unfair. As Veronica returns to the hob, Keith arrives home. VERONICA: You got a confession? Keith holds up his arms to show off his muscles. KEITH: I am that good. VERONICA: So it's true what they say. There's a new sheriff in town? KEITH: Until the special election, anyway. Veronica starts to dish up potatoes from a saucepan. KEITH: What you making? VERONICA: Meat and potatoes. I read somewhere that's what real men eat. KEITH: Ah, is there a real man coming over? VERONICA: So, what's gonna happen to Landry? KEITH: He's gonna be tried for manslaughter. He k*lled Mindy O'Dell. He confessed, too. VERONICA: Man. You get everyone to confess. She returns the saucepan to the stove and reaches into the oven. KEITH: I think it's the uniform. Do you have anything to confess? She pulls out a baked dish. VERONICA: Yes. You embarrass me. KEITH: Give me my meat, woman. She serves him his meat. On the TV, the anchor has moved onto another story. ANCHOR WOMAN: And in other news, a San Diego businessman was found d*ad in his g*n Beach house. KEITH: Turn that off, will you? A little reluctantly, Veronica puts down the dish and grabs the remote. She points it at the television, ANCHOR WOMAN: The discovery was made by his private secretary who told police she discovered the man's body on... Veronica turns the TV off. Keith starts to eat. KEITH: You know I don't like you exposed to all this crime and v*olence. It's gonna warp your mind. Veronica sits down and starts to eat, a little desultory. Keith watches her for a moment. KEITH: Who am I kidding? He grabs the remote, points it over his shoulder and turns the TV back on. Veronica smiles in satisfaction and leans over to watch. ANCHOR WOMAN: Police have yet to make a ruling on the case. End.

{"type": "series", "show": "Veronica Mars", "episode": "03x15 - Papa's Cabin"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Veronica pops her head around the door of Keith's new office in the sheriff's department in 315 "Papa's Cabin." Cut to the Mars residence and Veronica making dinner as Keith arrives home. VERONICA: So it's true what they say. There's a new sheriff in town? KEITH: Until the special election, anyway. Cut to Mac and Bronson on his doorstep in 310 "Show Me the Monkey." MAC: Do you like movies? BRONSON: Let's go. Cut to moments later as Mac surprises Bronson with a kiss. Cut to Veronica and Piz in the Food Court at Hearst College. PIZ: I know what I like. Why waste my time? VERONICA: Like, why bother with something not good just because it's something? Logan catches Veronica outside Tim's office in 315 "Papa's Cabin." LOGAN: You know, I was thinking of asking Parker out, and I wanted to make sure it was cool with you. She puts on a brave face. VERONICA: Of course. Thank you for asking. LOGAN: Sure. I know we're friends. Veronica nods. VERONICA: Yeah. Veronica points to Tim's office. VERONICA: See ya. And good luck. End previously. INT - HEARST COLLEGE, FOOD COURT - DAY. Veronica is standing in a queue. She's pensive, playing with a strand of hair. There are three couples in front of her in the queue between her and the person at the front of it -- Logan. SERVER: What can I get you? LOGAN: Uh, coffee with cream. Logan looks back at Veronica. He turns back to the woman at the counter. LOGAN: Actually, could I get a couple of them? SERVER: Sure. She hands him the coffees. LOGAN: Thank you. Logan walks back to the end of the queue. LOGAN: Here. He slips one of the cups into her hand, almost surreptitiously. LOGAN: I hate to think of you under-decaffeinated. She smiles as she takes it. VERONICA: Danke. They walk away from the counter together. VERONICA: It's 8am. Shouldn't you be in a wet suit somewhere? He shrugs and grins. LOGAN: Early Poly Sci. VERONICA: And you're actually going? LOGAN: Yeah. I even bought this amazing pen that accents text in neon colours. Veronica gasps exaggeratedly. VERONICA: A highlighter! LOGAN: Lots of advancements since the last time I buckled down. How 'bout you? VERONICA: Uh, "v*olence in Early Adolescence." LOGAN: Ah. Need me to autograph your textbook? VERONICA: Thanks, but... Veronica trails off and points to her coffee. VERONICA: So, what do I owe you for the cup of joe? LOGAN: Nah, just pay-it-forward. Logan hesitates briefly before hurrying on nonchalantly. LOGAN: Hey, by the way, I'm throwing a birthday party for Parker this weekend. I was studying up; I watched My Super Sweet 16. Which reminds me, you don't know where I can get a dozen eunuchs, do you? VERONICA: Not offhand. I could make some calls. Veronica fakes a laugh to keep up the mutually casual banter in which they are indulging. LOGAN: Hmm. Well, if you're not busy, I know she'd really like you to be there. We both would. Think about it. Logan walks away, leaving Veronica staring after him. INT - MARS INVESTIGATIONS - DAY. The fish are swimming happily in the t*nk in Keith's office. Veronica finishes feeding them and walks back to Keith's desk. She checks some papers on which she is working. Footsteps sound in the outer office and an Arab woman, Sabirah Krimani, appears at the open door. SABIRAH: Is Mr. Mars in? VERONICA: No, sorry. We've shut down for a while. The woman is disappointed. VERONICA: You own Babylon Gardens, don't you? She nods. VERONICA: My dad and I get takeout there all the time. I went to high school with your daughter. Sabirah Krimani steps forward, disinterested in small talk. SABIRAH: Our restaurant was vandalised. Rocks through our window. They spray-painted "t*rror1st" on our door. Is there someone who can help us? Veronica's eyes glint with determination and she smiles. VERONICA: I believe there is. INT - THE BREAK - NIGHT. The Break is a busy bar with loud music playing. The most prominent sign in the bar besides the one declaring the bars name is a notice declaring Thursday nights as "College Night." A young man is slumped at the bar counter. A hand pushes a pad of paper and a pen at him. MURPHY: Jimmy! The boy doesn't move. The bar owner, Mr. Murphy, slaps his arm to rouse him. MURPHY: Hey, your tab. Hey, come on. Jimmy lifts his head up. MURPHY: Sign it and h*t the road. Jimmy grabs the pen and pad and signs it. He grabs the nearly empty glass of beer in front of him and drains it as he slides off the barstool. He pushes himself away from the bar as Murphy collects the pad. EXT - THE BREAK - NIGHT. Jimmy staggers outside and crosses the road without looking. A car honks his horn, but Jimmy's slow and only action is to hold up his hands in front of his face. The screen whitens in the glare of headlights to the sound of the sickening thud as the car hits him. EXT - BABYLON GARDENS - NIGHT. From inside the restaurant, Sabirah turns the sign on the door from "Come in, we're open" to "Sorry, we're closed." VERONICA VOICEOVER: Tomorrow I'll set the cameras. Tonight it's the old-fashioned stake-out. Veronica is in her car, parked opposite the restaurant on the other side of the street, watching the front of the building. VERONICA VOICEOVER: I took this case so I wouldn't have time to dwell on Parker's birthday party and now, here I am, sitting in a car with nothing but a whole lot of dwelling time on my hands. Veronica jumps slightly at the soft knock on the passenger side window made by the girl who has appeared at the side of the car. She looks over at the intruder and rolls down the window. The girl leans into the car. AMIRA: Veronica Mars? VERONICA: Amira. Long time, no see. AMIRA: Yeah. Like since my senior year, when you made my Pirate Points worth less. VERONICA: Wow. Good memory. The two girls share polite smiles. VERONICA: I heard you were at Hearst, but I haven't seen ya. AMIRA: Yeah, different circles, I guess. What are you doing out here? VERONICA: Your mom hired me to watch the place in case there are any more...incidents. Amira laughs in disbelief. AMIRA: My mom hired you? Veronica nods. VERONICA: Yep. AMIRA: Have a blast. Amira backs away from the car and Veronica closes the window with the touch of a button. INT - THE BREAK - NIGHT. The bar is now empty but for Murphy, who is cashing up, and Keith who approaches the bar counter. KEITH: I just got off the phone with County. The kid's never going to walk again. Any idea what a nineteen-year-old was doing drinking in here? MURPHY: His ID said he was twenty-one. KEITH: Yeah, I saw it. It also said he was six three, two twenty, and blond. Murphy shrugs helplessly in a "What you gonna do" way. Keith is unimpressed. EXT - BABYLON GARDENS - NIGHT. The door of the restaurant bursts open and a man comes out, followed by Sabirah. This is Rashad, Sabirah's husband and Amira's father. He waves at Veronica in her car across the street, beckoning her. As Veronica opens the door to get out, he shouts to her. RASHAD: You can go home now. We will pay for the time that you put in. Veronica strides towards them.. RASHAD: But I can handle it myself. It was a mistake for my wife to hire you. SABIRAH: It was not a mistake. Veronica stands before them, a little uncomfortable as they argue. SABIRAH: You fall asleep out here in your car. You work too hard to be able to stay up all night. RASHAD: This is the Mars girl. Her father is the acting sheriff. Have you thought about Nasir? Besides, this is no job for a girl, a classmate of Amira's. Amira is also outside, watching the debate quietly. SABIRAH: What choice did I have? I knew you would react this way. Surprise. In the street, there's a loud shout and the sound of a fast-approaching engine. Veronica looks up and to her left to see a yellow pick-up truck bearing down on them. A couple of the occupants are standing in the back, aiming at them with sights that have lights on them. Operatic-like music swells. sh*ts are fired. A laser sight and a splurge of red appears on Rashad's chest as he staggers at the impact. Sabirah screams. Amira turns to run but is h*t in the back. Veronica dives out of the way of the speeding vehicle, landing hard on the pavement. Veronica looks down at her coat. She's been h*t by yellow paint. She glares at the departing truck. Opening credits. INT - BABYLON GARDENS - NIGHT. Now inside the restaurant, Veronica groans at the pain in her shoulder where she was h*t by the paintball. Amira passes behind her, staring at her now-removed sweater in regret. AMIRA: Ack. Cashmere! Rashad is angry and pacing. RASHAD: Why is this happening? VERONICA: Not a great time to be Arab in America. RASHAD: Twenty years we've been in this country! Huh? He picks up a small flag from a set on the counter and waves it.. RASHAD: Twenty years, we've been Americans. I make Yankee Doodle Damn Dandee. He gestures wildly at a poster on the wall, under another American flag. It's an Uncle Sam poster with Rashad's face PhotoShopped in under the message "I want you for Babylon Garden's [sic]." RASHAD: And now this? VERONICA: The license plate was removed, but I caught a glimpse of a bumper sticker. It should be enough to go on. AMIRA: [sceptically] Really? Unless it was a "Hello, my name is..." sticker, how's that gonna do any good? VERONICA: The person who owns that pick-up has a child who's an honour student at Neptune Middle. Do you want me to track him down or not? Rashad looks over at his wife and daughter helplessly before looking back at Veronica. INT - MARS RESIDENCE - NIGHT. Veronica enters the apartment. Keith is sitting at the kitchen counter reading a newspaper. KEITH: [with disgust] Look at these ads. Veronica shuts the door behind her and joins him at the counter. KEITH: "Two for Tuesday," "It's Raining Gin"... Keith is looking at a page of advertisements for bars. Genski's promises a "Suds 'n Study Sat" with Mexican bottles and draft pints at $2 together with a "Bucket 'O Beer Bonanza"! The Sand Bar uses George Washington's portrait to advertise its "Dollar sh*ts Night." KEITH: "Dollar sh*ts Night"... VERONICA: Let me change first. Man, you party hard. Veronica saunters off towards her room, ignorant or ignoring Keith's serious mood. KEITH: It's a college paper. Only a quarter of the students at Hearst are twenty-one. Veronica turns back to him and sags against the counter. VERONICA: [tiredly] I'm not sure where this rant is going. KEITH: A nineteen-year-old kid was drinking at a bar called The Break tonight with a gumball-level ID. He stumbled out and a car h*t him. It looks like he'll never walk again. Keith returns his attention to the ads. KEITH: "Bucket 'O Beer Bonanza"... You have any idea if they're known for underage drinking? Veronica laughs. VERONICA: Famous for is more like it. It's nicknamed The Cake for how easy it is to get in but most of the campus area bars are pretty lax. Veronica clearly doesn't see this as any big deal but notes Keith glaring at her. VERONICA: From what I've heard, 'cause the only buckets I order come in original and extra crispy. She heads for her bedroom. Keith stares after her. INT - SHERIFF'S DEPARTMENT - DAY. Deputy Sacks hands out sheets of paper to the other eleven deputies gathered in the main office. Keith is facing them, leaning back against the main counter. KEITH: I have it on good authority that The Break and other campus-area bars on the list you're receiving are knowingly serving underage students. I want surprise checks in every one of these bars tonight. Deputy Gills glances at the list. GILLS: Looks like my credit card statement. The deputies laugh and Keith smiles indulgently. SACKS: What's the priority level, Sheriff? KEITH: Well, obviously if you get a call, take it, but otherwise, I want these bars scared straight. The deputies start to break away, less than enthused. KEITH: Gentlemen. Jim Wilson was nineteen. I want this taken seriously. DEPUTY: Yes, sir. The other deputies mutter their acquiescence. Gills heads for Sacks to have a quiet word. GILLS: You used to work for him. Is he always like this? Sacks folds his arms and glances at Keith. SACKS: I wouldn't test him. Gills looks over at Keith himself before wandering away. INT - NEPTUNE MIDDLE SCHOOL - DAY. A teacher holds her hand up in front of a class of boys and girls, aged about twelve. MRS. HILLS: We have a guest in honours homeroom today. Miss Mars is doing a survey about g*n awareness for her college criminology course. Veronica is standing at the front of the class next to Mrs. Hills. She gives a little wave. MRS. HILLS: I trust you will give her your full attention as honour points are in effect. Mrs. Hills steps to the side of the room, leaving Veronica at the front of the class. One of the students raises his hand. Veronica points to him. RONALD: What does a criminologist do? VERONICA: Oh, grads usually go into work in law enforcement. I'm considering pursuing a career at the FBI. RONALD: [scoffing] You're a girl. MRS. HILLS: [sharply] Ronald. VERONICA: Actually, Ronald, did you know that on average, girls develop faster than boys and have higher levels of cognitive functioning, including math calculation, written language, and verbal fluency? Ronald isn't impressed and shrugs. RONALD: So? Veronica smiles and points towards him. VERONICA: Well put, Ronald. We need fireman, too. The students in the class, particularly the girls, chuckle appreciatively. VERONICA: We all know g*n are dangerous, but I also study the dangers and implications of the impact of toy g*n, like pellet g*n, BB g*n, or paintball g*n. Raise your hand if you have a family member who owns a pellet or BB g*n. A number of the students raise their hands. VERONICA: Now, how about paintball g*n? Four students put their hand up. VERONICA: Okay, now, whose family has a big, yellow pick-up truck. Mrs Hills' smile disappears as she digests this. She looks over at Veronica quizzically. MRS. HILLS: Miss Mars? I'm sorry. I'm not sure I understand where this is going. Veronica ignores her until she gets a good look at the one child whose hand is in the air. The boy look Arabic. VERONICA: Yep. Me either. EXT - NEPTUNE STREET - DAY. A school bus drives off, having delivered the boy to a house outside of which stands the yellow pick-up truck. Veronica, pulled up on the other side of the road, watches him as he goes into the house. She pouts, confused. She grabs her stuff and exits the car, walking up the pathway to the house. She stops and looks around as if she's heard something but it's not until she starts moving again that we hear the distant sounds of the laughter of game-playing youths. VOICES: Oh, ho, ho, man! You got h*t again! All right! Okay, okay, it's cool. sh**t-sh**t! There you go! Yes! Yes! Veronica follows the sounds of voices to a structure at the side of the house. There's a warning sign on the door and a window at the top. She peers in. She sees two guys watching a third play a video game. On the wall next to the door, she sees paintball g*n. Inside the room (which has another Danny Mo poster decorating the wall), there's a fourth boy also watching the stoned-out gameplayer. VOICES: Oh, God, what are you doing, man! Watch out for-! Ohhh. Intent on the game, they notice nothing until a splatter of paint hits the television screen. They react in shock, jumping up and turning around to face Veronica, now armed with a paintball g*n. An Arabic-looking boy of around seventeen confronts her. BRETT: Yo, bitch, what up? Veronica responds by f*ring the g*n. He jerks back as a splodge of neon green paint hits him square in the chest. VERONICA: Stings. I know, because you sh*t me last night. Brett has the grace to look abashed. VERONICA: I've got some bad news for you boys. I'm close with the local sheriff and he simply hates hate crimes. Self-hate in your case. Brett looks bemused. The stoned guy behind him has only just caught up with events. TOWELIE: Dude, she sh*t you. VERONICA: Keep up, Towlie. BRETT: Self-hate? What? VERONICA: Spray painting the front of Babylon Gardens? Ringing any bells? BRETT: What? Veronica parrots Jules in Pulp Fiction. VERONICA: Say what again, I dare ya. I double dare ya. BRETT: What? Veronica sh**t him again, this time in the shoulder. He grabs the spot with a groan. BRETT: Ah, God! Someone wrote "t*rror1st" at Babylon Gardens? VERONICA: [a la Jules] Check out the big brain on Brett! I'll give you a hint. It was you. BRETT: We didn't do anything like that! Veronica lifts the g*n and takes aim. BRETT: [desperately] I can prove it. Veronica lowers the g*n. Cut to later. On the television screen are sh*ts taken by a camera from the pick-up truck as the guys sh**t random people in the streets. BRETT: Look! White people. On screen, a couple are targeted to the sound of whoops and hollars from the boys. BRETT: You see? Anyone's a target. VERONICA: So I'm straight. Your defence is that you sh**t everyone, not just Arabs. Brett shrugs. Veronica's attention is caught by something she sees on screen. VERONICA: Is that Mr. Clemmons? On screen, it is indeed Van Clemmons, att*cked by them as he walks towards his car. CLEMMONS: [on the video] Ow, ow, ow, ow. TOWELIE: Yeah, nailing Clemmons was sweet. The two boys behind him are smirking. They all jump when Towelie is h*t in the chest by a paintball. He's so out of it that it takes a couple of beats before he even reacts to the pain. The other boys laugh. BRETT: Do I look like someone who would spray paint "t*rror1st" on a Middle Eastern restaurant? Veronica gives him a hard look before accepting this. She still has the paintball g*n at the ready. VERONICA: Fine. Give me the DVD. Brett bends down to collect it from the player. VERONICA: Anymore drive-bys and that finds its way back to the sheriff. Now. Everyone grab their Visine. You have an appointment. EXT - BABYLON GARDENS - DAY. Brett looks up sullenly as he, Towelie and one of the other boys clean the pavement of paint immediately outside the restaurant. Rashad is standing over them. RASHAD: Hey, you! I still see some green by the door jamb. Towelie gets up and heads for the indicated area where the fourth boy is already working. Rashad turns and looks up at Veronica who is up on a stepladder, fixing a camera. RASHAD: Are you sure these aren't the same vandals who did the spray painting? Veronica climbs down the stepladder. VERONICA: Pretty sure. She carries on past him, and Sabirah comes out of the restaurant, carrying a small cloth banner. SABIRAH: Are you sure we should hang one on the door again? I mean, are we asking for trouble? RASHAD: I won't be intimidated, Sabirah. She's unconvinced and turns to Veronica, who is checking out the playback from the cameras on her computer. SABIRAH: What do you think? They stole the last one we put up. RASHAD: Don't ask her. This isn't about her. Veronica turns to look at the banner as Sabirah shoos her husband to shut up. Veronica returns her attention to the computer as she responds. VERONICA: If it was me, I'd put one up twice as big. Rashad grins, as does Veronica. On her screen, the cameras she has installed are working, showing the boys continuing in their work. RASHAD: You see? Two to one. Democracy in action. He takes the banner from his wife, who smiles. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Dick is sitting on the couch, his laptop on the ottoman in front of him. Logan walks around the back of the couch. He glances down at Dick as he adjusts his necklace. LOGAN: Hey, I gotta run some errands for the party. Thanks for all your help, by the way. Dick, oblivious to the complaint, leans back with satisfaction. DICK: Check it out. Two hot chicks I met on MySpace. Both in play. Both eager to meet the Dickster face-to-face. Question. And I need you to dig deep here. Which one do I invite? Logan, having put on his watch and grabbed his phone, leans down to get a better look at the screen. The page for the first girl is up. Dick adds the second page so pictures of both can be seen. LOGAN: Um...hmm. Lazy eye might work to your advantage. DICK: Ha! Trick question! Just goes to show how whipped you are. The correct answer is "both." LOGAN: And if they both show? DICK: Then I do a quick heat check. Whichever's engine's running hotter gets Dick. Logan heads out as Dick continues to stare at the objects of his interest. LOGAN: You mean "whomever's." DICK: Whatever. INT - SHERIFF'S DEPARTMENT - NIGHT. Keith and Deputy Gills talk quietly up at the counter in the darkened office. GILLS: What can I say? We h*t them all, full sweeps. They were clean. KEITH: Deputy Gills, you don’t find it strange? College towns, surprise inspections, and not one of my deputies issues a single citation? Sacks, working at his desk, glances up at them with interest, but firmly keeping his head down. GILLS: Not really. Those bars do a good job of keeping the minors out. I hate to say it but the kid who got h*t? He's the exception. KEITH: [softly sarcastic] What are the odds? INT - MARS RESIDENCE - DAY. Veronica sinks onto her desk chair and checks her computer. VERONICA VOICEOVER: So let's see how Babylon Gardens survived the night without me. She pulls up the video from the surveillance camera. VERONICA VOICEOVER: All seems well. She speeds it forward. At one point during the night, a figure is seen at the window of the restaurant. Veronica slows the playback down to normal speed. VERONICA VOICEOVER: Who is this guy and what's he doing skulking around? It's a young man just loitering outside the restaurant. He's wearing a sweatshirt that has the number eleven on the back and "Sneed Batmen" on the front. Veronica freezes the picture. VERONICA VOICEOVER: "Sneed Batmen"? INT - HEARST COLLEGE, FOOD COURT - DAY. Music: "Trina" by Public Bulletin. LYRICS: As Trina walks, as Trina talks Trina falls in love She [?] image She thinks she'd done enough Beautiful poster is tacked above her head [?] How many times, how many rhymes Justify your feelings Sent to her at night Jambox promises that love will find a way It can't promise love will stay Trina watch it all subside Songs that you listen to are lies [?] The Food Court is busy, with all the tables in use. Veronica and Mac are occupying one of them. VERONICA: Does "Sneed Batmen" ring any bells? For some reason, it sounds familiar. Mac is staring into space and doesn't respond. VERONICA: Hello? Mac's eyes jerk to focus on Veronica. VERONICA: Sneed? MAC: Sorry. Bronson and I went on a hike this morning. I'm wiped. VERONICA: A hike? You? MAC: [defiantly] Yes. VERONICA: Morning? You? MAC: I wanted to see what it was like. VERONICA: And? MAC: [unenthusiatically] It's sunny. VERONICA: Mmm. Sounds like things are good with Bronson. Any better and he'd have you jump the fiery hoops. Mac glares at her. She then spots something over Veronica's shoulder. MAC: You ready? Mac nods to behind Veronica. MAC: We can offer them our table. Veronica looks over her shoulder. Logan and Parker have their trays of food and are looking for somewhere to sit. Parker is giggling. Veronica is not happy but puts on a face for Mac. VERONICA: Sure. Mac waves them over. PARKER: Hey, you guys. Thanks for the table. MAC: It just takes me back to high school. Remember, Logan? We stood at the same lunch table and made fun of all the fat kids. LOGAN: I'm sorry. We went to the same high school? MAC: Uh, yeah. We ran over that fisherman and promised to take the secret to our graves. LOGAN: I remember the fisherman. MAC: Remember? You bet your friends you could turn me into a super hot prom date as a joke, but you ended up falling in love with me? Logan thinks hard for a b*at and takes a deep breath as if to say he does. LOGAN: Nope. Lost it. PARKER: Please stop. Logan grins. Veronica, a smile fixed on her face, can take no more of the banter. She gets up from the table. VERONICA: Ohh. Gotta split. Sorry. Late. PARKER: Hey, my birthday party. You can come, right? Veronica takes a deep breath. VERONICA: You know me. If there's a birthday party, I'm wearing a pointy hat. She laughs, a laugh that disappears the moment she turns away from them. Logan and Parker sit down at the table. Mac hurries to catch up with Veronica as they take their trays to the rubbish bin. VERONICA: You and Logan seem chummy. MAC: Guess I never thought much of the guy when you two were dating. Surly thing, you know. But since he's been around so much lately, I've seen his sweet side. Probably the side you saw all the time. VERONICA: Oh, yeah. That side. Having dumped their trays, they head out of the Food Court. VERONICA: So, about Parker's party. If I must go... MAC: You must, you must. INT - HEARST COLLEGE, HALLWAY - CONTINUING. Veronica throws her arm around Mac's shoulder. After a moment's hesitation, Mac does the same. VERONICA: What do you say I swing by your place early, and you h*t me on the head with a hammer a couple times before we go. MAC: Not that I wouldn't love to finally cross that off my to-do list, I promised Parker and Logan that I'd help them set up. Wanna come? VERONICA: Raincheck. I'll find reinforcements elsewhere. End music: "Trina" by Public Bulletin. INT - HEARST COLLEGE, BENES HALL - DAY. Wallace and Piz are making their way towards their room. PIZ: It's like the new Rocky Horror. Now at one point people throw plastic spoons at the screen. You gotta check it out. It'll-it'll change your life. Wallace, hardly enthused, tosses the football he is holding at him. Unbeknownst to either, Veronica is coming up fast behind them. She races to fall between them. She grabs both their crooked arms, although Wallace lets his arm straighten and Veronica's hand slips off. Piz keeps his arm bent and Veronica doesn't let go. WALLACE: Uh-oh. VERONICA: Relax! I'm here to invite you to a party. Saturday night, rocking good time. WALLACE: The catch? VERONICA: No catch. They reach the door to their dorm room and Piz and Wallace walk forward, pausing there and facing Veronica. VERONICA: I just...need a couple wingmen. It's Parker's birthday party. There's strength in numbers. You soldiers up for mission: moral support? WALLACE: Okay, cool. I'm in. But I think Piz has to go to- PIZ: No. Piz is in. It...it sounds like fun. I mean, I...maybe we could go pre-gaming before and you could by the room and we could... As Wallace looks on Piz sadly, Veronica isn't listening. She's spotted a guy in a "Sneed Batmen" sweatshirt who passes them. VERONICA: Cool. Okay, uh...sorry, gotta boogie. She races off to follow the guy. Piz looks confused. He watches her go for a moment before opening the door into their room. WALLACE: I thought you were going to Yoyo Taco on Saturday. He follows Piz into the room. INT - HEARST COLLEGE, BENES HALL, WALLACE AND PIZ'S DORM ROOM - CONTINUING. PIZ: Yo La Tengo. Yeah. But, you know, this sounds more fun. Wallace, having slammed the door shut, shakes his head and sinks down onto the small red couch. PIZ: What? WALLACE: You're like one of those guys who stands behind the players at the poker table and pretends he's playing. PIZ: Sorry, I've never been to Vegas, so what exactly... WALLACE: Look. Every once in a while, you gotta go all in. PIZ: Right. Will do. WALLACE: Excellent. PIZ: I don't know what that means, though. WALLACE: It means we're going out tonight. You're going to talk to some girl who knows you're alive. Wait, actually, that's not what it means, but it's a start. Piz gives a bemused snort. INT - HEARST COLLEGE, BENES HALL - DAY. Veronica catches up with the guy in the "Sneed Batmen" sweatshirt. VERONICA: Sorry to bother you. "Sneed Batmen," what is that? SNEED BATMEN GUY: Sneed Hall. It's the chemistry building. The Batmen are the intramural softball team. They reach the door to his room. Veronica leans against the wall and puts on her dumb girl act. VERONICA: Oh. Um...this is...embarrassing but I sort of flirted with number eleven the other day in the library. You wouldn't happen to know his name? SNEED BATMEN GUY: Sure. Jason Cohen. The guy goes into his room and Veronica pushes herself off the wall. EXT - ZETA EPSILON FRATERNITY HOUSE - NIGHT. The Saturn pulls to a stop. VERONICA VOICEOVER: I found out Jason Cohen lives at the Zeta Epsilon house. A Jewish fraternity. Curious. Veronica looks over at the house. There's a large tree next to it and Veronica sees the flash of a camera from the upper branches, level with the first floor (second floor for Yanks) of the house. VERONICA VOICEOVER: What the hell? Veronica grabs her own camera and trains it on the tree, using the lens to get a better look. A sudden scream at another flash and the addition of more light from the room he is stalking, startles the man in the tree. He scampers down, grabs his bicycle, and pedals furiously away from the scene. VERONICA VOICEOVER: Okay. Peeping Tom in a tree takes off on a bike. I feel like I stumbled into a Benny Hill sketch. Veronica, still watching through the camera lens, hears the door of the house open. She swings the camera around to see Jason, his shirt off revealing a fetching vest, standing at the door, searching for the stalker. A hand appears on his shoulder and a girl comes into view. It's Amira. Veronica gets out of the car and walks towards them. VERONICA: Uh, Amira. You mind telling me what's going on here. AMIRA: Better question. Why the hell are you here? VERONICA: I'm here because I have surveillance footage of Jason skulking around your parents' restaurant last night after closing. AMIRA: He wasn't skulking. Jason's my boyfriend. Amira looks heavenward. AMIRA: Oh, I'm gonna k*ll Nasir. VERONICA: Who? AMIRA: Nasir? He works at the restaurant. His student visa expired and my parents agreed to give him a job. She sighs and folds her arms. AMIRA: I was supposed to marry the guy. Jason looks down at her in surprise. JASON: Really. AMIRA: Don't ask. Those pictures will literally k*ll my dad. VERONICA: Are they X-rated? AMIRA: It's not the nudity. It's my co-star, the Jew. Jason gives Veronica a lop-sided grin. AMIRA: However long it takes to get those photos developed and pedal over to my dad's house, that's how long I will be until I'm disowned. VERONICA: There's only two one-hour photo places open this late. And Nasir's on a bike. I'll see what I can do. Amira and Jason look relieved. Veronica spins around and heads back to her car. INT - CONVENIENCE STORE - NIGHT. Veronica enters the store, more like a supermarket. She spots Nasir who is in Arab dress as he waits by the magazine rack, flicking through one of the magazines. He doesn't notice her. Veronica goes to the one-hour photo counter. A guy is busy at the machine. Veronica clears her throat to get his attention. He turns to face her, wearing a slight manic grin. VERONICA: Hi, um, my boyfriend... She looks over her shoulder deliberately at Nasir. VERONICA: ...is a tad embarrassed to pick up the photos we just dropped off. There are a few special-moments-with-special-friends type sh*ts. Men! It's all rah-rah-rah until you find yourself in an all night phot-mat. The rubbery-faced clerk's visage turns increasingly tragic. VERONICA: Um, how much do we owe you? The clerk peers out at Nasir, not quite believing the relationship. ONE-HOUR PHOTO CLERK: That's your boyfriend? VERONICA: Yeah. It's like I'm dating a young Omar Sharif. Desert fever, what are you going to do. Um, are they ready? ONE-HOUR PHOTO CLERK: Uh,um, I'm on the last one. I've had some problems with the machine jamming. VERONICA: Okay. The clerk checks the machine and then watches Veronica as she walks over to Nasir. Veronica stops right in front of him. VERONICA: Sorry. Do you have the time. Nasir looks down at her with disapproving disdain. NASIR: 11:15. Veronica pauses a moment, smiling, then runs her hand down Nasir's arm, ending with a pat. VERONICA: [softly] Thank you. Nasir is a little disgusted, but doesn't react as Veronica walks away from him, back to the counter. The clerk, who has been watching, shakes his head at the interesting pairings life throws up. Veronica reaches the counter, getting out some cash which she places on the counter. VERONICA: Arab men. So macho. With a chuckle, she grabs the photos from the counter and heads towards the exit, calling out to Nasir as she goes. VERONICA: Nasir! Startled, he looks up and responds to a little wave from her. VERONICA: See you back at the apartment. Don't be late! Veronica blows him a kiss and leaves. Nasir stares after her, his hand still held up in the wave. He drops his hand and walks over to the counter. The clerk watches him with increasing consternation. NASIR: My photos. Are they done? ONE-HOUR PHOTO CLERK: Your girlfriend just picked them up. NASIR: Girlfriend? I don't know that woman. [with increasing aggression] You gave her my pictures? ONE-HOUR PHOTO CLERK: Sir! Count to ten, please. I am not the enemy. Nasir makes to run after Veronica. ONE-HOUR PHOTO CLERK: I still have a few of the prints that were only half developed when the machine jammed. Nasir swings between to racing after Veronica or staying for photos. INT - THE BREAK - NIGHT. Music: "Hold On to You" by the Waking Hours. Wallace and Piz are sitting at the bar, drinking beer and watching a girl play billiards. The guy playing with her hands her cash as she wins the game. Wallace starts to search his own pockets. WALLACE: Hey, it's worth losing twenty bucks just to talk to her. PIZ: We came here for me, remember? WALLACE: Yeah, that was before I saw her. Piz plants a firm hand on Wallace's shoulder, forcing him down on the stool. PIZ: Oh, no you don't. No. Piz gets up off his stool to head for the girl, pointing at Wallace on route. PIZ: Judas. Piz arrives at the billiards table and slaps notes on it with a flourish. PIZ: I got twenty bucks that says you can whip my ass and make me like it. MIRANDA: Well, I do like a confident man. She reaches down close to Piz's groin to grab the triangle for setting up the balls, although it takes Piz a split-second to realise that. Wallace laughs from his observation post at the bar. End music: "Hold On to You" by the Waking Hours. INT - HEARST COLLEGE, AMIRA'S DORM ROOM - NIGHT. Like all the rooms, Amira's has a whiteboard on the door on which someone has written "I can't wait till its all over - summer time - beaches." She opens the door to Veronica. She smiles on seeing her. Veronica holds up the pictures. VERONICA: Look what I found. Amira is delighted them, taking them with an excited sigh of relief. AMIRA: Thank you, Veronica! Ooh. She beckons Veronica into the room with a soundless "Come in" and a wave, then looks through the snaps. AMIRA: Ooh. VERONICA: I must say, your spurned suiter? He may be crazy, but... Veronica waves the heat from her face. VERONICA: Oh, my. AMIRA: If I didn't mind being treated as property, he might be tempting. There's a firm knock at the door. A little surprised, Amira opens it. RASHAD: [furious] Explain this! He's holding out a half-developed picture of Amira and Jason. RASHAD: Now! Amira is still standing, frozen. Veronica, behind her, also stays silent. RASHAD: Nasir says that this boy lives in a Jewish fraternity. Is he a Jew? Amira drops her eyes and says nothing. RASHAD: Being with this boy is what has caused of all this. The thr*at, the vandalism. The community has obviously found out and turned against us! VERONICA: When you say "community," do you mean Jewish or Arab? RASHAD: Either. Both. I don't know. Rashad points at Veronica. RASHAD: The restaurant is no longer your concern. You're fired. Leave! Veronica walks towards the door. VERONICA: I work for your wife. If she wants me fired, she can give me a call. Veronica walks away from them, Rashad not happy that she's being defiant. INT - THE BREAK - NIGHT. Mr. Murphy is in his office in the back, sitting at his desk counting out bills. Keith arrives. KEITH: Mr. Murphy. One of my deputies told me you wanted a private audience. I was in the neighbourhood. MURPHY: You know why people enjoy going to bars, Sheriff? Keith stares down at him impassively. MURPHY: They can drink at home. People want to relax. Let their hair down. That's not easy to do when every ten minutes uniformed deputies are showing up and harassing them. The funny thing is I always backed the badge. In fact I usually buy an especially large amount of sheriff's department raffle tickets every year. Sheriff Lamb, God rest his soul, really appreciated his relationship with local businesses. Murphy gets up from the desk and walks around to the front of it to join Keith. MURPHY: So how many raffle tickets do you think The Break should buy this year, Sheriff? You know, just to, uh, make sure that we keep working together. Ten bucks a pop? Maybe five hundred tickets? KEITH: We won't be having a raffle this year, Mr. Murphy. The hospital is having a pancake breakfast. Perhaps you could better serve the community by giving to them. Murphy follows Keith out of the office. MURPHY: You sure you're thinking this all the way through, Sheriff? Keith pauses at some photographs on the wall. One picture gets his attention. It's a picture of the 2006 baseball or softball team, Excessive Force. The team appears to be made up of deputies, as Sacks and Gills are among the players. MURPHY: Your boys really enjoy those new uniforms every year, tournament fees taken care of, post-game pitchers of beer on the house. It's like I'm one of the team. Keith looks from the photo to Murphy, but before he can respond, his attention is diverted by the sound of a girl's laugh. He looks up to see the girl with Wallace. He heads for them. Piz sees him coming and urgently slaps Wallace, who is finishing the remains of his bottle of beer. KEITH: Wallace? Wallace is still laughing with the girl. Piz is trying to hide unnoticed behind him. WALLACE: Ah, man! Wallace finally looks over and the laughter dies in his throat. WALLACE: Mr. Mars. KEITH: Last time I saw you, you were nineteen, and that was...just a couple weeks ago. MURPHY: I ID'd these boys myself. You can check it. If they're not legit, I'll shut this place down right now. Keith is clearly sceptical. KEITH: Wallace. Stosh. Piz gives him a nervous grin. KEITH: Mind if I see those IDs of yours. They get them out and hand them over sheepishly. Keith examines them and immediately recognises the work. KEITH: I guess I don't have to ask where you got these. INT - MARS RESIDENCE - DAY. Half-awake, Veronica walks from her bedroom to the kitchen. She wakes up fast when she sees Piz and Wallace's fake IDs taped to the refrigerator. KEITH: You recognise the work? Keith appears behind her from his bedroom. Veronica looks at him and sighs. KEITH: Out of thirty-seven citations yours truly wrote in six campus-area bars last night, no fake ID could hold a candle to your standards. You may not want to believe this, honey, but there are mistakes you can't take back. What if they'd gotten drunk and stumbled into the street like Jim Wilson. Would you want to explain that to their parents? Veronica doesn't say anything, but sighs again as Keith leaves the apartment. Her cell phone rings.. VERONICA: Hello? EXT - BABYLON GARDENS - CONTINUING. Sabirah is distraught. Nasir is behind her, cleaning "t*rrorists Go Home" off the window. SABIRAH: It's happened again. INT - MARS RESIDENCE - CONTINUING. VERONICA: I'll check the camera. I'll be right over. INT - BABYLON GARDENS - DAY. A picture of a young man spray painting the window is held out and passed to Sabirah. She looks at it closely, then shrugs. SABIRAH: I've never seen this man. Veronica takes the picture back. VERONICA: No problem. I can track him. I just wanted to see if you knew who he was first. EXT - BABYLON GARDENS - DAY. VERONICA VOICEOVER: Fortunately, the vandal took the bait. Veronica exits. Nasir, still cleaning, stops to stare at her. She sees him and smiles. Nasir glares at her. VERONICA VOICEOVER: One Arabic scroll with a tracer stitched inside. EXT - NEPTUNE STREETS - DAY. Veronica follows the sound of the tracer until she is led to the scroll which is in a trash can. She looks around. She's in one of the poorer parts of Neptuen and notes the house nearby. As she ponders, a Ford van pulls up. The driver leans out. It's the same guy as in the picture. DERRICK: Can I help you find something? Veronica smiles. She reaches into her bag as she walks towards him. VERONICA: Look what I've got. She pulls out the envelope with the picture in it. VERONICA: It's a surveillance photo from Babylon Gardens. Shows you painting "t*rror1st" on their building. By now Derrick, wearing a patriotic T-shirt, is out of the van. DERRICK: Well, you ain't a cop. So my response is gonna have to be "So the hell what?" VERONICA: Why'd you do it? DERRICK: If you have to ask that then you ain't been paying attention. VERONICA: That's it? You're just another closed-minded redneck who thinks it's his patriotic duty to harass innocent people? DERRICK: Not quite. He walks away from her to the back of the van. Veronica follows. VERONICA: I know where you live now. In about five minutes, I'll know your name. The family you're harassing is gonna press charges. DERRICK'S BROTHER: [offscreen] Derrick, what have you done now? Veronica rounds the back of the van to the other side. She sees Derrick's wheel-chair bound older brother on the lift letting him down from the van. DERRICK: This girl here wants to know why I spray painted "t*rror1st" on that towel-head restaurant. DERRICK'S BROTHER: You really think Babylon Gardens is a t*rror1st front? DERRICK: As a matter of fact, I do. Derrick walks quickly past his brother to the front of the van. DERRICK'S BROTHER: Sorry about my little brother. He's been pretty worked up since I came home like this. Veronica nods. Derrick, having grabbed a sheet of paper from the van, strides back to Veronica. DERRICK: One of the dudes who works there. Passing these out by the mall. It's a black and white cartoon. Over the shape of the country of Iraq is the name in block capitals. One American soldier stands in front of the I with his g*n raised. A second enters the I, as if it were the start of an enclosed conveyer belt. A man in Arabic dress, with his face covered, stands behind the A and Q, going "Hee Hee!" From the Q, a coffin draped with the American flag exits the word to join another coffin already expelled. DERRICK: I followed him back to the restaurant on his bike. Iraqis laughing at d*ad Americans? If that ain't t*rror1st propaganda, then I don't know what it. Derrick, firmly unapologetic, heads back to his brother. INT - BABYLON GARDENS - DAY. The restaurant is quite busy as Veronica enters. VERONICA VOICEOVER: Generally the satisfaction of nailing someone for a crime like this is its own reward. So where's the sugar rush of sweet justice I should be feeling right now? Veronica joins Rashad and Sabirah at one of the tables. SABIRAH: Hello. RASHAD: Hi. They lean forward to hear her report. VERONICA: So, his name is Derrick Karr. He admitted to vandalising your restaurant after he was handed this. She pulls the cartoon out of her bag and holds it up to them. Sabirah takes it and they both stare down at it. VERONICA: By Nasir. He was distributing them outside the mall. Derrick followed him back here. Rashad and Sabirah exchange a sad glance. VERONICA: Derrick's brother was sh*t up in Iraq. RASHAD: His brother was a soldier? VERONICA: Yes. But he had no idea what Derrick had done. Veronica takes a deep breath. VERONICA: I did some checking. Derrick's on probation for stealing cars. If you press charges, it'll most likely mean some jail time for him. RASHAD: I want to meet this man. INT - HEARST COLLEGE, BENES HALL - DAY. Keith walks down the corridor, attracting furtive glances from passing students. He arrives at the door to Wallace and Piz's room. He pauses to consider the front of the latest Lampoon cover. Entitled "Mars att*cks!" it depicts Wallace and Piz being caught by a finger-waving Keith at The Break, with Keith's head being twice the size of his body. Keith knocks on the door. Piz opens it. Wallace is behind him, playing with a mini-basketball. PIZ: Uh, Mr., uh, Sheriff Mars! KEITH: Hello, Stosh. What do you say we head out. Have a few beers. Piz stares at him in shock for a moment before smiling and pointing at him. PIZ: It's one of those trick questions, isn't it? KEITH: I've got some new IDs for you. He holds up a couple of cards. KEITH: Wallace! Wallace joins Piz at the door and they take the proffered IDs. They take a moment to look at them. PIZ: This picture is Jon Bon Jovi. KEITH: Yes. It is. WALLACE: Biggie Smalls? We don't really all look alike, Mr. Mars. KEITH: I know that, Wallace. Now, let's go out and get our drink on. INT - THE BREAK - NIGHT. Music: "The Hard Light" by Mere Mortals. LYRICS: I'm on a wire I'm on a star I got a feeling you don't know where you are Here she comes now She got the word She wrote the note that you never heard Come on We're all done Who's in your head, who's in my song? Beer fills a glass from a pitcher. Wallace slides the glass along the bar to Piz who picks it up unenthusiastically. PIZ: Non-alcoholic beer. All the peeing, none of the fun. WALLACE: Quit complaining. One night of this and we're off the hook. PIZ: Plus, if things work out with Miranda, this could be one of those cool first-time-we-met stories. WALLACE: What about it is cool? And by the way, you invited her to join us at Logan's party. Your lack of pimp juice is going to cost you, son. Further discourse is forestalled by the arrival of Deputy Gills. GILLS: All right. Let's have all you finest minds of So. Cal. put your IDs in the air... GIRL: Oh, come on. GILLS: And wave them around like you just don't care. The bar's customers do as told and hold up their IDs. Gills walks along the length of the bar, barely looking at them. He gets to Wallace and Piz. Piz's card gives him a moment's pause. He looks at Wallace's and then back at Piz's, metaphorically rolling his eyes. GILLS: Thank you. And goodnight. This waste of time has been brought to you by the temporary sheriff of Balboa County. Gills leaves the bar. Wallace picks up the walkie-talkie on his lap. WALLACE: Did you get that, Mr. Mars? End music: "The Hard Light" by Mere Mortals. EXT - THE BREAK - CONTINUING. Keith is parked outside. KEITH: Got it. He switches off the walkie-talkie and watches Deputy Gills as he walks away from the bar. INT - SHERIFF'S DEPARTMENT - DAY. Keith has the deputies gathered together again. KEITH: Last night, I ordered another sweep of the bars. Smith, Jones, Taylor, Gills. Clean out your lockers, you're fired. GILLS: You're f*ring us? You're the substitute teacher. We were hired by Don Lamb. I know these guys better than you do, Keith. You try to pull this stunt, we all walk. KEITH: Fair enough. Keith points. KEITH: There's the door. Sacks and the other deputies don't make a move. GILLS: You don't have the stones-- KEITH: Leave your badge on the desk and get the hell out of my station. Gills opens his mouth to argue, but as he looks around he can see that he doesn't have the support he thought he had. He takes off his badge and walks towards the desk on the way out. EXT - KARR RESIDENCE - DAY. Derrick opens the door. DERRICK: You. He's not pleased to see Veronica. VERONICA: I've got some people who want to meet you. She indicated the Krimanis, standing behind her. VERONICA: Rashad, Sabirah Krimani. This is Derrick Karr. They own Babylon Gardens. RASHAD: I wanted to meet you. Talk to you. DERRICK: Lucky me. Derrick starts to shut the door in their faces. VERONICA: Hey, if they report you, it's off to jail you go. DERRICK: So, I end up in jail. My brother ends up in a wheelchair and these foreigners are free to spit on America and everything it stands for. RASHAD: What it stands for? Do you even know what it stands for? Derrick prepares for a lecture with ill grace. RASHAD: Saying you love America is easy. It's easy until someone spray paints "t*rror1st" on your door. It's easy until you are handed a flyer that mocks the sacrifice of your brother. We all came from somewhere else. We all are trying to make it. In America, whatever you stand for you're supposed to get a fair sh*t. That is what your brother was fighting for. In case you wanted to know. Derrick glares at him, unmoved. DERRICK: So turn me in, Ali Baba. It makes no difference to me. Derrick slams the door shut. Veronica sighs heavily. She gets out her phone. VERONICA: He'll be in jail in an hour. Veronica starts to dial. RASHAD: No, no. Don't, don't turn him in. I suspect that our troubles with Mr. Karr are over. I'm glad that I had the chance to speak with the man. VERONICA: You sure? Rashad nods. VERONICA: Okay. Veronica leads them away from the door. Sabirah puts her arm around her husband. SABIRAH: I'm so proud of you. Your words were so inspirational. I was wondering. Do they apply to your daughter as well? Rashad sighs. RASHAD: I guess I should meet the boy. SABIRAH: And what do we do about Nasir? RASHAD: Well, he didn't break any laws handing out the flyer and I support his right to exercise free speech. But that doesn't mean that I have to support him or shelter him. That cartoon pissed me off. It was un-American. INT - BABYLON GARDENS - DAY. Nasir is working in the kitchen. INS AGENT: Nasir Ben Hafayid. Nasir looks up to see two men in suits enter the kitchen. The first man holds up his badge. INS AGENT: You're in this country on an expired I-20 student visa. The agent cuffs Nasir. INS AGENT: In accordance with INS 214 any statement you make can be used in a court of law, immigration or administrative proceeding. Nasir is led away. INT - MARS RESIDENCE - NIGHT. Keith is pouring the contents of a large saucepan into a colander. Veronica arrives. KEITH: Hey, honey. Just in time. Hungry? VERONICA: Nope, but the food's free. Veronica gets plates from the cupboard. KEITH: Wallace called. He and Piz are going to meet you at the party. Said you'd understand. VERONICA: [horrified] They're ditching me? KEITH: I warned them you wouldn't understand. Score one for Dad. By the way, you didn't tell me I made the front page of the Lampoon. Having laid the plates, Veronica sinks onto the stool. KEITH: This had to have been tough on you the last couple of days, having your old man back as sheriff. VERONICA: Actually, it's been tough on me knowing I let you down. I'm sorry about those IDs. I vow to use the Mars powers for good rather than evil from now on. KEITH: There's never a stenographer around when you need one. Veronica wrinkles her brow at her father. INT - NEPTUNE GRAND HOTEL - NIGHT. Veronica boards one of the lifts/elevators. VERONICA VOICEOVER: Things I'd rather do than attend this party solo. Seven minutes of heaven with Scott Peterson... DICK: Hold the door! VERONICA VOICEOVER: Ride the space elevator with Dick... Dick catches the door before it shuts and gets into the lift. DICK: Always the lady. You came. Good for you. Thought something like this would be unbelievably awkward. VERONICA: Your fly's open. DICK: I know. Party ritual. Veronica frowns and looks over at him. He's got a hip flask and takes a long swig. Veronica holds out her hand for it. Surprised, he gives it to her. She looks at the open flask for a moment, her need for Dutch courage battling the idea of taking a drink from Dick. Dutch courage wins but not before she wipes the mouth of the flask on her dress. DICK: Veronica Mars! What's that line about the beginning of some sort of friendship? Veronica throws back her head for a long drink. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Music: "The Time of Times" by Badly Drawn Boy. LYRICS: Oh, sweet morning Is your head not right Did you hear my warning This is the time of times And your head feels like your body Your mind is close behind There’s a teardrop on your shoulder That says this is the time of times It’s the time of times again This is the time of times It’s the time of times again Oh, sweet morning And your head's not right Did you hear my warning This is the time of times Mac looks around the party, a worried look on her face. She sees Veronica and Dick enter the suite. DICK: Later. Dick passes Veronica to head into the party. Mac heads for Veronica. VERONICA: Why are you looking at me like that? MAC: Sorry. I was afraid you were trying to get back at Logan somehow by coming as Dick's date. VERONICA: Ew. Yeah, nothing says "I'm over you" like dating down. Veronica looks around. She gasps. VERONICA: Couch opening! She grabs Mac's hand and they run to the empty couch on which they collapse with relief. VERONICA: Okay. This couch is our social foxhole for the next sixty minutes of battle. Defend it at all costs. Veronica spots Wallace and Piz. Coming towards them too is Max. MAX: Hey, Veronica. Veronica smiles and then peers around his body to see Wallace and Piz. MAX: And friend. VERONICA: Sorry, right, uh, Max, this is my friend, Mac. Mac, Max. Veronica jumps up from her seat. VERONICA: Where are my manners? Sit, defend, decide which one of you's changing their name. I'll be right back. Veronica races to Wallace and Piz. WALLACE: Hey, you made it. PIZ: Hey. VERONICA: Hey, bozos. We had plans! Over on the couch, Max is now sitting on the couch next to Mac and the two of them are smiling shyly. WALLACE: Your dad didn’t give you the message? VERONICA: You were supposed to be my wing men. What mission could be more important than that? Miranda arrives, holding out drinks for both Piz and Wallace. MIRANDA: Here you go, boys. Miranda arrives, holding out drinks for both Piz and Wallace. VERONICA: [quietly] I see. Battle of the bulge. WALLACE: Veronica Mars. Miranda Apfel. MIRANDA: Hey. VERONICA: Hi. Elsewhere in the room, Dick is talking to the first of his hot MySpace invitees, a girl called Lisa. LISA: I loved the quote you have up on your MySpace page. What was it again? DICK: "The Dude abides." I don't know about you but I take comfort in that. Lisa giggles. LISA: What else do you take comfort in? Before he has to think of an answer, he sees the second MySpace girl has arrived. DICK: Drinks. Be right back. He leaves her and heads for the other girl. Logan starts tapping on a glass, bringing the room to order. LOGAN: Can I, uh, get everyone's attention for one minute. Parker advances to the centre of the room. Veronica turns to watch. LOGAN: Now I had this whole "My Super Sweet Nineteen" thing planned for tonight, but, uh, it turns out the hotel has a policy on Bengal tiger rides. He and Parker grin at each other. LOGAN: There is one ludicrous thing I was able to pull off that helps makes up for it. One of the hotel room service waiters arrives, pushing a trolley on which is a large box from a bakery. Everyone in the room, except Veronica, claps and whistles. PARKER: You remembered! Oh, my God. Logan moves around to join her in front of the box. The lid is lifted to reveal a large cake. One side of it is taken up with the message "Happy birthday Parker." The other features a photo of the two of them in icing. Also on the table are a couple of gifts on one of which burns two candles. Parker laughs in delight and puts her hand affectionately on Logan's face. Veronica watches. End music: "The Time of Times" by Badly Drawn Boy. Music: "And I Was a Boy from School" by Hot Chip. LYRICS: And I was a boy from school Helplessly helping all the rules And there was a boy at school Hopelessly wrestling all his fools And then there was a girl at school Blaming all the words she learned from home Nothing could keep her a child Long hours don't you know we try We try but we didn't have long We try but we don't belong We try but we didn't have long We try but we don't belong Now I meet you on the street Harmlessly breaking rules, we meet Lives are found and loves are lost Say goodbye to nothing everything caused Now I find you on my street Breaking rules hopelessly we meet Lives are found but loves are lost Elsewhere, Dick is working on hot MySpace girl #2. DICK: You're kidding! HOT MYSPACE GIRL #2: My dad does half the team's taxes. We should go to a game sometime. She takes a step closer towards him. HOT MYSPACE GIRL #2: You can spend halftime in my private box. DICK: Awesome! Would you give me a few minutes? I have some party responsibilities to attend to. Dick starts to move away, unaware that Lisa has just joined Hot MySpace Girl #2. LISA: Hey there. Dick turns to see his two dates standing side by side. He is a little stunned. LISA: Isn't he yummy? HOT MYSPACE GIRL #2: I know. You just want to...eat him up. Dick looks from one to the other and lets out a bemused chuckle. Back at the trolley, Parker is serving cake. Veronica approaches. Parker gazes at her and lets out a deep breath. PARKER: Thank you. VERONICA: Me? You're the one dishing out cake. PARKER: I was worried...that things were going to be weird and you're just...a class act. VERONICA: I'm happy for you guys. I've never seen him...on a cake like this. Parker giggles. VERONICA: Feel free to just hack in anywhere. PARKER: Okay. Parker hands her a plate with a piece of cake on it. Veronica moves away before she notices that she's unfortunately got the piece with Logan's face. She looks up at the sound of Max's laughter. MAX: [offscreen] That's brilliant! Veronica watches them as she eats her cake. Mac giggles. MAX: An online purity test. So basically you got people to detail their sex lives. MAC: And be scored accordingly, then I sold their sexual secrets to their peers for ten bucks a pop. MAX: I like how you think. MAC: Veronica busted me, but kept quiet. We've been friends ever since. As Veronica watches Max and Mac getting on so well, Logan comes up from behind to stand next to her. LOGAN: Checking out the talent? He laughs and takes a sip of his drink. VERONICA: How is it you have so many friends? You don't even like people. LOGAN: And yet they adore me. They start walking the room together. LOGAN: I girded myself for seeing with a date tonight, you know, proof you weren't pining away. VERONICA: All the periodically good ones were taken and I pine for no man. Veronica puts down the now empty plate. LOGAN: Hmm. Well maybe you should try branching out. I mean, who knows, maybe there's a consistently good one here tonight. On the couch, Max and Mac continue to get on like a house on f*re. MAC: So you sell tests, sorry, study guides. MAX: Yeah, it's not easy. Undergrad courses change quarter to quarter, visiting professors switch up curriculums, RTAs to bribe. It's exhausting. MAC: Tell me you're a business major. MAX: Philosophy. No lie. I think therefore I am. They laugh. MAX: Okay. Seriously, did...did my friends hire you. Mac stares at him quizzically. Elsewhere Veronica is approached by an unwelcome guest. ROCK-A-BILLY LOSER: Hey, the host says you're a big-time swing dancer. Veronica glances over at Logan, who is watching and smirking. He holds up his drink in salute. Veronica laughs uncomfortably. Logan's loving it until his attention is pulled away by an excited Dick. DICK: Dude, you're not going to believe this. Hottie internet chicks found out about each other, talked it over, and they're into it. LOGAN: Into it? DICK: Doublemint, baby! LOGAN: Are they becoming twins? DICK: What? Dude, I don’t have time for this. They sent me on a play thing scavenger hunt. Do we have any peanut oil? LOGAN: Here in the room? DICK: Didn't think so. What about an ice bucket? Dick hurries away. End music: "And I Was a Boy from School" by Hot Chip. INT - NEPTUNE GRAND HOTEL, OUTSIDE LOGAN'S SUITE - NIGHT. Dick is in the small room where the ice dispenser is, separated from the corridor by a glass door. Concentrating on filling the ice bucket, he doesn't hear the high heeled shoe slide a stopper under the door, jamming it closed, until it's done. He twist round to see Hot MySpace Girl #2 on the other side of the door.He tries the door and realises it's jammed. DICK: Hey, what's up? Wh-what's going on? She puts her hand on her hip. HOT MYSPACE GIRL #2: Lisa is a friend of mine. DICK: Who's Lisa? Lisa appears and stands next to her friend. LISA: I'm Lisa, dipwad. When you're perving my online profile, you should've looked at the friends list, too. Not just the picture. Just thought we'd come by and say "hi." Great party. The girls turn on their heels and walk away hand in hand. DICK: [most pathetically] No, don't go. They get in the lift and just as it closes, t*rture Dick more by moving in for a kiss. Dick drops his head in mourning. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Music: "Rally" by Phoenix. LYRICS: Hook up with me, meet at the rally I waited so long, I couldn't find a cause Tired or wasted I think you're decent I waited so long, there'll be no decency no (Don't you give me those) Shifty eyes pay attention Dirty talk talk talk Quiet Just as long as you're gone It won't happen at all Remember the time we talked about everlastings? Don't you know we'll both fall to pieces too? April 22nd at the Avalon You teased me Hook up with me, meet at the rally Shifty eyes pay attention Dirty talk talk talk Quiet Just as long as you're gone It won't happen at all Shifty eyes pay attention Dirty talk talk talk Quiet Just as long as you're gone It won't happen, no Don't go away we're so near Look around, you see There is nothing to say but the things I know I got nothing to say but the things I know Standing in line, I think you're pretty Lying on your bed, I think you're pretty too Young girl curl your hair at night Hook up with me, meet at the rally (Don't you give me those) Shifty eyes pay attention Dirty talk talk talk Quiet Just as long as you're gone It won't happen at all Shifty eyes pay attention Dirty talk talk talk Louder Just as long as you're gone I won't leave you alone Piz's eyes are a little glazed, despite or because of being the focus of Miranda's attention. MIRANDA: No way! I-I've heard your show. Wallace shakes his head at Piz's lack of interest as Miranda sidles close up to Piz. MIRANDA: Maybe you could dedicate something to me? PIZ: Absolutely, even though it's a talk show. I could dedicate a segment on campus neighbourhood zones for you. They are interrupted by the sudden arrival of Veronica who flies into Piz's arms. VERONICA: There you are! She gives him a big hug and whispers in his ear. VERONICA: Sorry, this is a break glass in case of emergency situation. I need you to pretend to be my boyfriend. Piz keeps a hold of her while he considers this. Wallace watches with some concern. Piz and Veronica break. PIZ: Oh, sorry. You're right, babe. Bad boyfriend. Fresh drink coming up, okay. He kisses her on the forehead and races off. Veronica gives the thumbs up then turns to face Wallace and Miranda. Wallace turns to Miranda. WALLACE: Could you give us a second? MIRANDA: Sure. Wallace pushes Veronica away slightly for some privacy. WALLACE: You need to listen to me right now, okay. Wallace checks for Piz returning. WALLACE: What you're doing is cruel. VERONICA: Are you kidding? When I told him my name... Veronica looks over his shoulder where the Rock-A-Billy Loser is standing watching them. On her glance, he gives her a friendly gesture. She gives one back with a fake smile. Wallace turns to see. VERONICA: He did that whole "banana fanna fofanna" thing. WALLACE: No, not him. Piz. Veronica furrows her brow, confused. WALLACE: If you don't know he has a thing for you... VERONICA: Piz doesn’t have a th- WALLACE: You're smarter than that. Be a good person. Just put him out of his misery. Piz arrives back with two drinks. PIZ: There's my sugar. Veronica, suddenly uncomfortable with him, stares at him. Piz senses the change of mood and looks from her to Wallace. PIZ: What? WALLACE: Nothing. I gotta get back to Miranda. Wallace gives Veronica a significant looks before he turns and rejoins Miranda. Piz gives Veronica her drink. She smiles awkwardly. VERONICA: You wanna get some air? They move out onto the balcony. Veronica takes Piz's drink and sets them both down. VERONICA: I owe you an apology. PIZ: You do? Veronica turns to face him. VERONICA: I do. You've been so sweet to me and I really like hanging out with you. You're great. I've just...I've been so focused on my own romantic drama, I've kind of been blind to everything else. Basically what I'm saying is that I think you're head may have been in one place and mine's been in ano- Piz takes hold of her face and kisses her. After a moment, he lifts his head. He shrugs. PIZ: Just friends. I get it. He backs away and leaves the balcony. Veronica is shocked. She touches her lips. Piz walks back into the suite and puts his hand on Wallace's back. PIZ: I'm taking off. WALLACE: Where are you going? What happened? Piz smiles. PIZ: I went all in. Wallace watches him go, smiling. Back on the balcony, Veronica is pacing. She steps into the room. She sees Max and Mac happily flirting. She spots Wallace. VERONICA: Have you seen Piz? Wallace points to the door. WALLACE: He just took off. Veronica runs in the same direction. INT - NEPTUNE GRAND HOTEL, OUTSIDE LOGAN'S SUITE - NIGHT. Piz is at the lift where Veronica catches up with him. VERONICA: You're leaving? PIZ: Yeah, well I'm a fan of the dramatic exit. Veronica looks up at him. PIZ: Truthfully, I don't know how the night can get any better than that. Veronica smiles and pulls him towards her, rising onto her toes. VERONICA: You sure about that? They kiss again, this time more mutually. In front of them, the lift doors open. Logan is in the lift. He freezes on seeing them. Veronica and Piz also freeze on seeing him. Logan is pale, but gives a small rueful grin and walks out of the lift and past them, where the grin disappears. Veronica and Piz step into the lift. Veronica stares at Logan as he walks away and the doors start to close. He doesn't look back. End. End music: "Rally" by Phoenix.

{"type": "series", "show": "Veronica Mars", "episode": "03x16 - Un-American Graffiti"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Bronson and Mac lie in bed and kiss in 314 "Mars, Bars." BRONSON: I like being sweet to you. MAC: I'm really glad. Cut to Mac and Max at Parker's birthday party in 316 "Un-American Graffiti." MAC: You sell tests. MAX: Yeah, it's not easy. MAC: Tell me you're a business major. MAX: Philosophy. They laugh. Cut to Veronica and Piz on the balcony. VERONICA: You've been so sweet to me. I just- Piz kisses her. Cut to a few moments later with them kissing again outside the doors of the lift. The doors open to reveal Logan. End previously. INT - MARS RESIDENCE - NIGHT. Wallace is sitting in the armchair, taking notes. Veronica is stretched out on the couch. The Women is playing on the television. Wallace is concentrating hard on the movie. LADY #2 IN BLACK'S: [on TV] Oh, that old bag! One more permanent and she won't have a hair on her head! LADY #1 IN BLACK'S: [on TV] Um, she's got plenty on her arms, baby! LADY #2 IN BLACK'S: [on TV] She sure does shed, don't she? Veronica is sceptical. VERONICA: I can't believe this is a class. WALLACE: Hey, without film studies, how will we know what movies mean? VERONICA: So...Piz didn't say anything...about the whole party...thing? WALLACE: Like how you two made out in the hall and then you took off? Veronica pulls a face. Wallace chuckles. WALLACE: Why? Is he calling you all the time? VERONICA: He called once. The day after. But...how would you interpret his mood? WALLACE: You want me to have this talk? Am I a twelve-year-old girl? VERONICA: No. But you're drinking Fresca and watching Joan Crawford movies. WALLACE: Look, I told you: be honest, let him down easy. But- VERONICA: [pained] So he's gone all mushy. WALLACE: I don't know. My interpretation of Piz's mood? Normal. So is the girl talk over? I'm trying to watch The Women here. Keith enters the apartment before Veronica can protest. VERONICA: How was your day? KEITH: It's official. Two fewer burglaries this month than last. VERONICA: I smell trend. KEITH: And the registration deadline for the special election is Monday... VERONICA: So you're running... KEITH: Unopposed. Might stand a chance. Keith holds up two sets of crossed fingers. INT - HEARST COLLEGE, RADIO STATION - DAY. Music: "Life Is Good" by Junk. LYRICS: I know I can always win I can do anything I To more than dream I Think You make everything - everything just right So alive Life is good when you're around Nothing can bring me down Amongst the equipment and notices on the wall of the radio station is a poster headed "Extra - Desmond Fellows. Trish is sitting at one of the desks. TRISH: Okay, Johnny Scopes and Desmond Fellows met where? Piz and Arnold are standing in front of her. ARNOLD: [triumphantly] NYU, Dean's office. Johnny dropping out and Desmond expelled. Formed My Pretty Pony the next day. TRISH: Score one for Arnold. Arnold looks over at Piz who waggles his fingers in a "So what?" gesture. TRISH: Piz, name three My Pretty Pony songs that made the college-radio charts. PIZ: "Black Cat," "You Break Me, You Buy Me," "Jesus Saves, But Where Does He Shop?" Piz does his own share of gloating with a Danny Zuko cough-sneer. PIZ: All right! TRISH: Their last album was released? ARNOLD: '96, More Problems. Game over. Arnold, sure of his victory, gives a punch in the air. PIZ: The Wake EP, 1997, released over Desmond's objections after Johnny died. Their official last album. Without looking at him, Piz gives the defeated Arnold a "talk to the hand." PIZ: Ah-oh. TRISH: Congratulations, Piz. Job's yours. Piz does his own triumphant punch. TRISH: You replace Joe. There's a lot riding on this. Don't blow it. INT - HEARST COLLEGE, FOOD COURT - DAY. Piz wanders in and spots Veronica. PIZ: Hey, Veronica, guess what? Veronica is awkward as she plays cool. VERONICA: Uh, what? They saunter through the Food Court together. PIZ: You know My Pretty Pony? VERONICA: Yeah. I totally love them. PIZ: I know, right? So, Desmond Fellows is coming to Hearst. And guess who just won the My Pretty Pony-off and gets to be his guide? Piz points to himself happily. VERONICA: I'm guessing you? PIZ: Mm-hmm. VERONICA: Wow. That's awesome. Why is he coming here? PIZ: One of our idiot deejays swore on air, and the FCC is literally fining us into oblivion, so...we got Desmond to come play a fund-raiser to pay them off. Otherwise the station is d*ad. Veronica's nose wrinkles and she turns to face him. VERONICA: Johnny Scopes died, didn't he? PIZ: Yeah, but Desmond has the backing tapes with Johnny's vocals, so he plays all the My Pretty Pony songs along to the tapes. It's just awesome. I mean this guy is like one of my all-time heroes. And I can get tickets if you-you maybe want to... VERONICA: Yeah. Maybe. Um...I'll see. I got to run. I'm late. Veronica hurries away. He watches her go. INT - HEARST COLLEGE, BUSINESS CLASS - DAY. A pointer is on a small poster which described the technology of the Shoe Storage System. DONALDSON: ...as you can clearly see. The camera pulls back to show the student giving the presentation. DONALDSON: And finally, consider this. Do you know anyone who doesn't wear shoes? Logan, sitting at the back of the class with Dick, is bored silly. PROFESSOR CORRIGAN: Very nice, Donaldson. As Donaldson retrieves his materials, the professor steps back up to the front of the classroom, consulting his class list. PROFESSOR CORRIGAN: So... Logan puts his head down. PROFESSOR CORRIGAN: Logan Echolls. What have you got for us? Dick smirks as Logan squirms. LOGAN: Uh, actually, I was hoping I could present my business plan on Monday. PROFESSOR CORRIGAN: Why am I not surprised? He glares at Logan and makes a note on his clipboard. INT - NEPTUNE GRAND HOTEL - DAY. The lift dings and the doors open. Piz, Desmond Fellows and Jeff Ratner exit. Piz is carrying a plastic cup. Jeff is pushing the luggage trolley. PIZ: I didn't get the chance to say this on the way over, but I was the biggest My Pretty Pony fan. DESMOND: Sweet. Hey, that's my drink, right? Piz hands him the cup. PIZ: Uh, yeah, tonic and ice. INT - NEPTUNE GRAND HOTEL, DESMOND'S SUITE - DAY. Having reached the room, Piz and Jeff watch Desmond as he pours four miniature bottles of vodka into the cup. Jeff gives Piz a disapproving sidelong glance. PIZ: Hope this is okay. Nicest place in Neptune. All the amenities. Desmond turns and takes a large gulp from the cup. He looks at Jeff, waiting patiently. DESMOND: What's he still doing here? JEFF: Waiting for the tip. It's a customary thing...in America. Desmond sighs, puts down the cup, and checks his pockets, coming up empty save for a napkin. He grabs a pen and signs it. He holds it out to Jeff. DESMOND: There you are, my good man. That'll get you twenty bones on eBay. JEFF: Why? DESMOND: I'm Desmond Fellows. With all the disdain he can muster, Jeff turns away and exits. DESMOND: Obviously, he's not cool. Desmond throws the napkin onto the room bar top. DESMOND: We'll leave that for the room-service guy. Desmond grabs his backpack. DESMOND: You know what, Fez? I'm pretty b*at. He grabs the cup and heads for the suite's bedroom. DESMOND: Why don't you go out, see if you can't grab us a few of those old mini bottles off of a cart? That'll be great. I'm just gonna catch some z's. Opening the door, a woman in animal print underwear is revealed to be on the bed, upright on her knees. BLACKCAT70: Surprise. Desmond looks at the woman, and then back at Piz. DESMOND: Whoa. You really do have all the amenities. Desmond happily enters the room but when he gets inside and gets a closer look, he is taken aback to see the woman, though attractive, is no spring chicken. BLACKCAT70: You said "Surprise me," so...surprise. DESMOND: Right. Wh-...I sai-...Who are you? BLACKCAT70: Um... BlackCat70. [growling, with a clawing gesture] Arr! All the e-mails? "Surprise me when I'm in town." DESMOND: Uh...that was you? The woman's confidence evaporates in the light of Desmond's obvious disappointment. BLACKCAT70: Oh, my God. DESMOND: Right. The woman hurries to find her clothes. DESMOND: Misunderstanding. BLACKCAT70: Yeah. Desmond puts down the cup and the backpack and then leaves the room to give her privacy. He shuts the doors and looks helplessly at Piz. Cut to a few moments later. Desmond is on the couch, flicking through TV channels with the remote. TV: Thunder is starting...are so cluttered...here we're drying apples. Apples for apple sn-...going to be Gabriel's Thunder. Ramone Goose is a double tonight.... As he settles on horse racing, the woman marches out of the bedroom. DESMOND: Sorry. Do come see the show. She pauses by Piz as she leaves. BLACKCAT70: Advice? Never meet your idol. DESMOND: More advice? Always confirm the accuracy of photos. Piz, embarrassed by the whole thing, nods. Desmond switches off the TV and gets up from the sofa. DESMOND: So you said there was a beach? He disappears into the bedroom. PIZ: Uh, yeah. More than one. DESMOND: Yeah. Or we could forget the beach. Go to Mexico. Get really weird. PIZ: Uh, Mexico. I-I'm not sure we can do. Desmond comes out of the bedroom, carrying his backpack. DESMOND: Show's off, so why not? PIZ: W-what? W-why? DESMOND: All the backing tapes and stuff used to be in this bag. Now it contains only this. He pulls out a deep blue towelling robe. Piz stares at him, horrified. Opening credits. INT - HEARST COLLEGE, FOOD COURT - DAY. Music: "Power" by Shapes of Race Cars. LYRICS: Electric telephone Here's another miss This dirty girl is blown The final kiss Boom, boom Those lights affect her eyes Don't tell 'em what you did Go goldmine, it's show time She says she tastes good in your kiss You're ready, like many To feel a power just like this Her favourite word is mine You gotta light out when Like the girl in Frankenstein You know she's going...in Yo, goldmine, it's your time Veronica and Mac are at one of the food counters. Veronica leans back against it, waiting for Mac to order. MAC: Is the eggplant good? SPAGHETTI SERVER: It's okay. MAC: How about that stuff? SPAGHETTI SERVER: It's good. MAC: It's probably horrible for you, right? I'll stay with the-the eggplant. No, wait. What do you think? Veronica throws back her head at Mac's indecision. MAC: I need to see a psychiatrist. VERONICA: I was thinking more an English professor. Mac stares at her with incomprehension. VERONICA: What we're dealing with here is an absurd level of symbolism. Veronica turns to the spaghetti server. VERONICA: Two veggie lasagnas. SPAGHETTI SERVER: Okay. MAC: Symbolism. VERONICA: I mean, the Bronson parmesan is good for me, but oh! The maxuccine looks awfully tempting. MAC: It's not my fault Max won't stop calling. Like you should talk. VERONICA: Me? I'm not ordering good boy while wishing I ordered bad boy. MAC: No. You gave up bad boy but keep asking for samples of good boy. VERONICA: No. I...wait, what? Veronica is saved from further comment when her phone starts ringing. She digs it out of her pocket. She checks the caller ID. MAC: Okay, if Logan is the fettuccine... VERONICA: It's the eggplant. Veronica answers the call. VERONICA: Piz. Actually, I wanted to talk to you, too. I...need to apologise. At the party, I was irresponsible. INT - NEPTUNE GRAND HOTEL, DESMOND'S SUITE - CONTINUING. VERONICA: [on phone] I think we should file the party away and just be friends...for now. PIZ: Uh, I kind of got that. I'm actually calling 'cause I need help with a case thing. INT - HEARST COLLEGE, FOOD COURT - DAY. Veronica cringes on hearing her pre-emptive strike was unnecessary. VERONICA: Oh. INT - NEPTUNE GRAND HOTEL - DAY. Veronica paces in the lobby, waiting for the lift which finally arrives. The doors opens and Logan steps out, passing her as she steps in. He turns back and they stare at each other. VERONICA: Hey. LOGAN: Hey. They are both smiling awkwardly until Veronica pushes the button for her destination. The lift doors start to close, but Logan jumps back in just before they do. VERONICA: Forget something? LOGAN: No, just saying hi. I haven't seen you since Parker's party. What brings you here? VERONICA: Oh, just...a case thing. LOGAN: Huh. Actually, can I ask you something? Veronica nods. LOGAN: The weekend that you almost got your head shaved, your dad said you were staying at Wallace's. Well, it was just you and Piz, huh? VERONICA: Yes, but, no. No. I mean, I slept in Wallace's bed, and it was just a place to stay. Nothing was- Further explanation is interrupted by the ping of the lift as it arrives at its destination. Piz is waiting. PIZ: Oh, thank god you're here. He sees Logan. PIZ: Uh...hey. It's all very awkward. Veronica breaks the standoff by exiting the lift to join Piz. LOGAN: Hey. She turns back to him. LOGAN: Good luck. Veronica smiles and nods before walking away as the doors close. INT - NEPTUNE GRAND HOTEL, DESMOND'S SUITE - DAY. Piz shows Veronica into the suite. PIZ: Empty. Just a hotel robe stuck in there to make it look full. Look, without those tapes, he can't- Desmond is on the couch, staring at a miniature bottle. There's a laptop open on the table in front of him. DESMOND: Hey, Pus, this is all we have left, which I won't touch. You need to contact management immediate- He looks up and spots Veronica. DESMOND: Hey, is that your girlfriend? PIZ: Uh, no, just a friend. VERONICA: Veronica. Hi. I'm a really big fan. DESMOND: You're just using him to get to me. Mercenary. I like it. You know what, I'm doing a show tomorrow night. If you want to hang backstage, Monica- PIZ: [quickly] Her dad's a P.I. Uh, she's gonna help us find the woman who took the tapes. DESMOND: Oh, yeah, I think I figured that whole thing out. Come here. He pats the sofa next to him. DESMOND: Check it out. He takes a swig from the miniature as Veronica sits down next to him. Veronica peers at the laptop screen on which there is a picture of a blonde woman. VERONICA: Is that the woman? DESMOND: That was my mistake. That's BlackCat80. The woman in my room was BlackCat70. Number trouble. VERONICA: Uh, so, do you have any pictures of the woman who was in your room? Desmond sighs resignedly. He ogles Veronica. DESMOND: No. Anyone ever tell you you look like a feisty young Barbara Eden? VERONICA: How did she know you'd be here? DESMOND: How old are you, Monica? VERONICA: I'm eleven. You arranged this how? DESMOND: Instant messaging. But I didn't save any of the... Veronica leans forward and starts tapping on the keys confidently. DESMOND: Wow. All business. Deadly. Piz grins as Veronica pulls up an instant messaging log. It shows messages from BlackCat70 and BlackCat80. DESMOND: Yeah, there she is: BlackCat70. Veronica opens one of the messages. His instant messaging name is PrettyPony01 and the following chat at 10:42 pm is recorded: BlackCat70: Hey there, stallion. Did you miss me? PrettyPony01: haha. hey kitty. sure i missed you BlackCat70: "sure i missed you"? A girl likes to hear a little more than that,... PrettyPony01: sorry. i missed you a lot. is that better? BlackCat70: Hmph. Not very convincing, but I guess it will have to do. PrettyPony01: sorry. long day. BlackCat70: I bet it was... maybe I should come over and help you re... DESMOND: It's a shame she was so old. She seemed cool. He takes another swig. VERONICA: So, you didn't get her name? He shakes his head. DESMOND: Just BlackCat70. VERONICA: What's that? Veronica points to the end of the chat where BlackCat70 has used a Chinese character to sign off. DESMOND: She try and draw herself? VERONICA: It's a Chinese character. PIZ: I know a couple guys taking Chinese. We could ask them. VERONICA: It's a start. Was there anything in the bag? DESMOND: Just medications, pills. VERONICA: What are you taking pills for? DESMOND: Ah, you know. Life. Veronica nods, unimpressed. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY. Music: "Ghost Ride It" by Mistah F.A.B. Dick, his toe bandaged, is lounging on the sofa, a laptop on his lap. Logan enters from his bedroom and collapses with a sigh onto the couch at the other end. LOGAN: You ever have that nightmare where you forget you're taking a class and you have to take the final? DICK: No. LOGAN: I have to come up with an entire business plan by Monday. DICK: Dude, that's a bummer. Dick, far more interested in the video he is watching on screen, laughs. DICK: Oh! Logan looks over from where he is lying to see what he is doing. LOGAN: What are you doing? DICK: Getting famous. Logan rolls off the couch and moves to sit next to Dick. LOGAN: Who is that? DICK: Dude, that's me. Ghost ridin' the whip! Check it out. Logan peers down at the screen. The page on screen is GhostRideTheVideo.com. Amongst the adverts, there's a video playing of Dick getting out of a small yellow sports car that is moving. He dances alongside the car. Logan laughs. Onscreen, and sadly obscured by a tree, the car runs over Dick's foot, causing the dance to become a brief hop. Dick comes to a stop as the car rolls on. Logan looks down at Dick's foot. All the toes on his right foot are bruised, and the big toe and the one next to it are strapped up together. LOGAN: You run over your own foot? DICK: Yeah, which is why I think I have a real sh*t at the top of the charts. Logan, having picked up the laptop looks down the page at the adverts. LOGAN: This is something people do? DICK: Cool people. Logan nods as he gets to the bottom of the page, one that records 521570 hits. He clicks on the bottom ad for Pitwa Hydroponics and watches intently. End music: "Ghost Ride It" by Mistah F.A.B. INT - HEARST COLLEGE, MAC AND PARKER'S DORM ROOM - DAY. The door opens. Mac and Bronson enter, Mac groaning with exhaustion. They walk straight to the bed. Bronson is carrying a Frisbee. BRONSON: You did good for your first time. Next time, it'll be easier. MAC: The next and last time I run will be to chase down and k*ll the inventor of Ultimate Frisbee. Mac's phone rings. Bronson throws his shoes off as she answers it. MAC: Hello? Hey, Logan. Parker's not here. Me? INT - HEARST COLLEGE, FOOD COURT - DAY. The conversation continues at one of the tables in the Food Court. MAC: Grade My Ass. LOGAN: Dot net, yes. Logan drops a bundle of papers on the table in front of her which she picks up and starts to flick through. LOGAN: I need to present a viable business plan for a class. I need a lowest-common-denominator website with a simple, interactive element that I can build a business plan around. You can put this together in your sleep. I'll pay. MAC: And the catch? LOGAN: It's due Monday morning. MAC: I'll need red bull and liquorice. LOGAN: Deal. INT - HEARST COLLEGE, RADIO STATION - DAY. Desmond is clearly bored to tears as he readies himself for his on-air interview. Trish is at the production desk. PIZ: You're on the air with Desmond Fellows of My Pretty Pony, playing a benefit tomorrow night at Liberty Lunch, brought to you by Wrigley's Extra Gum. Piz punches a button as Desmond's face scrunches up. PIZ: Okay, caller, are you there? DESMOND: Their leftover gum? Piz is momentarily flummoxed. PIZ: The brand. He picks up the sponsor's product as an explanation. PIZ: Extra Gum. Sugarless. Piz coughs and quickly gets back to business. PIZ: Okay, caller, are you there? BLONDE FEMALE CALLER: Desmond, you rock. Make sure you play "You Break Me" tomorrow, okay? DESMOND: Oh, yeah. All the old h*t. You bet. Desmond looks up and out onto the Food Court through the glass window of the studio. He sees a girl with dark red-hair (notwithstanding the closing credit writers calling her "Blonde Female Caller") sitting at one of the tables, her cell phone to her ear, staring at him. DESMOND: Hey, are you that redhead out in the Food Court? She smiles and gives a little wave. Piz gives a little wave back, until... DESMOND: How do you feel about showing me those big old- ...when he cuts the call off. Desmond mines "chest" by sticking his out at her. She is mortally offended. PIZ: Okay! Uh...second caller, you're on with Desmond. MALE CALLER: Dude, you suck. DESMOND: Oh, hey, thanks a lot, man. So, what's your question? MALE CALLER: You scrounge money off the memory of your d*ad partner. Piz and Desmond glance at each other. Piz shrugs. MALE CALLER: How do you live with yourself? DESMOND: Well, I drink heavily, and I abuse drugs. MALE CALLER: Hack! Piz quickly terminates that call as well. PIZ: Moving on. You're on with-with Desmond. MALE CALLER #2: I'm calling from Semites for the Saviour. We want everyone to know this man makes songs that mock our religious beliefs. DESMOND: You're a Jewish group, and your initials are S.S.? Piz cringes. PIZ: Oh, God. MALE CALLER #2: We encourage everyone to pray with us that he cancels the show and- DESMOND: "n*zi" gonna happen. No, don't worry about it. The show's cancelling itself. In the background, Trish rises with alarm and stares at them. DESMOND: I would pray, instead, for a girlfriend. Piz is trying to silently reassure Trish, so Desmond takes it on himself to lean forward and punch the button to end the call and bring up the next one, much to Piz's surprise. DESMOND: Hey, what's up? It's Des. MALE CALLER #3: Dude, party. Piz rolls his eyes. MALE CALLER #3: Miller Hall, room 404, tonight. Desmond looks at Piz. DESMOND: Got a pen? Cut to later as Desmond and Piz exit the studio into the radio station's office. Desmond fakes enthusiasm... DESMOND: That was great. ...only to quickly drop the act. DESMOND: Home, please. Piz starts to follow him out, but is called back. Desmond busies himself with checking out the shelves of LPs. TRISH: Piz? What did he mean, "Cancelling itself"? PIZ: It's nothing. He just misplaced the backing tapes. It's no big deal. TRISH: You know what happens if we have to cancel this show. DESMOND: Plax! Come on, I'm missing Night Court. Piz gives Trish an apologetic gesture and then follows him out. INT - SHERIFF'S DEPARTMENT - DAY. Keith's name graces the door to the sheriff's office. Within the office, Keith throws some files down on his desk in frustration and shouts out. KEITH: Sacks! He marches to the door, still shouting. KEITH: Where are those drug stats? Keith pauses when he sees Sacks at the counter. SACKS: Sheriff. Sacks steps aside, revealing the person he has been speaking to at the counter. KEITH: Leo. LEO: Sheriff Mars. KEITH: What brings you around here? They shake hands. LEO: I was hoping I could have a word with you. Cut to a moment later in Keith's office as they take their seats. KEITH: What have you been up to, Leo? LEO: Doing security at Sport Haus, which is what I wanted to talk to you about. I was on the afternoon shift, and I noticed one of the stock guys acting kind of weird, making calls from the pay phone across the street, taking the occasional photo of the floors, back offices on the cell phone. KEITH: What, like he's casing the joint? LEO: Kind of. And I noticed a new name on the cleaning-crew roster. Danny Boyd. KEITH: Fitzpatrick flunky. LEO: I tell my supervisor my concerns. He says he'll look into it. Next day, I'm switched to a new shift. Something's not right. KEITH: Danny Boyd, huh? I'm friendly with a judge who might give me a tap on Boyd's phone. You stay put, and I'll see what I can do. EXT - HEARST COLLEGE - DAY. Veronica and Piz walk together down an external stairway. VERONICA: What I want to know is how did that guy write cool, insightful songs? Or did Johnny do the good ones? PIZ: Desmond wrote all the good ones. I think he's just tired. I mean, he's been on the road all spring and he's- INT - HEARST COLLEGE - CONTINUING. They walk through a door into a classroom. Two students are waiting for them. VINCENT: We got class in five minutes, so... PIZ: Veronica: Vincent, Marty. I figured, between them, they'd know. Veronica pulls a sheet of paper from her bag. It's a print of the end of the instant message: PrettyPony01: i know i could...question is, what would hap... BlackCat70: Ooo, then I would lick, nuzzle and moan like ne... PrettyPony01: i'll be expecting that BlackCat70: Ready whenever you are. BlackCat70: Sorry to cut our sexy convo short, but I must depa... BlackCat70: [Chinese symbol] PrettyPony01: sweet dreams to you too ... night VERONICA: Ugh, we need to figure out what that means. Vincent takes the paper and peers at it, Marty looking from his side. Behind them, a woman walks towards the blackboard at the front of the class. VINCENT: So, this represents... MARTY: Um... VINCENT: What's the word? It's like a pleasing quality, you know? MARTY: Right, right. VINCENT: Like...charming. MARTY: Or-or-or more. It's a spiritual quality, but like charming or effortless. It's a...God! VINCENT: I got it! Grace. Grace. MARTY: Right, yeah. Behind them, the woman at the blackboard turns around in surprise. PROFESSOR SCHAFFER: What? She and Piz recognise each other and she swallows hard. Cut to few moments later. The classroom is beginning to fill up. Veronica, Piz and Grace Schaffer talk quietly at the front and side of the room. PROFESSOR SCHAFFER: Look guys, what is there to say? I was a huge Pretty Pony fan. Desmond and I exchanged messages. And believe it or not, I wasn't always a boring associate professor of Chinese. I was once...rather wild. PIZ: Was? You climbed down from the room above on a sheet. VERONICA: We're not the wild patrol. We just need his stuff back. PROFESSOR SCHAFFER: What stuff? VERONICA: From his bag...that you took after- PROFESSOR SCHAFFER: I didn't take anything. VERONICA: You were the only one alone with his backpack. He was a jerk, so- PROFESSOR SCHAFFER: [emphatically] I didn't take anything of his. VERONICA: [urgently] Professor Schaffer, the situation is life-and-death. There was medication in there, which Desmond needs...to live. PROFESSOR SCHAFFER: Oh, my God. Is he okay? I'll cancel my class. Um, o-okay, we'll call my doctor. What's he missing? EXT - HEARST COLLEGE - DAY. Cut to moments later again. Veronica and Piz, having left the classroom, are walking across the campus. PIZ: So you believe her? VERONICA: I kind of do. She would have given a kidney to Desmond had he asked. Veronica spots something of interest on a nearby notice board and walks towards it. VERONICA: Who was that guy who called praying Desmond's show was cancelled? Amongst the notices is one for Semites for the Saviour. Under the organisation's name is "Stop Desmond Fellows." An emergency meeting is being called for the next day at Hadley Hall, Rm 131. PIZ: Semites for the Saviour. Veronica reaches for it and pulls it off the notice board. VERONICA: Maybe they heard that God is now helping those that help themselves. PIZ: Huh. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Mac grabs a can of drink from the table that abuts the back of the couch. Logan is pacing with his notes. Dick is observing. MAC: So, look-wise, you're thinking bright, fun, simple. Mac sits down in front of her laptop. LOGAN: Well, accessible. Quick loading to maximize click-throughs. DICK: Don't put the best asses at the top. Make people hunt for 'em. Logan takes a seat next to Mac. LOGAN: I compiled studies of browsing behaviours and drew up ratios of- DICK: But you don't want them too hidden. If you can't find the good ones, you'll feel cheated. Mac looks at Logan. MAC: And his role in this enterprise? DICK: Consultant. I'm an ass expert. LOGAN: Yes, except for the expert part. Mac smirks. DICK: I'm an ass? Who would you ask for advice about lions, a lion or a gerbil? Gerbil, you say? No, you would ask a lion, because by virtue of being a lion, a lion is an expert on lions. So... Having glanced at each other in bemusement, they stare at him. DICK: Okay. I don't see how you hope to launch a website about hot asses without me, but fine. It's Friday night. If I walk long enough in a straight line, I'll h*t a party. Disgruntled at their ingratitude, he gets up from his seat and heads for the door. Logan nods his approval. INT - NEPTUNE GRAND HOTEL, DESMOND'S SUITE - NIGHT. Desmond, wearing a "Working Class Hero" T-shirt, has a small keyboard on the coffee table at which he is playing half-heartedly as the news is playing on the TV in the background. ANCHOR PERSON: State legislators will meet later in the week to discuss a bill banning the sale of condoms in convenience stores within a six block radius of any public... Desmond looks up as Piz enters, shutting the door behind him. DESMOND: I take it you failed. Piz sinks down on the opposite couch to Desmond and sighs. PIZ: We found the groupie, but she said she didn't take the tapes. We have some other leads. Desmond starts playing and after an intro sings an impromptu song. DESMOND: We'll find the tapes And get them back Do the show And I'm a ha-a-a-a-ck Piz is captivated. Desmond rises from the sofa. DESMOND: Party time. What to wear? PIZ: Whoa-whoa, what was that? The song? DESMOND: That? Nothing. It's a...thing. PIZ: No, it's cool. It reminds me of the demo on the Wild Parties reissue. Desmond holds up two jackets. DESMOND: Indie rock or rock rock? Rock rock. He puts on the selected jacket and gazes in the mirror. DESMOND: 'Cause the bad boys get the chicks. I mean, look at you. You're single, and you're very nice, Pez. There's a correlation. PIZ: Do you still write stuff? DESMOND: Well, people want to hear the old hits, so, no. PIZ: What about the one you just played? That was a cool song. DESMOND: There's no bridge. Who cares, anyway, you know? I play the old hits, I get paid, go to parties. If it ain't broke... PIZ: It's gonna be a lame party. DESMOND: Really? I should go to Mexico. PIZ: I mean, if you stayed here and worked on the song, you wouldn't miss much. He turns back to Piz reluctantly. DESMOND: My stuff's locked up in the club. PIZ: I got a guitar in my room. Desmond takes a long look at himself in the mirror. DESMOND: [softly] Well, if it's gonna be a lame party, maybe. PIZ: I'll be back in fifteen minutes, okay? Piz gets up and races out of the room. Slowly, Desmond walks back to the couch and sits down in front of the keyboard. ANCHOR PERSON: ...78-year-old woman neighbour opened the door, pointed a g*n at them, and then chased the girl scout and her father off her property with the loaded w*apon. And finally, a blast from the past. Having been about to play, his head jerks to the screen. ANCHOR PERSON: After ten years in the "where are they now?" file, Desmond Fellows appears tomorrow to give fans of cult fave My Pretty Pony a taste of what they've been missing. A clip of My Pretty Pony singing "Payday" (actually Cotton Mather) comes onscreen, comprising Desmond and the late Johnny Scopes (played by the uncredited Rob Thomas). Both have very long hair. MY PRETTY PONY: And back at work They still love you So why does it still feel Like your interview? Payday, and your money's All that matters now You're complaining That you don't know how ANCHOR PERSON: When we come back, a household item that could be dangerous to your pets and children... Desmond grows increasingly jaded as he watches. INT - HEARST COLLEGE, PARTY ROOM - NIGHT. Music: "No Emotion" by Idlewild. LYRICS: So we speak no louder than a song Means we're falling all day Falling all day long In whatever we say we show no emotion We show no emotion And when we kick back into the world of motion We show, we show no emotion Whatever we say we show no emotion Desmond drains a bottle of beer as he props up a wall. Dick is standing next to him. The sounds of a wild party are going on around them. DESMOND: Sorry about that one. Go. DICK: Drew Barrymore. DESMOND: Yeah. DICK: Rose McGowan. DESMOND: Ooh. Yes. DICK: Jennifer Love Hewitt. DESMOND: Twice. DICK: Dude, you are my idol. Desmond is unexcited by Dick's idolatry. DICK: Who are you? End music: "No Emotion" by Idlewild. INT - NEPTUNE GRAND HOTEL, DESMOND'S SUITE - NIGHT. Piz arrives back at Desmond's suite carrying his guitar. He sees the suite is empty and sighs deeply in disappointment. INT - HEARST COLLEGE, FOOD COURT - NIGHT. Veronica and Wallace are in the near-empty Food Court. WALLACE: So, you surviving? VERONICA: Surviving what? WALLACE: Helping Piz. You know, his puppy-dog eyes on you all the time. VERONICA: It's weird. Like you said, normal Piz. Like...nothing ever happened. WALLACE: Which bothers you because making out with you is supposed to be some life-changing experience. VERONICA: I don't know. I just... Why are we talking about this? WALLACE: I thought you loved these kind of conversations. Veronica takes a bite of food. VERONICA: No. WALLACE: I was hoping we could follow it up with a cuteness countdown of the Baldwin brothers. VERONICA: I hope we're still friends after I taser you. Wallace chuckles. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Mac and Logan are sitting side by side on the couch, the laptop open on the ottoman in front of them. Behind the laptop is a large jar of red liquorice. MAC: This is totally modular. You can swap out content whenever. LOGAN: Like franchisable. MAC: You want to do boobs, legs, kittens, whatever, you can have a new site up and going instantly. LOGAN: And bring your advertisers along. Okay, we'll sell that in the pitch. So the difference between income models would be what? MAC: Eh. Not exactly my hacker forte. Information wants to be free. But I know someone who kind of knows. LOGAN: Well, could we call this someone? Mac stares at Logan for a long moment. Her nod is almost imperceptible. She grab her phone. MAC: Max? Yeah, hi. INT - HEARST COLLEGE, PARTY ROOM - NIGHT. Music: Unknown. Piz hits the party and looks around anxiously for Desmond. DESMOND: Buzz! Bizen! Desmond is in the middle of an appreciative crowd. DESMOND: Dude, you're in time! We're going skinny-dipping! Desmond throws his arm in the air and everyone cheers. Piz sighs in frustration. EXT - NEPTUNE BEACH - NIGHT. The party has moved to the beach. Desmond addresses the adoring crowd. DESMOND: Okay, the key to good skinny-dipping is...what I call total nakedness. He pulls off his jacket and throws it at Piz. DESMOND: It's not just physical nakedness but spiritual, as well. He unbuckles and drops his pants to the laughs of the crowd. DESMOND: La Paz, capital of Bolivia... He pulls off his t-shirt, throwing that at Piz too. DESMOND: Get weird, man! Naked, he throws up his arms. DESMOND: This is my lifestyle! He turns and runs into the water. DESMOND: Whoo-hoo-hoo! Whoo! Whoo! One of the girls on the beach pulls off her own t-shirt, revealing her bare back. Desmond reaches the water and starts to splash around. DESMOND: Whoo-hoo-hoo! Piz can only watch helplessly. DESMOND: God, in his heaven, it's freezing. The laughter on the beach comes to an abrupt halt when Sacks turns his vehicles spotlight on them. The crowd scatter, leaving only Piz. In the water, Desmond is shaking. DESMOND: Oh, my God, I don't recommend this! Sacks turns the spotlight on the water. By now, Desmond has climbed out of the water and grabbed a bottle. He squints in the brightness. DESMOND: Hey, man, want to turn that off? It really kills the mood. End music: Unknown. INT - SHERIFF'S DEPARTMENT - NIGHT. Keith is standing outside the jail cell. Desmond, now dressed, is sitting on the bunk inside. KEITH: "Hey, Jude," "Yesterday," "Get Back." DESMOND: [agitated] Catchy tunes, yes. Rock 'n' roll, no. KEITH: What kind of musician doesn't recognize the Beatles as the greatest rock band of all time? DESMOND: I don't recognize them as a rock band at all. Veronica and Piz arrive and watch the debate quietly. DESMOND: They were...tunesmiths. He grins. Keith is fit to bust. Desmond gets up and walks to the bars. DESMOND: Hey, man, I didn't get all pissy when you denied my claim that Marshal Dillon was the greatest sheriff of all time. KEITH: Marshal Dillon was a marshal and, more importantly, is fictional. DESMOND: That's what the Beatles are to me. Fictional. KEITH: "Revolution," "Hey, Jude," these were real songs, man. "Norwegian Wood." Desmond giggles. DESMOND: I...sorry. I'm sorry. I used to know a rent boy from Oslo who called himself that. PIZ: Uh, Mr. Mars, I think Desmond is just winding you up. Most critics reference the Beatles influence in Desmond's material. DESMOND: Oh, you mean those Beatles. I'm sorry. I thought you meant the other ones with the two e's from the lower East Side. No, they're totally fictional. John, Paul, George, and the drummer? Oh, those guys are awesome. KEITH: Veronica, could you have Sacks bring me the leg irons? VERONICA: Come on, Dad. [soothingly] Let it be. Veronica puts her hands together to beg her father, who has not enjoyed being wound up, to calm himself. Keith looks back angrily at Desmond and sighs. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Mac and Max are side by side on the couch, intent on the laptop screen. Logan is opposite them, leaning against the bar counter, drinking a cup of coffee. MAX: Here's what I did on my term-paper site. Break it down. For the lazy, search and credit button there. For the dumb, billable links at the top disguised as functions. MAC: So they link without realizing. MAX: And I make a dollar. See, the point of the internet is to make money off stupid people. LOGAN: I like how you think, Max. MAC: That sound you hear is my idealism quietly shattering. MAX: That other sound you hear is my cynicism laughing at your idealism shattering. MAC: Well, it won't be laughing when I crash your greedy website. MAX: I'll be laughing when you try. Logan rolls his eyes at the foreplay. MAC: Will you? Maybe I'm in your trusted host table already. LOGAN: Should I get a camera? There's got to be someone that'll pay to see this hot nerd-on-nerd action. The two look guilty and hurriedly return their attention to the screen. INT - HEARST COLLEGE, HADLEY HALL, RM131 - DAY. GEORGE: Welcome to Semites for the Saviour. Veronica and Piz arrive at the door of a slowing filling classroom where the chairs have been set round in a circle. A guy is at the door, giving out leaflets to the arrivals. VERONICA: Hi. GEORGE: Shalom. VERONICA: Who's in charge here? GEORGE: Me. You guys interested in joining? PIZ: No. VERONICA: Yes, we are. And we want to know what you guys are doing to try and stop that Desmond Fellows show. GEORGE: That guy? Well, we sent a sternly worded letter to the dean's office. And we also called- VERONICA: Realistically. Like a real way to, you know...take care of it. Glancing around the room, Piz spots something of interest. PIZ: Veronica. VERONICA: Yeah? Piz points. Veronica looks. Jeff Ratner is sitting in one of the chairs, chatting to a girl standing next to him. PIZ: That was the bellboy who showed Desmond and me to the room. VERONICA: Rrrratner. Jeff looks up at her as she approaches. JEFF: Oh, great. What are you gonna accuse me of this time? Veronica strokes her chin. VERONICA: How about...stealing Desmond Fellows' backing tapes? Jeff claps. JEFF: Congratulations. Wrong again. VERONICA: You had Desmond's bags in your possession. Veronica holds up the leaflet George gave her as she arrived. VERONICA: You're a member of a group protesting his presence. That, to me, is a thing that makes you go, "hmm?" JEFF: What's the thing that makes you go away? I didn't know who that guy was until George told me. PIZ: Who else could have put the hotel robe in there? You had access. JEFF: What robe? PIZ: The big, blue hotel robe in the bag. Veronica's eyes widen. Jeff looks at her smugly. VERONICA: You said it was a Neptune Grand robe. PIZ: Yeah. A fluffy blue robe. JEFF: Neptune Grand robes aren't- VERONICA: Blue. JEFF: They're white. Veronica digests this as Jeff continues to smirk at her. VERONICA: Okay. I'm apologising. I'm sorry for thinking you were guilty. JEFF: [snotty and superior] I don't accept your apology. VERONICA: I'll live. INT - NEPTUNE GRAND HOTEL, DESMOND'S SUITE - DAY. Desmond opens the door to Veronica and Piz. VERONICA: So, can I see the bag and the robe? Desmond gestures for them to enter. Cut to a moment later. Desmond brings the backpack and the robe out from the bedroom. VERONICA: Right. Not a Neptune Grand robe. Veronica takes the backpack and examines it. DESMOND: So, what? That's a clue? What kind? PIZ: Nothing else was in there. Veronica pulls the address card out of the pocket on the side of the inside of the backpack. She reads it. DESMOND: So...did you solve it? VERONICA: Yes. Veronica presses the small card to her forehead, a la Johnny Carson's Carnac. VERONICA: The answer is Danny Cleaver's bag and all my time this weekend. Desmond is clueless (ha!) and raises his eyebrows. VERONICA: What are two things you didn't mean to take but did? DESMOND: Huh? VERONICA: This isn't your bag. You must have switched at the airport with Danny Cleaver. The card in her hand says, "Danny Cleaver, 937 22nd Street, Los Angeles, Ca. 90068, 323-555-0109." VERONICA: It's a Los Angeles phone number, and the show is in four hours, so...we should have your tapes back right on time. Veronica grabs the robe and turns to leave. Piz follows her. EXT - LOS ANGELES STREET - NIGHT. Veronica and Piz exit the Saturn and run up the steps of a house. Veronica knocks. A man opens the door. VERONICA: Danny Cleaver? Did you happen to notice that your backpack was full of tapes? DANNY: I've been kind of hung over. My bags are still in the car. EXT - IN THE CAR - NIGHT. Veronica and Piz are back in the car, heading back to Neptune. Piz is checking Desmond's backpack the contents of which include a bottle of pills and something wrapped in foil that could be drugs...or thin chocolate. PIZ: How does this guy make it through airport security? They chuckle. Piz pulls out a CD which is entitled "My Pretty Pony, 96' 'More Problems,' Back-up vocals, Johnny Scopes." PIZ: Johnny's vocals from More Problems. Okay, this album, my freshman year of high school, I had a job washing dishes at a nursing home, but all the boss did was talk about bar fights and weird sexual encounters. VERONICA: How weird? PIZ: Worst year of my life. But an off-brand mp3 player and this album got me through it. VERONICA: When I was on dance team, I tried to convince them to do a routine to "Why You sh*t Me Down," but changed the words to "We Threw a Touchdown." PIZ: Wait, you were, uh...you were on a dance team? VERONICA: I was a dance-teamer with a deep soul. PIZ: Hmm. VERONICA: Plus, I thought Desmond was cute. Who knew he'd turn out to be such a wastoid lech? PIZ: I don't think he's always been like that. Still, it's gonna be a good show. I'm glad we saved it. Good thing I got the nerve to call you. VERONICA: Why wouldn't you have called? PIZ: You know. I thought it might be awkward. Me and you... After, uh...that. VERONICA: Yeah. They laugh uncomfortably. VERONICA: I'm glad it's not. Awkward. PIZ: Oh, it is. No, I'm very uncomfortable. I thought I'd be even more uncomfortable. They laugh more genuinely. Piz continues to go through the bag and pulls out another CD. It has a handwritten label: "New Crap." Veronica glances over at it. VERONICA: "New Crap"? What album was that? Piz takes it out and puts it in the Saturn's CD player. PIZ: This is not an album. He said he'd been working on some new stuff. He actually, uh...he played some stuff for me. It was pretty cool. They listen to the music (which is Paul Rudd singing Cotton Mather's "My Before and After"). DESMOND: She picked me out of the millions Thumbing an O.E.D. Dressed me down to civilian Cracks the code on the Rosetta Stone Says the word for alone is "alone" As they listen, Piz finds a notebook where Desmond has written lyrics for songs entitled "A Season in Hell" and "Delirium." Piz's expression shows he approves. EXT - SPORTS HAUS - NIGHT. A truck is pulled up at the delivery door. LEO: [offscreen] That truck isn't supposed to be here. KEITH: [offscreen] They're getting an early start. The camera pulls back to reveal Keith and Leo pulling up in a car. LEO: What? Having parked, Keith reaches for the camera in the back seat. Using the camera's zoom lens, he focuses on the door and sees Danny Boyd exit the store carrying on end of a long, heavy box. KEITH: It's happening now. Those are g*n. Danny's carrying partner disappears from view and is followed by another pair carrying another box of g*n. The tail end of that pair is Vinnie Van Lowe. KEITH: Jeez. Vinnie? He was their man getting the security layout? Leo nods. LEO: How do we play it? Keith puts the camera back on the back seat and grabs his phone. KEITH: Wait for backup. Keith speaks into the phone. KEITH: Yeah, Sacks, it's me. I'm at Sport Haus and there's a robbery in progress. Get some cars down here. Keith swaps the phone for the camera again and continues to watch events through the lens. He sees Danny and the others go back into the store. Vinnie lags behind and stays outside, closing and bolting the door on them. Vinnie puts a padlock on the door. KEITH: What the hell? Keith watches as Vinnie pulls out and uses his cell phone. Almost immediately, Keith's phone rings. KEITH: Yeah? SACKS: [on phone] Someone else just called to report a robbery at Sport Haus. Says he trapped them inside the store. Isn't that where you are? Cut to a few moments later. Vinnie is checking his watch, tapping it and putting it to his ear. He looks up at approaching steps as Keith and Leo arrive. KEITH: Vinnie. What are you doing here? Vinnie holds out his hands innocently. VINNIE: Working for a living. Vinnie, up on the step outside the locked door, crouches down to their level companionably. VINNIE: Owner hired me. He pulls off his fake moustache. VINNIE: Ow! Got wind of some foul play and he brought me in. So I, uh, infiltrated their g*ng, and... He bangs on the door. There is a response of bangs and shouts from the other side. VINNIE: Sealed with a kiss, Sheriff. VOICES FROM INSIDE: Hey, Vinnie, open the door! Vinnie, open the door! Keith peers at him suspiciously as cars from the sheriff's department arrive. INT - LIBERTY LUNCH - NIGHT. A crowd is gathered at Liberty Lunch. Trish looks out at them with a frown from backstage. She turns and walks down to the dressing room. She puts her hands on her hips at what she sees. TRISH: Are you kidding? Desmond? She is unimpressed with the fact that Desmond is sitting on the couch, downing a bottle of beer. DESMOND: I'm just waiting on the tapes. They should be here any second. TRISH: I never should have let Piz handle this. You know, if we have to refund those tickets- Her further recriminations are halted by the ring of her cell phone. She answers it. TRISH: Piz, where are you? She listens for a moment, then holds the phone out to Desmond. TRISH: It's for you. Desmond takes the phone. DESMOND: Hey, man. Did you get the tapes? EXT - IN THE CAR - CONTINUING. Veronica and Piz are still in the car, although they are stationary. PIZ: Yeah, we got them, but there's a problem. Uh, we're kind of stuck in traffic, and I don't think we'll make it in time. INT - LIBERTY LUNCH - CONTINUING. DESMOND: Oh, man. How long? PIZ: [on phone] There's an accident. I don't know. EXT - IN THE CAR - CONTINUING. Piz glances at Veronica. PIZ: Is there anything you can do until we get there? INT - LIBERTY LUNCH - CONTINUING. Desmond sighs and rubs his head. EXT - IN THE CAR - CONTINUING. PIZ: Did you ever finish any of those new songs? INT - LIBERTY LUNCH - CONTINUING. DESMOND: Um... Maybe a few. EXT - IN THE CAR - CONTINUING. PIZ: Can you start with one of those? INT - LIBERTY LUNCH - CONTINUING. DESMOND: Uh... Let me think about it. Somewhat distressed, Desmond closes up the phone. EXT - IN THE CAR - CONTINUING. VERONICA: You realize you've left your fate in the hands of a spineless and semi-alcoholic has-been rock star. Piz shrugs. PIZ: What are you gonna do? They chuckle and get out of the car. They are actually outside Liberty Lunch and hurry in. INT - LIBERTY LUNCH - NIGHT. Desmond comes onto stage to the applause of the crowd. DESMOND: So, I-I bet you all want to hear some My Pretty Pony hits, huh? The crowd cheer enthusiastically. He looks over at Trish in the wings to check if the tapes have arrived but Trish just shrugs helplessly. Desmond turns back to the crowd. DESMOND: Um...how about some new solo material? The response isn't as enthusiastic although, but for a few boos, it is encouragingly positive. DESMOND: All right, new solo material it is. Desmond starts strumming his guitar and ignores a voice of dissension. VOICE IN THE CROWD: Aw, what's this? Come on, dude! He starts to strum the introduction and then sings the song that Piz and Veronica were listening to in the car. DESMOND: [singing] She picked me out of the millions Thumbing an O.E.D. Dressed me down to civilian Cracks the code on the Rosetta Stone Says the word for alone is "alone" My before and after My before and after My before and after Oh oh oh-oh oh Both the crowd, which starts issuing random "Whoops" and Desmond are really getting into it. DESMOND: [singing] She found that armour was truly Some work of genius She held... Veronica and Piz are standing at the bar, leaning against it, side by side. Veronica glances at Piz and smiles. VERONICA: Piznarski? Piz glances down at her. VERONICA: You're a good guy. He smiles and returns his attention to Desmond. After a b*at, Veronica reaches out to take his hand. DESMOND: Said the church of his holiness light This world's no d*ad and its park-and-ride Piz feels and looks down at their clasped hands. He grins as he watches Desmond. Cut to later (or a very short set of one song) as Desmond finishes to enthusiastic cheers. DESMOND: Thanks for coming. Have a good night! He exits the stage and returns to the dressing room where Trish is waiting. She claps as he enters. DESMOND: Thank you. Desmond puts down his guitar and turns to see Piz and Veronica arriving. DESMOND: Pez, you made it. Hey, were you able to catch the end of the show, at least? PIZ: Yeah, we caught the whole thing. DESMOND: What? Were you screwing with me? PIZ: I wanted to hear the new stuff. It was just...it was awesome. It was awesome. Desmond laughs. DESMOND: You're a bad man, Piznarski. Piz hands over the backpack. Desmond takes it and grins. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Displayed on the screen is a list: "Income Streams. *Multiple sources *Ad revenue generated by 'click-throughs' *Various incentives for advertisers *'Modular' ability allows for variety of advertisers and socio-economic visitors." At the bottom is the GrabMyAss logo. LOGAN: [tiredly] Is this about right? Logan is sitting on the couch, in front of the screen. Mac is sitting on the floor leaning on the ottoman. She stretches out her arms and yawns. Max is behind Logan, on his feet. MAX: You're all set to fleece idiots. MAC: Thanks for helping us out. Mac grabs her jacket from the ottoman. MAX: Hey, free food. Why not? Just remember, you got to link to me. Max heads for the door. Mac gets up to walk with him. MAC: Sure you want to compromise your reputation on your cheating site with a link to our ass site? MAX: Anything to help you guys out. They chuckle. They pause at the door. MAX: You up for breakfast tomorrow? MAC: I've got to finish up. Rain check. Max nods, smiles and leaves the suite. Mac turns to faces Logan who smirks at her and gives her a knowing look. MAC: What? Logan shrugs. LOGAN: Nothing. INT - LIBERTY LUNCH - NIGHT. PROFESSOR SCHAFFER: [offscreen] Hey. Desmond, gathering up his stuff, looks towards the door. Professor Schaffer takes a step into the room. PROFESSOR SCHAFFER: Uh, you're still kind of a jerk, but...that was kind of incredible. DESMOND: Thank you. They smile. DESMOND: You want to go grab a drink, getaway from all these damn kids? She chuckles. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY. GrabMyAss.net is up and running. Mac gazes on it proudly. MAC: If I do say so, a...mmmm-ass-terpiece." Logan is standing near the window looking out on the balcony, leaning against the wall near a large Chinese cupboard, in contemplative mood. LOGAN: So what's up with Veronica and Piz? She...she, like, dating him or what? Mac is not comfortable with the question. MAC: She's trying to let him down easy. LOGAN: But, like... I don't know. When we were-when we were dating, did they ever...you know? MAC: No more talk of Veronica's love life. Ever. But I will say if you think she was unfaithful, you're an idiot. Logan's not satisfied with this answer and continues to look down in the mouth. Mac snaps shut the laptop. MAC: Now, if you'll excuse me...it's morning. Logan taps his head a few times on the cabinet before pulling himself together. LOGAN: Okay. He walks towards Mac on the couch, pulling out his cheque book. LOGAN: So it's just, what? Just Mac? MAC: Actually, forget the check. How about a 50% stake? Logan grins. INT - HEARST COLLEGE, FOOD COURT - DAY. Music: "Don't Take My Sunshine Away" by Sparklehorse. LYRICS: Your face is like the sun sinking into the ocean Your face is like watching flowers growing in fast motion All your kisses I swallowed Brightened mornings and hollows My vines and tree knots will come unwound Baby you are my sunshine Mac and Bronson are at one of the tables in the sparsely populated Food Court. BRONSON: So you're part owner. Huh. MAC: Saw his numbers and figured I'd be a millionaire by 2050. Mac smiles slightly, then pauses, her face becoming more serious. MAC: Bronson. BRONSON: Hmm? MAC: I, uh... She lets out a deep breath. MAC: You're a great guy, Bronson. You really are. And I really feel almost insane saying this, but I really think I have to. Bronson senses what's coming and steels himself. MAC: I think we should break up. Bronson shakes his head and frowns. MAC: I just-I think-I think that's how it should be. I'm really, really sorry. Bronson is devastated. End music: "Don't Take My Sunshine Away" by Sparklehorse. INT - HEARST COLLEGE, BUSINESS CLASS - DAY. Logan is doing his presentation. He starts with a picture of Dick lounging on his bed. LOGAN: The average teen spends sixteen hours a week online and clicks on hundreds of links. And in this day and age, someone is there to make a percentage on each click. What does the average teenager want to see? He clicks the remote to bring up the next picture. It's an ass. The class erupts with cheers and whoops, Dick contributing loudly with a "Yeah!" Professor Corrigan, sitting amongst the students is not nearly so impressed. LOGAN: The female posterior. It commands a huge slice of the average surfer's online attention. Our goal is to take that tiny percentage... Logan brings up the next image, of the website home page, but Corrigan has had enough. PROFESSOR CORRIGAN: All right, Mr. Echolls, thank you. We've seen quite enough. LOGAN: No, I'm not screwing around, sir. Uh, this is about income streams and- PROFESSOR CORRIGAN: That'll do. You can sit down now. Logan's shocked at the professor's response, but acquiesces and turns off the display in some dismay. LOGAN: [in a whisper] All right. INT - SHERIFF'S DEPARTMENT - DAY. Leo, sitting in Keith's office, has a look of amazement on his face. LEO: Are you serious? KEITH: Yeah. A, I feel responsible for you being fired. The owner was wrong to f*re you, but- LEO: What's B? KEITH: B is we need men. What do you say, Leo? Feel like getting back in? Cut to moments later as Leo leaves Keith's office. LEO: I'll come in for the paperwork. Keith follows him out and they shake hands. Veronica, just arriving, stands in astonishment. VERONICA: Leo? Are you under arrest? Because I've got an in with the sheriff. LEO: Me too. I'm a deputy again. Veronica expresses surprise. LEO: So I guess I'll be seeing you around. Just like old times. They smile at each other and Leo passes her to leave. Veronica walks towards Keith, pointing back towards the exiting Leo. VERONICA: He's back? KEITH: Yep. How's your rocker friend? VERONICA: On his way to play University of Alaska. KEITH: Good. I don't want to be square, but you keep away from musicians. Vinnie walks up behind Veronica. KEITH: Mr. Van Lowe. Veronica joins Keith at his side to face Vinnie. Keith puts his arms on her shoulders and hugs her. KEITH: To what do we owe the honour? VINNIE: Just a follow-up, you know? On that crime I stopped. Veronica stares at him sceptically. VINNIE: And to say thanks. Vinnie pulls out a newspaper and starts to read from it. VINNIE: "It was the actions of local private investigator Vincent Van Lowe..." Vinnie taps his chest. VINNIE: "...that led to the suspects being apprehended." Vinnie gesture quote marks. VINNIE: "'Vinnie did a great job on this one,' said acting sheriff..." Vinnie extends a hand to Keith. VINNIE: "Keith Mars. 'He's an asset to this community.'" "He's an asset to this community." That's great, Keith. You can't buy that kind of publicity. I've tried. You really can't. KEITH: Hardly need to these days, Vinnie. You're the only P.I. in town. VINNIE: Oh, I didn't mean for my business. I mean for my campaign. KEITH: Campaign? Veronica, still not taking him seriously, creases her brow. VINNIE: For sheriff. Veronica gives an amused snort. Keith elbows her to stop. VINNIE: The special election. Sport Haus owner and a bunch of his pals said I should, so I...threw my hat in this morning. Vinnie Van Lowe: "He's an asset to this community" - Sheriff Mars gonna look great on my posters. He gives them a triumphant look, turns on his heel and exits. Keith and Veronica stare after him.

{"type": "series", "show": "Veronica Mars", "episode": "03x17 - Debasement Tapes"}

foreverdreaming

INT - MARS RESIDENCE - NIGHT. Piz and Veronica are sitting on her bed, each reading. Veronica's leg is resting over Piz's right foot and her foot against his left knee. They elbow each other playfully without looking up from their books. Piz is reading Soldier of Misfortune by Apollo Bukenya. The cover shows an African child soldier. Piz looks up as Keith marches into the bedroom, pointing at Veronica. KEITH: What does the Omnibus Crime Control and Safe Streets Act make illegal? Veronica responds promptly and without looking up from her book. VERONICA: Electronic surveillance without judicial authorization. Keith flips his pointing hand into a "You got it" g*n and marches out again. Piz is bemused. PIZ: What was that? VERONICA: I'm taking my P.I. exam tomorrow. He's ensuring his legacy. PIZ: He's nervous for you. That's sweet. VERONICA: He should be nervous for himself. I'm gonna b*at his score. Then I'm gonna dine on that shared knowledge for a lifetime. Keith marches back in, pointing at Veronica again. KEITH: A passive infrared detector would not be the best choice under which of the following conditions: A., overhead doors, B., significant changes in temperature, C.- VERONICA: B. Why don't you bug Piz for a while? Keith takes a step further into the room. KEITH: So, Piz, what are you studying? Keith reaches out for Piz's book to bring it closer without taking it from Piz's hand. KEITH: Apollo... PIZ: Bukenya. Yeah, he actually goes to Hearst, and he wrote this, uh, memoir, I guess you'd call it. KEITH: What could a college kid possibly have to put in a memoir? Surviving Spring Break on ten bucks a day? Keith laughs at his own joke. PIZ: He was a child soldier in Uganda. Keith's laughter is strangled in his throat. PIZ: He never knew his father. The rebel army k*lled his mother; put a g*n in his hand when he was six years old. KEITH: Oh. Veronica shakes her head sadly at Keith for his faux pas. PIZ: Somehow he managed to escape as a teenager and get to the States. I'm interviewing him on my radio show tomorrow and I'm just prepping. VERONICA: The book's already been optioned as a movie, middle six figures. Plus, he's been booked on Oprah, but [proudly] Piz got him first. Piz holds up his palm for a hand slap but Veronica tickles it instead. Keith continues to stare down at them. VERONICA: What? KEITH: It's just so refreshing to hear one of your gentleman callers have more to talk about than how high the waves are breaking. Veronica glares at Keith but is spared having to respond by the ringing of Keith's cell phone. He pulls it out of his pocket and turns away to answer it. KEITH: Hello, hello? Piz whispers to Veronica. PIZ: Uh-oh. VERONICA: What? PIZ: Dad likes you? Kiss of death? Veronica gives a helpless shrug. Meanwhile Keith, standing at the door to Veronica's room, is not at all happy with what he is hearing. KEITH: What was the address? He listens in disbelief. KEITH: Two of them? INT - SHERIFF'S DEPARTMENT - DAY. Keith is addressing the gathered troops. Sacks is standing next to him, hugging a bundle of papers to his chest. KEITH: We've just had our seventh home burglary in the past thirteen days. Seventh. That's what the papers begin referring to as a crime wave. In six of the seven, the burglars have also stolen cars from the residences. All the burglaries occurred in our favourite zip code. As you know, the residents...are an impatient lot. Now, the one car we recovered had switched plates with a car in a supermarket parking lot. Jerry'll hand out printouts detailing the hot spots. Sacks steps forward and starts to distribute the printouts. KEITH: Stolen goods might start popping up soon. Kitsitz, Horowitz, drop in on the pawnshops and all known fences. Kitsitz, or Horowitz, nods as Keith closes the meeting. INT - EXAMINATION CENTRE - DAY. A clock used for examinations is on the desk at the top of a large room. There are less than ten minutes to go. One invigilator is sitting at a second desk next to it, whilst a second is wandering through the room. The examinees are all male, of various types, from besuited business types to guys who look like thugs, and long out of their teens. The exception is Veronica who ticks boxes on her paper confidently. INT - HEARST COLLEGE - DAY. A number of stalls are set up in two rows facing each other in the grounds of Hearst College, decorated variously with pictures, balloons, and other eye-enticing paraphernalia. Three other stalls are set behind one of the rows. Students hand out leaflets to others as they pass. Veronica wanders down the middle of the wide aisle created by the majority of the stalls. She takes one of the proffered leaflets. VERONICA: The job fair has everyone here in a feeding frenzy. She passes the stall for the charity, Invisible Children. VERONICA: Real jobs for overachieving seniors and volunteer work for everyone looking to fill a résumé. Me? The job I'm waiting on? I would have been better off buying a lottery ticket. INT - HEARST COLLEGE, RADIO STATION - DAY. Apollo Bukenya is in the middle of his interview at the Hearst College radio station. APOLLO: Not long after I escaped, I was at an evac hospital... Veronica steps quietly into the room. APOLLO: ...and a very kind-hearted nurse was trying to comfort me, telling me that what I did was not my fault because I was just a child. Piz acknowledges her present with a two-fingered wave, followed by a finger to his lips. She smiles and stays by the door, glancing at Apollo and starting to listen to Apollo. APOLLO: What I have to live with today is the knowledge that, when my abductors coaxed, or rather, brainwashed me into an instrument of v*olence, I was left with not just the ability, but the appetite to k*ll. PIZ: My guest is Apollo Bukenya, a Hearst student who miraculously escaped the LRA in Uganda. Apollo, you dedicate Soldier of Misfortune to your adviser here at Hearst, Professor Lisa Tonin, who is here with us. Professor Tonin, sitting on the other side of Piz, nods. APOLLO: I owe her a great deal of gratitude. There would be no book without her. PIZ: I understand she knew you before you came to Hearst. APOLLO: She did. She actually read a short story I wrote when I was fifteen and called me. She's been my friend and mentor ever since. PIZ: Professor Tonin? TONIN: Well, of course, I'm flattered, but the truth is that Apollo has taught me much more than I have taught him. Apollo dismisses that humbly. APOLLO: Ahh. Cut to later. Veronica exits the recording booth into the main radio office, followed by Piz. VERONICA: You realize you're the radio-host version of a rock star, right? I don't know what the groupie procedure is for this scenario, but I might have to throw my panties at you. PIZ: Or I could autograph you. I believe we have some sharpies laying around. Veronica grins happily, putting her finger on her teeth girlishly. PIZ: So, I have news. I got offered an internship with, uh, Pitchfork Media. It's pretty much the most highly regarded music-review publication on the internet. VERONICA: Piz, that's fantastic! PIZ: Yeah, I'd work with the most important critics in the business, see bands when they're on the verge of breaking, might even get to do a few reviews myself, so I can really get my snob on. Their offices are in New York, which could be cool, right? VERONICA: Supercool, you lucky dog! Veronica hits him on the arm. PIZ: Twelve weeks in the Big Apple. VERONICA: Everything's coming up Piznarski. She laughs and hugs him. INT - SHERIFF'S DEPARTMENT - DAY. Sacks sets down the phone at his desk before walking into Keith's office. SACKS: Sheriff? Keith looks up a little impatiently, looking frustrated. SACKS: Veronica's on the phone. KEITH: Thanks. Keith picks up the phone. VERONICA: [on phone] Ninety-five. KEITH: You passed. VERONICA: [on phone and excited] Yeah, I passed. INT - MARS INVESTIGATIONS - CONTINUING. Veronica is sitting in Keith's chair with her feet up on the desk. She is enjoying lording it over him. VERONICA: And I b*at your score by two points. But don't worry, Dad. I'll still lob in... INT - SHERIFF'S DEPARTMENT - CONTINUING. VERONICA: [on phone] ...the token call from time to time asking for advice, thereby validating your existence. KEITH: Honey? INT - MARS INVESTIGATIONS - CONTINUING. VERONICA: Yeah? KEITH: [on phone] I made a ninety-seven. Veronica's smugness evaporates and her grin disappears. It returns as she clutches at straws. VERONICA: It's beneath you to lie to me in this, my finest hour. KEITH: [on phone] Are you at your desk? VERONICA: No. INT - SHERIFF'S DEPARTMENT - CONTINUING. KEITH: Are you at my desk? INT - MARS INVESTIGATIONS - CONTINUING. Veronica takes a moment to admit to this. VERONICA: Yes. KEITH: [on phone] Then this will be easy. INT - SHERIFF'S DEPARTMENT - CONTINUING. KEITH: Pull out my middle drawer. INT - MARS INVESTIGATIONS - CONTINUING. KEITH: [on phone] I had a feeling this moment would come. Veronica sits up and opens the middle drawer of the desk. There is a completed State of California Private Investigation Certification Test. Keith's name is on the bottom right hand side. On the bottom left hand side, in a box for office use only, is the number 97 in thick red ink. KEITH: [on phone] You see it there? VERONICA: [reluctantly] Yep. KEITH: [on phone] Sweetie, maybe you should go sit back down... INT - SHERIFF'S DEPARTMENT - CONTINUING. KEITH: ...at the receptionist's desk. INT - MARS INVESTIGATIONS - CONTINUING. Veronica is saved from further humiliation by the sound of a bell as another call comes in on the office phone. VERONICA: Got to go. Duty calls. Veronica cuts off the call with Keith and presses for the other call. VERONICA: Mars Investigations. Detective Mars speaking. KIZZA: [on phone] Yes, I believe I have discovered a son I never knew I had. Veronica reaches for a small notepad. VERONICA: Okay, and you'd like us to track this boy down? KIZZA: [on phone] No, I know where he is. I want proof he's, in fact, my son. His name is Apollo. Apollo Bukenya. Opening credits. EXT - HEARST COLLEGE - NIGHT. A couple of random students walk past the main building. WALLACE: [offscreen] There was no struggle... INT - HEARST COLLEGE, BENES HALL, WALLACE AND PIZ'S DORM ROOM - DAY. Wallace, lying on his stomach on his bed, his head at the foot end, is reading aloud from Apollo's book. WALLACE: ...no protest, no crying. She just told me to go with the soldiers. I can't imagine how afraid for me she must have been. Veronica is sitting at his desk chair, her feet on his bed near his head. WALLACE: I never saw my mother again. Wallace closes the book, deeply moved by what he has read. VERONICA: So imagine what it'll mean if I can reunite him with the father he's never met. Wallace looks sceptical. VERONICA: What? WALLACE: It's like the NBA. Fatherless boy makes good, the dough starts rolling in, and here comes long-lost daddy expecting a payday. VERONICA: It's not the same thing. WALLACE: The world is upside down. Veronica Mars wants to believe in miracles, and I'm the cynical one. VERONICA: It's not like he can lie about it. There will be a paternity test. WALLACE: So what are you gonna do? Steal a DNA sample from Apollo? VERONICA: Kizza doesn't want me to steal anything. He doesn't even want Apollo told about the possibility until he's more certain they're father and son. WALLACE: So how are you supposed to prove it? VERONICA: He emailed me a PDF of a letter he has from a woman he claims is Apollo's mother. So if I can get a look at anything Apollo might have with his mom's handwriting- WALLACE: Maybe you can make miracles happen. Wallace sits up, grabbing a basketball. WALLACE: So, how does it feel to be a professional detective? VERONICA: Great. Know how much I'm making on my first professional case? Veronica rises and goes to collect her bag. VERONICA: Nada. Guess he's scraped just enough together for a cheap plane ticket if the news is good. He had to email me the letter from a Kinko's. I have to wait on his daily calls from the pay phone in his New York boarding house. WALLACE: Yeah, that's not a guy looking for a payday. Veronica dismisses the pessimism with a smile and glances back at Piz's part of the room. VERONICA: Tell your roommate I came by hoping to k*ll time between classes, getting to second base with someone, then left unsatisfied. Wallace picks up the book again. WALLACE: He's a good guy, Veronica. Try not to rip out his heart. Veronica, oblivious as to the problem, gives him a quizzical tilt of the head. She then dismisses that concern too and heads for the door. INT - SHERIFF'S DEPARTMENT - DAY. A man sits sullenly in one of the interrogation rooms. KEITH: Tommy, I'm curious. How is it that you found yourself in possession of jewellery reported stolen from two separate homes? Keith is sitting on the other side of the table. A beefy deputy is standing behind him. KEITH: The owner of Brody's Pawn said you were quite anxious to unload said merchandise. Tommy is about to speak when a voice booms. CLIFF: Don't answer that. Cliff is leaning against the wall near the corner of the room, on Tommy's side of the table. Keith glances up at him. Cliff shrugs. KEITH: Can you tell me where you were two nights ago between nine and eleven? CLIFF: Don't answer that. KEITH: I was so fond of you when I was a private detective. CLIFF: Then I hope you'll understand why you shouldn't expect my vote in the upcoming election? Keith sighs deeply. KEITH: The break-ins were professional jobs, top-flight security systems disabled. Tommy nods smugly. KEITH: Try not to be offended, Tommy, when I suggest that perhaps you are not the leader of the crew. Cliff smirks. KEITH: You mind telling me who is? Feeling cocky, Tommy leans back, putting his hands on the back of his head and in doing so, the short sleeves of his t-shirt reveal a tattoo on the underside of his right arm. The tattoo is of a shamrock. TOMMY: Why don't you just put me back in my cell, let me know when the bail bondsman gets here? Keith stares at the tattoo. KEITH: Anxious to get back to the River Styx, Tommy? Tommy glances at his tattoo and realises his mistake. He puts his arms down slowly. Keith glances at Cliff. KEITH: Mr. Shaw here works with the Fitzpatricks. Cliff does an eyebrow shrug as Keith rises from his seat. KEITH: I got what I needed. Deputy, take our friend back to the cell he enjoys so much. Keith leaves the room. EXT - HEARST COLLEGE - DAY. Veronica paces, waiting for a class to finish. The door opens and students come flooding out onto one of the college's many porticoes. Apollo exits, holding hands with a girl. Veronica spots him and calls out. VERONICA: Hi, Apollo? Apollo and his girlfriend turn to face Veronica. VERONICA: Um, I'm Veronica Mars. I'm a reporter for the Hearst Free Press. We met at your radio interview, and I'm hoping to do a story on you, too. Apollo looks fed up but his girlfriend hugs his arm gently. OLYMPIA: You wrote the book so people would know what's happening there. APOLLO: I know. He looks back at Veronica. APOLLO: Sure. I've got some time later today. Does that work for you? Veronica nods and smiles. VERONICA: Mm-hmm. INT - HEARST COLLEGE, FOOD COURT - DAY. Logan is very uncomfortable having lunch with Parker and her parents. MR. LEE: My point is that white flour is essentially poison. You'll see. Couple weeks, you'll be home eating with us. You'll feel like a new person. PARKER: I don't know. I rely pretty heavily on my morning bagel. MR. LEE: Which is exactly why you need to be without it. Oh, and I was able to pull a few strings and get you that job in the mailroom I was telling you about. MRS. LEE: [sharply] Parker! Parker's eye jerk to her mother. MRS. LEE: Elbows! Parker slides her elbows off the table. MR. LEE: It's only for a few weeks but it's enough for you to make some spending money before we leave for your Aunt Louise's. PARKER: Thanks, Dad, but I was thinking of looking for a job, like, at a-a day-care or something. MR. LEE: So you can spend the summer with a cold and ruin everyone's vacation? I don't think so. So, Logan. Under the spotlight, Logan freezes. MR. LEE: What sort of career are you pursuing? Logan doesn't immediately respond. INT - HEARST COLLEGE, APOLLO AND HARRY'S DORM ROOM - DAY. As Veronica reaches the door to Apollo's and prepares to knock, an English guy exits the room. This is Harry, Apollo's roommate. HARRY: Oh, sorry. Were you about to- VERONICA: Yeah. He calls into the room. HARRY: Apollo, you've got a visitor. He goes on his way and Veronica steps into the room. VERONICA: Hi. Apollo is on the couch in the room, using the controls of a video game. APOLLO: Come in. Take a seat. Veronica shuts the door and takes a seat on the chair next to the couch. There's a Union Jack hanging on the wall on Harry's side of the room. Veronica looks at the television screen at what Apollo is playing. APOLLO: Oh! Apollo vents his anguish at the game. APOLLO: Please don't lead your story on how I like to play Grand Theft Auto. Make me sound less frivolous. Veronica chuckles. Cut to later as Veronica listens to Apollo's story. APOLLO: Sometimes we'd be sent on waves where the tactic was to overpower our enemies through sheer weight of numbers. We were divided into two units and given drugs to ready us to fight. Veronica makes a brief note but is soon so captivated by his story that she drops the pretence of doing so. APOLLO: I would make myself vomit up the drugs, then convince the two leaders I was going to be in the other's unit. Instead, I'd hide in the bush and blend in with the returning fighters. To stay alive, one had to think quickly. What's that Survivor slogan? "Outwit, outplay, outlast"? I was a survivor. Apollo notices that Veronica is hypnotised. APOLLO: Now, Veronica, did you have more questions? It takes Veronica a moment to collect herself. VERONICA: Um. Uh. She covers by consulting her notes. VERONICA: Let's talk about the days before your conscription. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY. Parker collapses onto the couch happily. LOGAN: I really think they liked me. PARKER: Yeah, I don't really think you survived the Googling. She giggles. Logan bends down and lifts her as he sits down and settles her on his lap. PARKER: Is it wrong that I'd rather be trampled by horses than spend the summer with my parents? LOGAN: No, the horses are a much better option. He kisses her as she giggles again. Parker sighs. PARKER: What else am I gonna do? I didn't sign up for classes or request any summer housing. LOGAN: Hm, you could stay here. Parker is taken aback, although pleasantly so. PARKER: I'm sorry. I'm a little stunned. Logan smiles, a little confused. PARKER: That is so sweet. It's just...moving in, that's kind of a big step. LOGAN: Oh, I meant you could stay here. I'll be gone most of the summer, so you'd have the whole place to yourself. PARKER: Where are you going? LOGAN: Going to South America to surf with Dick. PARKER: For the whole summer? LOGAN: Yeah, you were going home to Denver. PARKER: Yeah, which is a two-hour flight from here. Parker, no longer jolly, slides off of Logan's lap. PARKER: I thought we'd see each other. LOGAN: Hey, I'm sorry. I've been planning this thing with Dick for a while. PARKER: I don't understand where we're at if you're not gonna see me for three months and that's cool with you. Logan shrugs. LOGAN: It's not cool with me. I just didn't think about it. You know, it's a surf trip, Parker. It has nothing to do with us. Parker's mileage clearly varies. INT - HEARST COLLEGE, APOLLO AND HARRY'S DORM ROOM - DAY. Veronica is still captivated by Apollo's story. APOLLO: The day I was kidnapped, my mother couldn't really put up a fight for me without risking others' lives. But later that night, she came to the camp to beg my captors to give me back to her. I wasn't there. This is just what my best friend, James, told me. Um, and when they saw that James knew my mother, they made him sh**t her. Veronica is genuinely moved by the horror, her eyes wet with unshed tears. VERONICA: I'm so sorry. Apollo stares at her with his liquid brown but dry eyes. Veronica clears her throat. VERONICA: Do you have anything from her: pictures, personal items, mementos? APOLLO: The day I was captured, my mother sent me to the market. I carried the shopping list in my pocket for years. VERONICA: Do you still have it? Apollo gets up and walks over to his desk. He lifts his keyboard and takes a slip of paper, now laminated, from under it. He hands it to Veronica. Veronica examines it as Apollo sits back down. VERONICA: Do you mind if I move into better light? He nods and Veronica takes it to the window. She slips a copy of the PDF file from her papers and compares the writing. VERONICA VOICEOVER: A perfect match. INT - HEARST COLLEGE - DAY. There's another establishing sh*t of the college in the day time, so we're still in the same day. INT - HEARST COLLEGE, LIBRARY - DAY. Veronica's at her desk in the library. Parker is standing in front of the desk. PARKER: You're sure this doesn't bother you to talk about? VERONICA: Positive. PARKER: Logan's going surfing in South America for the whole summer. Veronica grimaces before reaching back to grab a book from behind her. She busies herself with it. PARKER: Never mentioned it. The whole summer. What is that? Is that how he is, or is that just how he is with me? VERONICA: It-it's kind of just...how he is. PARKER: Why is that not more comforting? Veronica finishes whatever she is doing on the book and places it back behind her. VERONICA: So, Mac's not around to talk about this stuff? PARKER: Mac's fallen into the black hole of new love. Parker smirks. PARKER: She only comes up for air. Veronica cocks her head. INT - HEARST COLLEGE, MAX'S DORM ROOM - DAY. Mac, wearing a shirt and short skirt, opens the door to Max's room to a pizza delivery guy. Max is on the bed, glasses off, yawning. PIZZA GUY: How you guys doing? MAC: I'm wearing a different shirt, just so you know. PIZZA GUY: Uh-huh. He smirks. Mac hands the guy his money. MAC: Keep it. He hands over the pizza and smirks at Max who gives him a g*n click. He grins and leaves. Mac shuts the door and sighs. She sinks down onto the bed. MAC: I have to, have to, have to go to my morning classes tomorrow. Max takes out a large piece of pizza. MAC: Getting lost in the sex-nap-eat-repeat loop. I'm in the p*rn version of Groundhog Day. MAX: Poundhog Day? They chuckle. MAC: When's the last time you went to class? MAX: Uh, February. MAC: Are you kidding? MAX: Business has been booming. My classes have kind of fallen by the wayside. MAC: So now begins the eleventh-hour cram session. MAX: No, no, no, no, no, I'm done. The countdown to my expulsion has g*n. Frankly, it's liberating. He takes a bite of his pizza, ignoring the look of horror on Mac's face. MAX: Mmm. He does a "comme ci, comme ca" gesture with his hand regarding the pizza. Mac stares at him a moment longer, and then shakes her head. INT - HEARST COLLEGE, LIBRARY - DAY. Using a name on a post-it note, Veronica finds a book on one of the bookshelves and pulls it out. She bends down to the next shelf for another but pauses on seeing Logan on the other side. VERONICA: You were just waiting for me to start pulling out books? Veronica takes the book from the shelf. LOGAN: No, I'm just browsing. She grabs another. VERONICA: Boning up on your South American culture? Conversational Portuguese, perhaps? If you're gonna be that close to Rio- LOGAN: How do you know about my trip? VERONICA: Parker mentioned it. Veronica straightens and heads for the help desk. Logan, a book in hand, follows her. LOGAN: Did my fan club meet today? Thought you guys only met on Wednesdays. They each place their books on the help desk. VERONICA: Look, she was bummed you didn't tell her about the trip. LOGAN: And you took turns sticking pins in your Logan dolls? Veronica picks up Logan's book. VERONICA: No, I told her that's just how you are. Veronica walks off to go around the desk, leaving Logan unhappily contemplative. INT - HEARST COLLEGE, FOOD COURT - DAY. Veronica is doing her own quiet contemplation as she eats. Piz heads for her table carrying two bottles of drink. He bangs them down on the table, startling her. PIZ: Crack her open. We're celebrating. I was offered another internship. Veronica reaches over for one of the drinks. VERONICA: People are just falling all over themselves to not pay you. PIZ: It's a good feeling. So, this one is at a radio station, KRAQ, right here in Neptune. Veronica nods. VERONICA: All right. PIZ: It's not glamorous as the Pitchfork gig, and it's Top 40, which makes my parts hurt, but it's radio. I don't know. I mean, Pitchfork is music I'm into. It's New York, which is-which is good. Veronica nods again. PIZ: And bad. He waits for her to agree about the bad and is briefly disappointed when she carries on oblivious. VERONICA: What do you want to end up doing, like, in the long run? He shrugs. PIZ: I want to be in radio. She reaches out to touch his hand. VERONICA: Then you should take whatever internship will get you there. He smiles and nods. Veronica's cell phone rings. She picks it up from the table and answers it. VERONICA: Hello? Piz watches her intently. VERONICA: Kizza, good news. Can you catch the red-eye? EXT - HEARST COLLEGE - DAY. As she walks under one of the porticos, Veronica uses her cell phone again. VERONICA: Hi, Apollo, it's Veronica. I've got something else I need to talk to you about. APOLLO: [on phone] Yeah, Veronica, glad you called. INT - HEARST COLLEGE, LIBRARY - CONTINUING. Apollo is sitting at one of the library tables. APOLLO: I wanted to talk to you, too. Could you come meet me at the library? EXT - HEARST COLLEGE - CONTINUING. Veronica nods into the phone (!) and heads towards the library. INT - SHERIFF'S DEPARTMENT - DAY. Liam Fitzpatrick saunters into Keith's office. LIAM: Sheriff Mars, as I live and breath. Keith, standing over by his printer, turns to face him. KEITH: Liam. Thanks for stopping by. Liam holds out his arms wide. LIAM: Well, the deputy you sent asked so politely. Keith points to the chair opposite his desk. KEITH: Please take a seat. Liam glances around and then heads for and takes the seat. LIAM: Good. Good. Keith sits down at his desk. Prominent on the desk is a large framed picture of Veronica, facing Keith. KEITH: I had one of your boys in here earlier, Tommy Shaw. He was trying to unload goods stolen from this string of burglaries. LIAM: How is Tommy doing these days? I don't think I've seen that boy since his mother's wake back in '05. KEITH: You're working on a third strike, Liam. You might consider quitting while you're ahead. LIAM: Keith, we both know my trip down here wouldn't have been voluntary if you had anything. KEITH: Nothing yet, but I'm gonna keep picking off your flunkies. Eventually, one of them is gonna trade me ten years for your name. And a word of caution: Don Lamb's no longer in charge here. LIAM: You speaking ill of the d*ad, Keith? Wow, 'cause, uh, from what I understand, this crime wave doesn't let up, you won't be in charge long either. Liam grunts a request for permission before picking up the picture and turning it to gaze at Veronica. Keith tenses. LIAM: 'Course, maybe these robberies will stop if I, uh... He puts the picture back on the desk. LIAM: ...find out what happened to Kendall Casablancas and my money. Keith jerks up from his chair and grabs the picture, placing it closer to him and out of Liam's reach. KEITH: Kendall's d*ad, and I suspect your brother buried her in a shallow grave in the desert. As for the money, it was never yours. Liam clucks, smiling. He gets up and slaps his thighs. He stares at Keith with a smirk. LIAM: Wouldn't bother unpacking. Keith watches him walk out. INT - HEARST COLLEGE, LIBRARY - DAY. Veronica heads confidently into the library area where she is meeting Apollo. Her steps falter. APOLLO: Veronica, glad you can make it. There is another person sitting with Apollo with his back to her. APOLLO: There's someone I want you to meet. The guy turns. It's someone she knows. She slowly comes to a halt. APOLLO: This is Wilson Behan, editor of The Free Press. He requested an interview. WILSON: Hey, Veronica. I don't remember assigning you to do a story on Apollo. Apollo gives her a challenging look. Veronica returns a tight, guilty grin before sighing. Wilson rises from the table. He walks to and faces Veronica. WILSON: Well, I'm gonna let you two sort this out. Wilson exits. Apollo stares at her expectantly. She creeps towards the table and takes the seat vacated by Wilson. VERONICA: All right, I wasn't assigned to you by the school paper. The truth is, I work as a private investigator, and I was hired by a man who believes he's your father. Apollo is puzzled. APOLLO: Who is he? VERONICA: His name is Kizza Oneko. He had this. Veronica retrieves Kizza's letter from her bag. VERONICA: It's a letter telling Kizza to take an opportunity to leave Uganda for America. She lays it on the table in front of him. He picks it up and stares at it. VERONICA: The w*r had separated them. Kizza says he left not knowing your mother was pregnant. Recognize the handwriting? Apollo refolds the letter. APOLLO: The grocery list I showed you, my hometown paper printed it. This Kizza person simply forged this. VERONICA: We'll prove his paternity one way or the other with a blood test. APOLLO: [firmly] No, we won't. Apollo puts his stuff in his bag, gets up and walks away without another word. EXT - HEARST COLLEGE - NIGHT. Veronica and Mac are walking together across the campus. MAC: It's not the ethics of what Max is doing that bothers me. At least I can rationalise that away, 'cause I had it filed away in my head as a college lark, a unique way for a philosophy major to make some extra cash. And in its own way, it showed all these qualities I admire. He's dedicated, he's got a keen business sense... Veronica nods. MAC: And, let's face it, he's-he's good at what he does. VERONICA: Help people cheat. MAC: Yeah, that. But today, when he said he was flunking out of school and he didn't care, he was just gonna get an off-campus apartment next year and keep doing what he does, it was like looking into a crystal ball, and I didn't like what I saw. VERONICA: What did you see? MAC: Me falling completely in love with him, losing all reason, ending up hosting candle parties and selling family heirlooms on eBay. I have the potential to go down that road. Veronica shakes her head reassuringly. VERONICA: No, you don't. MAC: I do. Love makes me lazy. It's a dangerous drug. Kills more brain cells than crystal meth. How's your cell count these days? VERONICA: Mmm, I can still do long division, but I can't quite remember all the continents. MAC: So Pizneyland is the happiest place on earth? VERONICA: Happy enough. There's no roller coaster, but I think I can do without the adrenaline and nausea. MAC: Hmm. INT - MARS INVESTIGATIONS - DAY. Veronica is on the phone at her desk — the reception desk. VERONICA: Hi, it's Veronica Mars. Um, I'm trying to track down Apollo. I've left several... INT - HEARST COLLEGE, APOLLO AND HARRY'S DORM ROOM - CONTINUING. She is talking to Apollo's roommate, Harry. VERONICA: [on phone] ...messages on his cell phone. HARRY: Oh, I'm sorry. Yeah, he hasn't been around. INT - MARS INVESTIGATIONS - CONTINUING. VERONICA: Any idea where he might be? HARRY: [on phone] Olympia's, maybe? INT - HEARST COLLEGE, APOLLO AND HARRY'S DORM ROOM - CONTINUING. HARRY: Oh, you know who might know is, uh, Zeke Molinda. INT - MARS INVESTIGATIONS - CONTINUING. Veronica, who is using a novelty pen which is topped with a small stuffed animal — something of a cross between Garfield and Tigger, with a long, curling tail — writes down the name. HARRY: [on phone] He's one of the guys from the African Student Alliance. Oh, wait, you know what? I don't think they're even speaking anymore. INT - HEARST COLLEGE, APOLLO AND HARRY'S DORM ROOM - CONTINUING. HARRY: They had some sort of falling out. Uh, have you checked with Dr. Tonin? INT - MARS INVESTIGATIONS - CONTINUING. HARRY: [on phone] I mean, she's practically his mum. Veronica looks up as the door opens and a man walks in. VERONICA: Uh, that'll get me started. Thanks. Bye. Veronica puts down the phone and looks up at the man. VERONICA: You must be Kizza. KIZZA: Yes, uh, I'm looking for Detective Mars. VERONICA: I'm Detective Mars. KIZZA: You're just a girl. You're a-you're a teenager. VERONICA: A girl, a teenager, and a private detective. I'm a triple thr*at. Barely fits on my business card. KIZZA: [distressed and disbelieving] You are the person who's arranging the meeting with my son? VERONICA: I am. Unfortunately, your son isn't as available as I thought he would be. I'm having a little trouble locating him right now, but I have several leads. As Veronica says "several leads," she uses the pen for emphasis. Kizza stares at the unreassuring ridiculousness of it. Veronica follows his stare and realises her mistake. She wraps her hand around the animal and bends it down, then straightens her back to sit taller in a futile attempt to improve the impression she is making. INT - SHERIFF'S DEPARTMENT - DAY. Under the stare of a man with his hands on his hips, Keith gets himself a drink from a vending machine. CARL: We've been pretty vocal supporters of your candidacy, Keith. It's becoming more difficult. There are others at the Homeowners Association suggesting we should bring in Mr. Van Lowe, see what he's all about. Keith bends and retrieves a can from the dispenser. KEITH: I appreciate the heads-up, Carl. Keith heads back into the department. Carl follows. KEITH: I think we're on the right track, but it may take some time. CARL: Nah, the election's in two weeks. You don't have time. Sacks hands him a report. SACKS: Here's the data you asked for, Keith. Keith scans it as Carl watches him. KEITH: What kind of home-security system you got, Carl? CARL: Safehouse. KEITH: You might want to replace it. Carl cocks his head quizzically. EXT - HEARST COLLEGE - DAY. Parker is striding through the campus. Logan races up from behind her. LOGAN: Hey, can we talk for a second? Parker hurries on dismissively, still pissed off with him. PARKER: I have a class. I don't want to get into a whole thing. Logan keeps pace with her. LOGAN: There's no whole thing. I want to talk to you...about the surf trip. Parker comes to an abrupt halt and he turns back to face her. PARKER: Fine. Kissing is cheating, and what I don't know will hurt me. Logan smiles. LOGAN: You should come with me. PARKER: [incredulous] You want me to come to South America with you and Dick? LOGAN: Hey, I meant it when I said that I didn't think about being away from you for three months. And...now I have. I have to process things, you know, it's just what I'm like. Parker is ecstatic and throws herself at him. PARKER: Oh, my God! Logan hugs her but his face shows that he's really not convinced this is a good idea. Elsewhere on campus, Veronica waits under another portico. She leaps forward as Olympia walks towards her. VERONICA: Olympia, you wouldn't happen to know where I might find Apollo? OLYMPIA: I know he's avoiding you. Veronica, I think he should meet the guy, get tested. If I see him again, I'll keep working on him. Veronica clasps her hands together in a begging motion before hurrying away. INT - HEARST COLLEGE, DR. TONIN'S OFFICE - DAY. Dr. Tonin addresses Veronica as she fingers through one of her filing cabinets. DR. TONIN: I wish I could help you. To tell you the truth, I'm starting to worry about him. Will you let me know if you find him? Veronica nods unhappily before turning to leave the office. EXT - HEARST COLLEGE - DAY. Veronica is back at the job fair, which seems busier than it was earlier. She finds the stall for the African Students Alliance. The person working on the stall is just finishing with one enquiry. On the table at the front of the stall are displayed a number of books. VERONICA: Hi, Zeke? ZEKE: Yes. VERONICA: I'm Veronica. I'm trying to find Apollo Bukenya. ZEKE: You're looking in the wrong place. We don't talk anymore. VERONICA: I heard. This is kind of last-ditch. Sorry to bother you. She turns to leave. ZEKE: What do you need him for? VERONICA: I'm doing a story on him. Zeke bends forward, resting his hands on the table and drops his voice. ZEKE: In that case, I've got your lead. He didn't write Soldier of Misfortune. His adviser did. He knows it, and he knows I know it. VERONICA: So Apollo told his adviser the story of his life, and she wrote the book? ZEKE: Not exactly. The stories in Apollo's book are true for many others. They simply didn't happen to him. Veronica's eyes widen. ZEKE: He was never conscripted. Veronica is shocked. Cut to later and elsewhere on campus to show it's still day. INT - HEARST COLLEGE, BENES HALL, WALLACE AND PIZ'S DORM ROOM - DAY. Veronica sits on Piz's bed. VERONICA: Zeke was Apollo's roommate freshman year. He says Apollo told him all about his life, but until Soldier of Misfortune came out, never included anything about being a child soldier in the LRA. Wallace is at his desk, thoughtful. VERONICA: So what should I do? Wallace pushes back so his chair rolls further into the room and puts him in direct eye contact with Veronica. WALLACE: I don't know. Nothing? Veronica gives him a WTF!? look. WALLACE: I'm serious, Veronica. It's a fact that there are child soldiers in Africa. Wallace gets up and walks towards her, picking up some leaflets from his desk as he does. WALLACE: There's this organisation, Invisible Children... She scoots along the bed so Wallace can sit beside her and hand her the leaflets. WALLACE: ...that sends volunteers over to Uganda to help protect the kids there. They have a booth up at the job fair. There was a crowd around it today about five people deep. VERONICA: I think I'm missing the point. WALLACE: Everyone is there because of Apollo's book. If you expose his book as a hoax, I promise you'll be k*lling a lot more than his literary career. Veronica's cell phone rings. Wallace goes back to his desk as Veronica answers it. VERONICA: Hello? OLYMPIA: [on phone] Veronica, hi, it's Olympia. I just saw Apollo. He's heading back to his room. I think he's ready to talk. INT - HEARST COLLEGE, APOLLO AND HARRY'S DORM ROOM - DAY. Veronica walks along the corridor outside, heading for Apollo's room. As she reaches the open door, she sees and hears Apollo on the phone. APOLLO: [agitated] No. No! Are you kidding me? What about the first check? But I've already- Veronica pulls back a little to avoid interrupting him, but does not stop eavesdropping. APOLLO: So they're just gonna pull the plug, just like that? Fine, fine. I have lawyers, too. Apollo ends the call and stares at the ceiling. VERONICA: Sorry. Is this a bad time? APOLLO: No. No, now is fine. Just give me a second to take my laundry out of the machine before someone steals it. Veronica walks into the room. VERONICA: I can wait. Apollo grabs a laundry basket and leaves. As soon as he's out of sight, Veronica saunters towards the phone. VERONICA VOICEOVER: "Pull the plug," lawyers, checks? To whom, pray tell, was the young Mr. Bukenya speaking? She glances out into the corridor to check for Apollo before picking up the phone. VERONICA VOICEOVER: h*t redial. Veronica does and puts the phone to her ear. WOMAN: [on phone] Silver Pictures. Veronica terminates the call quickly. VERONICA VOICEOVER: Looks like Soldier of Misfortune won't be coming to a theatre near you. Veronica thoughtfully replaces the phone on the table just as Apollo returns. APOLLO: This man who claims to be my father, Olympia convinced me. I want to meet him. I'll take the blood test. VERONICA: I'll arrange it. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Dick marches into the suite heading directly to his room. CASABLANCAS: [offscreen] Hello, son. Dick freezes. He turns slowly as Big Dick comes into the suite from the balcony. DICK: Dad? What, they just let you in my room? CASABLANCAS: Well, I am paying for it, after all. DICK: Really? I thought hundreds of saps who invested in your company were paying for it. I feel better about myself already. Big Dick walks slowly towards him. CASABLANCAS: I, uh...I turned myself in. My lawyer made all the arrangements. I have a couple months before my incarceration. Uh, tired of running, Dick. I want to pay my debt to society and get it over with. DICK: And what kind of debt did your lawyer negotiate? CASABLANCAS: A year. Dick snorts, much to Big Dick's chagrin. DICK: That's exactly what this biker I went to high school with got for stealing the Huntingtons' lawn jockey. It's good to be the king, huh? Dick slaps his father in the arm, then turns to walk away from him, into the lounge area of the suite. CASABLANCAS: [angry] You know, I'll consider our societal flaws during my yard time in the big house. He sighs and walks towards his son again. CASABLANCAS: Look, I turn myself in at the end of August but...at least we have a few months before then. I've rented a room a couple floors down. I want to spend as much time as possible with you. DICK: I'm gonna be gone most of the summer. I'm going on this surf trip- CASABLANCAS: [incredulous] Surf trip? I'm going to jail, Dick. DICK: I know. I'm sorry. I just- CASABLANCAS: [furious] This is the only chance you have to be with your father, and you're talking about a surf trip? Dick is nonplussed. INT - MARS INVESTIGATIONS - NIGHT. Kizza is sitting on the small couch in the outer office. KIZZA: Silver Pictures? What is Silver Pictures? Veronica is standing behind her desk. VERONICA: It's a company that makes movies. She walks forward slowly, coming to rest against the front edge of the desk. VERONICA: My point is...there's not going to be a movie of Soldier of Misfortune. There's not going to be a big cheque. I suspect Oprah may tear Apollo a new one on national TV. KIZZA: What does Oprah have to do with- VERONICA: Mr. Oneko, if you tracked down Apollo in hopes of finding financial security, I'm urging you to simply walk away. He needs people around him who care about him. If that's not you, I can't let- KIZZA: [emotionally] Miss Mars, had it not been for the w*r, I never would have left Uganda. I came to New York, a place where I had no friends, no family, as a means of survival. I'm still alive, but I've been alone for twenty-one years. I drive a cab. He rises. KIZZA: I go to school. But I am lonely. If this is my son, please, let me be there to comfort him in this difficult time. Veronica nods, barely. INT - MARS INVESTIGATIONS - DAY. Blood is being taken from Apollo's arm. As the medic finishes, Apollo, sitting in a chair in the middle of Keith's office, looks up at Veronica who is standing at the window, keeping a worried lookout and fingering her necklace. APOLLO: I don't think he's coming. VERONICA: He'll be here. Sceptical, Apollo leans back in his chair. Veronica returns her attention to the window. INT - SHERIFF'S DEPARTMENT - DAY. Vinnie, in a dark suit, is touring the office. VINNIE: You ever notice how the stained wood around the window has the effect of shrinking the space? Keith follows him, arms folded across his chest. VINNIE: I'm-I'm thinking something more of an eggshell would really open it up in here. I should probably write that down. Vinnie reaches into his jacket pocket. He pulls out a pad and pen. VINNIE: Anyway, what can I do for you, Keith? KEITH: I don't suppose, Vinnie, you've noticed, that there's a criminal element in town that would really love to see you as sheriff. Vinnie returns the pad and pen to his pocket. VINNIE: Oh, what can I say? I'm a walking big tent party. Must be why the girls from the secretarial pool gave me that nickname. KEITH: What do you know about Safehouse Security Systems? Vinnie ignore the question, instead slapping Sacks, who is sitting at his desk where they have stopped, on the back. VINNIE: Hey, Sacksy? Mind running out and getting a latte? Sacks is grossly offended and glances at Keith. VINNIE: I can have him get you something, as well. Vinnie sets off again but Keith persists. KEITH: Safehouse? VINNIE: Yeah, I did some consulting work for them. KEITH: You did. VINNIE: Mmm-hmm. KEITH: Did you know that all seven homes that have been burglarised subscribe to Safehouse? Vinnie whistles. VINNIE: Quite a co-inkydink. Keith gets in Vinnie's face. KEITH: You and the Fitzpatricks are the prime beneficiaries of those robberies. I think you're colluding with them. Vinnie chuckles in a really slimy way. VINNIE: Well, Keith, you are certainly entitled to your theory. Question is... He leans in and drops his voice. VINNIE: Can you prove it? Vinnie turns and walks away, clicking his fingers and leaving Keith standing with his hands on his hips. INT - MARS INVESTIGATIONS - DAY. Veronica and Apollo are still in Keith's office. APOLLO: It's been an hour. Veronica sighs deeply. VERONICA: I'm so sorry, Apollo. APOLLO: Sorry for what? I expect nothing, so I'm rarely disappointed. So, did you tell this Kizza person that I'm a fraud and that I won't be coming into money as all the articles say? VERONICA: I told him there was that possibility. APOLLO: Good. Apollo lifts himself from the chair. APOLLO: Thank you. You did your part. Apollo walks out of Keith's office. Veronica follows him into the outer office. VERONICA: What do you mean, my part? Apollo turns to face her. APOLLO: Soldier of Misfortune, the story is mine. I wrote every word of it. I needed to know whether this Kizza gentleman would show regardless of my stature and financial situation. Veronica shakes her head. VERONICA: So, everything I told him was- APOLLO: Disinformation, a plan to separate those I can trust from those I can't, a plan like so many others. Zeke is actually a very good friend of mine. Veronica is astonished that she's been played but before she can react, the office phone rings. APOLLO: Take care. She walks slowly to it as Apollo collects his jacket from the hat rack near the door. VERONICA: Mars Investigations. KEITH: [on phone] So, Veronica. INT - SHERIFF'S DEPARTMENT - CONTINUING. Keith is at his desk. KEITH: Why is there a detainee in my jail named Kizza Oneko... INT - MARS INVESTIGATIONS - CONTINUING. KEITH: [on phone]...who asks for his one phone call to be made to you? Veronica gasps and calls out to Apollo. VERONICA: Apollo, wait. She returns her attention to the phone. VERONICA: Why is he being detained? INT - SHERIFF'S DEPARTMENT - CONTINUING. KEITH: He was picked up driving a rental with plates from a stolen car. INT - MARS INVESTIGATIONS - CONTINUING. Veronica smiles as Apollo watches her, bemused.. INT - SHERIFF'S DEPARTMENT - DAY. Kizza is in one of the interrogation rooms. He looks up as a deputy opens the door, letting in Veronica and Apollo. Kizza smiles broadly on seeing Apollo. He stands and takes a step towards him. KIZZA: Apollo. Apollo is less certain and holds his ground. Veronica watches silently from the wall by the door. APOLLO: Mr. Oneko, I'm happy we have this chance to meet. KIZZA: As am I. Overjoyed, in fact. I'm not surprised your mother named you for the god of music. Apollo looks at him quizzically. KIZZA: She had a book of mythology that she treasured. Apollo is thrown back to his childhood. APOLLO: I...I remember it well. It...it is the book she used to teach me how to read. Apollo absorbs this and comes to realise the possibility. APOLLO: Father? Kizza steps forward and takes Apollo in his arms. Apollo sobs. Kizza is ecstatic. He pulls back, keeping his hands on Apollo's arms. KIZZA: Would you like to hear about your mother as the young girl that I fell in love with? Apollo manages to nod. Veronica's eyes are heavy with unshed tears as she smiles. EXT - HEARST COLLEGE - DAY. The job fair is still going strong. At the Invisible Children stall, as two volunteers deal with one query, a different volunteer is addressing another. VOLUNTEER: You sure you want to do this? It's quite a commitment, and Africa's a long way away. An application form is passes over the counter. It's Wallace. WALLACE: I'm positive. VOLUNTEER: Okay. Wallace smiles, happy and confident in his summer plans. INT - HEARST COLLEGE, MAX'S DORM ROOM - DAY. Max is hard at work (or whatever) at the computer in his room. He looks up as the door opens and Mac enters. MAC: I come with tales from the outside world. MAX: Hey. He leaps up and kisses her. MAC: Oh, and, uh, I brought these for you. Mac hand him a load of leaflets. Max takes them without enthusiasm. MAC: I was passing through the job fair, and, um, apparently, there are careers that a philosophy degree prepares you for, so just thought I'd grab them, just in case. MAX: I guess we need to talk about this, huh? MAC: Yeah, maybe. MAX: Here's the thing. I make about fifteen hundred a week doing something I like. I'm gonna be doing this for a while. Mac nods, her face tight. MAX: Not forever, but for a while. I hope that doesn't change things for you. MAC: I wish that it didn't, but it kind of does. MAX: Well, that sucks. Max walks away and throws the leaflets on the bed. MAC: Yeah, but I'm not sure how much it changes things. I want us to keep seeing each other. MAX: Well, great. MAC: Just can't do the blissful love-shack thing anymore. I need to get back to my regularly scheduled life. Is that cool? MAX: So, do you have to get back to reality now or... Mac laughs. MAC: No. No, I got a couple hours. MAX: Good. Mac, grinning, looks at him questioningly. Max makes his hands into bull horns and places them on the side of his head. He snorts and Mac laughs. Max starts to paw the ground. Mac giggles as Max charges at her. She slips aside and he chases her, grabbing her by the bed where they both tumble on to and over the other side of the bed. MAC: Aah! Aah! They land on the floor. INT - NEPTUNE GRAND HOTEL, BIG DICK'S ROOM - DAY. Big Dick is at one of his suitcases, putting in or taking out a pair of shoes. He looks up at a knock on the door. He walks over and opens the door. Dick marches in. CASABLANCAS: Son. DICK: Just so you know, the world doesn't stop because you decided to show up. CASABLANCAS: Well, had I known it was interfering with your surfing, I would have come sooner. DICK: Like maybe for Cassidy's funeral? This is where he died, you know? I walk by the spot he splattered on every day. CASABLANCAS: You think I'm not sorry about Cassidy? DICK: What are you sorry for, Dad? That he's d*ad? CASABLANCAS: Of course. DICK: You ever think he's d*ad because of us, or that he k*lled those people because of us?! Big Dick tries to reach out to his increasingly hysterical son. CASABLANCAS: Son. DICK: We used to have contests to see which one of us could make him cry! I can barely live with myself sometimes, and it's so much easier when you're not around! Big Dick doesn't know where to look. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY. Dick throws open the door of the suite and strides forward. He's still upset and doesn't bother to close the door behind him. He heads for his room but pauses as Logan, sitting on the couch eating a burger, speaks. LOGAN: Hey, listen, about our summer plans, I know you're gonna think this is uncool, but I kind of broke down and- DICK: I can't go. LOGAN: What? DICK: Yeah, the trip's not gonna happen. My dad's back, wants me to spend time with him before he goes to jail. Dick's voice wobbles. Logan gazes at him. LOGAN: I get it, man. DICK: Sorry for screwing up your summer, you know? Dick turns and walks into his room. Logan frowns. INT - HEARST COLLEGE, PARKER AND MAC'S DORM ROOM - DAY. Parker opens the door to the room. Logan is standing there, leaning on the door jamb. PARKER: [brightly] Hey! I was just gonna call you. I told my parents. They freaked out. It was the best feeling. Logan continues to stand there, hands now in pockets, unresponsive. PARKER: What's wrong? LOGAN: Hey, the trip's off. Logan walks slowly into the room. LOGAN: Dick's dad came back into town, and now he can't go, so... Parker shuts the door behind him. PARKER: Oh. So...I guess we're not going, then? Parker sits down on her bed. Logan stands by her desk. LOGAN: He was footing half the bill for the house, and it'd just be really expensive. And it was a thing me and Dick were planning on together. Parker is extremely disappointed. PARKER: I understand. LOGAN: Yeah. PARKER: I guess I'm going to Denver then. They stare at each other across the distance. INT - MARS RESIDENCE - NIGHT. VERONICA: Dad! Check this out. Veronica is on the couch, sitting between the legs of and against Piz, and is holding both his hands. They are watching television. VINNIE VOICEOVER: [on TV] I'm Vincent Van Lowe. Keith comes in from the bedroom and sits on the arm of the armchair. KEITH: Aw, no. VINNIE VOICEOVER: [on TV] I was born in Neptune. On the screen, Vinnie portrays himself as a pillar of the community. He is shown in a shirt, tie and hard hat at a building site, as if the builder or project manager. VINNIE VOICEOVER: [on TV] I live in Neptune. There's a couple of black and white sh*ts of Vinnie working at a desk in an office befitting a district attorney, complete with flags and a bookshelf stuff with law books. VINNIE VOICEOVER: [on TV] My friends and family live in Neptune. That's why what happens in our city concerns me so much. VERONICA: Ugh. On the screen, colour has returned in pictures of Vinnie playing with children. VINNIE VOICEOVER: [on TV] There's nothing more important than the safety of our children. VERONICA: Vinnie has kids? KEITH: None that he's aware of. The commercial moves on to scraps of headlines and newspaper articles: "Burglary crime wave continues," "Suspects at large in burglary c... Home owners furious over lack of arrests," by Adam Grossman referencing a particular theft from the Robertsons of their jewellery and their toy dog, Ruffy, and "Unsolved home burglaries eroding public's t... Concerned home owners fearful for their safety, demanding a...." VINNIE VOICEOVER: [on TV] And the security of our homes. Vinnie finally addresses the camera directly from the respectable desk featured in the pictures. VINNIE: [on TV] I'm Vincent Van Lowe, and I'm asking for your vote. The screen fades into Vinnie's graphic which reads "Vincent Van Lowe for Sheriff" where the "Vincent" is set over a six-pointed star/badge. FEMALE VOICEOVER: [on TV] Vinnie Van Lowe has been endorsed by the Neptune Homeowners Association. Keith shakes his head. VERONICA: Well, from the ridiculous to the sublime, Apollo and Kizza's blood test checked out. No surprise. The phone rings. Keith gets up to answer it. KEITH: Hello? Sure. Keith holds out the phone to Veronica. KEITH: It's for you. Veronica disentangles herself from Piz and gets up to take the phone. VERONICA: Hello? Veronica listens with increased incredulity. VERONICA: Really? Piz watches her. VERONICA: That's incredible. Keith does too but smiles as he realises what's happening. VERONICA: Thank you. Veronica, her mouth wide open, terminates the call. She tosses the phone on the counter and turns to face Keith. VERONICA: I'm in. The FBI has chosen me for their summer internship! Veronica jumps excitedly into Keith's arms. He's as thrilled as she is. KEITH: Yes! Talk about making up for that crappy P.I. exam score. You did it, honey. Veronica jumps out of the embrace and jumps up and down instead. KEITH: My daughter the Fed! VERONICA: Twelve fun-filled, pay-free weeks of schlepping coffee and office supplies at the Federal Bureau of Investigation! Keith holds out a hand. KEITH: Ice cream! They slap hands. Veronica laughs and as Keith rushes off, Piz stands in front of her. She's still really excited, hopping about. VERONICA: I can't believe it! PIZ: It's in Virginia, right? VERONICA: Yeah. She hugs him, still laughing, missing the resignation on his face.

{"type": "series", "show": "Veronica Mars", "episode": "03x18 - I Know What You'll Do Next Summer"}

foreverdreaming

VERONICA VOICEOVER: Previously on Veronica Mars... Veronica approaches Weevil in the Neptune car park as he gets out of his new car in 213 "Ain't No Magic Mountain High Enough." VERONICA: Where did you hide the cashbox? WEEVIL: The two places you looked for it. In a flashback, Weevil stuffs the cashbox in Ophelia's backpack, and then writes "Nancy" on a bill. WEEVIL: I had to go back later and, uh, add the incriminating fifty dollar bill. Cut to the preppy girl in criminology class when Veronica brought Weevil in as her class project in 305 "President Evil." JENNY: Do you think you can ever really leave g*ng life behind? WEEVIL: Yeah, I miss it. I miss having cash in my pocket. Cut to Dick confronting his father in 318 "I Know What You'll Do Next Summer." DICK: The world doesn't stop because you decided to show up. I can barely live with myself sometimes, and it's so much easier when you're not around! Veronica and Piz kiss as the lift doors open to reveal Logan. The moment is awkward in 317 "Debasement Tapes." INT - HEARST COLLEGE, FOOD COURT - DAY. Music: "Lazy Girls" by Jill Cunniff. LYRICS: Here's a song for lazy girls and laid-back boys Who never quite outgrew their toys Maybe they told you You got to go get 'em But you'd rather lay low and watch the river run Hey, lazy girls and laid-back boys You got it right, life's to enjoy (Eating orange popsicles) Float down the road, bl*wing kisses Keep laughing through the hits and misses, yeah... A blond girl is arguing with the cashier at the top of a long queue in the Food Hall. In the queue, someway back, Veronica and Mac wait. They've already started nibbling at the frozen yoghurt for which they are waiting to pay. MAC: Take a look around. It's d*ad week. Everyone's walking around half-crazy. VERONICA: Yeah? Well, I just hope Piz isn't planning on moping his way through the remainder of freshman year. It's not like I'm taking an internship at a Mister Softee in Wachoota. It's the FBI. Dissatisfied with Mac's lack of response, Veronica repeats herself with emphasis. VERONICA: The FBI. MAC: At the very least, Piz should think it's hot. VERONICA: Actually, he does think it's pretty hot. He'd just think it was hotter if I were doing it in Neptune. MAC: He wants to date you and be near you? Greedy little bugger. Veronica acknowledges her unreasonableness. VERONICA: And if he didn't care, I'd probably be complaining about that...to my girlfriend...while waiting to pay for frozen yogurt. She grimaces. VERONICA: I'm a girl. Mac giggles. She then looks towards the front of the queue with impatience. MAC: Have we moved in the last five minutes? Veronica throws back her head. VERONICA: Uh, backwards, I think. Mac sighs deeply. MAC: Have you considered letting Piz know you're bummed about the prospect of being apart from him this summer? VERONICA: Simple, direct, honest? Mac, that's almost crazy enough to work! MAC: Just sharing my vast relationship wisdom. They both turn the attention to the front of the queue where the blonde girl, Abigail, has started to shout. ABIGAIL: Just give me back my damn card! The cashier, Jalisa, keeps hold of the card. JALISA: No. She looks past Abigail and shouts out. JALISA: She's right here. Abigail turns to look and her eyes widen. She takes off. JALISA: The one with her mouth open. Two of the Hearst College security guides race past her, chasing after Abigail. CAMPUS SECURITY: Whoa, whoa, whoa, whoa! They grab Abigail and march her away. Veronica and Mac watch curiously. MAC: What's with the food police? VERONICA: She has the right to remain famished. Veronica snorts and giggles at her own joke while Mac rolls her eyes before joining her in laughter. INT - HEARST COLLEGE, HUMAN RESOURCES OFFICE - DAY. Weevil is standing at the desk of a dour individual, using one of the chairs in front of the desk for support. The man, Russell Marchant of Human Resources according to his desk plate, does not look up from his papers. Weevil is leaning more and more heavily onto the chair and rubbing his leg. He casts a look around the office, his eyes lighting on a homily on the wall in the form of a picture of an eagle and the words, "All serious daring starts from within." Marchant senses the focus of Weevil's attention. MARCHANT: Stowe. WEEVIL: What? Marchant points to the wall off-handedly, still without looking up. MARCHANT: It's Harriet Beecher Stowe. WEEVIL: Ohhh, excuse me, can I sit down? My knee's k*lling me, man. MARCHANT: [with scepticism] Oh, right. Your knee. Marchant points to one of the chairs disdainfully and Weevil sits down. MARCHANT: When did you say you injured it, Mr. Navarro? WEEVIL: Uh, last Wednesday. MARCHANT: And you did this on the job? I only ask because a lot of you, uh, maintenance fellows like to play basketball over lunch break. WEEVIL: That's why I didn't file for sportsman's comp, see, 'cause I-I-I hurt my knee moving a busted washing machine across the campus. MARCHANT: Hmm. Says here you spent a little time in prison last year. WEEVIL: So did Martha Stewart. Now, does that mean I don't get my benefits? MARCHANT: No, it just means...how shall I put this? A lot of people look at a thriving private institution like Hearst and they see, well, they see deep pockets. WEEVIL: I'm not trying to con you, man- He closes the file and throws it into one of the file trays on his desk. MARCHANT: But you can appreciate why we have to be so thorough in these matters. Weevil gets up and starts limping out of the office. MARCHANT: [dismissively] I will pass your claim along to the review board, and you can expect a decision in the next month or so. Weevil turns back to face Marchant in disbelief. WEEVIL: A month? What am I supposed to do until then — hop around on one leg? MARCHANT: Just...do your best. Weevil shakes his head. INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - DAY. Veronica is lying on her stomach on Wallace's bed, her feet in the air and her elbows propping up her upper body as she studies. Piz is sitting on his bed, legs crossed, doing the same. Veronica looks over at him. She thinks for a moment, then grabs her cell phone. She punches in a number. Piz's cell rings. She watches as he checks the caller ID and sees that it is Veronica. He stares at her with a look part irritated/part confused. VERONICA: Answer it. With a sigh, Piz climbs over his books and sits at the end of his bed. He answers the call. PIZ: Hello? VERONICA: Hey. PIZ: What are you doing? VERONICA: I'm calling you from FBI headquarters in Virginia because I miss you. And I'm very sweet. PIZ: [a little sceptical] You miss me, huh? VERONICA: I do. Veronica frowns suddenly VERONICA: [sharply] Who's that? Piz looks around, very confused. PIZ: What? Veronica gets up onto her knees. VERONICA: [indignantly] Do you have a girl in your room? Piz chuckles and gazes on her indulgently. Music: "Inside Your Head" by Eberg. LYRICS: Ding dong the clock is wrong Dong ding Tick tock stubborn clock Tock tick Inside your head Inside your head Still water sparkles here The calm drifts away in here Cuddle cravings addiction brings Place your coat on six strings Inside your head Inside your head I wouldn't want to be inside your head..... Veronica sighs. VERONICA: This long-distance thing is hard. I mean, this internship is the opportunity of a lifetime, and I couldn't be enjoying it more, but...I so wish I could be with you right now. Veronica steps off the bed and hangs up the phone, setting it down on Wallace's desk. She leans against the wall by Piz's bed. VERONICA: Well, how about that? It's like I never left. PIZ: Yeah, those twelve weeks just flew by. VERONICA: No, they didn't. They took for-ev-er. All those weeks of thinking about you, and... She climbs onto his lap. VERONICA: And missing you...and all those pent-up feelings. What am I ever gonna do with all of them? PIZ: I-I have a couple...million suggestions... VERONICA: Hmm. PIZ: If you like- She silences him with a kiss, pushing him back to a prone position. She lifts her head and stares down at him. VERONICA: Mmm. So, what are these suggestions? PIZ: Oh, you know, you don't need them. Piz raises his head to catch her lips again, but Veronica pulls back a little. VERONICA: Does it involve me...doing a sort of dance-squad-like routine? Perhaps...a cheer? Veronica sits up and claps her hands, then does a pep squad-like bit of semaphore. Piz props himself up on his elbows. PIZ: Actually, it does. VERONICA: I was kidding. PIZ: Then no. Veronica displays her thoughtful face then leans over him again. She whispers. VERONICA: Did it involve me being naked? PIZ: It did. They start kissing again, hotter and heavier. INT - SHERIFF'S DEPARTMENT - DAY. Keith is at his desk. KEITH: If I'm understanding you correctly, a student ID card is basically like money. One of the Hearst College cops is sitting opposite him. WAZOWSKI: Exactly. Kids can buy stuff anywhere on campus the cafeteria, the bookstore, you name it. Keith gets increasingly excited as he gets up and walks around to the front of the desk and sits on its edge. KEITH: So if they're using fake student IDs, they're using fake money, which makes this fraud. WAZOWSKI: Right. KEITH: And if these students you've apprehended made the fake IDs themselves, conspiracy to commit. So, you want me to bring them in? WAZOWSKI: The students have already been dealt with. They've been placed on probation, and the families have agreed to repay the stolen funds. Keith shakes his head. KEITH: That sounds...lenient. WAZOWSKI: There's no dungeon in the ivory tower. Officer Wazowski picks up a file and hands it to Keith. WAZOWSKI: Both kids claim they bought the IDs from this man. He's not a Hearst student, and the Hearst police ain't in the business of prosecuting felons. KEITH: I'll take care of it. Cut to later. As Keith watches, Abigail studies what is in front of her. ABIGAIL: Number four. KEITH: You sure? ABIGAIL: I'm sure. A deputy opens the door (on which is the sign "No w*apon beyond this point") to let Abigail out. Sitting outside is another student. Abigail walks out and the deputy beckons the other student with his hand. DEPUTY: All right. Come on. He gets up for the chair and starts in, a little hesitant. KEITH: Step right in here, son. Take your time. He studies the same scene that Abigail did. HONUS: Number four. KEITH: You'll testify to that fact? HONUS: Yeah. That's definitely him. The camera switches to their view. It's a line-up beyond a glass window. Number four is Weevil. As the rest of the line-up files past him, Weevil stares at the window with a mocking smile. Keith stares back, the disappointment clear on his face. Opening credits. INT - SHERIFF'S DEPARTMENT - DAY. Keith and Weevil are in one of the interrogation rooms, sitting across from each other at the table. KEITH: I wish you weren't sitting across from me right now, Eli. WEEVIL: I shouldn't be, Sheriff. KEITH: Two Dean's-list college students picked you out of a line-up. Your being an ex-con isn't gonna help things. WEEVIL: Do I get a phone call? Keith slides the phone on the table closer to Weevil. Weevil picks up the receiver and clears his throat. WEEVIL: Uh, what's Veronica's number? Keith stares at him balefully. INT - MARS INVESTIGATIONS - DAY. Veronica carries some papers from the outer office into Keith's office. She puts them down on his desk and presses the button to check the answer machine as she checks some post. Weevil's voice emits from the machine. WEEVIL: [on answer machine] Veronica, pick up, pick up, pick up, pick up. Where you at? I tried you on your cell, but maybe you got it turned off or something. As the tape on the machine winds on, Veronica starts to listen in earnest. WEEVIL: [on answer machine] Uh...hey, lucky for me, your dad's a cool guy, 'cause he gave me another chance at this. Anyway, uh...reason I'm calling is- There's a beep as the message comes to an abrupt end. Another beep signals the start of a new message. This time, Weevil's words are rushed and to the point as he makes full use of the third call Keith has allowed him. WEEVIL: [on answer machine] I need a bail bondsman and a private investigator, and you need a twenty-first century answering machine! The receiver crashes down firmly and a beep indicates the end of the message. INT - SHERIFF'S DEPARTMENT - DAY. One of the deputies lets Veronica into the room containing the cell where Weevil is sitting dolefully on the bottom bunk. As soon as he sees her, he gets up and limps towards the bars. WEEVIL: Hey! VERONICA: Weevil, you're wobbling. Veronica stops at the table and sits on it as Weevil reaches the bars. WEEVIL: Yeah, and I'm gonna take the fall...unless you can help me. I've already lost my job 'cause of this. VERONICA: Dad says it's a fraud case? WEEVIL: Exactly, and you know how I feel about white-collar crime. They're saying I busted into the bursar's office and made a couple fake ID cards and stuck a bunch of cash on them. VERONICA: And you're saying? WEEVIL: Damn, Veronica, I don't even know what a bursar is. VERONICA: You know that office where you pick up your pay check? It says "bursar" on it? That's the bursar. Weevil shakes his head. VERONICA: Who says it was you? WEEVIL: A couple college kids pulled me out of a line-up. VERONICA: Why do you think they're fingering you? WEEVIL: 'Cause I'm easy, easy like Sunday morning. The pain in his knee forces Weevil to adjust his position. WEEVIL: Ex-con and all. VERONICA: Except they'd have to know you were an ex-con. [teasingly] Have you been going around campus sharing the story of your personal journey? WEEVIL: Only in your criminology class when you asked me to. Veronica's eyes widen and she looks momentarily guilty. VERONICA: Oh, yeah, right. She slips off the desk. VERONICA: Whoops. She giggles in embarrassment. Weevil glares at her, not seeing the humour in it. INT - HEARST COLLEGE, ADMINISTRATION - DAY. A desk plate proclaims the occupant to be Karin Mackay, Bursar. Karin works at one end of an open-plan area. She looks up from her work as Veronica approaches her desk. KARIN: Pell applications are on the right. Change of address cards are over on the- Veronica shakes her head. VERONICA: Actually, I'm a private investigator. Veronica holds out her badge proudly. VERONICA: I'm working for Eli Navarro. I'd like to ask you some questions about IDs. Karin does a double-take as Veronica puts her credentials back in her bag. KARIN: I'm sorry. You're a what? VERONICA: I'm a private investigator. KARIN: [incredulous] How old are you? VERONICA: I'm nineteen. Karin nods slowly, still not quite believing it. VERONICA: So, can you tell me how student IDs work? KARIN: Oh, well, exactly like debit cards. Veronica sinks into the chair in front of Karin's desk. KARIN: Each term, students can add money to their account that can be drawn upon by any campus vendor. I collect the cash and infuse the cards with their new limit. VERONICA: And you've got the only machine on campus that can program the cards? KARIN: Yeah. Karin puts her hand on a small metal box on her desk. KARIN: The company who makes them, Magneta-corp, only leases the machines to institutions like colleges. If it breaks down or needs to be serviced, we have to send it all the way back to Marietta, Georgia, to get it reprogrammed. Veronica lines up her cell phone to take a picture of the box as Karin is joined by Russell Marchant. MARCHANT: Uh, thanks for holding my cheque, Karin. KARIN: Oh, no problem, Russ. As Karin looks for Marchant's cheque, she continues to address Veronica. KARIN: For what it's worth, I happen to know your client, Mr. Navarro, has access to my office. On hearing Weevil's name, Marchant stares at Veronica. KARIN: He let me in once when I locked myself out. Karin hands Marchant an envelope with a smile. MARCHANT: Thanks. Marchant takes it then returns his attention to Veronica. MARCHANT: You're working for Eli Navarro. VERONICA: You know him? MARCHANT: Yeah, he tried to feed me a bogus workman's comp claim. I'd say that your client could use further rehabilitation. Marchant takes some pleasure in disabusing Veronica about Weevil. He looks back down at Karin and gestures with the envelope. MARCHANT: Thanks. He walks away. VERONICA: Thanks for your time...Miss... She glances down at the name plate to get the name as she rises, but thinks of something else instead. VERONICA: Oh, one more thing how did you know that the fakes were fakes? KARIN: We didn't. One of our food-court workers noticed a number of suspicious names on student IDs. She started a watch list, eventually handed it over. VERONICA: Sounds like my kind of girl. INT - HEARST COLLEGE, FOOD COURT - DAY. It's a quiet moment for one of the cashiers who is taking the opportunity to read a thick book at her post. VERONICA: Jalisa Jones? Jalisa doesn't look up. JALISA: That's me. VERONICA: You're the one who discovered the fake IDs, right? That gets her attention and Jalisa looks up at Veronica and puts down the book. VERONICA: Hearst College must have been grateful. JALISA: [sarcastically] They offered to put a statue of me in the middle of the quad. In a slight editing faux pas, Jalisa is shown in reverse still holding the book, which she puts down again. VERONICA: So, what made you think that the names on the cards were aliases? With a smirk, Jalisa accesses the cash tray of the till. She pulls out a sheet of paper from under it. She shuts the till and hands the paper to Veronica. VERONICA: [reading] "Niels Bohr, Sylvia Plath, Leonardo Fibonacci, Honus Wagner"? JALISA: Just because I didn't go to a school with a water polo team doesn't mean I don't know who Fibonacci is. VERONICA: Who wouldn't know? Veronica's expression shows that she doesn't have a clue. Jalisa smiles. JALISA: Greatest European mathematician of the middle ages. VERONICA: Yeah, of course. Ah, do me a favour give me a call if any of the other names pop up. Veronica holds out one of her cards which Jalisa takes. JALISA: Sure, but after Sylvia Plath and Honus Wagner got busted, the others stopped coming. INT - HEARST COLLEGE, LIBRARY - DAY. Veronica is at the help desk, typing at the keyboard. Behind her, Abigail arrives and heads for the desk. ABIGAIL: I just got an email saying I got a fifty dollar fine for a lost book I've never even heard of. VERONICA: Name? ABIGAIL: Abigail Montgomery. Veronica, poised to type, pulls her hands back from the keyboard. VERONICA: Oh, uh, you're cool. No fine. ABIGAIL: What? VERONICA: I'm a private investigator. I've been hired by Eli Navarro to find out who's making the fake IDs. Abigail laughs nervously. ABIGAIL: Is this a joke? Veronica smiles and reaches into her back pocket, pulling out her PI badge. She opens it and holds it out to Abigail. VERONICA: I'm bona fide. ABIGAIL: So, what, you're working undercover at the help desk or something? VERONICA: More moonlighting. Tell me how you met my client. ABIGAIL: Last Thursday, I went to pay for my lunch, and the teller told me I was out of money. I was standing there with my burrito and fruit cup, totally humiliated. Later that afternoon, this guy comes up to me and offers to sell me a thousand dollar card for a hundred bucks. VERONICA: And so you paid him? ABIGAIL: Yeah. He asked for a fake name and told me to meet him the next day in the basement of the history building at one o'clock. I showed up. He handed me the card. You know, I didn't want to do something dishonest. It's not like I can stop eating. And believe me, I hated turning in that janitor guy. I'm sure he's got kids to feed or something. Veronica nods, appearing sympathetic to her ordeal. INT - HEARST COLLEGE, HALLWAY - DAY. Wallace is walking down the corridor, studying a paper in his hand. Another guy is following close behind him. Wallace screws up the paper and throws it into a rubbish bin he passes. Wallace walks forward to a water fountain and takes a drink, as he rises, he looks back. The guy following him has paused at the notice board by the rubbish bin and as soon as he sees Wallace looking at him, quickly turns his attention to the notice board. Wallace frowns and turns, walking towards the door of one of the classrooms. He pauses at the door and glances back. The guy has moved to the rubbish bin. He reaches in and takes the crumpled paper Wallace discarded. Wallace frowns even more deeply before disappearing into the room. INT - HEARST COLLEGE, LIBRARY - DAY. Back at the library, the second student to identify Weevil, the one who used the false name Honus Wagner, heads for Veronica at the help desk. HONUS: Excuse me, who do I talk to about library fines? I got an email. Veronica does an "Ah, shucks" wave. VERONICA: Let's forget about the fine. She slides her work on the desk to the side and leans in a little closer. VERONICA: I just need to ask you a few questions. INT - SHERIFF'S DEPARTMENT - DAY. Weevil is leaning on the bars, disconsolate. He looks up as a deputy lets Veronica into the room containing the cell. WEEVIL: Hey. So, what'd you learn? VERONICA: I learned you're in a battle with Hearst over workman's comp. WEEVIL: Yeah. They were giving me the run-around, and now that I've been fired, they're refusing to pay altogether. VERONICA: Any chance you decided to get even by taking what they owed you? WEEVIL: No. VERONICA: Both witnesses, the bright-eyed, freshly scrubbed types juries love, claim you met them at one in the basement of the history building. WEEVIL: One? That's my lunch break. Veronica holds up a pair of crossed fingers. VERONICA: Which you spend daily with your co-workers, all of whom will eagerly vouch for you? WEEVIL: Which I usually spend in my car, napping. Veronica drops her hands in disappointment. Keith enters the room. WEEVIL: Sheriff! My bail come through? KEITH: Yep. You're free to go. Keith opens the cell door. WEEVIL: Excellent. KEITH: But I'm afraid I've got some bad news. That machine in the bursar's office? Campus cops just found an identical one in the empty locker next to yours. Veronica's head sags to the side with a sigh. Weevil can't believe it. KEITH: Talk to your public defender, Eli. The best deal you're gonna get is the one they're offering now. All three stare at each other unhappily. INT - HEARST COLLEGE, MECHANICAL ENGINEERING - DAY. Various students do various things in a large workshop. Wallace is putting final touches on a large model plane. Veronica, sitting at the table with him, observes. VERONICA: This is your end-of-term project? I should have been an aerospace major. WALLACE: A one thirty-second model of an amphibious regional turboprop. I call it the Sea Monkey. VERONICA: Which would make more sense if monkeys were amphibious...or could fly. WALLACE: Trust me. It makes perfect sense when you're running on about fifteen minutes' sleep in the last week. VERONICA: And here Piz thought you were spending all your time with a secret girlfriend. WALLACE: Only love life I have is some dude who's always following me around. VERONICA: What, like you're being cruised? WALLACE: Yeah. Remind me which colour bandana I'm supposed to wear that says I'm straight...but flattered and non-judgemental. VERONICA: No idea who the guy is? WALLACE: None. But I saw him take some of my old homework out of the trash. Veronica laughs at the absurdity. VERONICA: Well, if he's a souvenir-taker, it's easy. Just leave some tantalizing bait... She gives him an appraising leer. VERONICA: I'd suggest your cut-off jean short-shorts Wallace scoffs. VERONICA: And double back and watch him. And, uh- Wallace is saved further friendly humiliation by the sight of Professor Winkler walking through the workshop. WALLACE: Here's Dr. Winkler. You ready? They get up from the table. INT - HEARST COLLEGE, MECHANICAL ENGINEERING, DR. WINKLER'S OFFICE - DAY. Professor Winkler is at his desk. Behind him are a couple of whiteboards with equations and drawings filling them. DR. WINKLER: Magnetic stripe coercivity? It's a fancy way of saying how hard it is to copy a bank or a debit card. A Hearst student ID is quite simple, actually... Veronica and Wallace are sitting on the other side of the desk, listening intently. DR. WINKLER: Provided you work at the CIA and have access to a supercomputer. You know how digital codes work? VERONICA: A bunch of ones and zeroes and stuff? DR. WINKLER: A student ID takes your name, ID number, balance, whatever and stores it on a magnetic strip. But they also insert an encrypted signature that prohibits someone from making a counterfeit or making changes to the card. VERONICA: How super does a computer have to be to crack an encrypted card? DR. WINKLER: There's one in the physics lab. Of course, they won't let you touch it unless you have a PHD. We lowly mechanical engineers had to build our own, Daisy. VERONICA: So, what are the odds on a maintenance worker with a GED getting time on Daisy? DR. WINKLER: Wouldn't matter. Someone would still have to write the software and wait for it to run. VERONICA: Even if someone had the machine that made the original IDs? DR. WINKLER: That would simplify things. Maybe you should talk to Leon, one of my grad students. Guy just got a paper published on cryptography. VERONICA: Where might I find this Leon? DR. WINKLER: Here, just not while the sun's up. Leon's part vampire. Veronica looks at him quizzically. INT - MARS RESIDENCE - NIGHT. Veronica and Piz are lying together on the couch. VERONICA: What's the big deal? PIZ: I didn't say it was a big deal. VERONICA: Then ask him. I suspect your radio career will put you across the mike from bigger fish than small-town sheriffs. PIZ: I'm not intimidated about asking the local sheriff to be on my show, okay? I'm intimidated about asking the father of the girl, whose body — is as much as it kills me to quote John Mayer — a wonderland. All right? Veronica grins and kisses him. They get more and more into it until startled by the door opening. They scramble to separate. Keith walks in and sees the tail end of their athleticism. He sighs and slams shut the door. VERONICA: What happened to the courtesy knock? KEITH: What happened to whalebone corsets and courting chaperones? Keith drops the large bag he is carrying onto the kitchen counter table and starts to open it. KEITH: Who wants falafel? Veronica looks at Piz and nods towards her father, egging him on. With some trepidation, Piz climbs off the sofa and walks to the counter. PIZ: Uh, Mr. Mars, I was wondering could you come down to Hearst tomorrow? I'd like to meet you on my show. I'm doing an election special. Hearst's four thousand votes could go a long way to determining the election. KEITH: I don't know, Stosh. My schedule's pretty tight. PIZ: It's just...I mean, I wouldn't want Vinnie Van Lowe getting all the airtime without giving you a chance to rebut, you know. Veronica walks up to stand by Piz's side as Keith busies himself in the kitchen. KEITH: What time is the show? PIZ: Bright and early eight o'clock. KEITH: Fine. If you think Vinnie is willing to miss his morning cartoons, I'll be there. VERONICA: As long as you're in a munificent mood, how about buying the office a new answering machine? PIZ: Munificent? KEITH: What's wrong with the old one? VERONICA: The Yoders have one just like it. KEITH: Who are the Yoders? VERONICA: The Amish family in 3B. Keith sighs deeply. KEITH: You may have gone digital, but I remain firmly analogue. VERONICA: No, I'm digital. You remain firmly cheap. He sighs again. KEITH: My day was fine. How was yours, Veronica? VERONICA: Uh, proved Weevil didn't do it. Veronica starts picking at the food on the table between them. Keith follows her example. KEITH: Honey, I don't think you can let Eli off the hook. VERONICA: I talked to a mechanical engineering prof. He said it would be impossible for Weevil to program the machine you found in his- Veronica notices Keith shaking his head sadly. VERONICA: What? KEITH: We dusted the box. It's covered with Eli's prints. Only Eli's. Veronica sags. INT - HEARST COLLEGE, MECHANICAL ENGINEERING - NIGHT. The workroom is dark, but there are a few lights in one of the side rooms where Veronica is questioning the night own, Leon. LEON: You want to know if someone could make a counterfeit Hearst student ID? VERONICA: Yeah. Dr. Winkler says you're the real expert here at Hearst. LEON: Dr. Winkler said that? Veronica nods. LEON: Wow. Leon preens. VERONICA: So... LEON: Possibly, but that someone would need an awful lot of smarts. Here. Umm... He pushes back from the desk and his chair rolls to the filing cabinet next to it. He opens one of the drawers. LEON: You're more than welcome to look in my- He flicks through the files. LEON: What the hell? VERONICA: What is it? LEON: All my research materials, they're gone. Someone stole them. Veronica stares at him. INT - HEARST COLLEGE, RADIO STATION - DAY. Piz is on air. Keith, looking very stiff, is on his left and Vinnie, relaxed and grinning, is on his right. In the Food Court, a female student is watching while a table full of guys is listening but paying little attention. PIZ: We're back, and we've got sheriff candidates Keith Mars and Vinnie Van Lowe in studio telling us why they deserve to be your chief lawman. So, as you might not be surprised to hear, a big issue with Hearst students is the crackdown on underage drinking in off-campus bars. VINNIE: That's his thing don't look at me. KEITH: The legal drinking age is twenty-one for a reason. I plan to continue enforcing it. VINNIE: Know what laws I plan to enforce? The important ones, like m*rder and terrorism. These aren't just the subjects of our favourite movies and TV shows. These are the things that thr*at us here and now in Neptune, okay? Once those things are taken care of, maybe I'll have time to drop in on campus-area bars...for a cold one. The guys at the table cheer and high-five each other. Vinnie watches them and smirks. Keith looks balefully at Piz who squirms uncomfortably. PIZ: Uh, line one, you have a question for either of our candidates? CALLER: [on phone] For Sheriff Mars, this one's a two-parter. KEITH: sh**t. CALLER: [on phone] First, why do you suck? And the second part, what's it like to suck so hard? As Vinnie enjoys himself, Keith looks like he'd rather be anywhere else. INT - HEARST COLLEGE, LIBRARY - DAY. Wallace is set one in one corner of the library, taking notes off the screen of his keyboard. The guy who was following his is at another nearby table. Wallace pushes back from the table for a break and rolls his eyes on seeing him. He sighs, drops his pencil on his books and gets up. Sighing loudly, he leaves the library. As soon as he's gone, the guy gets up and walks over to the desk where Wallace was working. Unseen by the guy, Wallace re-enters the library from another door, near the table where the guy was working. Wallace notes that the guy is engrossed and checks out the table in front of him. He flicks the pages of a notebook to reveal a separate file. A picture of Wallace is clipped to the file. Inside is a print-off of Wallace's Hearst College 2006-2007 schedule reading as follows: Student Name: Wallace Fennell Student Number: 107246 Total Credits: 7.50 Year: 2006-2007 There is then a list of classes, including the days of the week, times, units, instruction and rooms: METech - MF - 09:00AM-12:10PM - 1.50 - D.Etler - 101 Hist - TTh - 12:40PM-02:10PM - 1.00 - M.Merrill - 489 Eco - TWF - 01:00PM-05:00PM - 1.50 - R.Mitchell Wat - 454 Gph - MF - 02:30PM-05:40PM - 1.00 - D.Etler - 321 Led - TTh - 02:30PM-05:40PM - 1.00 - Merrill/Wilson - 365 Psy - W - 02:30PM-05:40PM - 1.50 - C.Bundrick - 202 Handwritten underneath are notes about a couple of photos: Photo 1. Wallace had a meeting with his advisors. Photo 2. Walking across campus... Wallace picks up a couple of photos, both showing him in his Hearst basketball team jacket, the second with a front sh*t of him, showing his number, three. Behind them is another sheet of paper with his basketball statistics. Frowning, Wallace looks up to check on the guy. He's no longer at Wallace's desk. Wallace softly mouths "shit" and then freezes as a throat is cleared behind him. He spins round to face the guy. WALLACE: Dude, hey, look, man, I don't know what you- THE GUY: Shh. Wallace, despite himself, does what he is told, his brow furrowed. THE GUY: Are you familiar with the Castle? WALLACE: I've heard of it. THE GUY: Wallace Fennel, I've been authorized to inform you that you've been tapped for admission. If you tell anyone, your invitation will be rescinded, and there will be consequences. Do you accept? Wallace stares at him. EXT - HEARST COLLEGE - DAY. Veronica and Weevil, who is still limping, are walking across campus. VERONICA: If we're assuming someone's framing you, they had only twenty-four hours- WEEVIL: Whoa, if we're assuming? If we're not assuming, then I guess we're assuming that I did it, which means that I hired you to get to the bottom of my own crime? That's a pretty dumb assumption, don't you think? VERONICA: Touch-y. I'll rephrase. Whoever framed you had twenty-four hours to get your fingerprints on the ringer ID machine. We need to retrace your steps. Try and remember everything you touched the day before you got busted. Weevil laughs. WEEVIL: A day in the life of Weevil's hands, huh? Let's see. I woke up, I hopped in the shower- VERONICA: What say we fast-forward to your day on campus? WEEVIL: No problem. Uh, first call was the radio station. Deejay blew a fuse. VERONICA: Did you happen to see this? Veronica holds up her Sidekick, showing the picture she took earlier of the box on the bursar's desk. VERONICA: It's the ID machine they found next to your stuff. WEEVIL: Well, that box does not look familiar. Veronica frowns and puts away the phone. VERONICA: Let's take a little field trip, see if we can't jog your memory. Veronica slaps his arm and strides away jauntily. WEEVIL: Fine, but you're gonna have to slow your ass down. Veronica stops and waits for him to catch up with her. INT - HEARST COLLEGE, RADIO STATION - DAY. Keith is still in purgatory as the interview continues in similar vein. CALLER #2: [on phone] Let's say you got two calls at the same time. One was for, let's say, a kidnapping in progress, but the other involves a twenty-year-old having a beer. Keith shakes his head. CALLER #2: Which call would you take first? PIZ: I think this ground has been well-covered by candidate Mars. VINNIE: I, for one, think we should hear his answer. After a moment's hesitation to marvel at the stupidity of it all, Keith answers. KEITH: I'd respond to the kidnapping call first. Weevil and Veronica enter the studio. Keith gives Veronica a grin. PIZ: Uh, let's talk a little bit about law-enforcement experience. As he talks, Piz is forced to push back and rise from his seat as Weevil heads straight for the desk area at his feet. KEITH: I'm glad you bring that up, Stosh. VINNIE: As am I. I first learned law-enforcement techniques while serving in this great country's armed forces. Weevil shines a flashlight at all the electrics under the desk. VINNIE: During my stint in the military police, I saw crime drop 20% across U.S. military bases. KEITH: And you believe you were responsible for that drop? VINNIE: I did my part. KEITH: And was that before your dishonourable discharge? VINNIE: I'm sorry, did this campaign just go negative? I thought we had a gentleman's agreement here. That's fine. The kid gloves are off now, Keith. Veronica is ignoring the interview, and instead is watching Weevil. He shakes his head and gets out from under the desk, allowing Piz to take his seat again. VINNIE: Okay, in the past two years of tranquillity in Neptune under the steady watch of Sheriff Don Lamb, citizen Mars was cited six times for infractions ranging from impersonating a law-enforcement officer to withholding evidence. Veronica gives Piz a smile and turns to follow Weevil out of the studio until she hears Vinnie's reference to herself. VINNIE: His comely daughter, a Hearst student, was arrested twice in that time. Veronica holds Weevil's arm to stop him leaving, and then walks slowly up behind Vinnie, listening. VINNIE: The question isn't whether Sheriff Mars can clean up Neptune. It's can Sheriff Mars clean up his own household? Veronica smacks Vinnie's head, pushing it into the microphone. Weevil smiles and he and Veronica leave. PIZ: Uh, well, we'll pick up where we left off right after this. Vinnie, offended, looks behind him to see her go. He looks over at Piz and Keith, expecting sympathy and/or outrage. Both are smirking and Keith starts to laugh as the advert plays. FEMALE ANNOUNCER: [on radio] It's never been more important to be a part of your community. Sign up for the annual Blood Drive- INT - HEARST COLLEGE, HUMAN RESOURCES OFFICE - DAY. Weevil marches into Marchant's office, not pausing for breath as he relates his day to Veronica. WEEVIL: So, I walked in here like this, I sat in that chair over there... Marchant, at his desk, is indignant. MARCHANT: Mr. Navarro, might I ask what you're doing here? Weevil leans against the desk with his back to Marchant, ignoring him. WEEVIL: I talked with the human resources suit for a couple minutes. Marchant rises and points to the door. MARCHANT: Uh, get out-get out of my office. VERONICA: You touch anything, pick anything up? Weevil, arms folded, cocks his head as he thinks. WEEVIL: No, I don't think so. MARCHANT: You were fired. You are not permitted on Hearst property. I'm calling security. Marchant picks up the telephone receiver and punches a few buttons. WEEVIL: Wait a minute. I did pick up an envelope on the suit's desk. Um, it had his home address on it. I'm not sure what good that'll do me. Veronica rolls her eyes and smiles in recognition of what he is doing. Behind him, Marchant quickly replaces the phone's receiver. VERONICA: Anything else? WEEVIL: Nah. Veronica turns and leaves the office. With a chuckle, and without a backward glance at Marchant, Weevil follows her. Marchant stares after them, made helpless by the implied thr*at. INT - HEARST COLLEGE, LAUREN AND JENNY'S DORM ROOM - DAY. Lauren opens the door to her room to find Weevil and Veronica standing outside. WEEVIL: Hi. You remember me earlier this week? LAUREN: Yeah, the sink guy. WEEVIL: I left a tool here when I was fixing your drain. VERONICA: Mind if we take a look around? LAUREN: Yeah, no problem. Come on in. She steps aside to let them in. LAUREN: The sink's worked great. WEEVIL: What can I say? I take pride in what I do. Weevil goes to the sink and opens the doors of the cupboard under it. There is the sink's pipe and little else in there. He crouches down to look as done Veronica. He speaks to her quietly. WEEVIL: Veronica, uh, the last time I was here, they had a bunch of crap under the sink. I had to move it all out of the way to get at the drain, but I didn't pay much attention to what I was moving. Veronica looks up at Lauren. LAUREN: My roommate tried to dump Ramen down the sink. She laughs. LAUREN: She's such a blonde. Veronica glares at her for a moment, long enough for Lauren to realise what she has said to a blonde, then laughs. She returns her attention to Weevil. VERONICA: You could have left your prints on the box without even knowing it. They hear the sound of the arrival of Lauren's roommate. Veronica turns her head and rises slowly, recognising her. JENNY: Hey, Lauren, that message from Joey on the board, did he leave it- She comes to a halt on recognising Veronica. VERONICA: Hi, there. I'm Veronica. Aren't you in my criminology class? JENNY: [uncomfortably] Yeah. Veronica points behind her. VERONICA: You remember my friend Eli, right? JENNY: From class? Your talk was so...edifying. WEEVIL: I get that a lot. JENNY: So, what are you up to now? LAUREN: Oh, he thinks he left a tool behind. VERONICA: His tools are his livelihood. WEEVIL: What'd you do with the stuff you had under the s- Weevil is amazed when Veronica interrupts his question. VERONICA: Oh, I love your hair. JENNY: Thanks. VERONICA: Do you mind if I take a picture of you for my stylist? JENNY: I guess not. Veronica gets out her camera. VERONICA: Say "cheese." Veronica fiddles with the lens a moment, then takes the picture. She checks it in the digital window. VERONICA: Super. She turns to Weevil. VERONICA: We've got what we need, Eli. Bemused, Weevil nods and starts to follow her out as she takes her leave of Jenny. VERONICA: Uh, I'll see you in class. They leave the room... INT - HEARST COLLEGE, HALLWAY - CONTINUING. ...and Weevil closes the door behind them. Weevil is confused. WEEVIL: Your stylist? What was that all about? VERONICA: Walk me to work. I'll show you what the inside of a library looks like. INT - HEARST COLLEGE, LIBRARY - DAY. Weevil and Veronica are at the help desk in the library. WEEVIL: I thought you were supposed to be good at this. She's out of focus. VERONICA: Easy, sleazy. You're looking at the wrong thing. On Veronica's computer screen, she pans past an extreme close-up of Jenny to the side of her head where there was a picture on the wall. It shows a group of friends, including Jenny, in Aspen. VERONICA: I didn't care about her. It's the picture behind her. Watch closely now. Veronica marks and enlarges the picture of Jenny, who is smiling. There is a boy standing behind her with his arm around her. VERONICA: Look who we have here. It's the girl from my criminology class. WEEVIL: We knew that twenty minutes ago. Veronica changes to another part of the picture, one which shows Abigail and Leon standing side by side. VERONICA: There's our Sylvia Plath. She pulled you out of a line-up. And...and this is the guy who actually knows how to program the cards. She zooms out to show the whole photograph again. VERONICA: I'd bet one of these guys in masks is our Honus Wagner. Weevil grins. WEEVIL: We got them. VERONICA: Question do you want to just get yourself off the hook, or do you want to take all these Aspen ski bums down at the same time? WEEVIL: How are we gonna ID the others? VERONICA: You leave that to me. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Logan is standing by the bar in his room, speaking on the phone. LOGAN: And I've got all the frequent-flier miles we need. He listens for a moment. LOGAN: You know, every other weekend if you want. Dick walks in from the door to the suite, carrying a can of beer. DICK: Who you talking to? LOGAN: Parker. DICK: Park her? I don't even know her! Dick snorts at his lame joke and takes a long swig of beer as he stumbles into his room. LOGAN: Sorry about that. That was Dick. Yeah, he's gearing up for finals. Parker says something that makes Logan laugh. LOGAN: Yeah. DICK: Hey, Logan. The night my brother jumped off the roof, did you, like, try and stop him? Logan freezes. It takes him a moment to speak into the phone. LOGAN: I got to call you back. He's hardly listening to the response. LOGAN: Yeah, bye. He clicks off the phone and turns to face Dick who is standing near the door to his room, leaning on the wall and looking down at his feet. LOGAN: Everything okay, Dick? Dick looks up. His face is tear-stained. DICK: I duct-taped him to his bike, his feet to the pedals. He was maybe ten, and I just left him out there on the cul-de-sac. Forgot about him for hours. I went outside, and there he was, still riding around in circles. LOGAN: Dick, I'm not sure if spending happy hours with your dad is the best way to deal with all this. Dick stares at him helplessly. Logan walks towards him. LOGAN: Tomorrow, we'll catch a few waves. We'll get you back on a board. You'll see things clear. DICK: Yeah, okay. That sounds sweet. Dick holds up his beer can. DICK: But I'm inviting twenty-four little buddies just in case I don't like what I see when things are clear. Logan nods. INT - HEARST COLLEGE, HALLWAY - DAY. Jenny and Lauren are walking down the hall near the campus police. Someone passing calls out to Jenny. STUDENT: Hey, Jenny. She smiles but does not respond. Lauren's attention is taken by something on the wall. LAUREN: Hey, isn't that your photo? Amongst the notices, there is one which features the Aspen photograph under the title "Do You Know These People?" Lauren gets closer to read it. LAUREN: [reads] "I met this great group of people from Hearst skiing over Christmas break, but I didn't get their names, and I'd like to track them down. If you know who they are, please e-mail [email protected]." Jenny's sinking feeling is palpable. LAUREN: Wow, freaky! Lauren turns back to Jenny. LAUREN: Do you want me to jot down that email address? Jenny doesn't respond. INT - MARS RESIDENCE - DAY. Her leg in the sink, Veronica slides a razor up to and past the knee. She looks in the mirror at Mac, standing behind her and smiling oddly. VERONICA: What? MAC: Miss Mars uses Venus razor. VERONICA: Because if she doesn't, her legs look like Pluto's. MAC: And she's down-to-earth, to boot. Veronica laughs. VERONICA: I think I read in Teen People that a clean leg shave will make that special boy sit up and take notice. MAC: I read in FHM that boys like bare breasts. VERONICA: Interesting. I did not know that. Bare breasts, you say? Hmm. Mac nods sagely. EXT - NEPTUNE BEACH - DAY. Veronica, Piz, Mac and Wallace have parked at the beach. Veronica's wearing shorts to show off her newly mowed legs. She opens the back of the Saturn, gasping at the smell. VERONICA: Jeez, what does that thing run on, nail polish? Wallace carefully lifts the model airplane out of the car. WALLACE: It's a methanol-oil mixture. VERONICA: That's why I drive a Saturn hybrid. Piz reaches in to grab the fuel. MAC: Hey, did anyone else hear there's gonna be a Matchbox 20 reunion show? PIZ: [dismissively] So? Rob Thomas is a whore. MAC: Yeah. Veronica slams the hatchback door shut and they head out onto the beach. VERONICA: Hey, you never told me what happened with your whole man-crush thing. MAC: Wallace has a man crush? PIZ: The man crush isn't me, is it? VERONICA: Some guy following him around campus. Is it Piz? WALLACE: All right, now, it was...nothing, you know? It was just nothing. Elsewhere on the beach, Logan and Dick in wet suits are carrying their boards. DICK: Man, this new wet suit's like a cheap motel. No ballroom. Dick snaps the wet suit at his crotch. A Frisbee is the sand is retrieved by one of the beach's visitors as the other group looks for a place from which to launch Wallace's plane. PIZ: So, what's the protocol for a plane christening? I mean, does someone get to, like, smash the, uh, Sea Monkey with a miniature bottle of champagne or...? WALLACE: The protocol? Pray to whatever god you believe in she flies. Wallace finds the spot and puts the plane down on the sand. WALLACE: Otherwise, my ass is grass. VERONICA: Orville Wright's exact words, if I recall. Wallace busies himself with getting the plane ready as the other three stand and watch him. PIZ: I'm so nervous. This is totally knotting up my inner nerd. MAC: Wait, you have an inner one? Veronica laughs as Piz glares at Mac. Wallace stands up with the remote in his hand and extends the aerial. He takes a deep breath. The four propellers on the plane start to spin. Wallace checks the controls. The rudder and flaps flap as they should. He presses the joystick forward and watches the plane anxiously. It rolls quickly down the sand towards the water, taking off just before it reaches it. It soars. WALLACE: Whoo-hoo we're up! Veronica claps and jumps up and down. PIZ: Yes! The plane banks, but the engine cuts out and it falls to the ground. PIZ: D'oh! VERONICA: Oh! The plane lands in the path of Logan and Dick. DICK: Hey, look, a toy plane. Wallace races up to them, the other three following behind. WALLACE: Don't touch the plane! Piz gestures a "Hi" at Logan and Dick. DICK: Hey, hey! Look who's slumming it at the beach. What's up, hot legs? Ow! MAC: Score one for Teen People. DICK: Hey, we're bl*wing off a little d*ad-week steam if you kids want to hang. VERONICA: We can't. We're helping Wallace. WALLACE: Actually, uh, Wallace could use a little time to himself. Her excuse blown, Veronica is left with nothing to avoid agreeing. Cut to a bit later. Wallace is alone on the sand working on the plane. Further up the beach, Logan and Dick are on one bench and Mac, Piz and Veronica are on the other. Veronica has covered her legs modestly with a towel. The benches face a f*re pit and smoke rises from it. Piz, Logan and Dick all have and are drinking beers. There's another can on the sand which is either Mac's or one Piz has already finished. MAC: I feel so bad for Wallace. He needs more thrust. Dick sniggers. Logan smiles, knowing what's on his mind. LOGAN: Don't say it. Dick momentarily wipes the smile from his face, as if acceding to the warning, but can't himself and blurts out the popular The Office (U.S.) gag after all. DICK: That's what she said. Logan and Dick both laugh. Piz gets it and smiles but Mac and Veronica both seem clueless and a little offended. MAC: I think I'm gonna go help Wallace. Mac gets up and heads back down the beach. Dick calls out after her. DICK: Hey, Mac, wait up. Mac doesn't break her stride and Dick has to run to catch up with her. Back at the f*re pit, Logan looks at Veronica. She glances back at him, then quickly looks away. Down on the beach, Dick matches pace with Mac. DICK: I know you and me haven't always been, like, best buds, but do you want to know why? MAC: Not really. DICK: 'Cause you were both so smart, you and Beav. And-and I could tell, you know, that you thought I was an idiot... Mac's expression confirms that she holds the same opinion now. DICK: So I figured my best bet was to...you know how a best defence is a good offence? So, I thought... He drops a heavy hand on Mac's shoulder, bringing them to a stop and forcing her to look at him. DICK: The way I treated you and Beav was totally uncool, and I'm totally sorry for all those things I said. MAC: Yeah. Okay. Accepted. DICK: It's cool. You're so cool. I get it now what my brother saw in you. Much to Mac's disgust, Dick leans in for a kiss. Mac slaps his head away with disdain, and then carries on down the beach. Dick calls after her. DICK: Don't tell Logan, okay? Dick gives an embarrassed chuckle before draining the beer from the can in his hand. At the f*re pit, nobody seems to know where to look. Piz attempts friendly conversation. PIZ: You know, uh, a couple of my high-school friends surfed. Yeah, they'd drive down to Sunnyside early in the morning, but I always had to work these crappy jobs over the summer. It must have been cool growing up down here. LOGAN: Well, it must have been great working. Piz, a little puzzled by the response, shrugs. LOGAN: That's what makes you so real, Piz, so salt-of-the-earth. My life, on the other hand? Frivolous. PIZ: No, that's not what I was saying. LOGAN: No, you're right. Not frivolous, full of frivolity. You hear that, Veronica? The, uh, subtext? Piz worked for a living while I frittered my days away. Impressed? VERONICA: I'm not impressed right now. PIZ: What's your problem, man? LOGAN: Fundamentally, I guess it's that I lack a working man's backbone. VERONICA: [sharply] Logan, enough. Logan nods carelessly. The sound of Wallace's plane can be heard behind them. Veronica looks over her shoulder to see it in the air. VERONICA: Wallace got it working. She grabs Piz's hand. VERONICA: We should get back. Logan doesn't watch them go. INT - HEARST COLLEGE, LIBRARY - DAY. Veronica is back at the help desk, studying the Aspen picture on her laptop. She's added some name and aliases to the faces. Anne Sexton was used by Jenny Budosh and Niehls [sic] Bohr was used by Patrick Nickerson, the boy with his arm around her. Veronica types in Patrick's name in an address bar and pulls up a Google-like listing. There are a number of Nickerson's listed, including one as follows: "Marietta Telegraph - Local News: Marietta based Magneta-corp CEO, Patrick Nickerson, Sr, announced his company's intent...$20-million dollars to Mr. Nickersons Alma mater, Hearst College." Veronica clicks on the link which brings up the Marietta Telegraph and an article entitled "Magneta-corp makes record donation." The article, by Jessica Cavin, reads: "Marietta based Magneta-corp's CEO, Patrick Nickerson, Sr., announced his company's intentions to donate $20-million dollars to Mr. Nickerson's Alma mater, Hearst College. 'We are proud to support such a fine educational institution as Hearst College,' Nickerson wrote in a press release on Sunday. 'My own time at Hearst was a fundamental part of my education and played an integral part in forming the man I am today.' The $10-million [sic] dollar donation is set to be given in $4-million dollar instalments over the next five years. No conditions were requested for how the money must be spent. This is a record donation for Hearst College and will help the institution cover some increased operating costs due to federal funding slashes across higher education..." VERONICA VOICEOVER: Looks like someone's main squeeze is from Marietta, Georgia, the same town where they make the Magneta-corp machine. And guess whose dad is an executive at Magneta-corp? Veronica's study is interrupted by the sound of a throat clearing. PATRICK: I guess you know who I am by now. She looks up and sees Patrick and Jenny standing side by side in front of the help desk. VERONICA: Wild guess. Patrick Nickerson. PATRICK: There's some people we want you to meet. Veronica gazes back at him. Cut to a moment later. Patrick and Jenny lead Veronica through the bookcases, leading to a large separate library room. There are eight students in there, waiting and standing on the far side of the large table at the centre of the room. They include Abigail, Leon and the student who used the alias of Honus Wagner. Jenny and Patrick close the double doors leading into the room, then walk around the table to join their friends. They take seats at the table, as do some of the others, with a few deciding to stay standing behind them. Patrick gestures for Veronica to sit down. She takes a seat opposite them. VERONICA: I guess you're all asking yourself why I called this meeting. No one smiles. VERONICA: What? That's comedy gold. PATRICK: She knows about my dad's company. VERONICA: And I know that Leon's cryptography research wasn't really stolen. Let's see, one guy to steal the machine... She points at Patrick. VERONICA: One guy to program it... She points at Leon who gives a rueful grin. VERONICA: And everyone to point the finger at the ex-con maintenance guy. Veronica gets out her Sidekick. VERONICA: And the injustice league strikes again. PATRICK: Who are you calling? VERONICA: The surgeon general. JENNY: She's calling her dad, the sheriff. VERONICA: Good call, Jenny. See, you're not here just for your looks. PATRICK: Hang up. Please. We can work this out. Yeah, you can be one of us. VERONICA: Is this where you turn me into a vampire? PATRICK: We can make it worth your while. Veronica punches a button on the Sidekick and lays it down on the table. VERONICA: All right, I'm listening. PATRICK: So, what is that maintenance guy paying you, anyway? VERONICA: Cash. PATRICK: Don't turn us in and you could have your very own Hearst ID. VERONICA: Oh, I have one, thanks. PATRICK: This one is the everlasting gobstopper of spending money. You'll never have to pay for another textbook, another ticket to a campus performance, another meal. VERONICA: Assuming I want to eat meals in the Food Court for the rest of my life? Besides, you're lying. You don't have the machine. You left it in the locker next to Mr. Navarro's. JENNY: There's a third one. LEON: I've already programmed it. PATRICK: The only reason we got busted is because we used stupid aliases. We get new cards, generic names, and we don't get caught again. JENNY: You're a scholarship kid, right? PATRICK: Yeah, that must be pretty tough, paying for all those meals, textbooks. Veronica drums her fingers on the table. VERONICA: It is. Which is why a bunch of kids who can afford to ski in Aspen getting their kicks by ripping off my school and blaming it on the nearest kid from the wrong side of the tracks pisses me off so much. Veronica gets up from the table, grabbing her phone. PATRICK: You think that ski picture is proof? Veronica turns back to face them. PATRICK: That doesn't prove anything. Veronica holds out her phone and punches a couple of buttons. VERONICA: But this conversation does. The conversation they've just had starts to play. PATRICK: [on tape] Hang up. Please, we can work this out, okay? Yeah, you can be one of us. Veronica points to Patrick, then to herself with a cheesy grin. VERONICA: [on tape] Is this where you turn me into a vampire? PATRICK: [on tape] We can make it worth your while. Veronica switches off the recording. VERONICA: I won't bore you with the rest, but I'll bet it means jail time. Or, if you'd prefer, you can go throw yourself at the mercy of the campus police. I'm sure they'll have more mercy for you than my dad, particularly when he finds that third machine in one of your dorm rooms. ABIGAIL: [scoffing] Like we'd keep it in a dorm room. LEON: Shh. VERONICA: If I don't hear that the charges against my client have been dropped by tomorrow noon, I'm taking everything I've got to the finest law-enforcement organization in Balboa county. And try and keep it down in here, okay? Veronica puts her finger to her lips. VERONICA: It's the library. Veronica turns and walks out of the room, leaving them to their consternation. As Veronica heads back to the help desk, she calls Weevil. VERONICA: Weevil, I need you to get to the engineering lab right away. I think they're hiding a third box there, one that's functioning. I don't want the ski patrol to destroy it. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Logan is watching poker on the television as he bites at his cuticles. TV COMMENTATOR: Welcome back to the All Star event. We are down to the final table. Yep, we have nine people left and you are all in...real old pros here, like Terry there... Dick opens the door from his room and peeks out. He looks at Logan and slips back into his room. Logan notices then returns his attention to the screen. Dick pops out again, waits for Logan to look at him and then disappears back into the bedroom. LOGAN: Dude, what are you doing? Dick steps out, holding his laptop. DICK: Man, I'm not sure if I should show you this. LOGAN: What is it? DICK: Well, you have to see it. I can't say the words out loud. Dick hurries towards him. He places the open laptop on the ottoman in front of Logan, then steps back, parking his butt on the arm of sofa. DICK: It's cued up. Just h*t the space bar. Logan does. A video starts. It's of Veronica and Piz in the dorm room. VERONICA: [on video] I so wish I could be with you right now. DICK: That's Veronica. LOGAN: Yeah, I'm aware of that. VERONICA: [on video] Well, how about that? DICK: And that's that Piz dude. PIZ: [on video] I-I have a couple...million suggestions. Logan stares at it with increasing concern. DICK: Yeah, here's the money. Not what I'd call bodacious, but firm, supple, pleasing to the eye. LOGAN: [gravely] Where did you get this? DICK: It's going around in an email. You think Veronica knew that there's a camera in the room? LOGAN: [tightly] No. INT - HEARST COLLEGE, RADIO STATION - NIGHT. Piz is broadcasting in the studio, on his own. PIZ: Here's what this good Catholic boy could never get straight. Through the window into the Food Court, Logan can be seen throwing open the double door and striding towards the radio station in furious avenger mode. If Piz sees him, he gives no indication of it. PIZ: Good people go to heaven, bad people go to hell, and the rest of us all go to a place called purgatory. Really? What the hell's purgatory? It's just some place where you have to suffer a lot and strive to be better people. I mean, isn't that just life on earth all over again? Logan slams open the door to the studio. Piz, in headphones, doesn't know he is there. Logan grabs the headphones off a totally unprepared Piz and yanks him off the chair. He smashes Piz against a wall and punches him, first in the gut and then in the face. Logan takes hold of Piz and throws him across the room. Piz lands against the glass that separates the studio from the producer's booth. Logan spins Piz around. Piz takes a wild punch which misses the ducking Logan by a mile. Logan gets in another body punch. Piz manages to throw Logan off. Logan lands hard against the sound equipment on the desk in the studio, momentarily winded. Piz races out of the studio. Logan slips off the desk and follows him determinedly. Outside in the Food Court, the fight has attracted some attention. LOGAN: Come back here, you- As Logan emerges into the station office, Piz is waiting and manages to get in a hard elbow to Logan's face, followed by a punch that also lands. Logan quickly recovers and half lifts, half pushes Piz into the wall, punching him the face a few more times. INT - MARS INVESTIGATIONS - NIGHT. Veronica is working at her desk. She takes a large swig of liquid from the purchased cup in her hand. She looks up at the sound of someone coming into the office. It's Keith, carrying a shopping bag. KEITH: Before I left the station, I received word from the campus police that a bunch of kids turned themselves in for those fake IDs. VERONICA: Huh. They must have had a collective crisis of conscience. KEITH: Yeah. I bet that was it. Veronica notices the bag which Keith has set on the desk. VERONICA: What you got? Keith reaches in with a smirk and pulls out a new answer machine. KEITH: Hmm? Who's cheap now? Veronica gasps loud and long but is prevented from quipping because her cell phone rings. She grabs it and checks the caller ID. According to her Sidekick, it's "Navarro W." VERONICA: Speaking of El Diablo. KEITH: Mm-hmm. Keith disappears into his office as Veronica takes the call. VERONICA: Good news. You're a free man, Eli Navarro. They confessed. You find anything in the lab? INT - HEARST COLLEGE, MECHANICAL ENGINEERING - CONTINUING. WEEVIL: Nothing here. No machine. INT - MARS INVESTIGATIONS - CONTINUING. VERONICA: It was worth a sh*t. It's okay. We don't need it. WEEVIL: [on phone] Thanks, V. INT - HEARST COLLEGE, MECHANICAL ENGINEERING - CONTINUING. Weevil, who appears to be in Leon's room, takes a seat. WEEVIL: Hey, I forget. Who owes who now? INT - MARS INVESTIGATIONS - CONTINUING. VERONICA: Uh, you owe me, clearly. INT - HEARST COLLEGE, MECHANICAL ENGINEERING - CONTINUING. WEEVIL: You sure about that? VERONICA: [on phone] Not really. INT - MARS INVESTIGATIONS - CONTINUING. VERONICA: Night, Weevil. Bye Veronica punches out the call. INT - HEARST COLLEGE, MECHANICAL ENGINEERING - CONTINUING. Weevil smiles as he lowers the phone from his ear. He glances down at his lap, then into the distance. The camera pans down to show what's in his lap. It's the third Magneta-corp machine. INT - MARS INVESTIGATIONS - CONTINUING. Veronica continues to work at her desk. KEITH: Honey, can I see you in my office? After a moment trying to work out if she's in trouble for something, Veronica gets up and walks into Keith's office. KEITH: You want to tell me what this is? Keith presses a button on the old answer machine. After the obligatory noise of rewound voices on speed and a bleep, the message plays. PATRICK: [on tape] Hang up. Please, we can work this out, okay? Yeah, you can be one of us. VERONICA: [on tape] Is this where you turn me into a vampire? PATRICK: [on tape] We can make it worth your wh- Veronica smiles and shakes her head. VERONICA: It's a confession. You can erase it. KEITH: Confession? No one confessed to anything on there. VERONICA: Fortunately, they didn't know that. The outer door of the office opens. LOGAN: Veronica? Veronica looks over her shoulder. LOGAN: Hello? Veronica glances at Keith, then walks out to the outer office. She comes to a sudden halt. One of Logan's fists is very bloody and the results of Piz's few hits are starting to show on his sweat-drenched face. Veronica takes a deep breath and shuts the door to her father's office. LOGAN: Veronica...there's something you should know. Concerned, Veronica takes a step forward towards him. End.

{"type": "series", "show": "Veronica Mars", "episode": "03x19 - Weevils Wobble But They Don't Go Down"}

foreverdreaming

EXT - MARS INVESTIGATIONS - NIGHT. An establishing sh*t of the street outside the office shows we're right where we left off... LOGAN: [offscreen] Veronica, there's something you should know. INT - MARS INVESTIGATIONS - NIGHT. Veronica's eyes narrow as she stares as Logan. LOGAN: There's a video of you. Dick got a-hold of it somehow. Veronica's brow furrows. VERONICA: Am I singing karaoke? Logan shakes his head. LOGAN: No, it’s you and Piz having sex. Veronica lets out a forced laugh and wraps her arms around herself. She glances back at Keith's office before addressing Logan again. VERONICA: Unless it's a video from the future, that's not possible. We haven't had sex. LOGAN: Okay. Well, I mean, you were naked and fooling around. I assumed. And I thought you should know. VERONICA: [getting angry] That you're crazy? She casts another worried glance at Keith's door. VERONICA: Oh, thanks, now I know. LOGAN: Well, I guess you should see this. Logan takes a step towards her, reaching into his back pocket. He holds out a computer disc. Veronica keeps her arms folded as she stares at the marks on his face. VERONICA: Why are you bruised? Logan doesn't answer. VERONICA: [with increasing fury] What did you do? She snatches the disc. LOGAN: I found Piz. We sort of had it out. Veronica gasps and looks up to the heavens in frustration. LOGAN: I knew you wouldn't let him tape you like that. Veronica surges forward, her hands cutting the air. VERONICA: Stop. Just stop. I don't know why you're involved with this or what the hell is on this thing, but it's not gonna be me. Piz would never- Veronica can't cope and pushes him away. VERONICA: You need to go. LOGAN: I was trying to help. She pushes him backwards to the door. VERONICA: Leaving would be helpful. Logan stares at her sadly but doesn't fight her and leaves the office. Veronica breathes deeply to regain her composure just in time as Keith comes out of the office. She walks quickly towards her desk, hiding her face from him. He notices. KEITH: Everything okay? Veronica takes the second she needs to wipe the anger and fear from her face and turns to him. VERONICA: Yeah. It was just Logan. KEITH: I’ll meet you at home. I’ll make dinner. You can just walk in and feast like a princess, you spoiled brat. Keith leaves. Veronica looks at the disc in her hand. Cut to a moment later. Veronica loads the disc into her laptop, in front of her as she sits at her desk. She punches a few keys and stares at the screen in horror. VERONICA: [on video] Perhaps a cheer? PIZ: [on video] Actually, it does. VERONICA: [on video] I was kidding. PIZ: [on video] Then no. VERONICA: [on video] Did it involve me being- INT - HEARST COLLEGE, HALLWAY - NIGHT. Veronica steps back from the door to Piz and Wallace's dorm room, upset that neither is there. She hears Wallace's voice. WALLACE: [offscreen] Slowly, bro. Veronica looks up the corridor. She is stricken by the sight of Wallace holding up Piz, helping him walk. Piz's face is badly discoloured and he is clasping his midriff. WALLACE: You got to take it slow. PIZ: How does walking make my ribs hurt? He sees Veronica waiting for them, her face full of compassion. PIZ: You should see the other guy. His hands, particularly, I-I tore those things up. INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - NIGHT. Cut to a few moments later. Piz is sitting on his bed, still holding his ribs. Veronica joins him on the bed with a bowl of water and a cloth. Wallace is pacing like a caged cat. PIZ: He didn't really give me a reason. He sort of just burst into the deejay booth and started whaling on me. WALLACE: He’s got bruised ribs. His eye's all jacked up. PIZ: Not...not really helping. WALLACE: [angry] Look, you didn't lose a fight, Piz. It was a drive-by, man. PIZ: I guess he was pissed about that thing that happened at the beach? Veronica gives a sharp intake of breath. He turns to Veronica. PIZ: I think he still likes you. VERONICA: He…saw a video of us fooling around. PIZ: Yeah, I’m on morphine. What? VERONICA: There’s a video, taken right here in this very room, of us, Adam-and-Eve-style, getting familiar. So, um, here's my question. Is this a thing you do that maybe you forgot to mention? Piz is horrified. PIZ: Veronica! VERONICA: Just now is the time to come clean. Piz stares at her tragically. PIZ: You really think I would do that? VERONICA: [tearfully] No. I-I just don't understand how it happened. Wallace frowns. PIZ: So there's an actual video. Well, where did Logan get it? WALLACE: I was about to go have a talk with him anyway. So maybe I can get some answers. Wallace heads for the door. VERONICA: [warningly] Wallace. WALLACE: Oh, we're having a conversation. VERONICA: I'll deal with him. He's not happy about it, but he concedes. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. There's a rapid banging on the door. Dick opens it. Parker, looking distressed but in control, stands outside. PARKER: Is he here? DICK: Who? Logan? You know, I don't know if, um... Parker doesn't have the patience and barges past him. Logan, sitting on his bed in his room, looks up on her arrival. PARKER: Just so you know. The best way to show that you're still in love with your ex-girlfriend is to b*at up her new boyfriend. Logan shuts the magazine he is reading and starts to get off the bed. LOGAN: Parker, you're- PARKER: You're an idiot. He freezes his movement, dropping the magazine on the bed. LOGAN: What? PARKER: "Parker, you're an idiot." He stands up. LOGAN: No, that’s not what I was gonna say. PARKER: I know. You were going for something nice. The truth is that I am an idiot. Logan walks towards her. LOGAN: You’re not. There’s just a lot to this that you don't understand. He reaches down for her hand, but she keeps it tightly by her body. PARKER: Like why I kept thinking that I mean something to you when it's always been Veronica? Logan doesn't answer as the truth of her words are undeniable. PARKER: Wow. You should have seen that expression. She takes in a long, shuddering breath. PARKER: It totally sold you out. Logan takes a step back. LOGAN: Are you gonna listen to me at all- PARKER: No! I look at you, and I know you love her. LOGAN: Piz videotaped them having sex...without her knowing about it. PARKER: Oh, God! Well, that's horrible! Well, you must have been devastated. I mean, Veronica had sex with someone else? LOGAN: She’s your friend, too! Aren’t you angry for her? Do you realize what this will do to her? PARKER: [crying] Do you realize that we just broke up? Logan just stares at her. PARKER: Yeah, I didn't think so. Parker turns and walks away. Logan makes no attempt to stop her. Cut to a moment later. Outside the suite, Parker, still upset, walks towards the lift just as it arrives. She isn't that surprised to see Veronica disembark. PARKER: What? She shrugs. PARKER: Did he send up a flare? Veronica stares at in, half-concerned, half-confused. PARKER: [whispering] He’s all yours, Veronica. VERONICA: Trust me. Not why I’m here. Parker sighs deeply before stepping towards the empty lift. PARKER: You know, it doesn't even matter anymore. Veronica continues to watch her with concern as she pushes the button and the lift doors close. Cut to a second later as Dick opens the door to another knock. VERONICA: Where is he? Veronica's face is set hard, brooking no prevarication, which Dick recognises immediately. He just points towards Logan's room. Veronica marches in, stopping to point firmly at Dick. VERONICA: You! Don't leave. We’re having a little chat after. Veronica strides onwards, leaving Dick looking a little nonplussed. She reaches Logan's room. Standing by the window, Logan turns to face her. VERONICA: He’s having trouble breathing because of his ribs. He got five stitches over his eye. LOGAN: Only five? VERONICA: You’re a lunatic. LOGAN: You didn't know he was taping you? VERONICA: [furious] Because he didn't! LOGAN: [shouting] Oh, come on, Veronica. Who else would have or could have done that? VERONICA: Here’s what I know: it wasn't Piz, and it could not be less of your business. LOGAN: Aren’t we trying to be friends? Logan takes a few steps towards her. LOGAN: As your friend, I was angry at what happened to you. Someone’s always supposed to pay, right? Isn’t that the rule we live by? VERONICA: We tried to be friends, and it didn't work. [quavering] This is the moment, Logan, right now, where it's just done. You’re out of my life forever. Veronica's eyes glisten as she turns on her heel and walks out of the room. Logan watches her as she turns back and slams closed the double doors of his room. Opening credits (last few seconds only, no theme song). INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. Veronica steps into the lounge are of the suite. Dick has disappeared. VERONICA: Dick? Get out here. Dick appears at the door to his room. DICK: [innocently] What’s up, V? VERONICA: If you had to bet? DICK: Look, from a guy's perspective, the video just made your stock go up. You looked great. Enthusiasm — always a plus- VERONICA: It’s like you're this giant jackass piñata begging for someone to b*at the candy out of you. Dick's reaction indicates that this is a fair assessment. VERONICA: Where’d you get the video? DICK: Someone emailed it to me. VERONICA: Who? Dick shrugs extravagantly. VERONICA: Get your computer. DICK: I probably deleted- VERONICA: After all these years, do you not instinctively fear me? Maybe you should write yourself a note. Dick is sombre considering this and finally gives up the fight. He marches to the couch and sits next to his laptop, setting it up on the ottoman. Veronica sits next to him. She impatiently taps the keyboard, quickly bringing up the relevant email. VERONICA: Chip Diller. You didn't know it was from Chip? Protesting, Dick points to the screen. DICK: Well, see how many emails I get? Dick has a number of emails on a variety of subjects — "Got something for me?" "Trippy Eye Tests," "surfin," and "Greatest Sports Injuries." The relevant one, sent to Dick and countless others (surferalex, Todd McDade, jesse441, Logan Fields, ganjabuddha, b*mb, fairyTailTrail, Kurt Trusdale, Jisoo Hong, Chester Yarbrough, Steven Aller, rishiMangTok, Beau Bellanfant, Alan Oquendo and twenty-nine others) is entitled "Emission to Mars" and Chip's message reads: "Our own Veronica Mars receiving an Emission!!!!! Forward to everyone in your inbox!" VERONICA: You forwarded it to your whole address book? DICK: It was instinct. I always forward p*rn. Dick looks to redeem himself in her eyes. DICK: When it's good. VERONICA: You are going to be so popular in hell. Veronica taps a few more keys, then jumps up and strides out. EXT - HEARST COLLEGE - DAY. Veronica walks quickly across campus. Weevil races, as much as he can, after her. WEEVIL: Veronica. Veronica! Veronica calls out over her shoulder, not pausing. VERONICA: I’m a little busy. WEEVIL: Yeah, that figures. Veronica comes to a stop with a horrified sigh and turns to face him. VERONICA: Can you shiv me, please? WEEVIL: I didn't see the whole thing, all right. VERONICA: Seriously, just bash me in the head with your boot or something. WEEVIL: I don't know what you plan on doing, but I’m offering my help. Whatever you need, I’m in. VERONICA: There’s a good chance I’m going to take you up on that. Veronica hurries away. INT - HEARST COLLEGE, FOOD COURT - DAY. Music: "It's a Curse" by Wolf Parade. LYRICS: Just the other night Body twisted and unfound You know it's there lying They are too d*ad but the body don't mind Oh, oh, oh Oh, oh, oh Oh, oh, oh Oh, oh, oh You know a neutral sky And nothing to do at night Little highway lights They shine As Veronica walks into the Food Court, she is followed by titters and knowing stares. She pauses and looks around, seeing just how viral the tape has become as nearly everyone there is smirking, leering or laughing. VERONICA: [quietly, to herself] And I’m back in high school. Goody. She spots Chip at one of the tables with three other boys. She advances. VERONICA: Chip. Chip looks up from his pizza. VERONICA: Moment of your time? CHIP: I'm kind of in the middle of something. VERONICA: It’s a cluster of morons. Don’t worry. They’ll let you back in. Chip chuckles. CHIP: You know what I like about you? You got spirit. The others giggle. VERONICA: I want to talk to you. CHIP: That’s what you're doing. VERONICA: Could you put your head up your ass before they stuck the egg in there, or is this new? The others laugh but this sobers Chip up. CHIP: What do you want? VERONICA: Who sent you that video? CHIP: Don’t know, don't care. Veronica bends down, leaning in towards Chip from the other side of the table and drops her voice. VERONICA: You don't care now. But holy crap, are you gonna care when I start to get my revenge on. You’ll be doing all sorts of caring. Veronica jerks upright, spins on her heel and walks off to the sound of the other boys making "Uh oh" noises. Chip's face shows that he isn't so casual about the thr*at. INT - HEARST COLLEGE - DAY. Veronica is storming down the corridor, away from the Food Court. Chip runs to get close enough to shout at her. CHIP: Hey, Veronica, wait up. She comes to a halt and turns to face him. CHIP: Domonick Desante. That's the guy who sent me the email. Without a word, Veronica twists around again and strides away. Chip is concerned. He calls out after her. CHIP: So we're cool, right? Veronica doesn't pause. CHIP: Right? Everything’s cool? Veronica smiles, but gives him no comfort as she continues on her path. INT - HEARST COLLEGE, DOMONICK AND LOUIS'S DORM ROOM - DAY. There's a lot of activity recorded on the whiteboard that hangs on the door to the room shared by Louis and Domonick (who appears to have parents that can't spell), including a quiz question, a cartoon and a message to Louis from Lovebone. The door opens. Domonick appears and looks down at Veronica. He recognises her immediately and smirks obnoxiously. VERONICA: Domonick. DOMONICK: Yeah? VERONICA: Where did you get the video of me? DOMONICK: I don't know what you're talking about. VERONICA: Your pubescent snickering tells me differently. DOMONICK: Someone sent it to me. VERONICA: You should tell me who. Or I can assume that it originated from you. DOMONICK: You can assume whatever position you'd like. VERONICA: I’m thinking choke hold, you gasping for your last breath. DOMONICK: Shh, shh, shh, sweetheart, sweetheart. You are so much hotter with the sound off. VERONICA: You’ll really be better off giving me that name. DOMONICK: Yeah. Well, I guess I need to go quiver in fear now, so. See ya. He shuts the door on her. Veronica turns, her look determined. VERONICA: [quietly, to herself] Okay, then. EXT - NEPTUNE STREET - NIGHT. Domonick and a girl exit a restaurant. The girl is unhappy. Domonick is somewhat embarrassed. DOMONICK: Credit-card company made some sort of mistake. I have a ton of available credit on that card, a ton. I'll totally pay you back for dinner. It’s kind of funny, right? It’s like a cute little story we have. As they turn the corner, the girl stops, letting out a grunt of disgust. Domonick follows her stare. His car is minus all its tires and up on blocks. DOMONICK: Wh- He stares at it in disbelief. Weevil, dressed in dark clothes and looking every inch the hood, appears from behind him, "casually" walking by. WEEVIL: That yours? You must have some bad karma. Domonick sighs heavily. INT - HEARST COLLEGE, DOMONICK AND LOUIS'S DORM ROOM - NIGHT. Domonick walks into his dark dorm room and reaches for the light switch. Nothing happens. He sighs in frustration as he rapidly turns the switch on and off. He stops when a light from a lamp in the corner is switched on. Veronica, on whom the light is trained, is sitting in a chair at the end of the room. She starts to sing Daniel Powter's "Bad Day." VERONICA: Because you had a bad day You're taking one down You sing a sad- Domonick closes in on her thr*at. Veronica holds up and activates the taser, the spark bright in the darkened room. Domonick freezes. VERONICA: Anxious to find out how far I’ll go? Or are you ready to give me that name? Domonick gives a snort of defeat. DOMONICK: It was this guy, Gory, all right? Gory Sorokin. Veronica's face remains passive. DOMONICK: [anxiously] But seriously, you cannot tell him that I told you. She doesn't respond. INT - HEARST COLLEGE, GORY'S DORM ROOM - NIGHT. Veronica knocks on the door to Gory's room. As she waits, she pops a stick of gum into her mouth. Getting no reply, she turns away, discontented. She starts to walk away but turns back at the sound of flip-flopped feet. A guy dressed only in his sandals and a towel is walking towards the door of Gory's room. VERONICA: Are you Gory? GORY: Who wants to know? VERONICA: Well, seeing as I’m the one asking, I’m guessing me. Gory looks down at her dismissively. GORY: You do have nice pom-poms. I'll give you that. He opens the door to and walks into his room, leaving Veronica to absorb the insult with another chew of her gum. Gory looks back at her as he sets down his belongings carried from the shower. GORY: Are you coming in or what? Taking a deep breath, Veronica enters the room, staying by the door. GORY: You’re shorter in person. Veronica lets out another deep breath at the guy's arrogance. VERONICA: Are you the one who planted the camera? GORY: Does it really matter? What do you think you could do about it? Veronica leans against the bookcase part of the desk by the door. VERONICA: Ask Dominick Desante. Gory, who has been busying himself with his stuff, freezes. VERONICA: I can make your life hell. Gory looks straight at her for the first time since she's come into the room. Veronica stares back, no longer chewing. GORY: I don't think you can. Gory turns to face her, taking the opportunity to knock the towel off his body. It drops to the floor. Veronica rolls her eyes and looks away. GORY: If you have proof that I’m involved in some way, maybe you should get a lawyer. If you don't, maybe you should just stay and have a drink. VERONICA: Yeah. I’m definitely gonna need a drink. Perhaps twelve. I don't know, how many does it usually take for a girl to find you not gross? As Gory puts on his underwear, Veronica walks out. INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - NIGHT. Veronica is lying on her stomach on Piz's bed, propped up on her elbows. She has headphones on which are connected to her laptop. Piz is sitting on the edge of the bed, strumming his guitar. He is still much bruised, far more than Logan. He stops and nudges Veronica with his elbow. PIZ: You know what I noticed today? Veronica slides one side of the headphones away from one ear to give him some attention. Piz points to his cheek. PIZ: Look really close at the welt under my eye. Veronica twists around in concern. VERONICA: What? Is your eye okay? PIZ: Yeah, I was just pointing out that this bright-pink part looks kind of like the Virgin Mary. Veronica chuckles and sinks back down to her laptop, adjusting the headphones again. PIZ: I call this my miracle eye. Piz starts to strum and sing. PIZ: My miracle eye- Veronica, having heard something on the headphones, grabs the neck of the guitar urgently. VERONICA: Shh! Shh! GORY: [audio] The pledges are picking up their instructions at the north quad newspaper stand. INT - HEARST COLLEGE, GORY'S DORM ROOM - CONTINUING. In his room, Gory is at the wardrobe, selecting a shirt as he talks on his cell phone. GORY: Because I picked the spot, and that's where I picked. As he throws the shirt on the back of the chair by the desk, the camera picks up the bug that Veronica planted with the gum under the desktop. INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - CONTINUING. Veronica frantically takes notes as she eavesdrops. GORY: [audio] Well you just leave that to me. I've got transportation worked out. PIZ: You know, you're adorable when you surveil. Veronica looks back at Piz with a grin, returning her attention immediately to the conversation. GORY: [audio] Blindfolds? They won't be... Veronica removes the headphones and twists around to Piz. VERONICA: Do any of the fraternities do a late-spring rush? PIZ: I don't think so. Veronica sighs, confused. EXT - HEARST COLLEGE - DAY. Music: "Set Out Running" by Neko Case and her Boyfriends. LYRICS: Want to get it all behind me You know everything reminds me I can't be myself without you Want to crawl down deep inside The springs inside the mattress Where I cry my dirty secrets 'Cause I just can't shake this feeling That I’m nothing in your eyes Camera in hand, Veronica is leaning against a tree in one of the campus outdoor areas set up with tables. VERONICA VOICEOVER: So who are these mystery pledges, and what do they have to do with my public humiliation? She's watching and photographing all the people taking a copy of the Hearst Free Press from a newspaper box. After taking snaps of three different guys, she straightens from her slouch against the tree in surprise. Wallace approaches the newspaper box. She takes two photographs and watches him as he glances around suspiciously, but does not spot her. Her brow furrows. End music: "Set Out Running" by Neko Case and her Boyfriends. Cut to a few moments later as she runs to catch up with Wallace who is walking while searching through the paper. VERONICA: Reading all about it? For an instant, Wallace is nonplussed but he quickly hides it. WALLACE: A guy's got to keep current. What are you up to? VERONICA: Just taking surveillance photos of everyone who takes a paper out of that machine, you know, for kicks. Wallace grows increasingly uncomfortable as Veronica puts her arm around him. VERONICA: You aren't pledging any sort of fraternity, are you? WALLACE: You think I'd join a fraternity without telling you? VERONICA: I got to grasp at the occasional straw, nature of the business. What are you doing on this side of campus? Don’t you have lab in, like, five minutes? WALLACE: Are you grilling me? Further discussion is interrupted by the ringing of Veronica's cell. She takes it from her pocket and looks at the caller ID. VERONICA: I got to take this. Veronica moves off to take the call. Wallace watches her, his smile fading. VERONICA: Hello? Veronica laughs in disbelief. VERONICA: You want what? INT - HEARST COLLEGE, HALLWAY - DAY. PROFESSOR: Come back for office hours. We’ll talk about this later. Oh, Mr. Fennel. This is very strange, but when I left my house this morning, I found this taped to my front door. INT - SHERIFF'S DEPARTMENT - DAY. VERONICA: You look okay to me. Was this wardrobe change more of an olfactory issue? KEITH: You tell me. I dropped my salad. You can't really get vinaigrette out with a wet paper towel. They’re doing an article on me for the Neptune Register. The interview's in a couple of days, but they've got a photographer due here any minute. VERONICA: And you thought a photo of you in your boxers would hurt your lead in the polls? KEITH: With clean pants, it's a smooth cruise into victory. VERONICA: And what a beautiful day that will be for Mars, the family; Neptune, the town; Milky Way, the galaxy. Sun will be shining. Birds will be singing. There'll be dancing in the streets. So smile pretty. INT - MARS RESIDENCE - DAY. WALLACE: Do you know what the Castle is? VERONICA: I think I’ve heard something about it. WALLACE: It’s Hearst’s version of Skull and Bones. They tapped me to join. VERONICA: So, this morning- WALLACE: This morning, I didn't think that the Castle had anything to do with that tape. Now I do. This girl called me a few days ago wanting to hang out, and I brushed her off. Basically, I lied and told her I had to go to a study night at my professor's house. After I saw you today, my professor gave me this. It’s a message from the Castle. They knew where I was supposed to be. VERONICA: They bugged you? WALLACE: Yeah, and it just makes sense that it's the same device they used to catch you and Piz. VERONICA: Okay. I’m gonna need names and- WALLACE: I haven't met a single person, not even another pledge. The person who tapped me, he isn't even a member. The whole rush process is done in messages. Well, they got one less guy to t*rture in hell night. VERONICA: Any chance you'd reconsider that? I’m sorry. That’s crazy. That’s way too much to ask. WALLACE: It’s not. I can do it. How am I supposed to get names? I have a feeling there's no ID tags. VERONICA: Just get their faces. WALLACE: You know I can't draw, right? VERONICA: It's a camera. Snap a few sh*ts of the guys when you can. WALLACE: When I got tapped, I went to the Hearst library and looked up everything I could on the Castle. There wasn't much. But there was this exposé. VERONICA: And look who wrote it. INT - HEARST COLLEGE, LIBRARY - DAY. VERONICA: Thanks for meeting me. NISH: Who doesn't love a good chat with old friends about secret societies? Our illustrious namesake was a Yale Skull and Bones man. He wanted Hearst to have something similar. So he started the Castle at Stanford, where his son went, and at Hearst, the school he founded. VERONICA: So, what do they do? NISH: That's the billion-dollar question. Being tapped for the Castle, they say, is a ticket to wealth, power, and privilege. They're treated like rock stars. VERONICA: So who gets tapped? NISH: Notable freshman males. Future politicians and lawyers. Engineers, journalists, athletes. Wealthy men making other like-minded men wealthy. VERONICA: And how do the ladies feel about that? NISH: We're not happy. A group tried to sue for admission last year, but they couldn't figure out exactly who to sue. No one knows who the members are. EXT - NEPTUNE CAR PARK - NIGHT. INT - WAREHOUSE - NIGHT. SYNTHESIZED VOICE: First corridor on your left. Keep going. Go into unit 499. Three, strip to your underwear. Throw your clothes outside the door, shut the door, then put on the collar and sit in the chair. Three, what you do now will dictate the course of your future. All you have to do is tell the truth and the world will be at your feet. We have no secrets in the Castle. It keeps us honest. Lie to us and one of your brothers will pay the price. Do you understand? WALLACE: I understand. SYNTHESIZED VOICE: Tell us about Rashard Rucker. What happened the night in Chicago when you ran over the homeless man? EXT - WAREHOUSE - NIGHT. INT - WAREHOUSE - NIGHT. SYNTHESIZED VOICE: So your father committed a crime for you. WALLACE: Yeah. Aah! What? I answered. SYNTHESIZED VOICE: Yes. But someone else lied. Do you get it now? You lie, one of your brothers pays the price. Final question. What item were you carrying in your pocket tonight? WALLACE: Just a pen. SYNTHESIZED VOICE: You want to try answering that again? EXT - WAREHOUSE - NIGHT. INT - MARS RESIDENCE - NIGHT. VERONICA: If you ever need a kidney, I’ve got one with your name on it, no questions asked. They knew about the camera? WALLACE: Yeah, I said it was a pen. Then I heard this scream. I wouldn't talk anymore. That's when voice on the box told me to get out. VERONICA: I’m so sorry. WALLACE: I think I know who one of the other pledges is. The voice on the box kept calling me "three." Three, my basketball number. But he slipped up one time, and he called me "Twenty-four Hundred." VERONICA: Twenty-four hundred. Meaning? WALLACE: The first couple weeks of school, there was a story in the Free Press about that freshman who made a perfect score on the S.A.T. VERONICA: Twenty-four hundred. WALLACE: Yeah. They ran a picture of him with the story. He looked kind of like Josh Groban. VERONICA: Is that him? WALLACE: That's the guy. VERONICA: I'll find him. I'll follow him, and he will lead me to the Castle. INT - HEARST COLLEGE, FOOD COURT - DAY. FOOD COURT CASHIER: Thank you. Next. Who's next? PIZ: Friend of yours? VERONICA: Apparently not. LOUT: Oh, enough of the foreplay. Get to the good stuff. Hey, wait. Do I know you? You look so familiar. PIZ: Come on, man. LOUT: What? I just think I’ve seen her somewhere before. PIZ: Don't be a jerk. LOUT: Ow. You got me. PIZ: I-it's a nice day. Let's go eat outside. Veronica? Come on. LOUT: Looks even more familiar from behind. PIZ: I promise you, karma's going to take care of that guy for you. VERONICA: I know. I’m gonna run him over with my "karma. INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT. DICK: Dude, I saw that Piznarski guy today. That's one messed-up Polack, my brother. Pound and explode, dude. It's still a thing. LOGAN: I guess he didn't make the video. DICK: Whoops. Your bad. Still, it was a royal b*at down. Sometimes a random ass-kicking's a good thing. Keeps everyone else in line. EXT - NEPTUNE STREET - NIGHT. VERONICA VOICEOVER: Oh, Twenty-four Hundred, how quickly you're moving up in the world. Not a bad deal: drive into a parking lot in your crap car, leave in a stretch limo, and be chauffeured to a mansion. So the front window's all curtained. How best to get a view of the back? I need faces. INT - NEPTUNE MANSION - NIGHT. JAKE: Gory? You got that disc with you? GORY: Of course. JAKE: Let me show you my office. Take that off your hands. GORY: That'd be great. I feel like Gollum carrying this thing around. JAKE: I don't know what that means. I like the look of the pledges. You did well, Gorya. GORY: You're not gonna believe some of the confessions we got this year. JAKE: Well, they get worse. Every year. I noticed that we're, uh, down a pledge. GORY: Uh, I washed him. I caught him sneaking in a camera. Check it out. There's the lens. Click it, it takes a picture. JAKE: New age, isn't it? It looks like we're done here. This your only copy? GORY: Of course. JAKE: I wasn't built to live in the subdivision. Let's go back to the induction. Later, day. KEITH: Nothing else was taken? Just the hard drive? JAKE: Which happens to be the most valuable item in the house. KEITH: What was on it? JAKE: It's five years of programming that will revolutionise the industry. KEITH: It's always something, huh? I’m surprised you don't have a massive security system, Jake. WIEDMAN: It's coming. Keith. JAKE: Well, we've only been here for a month. WIEDMAN: Could have been household staff. No forced entry. KEITH: You mind? This could be the entry point. WIEDMAN: Looking at a tiny thief. INT - HARVEY RESIDENCE - DAY. KEITH: Mr. Harvey, Sheriff Keith Mars. I’m investigating a break-in at the Kanes' house next door. I happened to notice you had cameras mounted in your backyard. WALT: Come in. The security cameras are all hooked up to a DVR. We're looking at the backyard view in real time. But if you h*t rewind, you can go back up to three days. There. That was something. Is that a girl? KEITH: Mr. Harvey, you mind if I take the DVR for evidence? EXT - PEMBERTON ESTATES GATE - DAY. KEITH: Excuse me. Deputy Gills. GILLS: In the flesh. Check out the new digs, Keith. This is what I do since you fired me. KEITH: There was a break-in at the Kanes' last night. I need to see a list of the plates of any strange cars that came in here. GILLS: Sure thing. Let me check. What do you know? Nothin'. Quiet night here at Pemberton Estates. Good luck on the case, though. Hey, best of luck in the election. EXT - HEARST COLLEGE - DAY. MAC: Let me explain something, Veronica. I own the most powerful personal computer on campus. There is no personal computer faster or better than mine at Hearst. And using this incredible computer of mine, it will take twenty years to crack Jake Kane's password on this hard drive. VERONICA: So how do we do it? MAC: You're like Kirk in Wrath of Khan. You refuse to believe in the no-win scenario. VERONICA: You're like one of the nerds from Revenge of the Nerds with your Star Trek references. MAC: There is a computer on campus that might be able to crack it. INT - MARS RESIDENCE - DAY. EXT - PEMBERTON ESTATES GATE - DAY. WIEDMAN: Hello. SECURITY OFFICER: Sir? WIEDMAN: I need to ask you about a license-plate number. INT - HEARST COLLEGE, PHYSICS DEPARTMENT - NIGHT. MAC: Hello, lover. WEEVIL: Guess that's what you're looking for. VERONICA: Thanks. MAC: Here we go. INT - HARVEY RESIDENCE - NIGHT. WIEDMAN: Mr. Harvey. Mind if I talk to you about the sheriff's visit earlier? INT - MARS RESIDENCE - NIGHT. KEITH: What do you know about the break-in at the Kane mansion? VERONICA: What happened to my room? KEITH: Did you steal five years of Kane software product development? VERONICA: No. That's a crazy question. Did you tear apart my room? KEITH: Yes. And I found this. Notice the rip? I found a blue thread on a loose screw of the Kane doggie door. Takes someone awfully small to break in through a doggie door. VERONICA: There are a lot of blue sweaters in the world. KEITH: Spoken like a public defender, Veronica. If there is something going on with you, if you're in trouble, now is the time to tell me. VERONICA VOICEOVER: I could tell you, but you'd never look at me the same. VERONICA: I’m spending the night at Mac's. INT - KANE RESIDENCE - NIGHT. JAKE: Veronica Mars? Veronica Mars? WIEDMAN: Easy, Jake. JAKE: You find her, you get that hard drive, and you arrange for it that I never see that girl again in this lifetime! WIEDMAN: You sure that's our best option? INT - SHERIFF'S DEPARTMENT - DAY. KEITH: I want to return the sheriff's department to a place where everyone, regardless of zip code, gets a fair shake. JILL: Your opponent says he wants to be sheriff because he always wanted to wear a badge. KEITH: I’m excited about that, as well. JAKE: Where is he! It was your daughter, Keith! Veronica's the one that broke into my house and stole my hard drive! I believe you already know the county prosecutor. KEITH: And what makes you think- WIEDMAN: Veronica's plates were registered at the guard gate. Her in and out times match the time of the robbery. She's small enough. Plus, Mr. Kane's neighbour says his video footage revealed a blond girl running through his yard. REDDING: I’m gonna need that DVR, Keith. I need it now. KEITH: I'll happily turn it over as soon as you bring me a judge's order. REDDING: You know what this looks like, Keith? KEITH: Like I don't kowtow to the rich and powerful? REDDING: No. Not that. We'll be back. Soon. INT - HEARST COLLEGE, PHYSICS DEPARTMENT - DAY. VERONICA: I'll talk to you in an hour when I can make all this go away. MAC: Couple hours at least. VERONICA: We don't have two hours. There's a class scheduled in here at nine a.m. INT - SHERIFF'S DEPARTMENT - DAY. VERONICA: [on voicemail] This is Veronica. Leave me a message. KEITH: Honey. Things have really h*t the fan down here. I’m pretty desperate to talk to you. I’m waiting on your call. INT - HEARST COLLEGE, PHYSICS DEPARTMENT - DAY. MAC: Veronica! Eureka! VERONICA: The names. Hundreds of them. This is more than one pledge class. MAC: Look, this guy's class of '39? Think we may have overshot. VERONICA: No. This is a beautiful thing. INT - SHERIFF'S DEPARTMENT - DAY. REDDING: Judge's orders. KEITH: See? That wasn't hard. Leo, you mind pulling the DVR from the evidence room and handing it over to the county prosecutor? INT - MARS RESIDENCE - DAY. VERONICA: Confessions from every member of the Castle since its inception. Twenty years of transcriptions. And we have thirty years of audio, and thirty years of video. MAC: Why do they do it? VERONICA: No one spills the Castle's secrets because they know what they risk. MAC: Most of them aren't guilty of putting that video of you out there. VERONICA: But this guy is. Gorya Sorokin. GORY: [on video] So...we figured we'd go up to the mountain cabin, get loaded, and take the boat out. Parents didn't need to know. So we're getting high up on the balcony. And I hear a car pull up, and I hide, but I got a good angle. And I see my dad and Uncle Lev get out of a car. They open the trunk and pull a couple bodies out. They-they are bloody as hell. And so they drag the bodies into the workshop. And the next thing, I hear the power saw going. I always wondered why my dad put a woodshop up in the cabin. So the next thing you know, he and Uncle Lev are taking a couple hefty bags down to the boat- VERONICA: Maybe I’ll let Gory Sorokin keep his secrets. EXT - HEARST COLLEGE - DAY. VERONICA: Hey, Nish. I’ve got a present for you. NISH: You're transferring? VERONICA: A list. The names of every member of the Castle. All men. You think this will help with that lawsuit? NISH: Oh, my God. Politicians. Tycoons. Celebrities. This is gold. You're gonna make some very powerful men very unhappy. VERONICA: Won't be the first time. INT - HEARST COLLEGE, FOOD COURT - DAY. LOGAN: Hey. VERONICA: You need to walk away. LOGAN: Just...I need to apologise. VERONICA: Great. Apology accepted. Now go. I’m meeting Piz, who, by the way, is the one you should be apologising to. LOGAN: I am sorry, Veronica. I thought...well, you know what I thought. GORY: I was hoping I'd see you. I didn't want to carry that around forever. You left it behind in my room. You know what? I’m glad we caught you on hidden camera. And I’m glad it's such a popular email attachment, because you're a real bitch. You know what you should do with your sudden popularity? Just lay back and enjoy it. VERONICA: Logan, don't. He's connected. Connected connected. LOGAN: Oh. Yeah, I was wondering. Didn't seem like you to shrug it off. Hey, so listen. Again...I apologise. I can be pretty dumb sometimes. VERONICA: It's a nice gesture, but it's gonna take some time this time. LOGAN: Want to hear your friend apologise? VERONICA: I’m not interested in his apology. But I would like my pen back. GORY: Whoever you are, you're gonna die. LOGAN: Yeah, some day. Ah, Piz. Just who I was looking for. Listen, man. I am truly sorry...for everything. INT - KANE RESIDENCE - NIGHT. VERONICA: So are you like the butler now or...I’m just saying. Answering the door kind of smells of being demoted. WIEDMAN: I like to deal with the miscreants personally. VERONICA: Yes, you do. WIEDMAN: Look who dropped by. JAKE: Veronica. Would you care for something? Lemonade, mineral water? VERONICA: I came by to bring this back. JAKE: Hmm. Would you wait right there? I’m gonna call the sheriff myself, have him come arrest you. VERONICA: Go ahead. I'll wait. But the moment that happens, everything on this drive goes public. JAKE: There's no way you can know what's on that drive. Not in a-not in a day. VERONICA: Gabe Huntley. Class of '74. Ran over someone one night in Tijuana. Gerald Cummings. Election fraud. Then there's that steamy boarding-school incident of yours. And we leave my dad out of it. JAKE: I’m afraid it's a little too late for that, Veronica. Clarence will see you out. INT - MARS RESIDENCE - NIGHT. KEITH: Good. You're home. Prepare for gumbo. How do I find the time to make gumbo, you ask? I make time. VERONICA: You know I love you, right? More than anything. KEITH: Of course, honey. I never doubted. Eat. [Later, day.] VERONICA: Dad? LYRICS: Got on board a westbound 747 Didn't think before deciding what to do All that talk of opportunities TV breaks and movies Rang true Sure rang true Seems it never rains in Southern California Seems I’ve often heard that kind of talk before It never rains in California INT - POLLING STATION - DAY. EXT - POLLING STATION - DAY.

{"type": "series", "show": "Veronica Mars", "episode": "03x20 - The Bitch Is Back"}

foreverdreaming

Previously on "Vikings..." We did it, brother. Rollo: Let's just hope the Earl sees it that way. Earl Haraldson: Do you understand that all this belongs to me? Rollo: Why did you give everything away so easily? Ragnar: Believe me, this is not the end. Here is a priest of the temple. His name is Athelstan . He speaks our language. I want to sail west again. Earl Haraldson: On one condition: A warrior I trust goes with you. Knut: I will take very close care of your interests. Ragnar: I want to leave as soon as possible. I'll leave the priest with a key. You cannot place a sl*ve above me! I want you to come with me. ungh! (Men scream and roar) Saxon rider: Hi-yah! Hi-yah! ♪♪ ♪ more, give me more ♪ ♪ give me more ♪ ♪ if I had a heart I could love you ♪ ♪ if I had a voice I would sing ♪ ♪ after the night when I wake up ♪ ♪ I'll see what tomorrow brings ♪ ♪ I... I... I... ♪ ♪ if I had a voice I would sing ♪ ♪♪ hi-yah! Hi-yah! (Horse gallops) (Rooster crows, sheep bleat) (Saxon warrior pants) (Foliage crunches underfoot) How far to Hexham? It's not far. Are you sure? Yes! Arne: (Excited) Ragnar! Rollo! ♪♪ (Foliage rustles, branches and twigs snap) (Birds chirp) (Birds chirp) Let's att*ck straight away. No. We att*ck tomorrow why wait? (Groans) (Sighs) It is a large town. We have only a few men. Then surprise is our biggest advantage. Ragnar: Arne, what day is it today? Saturday. Then we att*ck tomorrow. Why? (Steely) You will understand tomorrow. King Aelle: Who were these strangers? Saxon 2: I cannot say. Their ship was sighted sailing up the coast. It was a ship unlike any other. They were not Franks, then? Saxon 2: No. They looked very different, and used axes. Most were as tall as giants. Noble 2: Sire, I fear that these raiders are the same pagans who att*cked the monastery at Lindisfarne. It is the letter that Abbot Alcuin wrote to you of those terrible events. King Aelle: "They came to the church at Lindisfarne", laid everything waste with grievous plundering, trampled the holy place with polluted steps, dug up the altars and seized all the treasure of the holy church. They k*lled some of the brothers, took some away with them in fetters, "some they drowned in the sea." Where do they come from, these pagans? Some say from the north. Well, wherever they come from, they are not welcome in my kingdom. Floki: (Startled grunt) (Men laugh) (Blade rings as it's sharpened) Take care today. Don't take any foolish risks and don't get separated from the others. I was just going to say the same thing to you, my love. Enough of that talk. It's getting light and we've wasted too much time already. We must wait a little longer. Leif: Wait? What for? Ragnar: Just wait! Knut: For what? Ragnar: And listen! (Leif sighs) Kauko: I don't hear anything. (Church bells clang) Ragnar: Well, what are you waiting for? (Struggling grunts) (Axes thunk into place) (Feet thud on the palisade) (Geese honk, wings b*at) (Footsteps crunch) (Geese honk nervously) ♪♪ (Banging, wood clatters) ♪♪ Effundetur in remissionem peccatorum. (Ragnar listens to the muted words of the priest) (Floki giggles) Priest: Hoc facite in meam commemorationem. Mysterium fedei. (Doors bang open, saxons cry out, shocked) ♪♪ (Saxons murmur nervously) Brave men: Aggggghhhhhh! (w*apon slash and slice) Agh! Ungh! (Women scream in fear) Shhh! (Saxons murmur, frightened) (Viking grunts tauntingly, saxons scream in fear) In the name of God, who are you? Why have you come here? This is a place of God. If you do not resist, we will not hurt you. Tell that to your people, priest. Tell them not to be afraid. God bless. (Saxons murmur nervously) (In anglo Saxon) (Cacophony of voices cry out in protest) (Candelabras clank on the ground) (Objects clatter and bang, women scream) (Door bursts open) (Gasps) (Man coughs feebly) (Frightened gasps) (Weak whimper) (Water pours) (Coughing) (Water splashes) ♪♪ (Saxons murmur, upset) (Spits) (Saxons cry out in horror and anguish) (Floki spits, saxons cry out in horror) (Floki laughs) (Doors burst open) (Objects clatter and tumble) (Utensils clink) (Floor creaks, utensils clatter) (Unsheathes w*apon) ♪♪ (Sheathes w*apon) (Saxons cry out in protest) Priest: Ungh! (Saxons scream, horrified) Boy: Mom! (Struggling grunts) (Knut grunts) (Woman sobs as she struggles) Lagertha: Knut! Leave her alone! (Knut grunts, continuing) Leave her alone! What do you care for this Saxon, you bitch? Ungh! (Young woman weeps and cries out) (Dull thump, Knut grunts) (Grunts of effort, w*apon clank) (Lagertha grunts in pain) (Fabric rips, clothing rustles) (Hard thump, Knut grunts in pain) (Hard s*ab) (Knut cries out, makes gurgling sounds) (Hard s*ab, Knut grunts in pain) (Breathing rapidly) (Knut thumps on ground) Saxons scream and yell) (Horn bellows) Ragnar: (Chuckles and sighs, pleased) Where is Knut? Where is Knut? I k*lled him. You k*lled him? Lagertha: He r*ped a Saxon woman. Then he tried to r*pe me. Did anyone else see it happen? That's a pity. And where were you? (Loot clatters and clanks, water splashes) (Waves crash ashore, seagulls cry) (Man shouts a command, Saxon soldiers cry out) (Dragging sound) Hold! What is it? Who is there?! Saxon prisoner: (Sighs with relief) (Loot clatters and clanks) (Waves crash ashore) (Readying inhale) Saxon: Archers front! Shield wall! (Shields thump into place) Saxon commander: (Yelling indistinct commands) (Arrows whoosh) (Arrows puncture and clatter off shield wall) (Gasps) (Yelling command) Saxon soldiers: (Screaming w*r cries) Stand! (Soldiers crash into shield wall) (Men shouting, roaring, and screaming) (w*apon ring out, clashing) (Men shouting, roaring, and screaming) Ragnar: Open! (Arrow whistles) (Soldiers shout and scream, w*apon hacking away) Rollo: (Shouting a viking song) Up onto the overturned keel, clamber, with a heart of steel, cold is the ocean's spray... (Arrows whoosh) And your death is on its way, with maidens you have had your way, viking warriors: Each must die some day! (Vikings grunt with renewed effort) (w*apon clanging and clanking) (Shouting and screaming fills the air) (w*apon clashing and hacking) (Hard blow, Saxon screams) (w*apon clash and hack, men scream and yell) (Hard blow, Saxon screams) Ungh! Agghhhh! Agghhhh! Argh! Lagertha: Ragnar! Ragnar: Close the wall! Lagertha: Shield wall! Ungh! Aghhhhhh! (w*apon clash and clank) (Repeated hard blows) (In norse) (Men shout and grunt, w*apon clash) (Vikings roar, advancing) Wigea: Yah! Yah! (Saxon men scream) (Horses whinny and gallop away) (Sudden stillness, seabirds cry in the distance) (Waves wash ashore) King Aelle: How could this happen, my lord Wigea? Wigea: Sire, I have never in my life seen men fight as these northmen fight. Believe me, there's something devilish in the way they look, in their lack of fear in the face of death. King Aelle: My lord, that is just a counsel of despair. Are these pagans not men, like we are? Do they not bleed when they are cut? Or do they have wings and tongues of f*re? No, sire. Who are they? We captured two of them, who were guarding their boat. We couldn't understand anything they said at all, except one word: Ragnar. Ragnar. (Wind gusts, f*re crackles) (Vikings murmur quietly) Rollo: Death is on its way to take Kauko. Don't grieve for him. Don't pity him. Guess where he is now? The valkyries are taking him home to Valhalla. Right at this moment he is... He is drinking ale with the gods. Yes, he is happier than even we are, with our boat and... these goods. Erik: Even so, he was my kinsman. We must avenge his death. It was done in the name of king Aelle, and king Aelle must suffer for it. One day, he will... If the gods will it. (Saxon prisoner whimpers) Look at him, he's wetting himself. You kept your word. You took us to the town, and I thank you for that. Drink. You want to live? (Saxon prisoner gulps) (Prisoner grunts) (Hard whack) Ungh! Bjorn: I want to go to Kattegat. I want to see my father return soon. He must return soon. I gave your father my word that I would look after you both here. You are not looking after us. We look after ourselves. I cannot allow you to go on your own to Kattegat. Your father would never tolerate such a thing. Bjorn: Then we should go together, the three of us. Athelstan: And who will then look after the farm? For what we are about to receive, may the lord make us truly grateful. Amen. (Ale splashes into cup) Gyda: Can I have some ale? You're too young, Gyda, to drink ale. I want to make a sacrifice to Thor, for my father's safe return. What will you sacrifice? You! (Cup and bowl crash on the floor) (Rough, scratchy rasp) Athelstan: (Very quietly) Where are you, lord? Tell me: Is it your will that I am here with these heathens? (Wind howls outside) How does it serve you? I don't understand. And for the first time in my life I am angry with you. You allow my brothers to be slaughtered and sold. Is this really your will? For the first time... I feel lonely. Where are you, lord? Where are you? And why don't you answer me? (Strange rustling and shaking of feathers) It's just an owl. Bjorn. Bjorn, wake up. (Exasperated groan) What is it? We'll go to Kattegat all of us, tomorrow. (Seabird cries) Warrior: Kattegat! (Excited shouting in the distance) Women and children: (Chatter excitedly) (Crowd buzzes with excitement) (Crowd shouts and murmurs excitedly) (Crowd hushes) Earl Haraldson: Ragnar Lothbrok, my friend, how was your voyage? Successful I hope, for all our sakes. (Loot clatters and clanks) Ragnar: The saxons att*cked us when we returned to the boat, in great force, (shouts) But we defeated them! (Crowd erupts in cheers) You are the man that people say you are... A great adventurer... And I am happy to salute your achievements and to share in the profit of your raid. But I don't see my friend, Knut, where... where is he? Knut is d*ad. d*ad? Did he die in the battle? No. Then how did he die? I k*lled him. You k*lled him. For what reason? Because he tried to r*pe my wife, Lagertha. I find it too convenient that you would make an excuse to k*ll my friend and my agent on your voyage. What did you think that you would gain by getting rid of him? I didn't expect to gain anything. Earl Haraldson: I don't believe you. Arrest him! Ragnar: My lord! For your wife Siggy would have you not done the same? (Floki growls) Svein: I would counsel you all against such actions. There is no way you could prevail. Ragnar: Floki. Svein: Bring him away. Lagertha: Ragnar! Ragnar! (Footsteps approach) You summoned me, lord? Yes, I want to talk to you. Please, sit. Drink. It's, um... It's a delicate matter. You... You are the brother of Ragnar Lothbrok, are you not? I am. A spirited man, your brother. Is he a fair man? Does he treat you equally when you sail with him? Up to a point. Forgive me, but I think that he likes to rule you. And that whatever he says, in actual fact, he considers himself to be first among equals. Am I correct? (Silence) I get the impression that he wants to... To take the credit for everything... For building the boat, for sailing west. He wants to be the hero. Is that what it comes down to? To him? Would he have achieved what he has achieved if it wasn't for you? (Silence) What do you say, Rollo? Of course not. It would have been impossible. As long as I am Earl, Ragnar Lothbrok can give you nothing. I, on the other hand, can give you a great deal. I could, for example, confiscate the treasure that you brought back from england... And offer you a goodly portion of it. Would you do that, lord? I might. Depends. On what would it depend? Your ambition. You want to stand out. You want to be someone, Rollo. You want the gods to notice you, yes? They would have noticed me already. Earl Haraldson: Oh no, my friend. And do you know why? Because you still walk in the shadow of Ragnar Lothbrok. Don't you think it's time you stepped out from it and let the gods see you for who you really are? Oh! I want you to say hello to somebody. This is my daughter, Thyri. She is soon to get married and I must think very carefully about her future husband. He must be a man of ambition and prospect, as you can understand. I used to have two boys but they were k*lled. So the man that I choose to be my son-in-law will hold a high and special place, as if he were my own son. Thyri, say hello to Rollo. Hello. Hello. Siggy: Don't forget about me, my love. Earl Haraldson: Oh, yes. And this is Siggy, my wife. This is Rollo. He is the brother of Ragnar Lothbrok. Hello, Rollo. I have heard a lot about you. They say that you are a great warrior. With chatter) (Door opens) (Everyone quiets down) Svein: Bring in the prisoner. (Crowd jeers loudly) Woman: That m*rder! (Jeering) Bjorn: Look at him! He's in chains. It's all right, boy. We are all aware of the sacred nature of our duty here. You stand before us accused of the willful m*rder of Knut, my brother. Knut, as some of you may know, was the bastard son of my father. But I loved him... Like a brother. I asked Knut to... To go with Ragnar Lothbrok to england, where they raided a town and brought back many spoils. And while they were raiding this town, Ragnar Lothbrok took it upon himself to cold-bloodedly k*ll my brother. It's easy to imagine why a man like this would do such a thing. This is an ambitious man. He doesn't care to share his spoils, and he resents the fact that he owes me loyalty and obedience, as his chieftain. This is a man who does not believe in our traditions. This is a man who does not believe in our laws. Crowd: (Sounds of disapproval and disgust) Svein: Silence! Silence! Earl Haraldson: What do you have to say, when you stand before us, and know that you must tell the truth? It is that true that I k*lled Knut, sadly, your brother. But I k*lled him when I found him trying to r*pe my wife. I ask all of you freemen, what would have you done if you were in my place? Would have you just stood back, encouraged the culprit? I don't think you would. And even if I had of known at the time he was your brother, I would have carried out the same sentence. Svein: Do you seriously ask us to believe your story? I can confirm the story. (Crowd murmurs) You are the wife of Ragnar Lothbrok? I am, lord. How extraordinary that you happened to be there at the same time. (Crowd titters) Your husband is lying and you are so under his thumb that he has persuaded you to lie for him. May Thor strike you d*ad! (Shouts of outrage and disapproval) Earl Haraldson: What did you say? My husband did not k*ll Knut Tjodolf. Svein: Then who did? Lagertha: I did! I k*lled him. I s*ab him in the heart when he tried his best to r*pe me. Svein: A m*rder is committed and the only witnesses are a husband and his wife. (Crowd chuckles) Unfortunately, we can't tell who committed the crime because they both claim credit for it. You didn't k*ll my brother. Look at you, how could you? He k*lled my brother. Ragnar Lothbrok k*lled my brother. We have proof. We have a witness to the k*lling. (Whispers of surprise run through the crowd) Svein: You say you are a witness to the death of Knut Tjodolf? Yes. Svein: You'll swear this upon your arm ring? Yes, I was there. I saw everything. Earl Haraldson: So, who k*lled my brother? (f*re snaps and crackles) Ragnar Lothbrok k*lled him. (Crowd murmurs) In cold blood? No, lord. For a good reason. What Ragnar Lothbrok has sworn is true. Your half-brother was caught raping a Saxon woman. Then he attempted to r*pe Ragnar's lawful wife, Lagertha, the shield-maiden. So unfortunately... You cannot punish him. (Chains jingle) Now who has the key? (Crowd buzzes with chatter) (Lively music plays) (Warriors chatter and laugh) Woman: Come, Bjorn. Man: Like father like son. (Laughing) It seems I owe you an eternal debt. I know. And I look forward to collecting it. Leif: Let's drink a toast to Ragnar! To his future and his freedom! No, no, no, no. To friends and freedom! All: To friends and freedom! Arne: (Drunkenly) Not that he'll ever be free of us! (Laughing) Ragnar: Will you drink with me? Of course. Thank you for taking care of my children. You're a good Christian. (Laughs) (Cup and blow clatter and clank) I wanted to say thank you. You did a fine good thing, Rollo. I hope the gods were watching. I didn't do it for him. I did it for you, shield-maiden. I don't want to believe that. Floki: Ragnar! Did you see Haraldson's face when he had to acquit you and then give you half his hoard? He looked like this! (Ragnar and others laugh) (Laughing hysterically) (Erik groans while he takes a leak) (Sighs) Ungh! (Grunting) (Struggling grunts) (Hard s*ab, gurgled grunt) (Laughter and merriment halts) Man: Ragnar Lothbrok? I am unarmed. (Swords ring as they're unsheathed) Get the children. (att*ck cry) (Men shout and grunt, s*ab and hacking) Lagertha: Hurry! (Fighting grunts, s*ab and hacking) Man: Aaggghhhh! (Women cry out) (Men shout and grunt, s*ab and hacking) (Incessant dripping) Ellisef: (Weeping softly) Leif: Father. (Seabird cries) (Wind gusts, seabird shrieks) (Chickens cluck, pigs snort) Ragnar: Ungh! (Sheep bleat) Ungh! (Forceful chop) Ungh! (Forceful chop) (Axe clatters) (Logs thump loudly) (Water sloshes) (Geese honk noisily) Seer: Stones and bones. Stones and bones. Earl Haraldson: What do you read? Seer: Wait. Not so impatient, lord. Earl Haraldson: Tell me. Seer: Ask me a question are the signs... thr*at? Seer: Yes. There is a quarrel. There will be v*olence... Bones and skulls broken. I see that. (Seabirds cry) Athelstan: What is Ragnar doing sitting on the hillside? Seer: He searches for your death; consults the gods to whom he claims kinship. Who could believe such a thing? Does he desire to be Earl? If he kills you, will it not be so? Do the gods speak? Seer: Do they ever stop? Gods have always been favorable to me. They allowed yours sons to die... Earl Haraldson: Do the gods really exist? (The seer laughs) I know what he's doing. He's preparing himself. ♪♪

{"type": "series", "show": "Vikings", "episode": "01x04 - Trial"}

foreverdreaming

Previously on "Vikings": Ragnar: We shall finally go west again. King Horik and Jarl Borg shall join us. Hello, priest. Ragnar: Do you ever miss England? Athelstan: Sometimes. Ragnar: Come with me. We will need the help of all the gods, including yours. Siggy: Go and speak with your brother. I ask only for the opportunity to regain your respect. Why should I ever trust you again? Aslaug: I make this prophecy: Your son will be born with the image of the serpent in his eye. I do not wish Jarl Borg to raid with us. I thought we had an agreement? Jarl Borg: Abandon your brother for good. Oh! (Grunts in pain) Messenger: The Northmen have come ashore in Wessex. They've defeated a large force of our men. What have you heard about King Ecbert? That he's just like you. ♪ ♪ More, give me more ♪ ♪ give me more ♪ ♪ if I had a heart I could love you ♪ ♪ if I had a voice I would sing ♪ ♪ after the night when I wake up ♪ ♪ I'll see what tomorrow brings ♪ ♪ I... I... I... ♪ ♪ If I had a voice I would sing ♪ (Birds chirping) _ (Foliage crunching underfoot, morning doves cry) Ragnar: What is that place? Athelstan: It's a Christian church, a minster. A large one. It may be Winchester. Is it important? If it is Winchester, Saint Birinus is buried there. It's a place of great pilgrimage. And will there be treasure there? (Chortles) Yes. A lot of treasure. Floki: (Happy) Hmm! (Grasses crunch underfoot) King Ecbert: There's no surprise to me that these Northmen have arrived in Wessex. After I heard about their raids into Northumbria, I realized it was only a matter of time before they came ashore here. When I lived at the court of the Emperor Charlemagne, these Northmen had already emerged from their lairs to att*ck parts of his empire. I was with Charlemagne's party at a harbor town in Southern Gaul. And as we sat eating supper a fleet of pirates att*cked the harbor. There was some confusion about their identity, but from the build of their ships and their speed through the water, the Emperor recognized them at once as Northmen. After a lightning att*ck... (Sharp exhale) They made their escape. The Emperor's men took up the chase, but they were soon out-sailed. And now it is our turn to deal with these ruffians, these pagans. But deal with them we shall... And must. Aethelwulf? Yes, Father. King Ecbert: I put it in your hands to work with our Ealdormen to raise an army. In the meantime, we shall send spies and others to observe the size of the raiding party, and their intentions. These Northmen never like to venture far from their ships and they prefer not to be drawn into pitched battle. Let us not be afraid, but rather watchful. (Retreating footsteps) (Bird cries out) Sigvard: Lagertha! (Sheep bleat) Why must I follow you up the fields? You're my wife. You should be at my side, especially when we have important guests. I will not stay to hear my son insulted. Sigvard: Your son should know his place. He continues to be resentful. He refuses to accept or acknowledge my love for him. Lagertha: You don't love my son. You don't love anyone, Sigvard. You don't know how to. (Hard slap) Aghhh! Sigvard: Forgive me, Lagertha. I'm an intemperate man. I find it difficult to control myself. But I have loved and desired you after my fashion and if your son will only meet me halfway, I will make sure he has a good future. (Foliage rustles in the wind, birds chirp) (Foliage rustles underfoot) (Birds chirping) (Unsheathes sword) (Townsfolk chatter, sheep bleat) (Panicked gasps) (Bell clangs) Soldier 1: The alarm! Northmen coming! Soldier 2: Do you see them? Soldier 1: Quickly! Soldier 2: Inside, now! - Soldier 3: Altogether! Soldier 4: Gab inne! (Panicked yelling and screaming) - Soldier 5: Inside! Gab inne! (Unsheathes sword) (Panicked chatter) Ungh! Oof! Monk: Come! Man 1: Stay together! - Soldier 1: Are you ready?! Soldier 2: w*apon! (Doors thud shut) Man: The stuff is packed. (Bell clangs) (Sheep bleat) (Foliage rustles underfoot) (Bleating) Saxons: (att*ck screams fill the air) Vikings: (Battle cries) (w*apon clank, fighting grunts) (Throwing grunt) (w*apon clank, fighting grunts) (Sword slices) Ughhh! (w*apon clank, fighting grunts) Agh! Ugh! Athelstan: Aggghhhhh! Ungh! Oof! (w*apon clank, fighting grunts) (Sword slices, screams of pain) (w*apon clank, fighting grunts) (Fighting grunts) (Fighting grunts) (w*apon clank, fighting grunts) Aggghhhhhhhh! Soldier: (Frightened yelps) (Sword s*ab) Agh! (Fighting grunts) Agghhhhh! (Arrow whooshes) Ungh! Agh! (Arrow whooshes) Agghhh! (Horse whinnies) Ungh! (Shields clack, w*apon clank as they regroup) (Warriors converse quietly) (Sheep bleat) (Quiets down) Torstein: Could be a trap! Shield-wall! (Shields clatter into place) (Doors creak open) (Geese honk in alarm, rooster crows) Open. (Shields clatter) (Footsteps scuff) King Horik: Where have they all gone? Floki: There should be treasure. He said there would be treasure. Why do you always listen to him? Where is it? Athelstan: It's over there. King Horik: This?! This is not treasure! This is an empty wooden table. You are mistaken, King Horik. The treasure is here. You're standing on it. (Knocks twice) Vikings: (Confused murmurs) What? (Grunts of effort) (Floorboards crack, shouts of excitement) Horik: (Laughs delightedly) You were right! (Laughing, coins clink) Treasure! (Warriors grunt, chest thuds heavily) Ragnar: How did you know? Athelstan: It is a Christian habit to bury the bones of the revered d*ad beneath the alter. Ragnar! (Warriors laugh and chatter excitedly) King Horik: Let me see that! (Warriors laugh excitedly, objects clatter) Ragnar: Who was this? Athelstan: It must be Saint Birinus. King Horik: Here! There's more! Ragnar: You keep talking to me like I know what a Saint is. Athelstan: A Saint is a man who has lived a particularly holy life, performed some miracle, or been martyred k*lled for their beliefs. King Horik: It's all gold! But I am d*ad. What use can I be? (Chuckles) Christians believe that the bones can still exert benediction. Can perform miracles. What is a miracle? Miracles are things... which are impossible to do. King Horik: Take it all! Warrior 1: It's heavy! Torstein: Wait! (Scuffing dirt away) (Trapdoor creaks open, villagers gasp in fear) Man: What do they want? Women: (Scream in fear) (Hand brushes against paper) (Axe thuds lightly) (Stifled panicked breaths) (Ink pot rattles) Monk: No! Stop! (Axe strikes) Ungh! (Gasps for breath) (Gasps weakly, slumps heavily) (Approaching footsteps) Bishop Swithern: (In Anglo Saxon) Dear Lord, forgive them, for they know not what they do. Bishop Swithern: You speak our language?! How? It doesn't matter. Just do as I say. Hide! Hide or they will k*ll you. You are one of us! Once. Bishop Swithern: Then I will tell you this: One day, you will be caught. We will catch you and crucify you... for an apostate is the lowest and the vilest of all creatures in the eyes of God! Floki: Oh! (Speaking Old Norse) (Women scream in terror, warriors laugh) (Treasure clatters, women scream in terror) (Speaking Old Norse) King Horik: (Speaking Old Norse) Bishop Swithern: Salve, nobilis, et pretiose... (Hard punch) Ungh! Floki and Vikings: (Laughing) (Speaking Old Norse) Warriors: (Cheering) (Bishop grunts) (Warriors chatter excitedly) Athelstan: What will happen to him? Floki: You just wait and see, priest! (Laughter) (Cheering) Warrior: Woo-hoo! Bishop Swithern: (Prays in Latin) Domine... (Arrow whooshes, bishop groans, Vikings cheer) Rescipe ergo in me oculis misercordiae tuae... (Objects clatter) (Door creaks open) (Celebratory cheering) Warrior: (Shouting in Old Norse) (Grains scatter) Warrior 2: Give it to me! Warrior 3: (In Old Norse) Treasure! Here! Warrior 4: (In Old Norse) Look! Look! (Raucous laughter) (Objects clatter, warriors chatter) - Warrior 1: Help me! Warrior 2: Here! (Objects clatter) (Arrow whooshes, bishop groans in pain) Vikings: (Cheering) Woo! (Boisterous laughter) Bishop Swithern: (Weakly) Domini, creatura tue, qua tuo sanguine redemisti... - Warrior: Don't k*ll him, Floki. Bishop Swithern: Penitent... (Arrow whooshes) Ungh! Vikings: (Cheer loudly) Bishop Swithern: Penitent me. Floki: Is he still talking? Tough old goat. King Horik: Erlendur, quiet him. Right in his mouth. Warrior: What's he doing? Warrior 2: Out of the way. (Axe clatters) Bishop Swithern: (Weak, mumbled praying) (Inhales sharply) Deus tippi benidicas. Suffer no more, but trust in thy salvation. (Bishop gasps, blade scrapes) (Sighs) (Boisterous chatter resumes) (Kn*fe clinks) (Chatter and laughter fills great hall) Bjorn: Mother, why would you allow him to do that to you? What are you talking about? Your husband, Earl Sigvard, I saw him! (Warningly) Bjorn, please. Please what? Has he h*t you before? Will you let him h*t you again? It will never happen again. If it does, I'll k*ll him. I said it won't. What would Ragnar say? What has it to do with your father? Nothing! Sometimes I think of him. I miss him. I can't help it. Sigvard: Skol! (Laughing) Of course not. You're his son. You must always be proud. As should you for being his wife! Sigvard and men: (Laugh and chatter) (Laughter, low hum of chatter) (Sighs heavily) (Townsfolk chatter, children shout playfully) (Sheep bleat) (Hurried footsteps) (Exhales) (Water splashes) (Baby coos softly) Siggy: Another son? Aslaug: Yes. What is his name? Sigurd, after my father. (Sigurd coos softly) Sigurd snake-in-the-eye. Soldier: (Shouts) Guard the gate! Lord Eadric: Your Majesty, you have heard of the att*ck on Winchester? Of course. I grieve. Bishop Edmund: The martyrdom of my fellow bishop, Bishop Swithern, a fine Christian. King Ecbert: Praise be to God. Lord Eadric: There are those who ask why we did not do more to protect our brothers and sisters at such an important site. Are there? My kingdom is very large. There are many important sites. Could I protect all of them? No. Did I want to discover where the pagans would strike? Yes. For now I know where they are. Bishop Edmund: So... Bishop Swithern was a necessary sacrifice. As a man of God, I assumed he welcomed the opportunity for martyrdom. Or do you disagree? Bishop Edmund: Oh no, sire. All of the cloth would welcome martyrdom in the cause of our faith, service of our Lord Jesus Christ. Good. Because I'm going to offer you precisely that same opportunity, my Lord Bishop, and, I trust, very soon. (Nervous sigh) Lord Eadric: (Sighs heavily) (Water churns and splashes) (Hammering) Warrior: Look at these, nice and strong. Tight enough? I have something for you, Athelstan. Don't you want it? Are these not the images of your God? I told you before, and I will tell you again: My God is Odin, the all father. I know you told me. Only... I don't believe you. And this? Ragnar gave me this. Wearing a dog-turd doesn't make you a dog. Oh. I have something else for you. The hand of your holy man, I believe. (Giggles) Ragnar: So tell me, how do you find England? Horik: It is a pleasant land, rich with treasure. You are right. This land is rich. But here... here is the real treasure! (Inhales deeply) Earth? Have you not seen? Everywhere we go, there are crops. There is food growing. I am a farmer and the son of a farmer, and this is what I understand. Compared to our poor countries, where it is hard to farm, hard to live. Here, it is easy. If we lived here, we could feed everybody. There would be no hunger. I like your thinking, but here is my question: Will the Saxons simply invite us to live among them, hmm? (Loud cheering and applause) (Music and applause fill the great hall) Man: Jarl Borg! Man 2: To your new bride! (Applause) Man 3: A fine choice this day! Jarl Borg: Thank you! (Loud cheering and applause) Man 4: A fine choice, my lord! (Excited buzz of chatter and applause) (Quiets down) So I am married for the second time. As most of you know, my first marriage lasted less than an hour, because my own brother poisoned the drinks that day. Of course, the same thing can never happen twice, so let the wine be poured. Men and women: (Cheering) Yeah! Here, here! (Applause, cheering, banging on tables) Now who will be the first to drink in celebration? I will. No! No, I could not bear it. Not a second time. Let me taste the wine. (Gulping) (Uneasy silence) It's quite all right. Skol! (Applause, cheering, banging on tables) Jarl Borg: I have something else important to say. I don't wish to dampen the celebrations but you all know that the agreement between myself, King Horik, and Ragnar Lothbrok has been broken. They have gone raiding west without me, without us, which is an insult not only to myself, but to all of you, and now also to my wife, and to my wife's family. (Murmurs of agreement) I have to do something about this insult. Frankly, I blame King Horik more for what has happened, but at the same time, consider what is happening to Earl Ragnar's lands. He has abandoned them to the care of his wife and his drunken brother. (Laughter) In order to punish those who have insulted me and my family, I declare today that I will seek vengeance against Ragnar Lothbrok. By all our gods, I swear that we will seize all his lands and that I will repay his brother's treachery with the axe. All: (Cheer in agreement) (Birds chirping) (Foliage rustles underfoot) (Hooves plod, horses snort softly) (Horses snort and whinny) Bishop Edmund: Who can speak to us? I can. I have been sent here by Ecbert, King of Wessex. The king regrets your att*ck on the holy church at Winchester. He wonders how much longer you intend to remain in his kingdom? (Nervously clears throat) Ragnar: Well, that depends. Bishop Edmund: Upon what? Ragnar: Upon what he'll offer us to leave... or what he'll offer us to stay. Stay? Ragnar: Yes, we want to make peace with the king. Peace. (Tries to clear throat) So we don't have to k*ll any more of you. I will relay your message to the king. (Floki giggles) (Claps twice) King Horik: (In Old Norse) Wait! (Hard slash) Ughhh! (Giggles) (Slashing blows, grunts of effort) Bishop Edmund: (Struggling grunts) Vikings: (Laughing) Floki: (Giggles) Bishop Edmund: (Collapses) Agh! Vikings: (Laughing) (Horse whinnies, hooves thunder) Sigvard: Not hungry, Bjorn? No. Sigvard: Any reason? No reason. Sigvard: Are you unhappy? What can I do to make you happy? Shall I raid one of my unsuspecting neighbours, so you can show off your fighting skills, and maybe slaughter them all? Show that you are truly the son of Ragnar Lothbrok?! Sigvard and men: (Laugh) Sigvard: No, believe me, I do not like to see you so solemn. So tell me, what can I do? Bjorn: You can let me go live in a cabin in the mountains. Sigvard: By yourself? In the mountains? Bjorn: Yes. I'd like to test myself. Get away from all this. All these servants! All these people doing everything for us. I want to know what is essential to life. What is really important. Will you let me? No, of course not. I am the Earl here. What would folk think if I let my beloved stepson starve or freeze to death in some mountain pigsty? Sigvard and men: (Laugh) Sigvard: You understand that, don't you, my boy? In any case, I have solemnly sworn to Lagertha that I shall take care of you, and I will. (f*re crackles in the silence) (Waterfall gushes) (Waves lap at the shore) (Water churns) Siggy: Rollo! (Sighs) Siggy: Rollo, wake up! Rollo: (Exasperated) What? What is it? Siggy: There are boats! Rollo: (Sighs) Siggy: Who are they? Rollo: I think I can guess. Go back to the town. Find anyone who can fight, anyone who can hold a w*apon. We're under att*ck. (Water churns) Aslaug: Rollo, what is it? What is happening? Rollo: Jarl Borg! He has come back to att*ck us. Aslaug: Jarl Borg? Rollo: (Panting) I'm sure it is him. Ragnar and King Horik broke their agreement with him. He has returned to gain his revenge. What are we going to do? (Panting) What do you think we're going to do? We're going to fight. Aslaug: Come. Go! Go! (Panicked chatter) Rollo: Torfin! Olaf! One of you on each flank. Help with the barricades. Ragnar has taken all of the best fighting men. Look what we have left! What are you doing? What does it look like? Not you. You are not a shield-maiden. You're not... Lagertha? Siggy, I need you to go back to the great hall. Find Princess Aslaug and her children and take them up into the mountains. And then what? Wait. For what? For whatever the gods have decided is about to happen. Now go! Man: Roll them in there! Woman: Fasten them on as quick as you can! (Running footfalls) (Barrels clatter) (Water churns) Siggy: This way! To the mountains. Hurry! Go, Hvitserk. Aslaug: Run! Quickly! (Oars splash through water) Sail down! (Horn bellows) Row! Row! (Horn bellows) Rollo: Stay strong! Don't make it easy for them! Light the fires! (Water churns) (Water churns) (Intimidating battle cries, clank shields) (Pounding spears and axes) (Intimidating shouts) Man: Archers! Warrior: Come on! (Pounding spears and axes) (Pounding spears and axes) Oars! Rollo: Hold your places! (Ships creak) Jarl Borg: Jump ship! (Loud battle cry, warrior splashes) Jarl Borg: Go! (Battle cries, splashing) (Arrows whoosh, striking) (Arrows whoosh, striking) (att*ck cries, w*apon clank) Agghhhh! (Splash) (Water splashing) (Flames roar) (Fighting grunts) Aghhh! (Splash) (Heavy blows, fighting grunts) Agghhhh! (Splash) (Fighting grunts, pained cries) Jarl bork: Ungh! Man: Aggghhhh! Ungh! Oof! Agh! Woman: As fast as you can! Girl: Shields! (Fighting grunts, pained cries) Aghhhh! Ungh! (Fighting grunts, pained cries) (Flames roar) (Fighting grunts, pained cries) Boy: Rollo! (Fighting grunts) (Axe blows, pained cries) (Fighting grunts) Rollo: Fall back! ♪ ♪ (Battle cry) Fall back! Back to the market place. (Running footsteps) Move! Jarl Borg: (Shouting) That's right, Rollo, run! (Quietly) Run like you always do. (att*ck cries) (Panicked screaming and shouting) Agghhhh! Yah! Rollo: Loose! (Arrows whoosh, striking) Agghhh! Rollo: Loose! (Arrows whoosh) Jarl Borg: Shield-wall! (Arrows clatter) (Quieting down) (Repositioning chatter) Boy: This way. Jarl Borg: You can't win, Rollo! Old warrior: There is no disgrace in the eyes of the gods to save yourself for another day, Rollo. (Arrows whoosh, striking) (Pained cries) Old warrior: Your first duty is to try and save the sons of Ragnar. Jarl Borg: Surrender! Old warrior: Rollo, go! I will tell the gods what you have done. (Running footsteps) (Preparatory breaths) Jarl Borg: Now, do you surrender? (Footsteps crunch in the dirt) (Battle cry, axe slicing) (Battle cries) (w*apon clank, fighting grunts) ♪ ♪ (Footsteps crunch) (Wind howls) (f*re crackles) (Footsteps scuff) (Chuckles) (Laughs victoriously)

{"type": "series", "show": "Vikings", "episode": "02x03 - Treachery"}

foreverdreaming

Ragnar: Previously on "Vikings": Thorvard: The Saxons treacherously att*cked King Horik's camp. The king and his son, Erlendur, escaped with their lives. Ragnar: What about Athelstan? Bishop Edmund: Here is your destiny, apostate! Cut him down! I know things about Ragnar Lothbrok you do not know. How do I know you and I can trust each other? It is always a strength to know the weaknesses of your friends. Lagertha: Bjorn is very happy here. Then you both should stay. Lagertha: I must go back to my husband. I have a duty. But I leave my son in your good hands. Lagertha: Don't! Sigvard: I am your husband! Ragnar: I want to destroy Jarl Borg and to k*ll him with my bare hands. To make him suffer, as he's made my family suffer. ♪♪ ♪ More, give me more ♪ ♪ Give me more ♪ ♪ If I had a heart I could love you ♪ ♪ If I had a voice I would sing ♪ ♪ After the night when I wake up ♪ ♪ I'll see what tomorrow brings ♪ ♪ I... I... I... ♪ ♪ If I had a voice I would sing ♪ Seer: Tell me what it is you want. Are you unhappy? Do you think the gods have cheated you? Siggy: I want my old position back. I am bitter and I am angry. Everything I had, everything I possessed, everything that I was has been stripped away from me. And my anger is like a stone... A stone that I carry inside me that... Weighs me down. I... I cannot lift it. Seer: In some ways, you are still fortunate. Ragnar could have had you k*lled at the same time as your husband. Siggy: I am supposed to be eternally grateful to my husband's k*ller? I ask you once more, why you have come here. I want to know, will the gods ever smile on me again? Seer: The gods will always smile on brave women, like the Valkyries, those furies who men fear and desire. (Bird cries) (Birds cry) (Oars stroke the water) (Water churns) (Chatter and laughter fill the hall) Man: Erik! You'll have to forgive the poverty of the feast. It has been a hard winter. We had to burn our own grain stores to rid ourselves of Jarl Borg. Horik: So I heard. Ragnar: Tell us, Erlendur, what happened in England, after we left? King Horik: Ecbert never meant to honor his promises to you. We were betrayed, taken by surprise; it was a great slaughter. Erlendur and I barely escaped with our lives. What about Athelstan? Where is he now? If he is fortunate, he died in battle. In any case, let's not speak of him. He was a worthless individual. Bjorn: Poor Athelstan. My sister and I grew to love him when we were children. Floki: He fooled you, young Bjorn. He never denounced his Christian God! He was our enemy. We should rejoice at his death. So... What do you intend on doing now? King Horik: What do you think, Ragnar? I intend on gaining revenge on King Ecbert. We should plan a raid as soon as possible. Rollo: I would be very happy to take part in it. King Ecbert should certainly be punished. I agree. We should return to Wessex. But first, Jarl Borg must pay the price for what he did to my family and to our people. (Water pours) Porunn: (Gasps) Forgive me, master. No, it doesn't matter. King Horik: I understand, completely, and if I were you, I would feel the same way. But we must remember our agreement and what it was for. We would sail west to raid and to colonize. That was your dream, Ragnar, and I have come to share it. But now we have neither the men nor the ships to realize our dreams. What are you saying? I think we should go back to Jarl Borg. He is licking his wounds. He is no longer as strong as he was. And, yet, we need him. We cannot go west without his ships. And so, once again, we should ask him to join our alliance. Aslaug: (Whispers quietly) Don't listen to him. Rollo: But who should go to Jarl Borg? King Horik: I think it should be you Rollo. After all, you know him better than anyone. What do you think? (Wind howls) Farewell, my love. I will pray to Thor that he grant you safe passage. Warrior 1: Throw that! King Horik: May you have success, Rollo, for the sake of all of us. Warrior 1: Man your stations. Warrior 2: Stores aboard. Warrior 1: All the men aboard! Torstein: Rollo. Warrior 2: Try the sail then. I, too, wish you well. Those words mean a lot coming from you. They were hard to say. Now they are said. Cast away! Warrior 1: Ready the oars! (Oars stroke the water, water churns) (Wind howls fiercely) (Wine pouring) (f*re crackles) Horik: It has an unusual taste, wine. But then, you're an unusual woman, Siggy. I hope you do not mind I brought my son with me? I want him to start to understand the game. The game? The game you and I play. The game Ragnar tries to play. Are you sure it is a game? Why do you invite me to your bed? Why do you tell me things about Ragnar? Everything I do, I do for Rollo. And not for yourself? If Rollo rises, I rise also. And you need my help! (Chuckles) (Chuckles) My son is ignorant of the game and strangely ignorant of other things as well. He's only been with a few women, and they were nothing... Slaves, girls. I want him to enjoy the attentions of an experienced, free woman. (Exhales, taken aback) (Retreating footsteps) (Clothes rustle) Siggy: Erlendur, come. (Approaching footsteps) (f*re crackling) (Swallows and grunts) (f*re crackling) (Kissing) (Passionate moans) Sigvard: (Drunkenly) She sees a hall more fair than the sun, thatched with gold, at Gimle. There shall the gods in innocence dwell, and live forever a life of bliss. (Loud belch, ale pours) Why don't we have poets here anymore? Poets to entertain us! Sing to us! Make us laugh. I remember when this great hall was always full of laughter. Laughter and good fellowship. Woman: You can see it in her eyes. My wife has returned to me. (Scoffs) That's good. Men: (Chuckling) She went without my permission. But, as you can all see, she has come back and I love her for it. After all, what man wouldn't be pleased at the return of such a wife? Skol! Crowd: Skol! Lagertha: Skol, husband. Unfortunately, you left my stepson behind. Man: It's time to leave. (Women quietly withdraw) Woman: Gerta, take my hand. Come. Come. He's old enough to decide. Is it not enough that I came back? No, it's not enough, my dear wife, it's... It's not enough! Of course it's not enough. It's an insult to me! What else could I have done? His father is Ragnar Lothbrok. (Sudden thud, cup clatters) Who is this Ragnar Lothbrok?! Nothing but a windbag, an opportunist. A man so bloated with self-importance he pretends to be descended from Odin! (Men laugh) He doesn't need to pretend anything. (Drunken stumble, objects clatter) Now I know for sure why you went to defend him. Not to repulse a foreign inv*de, as you lied to me, but because you're still in love with him. You're still in love with Ragnar Lothbrok, aren't you, wife? (Drunken stumble, objects clatter) You can sleep alone tonight. I have made other arrangements. (Howling in the distance, owl hoots) (Floor creaking) (Approaching footsteps) (Fearful gasp and exhale) (Blows out candle) (Door bangs open) (Fighting grunts, punching blows) (Pained grunts, fighting grunts) Lagertha: Ungh! (Pained grunts) (Repeated blows, grunts of effort) Master, can I help you? I was going to ask you the same question. Those buckets look very heavy. I'm used to it. Bjorn: What is your name? Porunn: Porunn. Sit a moment. I have to finish my work. It is all right. Man: Please don't insult my ancestors. (Chickens clucking, pigs oinking) (Metallic clanking, chickens clucking) (Metallic clanking, sheep bleating) Where do you sleep? In that barn with the other servants and animals. Do you... Have a boyfriend? Of course! (Sheep bleats) I must finish my work. (Chickens cluck, sheep bleat) Woman: Sven! Sven! Aslaug: She is remarkably good looking. Ragnar: If you say so. Hor decide everything? Can you really forgive Jarl Borg? Do you know how much I suffered because of him? How much your sons suffered? Yes, I know. But you do nothing about it! By insulting and humiliating me, he insulted and humiliated you! My father never would have allowed such a thing. He would have been revenged. Your father cannot do too much now, being d*ad. (Foliage rustles underfoot) (water flows nearby) (Slow, calming breath) Jarl Borg: Sit down. (Approaching footsteps) What is that? Jarl Borg: The skull of my first wife. She continues to advise me. Is that fair to her? So... Your brother wants me to come and fight for him? He wants to rebuild the original alliance between himself, King Horik, and you. He believes that, in our small countries, cooperation is the only way forward. So he does not want revenge upon me? After all, I inv*de his lands. Men like you and I will always look for revenge. Ragnar looks beyond. Then he is a most extraordinary man indeed. As forgiving as a Christian! He is also a practical man. He and King Horik have lost a lot of men. They need you to help them raid. Jarl Borg: What do you say, my love? (Inhales deeply and kisses skull) You think I should go? She thinks I should go. (Birds chirp) (Bell tolls) You have a great gift, Athelstan. I believe it is a... A divine gift. Athelstan: Thank you, sire. I thought I might have forgotten, but... I love these materials. Brushes, the paints, the colors. I had not appreciated how much I missed my work. The pagans have nothing like it? Athelstan: No. They have no art. They can neither read nor write, except for their carved runes. King Ecbert: Mm. And their gods? Uh... Odin and Thor and Freyr. How strange you must have found them? Their gods are very old. And sometimes I could not help noticing some similarities with our own God, and his son. Come with me. King Ecbert: Tell me honestly: What do you think of these works? Athelstan: I find them indescribably beautiful. King Ecbert: But they are clearly pagan! (Laughs) You are only a monk, Athelstan, and yet, somehow, I begin to trust you. I feel you... You are a kindred spirit. Who? Who painted these images? What race of man was ever so glorious that they filled our world with such, as you say, indescribable beauty? I have been told, sire, that you served at the court of the emperor Charlemagne, which I have also visited. I cannot imagine, therefore, that you do not know what I know. That these images were painted by the Romans. They conquered these lands a long time ago. They conquered the whole world. But they were pagans. They worshipped false gods. Never speak of our conversation to any other man here. Nobody else would understand it; they would fear it! They accept an interpretation that a race of giants once lived here... (Chuckles) And that we have nothing to do with them. (Both chuckle) The fact is, Athelstan, we have lost more knowledge than we ever had! These romans knew things that we will never know. Their pagan gods allowed them to rule the world. And what is the lesson that we can learn from that? (Flute plays, drum beats, clapping and cheering) ♪♪ ♪♪ (Flute plays, rhythmic clapping and drumming) (Music slows and becomes muted) ♪♪ (Bell tolls) (Blood dripping) (Gasps in fright) (Gasps in fear) (Gasps in fear) Aethelwulf: Monk, my father desires to see you. (Birds chirp) (Door creaks open) King Ecbert: Come and see. Look around. You thought those paintings were all that there was. But of all Roman things, these are the most precious. Tales of the Caesar's. The fall and ruin of Roman Britain. Tales of emperors and empires... It's the stuff of dreams, Athelstan. It's the very fabric of dreams. You can read them, of course. (Dust scatters) Athelstan: Yes. Yes, I can read them. King Ecbert: Good. That is why I've chosen you. Athelstan: What do you mean? King Ecbert: Well, I've chosen you to be the guardian of these books and their secrets. I want you to copy them. You speak Latin; Not many do. Your job will be to preserve these works and these... Fragments for all eternity. But if you ever tell anyone about them, I will let them crucify you. (Seabirds cry out) (Water laps gently) (Oars stroke the water) Jarl Borg: I hope you were telling me the truth, Rollo. Torvi: Why don't you ask her? (Oars stroke the water) (Loud buzz of chatter fills the hall) Man: Jarl Borg. (Loud chatter) Ragnar: Please. Jarl Borg: Earl Ragnar Lothbrok, can I say, in all honesty, a greater man than I am. I know I don't deserve the chance you have given me to raid and work with you, but I swear on my ring, from henceforth, you've no reason to doubt my loyalty, or my commitment to our common cause. If we are being honest, I can tell you that it was King Horik who argued for a renewal of our alliance. As you can imagine, I was not, at first, enthusiastic. But then... Then I realized what could be gained by inviting you. We have much to gain if we work together, and a lot to lose if we don't. Even I can see that now. (Chuckles softly) (Chuckles, pleased) Torstein. Yes, my lord. Ragnar: Put Jarl Borg's men in the barn which the servants use. And treat them with respect. Of course, my lord. Thank you. King Horik: (Chuckles) Siggy. I never once for a moment imagined Ragnar would take my advice, and invite Jarl Borg to rejoin our alliance. As I told you, Ragnar is different. Whatever you think he will do, he will always do the opposite. And I wanted to thank you for what you did for my son. You made him a man. Do not ask me to do it for your other sons. I am not a whore. Oh, no. Just for me! (Loud chatter fills the hall) Can you keep a secret? (Giggles) No. (Howling) (Music and chatter fill the hall) What's the matter with you, my love? You don't talk, you don't smile. (Gasps in pain) (Kiss) My love, you must do better than this. You know something? My wife has got the most beautiful breasts. I keep telling her, but she doesn't believe me. She has the most beautiful breasts in the world. (Music stops, chatter quiets down) They're like Freya's breasts. The breasts of a goddess. Man: Hmm... Sigvard: Let me show you. (Fabric rips, Kn*fe slices through) (Gasps and shrieks of horror) Sigvard: (Screaming in pain) (Unsheathing sword) (Horrified gasps) (Hard thud) (Blood drips) (Grunted breath) (Whispers fill the hall) Aslaug: The giant king's servants carried a trencher into the hall and set it down before the throne. They heaped it with hunks of chopped meat, and it reminded Thor that rather too long had gone by since they had last eaten. Ubbe: Thor was so hungry! A chair was provided for Loki at one end of the trencher, and for Logi at the other. (Footsteps scuff) (Eagle cries) (Footsteps scuff) (Ominous music) Aslaug: At the word from the giant king, they both began to eat. They gobbled and consumed and devoured. Ubbe and Hvitserk: (Giggle) Each of them ate as fast as they could, edging their chair forward, and they met at the middle of the trencher. Loki had eaten every scrap of meat and left nothing but the bones. (f*re crackles) (Blade rings, Rollo breathes angrily) Siggy: Where are you going? (Door slams shut) (f*re crackles) But Logi had not only eaten the meat, he had eaten the bones, and the trencher as well. Ubbe: I think Logi won. (Gasps awake) (Long, slow exhale) (Distant echo of bones rattling) Who is it? Seer: Yes, I can see, and I see an eagle. I see that an eagle hovers over you. But I also see that you yourself are the eagle. (Shuddering breath) (Echo of bones rattling) (Wings beating) Aslaug: (Whispering) "I would say," proclaimed the giant king, "that Loki is the loser." Hush, Ubba. Hvitserk is nearly asleep. Now you go to sleep. Ubbe: (Whispering) I don't want to. (Whispering) Why not? (Whispering) Because whenever you dream, you never know what is going to happen! (Running footsteps) (Lock clunks shut) Men: (Groggy waking murmurs) What's happening? (Men protesting, banging) Hey! What? If you want to live, stay silent. Nothing will happen to you. Man: Shh! (f*re crackles) (Straw catches f*re) Men: (Alarmed shouting) No! No! f*re! Young man: (Shouting) Let us out! Let us out! Torstein: Where have you been? Floki: Here and there. Up and down. Rollo: Where is Bjorn? He is supposed to be with you. Floki: I don't know, Rollo. Rollo: Let's go. (Approaching footsteps) Bjorn: (Sniffs) It is fine, come. You can sleep here. No, I can't. Of course you can. Why not? This is your place. I cannot sleep here. Well, don't you want to? What does it matter what I want to do? Well, what if I ordered you to stay here? Then I would have to... Heed your command. I don't want to order you. I want you to choose to stay here. (Clothes rustling) (Door bursts open) (Raven crows ominously) (Belt thuds on floor) Rollo: Good evening, Jarl Borg. (att*ck yell, choked grunt) Agh! (Heavy breathing) (Sighs) I told you... I always look for revenge. Jarl borg: (Cries out in pain) Torvi: No! (Struggling grunts) Rollo: No! (Torvi gasps, borg protests) Rollo: Not necessary. (Light kiss, hard head butt) (Repeated blows, pained grunts and groans) (Kicking thuds, pained grunts) (Grunts of exertion, answering grunts of pain) (Grunts of effort, pain grunts) (Screams in outrage) (Fighting grunts) Jarl Borg: (Screams) King Horik: What is all the commotion? Ragnar: I am sorry, that the ambiance of Kattegat has awoken you. What is the cause of this? Torstein: In here! (Door bursts open) (Dragging) (Hard thump) King Horik: Is he d*ad? Floki: No, no, no. He's not d*ad... Yet. (Hard kick, grunts in pain) King Horik: Why have you done this? Did you really think that I could ever forgive this man for thr*at to k*ll my family? So what will you do now? Jarl Borg: (Grunts in pain) (Grunts in pain) Ragnar: Since you consort with eagles, I will draw a blood-eagle on your back... No. And your ribcage will spring apart. (Ravens crow) (Grunting in pain) (Pleading) No. Yes. (Ravens crow) Like wings.

{"type": "series", "show": "Vikings", "episode": "02x06 - Unforgiven"}

foreverdreaming

Ragnar: Previously on "Vikings": Without Jarl Borg's ships and warriors we cannot hope to mount a successful raid on Wessex. We will find another ally. I want my revenge on King Ecbert and I shall have it. Envoy: You need a new ally to att*ck Wessex. We can provide such an ally. His name is Earl Ingstad. Lagertha: Over a hundred warriors. Will you accept me as an ally? King Ecbert: Ragnar Lothbrok is no longer alone in attacking our shores. If you and I join together, we should surely overcome him. Rollo: Why do you keep making concessions to Horik? Ragnar: Because he is the king. Floki: Everything here is for Ragnar, but he cannot have everything. Siggy: Floki is angry with Ragnar. Aslaug: I told Ragnar if he forced himself on me in the first three days of his return, I would bear him a monster. (water drips, muted chanting) Sorceress: (Chanting in old norse) Aslaug: (Cries out, weeping in agony) Sorceress: (Chanting in old norse) Aslaug: (Grunting and weeping in agony) (Cries out in agony) (Grunts and wails in agony) Siggy: (Concerned exhale) Princess Aslaug, listen to me. You are in an open field. On one side of you is a deep pit filled with bones and ashes and hellish things. On the other side is your house, your sons, the Fjord, and the sunlight is striking the snow high on the mountains. If you want to reach your house, then you must push the baby out as Freya would. Let him rip you, but push... Out. (Shaky breaths) Choose life. (Distorted chanting) Siggy: Yes. Aslaug: (Cries out in pain) Siggy: Yes. Sorceress: The baby will come. Aslaug: (Grunts in pain) Siggy: That's it! Good. Sorceress: I see the head. Aslaug: Agggghhhhhhhhhhhh! (Panting, relieved) (Crying) (Baby cries) Siggy: It's alive. It is alive. Sorceress: It's a boy. (Baby coos) King Horik: We must prepare to go to Wessex. Obviously, we must leave soon. Lagertha: I have to return to my territories. I have to prepare my ships. It will take some time. King Horik: How much time? Bjorn: Just enough time. No more, no less, King Horik. Porunn: Your father has a new child. Bjorn: A son? Porunn: Yes. King Horik: I must congratulate your father. It is never a bad day to have a son. The gods cannot stop offering him their blessings. Erlendur: I, too, am happy for Earl Ragnar. King Horik: Erlendur. Lagertha: Who are you? Porunn: Porunn. Lagertha: I meant, who are you to my son? Bjorn: She is a servant. A sl*ve... (Waves lap at the shore) And I am in love with her. (Preparatory breaths) (Baby fusses) (Bites umbilical cord and spits) (Sighs) (Sighs heavily) (Sniffs and sighs dejectedly, baby coos) Ragnar: After all, your prophecy was right. (Baby fusses) (Footsteps thud loudly, rain patters) King Horik: Don't be too long. Lagertha: I won't. King Horik: I need you. If the three of us are equals, we need each other. But one cannot be more equal than the other. You mean Ragnar. You and I are at least his equal, and Ragnar must come to understand this. I agree. Siggy: Lagertha! To keep you warm. What is wrong with Ragnar's new son? Siggy: Nothing. Be safe. Lagertha: How loyal you are, Siggy. (Rain patters loudly) Agh! (Vicious thud) (Shields strike hard, w*apon clank) Don't die stupidly. I'm not going to die. (Sword strikes) Agh! Rollo: Yes, you are! If I choose. Agghhh! (Axe strikes) Rollo: Fight! (Water splashes, swords clash) (Blade slashes) Ugh! (Distorted shaky breaths) (Axe strike rings, surprised gasp) (Distorted axe strike, distorted shout of surprise) (Blade rings, water splashes) (Sword strikes sand) (Shaky breaths) (Shield splashes) (Grunts) Always remember to finish off your opponent, if you can. No man ever ran away with his entrails hanging to his knees, or his head cut off. (Blade rings) Rollo: Your mother is an amazing woman. Bjorn: I know. You were in love with her once. (Thunder rumbles) Well, believe me, those feelings are wasted. Don't the gods love? Who is to say their love is wasted? (Chuckles) How come you know so much about the gods? Because my father, you and I... Are all descended from Odin. Or is that not true, uncle? He will die anyway. What is the point of pretending? If we were wolves, or even pigs, this poor, weak runt would be discarded. (Baby coos) (Sniffles) We are not wolves or pigs. Ragnar: It is natural. We let such babies die for their own good. For what kind of a life could he live? I know, but I don't care. (f*re crackles) (Loud buzz of chatter) (Sheep bleat) Aethelwulf: Always so behind the times! Athelstan: Well, that's true. My work is for all eternity. Athelstan: Who is coming? Aethelwulf: Kwenthrith. The daughter of Offa! Athelstan: King of Mercia? Aethelwulf: Well, before he died, that is. Athelstan: Not his son? Aethelwulf: Don't you know anything? Kwenthrith k*lled her brother, Offa's natural heir. Now the whole kingdom is beset by dynastic squabble. Everyone is m*rder everyone. Athelstan: Presumably... King Ecbert doesn't want to get involved with such terrible squabbles? Aethelwulf: Of course not. My father has no interest whatsoever in what happens in our neighboring kingdom, which just so happens to be the largest, most important, and richest kingdom in England. Athelstan: So this is our fratricide. Our mass m*rder. King Ecbert: Welcome, princess, to the Kingdom of Wessex. (Fierce wind blows) (Water laps gently) (Fierce wind blows) (Footsteps rustle lightly) (Baby fusses) (Footsteps retreat) (Baby coos) (Water flows nearby, birds chirp) There is no other way. (Inhales sharply) No other way, my son. (Baby fusses) (Birds chirp, water flows nearby) (Metallic scrape) (Birds chirp) (Relieved exhale) (Baby coos softly, Aslaug weeps quietly) (Horse whinnies in the distance) (horse whinnies, galloping hooves) (Galloping hooves thunder loudly) (Loud, excited chatter fills the great hall) (Bells jingle) Women: Lagertha! Lagertha! Man: My lady. Woman: It is good to see you! Einar: Welcome back, Earl Ingstad. We've all missed your presence. Lagertha: Thank you, Einar. But you will have to do without my presence a great deal longer. It is agreed that I am to raid the English kingdom of Wessex with king Horik and Earl Ragnar. (Shouts of excitement, bells jingle) I expect my ships to be provisioned by the next full moon, and all my warriors to be armed and assembled. Man and woman: (Chatter excitedly) (Doors burst open, royal trumpet bellows) (Cheering and applause) (Music plays, lively chatter fills hall) Kwenthrith: Oh, no meat for me. I don't like it. It kills you. (Bishop laughs) Kwenthrith: Only vegetables. Who are you? My name is Athelstan. I was a monk at Lindisfarne. A monk! King Ecbert: Athelstan was captured by the northmen. He's lived amongst them. He knows everything about their pagan ways. I have heard that the pagans sacrifice human beings! Is that true? Do they actually? Every nine years, yes, they do. To please their gods. Kwenthrith: And are they naked? I have been told that they make love to whomever they choose, and that the idea of fidelity is utterly strange to them. They have... A different morality to us. Is it not more natural? Athelstan: I... Kwenthrith: (Distantly) Is it not more natural? (Moans of pleasure) Is it not more natural? (Heavy breathing) (Echoing) Is it not more natural? Athelstan: I... I would only say that it is different. (Loud buzz of chatter) (Light clang) Kwenthrith: How boring you are! King Ecbert: I was shocked to hear of the death of your brother. Kwenthrith: Oh, don't worry about my brother. Did you know that the Pope has already made him a Saint? Saint Kenelm! Apparently, he lived an exemplary life! King Ecbert: Do you mean to say that he was not altogether virtuous? Kwenthrith: Well, he r*ped me when I was about twelve. Bishop Edmund: (Coughs violently) Kwenthrith: So you must make up your own mind. King Ecbert, I do not need to ask why you've invited me here. I know very well. You want to influence the destiny of Mercia. My family are k*lling one another, and you want to be on the side of the party which succeeds to the crown. You put it very precisely, princess. It should not surprise you to hear that myself and my allies will succeed. But, perhaps, your support would be an advantage. King Ecbert: I was thinking of sending my son, Aethelwulf, to advise and help you. I would gladly open my gates... To your handsome son. Aethelwulf: (Chuckles) King Ecbert: I would also like to hire some northmen as mercenaries to help you succeed in gaining the throne of Mercia. Kwenthrith: I need to meet these northmen whose prowess, in all things, I have heard so much about. Heh. It seems no one can talk of anything else now. King Ecbert: So let us drink... (Chairs scrape back) To princess Kwenthrith, and the conquest of Mercia. All: The conquest of Mercia! (Cups clink) (Low, muffled roar, water ripples lightly) (Water splashes, Lagertha sighs) (Bathwater splashes, Lagertha sighs repeatedly) (Chimes jingle lightly) (Animal howls in the distance) (Chuckles softly) Lagertha: Einar, why don't you come in? (Slurps) (Door creaks open, bathwater sloshes) Do you want to speak to me? Einar: Yes. Lagertha: Then wait. (Water splashes) Einar: (Breathing heavily) What do you want to say? (Exhales heavily) (Liquid pours) Einar: I thought we had an agreement. I don't remember any agreements, Einar. You do remember! I would help you become Earl, and then, as a result, we might be married. Lagertha: I never made any arrangements. Not with you, nor with anyone else. You wanted rid of Sigvard because he was insane. So I k*lled him. That's all. Einar: (Breathing heavily, unsheathes dagger) If you do not let me enjoy you, I shall open your face! Lagertha: And then... What would your family do, hmm? If they had any respect for you, they would have made you Earl, not me. The truth is, you couldn't k*ll me. The only person you could k*ll was a dying man. That's how brave you are. (Barking and howling in the distance) Siggy: Aslaug, forgive me. What is wrong with Ivar? Everybody talks, but nobody knows. Aslaug: He is my son. Siggy: But sooner or later, you have to show him to the world. You can't keep him covered up forever. (Ivar coos) (Sharp exhale) (Object clatters lightly) (Approaching footsteps) (Gasps) Ragnar is right. Aslaug, this child will never walk. Oh, by the gods, you must... You must put him out to die. Thank you for your good advice, but I would rather die myself than take it. (Grunting, heavy breathing) King Ecbert: (Gasps and groans, exhausted) Kwenthrith: Ecbert... What is it? Ecbert? (Ecbert's breathing slows and steadies) I'm done. Kwenthrith: What? Already? King Ecbert: We've been... Kwenthrith: Well, I'm not done. King Ecbert: Well, I don't know how I can be of help. Kwenthrith: What about the priest! King Ecbert: Athelstan? Kwenthrith: Yes, he lived with the pagans and pagans like sex, don't they? King Ecbert: Athelstan is a... He's a spiritual man. Kwenthrith: (Gasps, turned on) Well, I've never met a spiritual man who doesn't like to make love like an animal. Don't... Don't... Don't you want to sleep? Are you insane? Where are you going? King Ecbert: I am going somewhere to sleep. (Breathing heavily) In the meantime, I will send in some of my warriors to attend your needs. Good night, princess. (Footsteps scuff the floor, door closes) (Whispering) (Torch f*re crackles) King Ecbert: Good luck. (Murmurs quietly) Warrior: This way. (Door creaks open) Kwenthrith: Don't be shy. (Armor, shields and w*apon crash on the floor) (Door bangs closed) (banner flaps in the wind) ♪♪♪ Old warrior: There! Now we will win! (Wind howls) ♪♪♪ (wind howls) (Ravens caw) ♪♪♪ (f*re crackles) (Ivar coos) Our child should have a name, now that the gods have saved him. His name is Ivar. (Ivar coos) Ivar, the Boneless! ♪♪♪ (choppy water churns) (Banner flaps violently in the fierce wind) (Seabird cries overhead) Warrior: Goodbye, my love! (Water splashes) ♪♪♪ Bjorn: Porunn! Porunn! Porunn! Porunn! I should not talk to you. Many do not wish it. In any case, what does it matter? I'll probably die in battle. (Passionate kiss) Porunn: I love you. (Gasps) (Passionate kiss) ♪♪♪ (footsteps thud) Floki: I'm crazy and cracked. There is something wrong with me, which is why I choose to travel with King Horik. Helga: Why? Floki: I don't know yet. There's something about him. He understands the gods better than Ragnar. Helga: No. Floki: No? Helga: That is not possible. Floki: I mean the real gods, the darker gods, the gods that haunt me. (Fierce wind blows) Siggy: Rollo. I will be here when you return, if it is what you want. ♪♪♪ (waves crash against the ship) ♪♪♪ (banners flap violently in the fierce wind) ♪♪♪ ♪♪♪ (horn bellows) (Horn bellows) ♪♪♪ (footsteps splash) ♪♪♪ (footsteps thud heavily) Warrior: All sail! Man: Pull off! Pull off! (Birds chirp) (Seabird cries) Captain: Let's go! (Seabird cries) (Waves roll and crash) (Waves crash) (Water churns and splashes) (Sails fill with wind) Ragnar: Thank you. Torstein: What is the matter with you? Something the seer told me. What did the seer tell you? That Athelstan is alive. Athelstan? But I thought he was d*ad. That's what King Horik led me to believe. He also said that Athelstan betrayed him. King Horik: How is Ragnar treating you these days? He treats me well enough. It is my judgment that a boat builder... Is worth ten earls. And how many kings? (Chuckles) If you decide to build boats for me, I would certainly treat you like a king. You think you can buy me with riches? I would never insult you like that. What I need from you, Floki, are your ideas... For they are worth more than gold and silver, and they come from the gods. Are you sure they do? Ah, yes... Yes, I'm sure. (Wind blows fiercely) (Ship creaks) (Ravens croak) Rollo: What are you thinking? I am thinking about battle. Rollo: You have nothing to be fearful of. I will always be by your side. Erlendur: Land! Warrior: (Shouts in old norse) (Beats drum) Warrior 1: Land! Warrior 2: Come on! King Horik: (Laughs) (Oars stroke the waves) (Quill rasps) (Door creaks open) King Ecbert: Your friends have returned. Athelstan: My friends? King Ecbert: A large fleet of northmen have come ashore in Wessex. One of the ships, I am told, was flying the black raven banner of Ragnar Lothbrok. What will you do? I hope I can negotiate with Ragnar. When we met before, he struck me as different. Intelligent. He will listen to reason. Good. But if not, I will fight him. I have already sent a message to King Aelle, asking him to supply warriors, according to our treaty. Whatever happens, I will not be defeated. (Door creaks shut) (Quill rasps) (Rain patters) Shield-maiden 1: It's secure. Shield-maiden 2: Here, I'll help you. Warrior 1: Here they are. Warrior 2: Where is he? (Foliage rustles underfoot, horse nickers) Warrior: Now, have a drop of this. Shield-maiden: The fires going out. Inge, help me! (Foliage rustles underfoot, horse nickers) Shield-maiden: Cover this here! Warrior: And dig a trench for it. Shield-maiden: Tie it with this rope. I never imagined the west would be so wet! King Horik: Where is Torstein going? I sent him to inform the king of our return. Why? Ragnar: So he knows that we are here to talk... And not to fight. And you did that without consulting with me. Ragnar: I thought you would both agree. King Horik: Why should you think that? Ragnar: Because it is a sensible policy. Fine, I will... Unfortunately, it is too late to recall Torstein. Lagertha: You should have discussed it with us; King Horik is right. Ragnar: I will try to remember that the next time, Earl Ingstad. King Horik: There is not going to be a next time, Ragnar, unless you agree you will never ever do anything again without consulting with me first. For you and I are not equals. So, what do you propose now? Ragnar: Wait. Lagertha: For what? Ragnar: The unexpected. King Horik: Let me tell you what to expect, hmm? King Ecbert will send some envoy to trick us, or he will send some army to annihilate us. (Axe strikes) (Foliage rustles underfoot, rain patters) (Thunder rumbles) (Slurps) (Warriors chatter in the distance) That went well. (Rain patters) Warrior: They're coming! The Saxons are coming! Rollo: Form a shield wall! Shield wall! Warrior: Hold them! They're escaping! Rollo: Narrow their approach! Warrior: Over there! Over there! (Horses whinny) (Grain sifts and scatters) (Bells jingle lightly) (Hooves thud softly) (Grain sifts and scatters) (Approaching footsteps) (Preparatory exhale) (Shields clatter) (Foliage rustles underfoot) (Bells jingle lightly) Ragnar Lothbrok, my father, King Ecbert, sends his greetings. He hopes that you will be prepared to talk to him. Ragnar: I am prepared. But we would have to exchange hostages. Aethelwulf: Of course. And my father also sends you this, as a token of his good will. Ragnar: This is Athelstan's. I gave it to him. Then he is alive. Aethelwulf: Athelstan is waiting to see you at my father's villa. You have his guarantee of safe passage, as well as my father's. Ragnar: Then... We will all come to your father's villa. (Ravens crow in the distance) (Foliage rustles underfoot) (Soldier shouts a command, horses whinny) Anglo-Saxon soldiers: Ho! Hyah! Hyah! ♪♪♪ (grain sifts and scatters) (Hooves thud heavily, foliage rustles underfoot) Captain: Halt! Halt! (Battle cries rend the air) (Men shouting, horses whinnying) Warrior: Aggghhhhhhh! Aethelwulf: Agghhh! Ungh! (w*apon clank, fighting grunts) (Distorted fighting grunts and grunts of pain) Agghhh! (Crashes on ground) ♪♪♪ Unnggghhhh! (Sword rings as it strikes) ♪♪♪ (sword rings) ♪♪♪

{"type": "series", "show": "Vikings", "episode": "02x08 - Boneless"}

foreverdreaming

Ragnar: Previously on "Vikings": King Ecbert: Your friends have returned. A large fleet of Northmen have come ashore in Wessex. What will you do? King Ecbert: I hope I can negotiate with Ragnar. King Horik: Where is Torstein going? I sent him to inform the King of our return. King Horik: But you will never ever do anything again without consulting with me first, for you and I are not equals. (Axe strikes) King Ecbert: Princess Kwenthrith of Mercia! I would like to hire some Northmen as mercenaries to help you succeed in gaining the Throne of Mercia. Aethelwulf: Athelstan is waiting to see you at my father's villa. He hopes that you will be prepared to talk to him. King Ecbert: Ragnar Lothbrok is no longer alone in attacking our shores. If you and I join together, we should surely overcome him! Aghhhhhhh! Oof! (Music theme) ♪ more, give me more ♪ ♪ give me more ♪ ♪ if I had a heart I could love you ♪ ♪ if I had a voice I would sing ♪ ♪ after the night when I wake up ♪ ♪ I'll see what tomorrow brings ♪ ♪ I... I... I... ♪ ♪ if I had a voice I would sing ♪ Athelstan: Caesar had sent his cavalry a little in advance and was following with the rest of his forces. The battlefront was not formed according to rules of military theory, but as necessitated by the emergency and the sloping ground of the Hillside. The legions were facing different ways and fighting different actions. The 9th and 10th legions were on the left, and discharged a Volley of Spears at the Atrebates." King Ecbert: Yes. He's always thinking, always using the terrain. Go on. Athelstan: At the same time, the Roman cavalry and light-armed troops, seeming to appear from nowhere King Ecbert: Ahah! But he knew where. They were in here. And what of his person! What of he himself? Athelstan: As the situation was critical, Caesar moved to the front of the line, addressed each centurion by name, and shouted encouragement to..." The fragment ends here. King Ecbert: Hmm. But we can imagine how it really ends. We must do battle with Ragnar Lothbrok and his allies. I cannot believe that Ragnar does not want to negotiate. I know him too well. He's looking for land, farming land, for his people. King Ecbert: His men k*lled all of my envoys, sparing only my son. By which they sent me a simple but clear message. Athelstan: Why not send me to speak to him? You are already too dear to me, and too important. Which is why, I think, they would k*ll you. Athelstan: When? When will you att*ck? King Ecbert: As soon as King Aelle returns with his warriors. I'm sure you would prefer that Earl Ragnar and I made peace. Perhaps then you could be at peace with yourself. Ragnar: King Horik, your behaviour has made it very difficult to talk peace or to negotiate with King Ecbert. King Horik: I never had any intention of negotiating with King Ecbert. I thought you were aware of that. I only want revenge. I want to k*ll King Ecbert. And then, perhaps, I shall talk to him. Lagertha: If we defeat Ecbert in battle, he may be prepared to offer us more in terms not only of gold, but of land. Ragnar: This was a gift in good faith. King Horik: What is good faith? Why should there be good faith between us and Christians? What do you say, Floki? Floki: They worship a false God. They're fleas and vermin. Ragnar: I will go myself and talk to him. King Horik: You will not divide our forces, Earl Ragnar. You seem to forget I am King. We will strike camp tomorrow, and, armed and ready, we will go to seek battle, as our father Odin has taught us. Erlendur. Rollo: (Spits) (Metallic scraping) (Low hum of chatter) (Approaching footsteps, warriors chatter nearby) (Crickets chirp, owl hoots) Bjorn: I can't sleep. I am thinking about what it is like to die. Only those who have died would know. The Seer would know. Ragnar: He is not truly d*ad. That is his curse. He told me something about you. That you would marry the daughter of a King, or else sail round a sea that has no tides. Then I shall not die tomorrow? Not according to the Seer. (f*re crackles) Bjorn reminds me of Odin's favourite son, Balder. You know the story. Floki: The Gods made everyone swear an oath that he would be safe. Nothing could injure Odin's favourite son. King Horik: The Gods even tested the oaths. They threw stones at him, darts, struck him with axes, and slashed at him with swords, but it seems nothing could harm Balder. Floki: Everyone rejoiced that it was impossible to hurt Balder. All except Loki. The sly one watched with distaste and impatience. And it sickened him to see how Balder was immune from all sorts of att*cks. Yes. The sly one knew he had to find a way to k*ll him. Athelstan: Help me, Lord. Who are these Gods who haunt my nights and wreck my peace? Odin, Thor, Freyr... You have taught us not to worship false Gods, but I have seen them. I have seen Thor in the sky! I have seen the Sparks from his anvil. I felt the sea heave with his anger. (Sighs) Why is this false? Things that I've seen with my own eyes. Things that Ragnar believes. Whatever happens, do not let Ragnar die... Nor yet Lord Ecbert. (Foliage crunches underfoot) (Raven croaks) (Foliage crunches underfoot) (w*apon and shields thump and clank) (w*apon clank and thump) (Ravens crow) Ragnar: This is the place. King Horik: How do you know? Because they are already here. Anglo-Saxon captain: Over here! Stay close! Here. Come! King Horik: A large force, but not large enough. We will go down to them. I think we should wait. King Horik: I'm not waiting! The enemy is there! We have the advantage of the hill. Forward! (Foliage crunches underfoot, warriors chatter quietly) Rollo: (Sighs heavily) (Horses snort) (w*apon clank against shields, warriors shout thr*at) Warrior: Let's be having you! Shield-maiden: Saxon heads! (Warriors shout thr*at, w*apon clank against shields) (att*ck yells fill the air) Rollo: Ragnar! Soldier: Forward! Ragnar: Form! Rollo: Behind the wall! Move! (Horn bellows) King Horik: Why are you stopping? The Gods are with us! Forward! Forward! (Unsheathes sword) Charge! (Battle cries fill the air) (Anglo-Saxon captain yells a command) Rollo: Hold your position! Lock shields! (Shields clatter) Torstein and Rollo: Brace! (Warriors scream) King Horik: Together! (att*ck screams fill the air) Rollo: Brace! (Loud crash) (w*apon clash and thud, warriors and soldiers scream) Anglo-Saxon captain: att*ck! Lagertha: Shield-wall! Rollo: Forward brace! Rollo: Brace! (Hooves thunder, charging cries) Yah! (Axe strikes) (Charging cries) Lagertha: Hold! Hold the wall! (Thundering crash) (w*apon clank and clatter) King Horik: Stand! Stand your ground! (Fighting grunts, w*apon striking) (Swords clank) Ungh! (Axe clangs, pained yell) (Sword slashes) Aghhh! Warrior: Agghhhh! (Thundering crash) (Fighting grunts, w*apon striking) King Aelle: Sound the advance! - (Trumpet bellows) Aelle's captain: att*ck! (Fighting grunts, w*apon clank and strike) (Distorted whinny and muted thundering hooves) (Thundering hooves, battle cries) (Thundering crash, w*apon smash and clang) (Fighting grunts and screams, w*apon smash and clang) (Smash) Ungh! Yahhhhhh! Agghhhh! Agh! Oof! Warrior: Agggh! (Axe strikes) Soldier: Aggghhh! (Repeated blows) (Fighting grunts, w*apon clashing) Rollo: Ungh! Argh! (Fighting grunts, w*apon clashing) Ungh! Rollo: Ungh! Solider: Agghhhh! (Fighting grunts) Soldier: Uh! (Sword strikes) (Fighting grunts) (Horses crash) Warrior: (Grunts and screams in pain) (Sword strikes) Agghhh! Rollo: Wah! Aethelwulf: (Charging cry) Ungh! (Horse whinnies, thunderous trampling) (Heartbeat pulses loudly) (Pained grunts, warriors shout, w*apon clash) (Fighting grunts, w*apon clank) (Frustrated grunt) Soldier: Ungh! Ragnar: Yah! Hyah! (Dull roar of fighting grunts and w*apon striking) Soldier: Hyah! Warrior: (Hard thud) Warrior: (Screams in pain) (Fresh battle cries) Run! (Seams) Run! (Horse whinnies) Soldier: Ungh! Lagertha: Aghh (Hard smash) Agghhhh! King Horik: Unghhhh!! Floki: Horik! King Horik! (Exertion grunts) Uhhh! Arghh! (Fighting grunts, w*apon clash) Bjorn: Father! (Swords strike) (Shields smash) Agghhhh! ♪♪♪(Music w*r theme)♪♪♪ ♪♪ (Ominous music) (Spear strikes, dying warrior grunts) (Dying warrior groans, spear strikes) Soldier: (Grunt of effort) Warrior: Help! - (Sword strikes) Soldier: Here, swine! Soldier: Friar! The cross! Please! Soldier: There's another! Soldier 2: Here, brother! Come! Come! Athelstan: No! Wait! Stop! (Groans and cries of pain) King Ecbert: Athelstan, who is it? Do you know this man? King Aelle: I know this man. His name is Rollo. He's Ragnar Lothbrok's brother. We baptized him, but it made no difference. King Ecbert: It is unfortunate that he's d*ad. Rollo: (Gasps in pain) Athelstan: No! He's still alive! King Ecbert: Father! This is an important man. See what you can do to save him. Priest: Yes, sire. Athelstan: He's badly wounded. There. (Ravens croak and caw) (Crowing) (Gurgled breaths) Ragnar: Stop! Do you still think that we should not have talked to them first? King Horik: You always think you can second guess the Gods, Ragnar! What has happened today was fated. It had nothing to do with you or I. Bjorn: Agh! (Shield crashes) (Hard kick) (Tired exhale) Ragnar: You fought well today. I was fortunate, that is all. Ragnar: You were favoured by the Gods. Favoured?! We were defeated. We live to fight another day. We lived, but my Uncle died. We do not know if he is d*ad. It would take a lot to k*ll him. Since no axe, spear, or blade could touch my son today, he will be known as Bjorn Ironside. Lagertha: We must make some decisions, and we must make them quickly. Do we leave tomorrow and abandon this raid? Bjorn: If my Uncle is captured and wounded, I want to stay in this place... As long as it takes until he is free. Ragnar: (Sniffs) Well, King, what are we fated to do? (Rain pours down) King Aelle: Victory over the Northmen! (Loud cheering and laughter) King Aelle: Now your father surprised them with his tactics, hmm? He surprised me too! How do you know these things? Who knows, sire? Maybe he read something somewhere, which helped him. Reading, for monks mostly! Very little use otherwise. (Celebratory laughter) (Metal hammering, low of atter) (Water splashes) (Footsteps squelch in the mud) Athelstan: Rollo! (Laboured breaths) Priest?! (Gasping) Look at you! Horik was right. (Laboured breath) You betrayed us. (Laboured breaths) If I had enough strength to k*ll you now, I would. (Footsteps splash in the water) (Flames roar) (Water laps gently at the shore) (Retreating footsteps) (Flames roar) King Aelle: Allies! Hmm! (Goblet splashes) Allies and friends, huh? Mmmmuah! (King Aelle and men laugh) When shall we att*ck again our wounded foe, huh? And wipe them out? (Men laughing) King Ecbert: That might not be a good idea. King Aelle: Of course good idea! We've won half a victory. Now, with God's help, we'll annihilate our enemies, hmm? King Ecbert: Forgive me, King Aelle, but I might suggest that even the complete destruction one Northern army will not lead to the end of their incursions. Probably quite the opposite. Motivated by greed and by the need for revenge, they're very likely to return with renewed strength. And not just once or twice, but again and again, times without number. The only way to bring an end to these incursions is to negotiate an agreement that is good for both sides. But, in the meantime, King Aelle, buying the services of these Northmen, as mercenaries, will certainly help us to overcome Mercia. Aelle: Mm. Very well. As you say. But someone has to take this offer to the Pagans. That is, if they have not yet already sailed away. (Spurting) Indeed. Bishop Edmund: Considering their treatment of our envoys so far, you're not going to have too many volunteers. (Men laugh) Aethelwulf: I have a suggestion. I think we should send Athelstan. King Ecbert: But they may k*ll him. Aethelwulf: (Laughs) Oh, I doubt that. In any case, would it matter? King Aelle: (Laughs) (Hooves thud) (Birds chirp) (Low hum of chatter) Warrior: Ragnar! There you are! Warrior 2: Look who's here! Warrior 3: Olaf, come here. Look who it is. (Low hum of curious chatter) (Approaching footsteps) (Low hum of chatter) Athelstan: Hello, Bjorn. Do you remember me? Bjorn: Of course I remember you. I wanted to k*ll you when I was a child... And then I loved you. I know you were close to your Uncle. I want you all to know that Rollo is alive, wounded but alive and being taken care of. King Horik. Lagertha: Why have you come, Athelstan? Did you escape? King Horik: King Ecbert sends you! You do his bidding. You are one of them. Athelstan: He offers you a chance for peace. He wants to talk of many things with you. Good things. King Horik: Yes, and then k*ll us. Athelstan: No. He will not, I swear. I know him. Horik: You are his dog. You lick his fingers. You lick his assh*le. (Men laugh) Floki: I really like your new clothes, Athelstan, and your hair. Very nice. Lagertha: Is he prepared to offer us a hostage? Athelstan: Yes. He wants to reassure you, in any way he can, of his honest intentions. Then we will meet him. Who are you to say? Lagertha: You do not need to come. Ragnar and I will go, and if Ecbert means to k*ll us, so be it. Athelstan: I will give him your answer. Ragnar: I will accompany you, part of the way. (Chatter resumes in the camp) Shield-Maiden: Why does he go with him? (Foliage rustles underfoot) (Leather creaks with tension) Ragnar: (Sighs) It is good to see you. I feared that you were d*ad. Athelstan: There were times that I wish I had been. I gave into despair. Ragnar: So have you returned to your faith, renounced ours? Athelstan: I wish it was so simple. In the gentle fall of rain from heaven, I hear my God, but in the thunder I still hear Thor. That is my agony. Ragnar: I hope that someday our Gods can become friends. I have something to return to you. (Sighs) You are safe to go now, but I will see you very soon. Thank you, friend. (Foliage rustles, hooves thud) (Birds chirp, dogs bark in the distance) - (Hooves thud) Guard: Gates! (Gates unlatch and creak open) (Hooves clop) King Aelle: So who have you chosen for our hostage? Your son again? King Ecbert: No. It did not seem just or right to place him in danger for a second time. Who then? Actually... you, King Aelle. (Chuckles) Me?! King Ecbert: Well, except for myself, there is no one that the Northmen will place a higher value on than you and they are bound to know the consequences if they should harm you in any way. Of course, if you do not wish to place yourself at risk... No, no. I will play the part. ♪ Foghorn sounds loudly ♪ Do you not think you should prepare yourself, King Aelle? (Hooves clop) Floki: This is a mistake. Ragnar: What do you say? Floki: I say this will end very badly. Now you've had your say. All this for your brother. We're all put in danger for your brother. Why must we save your brother? He k*lled Arne, he nearly k*lled me. He betrayed all of us. Lagertha: This is not just about Rollo. Floki: No, it's also about the priest... Who lured us here. How can you trust him? You talk about trust, you! What are you saying? I am a trustworthy person! (Scoffs) (Horses snort) Aethelwulf: _ Ragnar: _ (Horse hooves clop) (Harnesses jingle, hooves thud) (Horse hooves clop) (Horse hooves clop) (Footsteps crunch) (Approaching footsteps) King Ecbert: _ (Footsteps scuff the stone floor) _ Athelstan: King Ecbert desires me to set before you outline possible terms of a treaty. He is completely sincere in his wish for peace and cooperation and believes that Ragnar Lothbrok shares his wish. The King will agree to pay you monies and/or treasures to prevent any further depredations of his territories. More importantly, he is prepared to offer 5000 acres of good land, for farming, in peace. Finnaly, may I present you Princess Kwenthrith from the kingdom of Mercia. King Ecbert and the Princess are willing to pay any of your warriors a fat fee for fighting for her. Ragnar: What about my brother? Athelstan: The King will agree to release Rollo upon your acceptance of his offer, and upon the safe return of King Aelle. Ragnar: I accept the offer. Lagertha: As do I. (Wagon creaks and rattles) (Rain patters) (Wagon rattles) Floki: It's all here. (Hooves thud) (Wagon rattles) (Hooves thud) (Floki hisses) Ragnar: Hello, brother. Athelstan: (Calling out) Whoever among you wishes to act as mercenaries for Princess Kwenthrith, come forward now! (Horse snorts and whinnies impatiently) (Footsteps squelch in the mud) (Rollo grunts in pain) Ragnar: I am taking my brother home. Will you come back with us or will you stay here with... your people? I want you to come back. (Fighting grunts, swords clang) Und! Ahh! Porunn: (Panting) (Swords clanking) Man: Good! Strong grip! Porunn: Yes! Man: Shield up. (Fighting grunts, swords clang) Man: That's enough. (Wind blows fiercely) (Wind blows fiercely, waves lap at the shore) Aslaug: Who told you to do that? Porunn: No one. I am doing it for myself. I want to fight in a Shield-Wall. I want to be like Lagertha! Why does everyone want to be like Lagertha? Don't worry, I understand. I know what you meant. I have decided to make you a free woman. You are no longer my servant, or bonded to me. You will only serve me and my household if you choose, as a free person. That is impossible. And yet it has happened. This is a gift. (Wind blows fiercely) ♪♪♪ (chain clinks) ♪♪♪ (chain clanks heavily) (Waves lap at the shore) (Gates creak open) (Townsfolk chatter) (Sheep bleat) King Ecbert: So, these are the Northmen who've agreed to fight as your mercenaries to help you gain the Crown of Mercia. Kwenthrith: And Ragnar Lothbrok is not here? King Ecbert: Alas, no. But... Kwenthrith: Doesn't matter. They're violent men, hmm? King Ecbert: They are great warriors, yes. All of them. Kwenthrith: Ah! They are very... strong. King Ecbert: Well, they live hard lives. They farm and they fight. And they do not fear death. (Clothes rustle) Warrior: (Gasps and pants) Kwenthrith: Ooh. (Laughs) Aethelwulf and King Aelle: (Chuckle) You know, I always knew I would love these Northmen. Mm. (Clothing rustles) I should like to breed with them. I think we would produce giants! Women: (Weeping) (Hurried footsteps thud) (Footsteps thud) (Wind blows fiercely) (Sighs with relief) (Excited chatter) Man: Good to see you, my friends. Aslaug: Welcome home, all of you, and thank the Gods. Lagertha, you are most welcome, please stay. And you, you came back! I did. I came back because you and Ragnar, all of you are my family. Torstein: Heh! Drink, Priest. Bjorn: Princess. Aslaug: Bjorn. Bjorn: Porunn? She is no longer a sl*ve. Welcome back, Bjorn. (Rollo grunts in pain, Kn*fe rings) Elisef: Thank you. (Rollo groans, flesh sizzles) (Gasps in pain) (Grunts and gasps in pain) Elisef: Ragnar. The leg, siggy. Siggy: Lift. Rollo: (Groans in pain) Elisef: That's it. (Bone crunches, muffled screams) Elisef: Splint. Splint! Rollo: (Grunts and passes out) (f*re crackles) King Horik: Floki, we can be honest with each other, can we not, hm? We know each other well enough. We know the things we like and those we hate. We share many things... Many ideas, feelings, about the Earth and the Gods. Am I not right? Yes. I have a proposition to put to you.

{"type": "series", "show": "Vikings", "episode": "02x09 - The Choice"}

foreverdreaming

Previously on "Vikings"... KING HORIK: Earl Ragnar, you seem to forget I am king. JARL BORG: Ragnar Lothbrok wants to be king. His fame eclipses even yours. SIGGY: I'm supposed to be eternally grateful to my husband's k*ller. Everything that I was has been stripped away from me. I want my old position back. I helped Ragnar rise and now he is earl. Earl Ragnar. And our little world waits upon him and eats from his hand. King Horik understands the gods better than Ragnar. There is something about him. RAGNAR: You talk about trust. You! FLOKI: I am a trustworthy person. KING HORIK: We know the things we like and those we hate. I have a proposition to put to you. ♪ More, give me more ♪ ♪ Give me more ♪ ♪ If I had a heart I could love you ♪ ♪ If I had a voice I would sing ♪ ♪ After the night when I wake up ♪ ♪ I'll see what tomorrow brings ♪ ♪ I... I... I... ♪ ♪ If I had a voice I would sing ♪ MAN: That's it, my boy. WOMAN: Show your brother how to tighten them. I must help your father. (Hurried footsteps, baby wails) (Hammering, low hum of chatter) WOMAN: Klaus! Hurry! MAN: Erik, come here. We have some work to be done. MAN 2: What is it? HELGA: Floki. Floki, it's me. (Geese honk nearby) FLOKI: Helga! HELGA: (Softly) Hey... (Baby coos) (Hammering nearby, low hum of chatter) (Geese honk) We have a child, Helga. Yes, we have a child. HELGA: A beautiful girl. FLOKI: A girl! You did not come, so I brought her to see you. A girl! I don't want to drop her. You won't drop her. (Baby coos quietly, geese honk nearby) A girl... A beautiful, beautiful girl. How is it possible? (Baby fusses) Take her back. Take her back. (Baby fusses) HELGA: What shall we call her, (softly, to baby) hey? FLOKI: Angrboda. The name of Loki's first wife? Yes, yes. But she's... What's wrong with that? They thought she was evil. They had monstrous offspring. She was a great giantess, Helga! Will you come back with us? Will you get to know your daughter? No. I have to stay in Kattegat. But you, you must go home. Can't I stay awhile... You don't understand, Helga! You have to leave! Leave! Leave! (Low hum of chatter and laughter nearby) (Long, forceful exhale) (Banners flap in the wind, horn bellows) (Oars splash and stroke the water) (Horn bellows) LITTLE GIRL: Oh, there! (Buzz of excited chatter) ERLENDUR: They're here, father! (Banners flap wildly in the fierce wind) GIRL: Father! GIRL 2: Let's go! TOWNSFOLK: (Chatter excitedly) GIRL: Hey! Erlendur! ERLENDUR: (Playful growl) Welcome! Welcome to Kattegat! KING HORIK: (Loving growl) ERLENDUR: Sisters. KING HORIK: (Kiss) Darlings! (Light kiss) Are you well? g*n: Yes, all of us are well now. KING HORIK: Come! Come, family! I want you to meet Ragnar. Huh? ERLENDUR: Are you hungry? (Townsfolk cheer, axes and shields pound) (Cheering) (Cheering and applause fills the hall) MAN: Welcome! KING HORIK: Ragnar Lothbrok, my friend and ally, and all your family gathered, let me properly present to you my wife, g*n, and my children. (Cheering and applause) KING HORIK: Ragnar, you and I have formed an alliance on which the future of our country and its people depends. In this endeavor, I see you more than ever as an equal. (Murmurs of agreement) Between us... and, of course Earl Ingstad... we have already accomplished so much. We have land and opportunity in Wessex... (Cheers erupt) But that is only the beginning. We know already there are many other worlds to discover, and we shall do so together, united even more by the bonds of family... for you have many sons and, as you can see, I have many daughters. (Laughter erupts) It is our custom to celebrate such an alliance as the gods celebrated theirs... with feasting and with pledges. TOWNSFOLK: (Cheers erupt) TORSTEIN: Yeah! (Hall buzzes with chatter and music) g*n: You must be the famous shield-maiden Lagertha. LAGERTHA: Oh, you are more famous, g*n. The poets talk of your exploits. They tell how you k*lled Swein Forkbeard when he inv*de Gotaland. g*n: And they say that you are now an earl in your own right! How did it happen? LAGERTHA: I k*lled my husband when he inv*de me. g*n AND LAGERTHA: (Laugh) (Hall buzzes with chatter and laughter) KING HORIK: What is it? FLOKI: Don't you remember? I heard you were going to put a proposition for me? KING HORIK: Was I? FLOKI: Yes! And I am still waiting! HORIK: The thing is, Floki, I'm not entirely sure I can trust you. WOMAN: Over here! I have something for you! MAN: Bring it with you! (Angry grunt) (Celebratory cheers, bells jingle) BJORN: Porunn, you are a free woman now. What will you do with your freedom? I will use it to choose. BJORN: To choose what? PORUNN: You don't understand. When I was a sl*ve, I loved you. You were the first to treat me as if I was not a sl*ve. But now, I have choices. There are plenty of other women here. That is your first mistake. (Low hum of chatter, retreating footsteps) (Wild cheers fill the hall, music plays) CROWD: Hey! Hey! (Laughter) (Boisterous chatter and laughter) FLOKI: Ah, Torstein... Up to your usual tricks I see. TORSTEIN: These two beautiful women approached me. They chose you for the size of your silver pouch and nothing else. TORSTEIN: I don't think about it too much. If these women don't love me, (scoffs) what do I care? They will still make me happy. WOMAN: Here! Have some more! WOMEN: (Laugh) (Cheering and laughter) KING HORIK: Siggy. SIGGY: I am pleased to see you. I would like to know your plans while you are here. KING HORIK: My wife is here, and my children are here. That's all you need to know. MAN: You again! You again! (Music plays, people converse and laugh) (Celebratory shouts and laughter) Why did you come back, priest? Nobody wants you here. You betrayed the gods! You betrayed all of us. It's your fault Rollo's going to die. (Nauseous grunts) (Ale pours into cup) KING HORIK: Forgive me, Floki. I know I should trust you, but I need proof. FLOKI: Proof? KING HORIK: Yes. Prove to me I can trust you. Prove to me you are on my side. How can I prove it? k*ll someone. Someone who matters. (Boisterous laughter and chatter) MAN: (Laughs heartily) (Bells jingle) (Boisterous laughter and chatter) (Goblet clatters) (Boisterous chatter and laughter) (Bells jingle) (Liquid splashes, Aslaug laughs) (Coin clinks, all groan in disappointment) BJORN: Erlendur! (Coin clinks, all groan in disappointment) BJORN: Take your time, Torstein. (Coin clinks, all groan in disappointment) MAN: You missed it! (Coin thumps in bucket) FLOKI: Yeah! (Men groan and laugh) (Coin tings and clinks, surprised shouts and laughter) (Laughter echoes) (Muted sound of coin clinking) (Muted sound of coin clinking) (Muted groans and laughter) MAN: (Muted shout) Floki! (Water laps gently, footsteps crunch in the sand) KING HORIK: (Sharp inhale, exhales slowly) Have you made up your mind? Yes. I know who I will k*ll. (Ominous music) (Grunts of effort) (Woodpecker pecks in the distance) (Seabird cries) (Grunts) (Sniffs) (Leaves and dirt crunch underfoot) (Slices) (Sniffs) (Leaves and dirt crunch underfoot) BJORN: Next summer, I say we should return to Wessex, claim our land from King Ecbert. Those who wish to farm should do so, and divide the land between them. KING HORIK: What should the rest of us do, hmm? Those who do not wish to be farmers. BJORN: Those can join King Ecbert and Princess Kwenthrith in the battle for Mercia. I am sure they will be rewarded well. KING HORIK: I agree with you. I think we should claim the land, but I do not like the idea of being Ecbert's handmaiden. I still have a score to settle with him and unlike Ragnar, I do not trust him. ERLENDUR: But isn't it best to test him to see if he is honest? ATHELSTAN: I believe he is telling the truth. LAGERTHA: Then you are still innocent. KING HORIK: So you agree with me? LAGERTHA: No. I agree that those who wish to farm should do so and also ask for King Ecbert's protection. But for some of us, those of us who still want to raid, we will go elsewhere, explore and discover new places. (Door creaks open, goat bleats outside) (Door creaks closed, footsteps approach) SIGGY: (Relieved sigh) (Goats bleat outside) FLOKI: How is he? SIGGY: He's alive. Will he ever walk again? Only the gods know. (f*re crackles nearby) (Laboured breath) Do you watch over him day and night? Listen. I'll stay with him for a while. FLOKI: You get some sleep. SIGGY: No, I... Go get some sleep, Siggy. You deserve it. I will watch him. Thank you. ROLLO: (Laboured breath) You put me in a bed like this once, Rollo. Do you remember? (Dog barks in the distance) (Sighs heavily) I brought you something. Look! It's the food of the gods. Eat! ROLLO: (Struggling grunts) (Gulping and gasping) (Chewing) (Hard thump, Rollo gasps for breath) (Hall buzzes with chatter and laughter) CHILDREN: (Playful laughter) GIRL: Catch me again! MAN: I'm warning you! FLOKI: Ubbe! Give this gift to Torstein. Say that they are from his good friend Floki. Oh! And one more thing. You must never tell anyone that it was me who gave them to him. That must be our secret. Do you agree? Good. Because if you don't keep this secret, something terrible will happen to you. Do you know what will happen? I'll tell you. When the God Loki had done something terribly bad, the other gods took him to a nasty dark cave. And there they chained him on three sharp rocks, and above him they fastened a vile snake so that its poison would drip, drip, drip forever on Loki's face. Now, you wouldn't want that to happen to you, would you? Well, go and give my present to Torstein, but keep the secret. (Boisterous chatter and laughter) (Ominous music plays) (Boisterous chatter and laughter) BJORN: My friend Torstein has been m*rder. I swear by all the gods, whoever did this will pay a heavy price. (Women weep) FLOKI: We'll find the guilty one! And we shall flay the skin from his body and use horses to tear him apart! (Sobs) (Torch f*re crackles) (Thunder rumbles, loud thunderclap) KING HORIK: You did well. (Floki unsheathes a Kn*fe) Now I know I can trust you. FLOKI: So, what is your plan? I will k*ll them all. FLOKI: All? KING HORIK: Yes, all. FLOKI: Ragnar? KING HORIK: Of course Ragnar. And Lagertha, and Aslaug. All of them. All their bastard children. I will wipe his family from the face of the earth. (Thunder booms and rumbles) And Bjorn? What of Bjorn? Bjorn Ironside. He is difficult to k*ll. Perhaps the gods are protecting him. You must find a way to k*ll him. I have no doubt you will manage. I know you will manage. (Thunder booms and rumbles) FLOKI: When? (Thunder rumbles, rain pours down) Tomorrow. Be prepared, my friend. (Rain pours down) (Loud thunderclap, rain pours down) (Rain pours down) (Thunder booms and rumbles) (Fires crackle) (Thunder booms and rumbles) The gods are coming. I know. (Thunder rumbles, wind whips violently) (Meat sizzles) VENDOR: It's not goat. It's mutton. (Marketplace buzzes with chatter) VENDOR: Two more? MAN: Yeah, two more. (Marketplace buzzes with chatter) VENDOR: How many do you want? BJORN: Porunn. (Sighs) Forgive me for what I said. I don't want other women. I want you. What do you want from me? PORUNN: Respect. BJORN: You know I respect you. I worship you. PORUNN: I don't want to be worshipped. I spent my life as a sl*ve. Your words are ridiculous. BJORN: What can I do? You can fight me. Fight you? Yes. (Sharp metallic clank) ROLLO: (Struggling gasps) (Grunts in pain) (Breathing hard, grunts in pain) Oww! (Seething) It's no use! Don't give up. ROLLO: (Breathing heavily) What do you care if I give up or not? Do you want an honest answer? I don't know. But I think you might still be useful somehow. To whom? (f*re crackles) (Axe clunks) (Retreating footsteps) (Marketplace buzzes with chatter) Shouldn't you be with your wife? Doesn't she have need of you? KING HORIK: Don't play games. SIGGY: There are no more games. KING HORIK: Yes, there is, and this is the final one. You once promised you would tell me Ragnar's weaknesses. I don't ever remember you delivering on that promise. SIGGY: Well, you wasted all your seed on a promise. KING HORIK: Tell me now. SIGGY: Is it not obvious? Ragnar's weakness is his children. Then this is what you must do. You must go to the Great Hall at sunset and you must k*ll Ragnar's young sons. What do I get in return? I will marry you. g*n is my only wife at the moment. I will take a second. I will make you a queen. You will rule again, as you once did. (Water babbles, birds chirp) (Belt clinks and thuds heavily) (Preparatory sniff) (Foliage rustles underfoot) PORUNN: Ungh! Ungh! BJORN: Agh! BJORN: What was that? (Grunts of effort, landing thuds) (Breathing heavily) (Hard punches, Porunn gasps in pain) BJORN: Porunn! Please, stop. PORUNN: Please what? (Fighting grunts) (Laboured breaths) PORUNN: Unnggghhh! BJORN: Agghhh! (Fighting grunts and heavy landing thuds) BJORN: (In pain) Agghhh! PORUNN: Ungh! PORUNN: Aggghhhhhhh! (Hard blow) Ungh! (Running footsteps) Porunn! Porunn, I'm sorry! It was an accident! Porunn! Where are you? Porunn! (Foliage rustles underfoot) (Belt and axe thud on the ground) (Birds chirp) (Birds chirp, light breeze blows) (Exhales softly, kisses Porunn lightly) (Passionate kiss) (Foliage rustles underfoot) (Breathing heavily) (Clothing rustles) (Grunts) (Passionate kissing) (Moaning) PORUNN: (Moans softly) FLOKI: (Unsheathes sword) (f*re crackles) (Dogs bark in the distance) KING HORIK: This is the Sword of Kings. One day, if the gods will it, this sword will belong to you. Today we must do something extraordinary. We must overcome the magic of Ragnar Lothbrok, which thr*at our power and survival. The gods have spoken, and I have listened. We must cut and k*ll in such a frenzy none can survive. For, believe me, if even one of that family survives, then the day will come when he will rise again and destroy us. Put yourself in the hands of the gods, do their will. And then, for certain, they will grant you this sword, and a kingdom. (Trunk thumps shut) Come. (Children chatter playfully) (Cascading water gushes, birds chirp) RAGNAR: I've seen you praying to your God. Will you teach me one of your prayers, so I can learn? Our Father, who art in Heaven... Our Father, who art in Heaven... ATHELSTAN: Hallowed be thy name. Thy kingdom come. Thy will be done, on Earth as it is in Heaven... (Shaky, nervous breaths) RAGNAR: Thy kingdom come, thy will be done. (Footsteps splash) ATHELSTAN: Give us this day our daily bread and forgive us our trespasses, as we forgive those who trespass against us. RAGNAR: And forgive us our trespasses, as we forgive those who trespass against us. (Ivar cries) SIGGY: Boys! Come with me! ATHELSTAN: And lead us not into temptation, but deliver us from Evil. Forever and ever, amen. Forever and ever... ATHELSTAN AND RAGNAR: Amen. g*n: Bring it here, girl. GIRL: Yes, mistress. (Clothes rustle, belts latch and click) (Dog barks in the distance) (Foliage rustles underfoot) (Low hum of chatter) (Arrow whooshes) WARRIOR: Ungh! (Arrow whooshes) WARRIOR 2: Agh! (Kn*fe slices) WARRIOR: Agh! (Goats bleat) (w*apon clank, fighting grunts) (Struggling grunts, forceful blow) WARRIOR 3: Agh! (w*apon clank and smash, fighting grunts) (Warrior howls in pain) (Fighting grunts, w*apon slice and hack) (f*re crackles) (Men and women scream in terror) (att*ck cries, fighting grunts) MAN: Erlendur! GIRL: (Shrill scream) (Horn bellows outside, Rollo gasps and grunts) (Screams fill the air) (Grunts with effort) (Shrill scream) (att*ck cry) (Horn bellows) ATHELSTAN: And deliver us from Evil. (att*ck cry, fighting grunts) (w*apon clank, fighting grunts) (w*apon clank and strike all around) (Sharp knock) (Footsteps thud) (Battle cries, w*apon clank and smash) (Vicious fighting grunts) Aghhhhh! (Hard punch) Agh! (Fighting grunts, w*apon clank) (Sword swipes uselessly, fighting grunts) Agh! (Chains clink) LAGERTHA: Unngghhh! g*n: Agh! (Swords clank) (s*ab blow) LAGERTHA: Agh! (Hard strike, pained grunt) (Gasps for air) (Pained grunt, dying groan) (Surprised gasp, fighting grunts) BJORN: Floki, where have you been? Looking after you, Bjorn... like I promised your father. (f*re crackles) WARRIOR: Earl Ingstad, you should leave now. I have orders from Earl Ragnar. (Retreating footsteps) (w*apon clash and men shout) (Horn bellows, dog barks in the distance) (Horn bellows, dog barks) (Running footsteps) (Hall doors burst open) KING HORIK: Ragnar Lothbrok! (Doors slam open) (Cape rustles, blade rasps) (Surprised gasp) (Hard blow) Ungh! (Bodies and shields clatter, fighting grunts) WARRIOR: Ungh! HORIK'S MAN: (Strangled groan) (f*re crackles) (Approaching footsteps) KING HORIK: Floki, you have betrayed the gods. No, King Horik, I only betrayed you. I was always true to the gods. And Ragnar. Ragnar, if you can find it in your heart, spare my son. (Heavy preparatory breaths) (Shield clatters) ERLENDUR: (Struggling grunts) (Sword and shield clatter) LAGERTHA: Ungh! KING HORIK: (Gasps and groans) (Struggling grunts) (Hard blow, Horik grunts in pain) (Struggling grunts) (Hard blow, Horik gasps and groans) (Loud metallic clatter) (Laboured breaths) (Coughs, spits blood) (Struggling breaths) (Rasping breaths) (Exhales) (Laboured breaths) (Retreating footsteps) (Raspy, laboured breaths) (Retreating footsteps) (Metallic rasp) (Shaky, emotional breaths) (Preparatory breaths) (Forceful s*ab, Horik groans) ERLENDUR: (Sobs) KING HORIK: (Grunts in pain) (Raspy, laboured breaths) (Retreating footsteps) (Kn*fe clanks on floor) (Dull crack, pained grunt) (Repeated head-butts) (Screams in rage) (Frenzied s*ab) BJORN: Go. (Hurried footsteps) (Frenzied club strikes) Aggghhhh! (Panting) (Shaky, emotional breaths) (Wind howls fiercely)

{"type": "series", "show": "Vikings", "episode": "02x10 - The Lord's Prayer"}

foreverdreaming

Ragnar: Last season, on Vikings... Seer: I see a harvest celebrated in blood. (GRUNTS) I see a city made of marble. It has these huge walls. Paris is impregnable. Ragnar is everything I cannot be. If you knew what the gods have in store for you, you would go dance naked on the beach. Kalf! You have usurped my rights and my lands. One day, I will k*ll you. The Lord has come to me. Then you are Christian again? Athelstan: With all my heart. (SCREAMING) You k*lled Athelstan. We shall att*ck Paris. (CHEERING) Count Odo: Whatever happens, they must not get through the gates. They must not get into the city. Gisla: Show no mercy! Fight on! Kalf: Lagertha, stop! (GRUNTS) (GROANS) Lothbrok: You have all failed! I am King. I will not. (SCREAMING) (ALL SHOUTING) Sinric: You will be offered a vast area of land in the northern part of Frankia. The Emperor also offers the hand in marriage of his beautiful daughter. What must I do in return? You will defend Paris against your brother. (SPEAKING OLD FRENCH) (CHUCKLES) (WIND WHOOSHING) (GALLOPING) (HORSE SNORTING) (MUSIC PLAYING) (RASPY BREATHING) What do you want? I want to know if a woman will succeed to the kingdom of Kattegat. You mean after the death of Ragnar? Yes. (GALLOPING CONTINUES) (HORSE NEIGHS) (BIRD SQUAWKS) (MUSIC PLAYING) (INDISTINCT CHANTING AND LAUGHTER) It is unwise to imagine the death of kings. I still ask you. Yes, I have seen it. A woman will one day rule in Kattegat. Will it be me? (CHUCKLES) (CHANTING AND LAUGHTER CONTINUES) (CHANTING CONTINUES) You know the truth but you will not say. (SIGHS) I have already said enough. (HORN BELLOWING) (HORN CONTINUES) (GATES RATTLING) No. (HORN CONTINUES) No! (THUNDERCLAP) (MUSIC PLAYING) (SCREAMING) (SHOUTING) (HINGES CREAKING) (SLAMS SHUT) (MUSIC PLAYING) (GROANS) Seer: The gods are here. They're watching. (SCREAMING) ("IF I HAD A HEART" PLAYING) ♪ More, give me more, give me more ♪ ♪ If I had a heart, I could love you ♪ ♪ If I had a voice, I would sing ♪ ♪ After the night when I wake up ♪ ♪ I'll see what tomorrow brings ♪ ♪ Ahh ♪ ♪ If I had a voice, I would sing ♪ (MUSIC PLAYING) (CHILDREN LAUGHING) (IVAR SQUEALING) Hvitserk: Is it fun, Ivar? Out of the way! Be careful not to break my bones! Hvitserk: Out of the way! (IVAR GIGGLING) Ubbe: He likes it. (GIGGLING CONTINUES) Do you want to go again? Ivar: Faster! Faster! Now, where are the little boys? (INDISTINCT SHOUTING) All: Bjorn! Bjorn! Bjorn! (GRUNTS) Come here! (GRUNTS) Let me see. Ubbe. Hvitserk. Sigurd. Ivar. (GRUNTS) Ivar! (LAUGHS) Ah, you are all so big. Queen Aslaug. (MUSIC PLAYING) I have carved these runes for you. They will help to heal you. I swear it. Tell me, why did Porunn leave? Nobody knows. She just disappeared one night. It seems a long time ago now. She left behind your daughter. Don't worry, we will take care of her. (VIKINGS GRUNTING) Uh, right there. (THUDDING) (GRUNTING CONTINUES) Viking 2: Lift. And something for you, Ivar. Oh! What is that? So, Paris was everything Athelstan said it would be. Yes, and everything Ragnar dreamed. And more beside. (SHOUTING AND CHEERING) (LAUGHING) Bjorn: Today we grieve for our d*ad, but we should all be proud of what we have achieved! All: Aye! This is a lock from the gates of Paris! Man: Whoa! I hacked it off myself. (CROWD CHEERING) Bjorn: Paris has made us all rich! (CHEERING CONTINUES) Bjorn: But to be rich only means one thing! To satisfy our dreams. Nothing can stop us! (CHEERING CONTINUES) Now, Ragnar is dangerously ill. It is true he may die. But who is our king? Crowd: Ragnar! And to whom do we owe our allegiance? Crowd: Ragnar! And to whom do we owe our gratitude? Crowd: Ragnar! Bjorn: Ragnar himself has always shown his gratitude to those who have trusted and believed in him. For example, his loyal friend, the English monk Athelstan... (CROWD MURMURS) Who helped him to understand many things. Ragnar always claimed we went to Paris because of Athelstan! (MURMURING CONTINUES) Therefore... I order the arrest of Floki for the m*rder of Athelstan. (MURMURING CONTINUES) Helga: No, no, Floki, don't! (FLOKI SHOUTS) (GRUNTS) What I did, I did for the common good, for the sake of all of us! I have nothing to answer for. (MEN SHOUTING) Floki: Don't you remember, Bjorn? How we talked about that Christian priest, and how you also feared his influence on your father? Why don't you admit it? Admit it! (CROWD SHOUTING) (CHILDREN LAUGHING) Please, stop it! Stop it! (FLOKI GROANS) (SHOUTS) Helga: Leave him alone! Stop! Please, please! Stop it! Stop throwing! Leave him alone! Leave him! (HORSES NEIGHING) (MEN SHOUTING EXCITEDLY) Woman 1: It's Lagertha! Man 1: We are home! Man 2: I want to see him! Where is he? Woman 3: Quickly! Woman 4: I can see from a distance! That is his horse! It is him! Kalf: Einar! Einar: Earl Kalf. Kalf: My friend. (INDISTINCT CONVERSATIONS) It's for you. Girl: You see? Erlendur, son of King Horik. So, what is this? This is a Frankish w*apon. They call it a crossbow. I think it will prove to be very useful. Perhaps. But not as useful as this. You should bury that. Hoard it. Save it for when you're d*ad. I can't wait that long. Kalf: Good folk of Hedeby. See what we have brought back from Paris. Not just me, but also Lagertha. During the fierce fighting that took place around the walls and the gates of Paris, about which the poets will soon have their say, I saved Lagertha's life. And she saved mine. (CROWD MURMURS) So I propose, even though we are not married, Lagertha and I will share the earldom and rule together as equals. (CROWD MURMURS) As your Earl, that is my determination. sl*ve Trader: Come on, keep them moving. This way, this way. Come, come, come, come! (PANTING) Gentlemen, do I have something special for you today. Please, come in. See this, see this, see this. Look at this one here. She'll need a very special price for this one, my friend. Huh? Yeah? Get back. Back, back, back, back, back. The Queen is coming! Back. The Queen! The Queen is coming. Back! Who are these people? They are from Paris, and they're for sale, Queen Aslaug, at a very good price, by the way. (BREATHING HEAVILY) (GROANS) Father! (CHUCKLES) How much you've grown, little man. You're awake. Nothing gets past you, Ubbe, huh? Are you well again? (GROANS) I'm alive... Unfortunately. Unfortunately? (CHUCKLES) Do you want to be king one day? Of course, Father. Yes? Yes. Yes? Then get me some ale. (GROANING) (COUGHING) I'm going to tell Mother! (GRUNTING) Mother! Father is awake. Well, don't you care? Of course I do. Go and tell everyone that Ragnar the King lives! (HENS CLUCKING) Hey, Angrboda. What have you got there for me? Oh! Would you help me? Mmm. Thank you. Oh, that's so good. Ragnar is awake. Angrboda, go feed the chickens over there. He will k*ll me. It was a mistake for me to carve the runes. Why would I try to save him? What's wrong with me? Helga... My beautiful, faithful wife. Mother of my child. Helga... Please help me escape. Please. Help me, Helga! Help me! Help... (SIGHS) (GOATS BLEATING) Ubbe. What's that? I don't know. That looks like a road. And that a sea. Maybe. Where did you find it? In a house in Paris. Whoever owned it clearly thought it was more important than anything else he had. He fought hard to save it. What's it to you, Bjorn? It's my destiny. Man: How about over here, Earl Kalf? Kalf: Yes, it's good. I will. Thank you. Man: I will tell you a story... Kalf: Einar. What can I do for you? Your arrangement to share the earldom with Lagertha is unacceptable. To whom? To me and to my family. It was my family who made you Earl. We can just as easily unmake you. Why can't you accept Lagertha? Because it was not part of the agreement! You stated your desire to overthrow all the Lothbrok dynasty and we believed you. And so did Erlendur, who is with us. Now it seems without consultation with anyone, you have changed your mind! I understand. I didn't realize that you and your family were quite so antagonistic to the new arrangement. We don't care what you do, Kalf. But we do look forward to the removal of that woman. That woman that you are still in love with, Einar? Yes. But love isn't everything. Is it, Earl Kalf? (MEN CHEERING) (INDISTINCT CONVERSATIONS AND LAUGHING) Woman: Inge! Viking 1: You wonder where... Viking 2: Give me some more of this! (INDISTINCT CONVERSATIONS CONTINUE) Bjorn is teaching me to fight. Aslaug: Good. But remember, your grandfather, my father, was the greatest warrior of all time. He slayed the dragon Fafnir and is spoken of in the sagas. (WHISPERING) Surely you will inherit his warlike gifts. All of you will be great warriors. Even you, Ivar. Ragnar! (CROWD CHEERING) (APPLAUDING) Ubbe: Father! (APPLAUSE CONTINUES) Ragnar! Sit. Come on. Please. Everyone, continue. Forget about poor little me. (CROWD LAUGHS) (GROANS) Everyone's so happy to see you, Ragnar. Perhaps some more than others, hmm? Ah. Look at my boys, huh? (SIGHS) What have I missed? You tell him. Bjorn has arrested Floki. (MUSIC PLAYING) Yes. (GROANS SLOWLY) Why? Hmm? Floki needed to be dealt with. You were incapacitated. I thought it was the right thing to do. Did you also think that if I wanted him arrested I would have done it a long time ago? But now you have made it public and left me with no options. Now I am forced to deal with my errant friend. Whose stupid idea was it to leave Rollo behind in Paris? He is my uncle! He is my brother. And I know him better. (BELL TOLLING) (CHOIR SINGING) (CHOIR CONTINUES SINGING) (SINGING STOPS) Archbishop: In nomine Patris, et Filii, et Spiritus Sancti. (SOBBING) (SOBBING) (CONTINUES SOBBING) (ARCHBISHOP SPEAKING IN LATIN) (GISLA SOBBING LOUDLY) (SPITS) (ARCHBISHOP SPEAKING IN LATIN) (GISLA SPEAKING OLD FRENCH) (ARCHBISHOP SPEAKING IN LATIN) Gisla: Amen. (SPEAKING OLD NORSE) (ROLLO SHOUTING) (SOBBING) (PRAYING IN OLD FRENCH) (GISLA GRUNTS) (GASPING) (CHUCKLES) _ (ROLLO SNORING) (INDISTINCT CONVERSATIONS) I have summoned you here because it seems that I have made a mistake, when I announced that Lagertha and I would rule together. Yes. Kalf: Apparently, such an arrangement is unacceptable to some of you here. If it is the will of the majority, then, as is our custom, I will accede to it. Lagertha will be banished to wander where she will. Guard: Get back! Get away! Move! Kalf: I ask those of you who desire her banishment to cut your mark in the post. That way we will have proof of our decision. Come. Man 1: I'll make my mark. Man 1: You as well. Good. Man 2: It's clear. Einar: There, Earl Kalf. You have your answer. And here, Einar, is mine. Archers! (CROWD SCREAMING) (MUSIC PLAYING) (GASPING) (CHOKING) Wait! (MAN GROANS) (GAGGING) I should have done this a long time ago, Einar. (GASPING) (SCREAMING) (COINS CLANKING) I'm leaving. What do you mean? I don't belong here. I don't belong in Paris. I'm a wanderer. I belong to the wide, wide world. I don't want you to leave. I cannot speak to these people. (SIGHS) If you want me to stay, you will have to cut off my feet. We may meet again. After all, everything that goes around, finally comes around. But, farewell for now, Your Grace! (COINS CLANKING) (SPEAKING OLD FRENCH) (CHURCH BELL TOLLING IN DISTANCE) Eirik! Welcome! Come! Take a seat. We've had a meeting at the camp. I thought you should know about it. (MUSIC PLAYING) What kind of meeting? Some of the warriors are unhappy with what is happening. You're a Christian, a Frankish noble now. They don't want to fight for the Franks. How many? They don't want to fight against King Ragnar. I said how many of them? Maybe half. They want you to come back to the camp so they can talk to you. What about you, Eirik, hmm? Are you also unhappy? No. That's why I came straight here to warn you. And I am grateful. Go back to them and tell them I will come in due course. I'll put all of their minds at ease. (INDISTINCT CONVERSATIONS) (GEESE HONKING) Man 1: Then I don't want to know. Woman 1: Here! Man 1: Bring it over to this place. That's better. (SHIVERING) (GEESE HONKING) Woman 2: That rope needs tightening. You're going to lose half your load. (CLUCKING) (WHIMPERS) (CLUCKING CONTINUES) Come on! Come here! Ha! Ha! Fight me! Ah! (INDISTINCT CONVERSATIONS) (BJORN SIGHS) Seller 1: It'll fit. It'll fit. I have come to tell you I'm going away. To your mother's? No. To find Porunn? No. I want to go out into the wilderness. Away from everything. To find out if I can survive. Where will you go? I already know a place. A hunter's lodge in the interior. Then you better leave soon, before the winter freeze. But I think you're making another foolish decision. Why are you really going? Because you don't think I can survive. (INDISTINCT CONVERSATIONS CONTINUE) (GOAT BLEATING) Woman: Bar, stay close. (GROANS) (MUSIC PLAYING) Are you going to k*ll me? Lothbrok: You betrayed me. You betrayed my trust and my love for you. I didn't betray you. I tried to save you from a false god. Stop hiding behind the gods. You k*lled Athelstan out of jealousy. That is the truth. Just admit it. No. The truth is, I did as the gods commanded. And I would do it again, if they willed it. (SIGHS) Are you going to k*ll me or not? (MUSIC CONTINUES) Ah. Boys, look after Ragnar, yes? Ubbe: Yes. He is not as strong as he would like to think. Bjorn: See you in the spring, Ivar. Ivar: See you then. Watch for fresh snow drifts. And for what's pissing in front of you as well as behind you. (CHUCKLES) I'll try to remember that. Prove me wrong. sl*ve Trader: Solomon! This one! We may never see him alive again. You know that, don't you? Have you seen something? No, I just meant that... Then why would you say something like that? (SIGHS) Man 1: Go check the traps, brother! Over here! Woman 2: Did you get the kindling for your father? (CLANKING) Woman 2: Keep the kindling dry! Man 2: Stack them up over here. Guard: Eirik! Rider! (HORSE NEIGHING) Man 4: Where's my hammer? (HORSE TROTTING) (NEIGHING) Guard: It's Rollo! (EXCLAIMING) I told you he'd come. Eirik: Open the gates! (GUARDS GRUNTING) (FRENCH SOLDIERS SHOUTING) (MUSIC PLAYING) Eirik! Eirik! It's an ambush! (SOLDIERS SHOUTING) (ALL SCREAMING) (ARROWS WHOOSHING) (MEN GROANING) (SCREAMING) Eirik! Run! Woman: Get the children! (GROANING) (SHOUTING CONTINUES) (ARROWS WHOOSHING) (SCREAMS) Son! Son! No! (CHOKING) (WOMAN SCREAMING) Rollo! Stay there, coward! Death is easy for us! But not for you! Traitor! Shield wall! (ALL SHOUTING) (FRENCH CAPTAIN CALLING OUT IN OLD FRENCH) (ARROWS WHOOSHING) Eirik: Charge! (VIKINGS SHOUTING) (SHOUTING) (PANTING) Rollo! You have betrayed your own kind! (GASPS) But we shall be revenged. Ragnar is coming! (GASPS) Ragnar... (GASPING) Will revenge us. (EIRIK SIGHS)

{"type": "series", "show": "Vikings", "episode": "04x01 - A Good Treason"}

foreverdreaming

Intersection A police car pulls up and Rick Grimes, a deputy, gets out of the car. He walks around amid overturned vehicles and trash laying everywhere. He holds a small fuel t*nk in his hand trying to look for some fuel. He walks past several vehicles where decomposing d*ad people sit in their cars with flies buzzing around them. He walks towards the gas station and sees that the sign says ‘No Gas'. He starts to walk back towards his car but he hears some footsteps. He kneels down and looks under a car. He sees a small girl walking toward a teddy bear. She is in a night gown and some slippers. She picks it up and starts walking away from Rick. Rick: Little girl? I'm a policeman. Little girl. She stops. Rick: Don't be afraid. Okay? Little girl. When she turns around, we see that she is a walker with missing parts of her cheek. She starts to shuffle towards Rick and groans. Before she can get to him, Rick draws his p*stol and fires. The little girl is struck in the head and she falls down d*ad. Rick stares in shock. OPENING CREDITS Police car Earlier, Rick and Shane, another deputy, are sitting in their police car talking and eating. Rick: What's the difference between men and women? Shane: Is this a joke? Rick: No, serious. Shane: I never met a woman who knew how to turn off a light. They're born thinking in a switch, it only goes one way. On. They're struck blind the second they leave a room. I mean every woman, I ever let have a key... I swear to God. Come home, house all lit up, and my job, apparently because… because my chromosomes happen to be different cause I then gotta walk through that house, turn off every single light this chick left on. Rick: Is that right? Shane: Yeah, baby. Alright, Reverend Shane's preaching to you now, boy. Rick smiles. Shane: The same chick, mind ya. She'll bitch about global warming. That's when Reverend Shane wants to quote from the Guy Gospel and say "Um, darling? maybe you, and every other pair of boobs on this planet just figured out that the light switch see, goes both ways, "maybe we wouldn't have so much global warming." Rick: You say that? Shane: Yeah. Anyway, uh… Polite version… Still man, that… that earns me this. This look and loathing you would not believe. And that's when the exorcist voice pops out. "You sound just like my damn father. Always, always yelling about the power bill, telling me to turn off the damn lights." Rick: What do you say to that? Shane: You know what I wanna say. I wanna say, "Bitch, you mean to tell me you've been hearing this your entire life and you are still too damn stupid to learn how to turn off a switch? You know… I don't actually say that, tho. Rick: That would be bad. Shane: Yeah, go with the uh… the polite version there… Rick: Very wise. Shane: Yes, sir. So how's it with Lori, man? Rick: She's good. She's good at turning off lights. Really good. I don't know why I sometimes forget. Shane: Not what I meant. Rick: We didn't have a great night. Shane: Look, man, I may have a… fail to amuse with my sermon, but I did try. The least you could do is speak. Rick: That's what she always says: "Speak". "Speak". You'd think I was the most closed mouth son of a bitch you'd ever hear her telling. Shane: Do you express your thoughts? Do you share your feelings and that kind of stuff? Rick: The thing is… lately whenever I try… everything I say makes her impatient, like she didn't want to hear it after all. It's like she's… pissed at me all the time, and I don't know why. Shane: Look, man, that's just shit couples go through. Nah, it's… It's a phase. Rick: Last thing she said this morning? Shane: Mm? Rick: Sometimes I wonder if you even care about us at all. She said that in front of our kid. Imagine going to school with that in your head. Difference between men and women? I would never say something that cruel to her. Certainly not in front of Carl. Before they can elaborate, they get a call about a high speed chase. Caller: All available units, high speed pursuit in progress Lincoln county units request local assistance. Highway 18 south GTAAD W217 243. Proceed with extreme caution. Shane puts the food in the dustbin as Rick drives the car. Police Car While driving, Shane & Rick are listening to the caller on their radio. Caller: Suspects are two male Caucasians. Be advised, they have fired on police officers. One Lindon county officer is wounded. Road Caller: Unit 1 Unit 3, please. 18, 2 miles west of lnterstate 85 and we'll patch in Lindon County Sheriff radio. Policeman: Roger that. We're 5 minutes out on the route 18 intersection. Rick stops the car and he & Shane gets out of the car. They set up spike strips to stop the felon when he drives by. Policeman: Dispatch, Unit 1, Unit 3, we are 10-97 in code 100. Highway 18, 85 Interstate, please advice. They back up to the other deputies and get out of their cars to aim their g*n. Policeman: Sounds like they're chasing those idiots up and down every back road we got. Leon: Hey, we'll get them on one of those video shows, you know, like World's craziest police chases, what do you think? Rick: What I think, Leon, is that you need to stay focused. Make sure you got a round in the chamber and your safety off. Leon realizes he didn't do that and corrects his mistake. Shane: Would be kind of cool to get on one of them shows. Suddenly, the car comes down the road. It hits the spike strips d*ad on and ends up crashing after flipping multiple times. Rick: Holy shit. The deputies aim all of their g*n at the men inside the car. The driver's door opens and he comes out with a g*n. Policeman: g*n, g*n, g*n. Rick: Put it down! Put the g*n down! But the man comes out f*ring. Several sh*ts are exchanged and Rick is h*t in the vest. The other deputies take him down. Another man comes out f*ring and they also take him down. Shane runs to Rick. Shane: Rick! Rick: I'm alright! Shane: I saw you get tagged, man, it scared the hell out of me. Rick: Me too. Son of a bitch sh*t me. You believe that? Shane: He got you in your new vest. Rick: Yeah. Shane, you do not tell Lori that happened. Ever. You understand… Aah! Suddenly, a third man comes out and hits Rick in the shoulder with a g*n. This time, Rick is actually h*t and lies on the ground gasping for air. Shane: Rick! Rick! No, no, no! Shh, shh, shh. No, no, no, no… He's hurt! Leon! You get that ambulance down here, you tell them there's an officer down, you do it now! Shane stays with Rick to comfort him. Shane: Shh, shh, shh, hey, you look at me, stay with me, you hear me? Shh, shh. okay. Shh, shh, stay with me, you hear me? Shh, shh, ok? You stay with me, ok? Room - Hospital Rick sees Shane in the hospital. Shane: Hey, bud… We're still here. We're still hanging in. Look, I'm sorry, man. I mean watching the same crap every time I come in here. Everybody pitched in on these. They uh… They wanted me to bring them down, they send their love and they just… They hope you come back real soon. Linda and Diane from dispatch, they picked these out. You probably could tell, hmm? I'll just set this on your side table, ok? Shane sits them on the drawer next to the bed. When he goes out of sight, we see Rick is hallucinating. Rick: That vase has something special. Fess up. Did you steal it from your Grandma Gene's house? I hope you left her that spoon collection. Shane? He looks over on the table and sees that the flowers are d*ad and dried out. Rick: Shane, you in the john? He pulls one off and it falls apart in his hands. Over on the wall, the clock has stopped at 2:16. Rick is confused and he decides to get out of the bed. He is very weak from not having any food or water as well as his injury. He falls out of the bed and onto the floor. Rick: Nurse, help. Nurse. Help! Rick calls for the nurse, but nobody answers. Rick gets up on his own and heads into the bathroom. He gets the water running and takes a long drink. Hallways – Hospital Rick leaves his room and finds that the lights are flickering in the hallways. There are several overturned beds and papers laying everywhere. Rick shuffles down the hallways. He comes to a desk and picks up the phone, but he is unable to get a dial tone. In one of the bins, he finds a pack of matches. He picks it up and lights one to make sure it works. He continues to walk down the dark hallway and looks through a door. On the other side on the floor is a d*ad woman that is missing her abdomen and her entrails are hanging out of her stomach. Disgusted, Rick continues down the wall. He sees b*llet holes and blood stains on the walls and walks toward a door that says, "Don't open, d*ad Inside." When he approaches it, the door starts to push open but the lock and board that was placed on it prevents it from opening. Hands that look pale and dirty reach out to try to get at Rick, but he runs away from it. He tries to get inside the elevator, but it isn't working. He runs into the stairwell, but it is dark inside. He lights several matches and walks down. Rick finally reaches the bottom and goes outside into the light. Outside As he walks down into the back parking lot, Rick sees hundreds of bodies that are all strewn across the parking lot. They have been wrapped in body bags and Rick is disgusted by the sight of the d*ad bodies and flies buzzing around them. Rick walks up an embankment where there is a helicopter, military tents and vehicles set up. The place has been destroyed and abandoned. Street Rick walks down a street and finds a bicycle. He picks it up and notices a mutilated corpse near it. When he moves the bike, the corpse actually turns on him. It's a d*ad woman that is missing her legs. She crawls towards Rick, but he jumps on the bike and rides away. He reaches his house and starts running around yelling for Lori and Carl. Rick: Lori! Lori! Carl! Carl! Lori! Carl! They are nowhere to be found and Rick falls onto the ground sobbing. Rick: Lori! Carl! He starts to panic. Rick: Is this real? Am I here? He starts to smack himself. Rick: Wake, wake up! He walks out onto the steps of his house and sits down in frustration. He has no idea how to take all of this in. He looks over and sees a man walking down the street. Rick stares at him, confused, and starts to motion for him to come over. Someone comes up behind Rick. He turns around to take a shovel to the face. Duane, a kid, has h*t Rick. Duane: Daddy, daddy! Rick: Carl… Carl? I found you… Rick calls Duane by the name of Carl thinking that it's his son. Duane: Daddy, I got this sumbitch. I'm gonna smack him d*ad. Morgan, Duane's father, runs over and sh**t the other man in the street in the head. Morgan: He say something? I thought I heard him say something. Duane: He called me Carl. Morgan: Son, you know they don't talk. Morgan notices the bandage. Morgan: Hey, mister! What's that bandage for? Rick: What? Morgan: What kind of wound? You answer me, damn you! What's your wound? Rick doesn't respond. Morgan: You tell me! Or I will k*ll you. Rick passes out. Bedroom - House Rick wakes up in a house and sees Duane with a baseball bat. Morgan: Got that bandage changed out. It was pretty rank. What was? The wound? Rick: g*n sh*t. Morgan: g*n sh*t? What else? Anything? Rick: g*n sh*t ain't enough? Morgan: Look, I ask and you answer. It's common courtesy, right? Did you get bit? Rick: Bit? Morgan: Bit. Chewed. Maybe scratch? Anything like that. Rick: No, I got sh*t. Morgan: Just sh*t? Rick: As far as I know. Hey… Just let me… Morgan feels his forehead. Morgan: Feels cooler now. Fever would have k*lled you by now. Rick: I don't think I have one. Morgan: Be hard to miss. He pulls out a Kn*fe and shows it to him. Morgan: Take a moment, eh? Look how sharp it is. You try anything… I will k*ll you with it, and don't you think I won't. Rick stays still and Morgan cuts him free. Morgan: Come on up when you're able. Come on. Morgan and his son leave the room. Dining Room – House Rick walks down the stairs to find Morgan and Duane getting their supper ready. Rick: This place… It's Fred and Cindy Drake's. Morgan: Never met them. Rick: I've been here. This is their place. Morgan: It was empty when we got here. Rick goes to peel the blankets on the windows back. Morgan: Don't do that. They'll see the light. There's more of them out there than usual. I never should have fired that g*n today. The sound draws them, now they're all over the street. Stupid… using a g*n… It all happened so fast… I didn't think. Rick: You sh*t that man today. Morgan: Man? Duane: No man… Morgan: What the hell was that out of your mouth just now? Duane: It wasn't a man. Rick: You sh*t him. In this street, out front, a man. Morgan: For him, you need glasses. It was a walker. Rick: Come on. Rick is confused. Morgan: Sit down, before you fall down. Here. Eat. Rick sits. Duane: Daddy… Blessing… Morgan: Yeah. All three hold hands. Morgan: Father, we thank thee for this food… Thy blessings… We ask you to watch over us in these crazy days. Amen. Duane: Amen. They start eating. Morgan: Hey, mister, do you even know what is going on? Rick: I woke up today. In a hospital. Came home, that's all I know. Morgan: But you know about the d*ad people, right? Rick: Yeah, I saw a lot of that. Out on the loading dock, hauling trucks. Morgan: No… Not the one's they put down… The one's they didn't. The walkers. Like the one I sh*t today. Cause he would have ripped into you. Try to eat you, take him some flesh at least. But I guess if this is the first you're hearing, I know how it must sound… Rick: They're out there now, in the street? Morgan: Yeah. They're even more active after dark sometimes. Maybe it's the cool air or… Hell, maybe it's just me f*ring up that g*n today. But we'll be fine long as we stay quiet. Probably wander off by morning. Well, listen… One thing I do know… Don't you get bit! We saw your bandage and that's why we were afraid of. Bites k*ll you. The fever… burns you out. But then after a while… You come back. Duane: Seen it happen… They continue eating quietly. Living-room – House After supper, Duane is sleeping next to his father. Morgan: Carl… He your son? William… He said his name today… Rick: He's a little younger… than your boy. Morgan: And he's with his mother? Rick: I hope so. Duane: Dad? Morgan: Yeah? Duane: Did you ask him? Morgan: Your g*n sh*t… We got a little bet going. My boy says you're a… bank robber… Rick: Yeah… That's me. Deadly as Dillinger. Kapow. Sheriff's deputy. Morgan: Aha. A car alarm outside starts going off. Morgan calms Duane down, who woke up in panic. Morgan: Hey, it's ok, daddy's here. It's nothing. One of them must've bumped a car… Rick: You sure? Morgan: Happened once before. Went off a few minutes. Get the light, Dwayne. They dim the lights and look outside. There are several of them walking around outside. Morgan: It's the blue one, down the street. Same one as last time. I think we're ok. Rick: That noise… Will it bring more of them? Morgan: Nothing to do about it now. Just have to wait 'em out till morning. Duane looks outside and sees a female walking close to the house. Duane: She's here. Morgan: Don't look. Get away from the windows. I said go! Come on! Duane starts to cry and Morgan comforts him. We realize this is Duane's mother and Morgan's wife. Morgan: Come on, quiet. Shh, shh… Rick walks towards the door and looks out the peephole. Morgan: It's ok, here. Cry into the pillow. Can you remember? Shh… The woman looks at the door in confusion and seems to be staring at Rick. She then starts to turn the doorknob left and right, but it doesn't open since it's shut. Rick sits next to Morgan. Morgan: She, uh… She died in the other room, on that bed… Nothin' I can do about it here… That fever, man… Her skin gave off heat like a furnace… Should have put her down, I should have put her down, I know that, but… You know what… I just didn't have it in me… She's the mother of my child. They look at the doorknob and it continues to turn left and right. Outside The next morning, Rick, Morgan, and Duane gets out of the house. Rick: Are we sure… they're d*ad? Morgan: You have to ask, just one more time. They're d*ad. Except for something in the brain. That's why it's gotta be the head. One of them is lying up against the fence post but gets up and starts walking towards Rick. He smashes it in the head several times with a baseball bat. He falls to the ground. Morgan: You alright? Rick: Need a moment. House They enter Rick's house. Rick: They're alive. My wife and son. At least they were when they left. Morgan: How can you know? By the look of this place… Rick: I found empty drawers in the bedroom. They packed some clothes. Not a lot. But enough to travel. Morgan: You know anybody could've broken in here and stolen clothes, right? Rick: You see the framed photos on the walls? Neither do I. Some random thief took those too, you think? My photo albums, family pictures, all gone. Morgan starts to sob. Morgan: Photo albums… My wife… Same thing… Here I am, packing survival gear, she's grabbing photo albums… Duane: They're in Atlanta, I'll bet. Morgan: That's right. Rick: Why there? Morgan: Refugee settle. Huge, when they said it, before the broadcast stopped. Military protection, food, shelter… They told people to go there. Said to be safest. Duane: Plus they got that disease place. Morgan: Center for Disease Control. Said they were working on how to solve this thing. Rick grabs a set of keys. Police Station They all enter the sheriff's office. They walk into the locker room and Rick turns on the shower. Morgan: Gas and light have been down for maybe a month. Rick: Station got its own propane system. Pilot's still on. The three men decide to enjoy a nice, hot shower. Rick shaves his beard off and they all get clean. Morgan: Oh, my Lord. Duane: Hot water! Morgan: That feels good, right? Locker Room – Police Station Rick: Duane… Dress in room back there. Rick hands Duane some clothes so he can change. Morgan: What you say, Dwayne? Duane: Thank you. Morgan: Mhm. Duane leaves the locker room. Morgan: Atlanta sounds like a good deal. Safer anyway. People… That's where we were heading. Things got crazy. Man, you won't believe. The panic… Streets won't fit to be on, and then we'll… My wife… couldn't travel. No, not with our herd, so we had to find a place to lay low. And then, after she died… We just stayed hunkered down. I guess we just froze in place. Rick: Plan to move on? Morgan: Haven't worked up to it yet. g*n Room – Police Station Rick: A lot of it's gone missing. Duane: Dad, can I learn to sh**t? I'm old enough. Morgan: Hell yes you're going to learn. We gotta do it carefully, teach you to respect the w*apon. Rick: That's right. It's not a toy. You pull the trigger, you have to mean it. Always remember that, Duane. Duane: Yes, sir. Morgan: Here. Go on. Rick hands Morgan a Remington 700 with a scope on the end. Rick: Take that one. Nothing fancy. Scope's accurate. Outside They get out of the police station and reach the police car. Rick: Conserve your a*mo. Goes faster than you think. Especially at target practice. Morgan: Dwayne. Duane: Yeah? Morgan: Take this to the car. Rick: You sure you won't come along? Morgan: A few more days… By the end, Dwayne will know how to sh**t and I won't be so rusty. Rick gives Morgan a walkie-talkie. Rick: You got one better. I'll turn mine on, a few minutes every day at dawn. You get up there, that's how you find me. Morgan: You think they're here? Rick: Can't afford not to. Not anymore. Morgan: Look, just one thing. They may not seem like much one at a time… but in a group all round up and hungry… May you watch your ass. Rick: You too. Morgan: You a good man, Rick. I hope you'll find your wife and son. Rick: Be seeing you, Duane. Take care of your old man. Duane: Yes, sir. Before they can leave, Morgan looks over and sees Leon Basset, who is now a walker. Rick: Leon Basset? Didn't think much of him. Careless and dumb, but… can't leave him like this. Morgan: You know they'll hear the sh*t. Rick: Let's not be here when they'll show up. Morgan: Let's go, son. Come on. Duane and Morgan runs to their car, while Rick approaches Leon. He pulls out his Colt Python and sh**t him in the head, k*lling him. Morgan and Duane separate and head back to their house. Rick heads off in his sheriff's car. Morgan & Duane's House They are working. Morgan nails the door shut and smiles at his son. Street Rick walks around the location where he saw the legless walker. He starts to look for her. Morgan & Duane's House Morgan: Read your comic books a while. Daddy'll be upstairs. Park Rick continues looking for the legless walker. Morgan & Duane's House Morgan pulls out his photo albums and looks at several pictures of his wife, smiling. He hangs one of them on the wall and he takes the Remington 700 that Rick handed him. Park Rick walks and starts to follow a trail. He finds the woman still trying to crawl. Morgan & Duane's House Morgan whistles to one of the walkers and he fires at him. The sight is accurate and he nails it right in the head. The walkers hear the noise. Duane gets scared. Duane: Daddy? Morgan: It's alright, Duane. You stay there, son. Don't come up here. Morgan sh**t another one through the head and tries to look for his wife. Morgan: Jenny… Come on, baby. Park She spots Rick and he kneels next to her. The woman tries to claw at Rick and wants to eat him. Rick: I'm sorry this happened to you. He pulls out his Python and puts the legless woman out of her misery by sh**ting her in the head. Morgan & Duane's House Several of the walkers start to walk towards the house. Morgan finally spots his wife out in the crowd. He aims at her, but his wife looks right at the scope. Morgan: Come on, come on. Morgan breaks down and can't bring himself to sh**t his wife. He brings the r*fle up again and stares at his wife. She turns around and starts to walk away from the house, but even with her back turned, Morgan still can't sh**t her. He breaks down again. Park Rick leaves the d*ad legless walker. Road Later, Rick drives down the road and broadcasts on the radio over an emergency channel. Broadcasting on emergency channel. We'll be approaching Atlanta on Highway 85. Anybody reads, please respond. Hello. Hello. Can anybody hear my voice? Anybody out there? Anybody hears me, please respond. Hello, can you hear my voice? Survival Camp The survival group hear Rick's message. Rick: Hello? Hello? Can anybody hear my voice? Amy answers Rick. Amy: Hey? Hello? Rick: Can you hear my voice? Amy: Yes, I can hear you. You're coming through. Over. Rick: Anybody who reads, please respond. Broadcasting on emergency channel. We'll be approaching Atlanta on Highway 85. Anybody reads, please respond. Amy: We're just outside the city. Damnit. Hello? Hello? He couldn't hear me. I couldn't warn him. Dale: Try to raise him again. Come on, son. You know best how to work this thing, Shane comes over and tries to work the radio. Shane: Hello, hello, is the person who calls still on the air? This is officer Shane Walsh, broadcasting a person unknown, please respond. He's gone. Lori and Carl Grimes are revealed to be alive and they also join the group. Lori: There are others. It's not just us. Shane: Yeah, We knew there would be, right, that's why we let the CB on. Lori: Lots of good it's been doing. And I've been saying for a week, we ought to put signs up on 85 to warn people away from the city. Amy: Folks got no idea what they're getting into. Shane: We don't have enough time. Lori: I think we need to make time. Shane: Yeah, that, uh… That's a luxury we can't afford. We are surviving here. We are day to day. Dale: And who the hell would you propose to send? Lori: I'll go. Give me a vehicle. Shane: Nobody goes anywhere alone, you know that. Lori: Yes, sir. Lori goes away and her son follows her, but Shane holds him back. Shane: Hey, hey, hey, come on, take a sit, buddy. You're alright, go on, you're alright. Shane follows her. Shane: What, you're pissed at me? Well pissing me all you want won't gonna change anything. Tent Lori enters and Shane follows her. Shane: I'm not putting you in danger, okay? I'm not doing it for anything. I make you feel like sometimes you wanna slap me outside the head… I'll tell you what, girl. You feel that need, you go right ahead. I'm right here. You cannot walk off like that, all half-cocked. Look, if you don't wanna do it for my sake or for your sake, that's fine. But just… You do it for him. That boy has been through too much. And he's not losing his mother too, ok? Okay. Lori: Ok, fine. Shane: You tell me okay. It's not hard. They smiles at each other. Shane: Hey… Shane walks up to Lori and kisses her. Carl: Mom? Shane exits before he can see them kissing. Shane: What's up, buddy? She's in there, go on. Lori: Hey. I don't want you to worry. Your mom is not going anywhere. Okay? Yeah? Yeah? Yeah? Go finish your chores. Carl: Okay. Police Car Rick pulls the photograph that he has of his family off of the window. He starts to walk down the road to find some gasoline that he can use to continue his ride to Atlanta. He comes upon a house. Rick: Hello? Police officer out here. Can I borrow some gas? Hello? Hello? Anybody home? Rick looks inside and sees two d*ad bodies with flies buzzing around them. There is a message on the wall written in blood saying "God Forgive Us". Rick walks over to the truck that is sitting in the driveway, but there are no keys. Frustrated, he starts to walk back, but notices a horse. Rick walks toward it and coaxes it. Rick: Easy now, easy. I'm not gonna hurt you. Nothing like that. More like a proposal. Atlanta's just down the road ways. It's safe there. Food, shelter, people, other horses too, I bet. How's that sound? Rick wraps the harness around the horse. Rick: There we go. Good boy. Good boy. Now come with me. Come with me. He leads it out of the s*ab. Rick rides the horse down the fields. Rick: Let's go easy, ok? I haven't done this for years. Easy. Easy, boy. Easy, easy, easy. Highway Rick: Let's go. He eventually gets to the outskirts of Atlanta. One side of the highway is empty while the other side of the highway is packed with several cars that have been wrecked or abandoned. Rick continues to ride down the empty side of the highway to enter Atlanta. Road Rick rides into the city and along the streets. He sees that the streets are abandoned and there is trash everywhere. Rick leads the horse down the street where there are helicopters, cars, and even a t*nk wrecked along the road. Rick rides past a bus and some of the walkers see him. They get up and start to walk toward him. Rick doesn't panic. Rick: Steady. It's just a few. Nothing we can't outrun. Rick rides past them and goes to ride down the street. Rick: Okay, whoa whoa whoa. He looks up on the t*nk and sees a d*ad body that is being pecked at by crows. He rides past the t*nk and looks up in the air. He sees a helicopter fly past him. Rick starts to ride in the direction of the helicopter, but when he turns at the corner, there is a lot of walkers. All of them shuffle after Rick and he rides back down the street he came from. He then comes across another huge group of walkers. Rick struggles to get away but he's trapped. Rick falls off the horse and starts to crawl away from it. Some of the walkers eat the horse and Rick realizes that he has dropped his g*n bag. He crawls underneath the t*nk while walkers still try to catch him. They crawl under the t*nk and Rick sh**t some of them with his Colt Python. Rick: Lori, Carl, I'm sorry. Rick prepares to use the last b*llet on himself, but sees the hatch above him. He crawls up and shuts it. t*nk He sits down and starts to breathe heavily. He then sees a d*ad soldier in the t*nk. He takes the soldier's g*n, but he's a walker. Rick uses the last b*llet in his Python to sh**t him through the head. The sound of the b*llet in the enclosed space hurts Rick's ears and it takes him a minute to get his hearing back. He starts to crawl up to the top hatch and looks outside. He sees that the bag of g*n is lying in the street way out of his reach. The rest of the walkers start to converge on the t*nk to get at him. Rick shuts the hatch before they can get him. Rick sits in the t*nk and seems very disheartened. He notices that the soldier's g*n is loaded and thinks about taking his own life. Just then, the radio in the t*nk starts to make static sounds. A voice on the other end starts talking. Man: Hey, you. Dumb ass. Hey, you in the t*nk. Cozy in there? Rick realizes that he isn't alone. Outside Some of the walkers continue to eat the horse. Others are converging on the t*nk still trying to get at Rick inside the t*nk. THE END

{"type": "series", "show": "The Walking Dead", "episode": "01x01 - Days Gone By"}

foreverdreaming

Roof Thunder is rumbling. Merle is on the roof hallucinating. Merle: That's right. You heard me, bitch. You got a problem? Bring it on if you're man enough, Or take it up the chain if you're a p*ssy. You heard me, you p*ssy-ass noncom bitch. You ain't deaf. Take it up the damn chain of command or you can kiss my lily-white ass. That's right. That's what I said. You heard me. And then this idiot, he takes a swing, You know, and well… He laughs hysterically. Merle: Oh, you should've seen the look on his face when I punched out his front teeth. Yeah, five of 'em. Pow! Pow! Just like that. Huh. Oh my god. 16 months in the stockade… Oh, that's what them teeth cost me. That was… That was hard time, but by god, it was worth every minute of it Just to see that prick spit his teeth out on the ground. Yes sir, worth every minute. Merle continues to try and pull himself off of the pipe, but he is unable to get loose. Merle: Oh no. No no! No no! No no! God! God! No no! God! Jesus! No no, merciful Christ! No no. No no. God, help me! God! God! Jesus, please! Jesus, please. Help me! Come on now! Merle sees Walkers trying to get through the door. They are unable to break it because of the chain that T-Dog put on it. Merle: Help me. No no. Oh, no no. Oh my god. Shh shh shh shh shh. Merle starts crying. Merle: No, Jesus. Jesus. No no no no no no. Please. I didn't behave, I know. I know I'm being punished. I know. I… Oh, I deserve it. I deserve it. I've been bad. Help me now. Show me the way. Go on, tell me what to do. Tell me. Tell me. God! Merle rolls under the pipe and uses his belt to try. He gets the saw that is lying close to him. Merle: That's okay. Never you mind, silly Christ boy. I ain't begged you before. I ain't gonna start begging now. I ain't gonna beg you now! Don't you worry about me! Begging you ever! I'll never beg you! I ain't gonna beg you! I never begged you before. Oh shit. No! He continues to try and get the saw while the Walkers try to break through the door. OPENING CREDITS Truck Morales: Best not to dwell on it. Merle got left behind. Nobody's gonna be sad he didn't come back… Except maybe Daryl. Rick: Daryl? Morales: His brother. Behind them, the group hears Glenn in his car. Glenn: Whoo-hoo! Glenn speeds past them and continues to holler about how much fun he's having. Morales: At least somebody's having a good day. Camp Jim hangs some cans around the perimeter so they can hear Walkers. Girl: Give it back. Boy: Stop it. Girl: No! Boy: I found it. Girl: No! Boy: Give it. Woman: Mijo, leave your sister alone. Boy: Why? Woman: Come on. Lori is giving Carl a haircut. Lori: Baby, the more you fidget, the longer it takes. So don't, okay? Carl: I'm trying. Lori: Well, try harder. Shane: If you think this is bad, wait till you start shaving. That stings. That day comes, you'll be wishing for one of your mama's haircuts. Carl: I'll believe that when I see it. Shane chuckles. Shane: I'll tell you what… you just get through this with some manly dignity and tomorrow I'll teach you something special. I will teach you to catch frogs. Carl: I've caught a frog before. Shane: I said frogs… plural. And it is an art, my friend. It is not to be taken lightly. There are ways and means. Few people know about it. I'm willing to share my secrets. Carl looks at Lori unsure of what to say. Lori: Oh, I'm a girl. You talk to him. Shane: it's a one-time offer, bud... not to be repeated. Carl: Why do we need frogs, plural? Shane: You ever eat frog legs? Carl: Eww! Shane: No, yum! Lori: No, he's right. Eww. Shane: When you get down to that last can of beans, you're gonna be loving those frog legs, lady. I can see it now… "Shane, do you think I could have a second helping, please? Please? Just one?" Lori: yeah, I doubt that. Shane chuckles. Shane: Don't listen to her, man. You and me, we'll be heroes. We'll feed these folks cajun-style Kermit legs. Lori: I would rather eat miss piggy. Yes, that came out wrong. Shane laughs. Shane: Heroes, son, spoken of in song and legend. You and me, Shane and Carl. Carl and Shane laugh. The conversation is interrupted with the beeping of Glenn's car alarm. Man: Hey, Dale, can you see what that is? Shane: Talk to me, Dale! Dale: I can't tell yet. Amy: Is it them? Are they back? Dale: I'll be damned. Amy: What is it? Dale: A stolen car is my guess. Glenn pulls in and says hello. Dale: Holy crap. Turn that damn thing off! Glenn: I don't know how! Shane: Pop the hood, please. Pop the damn hood, please. Amy: My sister Andrea… Shane: Pop the damn hood! Glenn: What? Okay okay. Yeah yeah yeah. Yeah yeah! Amy: Is she okay? Is she all right? He pops the hood so Shane can disconnect the battery to turn the alarm off. Glenn: She's okay! She's okay! Amy: Is she coming back? Glenn: Yes! Amy: Why isn't she with you? Where is she? She's okay? Glenn: Yes! Yeah, fine. Everybody is. Well, Merle not so much. Shane: Are you crazy, driving this wailing bastard up here? Are you trying to draw every Walker for miles? Dale: I think we're okay. Shane: You call being stupid okay? Dale: Well, the alarm was echoing all over these hills. Hard to pinpoint the source. I'm not arguing. I'm just saying. It wouldn't hurt youto think things through a little more carefully next time, would it? Glenn: Sorry. Got a cool car. The group sees the truck arrive. Truck Morales: Come meet everybody. Survival Camp Andrea gets out of the truck. Andrea: Amy. Amy: Andrea! Andrea runs up to Amy and the two sisters hug. Andrea: Oh! Amy: Oh my god! You scared the shit out of me. Morales gets out of the truck and his wife and children runs up to him. Boy: Papi! Daddy! Morales: Hey. Come here, sweetie. Hey. I told you I'd be back, didn't I? Carl is still sad and we can see that he wishes that Rick would come back when the groups return. Shane looks at them. Dale: You are a welcome sight. Dale and Morales hug. Both laugh. Dale: I thought we had lost you folks for sure. Shane: How'd y'all get out of there anyway? Glenn: New guy… he got us out. Shane: New guy? Morales: Yeah, crazy Vato just got into town. Hey, helicopter boy! Come say hello. Rick gets out of the truck. Morales: The guy's a cop like you. Rick walks up and Shane is the first to see him. Carl and Lori then turn over and he sees Rick. Rick also sees Carl and Lori. Rick: oh my god. Carl and Lori run up to Rick. Carl: Dad! Dad! Rick takes Carl in his arms, crying. Rick: Carl. Oh! He kisses Carl on the cheek and approaches Lori. He hugs them both. Shane is surprised to see Rick, but isn't as happy as he should be. He feigns a smile as Lori looks at him. Rick smiles at him and Shane smiles back. Survival Camp Later that night, Rick is sitting down with the group around a f*re camp. Rick: Disoriented. I guess that comes closest. Disoriented. Fear, confusion… all those things but… Disoriented comes closest. Dale: Words can be meager things. Sometimes they fall short. Rick: I felt like I'd been ripped out of my life and put somewhere else. For a while I thought I was trapped in some coma dream, something I might not wake up from ever. Carl: Mom said you died. Rick: She had every reason to believe that. Don't you ever doubt it. Lori: When things started to get really bad, they told me at the hospital that they were gonna medevac you and the other patients to Atlanta, and it never happened. Rick: Well, I'm not surprised after Atlanta fell. Lori: Yeah. Rick: And from the look of that hospital, it got overrun. Shane: Yeah, looks don't deceive. I barely got them out, you know? Rick: I can't tell you how grateful I am to you, Shane. I can't begin to express it. Dale: There go those words falling short again. Paltry things. Nearby, Ed puts another log on his f*re. Shane: Hey, Ed, you want to rethink that log? Ed: It's cold, man. Shane: The cold don't change the rules, does it? Keep our fires low, just embers so we can't be seen from a distance, right? Ed: I said it's cold. You should mind your own business for once. Shane gets up and walks over to Ed's f*re. Shane: Hey, Ed… Are you sure you want to have this conversation, man? Ed: Go on. Pull the damn thing out. Go on! Carol, his wife, pulls the log out of the f*re. Their daughter, Sophia, watches as Carol pulls the log out. Shane: Christ. Shane stomps the flames out. Shane: Hey, Carol, Sophia, how are y'all this evening? Carol: Fine. We're just fine. Shane: Okay. Carol: I'm sorry about the f*re. Shane: No no no. No apology needed. Y'all have a good night, okay? Carol: Thank you. Shane: I appreciate the cooperation. Shane rejoins the other group. Dale: Have you given any thought to Daryl Dixon? He won't be happy to hear his brother was left behind. T-Dog: I'll tell him. I dropped the key. It's on me. Rick: I cuffed him. That makes it mine. Glenn: Guys, it's not a competition. I don't mean to bring race into this, but it might sound better coming from a white guy. T-Dog: I did what I did. Hell if I'm gonna hide from him. Amy: We could lie. Andrea: Or tell the truth. Merle was out of control. Something had to be done or he'd have gotten us k*lled. Your husband did what was necessary. And if Merle got left behind, it is nobody's fault but Merle's. Dale: And that's what we tell Daryl? I don't see a rational discussion to be had from that, do you? Word to the wise… We're gonna have our hands full when he gets back from his hunt. T-Dog: I was scared and I ran. I'm not ashamed of it. Andrea: We were all scared. We all ran. What's your point? T-Dog: I stopped long enough to chain that door. Staircase is narrow. Maybe half a dozen geeks can squeeze against it at any one time. It's not enough to break through that… Not that chain, not that padlock. My point… Dixon's alive and he's still up there, handcuffed on that roof. That's on us. Tent Rick: I found you, didn't I? Carl: I love you, dad. Rick: I love you, Carl. Rick kisses Carl goodnight and then joins Lori on the other side of the tent. Rick kneels down and passionately kisses Lori. Rick then lies next to Lori. Rick: I found you both. Lori: Yeah. Rick: I knew I would. Lori: You're getting cocky now, a little bit. Rick: No. No, I knew. Walking into our home, finding an empty house, both of you gone. Lori: I'm so sorry. Rick: I knew you were alive. Lori: How? Rick: The photos were gone, all our family albums. Lori chuckles and grabs one of them. Rick: I told you so. Lori: Now you're getting cocky, huh? A lot. They look at some photos from Carl's last birthday. Rick hands her the photo from his squad car. Rick: It belongs in here. Lori: Baby, I really thought I would never see you again. I'm so sorry… For everything. I feel like… When you were in the hospital, I just… I wanted to take it all back… The anger and the bad times. But the mistakes… Rick kisses her. Rick: Maybe we got a second chance. Not many people get that. Rick and Lori continue to kiss. Rick notices his wedding ring on Lori's necklace Rick: I wondered where that went. Lori: Do you want it back? Rick: Of course. Lori takes it off and puts it back on Rick's ring finger. Rick and Lori start to get passionate and Lori turns out the lantern. Rick looks over at Carl sleeping. Lori: He won't wake up. The two proceed to make love. Outside Up on the RV, Shane is sitting alone and watches the Grimes' tent. He puts his hat on and seems very upset. Thunder is still rumbling. Tent The next morning, Rick wakes up and sees that Lori and Carl are not in the tent. Outside He walks out and sees that everything is fine. Rick: Morning. Man: Morning. Rick: Hey. Woman: Hi. Carol: Morning. Rick: Morning. Carol: They're still a little damp. The sun'll have 'em dry in no time. Rick: You washed my clothes? Carol: Well, best we could. Scrubbing on a washboard ain't half as good as my old maytag back home. Rick: That's very kind. Thank you. Rick approaches Glenn who is visibly upset that Dale has torn apart some of the spare parts on the car that he brought in. Glenn: Look at 'em. Vultures. Yeah, go on, strip it clean. Dale: Generators need every drop of fuel they can get. Got no power without it. Sorry, Glenn. Glenn: Thought I'd get to drive it at least a few more days. Rick: Maybe we'll get to steal another one someday. Rick finally finds Lori. Lori: Morning, officer. Rick: Hey. Lori: You sleep okay? Rick: Better than in a long time. Lori: Well, I didn't want to wake you. I figured you could use it. God. What? Rick: I've been thinking about the man we left behind. Lori: You're not serious. Shane drives back to the camp with water. Shane: Water's here, y'all. Just a reminder to boil before use. Lori: Are you asking me or telling me? Rick: Asking. Lori: Well, I think it's crazy. I think it is just the stupidest way to break your son… Suddenly, the group hears screaming. Carl: Mom! Lori: Carl? Everyone starts to race down to the screaming. Man: It's over there! Carl: Dad! Lori: Baby! Girl: Mama! Mommy! Glenn: Rick! Lori: Carl! Rick grabs a pole and runs down to the site. Man: Over here, boy! Come on, come on! Lori: Carl! Baby! Carl: Mom! Rick: You're okay? Lori: I've got him. I've got him. Lori: Nothing bit you? Nothing scratched you? Carl: No, I'm okay. The group comes upon a Walker that is busy eating the carcass of a deer. Andrea and Amy come up and notice how disgusting it is. When the Walker sees them, it starts to turn on them. Rick, Shane, Glenn, Jim, and Morales start to b*at on it with their objects. Dale finishes it off by chopping its head off with an axe. Dale is shocked. Dale: It's the first one we've had up here. They never come this far up the mountain. Jim: Well, they're running out of food in the city, that's what. They hear branch snapping and footsteps. Daryl Dixon comes out of the forest and seems very upset that the Walker. Dale: Oh, Jesus. Daryl: Son of a bitch. That's my deer! Look at it. All gnawed on by this… filthy, disease-bearing, motherless poxy bastard! He kicks the carcass of the Walker Dale: Calm down, son. That's not helping. Daryl: What do you know about it, old man? Why don't you take that stupid hat and go back to "on golden pond"? I've been tracking this deer for miles. Gonna drag it back to camp, cook us up some venison. What do you think? Do you think we can cut around this chewed up part right here? Shane: I would not risk that. Daryl sighs. Daryl: That's a damn shame. I got some squirrel… about a dozen or so. That'll have to do. Suddenly, the head of the Walker starts to move its teeth. Amy: Oh god. Daryl: Come on, people. What the hell? Daryl sh**t it with one of his arrows. Daryl: It's gotta be the brain. Don't y'all know nothing? Survival Camp The group comes back at camp. Daryl: Merle! Merle! Get your ugly ass out here! I got us some squirrel! Let's stew 'em up. Shane: Daryl, just slow up a bit. I need to talk to you. Daryl: About what? Shane: About Merle. There was a… There was a problem in Atlanta. Daryl: He d*ad? Shane: We're not sure. Daryl: He either is or he ain't! Rick: No easy way to say this, so I'll just say it. Daryl: Who are you? Rick: Rick grimes. Daryl: Rick grimes, you got something you want to tell me? Rick: Your brother was a danger to us all, so I handcuffed him on a roof, hooked him to a piece of metal. He's still there. Daryl: Hold on. Let me process this. You're saying you handcuffed my brother to a roof and you left him there?! Rick: Yeah. Daryl goes to att*ck him, but Rick shoves him off. T-Dog: Hey! Watch the Kn*fe! Daryl pulls his Kn*fe out, but Shane is able to come up behind him and put him in a chokehold. Shane: Okay. Okay. Daryl: You'd best let me go! Shane: Nah, I think it's better if I don't. Daryl: Choke hold's illegal. Shane: You can file a complaint. Come on, man. We'll keep this up all day. Rick: I'd like to have a calm discussion on this topic. Do you think we can manage that? Do you think we can manage that? Shane: Hmm? Daryl: Mmm. Yeah. Shane lets him go. Rick: What I did was not on a whim. Your brother does not work and play well with others. T-Dog: It's not Rick's fault. I had the key. I dropped it. Daryl: You couldn't pick it up? T-Dog: Well, I dropped it in a drain. Daryl: If it's supposed to make me feel better, it don't. T-Dog: Well, maybe this will. Look, I chained the door to the roof… So the geeks couldn't get at him… With a padlock. It's gotta count for something. Daryl: Hell with all y'all! Just tell me where he is so that I can go get him. Lori: He'll show you. Isn't that right? Rick: I'm going back. Lori walks into the RV. Survival Camp Later, Rick gets his police uniform on. He walks past Shane. Shane: So that's it, huh? You're just gonna walk off? Just to hell with everybody else? Rick: I'm not saying to hell with anybody… Not yo Shane… Shane: Lori least of all. Tell her that. Rick: She knows. Shane: Well, look, I… I don't, okay, Rick? So could you just… Could you throw me a bone here, man? Could you just tell me why? Why would you risk your life for a douche bag like Merle Dixon? Daryl: Hey, choose your words more carefully. Shane: No, I did. Douche bag's what I meant. Merle Dixon…The guy wouldn't give you a glass of water if you were dying of thirst. Rick: What he would or wouldn't do doesn't interest me. I can't let a man die of thirst… me. Thirst and exposure. We left him like an animal caught in a trap. That's no way for anything to die, let alone a human being. Lori: So you and Daryl, that's your big plan? Glenn: Oh, come on. Rick turns to Glenn and Glenn is upset. Rick: You know the way. You've been there before… In and out, no problem. You said so yourself. It's not fair of me to ask… I know that, but I'd feel a lot better with you along. I know she would too. Shane: That's just great. Now you're gonna risk three men, huh? T-Dog: Four. Daryl huffs. Daryl: My day just gets better and better, don't it? T-Dog: You see anybody else here stepping up to save your brother's cr*cker ass? Daryl: Why you? T-Dog: You wouldn't even begin to understand. You don't speak my language. Dale: That's four. Shane: It's not just four. You're putting every single one of us at risk. Just know that, Rick. Come on, you saw that Walker. It was here. It was in camp. They're moving out of the cities. They come back, we need every able body we've got. We need 'em here. We need 'em to protect camp. Rick: It seems to me what you really need most here are more g*n. Glenn: Right, the g*n. Shane: Wait. What g*n? Rick: Six g*n, two high-powered r*fles, over a dozen g*n. I cleaned out the cage back at the station before I left. I dropped the bag in Atlanta when I got swarmed. It's just sitting there on the street, waiting to be picked up. Shane: a*mo? Rick: 700 rounds, assorted. Lori: You went through hell to find us. You just got here and you're gonna turn around and leave? Carl: Dad, I don't want you to go. Lori: To hell with the g*n. Shane is right. Merle Dixon? He's not worth one of your lives, even with g*n thrown in. Tell me. Make me understand. Rick: I owe a debt to a man I met and his little boy. Lori, if they hadn't taken me in, I'd have died. It's because of them that I made it back to you at all. They said they'd follow me to Atlanta. They'll walk into the same trap I did if I don't warn him. Lori: What's stopping you? Rick: The walkie-talkie, the one in the bag I dropped. He's got the other one. Our plan was to connect when they got closer. Shane: These are our walkies? Rick: Yeah. Andrea: So use the CB. What's wrong with that? Shane: The CB's fine. It's the walkies that suck to crap… Date back to the '70s, don't match any other bandwidth… Not even the scanners in our cars. Rick: I need that bag. Okay? Lori: All right. Rick approaches Carl. Rick: Okay? Carl nods yes. Survival Camp Later, Rick and T-Dog approach Dale and Jim. Rick: Rumor is you have bolt cutters. Dale: Maybe. T-Dog: Yeah, we get to that roof, though, we'll need to cut that chain and the handcuffs. Dale: I never like lending tools. The last time I did… And yes, I am talking about you… Let's just say your bag of g*n wasn't the only bag that was dropped. My tools got left behind with Merle. Rick: We'll bring your tools back too. Think of the bolt cutters as an investment. Dale: Sounds like more of a gamble. Dale gives it to him. Dale: What do I get in return? Rick: What do you want? Dale: How about one of those g*n you bring back? My pick. Rick: Done. Jim: Dale, let's… Sweeten the deal a bit. Now that cube van of yours… Rick: What about it? Jim: The RV's radiator hose is sh*t. That's a problem if we need to get somewhere and wanna get very far. And the hose on that van is just about a perfect match… Well, enough that I can make it fit. Rick: I'll tell you what… we get back, you can strip that van down to the bare metal. Daryl beeps on the horn. Daryl: Come on, let's go! Rick: Thank you. Shane stops Rick. Shane: Hey, Rick, got any rounds in the python? Rick: No. Shane: Last time we were on the g*n range, I'm sure I wound up with a few loose rounds of yours. Rick: You and that bag… like the bottom of an old lady's purse. Shane: I hate that you're doing this, man. I think that it's foolish and reckless. But if you're gonna go, you're taking b*ll*ts. Rick: I'm not sure I'd want to f*re a sh*t in the city, not after what happened last time. Shane: That's up to you. Well… Four men, four rounds. What are the odds, huh? Well, let's just hope that… Let's just hope four is your lucky number, okay? Rick: Thank you. Shane: All right. Rick gets in the truck and they take off. Tent Carl is lying down in the tent after Rick leaves. Lori comes to see him Lori: Hey. You know, I bet they'll be just fine. Carl: I'm not worried. Are you? Lori: Yeah, a little. Carl: Don't be. Lori: Why? Carl: Think about it, mom. Everything that's happened to him so far… Nothing's k*lled him yet. Lori chuckles and notes that Carl is right. Atlanta The truck arrives outside the city limits. Daryl: He'd better be okay. T-Dog: It's my only word on the matter. I told you the geeks can't get at him. The only thing that's gonna get through that door is us. Glenn stops the truck. Glenn: We walk from here. They get out and start walking along the railroad tracks. Survival Camp Lori: Dale. Have you seen Carl? Dale: Shane took him down to the quarry. There was some mighty bold talk about catching frogs. Quarry Carl: I'm not getting anything. Shane: Yeah. Being all wily, staying submerged. Little suckers, they know something's up. That's what's going on. Just going to have to do this the old-fashioned way. All right, little man, look. You are the… you are the key in all this, okay? All I'm gonna do is I'm gonna go after one of them, all right, scare the rest of them off. They're all gonna scatter. I'm gonna drive 'em your way, okay? Carl: All right. Shane: What you need to do is you need to round up every bad boy you see, all right? Are you with me? Carl: Yeah. Yeah. Shane: Hells yeah. Give me your mean face. Yes sir. Are you ready? Carl: Yeah! Shane: Are you ready? Here we go, boy. Here we go. Carl laughs as Shane splashes around in the water. Shane: All right, they're coming your way. They're coming your way. Go on, get 'em, get 'em. They're coming your way, come on. Catch them frogs. Catch them frogs. They're coming, little man! Get 'em! Get that net in there and get 'em! Nearby, Carol, Jacqui, Andrea, and Amy are doing the laundry. Jacqui: I'm beginning to question the division of labor here. Andrea agrees. Shane: They're coming, little man! Get 'em! Get that net in there and get 'em! What have you got, bad boy? What do you got? What do you got? Carl: Dirt. Shane: Oh boy. All right, we've got to start over. Come on, let's find this bucket. Jacqui: Can someone explain to me how the women wound up doing all the Hattie McDaniel work? Amy: The world ended. Didn't you get the memo? Ed watches the women washing the laundry from his vehicle. Carol: It's just the way it is. Atlanta The men cut through a fence. Rick: Merle first or g*n? Daryl: Merle! We ain't even having this conversation. Rick: We are. You know the geography. It's your call. Glenn: Merle's closest. The g*n would mean doubling back. Merle first. Quarry Carol: I do miss my Maytag. Andrea: I miss my Benz, my sat nav. Jacqui: I miss my coffeemaker with that dual-drip filter and built-in grinder, honey. Amy: My computer… And texting. Andrea: I miss my vibrator. The women start to laugh. Jacqui: Oh! Amy: Oh my God! Carol: Me too. The girls continue to laugh. Ed notices them. Ed: What's so funny? Andrea: Just swapping w*r stories, Ed. Amy: Yeah. Ed comes up to them. Andrea: Problem, Ed? Ed: Nothin' that concerns you. And you ought to focus on your work. This ain't no comedy club. Quarry Lori comes down to the quarry. Lori: Hey, Carl, what did I tell you about not leaving Dale's sight? Carl: But Shane said we could catch frogs, remember? Lori: It doesn't matter what Shane says. It matters what I say. Go on back to camp. I'll be right behind you. Carl heads back up to the RV. Shane: I've got to tell you, I do not think you should be taking this out on him. Lori: You don't tell me what to do. You lost that privilege. Shane: Lori, could you just wait up a sec? I think we should talk. We haven't had a chance… Lori: No. No no. That's over too. You can tell that to the frogs. Shane: Damn it, Lori. Look, I don't know how it appears to you or what you think… Lori: How it appears to me? I'm sorry. Is there a gray area here? Let me dispel it. You stay away from me. You stay away from my son. You don't look at him. You don't talk to him. From now on, my family is off-limits to you. Shane: Lori, I don't think that's fair. Lori: Shane, shut up. Don't! Shane: I don't think that… Lori: My husband is back. He is alive. Shane: He's my best friend. Do you think I'm not happy about that? Lori: How dare you? Why would you be? You are the one that told me that he died. You son of a bitch. She storms away in anger. Shane is very upset. Atlanta In the building, the group finds a Walker in the department store. Daryl: Damn. You are one ugly skank. Daryl takes his crossbow and sh**t it through the head. He pulls the arrow out. Quarry Shane watches as Lori and Carl leave. The woman are still doing the laundry as Ed watches them. Andrea: Ed, tell you what… you don't like how your laundry is done, you are welcome to pitch in and do it yourself. Here. She tosses a shirt at him and Ed throws it right back. Andrea: Oh! Ed: Ain't my job, missy. Carol: Andrea, don't. Andrea: What is your job, Ed? Sitting on your ass smoking cigarettes? Ed: Well, it sure as hell ain't listening to some uppity smart-mouthed bitch. Tell you what… come on. Let's go. Andrea: I don't think she needs to go anywhere with you, Ed. Ed: And I say it's none of your business. Come on now. You heard me. Andrea: Carol. Carol: Andrea, please. It doesn't matter. Ed: Hey, don't think I won't knock you on your ass just 'cause you're some college-educated cooze, All right? Now you come on now or you gonna regret it later. Jacqui: So she can show up with fresh bruises later, Ed? Yeah, we've seen them. Ed laughs and Shane notices all of this. Ed: Stay out of this. Now come on! You know what? This ain't none of y'all's business. You don't want to keep prodding the bull here, okay? Now I am done talking. Come on. Andrea: No no. Amy: Carol, you don't… Andrea: Carol, you don't have… Ed: You don't tell me what! I tell you what! Ed slaps Carol. Ed: You think you can… The girls start to protect Carol and they grab onto Ed. Ed is too big and none of them can prevent Ed from continuing to grab at Carol. Women: Get off her! Ed: Come here! Come here! Women: Get off her! Get off her! Get off her! Shane walks in and grabs Ed. Ed: Get off me! Ed demands that Shane get off of him. Carol: Ed? Shane throws Ed to the ground Amy: It's okay. It's okay. Ed: No! Andrea: It's okay. Ed: No! Shane pummels his face multiple times. Ed's face gets bloody as Shane continues to punch him. The girls watch in horror as Shane mutilates Ed's face. Andrea: Shane, stop! Just stop! Women: Stop it! Stop! Shane grabs Ed. Shane: You put your hands on your wife, your little girl or anybody else in this camp one more time, I will not stop next time. Do you hear me? Do you hear me?! Ed: Yes. Shane: I'll b*at you to death, Ed. Carol: Ed! Shane: I'll b*at you to death. Shane hits him one more time and then kicks him in the stomach. Carol: Oh God! No. God! Carol bursts out in tears and kneels over him. Carol: Ed, I'm sorry. Oh my God. Ed, I'm sorry. I'm so sorry, Ed. Ed, I'm sorry. I'm sorry, Ed. The other girls don't know how to react as Shane makes his way back to camp. Atlanta The boys reach the roof. They cut through the padlock and enter the roof. Daryl: Merle! Merle! Daryl sees something and starts to sob. Daryl: No! No! They stay there silent watching a saw on the ground. Daryl: No! The handcuff is empty and there's Merle's hand lying on the ground. Daryl: No! No! THE END

{"type": "series", "show": "The Walking Dead", "episode": "01x03 - Tell it to the Frogs"}

foreverdreaming

On the lake Amy and Andrea are fishing out in a boat. Amy: What? Andrea: Nothing. Amy: It's not nothing. It's always something. Andrea: Didn't dad teach you to tie nail knots? Amy: Why would he do that? He only ever used a fisherman's knot. One knot. Andrea: No, he didn't. No, he tied at least three. Amy: Clinch knots? Andrea: No way. Fine, I'm making it up. Did dad teach you mostly dry lures? Amy: Yeah. You? Andrea: Wet. Amy: You're kidding. But he was always so adamant. I mean, you know dad on the fishing thing. Andrea: Gee, you think? I only spent my entire childhood with my ass in a boat. But in my day it was all about getting the hook seated. We were fishing for the dinner table. Amy: Not us. We always threw them back. Always. Andrea: I guess he changed things up. Amy: But that'd be like changing his religion or something. Andrea: People change. It's not his fault we were born 12 years apart. Amy: No. No, because the minute you went off to college it was my ass in that boat and he taught me dry lures from day one. This was not behaviour developed over time. Andrea: You think he did it for us? Amy: Because he knew we were so different. He knew that you needed to catch the fish and I needed to throw them back. Andrea: All right, remember his rule: No crying in the boat. It scares the fish. Amy: Mom and dad… I mean, maybe Florida wasn't h*t so bad. Maybe it's better there. Do you think? Andrea: I think you have a bite. Even with the wrong knots. Amy: Oh God. So much for the no crying rule. Andrea: I think that was more for dad than the fish. The two girls smile. At camp Dale stands on top of the RV to keep watch for Walkers. He sees Jim over in the bushes digging holes. He realizes that Jim has been at it for quite awhile. Close-up on Jim He has dug several separate holes. OPENING CREDITS Building In Atlanta, T-Dog, Daryl, Glenn and Rick still stare at Merle's severed hand. Daryl turns his crossbow on T-Dog to k*ll him, but Rick pulls out his Python. Rick: I won't hesitate. I don't care if every walker in the city hears it. Daryl realizes Rick is being honest and lowers the crossbow. Daryl: You got a do-rag or something? T-Dog hands him one and Daryl picks up Merle's severed hand that is already decaying. Daryl: I guess the saw blade was too dull for the handcuffs. Ain't that a bitch. He puts the hand in Glenn's backpack. Daryl: He must have used a tourniquet… maybe his belt. Be much more blood if he didn't. Daryl notices a blood trail. The group starts to follow it. T-Dog picks up the tools on the roof. Daryl: Merle? You in here? The group walks down the stairs. Survival Camp Dale walks out to see Jim. Dale: Jim? You okay? You keep this up, you're gonna keel over out here. Drink some water at least. Jim continues to dig holes and doesn't respond to him. Building Daryl sh**t a Walker in an office with his crossbow. The group walks in and makes sure the coast is clear. Daryl: Had enough in him to take out these two sumbitches. One handed. Toughest assh*le I ever met, my brother. Feed him a hammer, he'd crap out nails. Rick: Any man can pass out from blood loss, no matter how tough he is. Survival Camp Amy and Andrea come back to the camp with tons of fish for the camp. Morales: Oh, baby. Will you look at that? Hey, check it out. Ladies… Because of you my children will eat tonight. Thank you. Andrea: Thank Dale. It's his canoe and gear. Carl: Mom, look. Look at all the fish. Lori: Thank you. Carl: Whoa. Lori: Yeah, whoa. Where did you two learn to do that? Amy: Our dad. Carl: Can you teach me how to do that? Amy: Sure. I'll teach you all about nail knots and stuff. If that's okay. Lori: You won't catch me arguing. Andrea: Hey, Dale. When's the last time you oiled those line reels? They are a disgrace. Dale doesn't seem as happy as he usually is. Dale: I, uh, I don't want to alarm anyone, but we may have a bit of a problem. Shane comes up to the group. Dale points over to Jim who is still digging the holes. Building The group continues to search for Merle. Daryl shouts for Merle. Daryl: Merle! Rick: We're not alone here. Remember? Daryl: Screw that. He could be bleeding out. You said so yourself. They come upon a kitchen where a stove is still lighted. They find Merle's belt sitting on the top of it. Daryl: What's that b*rned stuff? Rick: Skin. He cauterized the stump. Daryl: Told you he was tough. Nobody can k*ll Merle but Merle. Rick: Don't take that on faith. He's lost a lot of blood. Daryl: Yeah? Didn't stop him from busting out of this death trap. Glenn: He left the building? Why the hell would he do that? They come to a smashed window and they realize Merle left. Daryl: Why wouldn't he? He's out there alone as far as he knows, doing what he's got to do. Surviving. T-Dog: You call that surviving? Just wandering out in the streets, maybe passing out? What are his odds out there? Daryl: No worse than being handcuffed and left to rot by you sorry pricks. You couldn't k*ll him. Ain't so worried about some dumb d*ad bastard. Rick: What about 1,000 d*ad dumb bastards? Different story? Daryl: Why don't you take a tally? Do what you want. I'm gonna go get him. Rick doesn't let him go. Rick: Daryl, wait. Daryl: Get your hands off me! You can't stop me. Rick: I don't blame you. He's family, I get that. I went through hell to find mine. I know exactly how you feel. He can't get far with that injury. We could help you check a few blocks around but only if we keep a level head. Daryl: I could do that. T-Dog: Only if we get those g*n first. I'm not strolling the streets of Atlanta with just my good intentions, okay? Survival Camp Jim is still digging holes. The whole camp comes out to see him. Shane: Hey, Jim. Jim, why don't you hold up, all right? Just give me a second here, please. Jim: What do you want? Shane: We're all just a little concerned, that's all. Morales: Dale says you've been out here for hours. Jim: So? Shane: So why are you digging? Are you heading to China, Jim? Jim: What does it matter? I'm not hurting anyone. Shane: Yeah, except maybe yourself. It's a hundred degrees today. You can't keep this up. Jim: Sure I can. Watch me. Lori: Jim, they're not gonna say it so I will. You're scaring people. You're scaring my son and Carol's daughter. Jim: They got nothing to be scared of. I mean, what the hell, people? I'm out here by myself. Why don't you all just go and leave me the hell alone? Shane: We think that you need to take a break, okay? Why don't you go and get yourself in the shade? Some food maybe. I'll tell you what… maybe in a little bit I'll come out here and help you myself. Jim, just tell me what it's about. Why don't you just go ahead and give me that shovel? Jim: Or what? Shane: There is no or what. I'm asking you. I'm coming to you and I'm asking you, please. I don't want to have to take it from you. Jim: And if I don't, then what? Then you're gonna b*at my face in like Ed Peletier, aren't you? Y'all seen his face, huh? What's left of it. See, now that's what happens when someone crosses you. Shane: That was different, Jim. Amy: You weren't there. Ed was out of control. He was hurting his wife. Jim: That is their marriage. That is not his. He is not judge and jury. Who voted you king boss, huh? Shane: Jim, I'm not here to argue with you, all right? Just give me the shovel, okay? Jim: No, no, no. Shane: Just give me the… Jim! Jim shoves Shane away and then thr*at to h*t him with it. Shane tackles Jim to the ground. Shane: Okay, shh shh. Jim: You got no right! Shane: Stop. Shh. Jim: You got no right! Shane: Jim, just stop it. Hey hey hey hey. Jim: Don't! Shane: Jim. Jim, nobody's gonna hurt you. You hear me? Shh. Jim, nobody is gonna hurt you, okay? Jim: That's a lie. That's the biggest lie there is. I told that to my wife and my two boys. I said it 100 times. It didn't matter. They came out of nowhere. There were dozens of 'em. Just pulled 'em right out of my hands. You know, the only reason I got away was 'cause the d*ad were too busy eating my family. Building Rick: You're not doing this alone. Daryl: Even I think it's a bad idea and I don't even like you much. Glenn: It's a good idea, okay, if you just hear me out. If we go out there in a group, we're slow, drawing attention. If I'm alone, I can move fast. He draws a map of the street on the ground and marks the t*nk and the bag of g*n. Glenn: Look. That's the t*nk, five blocks from where we are now. That's the bag of g*n. Here's the alley I dragged you into when we first met. That's where Daryl and I will go. Daryl: Why me? Glenn: Your crossbow is quieter than his g*n. While Daryl waits here in the alley, I run up the street, grab the bag. Rick: You got us elsewhere? Glenn points down the street. Glenn: You and T-Dog, right. You'll be in this alley here. Rick: Two blocks away? Why? Glenn: I may not be able to come back the same way. Walkers might cut me off. If that happens, I won't go back to Daryl. I'll go forward instead, all the way around to that alley where you guys are. Whichever direction I go, I got you in both places to cover me. Afterwards, we'll all meet back here. Daryl: Hey, kid, what'd you do before all this? Glenn: Delivered pizzas. Why? Outside Glenn & Daryl crawl down the ladder and run down the alley. Rick & T-Dog head down the other alley. Daryl loads his crossbow. Daryl: You got some balls for a Chinaman. Glenn: I'm Korean. Daryl: Whatever. Glenn runs down the street. Several Walkers notice him, but don't aggressively chase him yet. While Daryl waits behind the trashcan, a young man of Mexican descent, Miguel, walks down the alley. Daryl spots him and points his crossbow at him. Miguel: Whoa, don't sh**t me! What do you want? Daryl: I'm looking for my brother. He's hurt real bad. You seen him? Miguel: Ayúdame! Daryl: Shut up! You're gonna bring the geeks down on us. Answer me. Glenn notices the Walkers start to converge on him as he grabs the bag of g*n and Rick's sheriff's hat. He runs back down the street he came. Daryl: Answer me. Miguel: Ayúdame! Ayúdame! Ayúdame! Rick & T-Dog hear yelling help and start to run over to Glenn and Daryl's alley. Miguel: Help! Help! Daryl: Shut up. Shut up. Shut up. Shut up. Two other Mexicans, one of them named Felipe, also come down the alley and they start to b*at up Daryl. Glenn comes back with the g*n and sees what is happening. Felipe: That's it. That's the bag, Vato. Take it! Take it! Felipe starts to run towards him and tries to grab the bag of g*n. They grab Glenn and hold him hostage. Daryl sh**t Felipe in the rear end with his crossbow and Felipe cries out in pain. Glenn: Get off me! Get off me! Daryl! Daryl! A car pulls up and they start to back up. One of the Walkers is crushed by one of the Mexicans. With no g*n, but Glenn as a hostage, the group flees leaving Miguel behind as well. Daryl: Come back here, you sumbitches! Daryl grabs the gate and shuts it before the Walkers can get at them. Rick & T-Dog arrive to see what happened. Rick: Whoa whoa whoa. Stop it. Daryl: I'm gonna kick your nuts up in your throat! Miguel: Let me go. T-Dog: Chill out. Daryl: They took Glenn. That little bastard and his little bastard homie friends. I'm gonna stomp your ass! T-Dog: Guys! Guys! We're cut off! Rick: Get to the lab. Go. Daryl: Come on. Damn, let's go. Rick picks up the bag of g*n and his hat and the group runs back into the building. Survival Camp Jim is tied to a tree to protect him from hurting anyone or himself. Shane and Dale come up to him with some water. Shane: Jim, take some water? Jim: All right. Shane: Yeah? All right. Here you go, bud. Jim: Pour some on my head? Shane: Yeah. Cooling you down, huh? Jim: Yeah. How long you gonna keep me like this? Shane: Well, yeah. Until I don't think that you're a danger to yourself or others. Jim: Sorry if I scared your boy and your little girl. Lori: You had sunstroke. Nobody's blaming you. Jim: You're not scared now, are you? Sophia: No sir. Jim is glad to hear that. Jim: Your mama's right. Sun just cooked my head is all. Dale: Jim, do you know why you were digging? Can you say? Jim: I had a reason. Don't remember. Something I dreamt last night. Your dad was in it. You were too. You were worried about him. Can't remember the rest. You worried about your dad? Carl: They're not back yet. Lori: We don't need to talk about that. Carl: Your dad's a police officer, son. He helps people. Probably just came across some folks needing help, that's all. That man, he is tough as nails. I don't know him well but… I could see it in him. Am I right? Shane: Oh yeah. Jim: There ain't nothing gonna stop him from getting back here to you and your mom, I promise you that. Shane: All right. Who wants to help me clean some fish, huh? Carl: Sweet. Come on, Sophia. Sophia and Carl run after Shane and Carol joins them. Lori: Stay with Carol, all right? Lori approaches Jim. Jim: You keep your boy close. You don't ever let him out of your sight. Lori nods in agreement and goes to join them. Building Rick: Those men you were with, we need to know where they went. Miguel: I ain't telling you nothing. T-Dog: Jesus, man. What the hell happened back there? Daryl: I told you, this little turd and his douche bag friends came out of nowhere and jumped me. Miguel: You're the one who jumped me, puto, screaming about trying to find his brother like it's my damn fault. Daryl: They took Glenn. Could have taken merle too. Miguel chuckles. Miguel: Merle? What kind of hick name is that? I wouldn't name my dog merle. Daryl goes to kick at Miguel, but Rick holds him back. Rick: Damn it, Daryl. Back off. Daryl pulls out Merle's hand. Daryl: Want to see what happened to the last guy that pissed me off? Miguel is freaked out by the hand and starts to back away. Daryl: Start with the feet this time. Rick holds Daryl back. Rick: The men you were with took our friend. All we want to do is talk to them, see if we can work something out. Hideout The group arrives at the hideout. Rick: You sure you're up for this? T-Dog: Yeah. Rick: Okay. Daryl: One wrong move, you get an arrow in the ass. Just so you know. Miguel: G's gonna take that arrow out of my ass and shove it up yours. Just so you know. Rick: G? Miguel: Guillermo. He's the man here. Rick: Okay then. Let's go see Guillermo. They walk up to the building and the doors open up. Guillermo walks out. Guillermo: You okay, little man? Miguel: They're gonna cut off my feet, carnal. Guillermo: Cops do that? Miguel: Not him. This redneck puto here. He cut off some dude's hand, man. He showed it to me. Daryl: Shut up. Felipe comes out and points a g*n at Daryl. Felipe: Hey, that's that Vato right there, homes. He sh*t me in the ass with an arrow. What's up, homes, huh? Guillermo: Chill, ese, chill. Chill. This true? He wants Miguelito's feet? That's pretty sick, man. Rick: We were hoping more for a calm discussion. Guillermo: That hillbilly jumps Felipe's little cousin, beats on him, thr*at to cut off his feet, Felipe gets an arrow in the ass and you want a calm discussion? You fascinate me. Rick: Heat of the moment. Mistakes were made on both sides. Guillermo: Who's that dude to you anyway? You don't look related. Rick: He's one of our group, more or less. I'm sure you have a few like him. Daryl: You got my brother in there? Guillermo: Sorry, we're fresh out of white boys. But I've got Asian. You interested? Rick: I have one of yours, you have one of mine. Sounds like an even trade. Guillermo: Don't sound even to me. Miguel: G. Come on, man. Guillermo: My people got att*cked. Where's the compensation for their pain and suffering? More to the point, where's my bag of g*n? Rick: g*n? Guillermo: The bag Miguel saw in the street. The bag Felipe and Jorge were going back to get. That bag of g*n. Rick: You're mistaken. Guillermo: I don't think so. Rick: About it being yours. It's my bag of g*n. Guillermo: The bag was in the street. Anybody could come around and say it was theirs. I'm supposed to take your word? What's to stop my people from unloading on you right here and now and I take what's mine? Rick: You could do that. Or not. He indicates to the wall and T-Dog has the sn*per r*fle pointed at Guillermo. T-Dog: Come on, man. Make the trade. Please. Guillermo: Oye. Two men appear on the roof with Glenn. Guillermo: I see two options. You come back with Miguel and my bag of g*n, everybody walks. Or you come back locked and loaded, we'll see which side spills more blood. The Vatos head back into the hideout and shut the door. Building Rick unzips the bag of g*n and starts to divide them. Daryl: Them g*n are worth more than gold. Gold won't protect your family or put food on the table. You're gonna give that up for that kid? T-Dog: If I knew we'd get Glenn back, I might agree. But you think that Vato across the way is just gonna hand him over? Miguel: You calling g a liar? Daryl: Are you a part of this? You want to hold onto your teeth? Daryl slaps him. T-Dog: Question is, do you trust that man's word? Daryl: No, question is what are you willing to bet on it? Could be more than them g*n. Could be your life. Glenn worth that to you? Rick: What life I have I owe to him. I was nobody to Glenn, just some idiot stuck in a t*nk. He could have walked away, but he didn't. Neither will I. Daryl: So you're gonna hand the g*n over? Rick: I didn't say that. There's nothing keeping you two here. You should get out, head back to camp. T-Dog: And tell your family what? Miguel: Come on, this is nuts. Just do like g says. Hideout The group leads Miguel back with his hands tied behind his back. The doors open and Rick pushes Miguel in. Guillermo: I see my g*n but they're not all in the bag. Rick: That's because they're not yours. I thought I mentioned that. Felipe: Let's just sh**t these fools right now, ese. All right? Unload on their asses, ese. Guillermo: I don't think you fully appreciate the gravity of the situation. Rick: No, I'm pretty clear. Rick cuts Miguel free. Rick: You have your man. I want mine. Guillermo: I'm gonna chop up your boy. I'm gonna feed him to my dogs. They're the evilest, nastiest man-eating bitches you ever saw. I picked them up from Satan at a yard sale. I told you how it has to be. Are you woefully deaf? Rick: No, my hearing's fine. You said come locked and loaded. Everyone cocks their g*n and Rick points his g*n at Guillermo. Rick: Okay then, we're here. Suddenly, an old woman comes out from behind the group and shouts for Felipe. Abuela: Felipe! Felipe! Felipe: Abuela, go back with the others… now. Daryl: Get that old lady out of the line of f*re! Guillermo: Abuela, listen to your mijo, okay? This is the not the place for you right now. Abuela: Mr. Gilbert is having trouble breathing. He needs his asthma stuff. Carlitos didn't find it. He needs his medicine. Guillermo: Felipe, go take care of it, okay? And take your grandmother with you. Felipe: ¡Abuela! Ven conmigo por favor. Abuela: Who are those men? Felipe: Por favor, ven conmigo. Abuela: Don't you take him. Rick: Ma'am? Abuela: Felipe's a good boy. He has his trouble but he pulls himself together. We need him here. Rick: Ma'am, I'm not here to arrest your grandson. Abuela: Then what do you want him for? Rick: He's… Helping us find a missing person. Fella named Glenn. Abuela: The Asian boy? He's with Mr. Gilbert. Come. Come, I'll show you. The grandmother takes Rick's hand and takes him. Abuela: He needs his medicine. Guillermo: Let 'em pass. The Vatos let them pass. Nursing Home The grandmother takes Rick, Daryl, and T-Dog into a nursing home where a lot of elderly, sick patients are staying at. Felipe: Abuela, por favor. Take me to him. Rick realizes that the Vatos are protecting the individuals that are staying at the home. They come into the gymnasium where they find an elderly man having an asthma att*ck. Felipe and Glenn help him. Felipe: All right. All right. Nice and easy. Just breathe. Just breathe. Just let it out. Just breathe. Just relax. Rick: What the hell is this? Glenn: An asthma att*ck. Couldn't get his breath all of a sudden. T-Dog: I thought you were being eaten by dogs, man. They look at the dogs which are little Chihuahuas. Rick: Could I have a word with you? You're the dumbest son of a bitch I ever met. We walked in there ready to k*ll every last one of you. Guillermo: Well, I'm glad it didn't go down that way. Rick: If it had, that blood would be on my hands. Guillermo: Mine too. We'd have fought back. Wouldn't be the first time we've had to. Protect the food, the medicine… what's left of it. These people, the old ones… the staff took off, just left 'em here to die. Me and Felipe were the only ones who stayed. Rick: What are you, doctors? Guillermo: Felipe's a nurse… a special care provider. Me, I'm the custodian. Rick: What about the rest of your crew? Guillermo: The Vatos trickle in to check on their parents, their grandparents. They see how things are and most decide to stay. It's a good thing too. We need the muscle. The people we've encountered since things fell apart, the worst kind… plunderers, the kind that take by force. Rick: That's not who we are. Guillermo: How was I to know? My people got att*cked and you show up with Miguel hostage… appearances. T-Dog: Guess the world changed. Guillermo: No. It's the same as it ever was. The weak get taken. So we do what we can here. The Vatos work on those cars, talk about getting the old people out of the city. But most can't even get to the bathroom by themselves, still, it keeps the crew busy, and that's worth something. So we barred all the windows, welded all the doors shut except for one entrance. The Vatos, they go out, scavenge what they can to keep us going. We watch the perimeter night and day and we wait. The people here, they all look to me now. I don't even know why. Rick: Because they can. Rick hands Guillermo his g*n and they divide the g*n 50/50 for both groups. Outside The four men leave the nursing home. Glenn: Admit it, you only came back to Atlanta for the hat. Rick: Don't tell anybody. Daryl: You've given away half our g*n and a*mo. Rick: Not nearly half. Daryl: For what? Bunch of old farts who are gonna die off momentarily anyhow? Seriously, how long you think they got? Rick: How long do any of us? They come to the spot where their truck was, but it is gone. Glenn: Oh my God. Daryl: Where the hell's our van? Glenn: We left it right there. Who would take it? Rick: Merle. Daryl: He's gonna be taking some vengeance back to camp. RV Andrea searches for something in the cabinets. Dale comes in. Andrea: Wrapping paper, color tissue, anything? Dale: Seriously? Andrea: How can you not have any? Dale: Had I been informed of the impending apocalypse I'd have stocked up. Andrea: It's Amy's birthday tomorrow. I've been marking days on the calendar just to make sure. She shows him the mermaid necklace that she got for Amy at the department store in Atlanta. Andrea: You don't give a gift unwrapped. Dale: Deep breath. I'm sure I'll find something here. Outside Morales: I, uh, built up the rocks all around. See? So the flames can be a little higher and have 'em be hidden. Shane and Carl walk up to Jim. Shane: Hey, Jim. How you feeling, man? Jim: I'm better. More myself now. Shane: I hope you understand the need for this… this timeout. I've got others I've got to think about. I just want to make sure there's no… there's no hard feelings. Jim: There's not. I do understand. Shane: Okay. Why don't you come join in with the rest of us? Big ol' fish fry. Jim: I'd like that very much. Shane: Okay. Tent Carol and Sophia come to see Ed in the tent. Ed's face is bruised and he has been in the tent since the beating. Carol: Why don't you come outside with everybody? Ed: Hell with them people. Wouldn't piss on them if their heads were on f*re. Sophia goes to leave, but Ed holds onto her. Ed: Hey! Why don't you stay here? Keep your daddy company. Carol: Ed, she wants to join in. Come on. They both leave. Ed continues to lie down in the tent. Ed: Fine. Hell with the both of you. Ain't no need to be bothering me no more the rest of the night. Outside As dusk approaches, Rick, Glenn, T-Dog & Daryl run back to camp before Merle arrives. Survival Camp The group enjoys a fish dinner. Everyone is having a good time. Woman: Pass the fish, please. Man: Here you go. Man: Man o man, that's good. I miss this. Morales: I've got to ask you, man. It's been driving me crazy. Dale: What? Morales: That watch. Dale: What's wrong with my watch? Morales: I see you every day, the same time, winding that thing like a village priest saying mass. Jacqui: I've wondered this myself. Dale: I'm missing the point. Jacqui: Unless I've misread the signs, the world seems to have come to an end. At least h*t a speed bump for a good long while. Morales: But there's you every day winding that stupid watch. Dale: Time… it's important to keep track, isn't it? The days at least. Don't you think, Andrea? Back me up here. I like… I like what, um, a father said to son when he gave him a watch that had been handed down through generations. He said, "I give you the mausoleum of all hope and desire, which will fit your individual needs no better than it did mine or my father's before me; I give it to you not that you may remember time, but that you may forget it for a moment now and then and not spend all of your breath trying to conquer it." Amy: You are so weird. Everyone laughs. Dale: It's not me. It's Faulkner. William Faulkner. Maybe my bad paraphrasing. Amy gets up from the campfire. Andrea: Where are you going? Amy: I have to pee. Jeez, you try to be discreet around here… Everyone laughs. Tent At Ed's tent, Ed hears footsteps and sees a figure of a person outside of his tent. Ed thinks it Carol. Ed: Thought I told y'all to leave me the hell alone, didn't I? Hey! What'd I say? The person claws at the tent and Ed opens it to yell at her. It's a Walker. Outside Amy comes out of the RV. Amy: We're out of toilet paper? Tent The Walker jumps on him and takes a bite right out of his neck. Several other Walkers join in. Survival Camp When Amy steps out, a Walker steps right up to her and takes a bite out of her arm. She screams in pain. Andrea witnesses this and screams. Everyone starts to scatter. Carl: Mom! Lori: Carl! Shane: Lori, get him down! He grabs his g*n and sh**t several Walkers with it. Outside Nearby, Rick, T-Dog, Glenn, and Daryl hear the g*n and they run faster. Rick: Oh my God. Glenn: Go! Go! Survival Camp Jim picks up a baseball bat and crushes a Walker's skull with it. Everyone takes cover and Dale picks up his r*fle. Some people are att*cked and bitten by Walkers. Morales grabs a baseball bat and kills one of the Walkers with it. Lori: I'm right here. Shane, what do we do? Shane? Morales: Follow me! The Walker that att*cked Amy takes a bite out of her neck. Andrea runs to Amy screaming. Jim kills the Walker that att*cked Amy and Andrea kneels over her sister. Andrea: No! No! Oh God! Oh my God! Amy: Help me. Andrea: Oh God, I don't know what to do. I don't know what to do. The fight continues and Shane keeps Lori and Carl close. Shane: Come on. Come on, stay close. Lori: Carol! Shane: Stay close! Morales continues to k*ll two more Walkers that are trying to get at his family. Shane: Come on, y'all! Work your way up here! Lori: Right in front of you. Shane! Shane sh**t another Walker. Morales: Get to the RV! Go! Morales is able to k*ll three more and flees for the RV. Lori: Shane! Shane! Shane: Stay with me. Stay behind me. Morales, work up here! Lori: Get behind me! Let's go! Stay with me. Shane: Come on, make your way to the Winnebago! Rick, T-Dog, Daryl, and Glenn arrive in time to k*ll more of the Walkers to save their group. Rick sh**t five of the Walkers, Daryl kills four, two with the butt of his r*fle, Glenn sh*ts two, T-Dog sh**t one and kills another with the butt of his r*fle. Rick: Baby! Carl! Baby! Carl: Dad! Rick: Carl! When the Walkers are d*ad, Carl runs to Rick and gives him a hug. Jim survives the fight and comes back to rejoin everyone. Andrea continues to stay by Amy's side. Andrea: Amy. I don't know what to do, Amy. Oh, Amy. Oh no no. Amy touches Andrea's cheek to let her know she loves her and then she dies. Andrea begins to sob. Carl also begins to cry when he sees that Amy is d*ad. Andrea: Amy! Amy! Amy! As everyone else gets rounded back up, Jim turns away to see Amy. Jim: I remember my dream now, why I dug the holes. They look at the camp with several d*ad Walkers on the ground. THE END

{"type": "series", "show": "The Walking Dead", "episode": "01x04 - Vatos"}

foreverdreaming

Quarry Rick stares at a sunrise over Atlanta as he tries to reach Morgan on the walkie-talkie. Rick: Morgan, I don't know if you're out there. I don't know if you can hear me. Maybe you're listening right now. I hope so. I found others… my family, if you can believe it. My wife and son, they're alive. I wanted you to know that. There's something else you need to know. Atlanta isn't what we thought. It's not what they promised. The city is… Do not enter the city. It belongs to the d*ad now. We're camped a few miles northwest, up by a big abandoned rock quarry. You can see it on a map. I hope you come find us. But be careful. Last night walkers came out of the woods. We lost people. Watch yourself, Morgan. Take care of your boy. I'll try you again tomorrow at dawn. Survival Camp Andrea keeps vigil over the body of her d*ad sister Amy. Lori comes to her. Lori: Andrea. I'm so sorry. She's gone. You got to let us take her. We all cared about her and I promise we'll be as gentle as we can. The survivors of the att*ck start to clean up, burning the walker bodies and burying the d*ad from their group. Daryl swings at d*ad walkers' heads with a pickaxe as Glenn and T-Dog throw bodies in a f*re. Rick: She still won't move? Lori: She won't even talk to us. She's been there all night. What do we do? Shane: Can't just leave Amy like that. We need to deal with it same as the others. Rick: I'll tell her how it is. Rick tries to approach Andrea but she pulls a g*n on him. Rick: Andrea. Andrea: I know how the safety works. Rick: All right. Okay. I'm sorry. I'm sorry. I'm sorry. Rick backs off. OPENING CREDITS Survival Camp Daryl: Y'all can't be serious. Let that girl hamstring us? The d*ad girl's a time b*mb. Rick: What do you suggest? Daryl: Take the sh*t. Clean, in the brain from here. Hell, I can h*t a turkey between the eyes from this distance. Lori: No. For God's sakes, let her be. Survival Camp Daryl: Wake up, Jimbo. We've got some work to do. Morales and Daryl drag the body of a d*ad camper toward the f*re. Morales: Thanks. Thanks. Glenn: What are you guys doing? This is for geeks. Our people go over there. Daryl: What's the difference? They're all infected. Glenn: Our people go in that row over there. We don't burn them! We bury them. Understand? Our people go in that row over there. Daryl and Morales drag the body toward the digging hole. Daryl: You reap what you sow. Morales: You know what? Shut up, man. Daryl: Y'all left my brother for d*ad. You had this coming. Jacqui and Jim pile up bodies. Jacqui notices blood on Jim's shirt. Jacqui: Are you bleeding? Jim: I just got some on me from the bodies. Jacqui: That blood is fresh. Were you bit? Jim: No. I got scratched during the att*ck. Jacqui: You got bit. Jim: I'm fine. Jacqui: Then show me. Jim: Don't tell, please. Jacqui: A walker got him. A walker bit Jim. All the guys come around him, worried. Jim: I'm okay. I'm okay. Daryl: Show it to us. Show it to us. Shane: Easy, Jim. Daryl: Grab him. Jim takes the shovel on the floor. Shane: Jim, put it down. Put it down. T-Dog catches Jim back and holds him. Jim: I'm okay. I'm okay. I'm okay. I'm okay. Daryl lifts Jim's shirt, revealing a deep wound. Jim: I'm okay. I'm okay. I'm okay. I'm okay. I'm okay. I'm okay. Survival Camp Later, the guys, Lori and Jacqui are talking about Jim's case. Daryl: I say we put a pickaxe in his head and the d*ad girl's and be done with it. Shane: Is that what you'd want if it were you? Daryl: Yeah, and I'd thank you while you did it. Dale: I hate to say it… I never thought I would… but maybe Daryl's right. Rick: Jim's not a monster, Dale, or some rabid dog. Dale: I'm not suggesting… Rick: He's sick. A sick man. We start down that road, where do we draw the line? Daryl: The line's pretty clear. Zero tolerance for walkers, or them to be. Rick: What if we can get him help? I heard the C.D.C. was working on a cure. Shane: I heard that too. Heard a lot of things before the world went to hell. Rick: What if the C.D.C. is still up and running? Shane: Man, that is a stretch right there. Rick: Why? If there's any government left, any structure at all, they'd protect the C.D.C. at all costs, wouldn't they? I think it's our best sh*t. Shelter, protection… Shane: Okay, Rick, you want those things, all right? I do too, okay? Now if they exist, they're at the army base. Fort Benning. Lori: That's 100 miles in the opposite direction. Shane: That is right. But it's away from the hot zone. Now listen to me. If that place is operational, it'll be heavily armed. We'd be safe there. Rick: The military were on the front lines of this thing. They got overrun. We've all seen that. The C.D.C. is our best choice and Jim's only chance. Daryl: You go looking for aspirin, do what you need to do. Someone needs to have some balls to take care of this damn problem! Shane: Hey hey hey! Daryl heads toward Jim with his pickaxe and tries to take a swing. Rick points his g*n at Daryl's head. Rick: We don't k*ll the living. Daryl: That's funny coming from a man who just put a g*n to my head. Shane: We may disagree on some things, not on this. You put it down. Go on. Daryl puts the pickaxe down and goes away. Rick: Come with me. Jim: Where are you taking me? Rick: Somewhere safe. Rick takes Jim with him. Survival Camp Dale sits beside Andrea. Dale: I came to pay my respects. Did I ever mention how I lost my wife? Andrea: Cancer, wasn't it? Dale: Yeah. I dragged her to every doctor, every test. And after all the surgeries and the chemos, she was ready. She accepted it, you know? But I never could. And I spent the last few years so angry. I felt so cheated. Since she passed, you girls were the first people… That I cared anything for. Dale: This is her birthday? Andrea: Her birthday was always like… like a week long affair. But I somehow always missed it. I was away at college or too busy for kid's parties. She'd call all excited. I always said that I'd make it home and I really always meant to, but I never made it past that phone call. Dale: I know things are hard enough for you without adding guilt into the mix, huh? Andrea pulls out the mermaid necklace and wraps it around Amy's neck. Survival Camp Nearby, Daryl continues to swing the pickaxe into d*ad walkers' skulls. When he gets to Ed, Carol stops him. Carol: I'll do it. He's my husband. She swings the pickaxe down on Ed's skull repeatedly and all of her anger against her abusive husband is let loose. Survival Camp Andrea hears Amy breathing. On the ground, Amy begins to stir. She opens her eyes. Andrea: Amy. Amy, I'm sorry. Amy reaches for Andrea. Her eyes are bloodshot and she moans and paws at the air. Andrea: I'm sorry for not ever being there. I always thought there'd be more time. I'm here now, Amy. I'm here. I love you. She's a walker now. Andrea sobs and sh**t Amy in the head. Quarry Rick and Shane dig graves near the campsite. Rick: Say it. Shane: Okay. I'm thinking if you'd of stayed here, if you'd have looked after your own… Instead you went off. You took half our manpower with you. I'm thinking maybe our losses wouldn't have been so bad. Rick: If we hadn't gone off and brought those g*n back when we did, I think our losses would have been a lot worse. Maybe the entire camp. The truck approaches and Daryl gets out of it. Daryl: I still think it's a mistake not burning these bodies. It's what we said we'd do, right? Burn 'em all, wasn't that the idea? Shane: At first. Daryl: The Chinaman gets all emotional, says it's not the thing to do, we just follow him along? These people need to know who the hell's in charge here, what the rules are. Rick: There are no rules. Lori: Well, that's a problem. We haven't had one minute to hold onto anything of our old selves. We need time to mourn and we need to bury our d*ad. It's what people do. RV In the RV, Jim is lying and hallucinating. He sees zombies growling. Oh no. No no no no. No, not this, please. No no no. Oh, no no no. No no. Quarry The survivors stage a funeral. Andrea and Dale are carrying Amy's body and putting it into a digging hole. Andrea is crying. Andrea: I can do it. I can do it. I can do it! I can do it. Survival Camp The survivors are leaving the quarry to come back to the camp. Rick: Burying other people is bad enough, but the thought of one of us… Lori: Shh. Carl: Are we safe now, dad? Now that we're together? Rick: I won't leave again. I promise you that. Not for anything. Now give me a chance to discuss some things with your mom, okay? Carl: Yeah. Rick: All right. All right. Carl goes back to the camp. Rick takes Lori's hand. Rick: Shane blames me for not being here. Do you? We got g*n now. We're stronger. Lori: And we have fewer people. That makes us weaker. You want me to say I think you were right? I understand that. All I can say is that neither one of you is entirely wrong. It's the best I can do right now. Rick: What about the C.D.C.? Lori: Rick… Rick: We're at the ragged edge here. We need relief and we got a sick man who needs help. I don't know why people can't see that. Lori: Well, look at their faces. Look at mine. We're all terrified. If one of us suggested, based on a hunch, that we head toward that city, you'd have no part of it. Tell me something with certainty. Rick: I love you. That's all I got. Lori: I love you too. They hug. RV In the RV, Rick and Lori enter and join Jim and Carol. Carol: His fever is worse. Lori: You need anything? Jim: Uh… Water. Could use more water. Lori: I'll get some. Jim: Okay. Lori: Carol, you help me? Lori and Carol get out of the RV. Rick sits next to Jim. Jim: You save a grave for me? Rick: Nobody wants that. Jim: It's not about what you want. That, uh… that sound you hear, that's God laughing while you make plans. Rick: What I want, Jim, if… if God allows, is to get you some help. Jim groans and spits. Jim starts being delirious. Jim: Watch the mangroves. Their roots will gouge the whole boat. You know that, right? Amy is there swimming. You'll watch the boat, right? You said you would. Rick: I'll watch the boat. Don't worry. Jim: Okay. Outside Shane joins Lori. Shane: I need you to help talk some sense into Rick. Look, this C.D.C. thing, Lori, it's a mistake. So you're backing him? Lori: What else would I do? He's my husband. Shane: Look, it may be time for you to play the dutiful wife, but you can't tell me that fixing your marriage is worth putting people's lives at risk. Lori: I think folks around here can make up their minds without bringing my marriage into it. It's a habit you need to break. Shane: I guess I'll just add it to the list of habits that I'm breaking whether I like it or not. Rick emerges. Rick: What habits? Shane: Just talking about my need for a plan, man. So what is it? Are we leaving or not? Maybe y'all just want to stay here. We could hang some more tin cans. Rick: We can't stay here. We both know that. Lori: I was just telling Shane I think we should trust your gut. Shane: Let's go do our sweep. Forest Rick, Shane and Dale depart to sweep the forest for walkers. Shane: Tell you what, man, these people, man, they're not convinced. You know? You head to the C.D.C., you might be on your own. You gotta really consider whether you want to put Lori and Carl in that kind of spot. Rick: I got to do what's best for my family. Shane: Best for your family? What's that? Exposing them to all kinds of risks? Rick: As opposed to what? Crossing 100 miles of hostile territory? If we're looking for a lifeline, I say swim toward the closest ship, not further out to sea. Why can't you back me up? Shane: Look, I want to. It's just… I don't see it. Rick: If it was your family, you'd feel differently. Shane: What did you say to me? I kept 'em safe, man. I looked after them like they were my own. That's what I did. Rick: I didn't mean it that way. Shane: Well, how'd you mean it? Go on, man. How'd you mean it? Rick: You're misinterpreting me. Shane: All right. Rick: You're just hearing it wrong. Shane: Yeah? Rick: Look, you know… You know I can never repay that debt, okay? A branch snaps. Rick draws away. From a distance, Shane's aim lands on Rick. Glaring, he drops the g*n, then notices Dale watching him. Dale: Jesus. Shane chuckles. Shane: I know. Gonna have to start wearing reflective vests out here. Seriously. Come on, man. Come on, man, let's go. Nothing out here. Dale watches Shane leaving, worried. Survival Camp Dale, Rick and Shane come back to the camp. Shane: I've been, uh… I've been thinking about Rick's plan. Now look, there are no… There are no guarantees either way. I'll be the first one to admit that. I've known this man a long time. I trust his instincts. I say the most important thing here is we need to stay together. So those of you that agree, we leave first thing in the morning. Rick: Okay? Quarry At dawn, Rick tries to once again reach Morgan to advise him of their plan. Rick: We're moving out, leaving the quarry. If you heard me yesterday, you may be coming here. If you are, we'll be gone by the time you arrive. I'm leaving a note and map behind for you taped to a red car so you can follow our trail. We're heading to the C.D.C. If there's anything left, it's got to be there, don't you think? Morgan… I hope you were right about that place. I need you to be. RV Suddenly, Jim wakes up and coughs. Outside Shane: Everybody listen up. Those of you with C.B.s, we're gonna be on channel 40. Let's keep the chatter down, okay? Now you got a problem, don't have a C.B., can't get a signal or anything at all, you're gonna h*t your horn one time. That'll stop the caravan. Any questions? Morales: We're, uh… We're… we're not going. Miranda: We have family in Birmingham. We want to be with our people. Shane: You go on your own, you won't have anyone to watch your back. Morales: We'll take the chance. I got to do what's best for my family. Rick: You sure? Morales: We talked about it. We're sure. Rick: All right. Shane. Shane: Yeah, all right. Rick: 357? Shane: Yeah. Rick hands Morales a g*n and Shane hands him a*mo. Shane: The box is half full. Miranda: Thank you all… For everything. Lori and Miranda hug. Lori: Come here. Shane: Good luck, man. Morales: Appreciate it. Shane: Yeah. Eliza hugs Sophia. Eliza: Bye. Miranda: Thank you. Miranda and Jacqui hug. Eliza gives her doll to Sophia, who is crying. Eliza: Bye. Rick: Channel 40 if you change your minds. All right? Morales: Yeah. Carol takes her daughter in her arms. Carol: I know. Morales, his wife Miranda and children go away. Shane: What makes you think our odds are any better? Come on. Let's go. Let's move out. They part ways. A note is sitting on the sports car for Morgan. Road Dale is driving his RV, while Jacqui takes care of Jim, who is in pain, and Glenn is next to Dale. Rick is driving a car with Lori by his side, Carl and Sophia on the backseat, followed by Shane's car, T-Dog's car with Andrea, and Daryl's car with a motorcycle on it. Roadside En route to the CDC, the RV's radiator hose bursts. Dale: I told you we'd never get far on that hose. I said I needed the one from the cube van. Rick: Can you jury-rig it? Dale: That's all it's been so far. It's more duct tape than hose. And I'm out of duct tape. Shane: I see something up ahead. A gas station if we're lucky. Jacqui gets out of the RV. Jacqui: Y'all, Jim… It's bad. I don't think he can take anymore. She goes back to Jim. Shane: Hey, Rick, you want to hold down the fort? I'll drive ahead, see what I can bring back. T-Dog: Yeah, I'll come along too and I'll back you up. Shane: Y'all keep your eyes open now. We'll be right back. While Shane and T-Dog drive ahead to find a replacement, Rick checks on Jim, who is in agony. RV Rick: We'll be back on the road soon. Jim: Oh no. Christ… My bones… My bones are like glass. Every little bump… God, this ride is k*lling me. Leave me here. I'm done. Just leave me. I want to be with my family. Rick: They're all d*ad. I don't think you know what you're asking. The fever… You've been delirious more often than not. Jim: I know. Don't you think I know? Jim groans. Jim: I'm clear now. In five minutes I may not be. Rick, I know what I'm asking. I want this. Leave me here. Now that's on me. Okay? My decision. Not your failure. Outside Rick: It's what he says he wants. Carol: And he's lucid? Rick: He seems to be. I would say yes. Dale: Back in the camp when I said Daryl might be right and you shut me down, you misunderstood. I would never go along with callously k*lling a man. I was just gonna suggest that we ask Jim what he wants. And I think we have an answer. Shane: We just leave him here? We take off? Man, I'm not sure I could live with that. Lori: It's not your call, either one of you. Rick and Shane carry Jim to a nearby tree. Rick: Yeah. That's it. Jim groans. Jim: Hey, another damn tree. Jim chuckles. Shane: Hey, Jim… I mean, you know it doesn't need to be this. Jim: No. It's good. The breeze feels nice. Shane: Okay. All right. Jacqui: Just close your eyes, sweetie. Don't fight. Jacqui kisses him on the cheek. Rick takes a g*n and shows him. Rick: Jim, do you want this? Jim: No. You'll need it. I'm okay. I'm okay. Dale: Oh. Hey. Thanks for, uh, for fighting for us. Jim: Okay. The group departs after making goodbye signs to Jim. CDC Headquarters Wildfire MSB3417 Active - Begin Transmission: A video monitor crackles. An unshaven man, Dr. Jenner, speaks into the camera. Dr. Jenner: Jenner here. It's day 194 since wildfire was declared and 63 days since the disease abruptly went global. There's no clinical progress to report. Item… I finally got the scrubbers in the east sector shut down to save power. Wish I could have done it a month ago, but it took me that long to figure it out. Too bad I never studied engineering. Could have saved a lot of amps. Item… I'm still not sleeping well. Can't seem to keep regular hours. Living underground doesn't help, not knowing if it's day or night. I'm just feeling very off-kilter Wildfire MSB3417 Active – End Transmission. Laboratory In a biohazard suit, Jenner passes through an airlock into a laboratory. He opens a tissue sample labeled TS-19 and begins an experiment. Reaching for a beaker, he accidentally knocks corrosive fluid on the tissue. An alarm sounds as Jenner runs to a decontamination chamber and disrobes. Computer voice: Alert status. Air qualifiers indicate corrosive fumes. All personnel must clear the room. Corrosive element is deemed poisonous if inhaled. All personnel clear. Full decontamination in effect. From the safety of the airlock, Jenner watches helplessly as the lab, and all of the remaining TS-19 samples, are engulfed in flames — an a*t*matic safety protocol. Dr. Jenner: No! Computer voice: Full decontamination complete. CDC Headquarters Later, a drunken Jenner speaks into the monitor. Dr. Jenner: The TS19 samples are gone. The tragedy of their loss cannot be overstat. They were our freshest samples by far. None of the other samples we gathered even came close. Those are necrotic, useless d*ad flesh. I don't even know why I'm talking to you. I bet there isn't a single son of a bitch out there still listening, is there? Is there? Fine. Saves me the embarrassment. I think tomorrow I'm gonna blow my brains out. I haven't decided. But tonight, I'm getting drunk. He pours drink. Dr. Jenner: Speaking of which, how far do you think I can chuck this, huh? Pretty far I bet. He throws the bottle away, shattering glass. Dr. Jenner: Oh! It is out of the stadium! Outside The caravan arrives outside the compound. Surrounding the building are a lot of corpses, as well as swarms of flies. Rick's caravan approaches the CDC, where hundreds of bodies lay d*ad on the ground. The group quietly approaches the building. Shane: All right, everybody. Keep moving. Go on. Stay quiet. Let's go. Okay, keep moving. Stay together. Rick: Keep moving. Come on. Jacqui: Shh. Lori: Carol. Shane: Shh. Glenn: Oh, God. CDC Headquarters Inside the CDC, Jenner's proximity alarm sounds. Stunned, he watches the group's approach via a security monitor. Dr. Jenner: No. Outside They reach the building which is locked and shuttered. Shane: Keep it together. Come on. Lori: We're almost there, baby. Almost there. Shane: Nothing? Shane pounds on door. T-Dog: There's nobody here. Rick: Then why are these shutters down? Daryl: Walkers! Lori: Baby, come on. Daryl sh**t the walker in the head. Daryl: You led us into a graveyard! Shane: He made a call. Daryl: It was the wrong damn call! Shane: Just shut up. You hear? Shut up. Shut up! Rick, this is a d*ad end. Jacqui: Where are we gonna go? Shane: Do you hear me? No blame. Lori: She's right. We can't be here, this close to the city after dark. Shane: Fort Benning, Rick… Still an option. Andrea: On what? No food, no fuel. That's 100 miles. Glenn: 125. I checked the map. Lori: Forget Fort Benning. We need answers tonight, now. Rick: We'll think of something. Shane: Come on, let's go. Let's get out of here. Let's go. Please. Rick catches sight of the security camera's movement. Shane: All right, everybody back to the cars. Let's go. Move. Rick: The camera… it moved. Shane: You imagined it. Rick: It moved. It moved. Shane: Rick, it is d*ad, man. It's an automated device. It's gears, okay? They're just winding down. Now come on. Dr. Jenner: No, just go away. Shane: Man, just listen to me. Look around this place. It's d*ad, okay? It's d*ad. You need to let it go, Rick. Rick slams on the shutters. Lori: Rick, there's nobody here! Rick: I know you're in there. I know you can hear me. Shane tries to drag him away, with the help of Lori. Shane: Everybody get back to the cars now! Rick: Please, we're desperate. Please help us. We have women, children, no food, hardly any gas left. Lori: Rick. There's nobody here. Rick: We have nowhere else to go. Rick pounds on the door. Rick: Keep your eyes open. If you don't let us in, you're k*lling us! Please! Shane: Come on, buddy, let's go. Let's go. Rick: Please help us. You're k*lling us! You're k*lling us! You're k*lling us! The group is just about to leave when the door to the CDC opens, drowning the survivors in light. THE END

{"type": "series", "show": "The Walking Dead", "episode": "01x05 - Wildfire"}

foreverdreaming

Rick: I guess I’m losing hope that you can hear me. But there’s always that chance, isn’t there? That slim chance. It’s all about slim chances now, I try to do everything right, keep people safe. I tried Morgan. I tried. Our group’s smaller now, we lost another, day before last. It was her choice. I won’t say I blame her, she lost faith. The CDC was a d*ad end. I met a man there, a scientist, he told me something, he told me. It doesn’t matter. What matters is we’re moving on. Atlanta’s done. We’re going to try Fort Bennet. We’re facing a long, hard journey. Maybe harder than I can ever imagine, but it can’t be harder than our journey so far. Can it? 125 miles, that’s what lies ahead and I’m trying hard to not lose faith. I can’t, if I do the others, my family, my wife, my son, there’s just a few of us now. So we gotta stick together, fight for each other, we gotta be willing to lay down our lives for each other if it comes to that. Dale: Son, let’s saddle up. Rick: It’s the only chance we got. [Engine starts and the RV and the car drives behind it] Rick: Be careful out there Morgan. I hope you and Duane are okay. Stay off the road, keep moving, keep your eyes open. I don’t know, just- just be safe. Maybe we’ll see you in Fort Benning some day. Rick, signing off. [Intro Music play, scene changes to the RV and car driving down a road. While birds chirp and the sounds of a motorcycle are heard. It focuses in on the Grimes' car.] Lori: We were just thinking about our trip to the Grand Canyon with Carl. [Rick laughs] Carl: I don’t remember that. Lori: No, you wouldn’t. You were just a baby. And besides, we never made it past Fort Worth. Rick: No, you got sick. I never knew a baby could throw up so much. Carl: Ick. Lori: Yeah, ick. The doctor in Texas said you’d live. Then we turned and drove home. Carl: That sucks. Lori: No, it was a good trip. Rick: The best. Carl: Can we go see it? The Grand Canyon? I’d like to. Sophia: I would too. Can we go? Rick: We’d never go without you or your mom. That’s a promise. [Scene changes from inside the car to inside the RV.] Andrea: Looks complicated. Shane: The trick is getting all these pieces back together the same way. I could clean yours. Show you how. Oh yeah. It’s a sweet piece. Andrea: It was a gift from my father. He gave it to me just before Amy and I took off on our road trip. He said two girls on their own should be able to defend themselves. Shane: Smart man, your father. Look, it's a- it's a limited capacity. See? Only holds seven rounds. Dale: Oh jeez. Aw no. See a way through? Glenn: Uh, maybe we should just go back. There’s an interstate bypass- Dale: We can’t spare the fuel. Glenn: Jeez. Unknown: Can we get through here? [Radiator hose breaks and the RV comes to a stop.] Dale: I said it. Didn’t I say it? A thousand times d*ad in the water. Shane: Problem Dale? Dale: Oh, just a small matter of being stuck in the middle of nowhere, with no hope of- Okay, that was dumb. Shane: Can’t find a radiator hose here. Daryl: There’s a whole bunch of stuff we can find. T-Dog: Can siphon more fuel from these cars for a start. Carol: Maybe some water. Glenn: Or food. Lori: This is a graveyard.I don’t know how I feel about this. Unknown: Alright, alright. Here we go. Shane: Come on y’all. Look around, gather what you can. [The group splits to go look through cars, Lori, Carol, Carl and Sophia pass a car that has a d*ad female in the passenger seat, there are flies buzzing around her.] Carol: Kids, don’t look. [The scene changes back to the camper, with Glenn and Dale.] Glenn: Hey, which one? Dale: Flathead. Radiator hose clamp is always a flathead. Here, you do it. Learn something. [Scene changes back to Carol, Lori and the kids.] Carol: Ed never let me wear nice things like this. We’re going to need clothes. Lori: Hey Carl? Always within my sight, okay? Carol: You too, Sophia. [Scene changes back to the camper, Dale is on top being a lookout.] Dale: It’s all good. Andrea: Okay. Alright. Glenn: Come on. Shane: Glenn. Were we short on water? Glenn: Hey, save me some. Shane: It’s like being baptized man. Rick: Oh, Christ. Lori under the cars. Under the cars. Get down now. Lori: Shh. Glenn: What? Lori: Shh. [The group gets under cars and stays silent as a horde of walkers go past them. All you can hear is the shuffling of feet, groans of walkers and the cries of Carol. Andrea is inside the bathroom of the RV while a walker is also inside, she is trying to put her g*n back together, and ends up dropping a piece.] Andrea: Okay, okay. Oh, shit. Ahh! Daryl: Shh. Carol: Lori. There’s two walkers after my baby. Lori: Shh, shh. [Scene changes to two walkers chasing after Sophia in the woods. Rick follows after them.] Rick: Shh, shh. Are you alright? Are you okay? Sophia: sh**t them! Rick: No, no. Those walkers on the road will hear it. Then it wouldn’t just be two, it’d be hundreds. Alright, come on. Alright, just hold here, you stay there. Wait. Come on. Sophia, you have to do exactly as I say. Hide in there. Squeeze in tight. I'll draw them away from you. Sophia: No no, don't leave me. Rick: Listen listen listen listen. They don't get winded. I do. I can only deal with them one at a time. I wouldn't be able to protect you. This is how we both survive. You understand? Okay? Go go go go. If I don't make it back, run back to the highway, back to the others straight the way we came. Keep the sun on your left shoulder. Come on! You ugly son of a bitch. Come on! Come on! Come on! Come on! Come on! [Scene changes to Daryl, Rick, Glenn and Shane at the spot where Rick left Sophia.] Daryl: Sure this is the spot? Rick: I left her right here. I drew the walkers way off in that direction up the creek. Daryl: Without a paddle- seems where we've landed. Rick: She was gone by the time I got back here. I figured she just took off and ran back to the group. I told her to go that way and keep the sun on her left shoulder. Daryl: Hey, short round, why don't you step off to one side? You're mucking up the trail. Shane: Assuming she knows her left from her right. Rick: Shane, she understood me fine. Shan: Kid's tired and scared, man. She had her a close call with two walkers. Got to wonder how much of what you said stuck. Daryl: Got clear prints right here. She did like you said, headed back to the highway. Let's spread out, make our way back. Rick: She couldn't have gone far. Hey, we're gonna find her. Shane: She'll be tuckered out hiding in a bush somewhere. Daryl: She was doing just fine till right here. All she had to do was keep going. She veered off that way. Glenn: Why would she do that? Shane: Maybe she saw something that spooked her, made her run off. Glenn: A walker? Daryl: I don't see any other footprints. Just hers. Shane: So what do we do? All of us press on? Rick: No, better if you and Glenn get back up to the highway. People are gonna start panicking. Let them know we're on her trail doing everything we can. But most of all, keep everybody calm. Shane: I'll keep 'em busy scavenging cars. Think up a few other chores. I'll keep 'em occupied. Come on. [Scene changes from the wooks back to the highway.] Carol: Why aren't we all out there looking? Why are we moving cars? Dale: We have to clear enough room so I can get the R.V. turned around as soon as it's running. Now that we have fuel we can double back to a bypass that Glenn flagged on the map. Shane: Going back's going to be easier than trying to get through this mess. Carol: We're not going anywhere till my daughter gets back. Lori: Hey, that goes without saying. Shane: Rick and Daryl, they're on it, okay? Just a matter of time. Andrea: Can't be soon enough for me. I'm still freaked out from that herd that passed us by, or whatever you'd call it. Glenn: Yeah, what was that? All of them just marching along like that. Shane: A herd. That sounds about right. We've seen it. It's like the night camp got att*cked. Some wandering pack, only fewer. Okay. Come on, people. We still got a lot to do. Let's stay on it. Let's go, come on. [Scene changes from the highway back to the woods.] Rick: Tracks are gone. Daryl: No, they're faint, but they ain't gone. She came through here. Rick: How can you tell? I don't see anything. Dirt, grass. Daryl: You want a lesson in tracking or you want to find that girl and get our ass off that interstate? [Scene changes back to the highway again.] Carl: Shane. Lori: Carl, what happened? Carl: Mom, I found something cool. Shane, check it out. It's an arsenal. Shane: That's cool, bud. Go give 'em to Dale. Carl: Check this one out. Whoa, it's a hatchet. Lori: Be careful. Don't play with those. Carl: They're really sharp. Lori: What did I just say? Carl: Can I keep one? Lori: Are you crazy? Carl: No way. Shane. Shane, tell her to let me keep one. Shane: Hey, man, go give them all to Dale now. Go. Lori: What was that? Shane: What was what? Lori: The way you blew him off just now. You crushed him. I don't believe you. You're giving me the cold shoulder? Shane: Isn't that what you want? Aren't you the one who said stay the hell away from him and you? Lori: You forget what happened at the CDC? Your little meltdown in the rec room slip your mind? When you tried-- Shane: When I tried to what? What do you think that was? Lori: I think it is pretty plain what that was. Shane: A mistake. One that I admit to. I have a few mistakes under my belt, Lori. So do you. Lori: No debate there. But Shane, we need to stop this. Shane: Why do you think I'm prepping my new ride? I'm leaving. Lori: Leaving? Shane: As in gone for good. Gonna quietly slip away first chance I get. Radio: The emergency alert system has been activated. The Office of Civil Defense has issued the following message: Normal broadcasting will cease immediately. This is a civil emergency. Glenn: Is that a local signal? Dale: It's got to be within 50 miles of here. Radio: Avoid anyone infected at all costs. Remain calm. Help is on the way. The emergency alert system has been activated. Shane: assh*le. Okay, let's get back to work. [The scene changes back into the woods, there is rustling in a bush.] Daryl: Sophia! What are you looking for? Rick: Skin under the fingernails. It fed recently. There's flesh caught in its teeth. Daryl: Yeah, what kind of flesh? Rick: Only one way to know for sure. Daryl: Here, I'll do it. How many kills you skin and gut in your life? Anyway, mine is sharper. Now comes the bad part.. Yeah, Hoss had a big meal not long ago. I feel it in there. Here's the gut bag. Rick: I got this. Daryl: This gross bastard had himself a woodchuck for lunch. Rick: At least we know. Daryl: At least we know. [Scene changes back to the highway.] Carol: It's late. Gonna be dark soon. Andrea: They'll find her. Where's my g*n? You have no right to take it. Dale: You don't need that just now, do you? Andea: My father gave it to me. It's mine. Dale: I can hold onto it for you. Andrea: Or you can give it back to me. Shane: Everything cool? Andrea: No, I want my g*n back. Dale: I don't think it's a good idea right now. Shane: Why not? Dale: I'm not comfortable with it. Shane: The truth is, less g*n we have floating around camp the better. Andrea: You turning over your w*apon? Shane: No. But I'm trained in its use. That's what the rest of y'all need is proper training. But until that time I think it's best if Dale keeps them all accounted for. Andrea: Uh-huh. Shane: Mind telling me what that's about? Glenn: Oh God, they're back. Carol: You didn't find her? Rick: Her trail went cold. We'll pick it up again at first light. Carol: You can't leave my daughter out there on her own to spend the night alone in the woods. Daryl: Out in the dark's no good. We'd just be tripping over ourselves. More people get lost. Carol: But she's 12. She can't be out there on her own. You didn't find anything? Rick: I know this is hard. But I'm asking you not to panic. We know she was out there. Daryl: And we tracked her for a while. Rick: We have to make this an organized effort. Daryl knows the woods better than anybody. I've asked him to oversee this. Carol: Is that blood? Rick: We took down a walker. Carol: Walker? Oh my God. Rick: There was no sign it was ever anywhere near Sophia. Andrea: How can you know that? Daryl: We cut the son of a bitch open, made sure. Carol: Oh God. How could you just leave her out there to begin with? How could you just leave her? Rick: Those two walkers were on us. I had to draw them off. It was her best chance. Shane: Sounds like he didn't have a choice, Carol. Carol: How was she supposed to find her way back on her own? She's just a child. She's just a child. Rick: It was my only option. The only choice I could make. Shane: I'm sure nobody doubts that. Carol: My little girl got left in the woods. Rick: Everybody takes a w*apon. Andrea: These aren't the kind of w*apon we need. What about the g*n? Shane: We've been over that. Daryl, Rick and I are carrying. We can't have people popping off rounds every time a tree rustles. Andrea: It's not the trees I'm worried about. Shane: Say somebody fires at the wrong moment, a herd happens to be passing by. See, then it's game over for all of us. So you need to get over it. Daryl: The idea is to take the creek up about five miles, turn around and come back down the other side. Chances are she'll be by the creek. It's her only landmark. Rick: Stay quiet and stay sharp. Keep space between you but always stay within sight of each other. Shane: Everybody assemble your packs. Keep on those repairs. We've got to get this R.V. ready to move. Dale: We won't stay here a minute longer than we have to. Good luck out there. Bring Sophia back. Rick: Keep an eye on Carl while we're gone. Carl: I'm going with you. You need people, right? To cover as much ground as possible. Loi: Your call. I can't always be the bad guy. Dale: Well, he has all of you to look after him. I'd say he's in good hands. Rick: Okay. Okay. But always within our sight, no exceptions. Dale: Andrea, I'm begging you. Don't put me in this position. Andrea: I'm not going out there without my g*n. I'll even say please. Dale: I'm doing this for you. Andrea: No, Dale, you're doing it for you. You need to stop. What do you think's gonna happen? I'm gonna stick it in my mouth and pull the trigger the moment you hand it to me? Dale: I know you're angry at me. That much is clear. But if I hadn't done what I did, you'd be d*ad now. Andrea: Jenner gave us an option. I chose to stay. Dale: You chose su1c1de. Andrea: So what's that to you? You barely know me. Dale: I know Amy's death devastated you. Andrea: Keep her out of this. This is not about Amy. This is about us. And if I decided that I had nothing left to live for, who the hell are you to tell me otherwise? To force my hand like that? Dale: I saved your life. Andrea: No, Dale. I saved yours. You forced that on me. I didn't want your blood on my hands and that is the only reason I left that building. What did you expect? What, I'd have some kind of epiphany? Some life-affirming catharsis? Dale: Maybe just a little gratitude. Andrea: Gratitude? I wanted to die my way, not torn apart by drooling freaks. That was my choice. You took that away from me, Dale. Dale: But- Andrea: But you know better? All I wanted after my sister died was to get out of this endless horrific nightmare we live every day. I wasn't hurting anyone else. You took my choice away, Dale. And you expect gratitude? Dale: I don't know what to say. Andrea: I'm not your little girl. I'm not your wife. And I am sure as hell not your problem. That's all there is to say. Carl: Shane, look. Dad said I could carry it and mom said as long as I was- Shane: Keep it down. We're looking for Sophia. You need to focus on the task. Lori: Got to keep up. Carl: I am. Lori: You okay? Carl: I think Shane's mad at me. Did I do something wrong? Lori: No. No, honey, I promise you. He's just--he's worried about Sophia, that's all. Come on. Shane: She could be in there. Daryl: Could be a whole bunch of things in there. Rick: Carol. Call out softly. If she's in there, yours is the first voice she should hear. Carol: Sophia, sweetie, are you in there? Sophia, it's mommy. Sophia. We're all here, baby. It's mommy. Daryl? Daryl? Daryl: It ain't her. What's in there? Some guy. Did what Jenner said. Opted out. Ain't that what he called it? [Church bells ring in the distance and the group runs towards the sound.] Shane: What direction? Rick: I think that way. I'm pretty sure. Shane: Damn, it's hard to tell out here. Carol: If we heard them, maybe Sophia did too. Glenn: Someone's ringing those bells, maybe calling others. Andrea: Or signaling they found her. Rick: She could be ringing them herself. Come on. [Scene changes to the highway, Dale is standing on top of the RV.] T-Dog: Ain't you supposed to be fixing that radiator? What if they come back with Sophia and Rick wants to move on right away? Dale: I had it fixed yesterday. T-Dog: What? What was all that rubbing and sanding for then? That just bullshit? Dale: Yeah, that's one word. Another word would be pantomime-- just for show. No one else needs to know that. T-Dog: Pantomime. Dale: If the others know we're mobile, they'll want to mobilize and move on. T-Dog: So you don't think they're gonna find Sophia, that it? Dale: I'm just guarding against the worst. Sooner or later, if she's not found, people will start doing math. I want to hold off the needs-of-the-many-versus-the-needs-of-the-few arguments as long as I can. T-Dog: That is one tricky hose, huh? Dale: Very. [Scene changes to the church where the bells were ringing.] Shane: That can't be it. Got no steeple, no bells. Rick. [Inside the church, there are walkers sitting down looking at the cross. They rise when the group enters the building. The group takes the walkers out.] Rick: Sophia! Daryl: Yo, J.C., you taking requests? Shane: I'm telling you, it's the wrong church. It's got no steeple, Rick. There's no steeple. Daryl: A timer. It's on a timer. Carol: I'm gonna go back in for a bit. Lori: Are you really leaving? Shane: Don't you think it's best for all of us? Lori: I think it is. What made you decide? Shane: Gotta back away. Just trying to be the good guy here, Lori, even if you don't see it. None of this was intended. I hope you know that. Well, don't matter. As long as I said it. Lori: You're just gonna disappear? You're not even gonna tell Rick? Shane: He'd only try to stop me. No, that's on you. You tell him what you want. Or tell him nothing at all. You're his wife. Lori: And Carl? We dragged him into this. Shane: I love Carl. Lori: He thinks you hate him. Shane: I'm trying to put some distance. I'm trying to make this easier. This ain't easy on any of us, least of all me. I'm the one who loses you. [Inside the church.] Carol: Father, forgive me. I don't deserve your mercy. I prayed for safe passage from Atlanta and you provided. I prayed for Ed to be punished for laying his hands on me and for looking at his own daughter with whatever sickness was growing in his soul. I prayed you'd put a stop to it, give me a chance to raise her right, help her not make my mistakes. She's so fearful. She's so young in her way. She hasn't had a chance. Praying for Ed's death was a sin. Please, don't let this be my punishment. Let her be safe, alive and safe. Please, lord. Punish me however you want, but show mercy on her. [Outside the church.] Andrea: I'm coming with you. Shane: I don't know what the hell you're talking about. Andrea: I'm not stupid and I'm certainly not deaf. Look, I don't know the story. Shane: There is no story. Andrea: Fine, I don't care. Don't confuse me with someone who does. Look, all I care about is getting out of here as far away as I can, like you. Shane: We're gonna sail off into the sunset together? We gonna hold hands? Andrea: I'm not asking you to go steady, Shane. I'm asking for a ride, a chance to start over somewhere else. You observe this group lately? I have. I see two people who don't belong. We're the odd men out. Between the two of us, we make a great third wheel. Shane: So what? Say we do, we just run off. What's in it for me except for the extra ass I got to cover? Andrea: The chance to do something for someone else. Yeah. And a door that swings both ways. Put a g*n in my hand, I'll cover your ass too. Think it over. Shane: Got to move here, man. These people are spent. There's only so many hours of daylight left. We still got a long way back. Rick: I can't stop yet. Shane: We still got a lot of ground to cover, whole other side of the Creek Bed. So we search that on the way back. Rick: She would have heard those church bells. She could be nearby. Shane: She could be a lot of things. Rick: I can't go back. Her being out here is my fault. Shane: That's great. Now they got you doubting yourself, huh? Rick: What about you? You doubt me? Shane: Hey, we can assign all kinds of blame. Rick: This means something, finding her. Shane: Oh man. Rick: It would be the miracle we need. We can't give up. ( Sighs ) Shane: Mmm. Ahem. Y'all gonna follow the Creek Bed back, okay? Daryl, you're in charge. Me and Rick, we're just gonna hang back, search this area another hour or so just to be thorough. Daryl: You're splitting us up. You sure? Shane: Yeah, we'll catch up to you. Carl: I want to stay too. I'm her friend. Lori: Just be careful, okay? Carl: I will. When did you start growing up? Rick: I'll be along soon enough. Here, take this. Remember how to use it? Lori: I'm not taking your g*n and leaving you unarmed. Daryl: Here, got a spare. Take it. Rick: Give me a minute? Shane: Yeah. Come on. [The group heads back to the highway. Rick, Shane and Carl stay behind to keep looking for Sophia. Rick heads Inside the church.] Rick: I don't know if you're looking at me with what? Sadness? Scorn? Pity? Love? Maybe it's just indifference. I guess you already know I'm not much of a believer. I guess I just chose to put my faith elsewhere. My family, mostly. My friends. My job. The thing is, we- I could use a little something to help keep us going. Some kind of.. acknowledgment. Some indication I'm doing the right thing. You don't know how hard that is to know. Well, maybe you do- Hey look, I don't need all the answers. Just a little nudge. A sign. Any sign will do. [Rick walks outside of the church.] Shane: Get what you needed? Rick: Guess I'll find out. Shane: Come on. [Scene changes to the group that is making their way back to the highway, they are in the woods.] Carol: So this is it? This the whole plan? Daryl: I guess the plan is to whittle us down into smaller and smaller groups. Andrea: Carrying knives and pointy sticks. I see you have a g*n. Lori: Why, you want it? Here, take it. I'm sick of the looks you're giving me. [Lori hands Andrea the g*n and she takes it.] Lori: All of you. Honey, I can't imagine what you're going through. And I would do anything to stop it. But you have got to stop blaming Rick. It is in your face every time you look at him. When Sophia ran he didn't hesitate, did he? Not for a second. I don't know that any of us would have gone after her the way he did or made the hard decisions that he had to make or that anybody could have done it any differently. Anybody? Y'all look to him and then you blame him when he's not perfect. If you think you can do this without him, go right ahead. Nobody is stopping you. [Andrea hands the g*n back to Lori.] Andrea: We should keep moving. [Scene changes back to Rick, they are walking in the woods. Carl spots a deer standing there and goes to touch it.] Rick: Shane. [Carl walks closer to it and is standing a foot away, the deer looks at him but doesn’t run away. There is silence then a sudden g*n, Carl hits the ground with a thud. Rick and Shane look stunned as they race towards the boy.] Rick: Oh no. No. No, no, no, no! [Outro music and credits play.]

{"type": "series", "show": "The Walking Dead", "episode": "02x01 - What Lies Ahead"}

foreverdreaming

Woman: I know that look. Then you get really quiet. So, are you gonna tell me? Lori: We had a fight this morning. It got ugly, hurtful. Woman: I'm sorry, hon-- Men can be jerks. Lori: Thing is, if we're being honest, he wasn't the assh*le. Woman: Ah, got ya. Lori: He was trying so hard to be reasonable. It just pushed my buttons all the more. God, I sometimes wish he would just have it out with me.. And blow up, tell me I'm being a bitch, if that's what I'm being. Instead, he's just so.. Woman: Don't b*at yourself up. Lori: No? You can't tell me that being pissed at your husband because he doesn't yell at you is even close to being rational. Woman: That's one problem I don't have with Tom. Lori: But you still love him. Woman: Sure, I do- Might as well. We're lifers. Lori: I admire your pragmatism. Woman: You still love Rick? Lori: I've been asking myself that a lot, and-and I-I think the answer's "yes." It's just, I'm trying to remember how that works. Maybe the only real problem we have is we got married so young. It's- [Lori is cut off by the sounds of sirens, coming closer to the two women.] Lori: Excuse me. Is he alive? Shane: He's in surgery. Lori: How? Shane: There was a radio call that said that there was two suspects in a car, but there was a third man. Somebody screwed up. I screwed up. I ju- I did not see him in time- Lori, it's my fault. Lori: I-I don't believe that. What do I say? How do I tell my son his father's been sh*t? Shane: You don't have to do it alone. Lori: Okay. [The camera focuses on Lori telling Carl the news, there is only the sound of soft music playing. The scene is then cut to the opening credits. Then to Rick running across a field with Carl.] Rick: Come on. Shane: Hey, you move, shithead! Come on, get us there! Rick: How far? How far? Man: Another half mile, that way! Hershel, talk to Hershel- He'll help your boy. I'm sorry. Shane: Let's go- Come on! Woman: Dad! Hershel: Was he bit? Rick: sh*t, by your man. Older woman: Otis? Rick: He said find Hershel. Is that you? Help me- Help my boy. Hershel: Get him inside- Inside! Patricia, I need my full kit. Maggie- Maggie: Yeah? Hershel: Painkillers, coagulates- Grab everything. Clean towels, sheets, alcohol. In here. Pillowcase. Rick: Is-is he alive? Hershel: Pillowcase, quick. Rick: Is-is he alive? Hershel: Fold it- Make a pad. Put pressure on the wound. I've got a heartbeat- It's faint. Patricia: I got it- Step back. Hershel: Maggie, IV. Maggie: We need some space. Hershel: Your name? Rick: R-Rick. Hershel: Rick? Rick: I'm-I'm-I'm Rick. Hershel: Rick, we're gonna do everything we can, okay? You need to give us some room. Now. Shane: Move! Otis: He's alive- He's still alive? Shane: Okay. It's okay. You got blood, man. Okay. I'll take it from you. Where is he- Is he okay? Hershel: You know his blood type? Rick: A-positive-- s-same as mine. Hershel: That's fortunate. Don't wander far- I'm gonna need you. What happened? Otis: I was tracking a buck. b*llet went through it. Went clean through. Hershel: The deer slowed the b*llet down, which certainly saved his life, but it did not go through clean. It broke up into pieces. If I can get the b*llet fragments out.. And I'm countin' six. Otis: I never saw him. Not until he was on the ground. Rick: Lori doesn't know? Shane: No, she- Rick: My wife doesn't know-- My wife doesn't know. [The scene cuts from the farm back to the group in the woods.] Andrea: You still worrying about it? Lori: It was a g*n. Daryl: We all heard it. Lori: Why one- Why just one g*n? Daryl: Maybe they took down a walker. Lori: Please don't patronize me. You know Rick wouldn't risk a g*n to put down one walker, or Shane. They'd do it quietly. Carol: Shouldn't they have caught up with us by now? Daryl: There's nothing we can do about it, anyway. Can't run around these woods chasing echoes. Lori: So, what do we do? Same as we've been. Daryl: b*at the bush for Sophia, work our way back to the highway. Andrea: I'm sure they'll hook up with us back at the RV. I'm sorry for what you're going through. I know how you feel. Carol: I suppose you do- Thank you. The thought of her, out here by herself.. It's the not knowing that's killin' me. I just keep hopin' and prayin' she doesn't wind up like Amy. Oh, God! That's the worst thing I ever said. Andrea: We're all hoping and praying with you, for what it's worth. Daryl: I'll tell ya what it's worth- Not a damn thing. It's a waste of time, all this hopin' and prayin'. We're gonna locate that little girl. She's gonna be just fine. Am I the only one Zen around here? Good lord. [The scene changes to the highway.] Dale: We are gonna have quite a collection of spare parts, I tell ya. T-Dog: Shouldn't they be back by now? Dale: It's still light. Let's not worry, just yet. How are you feelin'? T-dog? I asked you how you were feeling just now. Please don't blow that question off. T-Dog: It really, really hurts. It's throbbing something awful. Dale: Oh, let me see. T-Dog: Ah, don't-don't touch it! Dale: I'm sorry- I'm sorry. Listen, your veins are very discolored. You got a hell of an infection there. You could die from blood poisoning. T-Dog: Oh, man. Wouldn't that be the way? World gone to hell.. The d*ad risen up to eat the living.. And Theodore Douglas gets done in by a cut on his arm. Dale: Yeah, that would be-that would be stupid. I-I've been saying since yesterday, we gotta-we gotta get you some antibiotics. We've been ransacking these cars the whole time. I can't believe that we have not found some ampicillin, or-or something in the-in the whole place. Can you? T-Dog: Seems like there would be. Dale: Well, that's what I think. Well.. We, uh, we haven't been thorough enough. So, let's look some more. [The scene changes back to the farmhouse] Rick: Why'd I let him come with us? I should've sent him with Lori. Shane: You know, you start that, you never get that monkey off your back. Rick: Little girl goes missing, you look for her. Simple. You said, "call it- Head back." Shane: Doesn't matter what I said. Rick: Carl got sh*t because I wouldn't cut bait. It should be me in there. Shane: You've been there, partner, right? And you pulled through- So will he. Rick: Is that why I got outta that hospital? Found my family for it to end here, like this? This kind of s-sick joke? Shane: You stop it. Just stop. Rick: A little girl goes missing.. You look for her- It's plain and simple. Maggie: Rick.. He needs blood. Hershel: You, hold him down. Carl: Dad! Shane: I got him. Hershel: Almost there. Rick: Stop- You're killin' him! Hershel: Rick, do you want him to live? Patricia: He needs blood. Shane: Do it now! Wait-wait, hey. Hershel: He just passed out. One down.. Five to go. Pressure's s*ab. Rick: Lori needs to be here. She doesn't even know what's goin' on. I got-I gotta go find her, bring her back. Hershel: You can't do that. Rick: She's his mother! She needs to know what's happened. Her son's lying here, sh*t. Hershel: And he's going to need more blood. He can't go more than 50 feet from this bed. Shane: Hey, hey. Come on. Rick: I'm all right. I'm all right- I got him. Shane: He's s*ab, for now. Rick: Lori has to be here, Shane- She has to know. Shane: Okay, I get that. I'm gonna handle it.. But you've gotta handle your end. Rick: My-my end? Shane: Your end is being here, for your son. Even if he didn't need your blood to survive, there is no way I'd ever let you walk out that door. Man, I-I'd break your legs if you tried. I mean, you know that, right? If something happened to him and you weren't here.. If-if he slipped away while you were gone, you would never forgive yourself for that, and neither would Lori, man. Rick: You're right. Shane: When was I ever wrong? You know, when.. When you were in that hospital, the one you were never supposed to leave, man.. You should've seen Lori. She was like- The strength of that woman.. You can't imagine it. See-see, that's what you gotta have now. I mean, Carl, he needs that from you. So, you wire yourself tight, my friend. Hmm? You hear? You've got the hard part. You just leave the rest to me, okay? Rick: All right. Shane: All right. Hershel: He's out of danger for the moment, but I need to remove those remaining fragments. Rick: How? You saw how he was. Hershel: I know, and that was the shallowest one. I need to go deeper to get the others. Oh, man. - There's more. Rick: Tell me. Hershel: His belly's distended, his pressure's dropping, which means there's internal bleeding. A fragment must have nicked one of the blood vessels. I have to open him up, find the bleeder and stitch it. And he can't move while I'm in there. I mean, at all. If he reacts the same as before, I'll sever an artery and he'll be d*ad in minutes. To even try this, I have to put him under. But if I do, he won't be able to breathe on his own. Same bad results. Rick: What'll it take? Otis: You need a respirator. What else? Hershel: The tube that goes with it, extra surgical supplies, drapes, sutures. Rick: If you had all that, you could save him? Hershel: If I had all that, I could try. Otis: Nearest hospital went up in flames a month ago. The high school. Hershel: That's what I was thinkin'. They set up a FEMA shelter there. They would have everything we need. Otis: Place was overrun last time I saw it. You couldn't get near it- Maybe it's better now. Shane: I said, leave the rest to me. Is it too late to take that back? Rick: I hate you goin' alone. Come on. Doc, why don't you do me a list, draw me a map. Otis: You won't need a map- I'll take you there. Ain't but five miles. Patricia: Otis, no. Otis: Honey, we don't have time for guesswork and I'm responsible. I ain't gonna sit here while this fella takes this on alone. I'll be all right. Shane: Are you sure about this? Otis: Do you even know what any of the stuff he's talking about looks like? Shane: Come to think, no. Otis: I've been a volunteer EMT. I do. Now, we can talk about this 'till next Sunday, or we could just go do it real quick. Shane: I'll take right quick. Rick: I should thank you. Otis: Wait 'till that boy of yours is up and around, then we'll talk. I'll gather some things. Maggie: Where is she- Your wife? [The scene changes back to the group in the woods.] Daryl: We'll lose the light before too long. I think we should call it. Lori: Let's head back. Carol: We'll pick it up again tomorrow? Lori: Yeah, we'll find her tomorrow. [The scene changes back to the farmhouse, they are headed to a blue pickup truck to leave.] Rick: Just get what you need and get out of there. Shane: You stay strong, all right? Otis: That's a fine w*apon, Rick. I'll bring it back in good shape. Only one I got. Shane: Man, this turned into one strange day. Otis: Didn't it, though? Hershel: Let's check on your boy. [Back on the highway.] Dale: Found some more batteries, a bottle of very trendy pink water, an excellent new machete, and I thought Glenn might like this guitar. Maybe he plays. No drugs. You? T-Dog: Yeah, ibuprofen and these. What are we doin'? Dale: Pullin' supplies together. T-Dog: No, I mean.. What are we doin'? People off in the woods, they's looking for that poor girl and we're here. Why? 'Cause they think we're the weakest. What are you, 70? Dale: 64. T-Dog: Uh-huh.. And I'm the one black guy. Realize how precarious that makes my situation? Dale: What the hell are you talking about? T-Dog: I'm talking about two good-old-boy cowboy sheriffs and a redneck whose brother cut off his own hand because I dropped a key. Who in that scenario you think is gonna be first to get lynched? Dale: You can't be serious. Am I- Hey, am I missing something? Those cowboys have done all right by us. And if I'm not mistaken, that redneck went out of his way to save your ass- More than once. T-Dog: And don't forget about Andrea. Kills her own sister. Dale: She was already d*ad. T-Dog: Then wants to blow herself up. Yeah, she's all there. Dale: She's havin' a tough time. What is wrong with you? T-Dog: The whole world's havin' a tough time. Damn, man- Open your eyes. [Raising voice] Look where we are- Stuck in this mess here! Dale: Shh! T-Dog: Let's- Let's just go. Let's just take the RV. Dale: You've gone off the deep end. T-Dog: I mean it, man. Why are we on the side of this road like live bait? Let's go, you and me. Let's go before they get back. Dale: Oh, my God! You're burnin' up. Give me that. Come on. Here, take these. We've got to knock that fever down. Where the hell are they? [The scene changes to the group in the woods.] Lori: How much farther? Daryl: Not much.. Maybe a hundred yards as the crow flies. Andrea: Too bad we're not crows. Oh.. Oh! As the crow flies, my ass. Lori: Andrea? Andrea: No-no- Oh, no! Maggie: Lori? Lori grimes? Whoa! Lori: I'm Lori. Maggie: Rick sent me- You've got to come now. Lori: What? Maggie: There's been an accident- Carl's been sh*t. He's still alive but you've gotta come now. Rick needs you- Just come! Daryl: Whoa-whoa-whoa! We don't know this girl. You can't get on that horse. Maggie: Rick said you had others on the highway, that big traffic snarl? Glenn: Uh-huh. Maggie: Backtrack to Fairburn road. Two miles down is our farm. You'll see the mailbox- Name's Greene--Hi-yah! Daryl: Shut up. [The scene changes as the group makes it back to the highway.] Dale: sh*t? What do ya mean sh*t? Glenn: I don't know, Dale. I wasn't there. All I know is this chick rode out of nowhere like Zorro on a horse and took Lori. Dale: You let her? Daryl: Climbed down out of my assh*le, man. Rick sent her. She knew Lori's name and Carl's. Dale: I heard screams- Was that you? Glenn: She got att*cked by a walker. It was a close call. Dale: Andrea, are you all right? [The scene changes back to the farm.] Rick: This place is beautiful. Hershel: Been in my family 160 years. Rick: I can't believe how serene it is. How untouched.. You're lucky. Hershel: We weren't completely unscathed. We lost friends, neighbors. The epidemic took my wife, my stepson. Rick: I'm sorry. Hershel: My daughters were spared. I'm grateful to God for that. These people here, all we've got left is each other. Just hoping we can ride it out in peace till there's a cure. Rick: We were at the CDC.. It's-it's gone now. There is no cure. Hershel: I don't believe it. When aids came along, everyone panicked. One boy in town came down with it, and some parents pulled their children from school, so they didn't have to sit in the same room. Rick: This is a whole other thing. Hershel: That's what we always say- "This one's different." Rick: Well, this one is. Hershel: Mankind's been fightin' plagues from the start. We get our behinds kicked for a while, then, we bounce back. It's nature correcting herself, restoring some balance. Rick: I wish I could believe that. I'm sorry. Lori: My baby boy. Baby boy. It's okay. Mama's here. Mama's here. You're gonna be okay. You're gonna be okay. We're gonna make you okay. Slow.. slow. How many transfusions? Rick: Two- Only two. Lori: You know he wanted to do the same for you when you were in the hospital. I had to talk him out of it. Rick: Thank you. Lori: Okay, so I understand, when Shane gets back with this other man- Hershel: Otis. Lori: Otis. The idiot who sh*t my son. Hershel: Ma'am, it was an accident. Lori: I'll take that under advisement later. For now, he's the idiot who sh*t our son. Rick: Lori, they're doing everything they can to make it right. Okay, as soon as they get back you can perform this surgery? Hershel: I'll certainly do my best. Lori: Okay.. I mean, you've done this procedure before? Hershel: Well, yes, in a sense. Lori: In a sense? Rick: Honey, we don't have the luxury of shopping for a surgeon. Lori: No, I understand that. But, I mean, you're a doctor, right? Hershel: Yes, ma'am. Of course. A vet. Lori: A veteran- A combat medic? Hershel: A veterinarian. Lori: And you've done this surgery before on what? Cows.. pigs? Rick: I- I have- I have to sit. Lori: Completely in over your head, aren't you? Hershel: Ma'am, aren't we all? [The scene changes to the high school, Otis and Shane are trying to get inside.] Shane: Shh-shh-shh! Okay, let's take a look. Otis: You see that big mobile medical trailer across the way? Shane: That's where we gotta get to? Otis: Yeah. [The scene changes to the group on the highway.] Carol: I won't do it. We can't just leave. Dale: Carol, the group is split. We're scattered and weak. Carol: What if she comes back and we're not here? It could happen. Andrea: If Sophia found her way back and we were gone, that would be awful. Daryl: Okay. We gotta plan for this. I say tomorrow morning is soon enough to pull up stakes. Give us a chance to rig a big sign, leave her some supplies. I'll hold here tonight, stay with the RV. Dale: If the RV is stayin', I am too. Carol: Thank you. Thank you both. Andrea: I'm in. Glenn: Well, if you're all staying then I'm- Dale: Not you, Glenn- You're going. Take-take Carol's Cherokee. Glenn; Me? Why is it always me? Dale: You have to find this farm, reconnect with our people and see what's going on- But most important, you have to get t-dog there. This is not an option. That cut has gone from bad to worse. He has a very serious blood infection. Get him to that farm. See if they have any antibiotics. Because if not, t-dog will die, no joke. Daryl: Keep your oily rags off my brother's motorcycle. Why'd you wait till now to say anything? Got my brother's stash. Crystal, x- Don't need that. Got some kick ass painkillers. Doxycycline. Not the generic stuff neither. It's first class. Merle got the clap on occasion. [The scene changes to Otis and Shane, they open the cop car they were behind getting the flares out, as night grows closer, they throw the flares in hopes that it would distract the walkers. They manage to distract them and get inside the trailer. The scene the goes back to the Farm, inside Carl’s room.] Hershel: Pressure's dropping again. We can't wait much longer. Rick: Take some more- Whatever he needs. Then I'm gonna go. Lori: Go- Go where? Rick: He said five miles. They should be long back by now. Something's gone wrong. Lori: Are you insane? You're not goin' after them. Hershel: Rick, listen to your wife. Rick: If they got into trouble- Hershel: You're in no condition to do anything about it. You've given too much blood. You're barely on your feet. You wouldn't make it across the yard. Rick: Something happened, I have to go. Lori: No, your place is here. If Shane said he'll be back, he'll be back. He's like you that way. Rick: I can't just sit here. Lori: That's exactly what you do! If you need to pray or cry or tell God he's cruel, you go right ahead, but you're not leavin', Rick. Carl needs you- here. And I can't do this by myself. Not this one. I can't.. I can't. [The scene changes back to the medical trailer, Shane looks around trying to find what was on the list.] Shane: Is this here? Otis: Three.. Three. Oh, here. Endotracheal incubator, baby, for my new respirator. Shane: 'Atta boy! Come on. Come on! Damn it. Come on- Stay with me! No- No-no-no-no! Come on! No-no-no-no! Come on- come on. In here! Okay-okay! Stay back- stay back! Damn it! [They are trapped inside the high school, a metal slider is the only thing separating them from walkers. The outro music and credits play.]

{"type": "series", "show": "The Walking Dead", "episode": "02x02 - Bloodletting"}

foreverdreaming

[The scene starts off in the bathroom. Shane is shaving his head bald, he has a look in his eyes. The opening credits and music plays.] Lori: Rick, just.. You've got to keep your strength up. Rick: Lori, did you.. I mean, it was legendary. Did you ever hear about the time Shane stole Kingsley's car? Lori: Yeah. Rick: The Principal's car right out of the teacher's lot in the middle of a school day. Shane steps out of lunch and makes a beeline to Kingsley's Hyundai.. Wires the ignition, peels out, drives down Dylan drive to that chicken farm out there. You've heard this before, right? So he pulls it into one of the big holding pens. Kingsley, he waxed that thing every month; had the auto shop vacuum it out every week. Shane, he parks it in this huge pen with a couple of hundred Rhode Island reds. He busts open bags of seed in the back seat, rolls down all the windows, and then starts sprinting back to school. It's three miles away easy. He's back in time to finish his sandwich before the bell. And then the bell rings. Shane gets up and when he runs into Kingsley in the hallway he looks out the window and says, "Principal Kingsley, your coupe's gone." Coupe, like chicken coop. Lori: I get it. Rick: Of course you do. You've heard this story 1000 times. What you said before, you're right. Shane's gonna make it back with what the doctor needs. He'll make it back. Lori: Hershel said you need to eat. Rick: Carl's gonna be alright. Lori: Please, for me. You've got to keep your strength up. [The scene changes to the highway, inside the RV, Carol is crying, Daryl is laying on the ground and Andrea is putting her g*n together.] Daryl: I need my clip now. I'm gonna walk the road, look for the girl. Andrea: I'm coming too. Daryl: I'm going for a walk. Shine some light in the forest. If she's out there, give her something to look at. Dale: You think that's a good idea right now? Andrea: Dale. [The scene changes to the High school, Shane and Otis are on the bleachers with walkers around them.] Shane: Those windows, what's on the other side? Otis: About a 20-foot drop with nothing to catch you, maybe some bushes, then the athletic field. Shane: We just need enough time. We got to get up there. We got to get 'em open and get out. Otis: Not me. Maybe you. Shane: Hey hey hey. Otis: Come on, man, look at me. You really think I can squeeze through one of them tiny windows? They'd be all over us. Look, we lay down some f*re to get a head start. You stay here. I hop down and draw them away. That gives you the chance to get up the bleachers and out a window. Shane: And where do you go? Otis: Locker room down those steps. Shane: Looks like a good way to get trapped. Otis: It's got windows too, and more my size. I get out through one, I double back, we meet up out on the field. Shane: You're a crazy son of a bitch, ain't you? Otis: Just trying to do right for that boy. Shane: You take three sh*ts and you go. After that I f*re. I'll lay down a cover for you. I'll get you a lead. Otis: All right. Oh God. [Otis jumps from the bleachers, a walker grabs his foot and he screams. Shane sh**t it and he runs. Shane jumps down a second later then breaks a window, jumping about 20 feet to the ground. The scene then changes to the Farm.] Glenn: So do we ring the bell? I mean it looks like people live here. T-Dog: We're past this kind of stuff, aren't we? Having to be considerate. Maggie: Did you close the gate up the road when you drove in? Glenn: Uh, hi. Yes, we closed it. Did the latch and everything. Hello. Nice to see you again. We met before briefly. Look, we came to help. There anything we can do? T-Dog: It's not a bite. I cut myself pretty bad though. Maggie: We'll have it looked at. I'll tell them you're here. Glenn: We have some painkillers and antibiotics. I already gave him some. If Carl needs any. Maggie: Come on inside. I'll make you something to eat. Glenn: Hey. Rick: Hey. Glenn: Um, we're here, okay? Lori: Thank you. T-Dog: Whatever you need. Hershel: They don't get back soon, we're gonna have a decision to make. Rick: And that is? Hershel: Whether to operate on your boy without the respirator. Lori: -You said that wouldn't work. Hershel: I know. It's extremely unlikely. But we can't wait much longer. [The scene changes to the woods with Daryl and Andrea.] Andrea: You really think we're gonna find Sophia? Daryl: You got that look on your face, same as everybody else. What the hell's wrong with you people? We just started looking. Andrea: Well, do you? Daryl: It ain't the mountains of Tibet. It's Georgia. She could be holed up in a farmhouse somewhere. People get lost and they survive. It happens all the time. Andrea: She's only 12. Daryl: Hell, I was younger than her and I got lost. Nine days in the woods eating berries, wiping my ass with poison oak. Andrea: They found you? Daryl: My old man was off on a bender with some waitress. Merle was doing another stint in juvie. Didn't even know I was gone. I made my way back though. Went straight into the kitchen and made myself a sandwich. No worse for wear. Except my ass itched something awful. Andrea: I'm sorry. I'm sorry, that is a terrible story. Daryl: Only difference is Sophia's got people looking for her. I call that an advantage. [The scene changes back to the farm house.] Lori: Maybe this isn't a world for children anymore. Rick: Yeah well, we have a child. Carl is here in this world now. Lori: Maybe he shouldn't be. Maybe this is how it's supposed to be. Rick: You can't mean that. Okay. Alright. I can understand that thought crossing your mind. Lori: It didn't cross my mind, Rick. I can't stop thinking it. Why do we want Carl to live in this world? To have this life? So he can see more people torn apart in front of him? So that he can be hungry and scared for however long he has before he.. So he can run and run and run and run and then even if he survives he ends up.. he ends up just another animal who doesn't know anything except survival? If he.. if he dies tonight, it ends for him. Tell me why it would be better another way. Rick: What changed? Lori: What? Rick: Jenner offered us a way out. You asked him to let us keep trying. You begged him. "For as long as we can," you said. What changed? Lori: There was a moment the other day.. It was just a second but I forgot Jacqui was d*ad. I turned around, I wanted to tell her something. I almost said her name. It was just a second and then I remembered. But then I realized she didn't have to see any of it. The highway, the herds, Sophia, Carl getting sh*t.. she didn't.. She doesn't have to be afraid anymore. Hungry. Angry. It hasn't stopped happening, Rick. It's like we live with a Kn*fe at our throats every second of every day. But Jacqui doesn't. Not anymore. And then.. I thought, "maybe Jenner was right." Rick: I don't accept that. I can't accept that. That man surrendered. It doesn't matt.. it doesn't matter what he said. None of it. You really think it would be better if Carl.. if we just gave up? Lori: Tell me why it would be better the other way. Please. [The scene changes back to the high school.] Shane: Man, I thought I'd lost you. Otis: That was my last r*fle round. Shane: Mine too. Come on. Come on. Come on. [The scene changes back to the farm house.] Carl: Where are we? Rick: Hey, little man. That's Hershel. We're in his house. You had an accident. Alright? Carl: It hurts, a lot. Lori: Oh baby, I know. I know. Carl: You should have seen it. Lori: What? Carl: The deer. It was so pretty, mom. It was so close. I've never been.. Rick: Carl? Lori: What is happening? Hershel: Don't. It's a seizure. If you hold him down, you could hurt him. Lori: You can't stop it? Hershel: He has to just go through it. His brain isn't getting enough blood. His pressure is bottoming. He needs another transfusion. Rick: Okay, I'm ready. Hershel: If I take any more out of you your body could shut down. You could go into a coma. Or cardiac arrest. Rick: You're wasting time. [The scene changes back to the high school.] Shane: Come on, man. We need a way out. Otis: Just let me catch my breath. Shane: Come on. [Shane and Otis lean against the fence for a moment to catch their breath, they are soon interrupted by walkers slamming against the fence. The scene then changes to the highway with Dale standing on top of the RV.] Dale: Can't sleep? Carol: I'm gonna wait for them to come back. You can go down and sleep if you want to. Dale: No, we can keep watch together. Carol: Which way did they go? [The scene changes to Andrea and Daryl walking through the woods.] Daryl: What the hell? "Got bit. Fever h*t. World gone to shit. Might as well quit." Dumbass didn't know enough to sh**t himself in the head. Turned himself into a big swinging piece of bait. And a mess. Andrea: Mhm. Daryl: You all right? Andrea: Trying not to puke. Daryl: Go ahead if you gotta. Andrea: No, I'm fine. Let's just talk about something else for a minute. How'd you learn to sh**t? Daryl: Gotta eat. That's one thing these walkers and us have in common. I guess it's the closest he's been to food since he turned. Hanging up there like a big piñata. The other geeks came and ate all the flesh off his legs. Andrea: I thought we were changing the subject. Daryl: Call that payback for laughing about my itchy ass. Andrea: There wasn't a lot that came up. Daryl: Huh. Let's head back. Andrea: Aren't you gonna.. Daryl: No. He ain't hurting nobody. Ain't gonna waste an arrow either. He made his choice. Opted out. Let him hang. You want to live now or not? It's just a question. Andrea: An answer for an arrow. Fair? Daryl: Mhm. Andrea: I don't know if I want to live or if I have to or if it's just a habit. Daryl: Not much of an answer. Waste of an arrow. [The scene changes back to the RV.] Carol: You don't need to worry. She's with Daryl. If something happens he can protect her. You hear what I'm saying? Dale: Sorry, all I heard was if something happens. You mind keeping watch? Carol: I don't know how to use that. Dale: I won't be gone long. If you see anything, call out. I'm not going far. I'll hear you. [The scene changes back to the farm house, T-Dog is getting his arm stitched up.] Patricia: You got here right in time. This couldn't go untreated much longer. "Merle Dixon." Is that your friend with the antibiotics? Glenn: No, ma'am. Merle's no longer with us. Daryl gave us those.. his brother. T-Dog: Not sure I'd call him a friend. Patricia: He is today. This doxycycline might have just saved your life. You know what merle was taking it for? Glenn: The clap. Um, venereal disease. That's what Daryl said. Patricia: I'd say Merle Dixon's clap was the best thing to ever happen to you. T-Dog: I'm really trying not to think about that. [The scene changes to the porch of the farm house, Glenn is resting in the chair.] Maggie: Are you praying? Glenn: Why do you sneak up on people so much? Maggie: You're easy to sneak up on. Glenn: I was praying. I was trying to. Maggie: You religious? You pray a lot? Glenn: Actually this was my first try. Maggie: Ever? Wow. Sorry. I didn't mean to wreck your first time. Glenn: God probably got the gist. Maggie: Praying for what? Glenn: My friends. Looks like they could all use a little help right now. You think.. you think God exists? Maggie: I always took it on faith. Lately I've wondered. Everything that's happened, there must have been a lot of praying going on. It seems quite a few went unanswered. Glenn: Thanks. This is really helping. Maggie: Sorry. Go ahead. Really. Glenn: You gonna watch? Maggie: I'll get you a refill instead. I know it's not my business, and feel free to believe in God, but the thing is you've got to make it okay somehow no matter what happens. [The scene changes back to Dale on the highway, he walks closer to the edge trying to see if he can see Daryl and Andrea. A few moments later the scene changes to inside the room where Carl is in the farm house.] Rick: Before it happened we were standing there in the woods and this- deer just crossed right in front of us. I swear it just planted itself there and looked Carl right in the eye. And I looked at Carl looking at that deer, and that deer looking right back at Carl. And that moment just.. Slipped away. It slipped away. That's what he was talking about when he woke up, not about getting sh*t or what happened at the church. He talked about something beautiful, something living. There's still a life for us, a place maybe like this. It isn't all death out there. It can't be. We just have to be strong enough after everything we've seen to still believe that. Why is it better for Carl to live even in this world? He talked about the deer, Lori. He talked about the deer. [The scene changes back to the high school, Shane falls on his bad ankle, making Otis fall beside him. They groan.] Shane: Oh, shit. Otis: Got to get to the street, double back to the truck. Shane: Look, we ain't gonna make it, okay? Otis: Got to try, man. Come on, get up. Shane: You're gonna take these bags and you're gonna go. Otis: I ain't leaving you behind. Okay. Shane: How many rounds you got left? Otis: Four. You? Shane: Five and one in the pipe. [Shane and Otis get up, they both start limping, trying to make it back to the car. Otis sh**t off two rounds as the walkers move closer to the men. The scene changes back to the room Carl is in, everyone is standing over him.] Hershel: He's still losing blood faster than we can replace it. And with the swelling in his abdomen we can't wait any longer or he's just going to slip away. Now I need to know right now if you want me to do this, because I think your boy is out of time. You have to make a choice. Lori: A choice? Rick: A choice. You have to tell me what it is. You have to tell me what it is. Lori: We do it. Hershel: Okay, get the corner of that bed. Let's get the sheets down. Get the I.V. bag on the sheet. Okay, on three. One, two, three. Rick, Lori, you may want to step out. Rick: Oh God. Hershel: You stay here with him. Shane: Carl? Rick: There's still a chance. Hershel: Otis? Shane: No. Hershel: We say nothing to Patricia. Not till after. I need her. Shane: They kept blocking us at every turn. We had nothing left. We were down to 10 rounds. Then he said.. he said he'd cover me and that I should keep going. So that's what I did. I just.. I kept going. But I.. I looked back and he.. I tried. Rick: He wanted to make it right. [The scene changes back to the highway, Carol and Dale are still on the roof. Andrea and Daryl are seen to be coming back to the RV.] Dale: Andrea. Wait. Andrea: What do you want, Dale? Dale: To give you this. I care about you so I made a choice for you.. choices. I know why I did it, but this is not my g*n. And the choices that I made for you were not mine to make. But I can still ask, and this is not to make you guilty or put me ahead of you, but I can still ask, please.. Don't make me regret this. Andrea: I'll take watch. Dale: So do you forgive me for.. do you forgive me? Andrea: I'm trying. [The scene changes to the farm house, Maggie is crying.] Maggie: I've known Otis since I was a kid. He's run this farm since before my mother died. Glenn: Who else? Who'd you lose? You told me I had to make it okay somehow. That's what you've been trying to do, right? Which ones? Maggie: Stepmother. Stepbrother. Hershel: He seems to have s*ab. Rick: Oh God. Lori: I don't have words. Hershel: I don't either. Wish I did. How do I tell Patricia about Otis? Lori: You go to Carl. I'll go with Hershel. [Lori is seen walking into the house, she stops in the walkway that has a clear view into the kitchen where Hershel and Rick are telling Patricia about Otis. She falls to the ground while Rick catches, her cries are heard as she is sitting on the kitchen chair. The scene moves to Lori and Shane in Carl’s room, Lori cries in relief as she knows Carl is going to be ok.] Lori: Stay. Maggie: The bathroom's upstairs. I brought you some clothes. Shane: Thank you. Maggie: They won't fit well. They were Otis's. [Shane takes off his clothes and seems to be having a flashback as he turns on the shower. The scene changes back to the high school before Shane came back to the farm. The scene keeps cutting back and forth from the bathroom to the high school.] Shane: How many rounds you got left? Otis: Four. You? Shane: Five and one in the pipe. Come on. Otis: Down to my last. Shane: Me too. I'm sorry. [Shane sh**t Otis in the leg as the walkers grow closer to them, he tries to grab and rip his bag off. Then sh**t him again.] Shane: Will you give it.. ah! Give it! I'll k*ll you. Let go of me! Let go! Otis: No! [Shane is seen to be limping away as the walkers are now on top of Otis devouring him. The scene cuts back to Shane cutting his hair off, there is a scar from where Otis dug his fingers in.] [The credits and outro music plays.]

{"type": "series", "show": "The Walking Dead", "episode": "02x03 - Save the Last One"}

foreverdreaming

OPENING CREDITS Street They stop the cars in the middle of a road, and get out. Rick looks out for walkers. Rick: Fifteen, you’re on point. Rick goes to the car where Maggie, Hershel, Daryl and T-Dog are looking at a map. T-Dog: We’ve got no place left to go. Maggie: When this herd meets up with this one, we’ll be cut off, we’ll never make it south. Daryl: What do you say, it’s about 150 head? Glenn: That was last week, could be twice that now. Hershel: This river could have delayed them. If we move fast, we might have a sh*t to tear right through this. T-Dog: Yeah, but if this group joins with that one, they could spill out this way. Maggie: So we’re blocked. Rick: Only thing to do is double back at 27th and swing towards Greenville. T-Dog: We picked through that already, it’s like we spent the winter going in circles. Rick: Yeah, I know. I know. At Newnan we’ll push west. Haven’t been through the area. We can’t keep going house to house. He looks at Lori in the car We need to find some place to hold up for a few weeks. T-Dog: Alright. Is it cool if we get to the creek before we head out? It won’t take long. We gotta fill up on water, we can boil it later. Everyone goes back into the cars, except Rick and Hershel. Rick: Knock yourself out. Hershel: She can’t take much more of this moving about. Rick: Well, what else can we do, let her give birth on the run? Hershel puts his hand on Rick’s shoulder. Hershel: You see a way around that? Hershel leaves. Daryl: Hey, while the others wash their panties, let’s go hunt. That owl didn’t exactly h*t the spot. Rick and Daryl leave the others to go hunting. They see a prison, surrounded by walkers. Daryl: That’s a shame. Rick looks at it and at the walkers. Around the prison Rick cuts the wire around the prison with pliers. Glenn and Maggie k*ll a walker. Rick: Watch the backside! Lori: Got it. Everyone crosses the wire, they are now in an alley surrounding the prison. Rick: (To T-Dog) Hurry! Hurry! Glenn and Daryl close the wire up. They run, the walkers approach but are stopped by the wire. Daryl opens a door. The alley stops here. There is a courtyard filled with walkers, and then the prison. Rick looks at it. Rick: It’s perfect. If we can shut that gate, prevent more from filling the yard, we can pick off these walkers. We’ll take the field by tonight. Hershel: So how do we shut the gate? Glenn: I’ll do it. You guys cover me. Maggie: No, it’s a su1c1de run. Glenn: I’m the fastest. Rick: No. You, Maggie and Beth draw as many as you can over there (he points a direction) , pop them through the fence. Daryl, go back to the other tower. Carol, you’ve become a pretty good sh*t, take your time, we don’t have a lot of a*mo to waste. Hershel, you and Carl, take this tower. Carl: Alright. Everybody gets in position. Rick: I’ll run for the gate. Glenn, T-Dog, Maggie and Beth draw the walkers by screaming, and k*ll them by s*ab them in the head through the fence. Glenn, T-Dog, Maggie, Beth: Come on! Hey, come here! Come on! Hey, come here! Come on! Hey come on! Come on! Come on! Hey come on, get over here, come on! Lori opens the door for Rick. He runs towards the prison, sh**ting walkers who get in his way. Glenn: Come on! Come on! Daryl, Carol, Carl and Hershel k*ll the walkers who get close to Rick. Carol almost sh**t Rick by mistake. Carol: Sorry. Beth: Hey, come on, over here! Hey! Hey, hey, hey, come on, over here! The walkers are drawn to Rick, but he manages to shut the gate. Then, he goes in the tower and closes the door, followed by all the walkers. Carol: He did it! Daryl: Light it up! Hershel and Carl keep sh**ting some walkers. So does T-Dog. Rick is at the top of the tower, and he kills walkers too, and laughs. Maggie and Beth sh**t some through the fence. Lori, Carol and Daryl k*ll some too. Rick kills the last one and smiles. They all meet up next to the yard. Carol: Fantastic! Daryl: Nice sh**ting. Carol: Yeah. (to Lori) You okay? Lori: I haven’t felt this good in weeks. They go in the courtyard. Carol: Oh! Oh, oh! We haven’t had this much space since we left the farm! (she laughs) Ah… Glenn puts down a walker. T-Dog laughs. T-Dog: Wooooo! In the yard, around a f*re, at night Everyone except Daryl, Rick and Carol is sitting around a f*re. Glenn eats something. Glenn: Mmmm… Just like mom used to make. Maggie smiles. Lori eats and looks at Rick who’s on watch next to the fence. T-Dog: Tomorrow, we’ll put all the bodies together. We want to keep them away from that water. Now, if we can dig a canal under the fence, we’ll uh have plenty of fresh water. Hershel: The soil is good, we could plant some seed, grow some tomatoes, cucumbers, soybeans. (He looks at Rick) That’s his third time around. If there was any part of it compromised, he’d have found it by now. Beth: (to Lori) This will be a good place to have the baby. Safe. On an overturned car, nearby Daryl, is standing on an overturned vehicle. He helps Carol to climb. She gives him food. Carol: That’s not much. But if I don’t bring you something, you won’t eat at all. Daryl: Guess little Shane over there’s got quite the appetite. Carol: (she laughs) Don’t be mean. Rick’s gotten us a lot further than I thought he would, I’ll give him that. Shane could never have done that. Carol stretches her neck, Daryl eats a fruit. Daryl: What’s wrong? Carol: It’s that r*fle, the kickback. I’m just not used to it. (she massages her neck) Daryl: Hold on. He puts his g*n on the car, licks his finger, and massages Carol’s shoulder, she laughs. Daryl’s a little embarrassed. Daryl: Better get back. Carol: It’s pretty romantic. (she pretends to kiss him) Want to screw around? Daryl: Pff… (they laugh) I’ll go down first. Carol: Even better. Daryl: Stop. In the yard, around a f*re, at night Hershel: Bethy, sing “Paddy Reilly” for me. I haven’t heard that I think, since your mother was alive. Maggie: Daddy, not that one, please. Hershel: How about uh… “Parting Glass”? Beth: No one wants to hear. Carl looks at her, and Maggie smiles. Glenn: Why not? Beth: Okay. Of all the money e'er I had I spent it in good company And all the harm e'er I've ever done alas it was to none but me and all I've done for want of wit to memory now I can't recall so fill to me the parting glass good night and joy be with you all Maggie joins her in singing. Maggie and Beth: oh, all the comrades that e'er I had were sorry for my going away and all the sweethearts that e'er I had (Rick arrives, Carl gives him something to eat, he proposes some to Lori, she takes some reluctantly.) would wish me one more day to stay But since it falls unto my lot that I should rise and you should not I'll gently rise and I'll softly call good night and joy be with you all good night and joy be with you all Hershel: Beautiful. Glenn puts his hand on Maggie’s leg, smiling. Rick: Better all turn in. I’ll take watch over there, we’ve got a big day tomorrow. Glenn: What do you mean? Rick: Look, I know we’re all exhausted. This was a great win. But we gotta push just a little bit more. Most of the walkers are dressed as guards or prisoners, looks like this place fell pretty early. Could mean the supplies may be intact. They have an infirmary, a commissary. Daryl: An armory? Rick: That would be outside the prison itself, but not too far away. Warden’s offices would have info on the location. w*apon, food, medicine, this place could be a gold mine! Hershel: We’re dangerously low on a*mo. We’ll run out before we make a dent. Rick: That’s why we gotta go in there. Hand to hand. After all we’ve been through, we can handle it, I know it. These assholes don’t stand a chance. Rick goes, followed by Lori. A little further Lori: Psst! (Rick turns around) I appreciate everything you’re doing, we all do. But it’s been a death march, and we’re exhausted, can we just enjoy this for a few days? Rick: The baby will be here in a few days, it’s no time for a picnic. Lori: No, but it’s time to get the house in order. Rick: What do you think I’m doing? Lori: Your absolute best. Rick: Don’t patronize me! (he goes, but she follows him) Lori: I’m not! I’m just saying… the baby is about to be here, and we need to talk about… Rick: About what? Lori: Things. We’ve been avoiding… Rick: You know what? You want to talk, talk to Hershel. I’m doing stuff, Lori. Things, isn’t that enough? I’m still here. Lori: You’re right. I’m sorry. Rick leaves, Lori has got tears in her eyes. In an abandoned shop Michonne enters an abandoned shop, a walker hears her and turns around. Michonne kicks him, and slices his head off with her katana. She then does the same to two other walkers. She takes what’s useful, and leaves. Courtyard of the prison Hershel: Ready? Rick opens the door that leads to the courtyard. T-Dog enters and s*ab a walker, Daryl, Rick, Maggie and Glenn enter as well. They all start s*ab walkers in the head. They all scream as they move towards the prison. In the meantime, Hershel, Carl, Carol, Lori and Beth try to draw the walkers to the fence in order to s*ab them through the wire. Hershel, Carl, Carol, Lori and Beth: Come on! Hey, come on! Hey! Hey, over here! Come on! Hey come here! The others keep k*lling walkers until the first courtyard is empty. Rick: Almost there. They walk and they see another courtyard filled with walkers. They hide behind a wall. Two walkers come out of a vehicle, they’re dressed as guards, so they have helmets on. Two others come out from behind the wall, Maggie kicks one. Lori tries to see where the others are. Lori: I can’t see them. (To Carol) Can you see them? Carol: Back there. They keep trying to k*ll the guards but it’s not easy with their helmets on. Daryl kills a walker. Rick walks towards the courtyard filled with walkers in order to close it. He pushes a guard on the floor. Rick: Daryl! Daryl helps him k*ll the walkers on their way, and they manage to close the door of the courtyard. Maggie kills one of the guards by s*ab him in the neck. Glenn and T-Dog look impressed. Maggie: Seen that? Glenn and T-Dog k*ll another guard the same way Maggie did. So does Daryl. Rick kicks a guard, takes off his helmet, and he takes off his skin as well, and s*ab him in the head. Maggie kills another one, the courtyard where they are is now filled with bodies. Rick: Stop. Glenn: Looks secure. Daryl: Nothing will lead to that courtyard over there. (He shows a body) And that’s a civilian. T-Dog: So the interior could be over run by walkers from outside the prison. Glenn: Well, if there’s walls, then, what are we gonna do? We can’t rebuild this whole place. Rick: We can’t risk a blind spot. We have to push in. They all walk towards a door leading to the prison. Daryl opens the door. Cell block They wind up in an empty cell block and start looking out for walkers. Rick goes upstairs, he sees a d*ad guard, and takes his keys. He opens the door leading to all the cells, and they come in. Maggie sees a d*ad prisoner in one of the cells. Daryl goes upstairs, Rick joins him. They hear noises, turn around, and see walkers in the cells. They k*ll the walkers, and throw them downstairs. T-Dog carries a body outside. The others arrive, and take a look at the place. Rick: What do you think? Glenn: Home sweet home. Rick: For the time being. Lori: It’s secure? Rick: (smiling) This cell block is. Hershel: What about the rest of the prison? Rick: In the morning, we’ll find the cafeteria, and the infirmary. Beth: We’ll sleep in the cells? Rick: I found the keys on some guards. Daryl has a set too. Daryl: I ain’t sleeping in no cage. I’ll take the perch. They all go look for cells to settle in. Carol: (To Lori) Come on. Lori: (To Rick) Thank you. Rick leaves without answering. Hershel and Beth’s cell Beth and Carl go in a cell and look around. Beth: Pretty gross. Carl: Yeah, remember the storage units? Beth lies down on a bed. Beth: It’s actually… it’s actually comfortable! Check it out! Hershel arrives. Hershel: (To Carl) You found your cell yet? Carl: Uh, yeah, I was just making sure Beth was safe. See you tomorrow! Beth: See ya! Carl leaves, Hershel and Beth smile. Maggie and Glenn’s cell Maggie and Glenn go in a cell and look around before putting their bags down. Maggie: I’m so exhausted, I don’t even care. They smile and sit down on a bed. Glenn: Let me see you. Glenn looks at Maggie’s arms, and at her back and touches them softly. Maggie: What you doing? Glenn: Checking for scratches. Lori and Carol’s cell Carol and Lori enter a cell upstairs, and put their bags on the floor Upstairs in the cell block Daryl lies down on the floor next to the stairs. Downstairs in the cell block Rick looks at the place and stretches. Maggie and Glenn’s cell Glenn is still checking Maggie’s back for scratches. She’s smiling. Glenn: You’re okay. He kisses gently her shoulder and her neck, she smiles and they hold each other. Lori and Carol’s cell They look at the cell, at each other, and Carol laughs. Downstairs in the cell block Rick sits down on the floor and rests. Abandoned little town filled with walkers Michonne looks around, then enters a place called the Deer Cooler. Inside the Deer Cooler Two walkers without arms are chained up to a table, Michonne opens another door. She’s about to take her sword when she sees Andrea lying on the floor. Michonne: What you doing out here? Andrea: I needed some light. Michonne helps Andrea to sit, an gives her meds and water. Michonne: Take this. Andrea: How is it out there? Michonne: Same. It’s quiet. Andrea: You’re lying. Michonne: We should go in a few days. Michonne looks worried. Andrea: They’re coming, you should go. Michonne: No. Andrea: I’ll hold you back! Go! I can take care of myself! I saved your ass all winter didn’t I? Andrea coughs, and refuses the water that Michonne is offering. Andrea: I won’t have you dying for me! Good soldier won’t leave your post. Screw you. Michonne: We’ll go in a few days. Andrea: If we stay, I’ll die here. Outside the Deer Cooler Michonne, holding the two chained up walkers, opens the door and goes outside, followed by Andrea. Cell block Daryl, T-Dog, Hershel and Rick put on a table all the useful things they found. Daryl: Not bad. Rick: Flashbangs, CS Triple-Chasers. Not sure how they’d work on walkers, but we’ll take them. Daryl picks up a helmet, there’s walker’s skin in it. Daryl: I ain’t wearing this shit. T-Dog picks up gloves in the same condition. T-Dog: We could boil them. Daryl: Ain’t enough firewood in a whole forest, no! Besides, we’ve made it this far without them right? Carol arrives. Carol: Hershel? Rick: Everything alright? Carol: Yeah, nothing to worry about. Hershel follows Carol into her cell. Lori and Carol’s cell Lori: It’s the baby, I think I lost it. Hershel: You haven’t felt it move? Lori: Nothing. And no Braxton-Hicks. At first, I thought it was exhaustion and malnutrition. Hershel: You’re anemic? Lori nods. Lori: If we’re all infected, then so is the baby. So what if it’s stillborn? What if it’s d*ad inside me right now, what if it rips me apart? Hershel: Stop. Don’t let your fear take control of you. Lori: Okay. Let’s say it lives, and I die during childbirth. Hershel: That’s not going to happen. Lori: Why not? How many women died in childbirth before modern medicine? If I come back, what if I att*ck it? Or you, Rick, Carl… If I do, if there is any chance, you put me down immediately, you don’t hesitate! (she starts crying) Me, the baby, if we’re walkers, you don’t hesitate, and you don’t try to save us! Okay?(Hershel nods, Lori cries.) It might have been better if… Hershel: If what? Lori: If I’d never made it off the farm. Hershel: You’re exhausted, frightened. Lori: Yeah, that’s true. My son can’t stand me. And my husband, after what I put him through. Hershel: We’ve all been carrying that weight. All winter. Lori: I tried to talk to him. He… Hershel: He’ll come around. Lori: He hates me. He’s too good a man to say it, but… I know. I put him and Shane at odds, I put that Kn*fe in his hands! Hershel: You know who doesn’t give a shit about that? This baby. Now let’s make sure everything’s alright. Cell block T-Dog, Daryl, Carl, Rick, Hershel, Glenn and Maggie are preparing and arming themselves. Lori watches them. Carl tries a helmet on, but Rick takes it off. Rick: You won’t need that, I need you to stay put. Carl: You’re kidding! Rick: We don’t know what’s in there. If something goes wrong, you could be the last man standing. I need you to handle things here. Carl: Sure. Rick: Great, let’s go. They leave, Carl shuts the door. Corridors in the prison The group advances very carefully in the corridors, there are d*ad bodies on the floor. Glenn traces arrows so they can find their way back. Maggie jumps with fright when she runs into Glenn by accident. Suddenly, they see a lot of walkers as they turn. They all go back running, followed by the walkers. Rick: Go back, go back! Go back, move! This way! Glenn: Come on, come on! Daryl: Come on, this way! Maggie and Glenn are ambushed, as walkers have arrived just in front of them, they can’t go either way. Glenn: Come on, in here! They go in a room to escape the walkers, who can’t open the door. The others are trying to find a way to get out. Rick: Where’s Glenn and Maggie? Hershel: We have to go back! Daryl: But which way? They open a door nearby very carefully and start searching for Glenn and Maggie. Hershel: Maggie? Glenn? Glenn and Maggie get out of the room when the walker are gone. Glenn: Rick? Maggie: Dad? Dad? Hershel: Mag? Mag? Hershel walks, and there is a walker sitting on the floor, it seems d*ad. But Hershel walks near it, and the walker grabs his leg and bites him. Hershel screams, Rick arrives and sh**t the walker. Maggie and Glenn arrive. Maggie: No! No, daddy! No! The walkers, attracted by the noise, start coming, on both sides. Rick and Glenn take Hershel and start running while supporting Hershel. Rick: Daryl! T-Dog: Run! Rick: We’re blocked! T-Dog: Get back, get back! Hershel: God! Oh, god! Oh, god! Rick: Go, go! They see a door, and manage to open it. Room in the prison Daryl: Get in, get in! Hershel: Oh, god! Oh god! Rick and Glenn lie Hershel down on the floor. Rick: Shut the door! Daryl and T-Dog close the door with difficulty. As Hershel continues to scream, Rick tries to save him. He puts his belt on Hershel’s leg to stop the bleeding, T-Dog tries to keep the door closed. Rick: Hold him down! Alright. Only one way to keep him alive! Rick takes an axe, and starts to cut off Hershel’s leg, while Maggie and Glenn hold him down. Hershel passes out from the pain. Rick is disgusted by the sight of the leg, but he continues. And he manages to cut off Hershel’s leg. Rick: Oh… He’s bleeding out. Suddenly, Daryl sees four men stand up behind the wall. Daryl: Duck. Rick ducks; Daryl stands up and point his flashlight and his crossbow at the men. They’re prisoners. Axel: Holy shit.

{"type": "series", "show": "The Walking Dead", "episode": "03x01 - Seed"}

foreverdreaming

In the cafeteria The five prisoners are still standing behind the wall. Daryl, with his crossbow pointed in their direction, walks towards them. Daryl: Who the hell are you? One of the men: Who the hell are you? Rick: He’s bleeding out, we gotta go back! (to Maggie) Come around here. Put pressure on the knee! Hard! Hard! Push, push! Daryl: (to the prisoners) Come on out of here. Slow and steady. The prisoners come out. Thomas (one of the prisoners) : (about Hershel) What happened to him? Daryl: He got bit. Thomas: Bit? Thomas takes his g*n, T-Dog thr*at him with his g*n. Daryl: Whoa, whoa, whoa, easy now. Nobody needs to get hurt. Rick: (to Maggie) I need you to hold this. As hard as you can. Maggie: …Yes.. Glenn goes in the room where the prisoners were before. Glenn: You got medical supplies? Big Tiny (another prisoner) : Wow, where do you think you’re going? The walkers are still trying to come in the room. Thomas: Who the hell are you people anyway? Axel (another one of the prisoners) : Don’t look like no rescue team! Rick tries to carry Hershel, who’s still unconscious. Rick: If a rescue team’s what you’re waiting for, don’t! Glenn takes a table to carry Hershel. Rick: Come on, we gotta go! Now! Come on, I need a hand here! (Glenn and Rick put Hershel on the table) One, two, three, go! Axel: Holy Jesus! Rick: T, the door! Oscar (a prisoner) : Are you crazy? Don’t open that! T-Dog: We got this. T-Dog opens the door, and kills a walker that comes in. The others get out of the room, carrying Hershel on the table. Rick: Daryl! Daryl! Thomas is still pointing his g*n at them, and Daryl his crossbow. T-Dog: Let’s go. They go back to their cell block, leaving Hershel’s leg behind. OPENING CREDITS Corridor in the prison: Rick, T-Dog, Maggie, Glenn and Daryl try to go back to their cell block, pushing Hershel on a table. Rick: This way! Go, go, go, go! Back, back! Daryl! Daryl kills a walker. Daryl: Come on! Go, go, go! In the cafeteria Thomas leaves the room to follow Rick and his group, and the other prisoners follow him. Corridors in the prison Rick: Stop, stop! They turn around and see Thomas and his group following them. Andrew (one of the prisoners) : Follow the flashlight, come on let’s go! Rick: Go, go, go, go, go, go, go! Daryl opens a door, they’re almost at their cell block. Maggie is still putting pressure on Hershel’s knee. Maggie: He’s losing too much blood! Rick (to the others in their cell block): Open the door! It’s Hershel! Carl, come on! Carl opens the door, they come in the cell block. Carol: Oh, my god! Beth: Daddy! Rick: Go, go, go, go! In there! Glenn: Turn it, turn it, turn it! They turn the table around and go in a cell. In one of the cells Rick: Get him on the bed! He got bit. Beth: Oh, my god, he’s gonna turn! Lori: Did you cut it off? Rick: Yeah. Lori: Maybe you got it in time. Rick: Ready? Okay. One, two, three! Carol, Lori, Glenn and Rick carry Hershel to the bed. Lori: Oh, God! Carol looks at Hershel’s wound. Carol: Oh, I need bandages! Glenn: We used everything we had! Carol: Well, get more! Anything! Lori: Carl, go get the towels from the back, right next to my bed! Beth: Is he gonna die? Lori: No, no, no, he’s gonna be okay. Lori holds Beth crying in her arms. Rick: You think you can s*ab him? Carol: I need to keep his leg elevated. Get some pillows! Maggie: He’s already bled through the shits! Glenn: We can burn the wound to clot the blood. I can start a f*re. Beth: Oh, god, no please don’t do this! Carol: No, the shock could k*ll him. It’s not gonna stop the arteries from bleeding. We need to keep it dressed and let it heal on its own. Lori and Carol try to stop the bleeding, and Maggie’s in shock. Lori checks Hershel’s pulse. Cell block Daryl aims at the door with his crossbow, the five prisoners enter the room. Daryl: It’s far enough. Thomas: Cell block C. Cell four, that’s mine, gringo. Let me in. Daryl: Today’s your lucky day, fellas. You’ve been pardoned by the state of Georgia, you’re free to go. homas: What you got going on in there? Daryl: Ain’t none of your concern. Thomas pulls his g*n out of his pocket. Thomas: Don’t be telling me what’s my concern. Big Tiny: Chill, man. Dude’s leg is messed up. Besides, we’re free now! Why are we still in here? Daryl: Man’s got a point. Oscar: Yeah, and I gotta check on my old lady. Thomas: Group of civilians breaking into a prison you’ve got no business being in, got me thinking there ain’t no place for us to go! Daryl: Why don’t you go find out? Axel: Maybe we’ll just be going now. Thomas: Hey, we ain’t leaving! T-Dog arrives with his g*n aimed at Thomas. T-Dog: You ain’t coming here either! Thomas: Hey, this is my house, my rules, I go where I damn well please! In one of the cells Beth: What was that? Rick: Prisoners, survivors. It’s alright, everybody stay put. (to Glenn) Do not leave his side! If he dies, you need to be there for that. Think you can do this? Maggie will be there. Glenn: I got it. Rick: I can bring T in.. Glenn: I got it. Rick: Good. Rick goes talk to the prisoners, Carl closes the door. Cell block Rick’s group is fighting with the prisoners. Daryl: There ain’t nothing for you here, why don’t you go back to your own sandbox? Rick: Hey, hey, hey! Everyone relax, there’s no need for this. Thomas: How many of you in there? Rick: Too many for you to handle. Thomas: You guys rob a bank or something? Why don’t you take him to a hospital? Rick: How long have you been locked in that cafeteria? Thomas: Going on like ten months. Big Tiny: A riot broke out. Never seen anything like it. Axel: Attica on speed, man. Andrew: Ever heard about dudes going cannibal, dying, coming back to life? Crazy. Thomas: One guard looked out for us, locked us up in the cafeteria, told us to sit tight, threw me this piece, said he’d be right back. Big Tiny: And that was 292 days ago. Axel: 94 according to my… Thomas: Shut up! Big Tiny: We were thinking that the army or the national guard should be showing up any day now. Rick: There is no army. Thomas: What do you mean? Rick: There’s no government, no hospitals, no police. It’s all gone. Axel: For real? Rick: Serious. Big Tiny: What about my moms? Oscar: My kids, my old lady! Yo, you got a self-phone or something so we can call our families? Daryl: You don’t get it, do you? Rick: No phones, no computers. As far as we can see, at least half the population’s been wiped out. Probably more. Thomas: Ain’t no way. Rick: See for yourself. In the courtyard of the prison They all go out of the prison and in the courtyard, they see all the d*ad bodies on the floor. Oscar: Damn, the sun feels good. Axel: Good Lord, they’re all d*ad. Thomas: Never thought I’d be so happy to see these fences. Andrew: You never said. How the hell did you get in here in the first place? Daryl: Cut a hole in that fence over there by the guard tower. Andrew: That easy, huh? Daryl: Where there’s a will, there’s a way. Andrew: Easy for you to say. Big Tiny pokes one of the bodies with a stick. Big Tiny: So what is this like a disease? Rick: Yeah, but we’re all infected. Axel: What do you mean, infected? Like AIDS or something? Daryl: If I was to k*ll you, sh**t an arrow in your chest, you come back as one of these things. It’s gonna happen to all of us. Thomas: Ain’t no way this Robin hood cast’s responsible for k*lling all these freaks. Andrew: Must be fifty bodies out here. Thomas: Where do you come from? Rick: Atlanta. Thomas: Where you headed? Rick: For now, nowhere. Thomas: I guess you could take that area down there near the water. Should be comfortable. Rick: We’re using that field for crops. Thomas: We’ll help you move your gear out. Rick: That won’t be necessary. We took out these walkers, this prison is ours. Thomas: Slow down, cowboy. Andrew: You snatched the locks off our doors. Rick: We’ll give you new locks, if that’s how you want it. Thomas: This is our prison. We were here first. Rick: Locked in the broom closet? We took it, set you free, it’s ours, we spilled blood. Thomas: We’re moving back into our cell block. Rick: You’ll have to get your own. Thomas: It is mine. I’ve still got personal artifacts in there, that’s about as mine as it gets! Thomas pulls his g*n out, Daryl thr*at him with his crossbow. Axel: Whoa, whoa, whoa, maybe let’s try to make this work out so everybody wins! Thomas: I don’t see that happening. Rick: Neither do I. Thomas: I ain’t coming back into that cafeteria for one minute. Axel: There are other cell blocks. Daryl: You could leave. Try your luck out on the road. Thomas: If these three pussies can do all this, the least we can do is take out another cell block. Big Tiny: With what? Thomas: Atlanta here will spot us some real w*apon. Won’t you boss? Rick: How stocked is that cafeteria? Must have plenty of food, five guys lasting almost a year? Daryl: It sure as hell don’t look like anybody’s been starving. Thomas: There’s only a little left. Rick: We’ll take half. In exchange, we’ll help clear out a cell block. Andrew: Didn’t you hear him? There’s only a little left! Rick: Bet you’ve got more food than you’ve got choices. You pay, we’ll play. We’ll clear out a block for you, then you keep to it. Thomas: Alright. Rick: Well, let’s be clear. If we see you out here, anywhere near our people, if I so much as even catch a whiff of your scent, I will k*ll you. Thomas: Deal. In one of the cells Lori and Carol are still trying to save Hershel, but the bleeding continues. Lori: It has to stop eventually right? It slowed down quite a bit already. Carol: If we can get him through this… Lori: When we get him through this. Carol: We’ll need crutches. Lori: Right now, we could use some antibiotics. Pain K*llers, some sterile gauze. There’s gotta be an infirmary here. Carol: If there’s one, we’ll find it. You gotta be worried sick about delivering the baby. Lori: Look at me. I look worried? Carol: You look disgusting. They laugh. Lori: So do you. (she looks at Hershel) We’ll get through this. In the cafeteria Thomas leads Rick and his group to the cafeteria to check out how much food is left. Thomas: Pantry’s back here! T-Dog: You never tried to break out of here? Oscar: We tried to take the doors off. But if you make one peep in here, then those freaks will be lined up outside the door growling, trying to get in. Windows got bars on them that he-man couldn’t get through. Axel: Bigger than a 5*8. Big Tiny: You won’t find me complaining. Doing fifteen. My left leg can barely fit on one of those bunks. Oscar: Yeah, they don’t call him Big Tiny for nothing. Thomas: You’re done jerking each other off? I’m getting sick of waiting back here. They go where the food is kept, there’s still a lot. Daryl: That’s what you call a little bit of food? Thomas: Goes fast. Daryl: Mm-hmm. Thomas: You can have a bag of corn, some tuna fish. Rick: We said half. That’s the deal. (he shows a door) What’s in there? Big Tiny: Don’t open that. Rick opens the door, and the smell in the room is so bad he almost vomits. Thomas and his group laugh. Thomas: You wanted to know! Axel: Can’t wait for my own pot to piss in. In the cell block C Maggie gets out of the cell where Hershel is, and goes hug Glenn. Maggie: It was stupid of us to let him go. We cleared this whole cell block, just the five of us. Glenn: Could have happened to anyone. Maggie: What are we gonna do without him? Glenn stops hugging Maggie to look at her. Glenn: Hey, stop it. Alright, stop it. He’s still here. Maggie: What if he does wake up? Then what? I mean, he can’t even walk… All we do is run. Glenn: Hey. This won’t break him. He’s got you, and Beth. Maggie: Am I the only person living in reality here? Glenn: We’ve been through so much already. Maggie: You’re expecting it too. Glenn: I’m not expecting, alright? I’m just preparing. Why don’t you go check on Beth? Go on, I’ll watch him. Maggie leaves. In Beth and Hershel’s cell block Beth is cutting Hershel’s pants. Maggie: What you doing? Beth: He’s gonna have a hard time walking around with one side of his pants dragging on the ground. You know, he could trip or something. Maggie: There’s a good chance he won’t wake up. Beth: Why are you so eager to give up on him? Maggie: I’m not giving up on him. Beth: Sure sounds like it! Maggie: I don’t want you to get your hopes too high. We’re not equipped to deal with something like this. Beth: We have Carol. Maggie: She’s not a doctor. Dad taught her a few things to help with the baby. Beth: She stopped the bleeding. (showing the pants) These will do just fine. Cell Block T-Dog and Rick arrive with some food, Carl opens the door for them. T-Dog: Food’s here! Carl: What you got? T-Dog: Canned beef, canned corn, canned cans! There’s a lot more where this came from! In one of the cells Rick: (to Lori, about Hershel) Any change? Lori: Bleeding is under control and no fever, but his breath is labored, his pulse is way down and he hasn’t opened his eyes yet. Rick: Take my cuffs, put them on him. I’m not taking any chances. Glenn reluctantly takes Rick’s cuffs. Cell Block Rick and Lori get out of the cell while T-Dog and Carl carry the food in one of the cells. Lori: So what about the prisoners? Rick: We’re gonna help them clear out their own cell block and then they’ll be there, and we’ll be here. Lori: Living beside each other. Rick: I’m not giving up this prison. Lori: Do they have g*n? Rick: Only saw one. I don’t know if it’s gonna work… Lori: Well, what are your options? Rick: k*ll ‘em. Lori: If that’s what you think is best. Rick: (laughs nervously) You say this now but… Lori: Look, I know that I’m a shitty wife, and I’m not winning any “mother of the year” awards, but I need you to know that not for one second do I think there’s malice in your heart. You’re not a k*ller, and I know that. I know that so… so do whatever you gotta do to keep this group safe, and do it with a clear conscience. Rick nods and leaves. Cell Block C Rick’s group give the prisoners some w*apon to fight walker. Thomas: (showing one of the w*apon) Why do I need this, when I’ve got this (showing a g*n) ? Daryl: You don’t f*re g*n. Not unless your back’s up against the wall. Noise attracts them, really riles them up. Rick: We’ll go in two by two. Daryl will run point with T, I’ll bring up the rear with you (showing Andrew). Stay tight, hold formation, no matter how close the walkers get. Anyone breaks ranks, we could all go down, anyone runs off, they could get mistaken for a walker, end up with an axe to the head. Daryl: And that’s where you aim. These things only go down with a head sh*t. Thomas: Ain’t gotta tell us how to take out a man. T-Dog: They ain’t men. They’re something else. Rick: Just remember, go for the brain. In one of the cells Glenn handcuffs Hershel to the bed, when Maggie arrives. Maggie: What’s going on? Glenn: We had to. Carol: It’s just for precaution. Maggie: You think maybe I could have a minute alone here? Glenn: Yeah, do you want me to… Maggie: No, just… by myself. Carol: Of course. Glenn: I’ll be right outside. Carol and Glenn leave, Maggie sits down on Hershel’s bed, holds his hand, with tears in her eyes. Maggie: Dad? You don’t have to fight anymore. (she starts crying) If you’re worried about me and Beth, don’t. Don’t worry about us. We’ll take care of each other, we’ll look out, me, Beth and Glenn we’ll look out. Go ahead, dad, it’s okay. Be peaceful. You don’t have to fight! If it’s time to go, it’s okay. I just want to thank you. For everything, thank you. She kisses him on the cheek, and puts her head on his chest. Corridors in the prison The prisoners and Rick’s group are trying to clear out another cell block for the prisoners to live in. They’re walking slowly, in order to see if walkers arrive. Big Tiny: Man, it’s too damn dark in here! Daryl: Gotta hold it up high out in front of you. You’re gonna hear ‘em before you see ‘em. Axel: It’s coming! Daryl: Shhh! Two walkers arrive. Before Daryl, Rick and T-Dog can do anything, the prisoners run towards the walkers, screaming, and start to att*ck them by aiming somewhere else than in the head. Axel: You wanna taste me? Axel s*ab the walker in its stomach. Rick, Daryl and T-Dog look at the prisoners failing to k*ll the walkers. In one of the cells Glenn holds the watch that Hershel gave him in his hand, while looking at Hershel, unconscious. Everyone is in the cell, waiting for Hershel to open his eyes. Carl arrives with a bag. Glenn: Thought you were organizing the food. Carl: (smiling) Even better! Check it out! Carl drops the bag, Carol and Lori open it, it’s full of medical supplies. Lori: Where did you get this? Carl: Found the infirmary. Wasn’t much left, but I cleared it out! Carol and Maggie put new bandages on Hershel’s leg. Lori: You went by yourself? Carl: Yeah. Lori and Maggie look at him, they are shocked. Lori: Are you crazy? Carl: No big deal, I k*lled two walkers! Lori: Alright, (showing Hershel) do you see this? This was with the whole group! Carl: We needed supplies, so I got them! Lori: I appreciate that, but… Carl: Then get off my back! Beth: Carl! She’s your mother, you can’t talk to her like that! Lori: Listen, I think it’s great that you want to help but… Carl leaves the cell running. Corridors in the prison Daryl: It’s gotta be the brain! (he sh**t an arrow into a walker’s head) Not the stomach, not the heart, the brain! Another walker arrives. Axel: I hear you, the brain. Oscar s*ab the walker in the head, but others arrive. Oscar: Like that? Daryl: Uh-uh. Axel and Rick k*ll two walkers. Rick: Stay in tight formation, no more prison riot crap! There begins to be a lot of walkers, everyone fights, except Big Tiny, who’s afraid, and goes behind the wall to hide. But walkers start coming towards him. Rick s*ab one of them, and the other one bites Big Tiny before getting sh*t by Thomas. Rick sees that Big Tiny was bitten. In one of the cells Carol puts new bandages on Hershel’s wound. Carol: These bandages will help prevent infection. Glenn: That’s good. It’s good that he taught you all these stuff. Carol: He didn’t teach me everything. (to Glenn) I need your help with something. Glenn: Now? Carol: Yeah, now. Glenn: What is it? Carol: Not here. Glenn: I can’t leave Hershel. Carol: This is important. Glenn: Carol, I can’t. Lori: Go on, we got it. Glenn: No way. Beth: We’ll be fine. Carol: We’re not gonna be gone long. Glenn: Rick said for me… Maggie: We’re fine. Glenn: …Alright. Glenn leaves reluctantly with Carol. Corridors in the prison Rick looks at Big Tiny’s shoulder which was bitten. Big Tiny: I’m telling you! I don’t feel anything, it’s just a scratch! Rick: I’m sorry man… Big Tiny: I can keep fighting! Andrew: You cut that old guy’s leg off to save his life! Rick: Look at where the bite is! Big Tiny: Guys, I’m fine! Just… I’m fine. Look, look at me, I’m not changing into one of those things. Oscar: Look, man, there’s gotta be something we can do, we could just lock him up! Axel: Quarantine him! Andrew: We gotta do something! Why are you just standing there, we gotta save him! Rick: There’s nothing we can do. Andrew: You son of a bitch! Big Tiny: I’m al… Thomas s*ab Big Tiny in the head, and continues s*ab him with a hammer. His face is full of blood, and he walks away. In the prison’s yard Carol and Glenn are behind the fence, the walkers start coming towards it. Carol shows Glenn a female walker. Carol: That one. Glenn: Everything you’re saying is completely sane, you wanting to use a walker for practice is a sane thing, I mean it. Okay? I’m just, trying to wrap my mind around it. Carol: Lori’s overdue. She had Carl by C-section, she’s probably gonna have to have this one the same way. Hershel had a little bit of experience with this kind of things, but he’s not gonna be able to do it anymore. I need experience! And we have plenty of cadavers. Glenn: Uh, well… Like I said it’s completely sane. Carol: I need to learn how to cut through the abdomen and uterus without cutting the baby. Glenn: Why not? Glenn is about to k*ll the walker, but Carol stops him. Carol: I’ll do it. She s*ab the walker in the head. Glenn then tries to draw the walkers in his direction so Carol can take the body. Glenn: Come on, hey follow me! Come on! That’s right, there we go! Come on! Corridors in the prison Daryl: (to Rick, about Thomas) You see the look on his face? Rick: He makes one move… Daryl: Just give me a signal. Entrance of the cell block They arrive in a room which contains a set of two doors, probably leading to the cell block where the prisoners would live. Daryl gives Thomas the keys. Thomas: I ain’t opening that. Rick: Yes, you are. If you want this cell block, you’re gonna open that door. Just the one, not both of them. Because we need to control this. They hear the walkers behind the door, Thomas picks up the keys. Thomas: You bitches ready? (he tries to open the door, but it won’t open) I got this. He opens both doors, walkers come in. Rick: I said one door! Thomas: Shit happens! Everyone kills the many walkers entering the room. When s*ab a walker, Thomas almost s*ab Rick too, on purpose. He then sends a walker on Rick, who falls on the ground. Daryl: T, mind the gap! Daryl s*ab the walker and saves Rick’s life. They k*lled all the walkers. Thomas: (to Rick, about the walker) He was coming at me, bro! Rick: Yeah… Yeah, I get it. I get it. Shit happens. Ricks s*ab Thomas in the head. Thomas falls down on the floor, d*ad. Andrew: No! Andrew tries to att*ck Rick with a baseball bat, but Rick kicks him, and Daryl thr*at him with his crossbow. Daryl: Easy now. Andrew runs away, Rick follows him, while Daryl and T-Dog stay in the room with Axel and Oscar. Rick: I got him! Daryl: (to Oscar) Hey, get down on your knees! Oscar knees down. Axel: We don’t have no affiliation to what just happened! Tell him, Oscar! Oscar: Stop talking man. Corridors in the prison Rick runs after Andrew in the prison. Andrew opens a door, and winds up outside, in a courtyard full of walkers. Rick doesn’t enter, and closes the door behind Andrew, leaving him in the middle of walkers. Andrew: Let me back in, man! Let me back in! Open up, man, open up! Rick: You better run. Andrew starts running to escape the walkers, Rick leaves and hears Andrew scream behind the door, then there’s silence. In one of the cells Maggie is watching over her father, who suddenly stops breathing. She’s too much in shock to do anything. Beth: What’s happening? Beth tries to reanimate Hershel, but he doesn’t breathe. Beth: (to Maggie) Do something! Somebody help! Somebody! Please, help! Lori arrives running, she doesn’t hear a heartbeat. She tries to reanimate him, while Beth and Maggie are crying. Lori: Come on! Come on! Hershel suddenly grabs her, but Maggie pulls her out. Hershel’s awake, he falls back asleep, but he begins to breathe normally again. Carl has his g*n pointed at Hershel. Entrance of a cell block Axel and Oscar are on their knees. Rick and Daryl are thr*at Oscar with a g*n and a Kn*fe, whereas T-Dog is pointing his g*n at Axel. Oscar: We didn’t have nothing to do with that. Rick: You didn’t know? You knew! Daryl, let’s end this now! Rick points his g*n at Axel’s face, and Daryl puts his Kn*fe on Oscar’s neck. Axel: Sir, please, please listen to me! It was them that was bad! It wasn’t us! Rick: Oh, that’s convenient! Axel: You saw what he did to Tiny! He was my friend! Please! We ain’t like that! I like my pharmaceuticals, but I’m no k*ller! Oscar here, he’s a B and E and he ain’t very good at it neither! We ain’t the violent kind, they were! Please! Please, I swear to god! I wanna live! Rick goes back to thr*at Oscar by pointing his g*n at his head. Rick: What about you? Oscar: I ain’t never pleaded for my life. And I ain’t about to start now. So you do what you gotta do. In the prisoner’s new cell block Rick, Daryl and T-Dog push Axel and Oscar in their new cell block. There are bodies everywhere. Axel: Oh man! I knew these guys, they were good men. Rick: Let’s go. Oscar: So you’re just gonna leave us in here? Man, this is sick! Rick: We’re locking down the cell block. From now on, this part of the prison is yours. Take it or leave it, that was the deal. Daryl: You think this is sick? You don’t wanna know what’s outside. Rick: Consider yourselves the lucky ones. Daryl: Sorry about your friends man. T-Dog: Word of advice : take those bodies outside and burn them. Rick, T-Dog and Daryl leave. In one of the cells Rick arrives in the cell where Hershel’s still sleeping. Carl: Hershel stopped breathing, mom saved him. Glenn: It’s true. Lori: Still no fever. Hershel opens his mouth, Maggie sits next to him. Everybody looks at him. He opens his eyes. Maggie: Daddy? Beth: Daddy! Daddy! She laughs, Lori, Rick and Maggie smile. Rick takes Hershel’s cuffs off. Hershel grabs Rick’s hand. Beth and Maggie hug, and Carl smiles. Lori leaves the cell, followed by Rick, who puts Beth’s hand in Hershel’s. Rick: (to Beth) Come here. In the prison’s yard Carol put the walker’s body on the floor. She uncovers the walker’s belly in order to start practicing the C-section. She takes her Kn*fe and starts the procedure. Someone is watching her behind a tree. On a bridge between two cell blocks Rick joins Lori on the bridge. Rick: We’ll start cleaning tomorrow. Lori: Yeah. Yeah, we’ll give Carl a safe place to… do whatever he does these days. Rick: For the record, I don’t think you’re a bad mother. Lori: Well, wife is a different story. For better or worse, right? I mean, what are we gonna do, hire lawyers, get divorced and split our assets? (they laugh) We have food, Hershel’s alive, today was a good day. Rick: He’d be d*ad if it weren’t for you. Lori: You’re the one that acted fast, if you hadn’t done what you did then… I thought maybe you were coming here to talk about us. Maybe there’s nothing to talk about anymore. Rick puts his hand on Lori’s shoulder, but still keeps his distance. Rick: We’re awful grateful for what you did. He goes back in the cell block, leaving her sad.

{"type": "series", "show": "The Walking Dead", "episode": "03x02 - Sick"}

foreverdreaming

In the sky above a field A helicopter is flying above an empty field. In the helicopter It’s a military helicopter. There are three soldiers in it. One of them is trying to make contact probably with the rest of the servicemen. Soldier 1: Whiskey 1-2. Whiskey 1-2, do you copy? Going 180, close the distance, get back in contact! There’s a problem with the helicopter, it starts to move really fast, there’s turbulence. Pilot: Have faith, guys. I’ve gotten us through a lot more than some light turbulence. Smoke starts to come out of the helicopter. Pilot: Wellsey! Soldier 1: Mayday! Mayday! Mayday! Pilot: Crash positions! I’m putting her down by the road! Soldier 1: Come on… The plane is about to crash. Soldier 1: We’re going in! The plane crashes into some trees in the middle of a forest. On a road nearby Andrea, Michonne and the two walkers are walking on a road near the place where the plane crashed. They see the smoke coming out of the forest after the expl*si*n. They go in that direction. OPENING CREDITS In the forest Andrea and Michonne arrive to the place where the helicopter crashed. Andrea is still sick, and she’s exhausted. She vomits and coughs. Michonne: Don’t push yourself. You’d better sit. Michonne helps Andrea to sit down, and she attaches the walkers to a tree. She gives Andrea a g*n. Michonne: I’ll check it out. Michonne goes to see the helicopter. One of the soldiers is d*ad, cut in half. The pilot is also d*ad. She sees two cars arriving near the helicopter, and she runs to Andrea. Michonne: Someone’s coming! Andrea: Any survivors? Michonne: Two d*ad, not sure about the other. The two cars stop next to the helicopter. Andrea and Michonne are hiding. Men come out of the cars. Governor: Fan out. (to one of his men about to sh**t a walker) Save those rounds for when you need them. One of the men sh**t an arrow in a walker. Andrea coughs. The governor and his men still look around. Martinez (one of the Governor’s men) kills two walkers with a baseball bat. The governor looks inside the helicopter. Governor: Got a breather! Tim! Help me out here. They get the survivor off the helicopter. Michonne sees a walker behind her, she’s about to k*ll it, but it walks right past them, and the Governor’s men see them. One of the governor’s men: Over here, Shumpert! Shumpert sh**t an arrow into the walker’s head. The governor and Tim carry the body away from the helicopter. Governor: Drag him out. Andrea: He’s saving them. We should show ourselves. Michonne: Not yet. The governor looks at the cut in half soldier that Michonne saw. He turned. Michonne and Andrea think that you only turn when you get bit. They see the soldier, and think he’s d*ad. The governor s*ab him in the head. He goes in the helicopter and s*ab the pilot who turned too. Michonne and Andrea don’t understand, because they think he s*ab two d*ad men. Michonne’s walkers start to do a lot of noise, the governor and his men notice them. Michonne runs to them and cuts their heads off. She hides with Andrea. The governor and his men look at their direction, but don’t see them. Governor: Let’s roll out. Michonne and Andrea are relieved. Michonne hears a noise behind her, she pulls her katana out. Merle: Uh-uh-uh! Easy does it, girl. Mine’s a whole lot bigger than yours. (Andrea recognizes Merle’s voice) Now, put down your w*apon. That’s it, nice and easy. And let me see your hands. (they show their hands) Now spin around. That’s it, nice little twirl around. (Andrea turns around, Merle recognizes her) Oh, holy shit. Blondie! You’re looking… good! (Andrea sees that Merle fashioned a Kn*fe onto the stump where his hand used to be, he kills a walker with it). Now, how’s about a big hug for your old pal Merle? (Andrea passes out). In the governor’s car Andrea wakes up in the Governor’s car, she is still dizzy and doesn’t open her eyes fully. Governor: Have Stevens prep the infirmary. Milton (man on the microphone) : How many? Governor: Three. One with multiple fractures and severe burns. Another in and out of consciousness, probably shock and dehydration. Milton: And the third? Governor: She’s fine. Milton: Female? Governor: Two. Found them hiding in the woods. Bringing a homework assignment for you, so open the lab. Milton: Do tell. Governor: At the gates in five minutes, get off the radio. Milton: Well, what is it? Governor: Now, Milton! Andrea looks at the window, she can’t see much but cars, and a man with a g*n guarding a wall. Andrea: Michonne? Michonne: Right here. Andrea looks the other way and sees Merle. Merle: Shhh… He puts her blindfold back on, she doesn’t see anything anymore. In an infirmary A nurse is examining Andrea. Andrea: Why are we being held here? We want to leave! Nurse: You’re not well enough! And it’s dark. You should stay the night. Andrea: Where are we? Nurse: That’s not for me to say. He’ll talk to you. Michonne: Who? Merle enters the room. Merle: Go check on your patient, doc. Bet you was wondering if I was real! Probably hoping I wasn’t. Well, here I am. I guess this old world gets a little small towards the end, huh? Ain’t so many of us left to share the air right? You know, when they found me, I was near bled out, starving, thinking to myself a b*llet might make a good last meal. Take myself a nice long nap after, wait for Daryl on the other side. You seen my brother? Andrea: Not for a long time. Merle: Makes two of us. Andrea: He went back for you, him and Rick. You were already gone. Merle: Yeah well, not all of me! He shows Andrea his cut off hand, and laughs. Andrea: Oh, god… Merle: Yeah… Rick. He’s that prick that cuffed me to the roof top. Andrea: Yeah… he… tried. Daryl saw that. Merle: He’s always been the sweet one, my baby brother. Andrea: He wanted to keep looking, then things happened, people died. A lot of them. Jim, Dale, Jacqui, Sophia… Amy. Merle: Your sister? Andrea: Yes. Merle: She was a good kid. I’m sorry to hear it. Andrea: There were more, a lot more. We had to leave Atlanta, we wound up on a farm. Daryl stepped up, became a valued member of the group. Merle: Now he’s d*ad. Andrea: I don’t know that for sure. We got run off by a herd. Merle: How long ago? Andrea: Seven, eight months. I was separated from the rest of them, got left behind. I know what it feels like. Merle: (showing his “hand”) I doubt that. Andrea: What do you want from us? Merle: There she sits, four walls around her, roof over her head, medicine in her veins, and she wants to know what I want from her. I plucked you and your mute here out of the dirt, blondie. How ‘bout a thank you? Michonne: You had a g*n on us! Merle: (he laughs) Oh, she speaks! Well, who ain’t had a g*n on ‘em in the past year, huh? Show hands, y’all! Anybody? Shumpert? Crowley? Y’all had a g*n on y’all? Hell, I think I’d piss my pants if some stranger came walking up with his mits in his pockets. That’d be the son of a bitch you’d really want to be scared of… Andrea: Thank you. Merle nods, Michonne looks at Andrea in dismay. The governor enters, whispers something into Merle’s ear. Merle: Sure thing. The governor: (to Andrea and Michonne) How you feeling? Michonne: We want our w*apon! The governor: Sure. On your way out of the front gates. Andrea: Show us the way. You’ve kept us locked up in this room. The governor: You see any bars on the windows? You’re being cared for. Andrea: Under guard. The governor: To protect our people, we don’t know you. Andrea: We know enough about you to want out of this place. We watched you drive a Kn*fe into the skulls of two d*ad men, what the hell was that all about? The governor: They turned. Michonne: They weren’t bitten. The governor and Merle share a look. The governor: It doesn’t matter. However we die, we all turn. I put them out of their misery. It’s not easy news to swallow at first but there it is. Now, you’re not prisoners here, you’re guests. But if you wanna leave, as I said, you’re free to do so. But we don’t open the gates past dusk. Draws too much attention. (to Andrea) And you especially, you need a solid night of sleep. You wouldn’t last another day out there in your condition. Have you brought over to my place in the morning, hand over your w*apon, extras ammos, food for the road, some meds, keys to a vehicle if you want one. Send you on your way, no hard feelings. Andrea looks at Michonne, everyone follows the Governor who opens the door. There’s a city. The Governor: Welcome to Woodbury. Andrea looks at the place, she can’t believe what she’s seing. The governor: Come with me. They arrive at the gates, guarded by men. Merle: (to one of the guards) Go relieve Pete at the back gate. I’ll take the spotlight. Andrea: Are you military? The governor: Hardly. A couple of feds but, by and large, we’re self trained. Andrea: That’s heavy a*tillery they’re packing. The governor: Some men arrive with g*n, but most of the w*apon are scavenged over time. Andrea: And the other side of the town, the rest of the streets, they’re all guarded like this? It can’t be. The governor: It can. And it is. Merle: Got us a creeper, Governor. (he shows a g*n) May I? Thank you. (he takes it and aims at the walker) Andrea: Governor? They call you that? The governor: Some nicknames stick whether you want them to or not. Andrea: Buzz is a nickname, Governor’s a title. There’s a difference. Shumpert turns on the spotlight so Merle can see where the walker is. He sh**t it. Merle: Got him. He brought his buddies! (He sh**t two walkers the same way) Clear. The governor: We’ll get them in the morning. Can’t leave ‘em to rot, creates an odor, makes people uneasy. Andrea: What people? There’s nobody here, it’s a ghost town. The governor: This way. Andrea and Michonne follow him to a house. In a room of the house The Governor opens the door. There are beds, a shower, toilets, and other pieces of furniture. The governor: You’ll be more comfortable here. It’s not the four seasons, but there’s a hot shower. Water’s limited, so keep it short. We got food, water, fresh clothes, hope this works. (they take a look at the room, Andrea sits down on the bed) I know you’d feel better with your sword, more secure but you’re safe here. Andrea: We appreciate it. What about the pilot? Will he make it? The governor: Well, doctor Stevens is doing all she can. Now I know you got a lot more questions, but I’ve got work to do. My man will be outside the door if you need anything else. I’ll see you tomorrow. The governor leaves. Michonne and Andrea look at the man outside, Michonne looks angry. In Woodbury, the day after Andrea and Michonne are walking in the town, they’re talking to a woman, one of the citizens. There are a lot of people. Andrea: It’s real. The woman: You two have been out there for a long time. While you were, the governor was doing this. Andrea: How many people do you have here? The woman: 73. Eileen’s about to pop, so her kid will make it 74. Still a work in progress, but Rome wasn’t built in a day. Andrea: That’s a bold comparison. The woman: I think we’ve earned it. Walls haven’t been breached in well over a month, we haven’t suffered a casualty in the inside since early winter. Andrea: How’s that possible? The woman: Our governor’s set a strict curfew. Nobody out after dark. Noise and light kept to the bare minimum, armed guards on the fence and controlling the perimeter to keep the biters away. Andrea: I saw what your patrols do on the way in last night. They had a d*ad one strung up like an ornament. The woman: I won’t make excuses, those men, put their lives at risk every day to protect this town. We’ve lost more than a few friends out there. Everybody copes in their own way. But I’ll raise it with the governor. The woman leaves, Michonne looks suspicious. In the infirmary The governor and the doctor are talking to the injured pilot. Pilot: Things were orderly, the fences held, people were protected, food supplies were lasting. Then one of the men inside got bit, not sure how. He went haywire, panic swept through the camp. Someone opened the gate to escape, others were bitten and infected. These people went crazy. The whole place went to hell in a few hours. My team grabbed whatever supplies and vehicles we could abandoned our post. He coughs, the doctor gives him water, then leaves. The governor: How many of you escaped? Pilot: Maybe it was ten in my group. We got maybe fifty miles from the post, before getting jammed up on the highway. I took the bird up in the air to scout ahead. She took a beating in the riot, but we had no choice. My guys? The governor says no with his head. The governor: Let me go find the rest. Bring them here, where they’ll be safe. They’re out there waiting for you, exposed. Tell me where they are, and I promise, if they’re still alive, I’ll bring ‘em here. In the laboratory The governor gets out of the building to go in the laboratory, where Milton and Merle are as well. The governor: Did you finish your homework? Milton: Unfortunately, the dog’s eating it already. Merle: What the hell you call me? The governor: Hey, where are we? Back in the schoolyard? You want to take his lunch money while you’re at it? Merle: Sorry, governor. The governor: Maybe I’ve wasted my time with you. Maybe you haven’t learned anything at all. Milton: He was trying to smoke in here. The governor: And you expect better. Keep poking the bear, and you’re bound to get mauled, remember that. (to Merle) Tell me about the girl. Merle: Name’s Andrea. Milton: What, you know her? The governor: She’s from that group in Atlanta? Merle: Yeah. Same one left me on the roof, forced me to mutilate myself. The governor: Does she know your brother, Daryl? Merle: Yeah, she did. The governor: Then talk to her again, see what else you can find out. Merle nods and leaves. The governor: Show me something! (Milton shows the Governor the walker whose head Michonne cut off before, the one she was carrying with them) What do you make of it? Milton: Oh, pretty impressive, really. Major kudos for ingenuity. You take away their arms so they can’t grab, you take away their jaws so they can’t bite. Take away their ability to eat, they lose interest in doing so. They’re no longer in att*ck mode, you can be in their presence without thr*at. They become… docile, in a sense. The governor: Lurkers. Milton: Mmh, docile. Or lurkers, you know? Whatever you like… The governor: Why keep ‘em? Milton: Ah, repellent. The governor: Camouflage. (he puts his finger in the walker’s mouth) Walk with the biters, they think you’re a biter. Low profile, that’s smart. (Milton nods) They’re still pretty thin. If they’re not eating, why don’t they starve? Milton: They are… starving, they just do it slower than we do. The governor: Feels like we’re trying to impose logic on a chaos. Milton: That is not a bad thing! The governor: No? Well what does it buy us? More questions, more theories, no answers. Milton: Not yet! If I could talk to those women… The governor: Merle’s handling it. Milton: I don’t want to question your judgment, governor… The governor: Sure you do. That’s why I need ya. That and your tea. Milton: Ah… Well then, (he gives the governor a cup of tea) with all due respect, letting Merle talk to those women unsupervised is a mistake. Now, you’ve always said, every tool kit needs a hammer, but do you really feel a hammer’s the right tool for that job? In the governor’s apartment The governor, Milton, Michonne and Andrea are sitting at a table. The governor has prepared some food and serves it to everyone. The governor: Eight months? Hard to believe you ladies lasted so long out there. Andrea: Because we’re women? The governor: Because you’re alone. Andrea: We had each other. The governor: Two against the word. It’s long odds. Andrea: We manage. The governor: Oh, we’re impressed. Milton: Very. The governor: Survival in the wild is tough sledding. Wake up every morning on the ground, wondering if today’s the day. Will it be quick and final or slow and… well without end? Will someone have the good sense to k*ll my brain, or will I come back as one of them? Milton: Do you think they remember anything, the person they once were? Andrea: I don’t think about it. The governor: Milton believes there might be a trace of the people they were, still trapped inside. Milton: Like an echo. Surely, it must have crossed your mind. Andrea: One time, yeah. Right before it tried to bite me. Milton: And then you k*lled it? I say “it” only because no one here lies to refer to them as “him”… (he looks at Andrea) or “her”… The two you had in chains, who were they? (to Michonne) The way you controlled them, used them to your benefit. You did know them, didn’t you? The governor: Let them eat. Milton: My apologies. Andrea: So what you have here, you expect it to hold? What if a herd comes through? The governor: It’ll hold. Andrea: What’s your secret? The governor: Really big walls. Andrea: (she laughs) That soldier had walls too and we all know how that turned out so… The governor: I guess we do. The real secret is what goes on within these walls. It’s about getting back to who we were, who we really are. They’re just waiting to be saved. And people here have homes, medical care, kids go to school, adults have jobs to do. There’s a sense of purpose, we’re a community. Milton: With a lot of g*n and amm*nit*on. The governor: Never hurts! Andrea: And really big walls… The governor: And men willing to risk everything to defend them. Compromise our safety, destroy our community, I’ll die before I let that happen. There’s another awkward silence. Andrea: Looks like you’re sitting pretty at the end of the world. The governor: Do I strike you as the kind of man who sits pretty? You reap what you sow. We’re the seed, now that winter has passed, it’s time to harvest. Andrea: Time to hope? The governor: We’re going out there, we’re taking back what’s ours! Civilization. We will rise again. Only this time we won’t be eating each other. Andrea looks at him, at Michonne, then raises her cup of tea. Andrea: To civilization, then! Someone knocks at the door, it’s Shumpert. The governor goes to open the door. The governor: Excuse me. Milton: (to Andrea) How’s the tea? Andrea: (nods) Yeah… Shumpert whispers some words into the Governor’s ears, who then closes the door. The governor: Sorry to cut breakfast short but this can’t wait. Michonne: (standing up) We want our w*apon! The governor: Well, we can make these meals to go and your w*apon will be waiting outside but you should take time to relax. Get your strength back. Have a look around. Who knows? You might like what you see. In Woodbury Michonne and Andrea are walking in the town. Michonne: I don’t trust him. Andrea: Why not? Have you ever trusted anybody? Michonne: Yeah! Andrea: Then, give this a day or two, that’s all I’m asking! Some time to get our shit together. Michonne: My shit never stopped being together. Andrea: Didn’t look that way when Milton asked about your walkers. I’m surprised he didn’t get a fork in his eye! Michonne: It was not of his damn business! Andrea: Guess it’s not of mine either. (they stop walking to face each other) Seven months together, all we’ve been through, I still feel like I hardly know you. I’m sorry, it’s the truth, I mean, come on, you know everything about me! And I… Michonne: You know enough! Andrea: Those walkers were with us all winter long, protecting us, and you took them out without any hesitation, that had to… Michonne: It was easier than you think. Michonne leaves. In the soldiers’ camp The pilot told the Governor where his camp was. Now, the governor and his men are going there. There are a lot of soldiers. One of them sees the governor’s car approach. Soldier: Vehicle approaching, corporal. Corporal: Alright, stay alert. The car enters the camp, the soldiers aim at it with their g*n. The governor shakes a white fabric through the window. The governor: Hey, hey, hey, hey! Don’t sh**t! Corporal: Identify yourself! The governor: (getting out of the car) Hey, hey, hey, hey! We found your guy, Wells! Lieutenant Wells? His chopper went down! Corporal: Well, where is he? The governor: We got a little settlement. Now, he’s badly hurt, but he’s alive! And the other guys didn’t make it, I’m sorry. But Wells, he told me I would find you here! He wants me to bring you to him! Soldier: (to another soldier behind him) They found Wells, they got him, they found him! The governor: We sure did! (he pulls his g*n out and sh**t the corporal who was looking behind him and smiling) We found you too! The governor’s men start sh**ting every single soldier, while the Governor watches. They were hiding in the grass next to the camp. The governor takes the g*n of a dying soldier on the floor, and then finishes him off by beating his head with the g*n. As the Governor’s men check that they’re all d*ad, one of them seems shocked by the governor’s v*olence. The governor: Never waste a b*llet, son. Pick up the rest of these w*apon. One of his men: Yes, sir. They see one of the soldier was h*t on the leg, and is trying to escape. The governor sh**t him down. He gives a Kn*fe to the man who was shocked. The governor: Go put a merciful end to that young man’s days. (he goes, and to the others) Let’s see what uncle Sam brought us, shall we? The cars return to Woodbury. All the citizens gather around the Governor, including Andrea. The governor whispers something to Merle and Milton. Michonne stays back. The governor stands on one of the cars. The governor: (to the citizens) We brought in three new people yesterday. One was a helicopter pilot with a National Guard outfit. Even though he's clinging to life, he told us about his convoy on the highway, his men. I promised I'd bring them back here alive. But they didn't have our walls or our fences. Biters got there before we did. Now, the men had trucks, the trucks had w*apon, food, medicines, things we need. Now, we didn't know them, but we'll honor their sacrifice by not taking what we have here for granted. Won't be long before dark, so go on home. Be thankful for what you have. Watch out for each other. (he gets down and goes talk to Andrea) You’re still here. Andrea: Anything I can do? The governor: No, no, nothing tonight. Andrea: Long day? The governor: Haven’t had many short ones, lately. Good night. He starts to walk away. Andrea: So what’s your real name? If it’s not asking too much. The governor: I never tell. Andrea: Never say never. The governor: Never. In the governor’s apartment The governor closes the blinds, has a drink. We see a naked woman in his bed. He looks at a photo, then opens a door with a key, and enters. He sits down on a big chair in the middle of the room. He looks at the wall in front of him. We see a lot of big jars with heads of walkers in them. We can recognize the two walkers Michonne k*lled, as well as the pilot Wells. The governor looks at them.

{"type": "series", "show": "The Walking Dead", "episode": "03x03 - Walk With Me"}

foreverdreaming

In the woods An unidentified person carries a d*ad roe dear through the forest, holding it by its legs. In the courtyard of the prison The walkers in the courtyard are attracted by the smell of the animal. Someone throws rocks at them to get their attention. They turn around, and see the roe dear lying on the floor of the courtyard. They begin to eat it. The dear is cut in half. The other half is hanging in the prison corridor, of which the door is opened. The same unidentified person comes out through another door of the prison, and opens the door leading to the courtyard with an ax. He then puts the dear’s heart on the floor next to the open door, to attract more walkers towards the prison. OPENING CREDITS In the prison’s yard Rick, Carol, Daryl and T-Dog are getting the cars inside the yard. Carol is inside one of them and is driving in. Rick: Alright, let’s get the other cars in. We’ll park ‘em in the west entry of the yard. Daryl: Good. Our vehicles camped out there look like a giant “vacancy” sign! Rick: After that, we need to load up these corpses so we can burn them. T-Dog: It’s gonna be a long day… Carol: Where’s Glenn and Maggie? We could use some help. Daryl: Up in the guard tower. Rick: Guard tower? They were just up there last night! They all look at the top of the guard tower. Daryl: Glenn! Maggie! Glenn comes out of the tower, he has no shirt on and is buttoning his pants. Glenn: Hey! What’s up guys? The others laugh at the sight of Glenn. Daryl: You comin’? Glenn: What? They keep laughing. Daryl: You comin’? Come on, we could use a hand! Glenn: Yeah, we’ll be right down! Carol, Rick and Daryl walk toward the cars, still laughing, but T-Dog sees something. T-Dog: Hey Rick! Rick stops smiling immediately when he sees the two prisoners Axel and Oscar out of their cell block, walking towards them. He goes to see them. Rick: (to the others) Come with me. (to the prisoners) That’s close enough. We had an agreement. Axel: Please, mister. We know that, we made a deal. (Glenn and Maggie arrive) But you gotta understand! We can’t live in that place another minute, you follow me? All the bodies, people we knew! Blood, brains everywhere! There’s ghosts! Daryl: Why don’t you move the bodies out? T-Dog: You should be burning them. Axel: We tried! We did! Oscar: The fence is down on the far side of the prison. Every time we drag a body out, those things just line up. So hump in a body and just running back inside. Axel: Look! We had nothing to do with Thomas and Andrew, nothing! You trying to prove a point? You proved it, bro! We’ll do whatever it takes to be a part of your group, just, please, please, don’t make us live in that place! Rick: Our deal is not negotiable. You either live in your cell block, or you leave. Oscar: (to Axel) I told you this was a waste of time. They ain’t no different than the pricks who sh*t up our boys. You know how many friends’ corpses we had to drag out this week? Just threw ‘em out like… Those were good guys! Good guys who had our backs against the really bad dudes in the joint like Thomas and Andrew. Now, we’ve all made mistakes to get in here, chief, and I’m not gonna pretend to be a saint, but believe me… we paid our due. Enough that we would rather h*t that road, than to go back into that sh*thole. Rick looks at Daryl who says no with his head. At the entrance of the prison Daryl locks the prisoners outside the prison. Axel: Come on, dude! He joins T-Dog, Rick, Carol, Glenn and Maggie who are debating on what to do with the prisoners. Rick: (to T-Dog) Are you serious? You want them living in a cell next to you? They’ll just be waiting for a chance to grab our w*apon, you want to go back to sleeping with one eye open? T-Dog: I never stopped. Bring them into the fold. If we send them off packing, we might as well execute them ourselves. Glenn: I don’t know, Axel seems a little unstable. Carol: After all we’ve been through? We fought so hard for all this, what if they decide to take it? Maggie: It’s just been us for so long… They’re strangers. I don’t… it feels weird all of a sudden to have these other people around. T-Dog: You brought us in. Maggie: Yeah, but you turned up with a sh*t boy in your arms, didn’t give us a choice. Glenn: They can’t even k*ll walkers! Carol: They’re convicts, bottom line! T-Dog: Those two might actually have less blood on their hands than we do. Daryl: I get guys like this. Hell, I grew up with them. They’re degenerates, but they ain’t psychos. I could have been with them just as easy as I’m out here with you guys. T-Dog: So you with me? Daryl: Hell no! Let ‘em take their chances out on the road, just like we did! T-Dog: What I’m saying, Daryl… Rick: When I was a rookie, I arrested this kid. Nineteen years old, wanted for s*ab his girlfriend. The kid blubbered like a baby during the interrogation, during the trial, suckered the jury. He was acquitted due to insufficient evidence, and in 2 weeks later sh*t another girl. We’ve been through too much. Our deal with them stands. In Woodbury Michonne checks out the military vehicle that the Governor and his men took after k*lling all the soldiers. She sees b*llet holes on the truck, traces of blood as well. The blood isn’t dry yet. She climbs off the truck and walks away, when the Governor talks to her. The governor: Pretty amazing. If we had more a*mo, we could cut down a whole pack of biters. I hear you and Andrea are leaving today. That’s a shame, we could use a soldier like you. Michonne: You seem like you’re holding your own. Even the National Guard was overran. The governor: No amout of training can prepare you for the world today. Michonne: You’d think one soldier would drive away, especially against something so slow. The governor: Those men were heroes, not the kind to leave anyone behind. If only we’d gotten here sooner, and you were with us… Michonne: Lots of b*llet holes. You think biters figured out how to use w*apon? The governor: (laughs) They must have encountered bandits weeks ago. It’s ugly out there, but then, you know that better than anyone. Michonne: It’s too bad what happened to Wells. The Governor: It is. Doctor Stevens couldn’t revive him. Merle put a b*llet in his brain. Michonne: And no funeral? The governor: We cremated him, quietly. These people have been through so much, I figured, thank God, at least no one knew him. Michonne: Thank God. In the prison’s yard Rick, Daryl, Glenn, Maggie, T-Dog and Carol are walking in the yard, still trying to organize life in the prison. Rick: Move the cars to the upper yard. Point them facing out. They’ll be out of the way but ready to go if we ever need to bail. (to T-Dog) We’ll give the prisoners a week’s worth of supplies for the road. T-Dog: Might not last a week. Rick: Their choice! T-Dog: Did they really have one? Rick: Hey! Hey, whose blood would you rather have on your hands? Maggie’s, Glenn’s, or theirs? T-Dog: Neither. The others are moving the cars to another place. Daryl takes his motorbike. Axel looks at it. Axel: Twin cylinder, is that a Triumph? Daryl: Don’t even look at it. Axel: Didn't want it bored out? Sounds like it could use a tune-up, I'm pretty handy with the grind! Heads are leakin'! I know my bikes! Daryl leaves. Oscar: (to Axel) Man, will you just stop? Have some balls! Axel: Just sayin’. In the group’s cell block Carl is sitting on the stairs of the cell block, finishing to build crutches for Hershel. Lori and Beth arrive. Beth and Carl exchange a smile. Carl: Alright! In Hershel and Beth’s cell Carl arrives in Hershel’s cell, in which Hershel is lying on the bed. He sits down with difficulty. They show him the crutches, he immediately wants to try them. Lori: Just take your time. Beth: Daddy, don’t push yourself. Hershel: What else am I going to do? (he tries them) I can’t stand looking at the bottom of that bunk. (it’s a little hard for him at first, but Lori, Beth and Carl help him) Whoa! (he manages to walk a little) You know? I can go pretty steady. Lori: That’s a good start. Want to take a rest? Hershel: Rest? Let’s go for a little stroll. At Michonne and Andrea’s place in Woodbury Michonne and Andrea are getting ready to leave Woodbury. Michonne: If we leave soon, we’ll get a few hours on the road before dusk. Andrea: Where are we headin’? Michonne: I'm thinking the coast. We have the water completely on one side, maybe we find a boat. Best thing we can do is find an island. Andrea: And if the coast isn’t safe? Michonne: Keep moving. Andrea: Let’s say the coast is safe. Then what do we do? Grow old, live off the sea… by ourselves? Michonne: I’d rather take my chances out there than stay here. Andrea: Because your gut tells you there’s something off about this place, about the Governor? Michonne: It’s kept us alive this long. Andrea: That’s true. In one of the prison’s courtyard Glenn, after giving the prisoners supplies, lock them up in their old cell block. Glenn: There’s enough food in there to last you guys a week. Cut you loose when we get back. Axel: Thank you, bro. Glenn: Sit tight. (he leaves) Oscar: Thank you bro? Carol gets into one of the cars. Around the prison The group is trying to clean and organize the surroundings of the prison in order to be more comfortable living there. Glenn, Rick and Daryl get out of the prison by a hole in the fence. Glenn sees a walker. Glenn: Should I take her out? Rick: No. If that armory hadn't been picked clean, we could spare the a*mo. Daryl: I’ll start making runs, the sooner, the better. Rick: We’ll throw as much wood as we can in the dog run. Glenn: Won’t the f*re attract walkers? Maybe we should bury ‘em. Rick: We’re behind a fence. It’s worth a one-time risk to get rid of the bodies for good. I don’t want to be planting crops in walker-rotted soil. In the courtyard of the prison While the others are parking the cars, Beth, Carl, and Lori are helping Hershel to take a walk in the courtyard. Lori: (to Hershel, supporting him) I got you here if you need it. Beth: Just take your time on those steps. Hershel: You cleared all those bodies out? It’s startin’ to look like a place we could really live in. Lori: Hey, you watch your step. Last thing we need is you falling. Around the prison Daryl opens the fence for Glenn and Rick who are carrying wood inside. He sees Hershel walking. Daryl: Looky here. They throw the wood on the floor. Glenn: He is one tough son of a bitch. Alright Hershel! Daryl: Shh… Keep your cheers down. He shows the walkers behind the fence. Glenn: Oh, man, can’t we just have one good day? In the courtyard of the prison Hershel is still walking with the help of the three others. Beth: You’re doing great Daddy. Carl: Ready to race, Hershel? Hershel: You give me another day, I’ll take you on. All the others see Hershel walking. Maggie laughs, everybody’s smiling. Rick and Lori even exchange a smile. Suddenly, a herd of walkers appears behind Carl. He hears them and turns around. Carl: Walkers! Look out! Rick and the others see the walkers. Rick runs toward the courtyard but is forced to go around the fences. Rick: No! Lori sh**t a walker, while Hershel tries to run away. Glenn has to close the fence before running to the courtyard too. Rick and Daryl are going as fast as they can. Rick: Get out! Get out of there! No! Lori! Maggie, Carl and T-Dog are also sh**ting as many walkers as they can. Rick: Carl! Come in here! Beth and Hershel are going inside the prison. Beth opens the door. Hershel has trouble walking up the stairs, when a walker arrives behind him. Beth: Daddy, behind you! Hershel pushes the walker with one of his crutches. Glenn is done closing up the fence and starts running as fast as he can towards the courtyard. The entrance of the courtyard is locked and Glenn has the key, Daryl and Rick are blocked. Daryl: The lock! Hurry up, the lock! Rick: Keys! Glenn throws Daryl the keys, who throws them to Rick. At the courtyard, the group is defending themselves against the many walkers. T-Dog: That gate is open! Maggie opens one of the doors leading to the prison. She wants to get a pregnant Lori and her son to safety. Maggie: Lori! Here! Lori closes the door behind her, Maggie and Carl, while Carol and T-Dog are still sh**ting walkers. Rick tries to open a gate. Rick: Come on! Maggie, Lori and Carl are walking inside the prison. They’re about to go in their cell block, when Maggie sees another herd of walkers coming out of there. They go back, Maggie leading the way. Maggie: This way! She closes a door behind them, stopping the walkers from pursuing them. Rick, Daryl and Glenn arrive at the prisoners’ cell block, but they’re just passing by to use the gate leading to the yard. Rick: (to the prisoners) Get out of my way! Rick tries to open the gate. Daryl: Come on! Come on, come on! Back in the courtyard, T-Dog tries to close a gate to stop some walkers from coming in. A walker arrives behind him. Rick manages to open the gate. With Glenn and Daryl, he runs towards the courtyard. Axel: Hey, bro, what about us? The prisoners follow Rick. Back in the courtyard, T-Dog gets bitten. T-Dog: Aaahh! Carol: Noooo! (T-Dog punches the walker with his elbow and sh**t him, but it’s too late. Carol opens the door to the prison) Hurry! In Woodbury Andrea is talking to Merle. She gives him a map. Andrea: I circled where you can find that farm I was staying at with Daryl. Merle: Ah, yeah, you were right off Route 9 right before it becomes Dahlonega Highway. And you're saying that the farm is only about a day's walk from there? Andrea: Give or take. (she points at somewhere on the map) This is where we looked for Sofia, even made it up around here. Merle: How come we never hooked up? Andrea: You called me a whore, and a rugmuncher. Merle: (they both laugh) Got a way with words, don’t I? Andrea: Yeah… Merle: Mmm… Why are you doing this? Andrea: I’d want the same thing if it was my family out there. Merle: Sure you don’t want to come with me? You ain’t curious about the old g*ng? Oh… Oh yeah, you really was cut loose weren’t ya? Andrea: I’m sure they came back! I didn’t stick around to find out. Merle: Ain’t that all a big old pig sack? We got somethin’ in common, blondie. We got left behind by the same people, and saved by another. Andrea: Have you ever thought about leaving this place? Merle: Never had a reason to. Andrea: So the Governor’s a… a good man? Merle: Let me just put it this way. I wasn't in the best of shape when he found me. He should have just kept on going. Yeah, he's a good man. Merle leaves. In the courtyard of the prison Rick, Daryl and Glenn finally arrive in the courtyard. Glenn: Let’s go! Daryl: Pull it! They open the gate and k*ll some walkers. Hershel and Beth are behind another closed gate. Rick: (to Beth) What the hell happened? Beth: The gate was open! Rick: Where’s Lori, Carl, everyone else? Hershel: Maggie led Lori and Carl into C block! Beth: And T was bit! Rick: Anyone else? Beth: I couldn’t tell. Rick: Stay put! Glenn cuts a walker’s head off, while Daryl and Rick sh**t some. Glenn: Those chains didn’t break on their own. Someone took and ax or cutters to ‘em. The two prisoners arrive at the gate. Rick looks at them. Glenn: You think they did it? Rick: Who else? Suddenly, the alarm of the prison goes off, attracting the walkers. Glenn: What’s that? Daryl: Oh! You gotta be kidding me! Lots of walkers arrive near the fences of the prison. Rick: Daryl! Rick starts sh**ting at every speaker there is in the courtyard. Glenn and Daryl do the same. Hershel: k*ll it! Rick: (to Hershel and Beth, Rick is about to sh**t in a speaker near them) Back up! (he runs to the prisoners and points a g*n at them) How the hell can this be happening? Oscar: Whoa, whoa, whoa, it has to be the backup generators! Rick: Well how do you turn those on? Oscar: There's three that's connected to a diesel t*nk, okay? Each one controls a certain part of the prison. The hatch shut them all off when the prison was overrun! Rick: Can someone open up the main gates electronically, with full power? Oscar: Well, I only went in there a few days, I… I guess it might be possible. Rick: Come with us! Glenn: Let’s go! They all start running to the prison. In the corridors of the prison Carol and T-Dog, who was bitten, are trying to avoid the walkers in the corridors. T-Dog has trouble running. T-Dog: There’s a set of double doors that will lead to a corridor that will lead you back to your cell block! Carol: No, you should stop! T-Dog: I’m getting you there! Carol: You should stop! T-Dog: Why? Sit here, and wait to die? (he’s in pain) Aah! Carol: I’ll do what I have to, you’re not becoming one of those things! T-Dog: I can’t ask that! Carol: It’s the pact, remember? T-Dog: This is God’s plan… He’ll take care of me, always has. He’s gonna help me lead you out of these tunnels. Somewhere else in the corridors of the prison Maggie, Carl and Lori are walking in the corridors, when Lori starts to feel pain. She leans on the wall and grunts from the pain. Maggie goes to support her. Maggie: Can you keep up? Lori: Something’s not right… Carl: Are you bit? Lori: No, no, no, no, no. I think the baby’s coming! Carl: Mom? She is in more and more pain, when a herd of walkers arrive on one side. Carl is about to try to sh**t them. Maggie: No, there’s no time! They try to walk as fast as possible, with Maggie supporting Lori, in pain. Walkers arrive on the other side of the corridor. Carl sees a door. Carl: In here! They go in the room, and Carl tries to close the door, which won’t close fully. In a room of the prison Lori is leaning on the wall, while Carl looks out for walkers. The walkers walk in front of the room without entering it. Lori is really in pain. Carl and Maggie look very worried. At the gates of Woodbury The Governor is playing golf on the gate, he’s trying to h*t the walkers. Merle comes up to talk to him. Merle: (he whistles) Pretty good! The Governor: We should visit Augusta. Take only the woman and let them play. It’ll be historic. Merle: And break decades of tradition. The Governor: Absolutely. Merle: I don’t know, some things are worth holding on to. You know, I was thinking of taking Tim and Martinez out on a scouting mission later on this week. The Governor: For what? Merle: Blondie. She said my brother was still alive. The Governor: Eight months ago. You can track with the best of ‘em, it’s like a needle in a haystack. Merle: She told me uh… where I can find that farmhouse they were hold up in. The Governor: (still playing) He could be anywhere. Merle: I know my brother. If he’s out there, I’ll be able to find him. The Governor: What if someone gets hurt during this search, huh? We almost had in the Crowley last time. Merle: Then I’ll go on my own. The Governor: I get what you’re feeling, I really do, but I can’t risk it, I need you here. This whole place would fall apart without you. Merle: This is my brother. The Governor: (he stops playing to look at Merle) I’ll tell you what, huh? You get more concrete information, I’ll go with you myself. Alright? Merle nods, and the Governor goes back to playing. In cell block C Rick, Daryl and Glenn are looking for a way to stop the alarm, while looking for the rest of the group. Rick: Lori! Carl! Daryl, Glenn and the prisoners arrive. Daryl: We just took down five of ‘em in here! Rick: There were four in here, but no sign of Lori or anyone! Glenn: They must have been pushed back into the prison! Rick: Somebody is playing games! We’ll split up and look for the others. Whoever gets to the generators first, shut ‘em down! Daryl: Let’s go! They leave the cell block to go find the generators. In a room of the prison Lori is still in pain. Lori: What are those alarms? Maggie: Don’t worry about that. Carl: What if it attracts them? Maggie: Lori, let’s lay you down. Lori : No, the baby’s coming now. Carl: We have to go back to our cell block to have Hershel help! Maggie: We can’t risk getting caught out there, you’re gonna need to give birth to this baby here. Lori: Great. Lori is panting in pain. Carl: What is she doing, can’t she breathe? Maggie: She’s fine. Come here, let’s get your pants off. Lori: Okay… Okay… Maggie: (while helping Lori getting ready, to Carl) You’re gonna need to help deliver your baby brother or sister, you up for it? Lori: (still panting) Okay… Carl: Do you know how? Maggie: Dad taught me, but trust me, it’s my first time. (she tries to examinate so she can know what to do) I can’t tell… Lori: I gotta push. Maggie: Okay. Lori: I gotta push, I gotta… Lori stands up to be able to push more. She starts pushing, so she’s in a lot of pain. Maggie supports her. Lori: Somebody! I’m okay, I’m okay… I’m okay. Maggie: You're doing great, Lori. Just keep doing it. Your body knows what to do. Let it do all the work. ( Lori yelps ) You're doing great. ( she grunts ) Lori, stop, don’t push, something's wrong! Lori screams, and when Maggie gets her hand out, it’s covered in blood. In the corridors of the prison Carol is supporting T-Dog while trying to escape from the walkers. T-Dog: We’re almost there. Some biters arrive on one side of the corridor, and Carol is out of b*ll*ts to sh**t them. Carol wants to run the other way, but T-Dog doesn’t. Carol: Go back! Oh shit… T-Dog: No! We’re close. He runs towards the walkers, and Carol doesn’t manage to stop him. He screams while pushing the walkers up against the wall behind them. Carol: No! No! T-Dog: Go! Go! Go! Go!(Carol starts running to the closest door.) Go, I’m d*ad! (Carol is hesitating to go, when one of the walkers bites T-Dog in the arm) I’m d*ad! Aahh! (the other one bites him on the neck. Carol runs away, with tears in her eyes.) In the Governor’s apartment Andrea pays a visit to the Governor, before she leaves. The Governor: Sorry to see you leave. This place isn’t for everybody. Andrea: Thank you for everything. The Governor: Where are you planning to go? Andrea: The coast. (they sit down) Michonne thinks it’ll be safer. The Governor: What do you think? (she doesn’t know what to answer) Well… her vigilance has kept you both alive. Andrea: (when he’s about to pour her a glass of liquor) Uh, I haven’t had hard liquor in a while, my tolerance is probably close to nil. The Governor: Well, lucky you. Merle told me you provided information about his brother’s whereabouts. Andrea: What I could. It wasn’t much. The Governor: Well, it’s given him hope. If you ask me, I don’t think he’ll find him. Andrea: But he’s (the Governor says the same words at the same time) gotta look. (they smile.) The Governor: What about you? Think you’ll find what you’re looking for? Andrea: I’m sorry? The Governor: You still got family out there? Andrea: I lost my family. My parents, my… sister. The Governor: I’m sorry. Lost my wife, car accident, eighteen months before all this. Just my daughter and me. Andrea: (raising her empty glass) To better days. He pours her a drink. They drink. Andrea: Aah… This is good. (They laugh) Truth is, I don’t know what I’m looking for. For the longest time, it was all about survival, nothing else mattered. So much so, I don’t know what matters now. The Governor: Pay off the car, work 50 hours a week, get married, buy a house, that was survival for me not long ago. Andrea: A lot’s changed. The Governor: The scenery has, the landscape. But the way we think… Andrea: I better go, but I appreciate the drink. The Governor: Sure. Merle will see you out and he’ll have your w*apon waiting for you. Remember, if it gets tough out there, you’re always welcome here. Andrea: That’s very kind. Thank you, Governor. The Governor: Phillip. Andrea: I thought you never told anybody your name. The Governor: Someone recently told me never to say never so… (they smile) Andrea: Well… take care. The Governor: (opens the door) Goodbye. Andrea leaves, he closes the door. In the corridors of the prison Daryl, Rick and Oscar are running in the corridors, trying to find a the generators, and escape the walkers. They arrive at a door. Rick: Daryl, get the door! They enter in a room, and close the door before the walkers can get in. Rick observes the generators while Daryl and Oscar try to keep the door closed. Rick: How do you shut these down? Daryl: (to Oscar) Go help him! Oscar: I got it! (Oscar runs to look at the generators, and shows something to Rick) Right here. Suddenly, Andrew arrives behind Rick and tries to h*t him with an ax. They fight with the ax for a while, until Rick tries to sh**t him. His g*n falls on the ground. At the door, Daryl is forced to let the door open, because the walkers are pushing it too hard, but he manages to k*ll two of them and close the door again. Oscar throws something at Andrew when he tries to att*ck Rick again. Rick gets up to see Oscar pointing the g*n at him. Andrew gets up behind him. Andrew: (to Oscar) sh**t him! We can take back this prison. What you waiting for, do it! It’s our house, sh**t him! Oscar sh**t Andrew, and gives Rick the g*n. Rick shuts the generators down, the alarm stops. In a room of the prison Maggie lays Lori down on the floor. Carl: Mom? Mom, look at me, look at me, keep your eyes open! Maggie: We have to get you back to Dad. Lori: I won’t make it. Maggie: Lori, with all this blood, I don’t even think you’re fully dilated yet, no amount of pushing is gonna help. Lori: I know what it means, and I’m not losing my baby. You’ve gotta cut me open. Maggie: No, I can’t. Lori: You don’t have a choice. Carl: I’ll go for help. Lori: No! Maggie: Look, Carol’s the one that practiced that, Dad only taught me the steps Lori, if I… Lori: Please… Maggie: I have no anesthetic, no equipment… Lori: Carl has a Kn*fe. Maggie: You won’t survive. Lori: My baby has to survive… Please… (she’s breathing heavily) My baby, for all of us… Please, Maggie! Please. (Maggie’s eyes water, and she says no with her head) Please… At Michonne and Andrea’s place in Woodbury Michonne: I thought we had an agreement. Andrea: We can always leave tomorrow, or the following day. Michonne: The following day? Andrea: We don’t want to walk into trouble that we can’t get out of. Michonne: Tell me about it. Andrea: Michonne, it is just a day or two. Michonne: I heard you… the first time. In a room of the prison Maggie looks at Lori’s stomach. There’s a scar. Lori: See my old C-section scar? Maggie: (starting to cry a bit) I can’t. Lori: You can. You have to. Carl? Baby, I don't want you to be scared, okay? This is what I want. This is right. Now you-- you take care of your daddy for me, all right? And your little brother or sister, you take care… Carl: You don't have to do this. Lori: You're gonna be fine… You are gonna b*at this world, I know you will. You are smart, and you are strong, and you are so brave! And I love you. Carl: (crying) I love you too. Lori: You gotta do what's right, baby. You promise me, you'll always do what's right. It's so easy to do the wrong thing in this world. (she starts crying) So don't… so if it feels wrong, don't do it, all right? If it feels easy don't do it. Don't let the world spoil you. You're so good! (Maggie’s crying too) You're my sweet boy! The best thing I ever did! I love you! I love you. You're my sweet, sweet boy, I love you. Okay… okay, now. Okay. Maggie, when this is over, you're gonna have to… Maggie: Shh… Lori: No, you have to do it, it can’t be Rick. (Maggie breathes to try to calm down, so does Lori) Alright, alright, it’s alright. It’s alright… (Carl gives Maggie his Kn*fe.) Goodnight, love. Maggie: I’m sorry… She cuts Lori open, who starts screaming from the pain. Carl: What are you doing to her? Lori’s head falls on the ground, and her eyes close, she dies. Maggie tries to get the baby out. Maggie: Carl, give me your hands. Carl, please. Keep the site clean, okay? I cut too deep, I’m gonna cut the baby. Okay… Okay, come on, I see it, I see the ears. I’m gonna pull him out. I can’t tell if this is the arm or the leg. Okay, I’m gonna pull the baby out. Carl: Okay. Okay. Maggie pulls the baby out, Carl looks at it while crying. The baby doesn’t move or scream. Maggie tries to tap him to revive him. Finally, it works, the baby starts crying. Carl gives Maggie his vest, to put on the baby. Maggie: We have to go. Carl: Well, we can’t just leave her here, she’ll turn. Maggie tries to get her g*n out while holding the baby. Carl: No... (he shows Maggie his g*n) Maggie: Carl… Carl: She’s my mom. Maggie leaves with the baby, Carl looks at his mom’s body. He remembers a moment he passed with Rick. Flashback: Rick and Carl are sitting on the balcony of the barn at the Greene’s farm. Rick: No more kids stuff. People are gonna die. I’m gonna die, mom. There’s no way you can ever be ready for it. Now: Carl gets on his knees next to Lori, he cries. He hugs her one last time. Maggie opens the door, and sees walkers in the corridor, so she goes back in. She hears a g*n sh*t. In the corridors of the prison Rick, Daryl and Oscar are joined by Glenn and Axel. Together, they walk carefully in the corridors. They see two walkers eating a human body on the floor, it’s T-Dog. Daryl picks up a scarf on the floor, it’s Carol’s. They’re speechless. In the prison’s courtyard They get out of the prison into the courtyard. Rick: Hershel! Hershel: You didn’t find ‘em? Glenn: We thought maybe they came back out here. Hershel: What about T, Carol? Daryl: They didn’t make it. Glenn: That doesn’t mean the others didn’t. We’re going back! Daryl and Glenn, you come with me… They hear the baby cry. Rick turns around. Maggie opens the gate and enters in the courtyard with Carl and the baby. She’s crying, unable to say a word. Rick moves towards them, dropping his w*apon, he starts to understand. Rick: Where is… where is she? He tries to go back in the prison, but Maggie stops him. Maggie: No, Rick, don’t! He starts crying, and looks at Carl. Rick: Oh no…. No! No! Glenn tries to comfort Maggie by holding her, but she keeps crying. Rick: Aahh! No… (he lets himself fall on the ground, and cries).

{"type": "series", "show": "The Walking Dead", "episode": "03x04 - The k*ller Within"}

foreverdreaming

Infected Previously on AMC's The Walking d*ad... They don't spread out anymore. It's manageable, but not for long. We're glad to see you. You gonna stay a little while? Just a little while. Just thought I could get to know you. You did. Talking about knives-- how to use them and how they can save your live. Ma'am, may I be dismissed? I'm not feeling very well. ( coughs ) ( crickets chirping ) ( faint snarling ) ( snarling ) ( squeaking ) ( crunching, squealing ) What are you thinking about? Yesterday. Zack. I can't stop. Yeah, me neither. It used to be we all had acquaintances. Just people moving in and out of your life. No big. See them down the road sometime. Now... a handful of people you know, and that's it. They might as well be the only people left in the world. Am I talking too much? A little, but I like it. ( laughs ) ♪ I got you ♪ ♪ Under my skin... ♪ Mmm... ♪ I got you... ♪ ( laughs ) ♪ Deep in the heart of me... ♪ Okay, now you're just embarrassing me. ♪ So deep in my heart ♪ ♪ That you are really a part of me. ♪ I got you. We should probably try to get some rest. Yeah. Hey, come crash at my place. ( laughs ) Okay, I'll crash at your place, then. You know we start doing that, we're not gonna want to stop. Not just yet. Yeah. Good night. ( tapping ) ( splashing ) ( distant rattling ) ( faint dripping ) ( snarling softly ) ( snarling softly ) ( snarling softly ) ( man coughing ) ( snoring within ) ( gurgling ) - ( snarling softly ) ( theme music playing ) ( squishing ) ( faint ticking ) ( bell ringing ) ( ringing ) ( stops ) Carl? Carl. Come on. ( man coughing ) ( snarling ) ( moaning ) ( snarling ) ( splatters ) ( growls ) ( camera clicks ) ( flash whines, camera whirring ) ( laughs ) Sorry. Changing of the guard? Yeah. Glenn: I'll bring you breakfast after perimeter check. Maggie: Oh, my God. Throw that away. Glenn: Yeah. Not gonna happen. It's mine. ( hatch creaks ) Rick: Careful out there. Michonne: Always am. Any requests? Books? Comics? Some stale M&Ms? You're the one that likes stale M&Ms. Then I'll definitely looking for some. I'll look for some stuff you like, too. Why don't you wear your hat anymore? Carl: It's not a farming hat. See you soon? Pretty soon. ( walkers growling ) ( fence creaking ) Carl: They only took out one cluster yesterday. Probably gonna need more people today. Maybe we could help. Rick: I got other plans involving dirt and cucumbers and keeping people fed. Carl: Well, if you don't want to, maybe I could. Could I? Rick: We have other plans. That's what I should have said. ( pigs grunting ) Rick: Come on in. There we go. Carl: Dad... I'm sorry. I've been trying. Rick: Yeah, I know. And I'm proud. Carl: Dad, when can I have my g*n back? Rick: Worms will give them some extra protein. ( distant g*n echoes ) Stay close. Help! Help! Please, come quick! Cell blocks? I don't know! Rick: Get in the tower with Maggie. Don't argue, go! Walkers in D! What about C? Clear. We locked the gates to the tombs. Hershel's on guard. It ain't a breach. Sasha: We followed the plan. ( whistles ) ( creaks ) ( snarling ) Whoa, boy. Maggie: Hold on! ( grunts ) ( groans ) Come here. ( groans ) ( all snarling ) ( people screaming ) Move! Daryl! I got it. Are you bit? Go. Get out of here. Hold that. Go, go. Are you bit? All right, go. Get up. Get back in the cell. Here. ( Carol yelling ) Come with me. Stay in there. Wait, wait, wait, wait! ( sobbing ) Got you. Go! ( groaning ) Karen! Karen! Are you okay? You all right? Just stay calm. ( groaning ) Carol: I'm gonna have to amputate your arm to stop the infection from spreading. ( snarling ) Rick: Check all of 'em-- every cell. I have to do it now. Carol: I want you to bite this. Are we clear down here? Yeah. We're safe? Yeah, yeah. Man: Up here! ( sobbing ) It's okay. ( growling ) Get down! Thanks. Oh, it's Patrick. Daryl: That's all of 'em. I got it. ( sobbing ) ( panting ) Whew... It's happening, isn't it? Carol: You're in shock, okay? I want you just to lay back. Lizzie and Mica, you care about them. I've seen it. I don't have anybody else. Kids on their own, they don't have a chance. Can you look out for them? Like they're yours? Carol: Yeah. Yeah, I can. I will. ( moans ) Ryan. Carol: You're gonna have to let them say goodbye. Okay? Okay. ( snarling ) ( body thumps ) ( door opens ) No bites. No wounds. I think he just died. Horribly, too. Pleurisy aspiration. Choked to death on his own blood. Caused those trails down his face. Rick: I've seen them before on a walker outside the fences. I saw them on Patrick, too. They're from the internal lung pressure building up-- like if you shake a soda can and pop the top. Only imagine your eyes, ears, nose, and throat are the top. It's a sickness from the walkers? No, these things happened before they were around. Could be pneumococcal. Most likely an aggressive flu strain. Someone locked him in just in time. No, man. Charlie used to sleepwalk. Daryl: Locked himself in. Hell, he was just eating barbecue yesterday. How could somebody die in a day just from a cold? Rick: I had a sick pig, it died quick. Saw a sick boar in the woods. Hershel: Pigs and birds. That's how these things spread in the past. We need to do something about those hogs. Maybe we got lucky. Maybe these two cases are it. Haven't seen anybody be lucky in a long time. Bugs like to run through close quarters. Doesn't get any closer than this. Hershel: All of us in here, we've all been exposed. Mica: Dad? We have to go get Dr. S. Carol: Honey, he's been bit. The doctor won't help. You take care of your sister. Dad. Dad? Dad? No. Come on, it's time. No. Carol: You know what I have to do. What we're always supposed to do. You can wait outside if you want. Okay? We should be the ones. No. I can't. Carol: Lizzie, are you sure? You taught us. I can do it. Okay, well, you have to do it now. Carol: You need to do it right now because you have to do it before he turns. I'm gonna stay right here. You remember what I showed you? ( gasping ) ( Kn*fe clatters ) Lizzie. Lizzie, Lizzie. It's okay. It's okay. Lizzie? Lizzie, it's okay. Breathe. Look at the flowers. Count one, two, three with me. One, two-- Daddy, no! Mica: No, Lizzie, look at the flowers. Count one, two, three with me. One, two, three. Look at the flowers, Lizzie. No! Look at the flowers! ( sobbing ) Hey, you might want to stay back. Carl. Dad, I'm sorry. I didn't see you come out. Rick: It's okay. I'm here. I'm fine. But back away. Carl: I had to use one of the g*n by the gate. I swear I didn't want to. I was coming back. I fell. They came out and helped me. Are you all right? What happened in there? Rick: Patrick got sick last night. It's some kind of flu. It moves fast. We think he died and att*cked the cell block. Look, I know he was your friend and I'm sorry. He was a good kid. We lost a lot of good people. Glenn and your dad are okay, but they were in there. You shouldn't get too close to anyone that might have been exposed, at least for a little while. Carl. All of you. Patrick was fine yesterday, and he died overnight. Two people died that quick? We'll have to separate everyone that's been exposed. That's everyone in that cell block. That's all of us. Maybe more. We know that this sickness can be lethal. We don't know how easily it spreads. Is anyone else showing symptoms that we know of? We can't just wait and see. And there's children. It isn't just the illness. If people die, they become a thr*at. We need a place for them to go. They can't stay in D. We can't risk going in there to clean it up. We can use cell block A. Death row? I'm not sure that's much of an upgrade. Daryl: It's clean. That's an upgrade. Think that'll work for Dr. S? I'll help Caleb get it set up. ( woman coughing ) You okay? Mm-hmm. You sure? You don't sound so good. We're just taking her back to my cell so she can rest. Tyreese, I don't think that's a good idea. Why? What's going on now? We think it's a flu or something. That's how Patrick died. Judith was in that cell block. She's vulnerable. Anyone that may be sick or even exposed should stay away. It k*lled Patrick? Tyreese: She's gonna be okay. Now that we know what Patrick died from we can treat it, right? Don't panic. We're going to figure this out. But we should keep you separated in the meantime. We'll have Caleb take a look at you. I'll see what we have in the way of medications. David from the Decatur group, he's been coughing, too. Glenn: I'll get him. There's some empty clean cells in the tombs, right? Yeah, we'll meet you there. Okay. Come on. Let's get you settled. Have to call another meeting later. All right. Daryl: I'll get to burying the d*ad ones. You wear gloves and a mask. Daryl: Uh-huh. You all right? I'm worried about Lizzie and Mica. They were around Patrick. We all were. Karen and David are gonna be separated till they feel better. You're right. Are you okay? Mm-hmm. Got to be. ( snarling ) Gonna bury your dad. You can visit, bring him flowers. Lizzie, we're gonna have to talk about what happened in there. Your daddy asked me to protect you like you're my own and I will. It's time someone told you the truth. Honey, you're weak. ( sniffles ) You lost your nerve. Carol: You have to trust your gut and you have to act fast every time. That's life and death. He's d*ad. Carol: I know, and I'm sorry. But if you want to live, you have to become strong. He's d*ad. He's d*ad. He was special and now he's d*ad. Why'd they k*ll him? Why'd they k*ll Nick? You're so stupid. Nick? She's messed up. She's not weak. Daryl: Glad you were in there. Rick: Wasn't much use without my g*n. Daryl: No, you were. All this time you've been taking off, you earned it. We wouldn't be here without you. Rick: It was all of us. Daryl: No, it was you first. You gonna help us figure this out? Rick: I screwed up too many times. Those calls you got to make, I start down that road... I almost lost my boy-- who he was. Whatever else this place needs, I'm here for it. Daryl: Like I said, you earned it. But for what it's worth, you see mistakes. I see when the shit hits, you're standing there with a shovel. Rick! Daryl! Oh, shit. ( growling ) The noise drew 'em out and now this part's starting to give. ( snarling ) ( rattling ) ( grunts ) Did you see anything? They just started taking out the d*ad. I don't need to know who yet. I don't want to. I'm glad you came back safe. It was stupid. I was so stupid. When I fell on my ass, they should have just left me out there. Now that's stupid. We care about you. They could have gotten hurt. When you care about people hurt is kind of part of the package. Were there any kids? ( Judith fussing ) Got all these widows and orphans, but what do you call someone who lost a child? You'd think someone would have given that a name. ( Judith crying ) Are you okay? Does she always cry like that? I think she senses people's moods. ( crying continues ) ( snarling ) ( yelps ) Don't. We're supposed to stay away from each other. Are you seeing this? Is someone feeding these things? Heads up. This part of the fence, now! ( creaking ) Hold on, hold on. Hey, hey, hey. It's gonna give! It's gonna give! ( screams ) Everybody back! Come on, back, now. The fence keeps bending in like that, those walkers are coming over it. Rick: Daryl, get the truck. I know what to do. Carl: You know if Patrick was Catholic? Carol: He said he was a practicing atheist. Did you tell your dad what you saw in the library yesterday? Carl: Nope. Carol: Are you going to tell him? I have to keep teaching those kids to survive. You know that. Carl: Did you tell their parents? Carol: No. Carl: Are you gonna tell them? Carol: If I do, maybe after this they'll understand. But maybe they won't. I don't want to take that risk. Carl: That's between you and them. Carol: No. It's between you and me. If you tell your dad, he'll tell them. And like I said, maybe they'll understand, maybe they won't. Carl: I don't want to lie to my dad. Carol: I'm not asking you to lie. I'm asking you not to say anything. Beth: ♪ Lying in my bed at night ♪ ♪ I don't want to grow up ♪ ♪ Nothing ever seems to turn out right ♪ ♪ I don't want to grow up ♪ ♪ How do you live in a world of fog? ♪ ♪ It's always changing things ♪ ♪ Makes me wish that I could be a dog ♪ ♪ Oh, when I see the price you pay ♪ ♪ I don't want to grow up ♪ ♪ Nothing ever seems to go my way ♪ ♪ I don't want to grow up ♪ ♪ Only thing to live for is today-- ♪ Some lullaby. Beth: I just sing her what I like. ( Judith moaning ) Beth: I figure it's better than ashes or cradles falling out of trees. ( crying, sputters ) Beth: Oh, sh**t. Can you hold her a second? Please, I'm covered in carrots. - No. ( Judith crying ) Thanks. ( crying ) ( grunts ) ( gate creaks ) ( walkers snarling ) Ready? ( snarling ) Let's go. ( squealing ) ( squealing ) Go! All right! Hold up! ( squealing ) ( squealing ) All right, go. Go. ( squealing ) ( growling ) Carol: Lizzie, those are walkers. Nick was a walker. You don't feel bad about that walker dying. You feel bad about your dad. You loved him and he's gone. Yeah. ( snarling ) There. ( clatters ) Not this time. ( clatters ) Carl: Think the pigs made them sick? Rick: Or we made the pigs sick. ( clatters ) Rick: I think we should stay away from Judy a while. Just in case. - Okay. I don't like it, but-- We have to protect her. Yes, we do. Carl: Hey, Dad. Rick: Yeah? Carl: Carol's been teaching the kids... ( sighs ) how to use w*apon. How to k*ll. Their parents don't know and she doesn't want you to know. I think you should let her. I know you're gonna say it's not up to you. But it can be. Dad? Rick: Thank you for telling me. Carl: Yeah. Rick: I won't stop her. I won't say anything. ( crackling ) Carl? ( growling ) The End.

{"type": "series", "show": "The Walking Dead", "episode": "04x02 - Infected"}

foreverdreaming

Scully: There was something out there. Skinner: What do you possibly hope to find, Agent Mulder? Mulder: The truth is out there. Cigarette smoking man: Well, you're wrong. I can't tell you how wrong you've always been. Mulder: Scully? "The X-Files" is really back as a result of its fans. We wouldn't be coming back without them. Chris knows the material in his bones. He has a real clear vision of this world. Anderson: There's a particular kind of enthusiasm [cheers and applause] that people have right now for this coming back. Getting back working with Dave and Gillian, it's just like riding a bike. All three of us just fell back into it. I cannot believe I'm here. I can't believe they're here. There is no such thing as an "X-Files" episode that's not challenging. Anderson: I can imagine what that must be like, as a fan, to see these familiar faces and the familiar cross beams of light coming out of the darkness, and to hear that soundtrack. Chris Carter: It was really putting the band back together. The people you're going to see doing these episodes are the people who actually helped to create "the X-Files" series. Glen Morgan: You knew the first and the sixth were mythology episodes, and then the ones in the middle would be stand-alones. That was really whatever Jim and Darin and I came up with. Anderson: I knew that there was a big interest from the fans to see more monster stuff... Whoa! Anderson: But also we have a big fandom based around the mythology. Duchovny: We want to satisfy the mythology of it, and then there's gonna be stand-alones. And those stand-alones, there's gonna be one that's funnier than the others. Mulder: Looks like you gave it a pretty good sh*t. I think I h*t it right in its horn. Scully: It had a horn? Like a unicorn? Horns, like a lizard or something. I like the idea that we're not doing just one story. We're not just doing stand-alone separate episodes. We're doing a combination, because that's what the show always was. Duchovny: Even in a stand-alone episode, there's some story to advance. It's not just about the case. We always tried to have kind of a human element. It was always tied to how it affected Mulder and Scully as human beings, and the same here. Scully: You look exhausted, Mulder. Mulder: It was a long day at the office. But their point, really, is weird stories, but the through line is them confronting their age and confronting their life choices. You ran the X-Files. You were the X-Files. You all but wrote the book. Mulder: I'm afraid that book is closed. Scully: As are the X-Files. The X-Files are a unit at the FBI. "X" stands for the unknown. These are the cases that the FBI either has put away or has left unsolved. Agent Mulder picked up this investigation. His quest came as a result of his belief that his sister had been abducted by aliens. Mulder: I was 12 when it happened. My sister was 8. She just disappeared out of her bed one night. Duchovny: He kind of derails his own stellar young career at the bureau to start chasing after aliens. He starts getting close, and the bureau itself is alerted to this guy who's rattling too many cages. And they assign a younger agent who's a medical doctor, Dana Scully, to debunk Mulder's research. And that's how we begin. Mulder: Do you believe in the existence of extra-terrestrials? Scully: Logically, I would have to say no. But she is ultimately enlisted in Mulder's quest. She becomes as involved in the X-Files as he. Scully: I came to believe in the existence of extra-terrestrial life. And in a conspiracy inside the government to keep their existence secret. Through the course of the show, when it ran for over 200 episodes, the characters grew. Mulder: I failed in every respect. Scully: You only fail if you give up, and I know you. You can't give up. Mulder and Scully, for nine years, had a platonic relationship, even though we suggested they have a child together. We never saw them as a couple until the second movie, where we saw them definitely together. When we come back to them in the new series, we will have been honest to their relationship previously, but we now find them in another state. Seven or eight years have elapsed. Time has been difficult for their relationship. We will investigate what's happened in that time. Scully: It's good for you to get out of that little house every once in a while. Mulder: It certainly was good for you. Anderson: I think that where we find Mulder and Scully perfectly delivers us into a similar dynamic that we've had before, which is huge intimacy and appreciation, and yet frustration. But still love and care and potential. Scully: I'm always happy to see you. Mulder: And I'm always happy to find a reason. Anderson: In the past week, we've had some pretty quintessentially Mulder/Scully scenes. With the distance of time, there's a new appreciation for those and what they mean and bring and the excitement one can imagine the audience will have. Scully: Yeah. Mulder: I'm here. Duchovny: You know, a character doesn't change. Mulder and Scully, they're not going to change profoundly. But they're gonna age, and that is its own kind of profound change. Mulder: I'm a middle-aged man, Scully. Maybe it's time to put away childish things. Duchovny: That was always important, to not play the same exact characters doing the same things, because 22 years have passed. Mulder: I don't do stairs anymore. Scully: Mulder, back in the day, I used to do stairs and in 3-inch heels. Mulder: Back in the day... is now. Anderson: I think it's about tapping into her innocence. I think it wasn't until I kind of got back into that zone that I started to remember her a bit more on a physiological level. Duchovny: It's like an unconscious, intuitive thing to get back into that character that you played for so long. There's a bit of rustiness in the beginning, the first couple days. But after that, I felt pretty Mulder-like, showing up on set. Mulder: Just listen to me. Scully: No, you listen to me, Mulder! Mulder: Scully, you got to trust me on this. [Laughs] Anderson: It's fun. It's fun to be in the middle of it. Carter: One of the reasons that I was excited about coming back is we're dealing with a world that has changed completely from the time when the series ended in 2002, which was not long after the World Trade Center b*mb. The american public had put their faith completely in the government. They didn't want to know about government conspiracies. They wanted to know that their government was protecting them. Morgan: It feels like a lot of the things that Mulder was warning us of kind of came true. Mulder: All of us are tracked on our phones. Morgan: There's drones up ahead. Carter: So much has changed in the world, and "the X-Files" now gets a chance to tell stories from that perspective. O'Malley: 9/!! was a false-flag operation. It was a warm-up to World w*r III. Duchovny: Joel McHale plays Tad O'Malley, who's a conservative talk-show host. Joel McHale: Just knowing that I was gonna be able to be on this series that I am a massive fan of, I couldn't believe my good fortune. And then you meet David Duchovny and Gillian Anderson. They are so cool. And I asked them way too many questions. I think they detected that I was a fan. Especially when I asked them to sign my skin with a tattoo needle. Carter: I cast Joel McHale after seeing his appearance at the White House correspondents' dinner, which was hilarious. And he had exactly the quality I was looking for. McHale: He is very conservative. But his ideas about conspiracy theories match up exactly with Mulder's. It's all part of a conspiracy, dating back to the UFO crash at Roswell in 1947. McHale: My character wants to get a hold of Mulder. And that's how it starts. Tad O'Malley: Join me for a little ride? Mulder: Right here is fine. O'Malley: Low-flying aircraft often employ what they call dirt boxes to record conversations. But I prefer private. Scully: Aircraft employed by whom? Carter: He's really an amalgamation of so many characters on the internet who believe that there is not just an alien conspiracy, but a possible conspiracy of men. O'Malley: What I need is your expertise. Scully: Our expertise for what? O'Malley: I'm rattling some pretty big cages in the intelligence community. McHale: I start a ball rolling that turns into a boulder. Mulder: Where are they? The files. Skinner: I don't know where they are. Mulder: You said no one had been down here ... it hadn't been touched. Skinner: Not for 13 years, since you and Scully left the bureau. Mitch Pileggi: Originally, I think that Skinner was brought in to be somewhat of a roadblock to what Mulder and Scully were doing, and I think after a certain point, he realized that what these two agents were trying to do was to bring the truth out. So Skinner eventually became your champion. He still is a company man, but perhaps not looked on with favor, because he's been an assistant director for almost 25 years now. Perhaps a lot of that has to do with his relationship with Mulder and Scully. Mulder: I need access to the X-Files. Skinner: Can you tell me what this is about? Pileggi: We both kind of just fell right back into Mulder and Skinner right away, and it just seemed natural. And it was fun. Mulder: And you owe me some answers. Skinner: Just calm the hell down, Mulder, before we both get pissed off. Carter: For episode 1, I came up with a young woman who was an alien abductee. We cast a lovely actress named Annet Mahendru. Sveta: You probably don't recognize me. Mulder: No, I think I'd remember. Annet Mahendru: The story's going somewhere really, really fascinating, and something that's very timely right now. Chris is tapping into something very important. Carter: Annet asked me questions about her character which were unexpected, and actually I rewrote the script based on some of her questions. She was thinking about the character in a way that sometimes writers don't. Mahendru: We really get to see who she is. Chris gave me a lot of story to play with ... where she came from, why she's here. Sveta: These are from over 20 years. Scully: How many times have you been abducted, Sveta? Sveta: I lost count. And then there are the screen memories they implant. O'Malley: The memories implanted over actual memories to make abductees forget. Scully: I'm familiar with the syndrome. Mahendru: Scully has also been abducted, and so she's very reluctant to go back there again. Anderson: She's a very good actress, and I enjoyed the depth that she brought to that character. It was nice to play off of her. Sveta: You were a couple before. Scully: I'm sorry, what? Sveta: You and Mr. Mulder. And you have a child together. Carter: Mulder and Scully have a child. We were always very vague about how that happened, since there was no apparent time or place that child could have been conceived. But it becomes a larger question as we move forward. Scully: As parents, we made a difficult sacrifice to keep him safe. It was for his own good to put him up for adoption. I can't help but think of him, Fox. Duchovny: There's guilt, definitely, for giving up a child, even if it was for its own safety. James Wong: The most interesting thing to me is imagining what your life would be if you had raised the child. Scully: He'd be 15 years old now. Mulder: Yeah. Scully: I've missed every single year of his life. And sometimes I hate myself that I didn't have the courage to stand by him. Anderson: It brought up some incredibly interesting, profound subject matters about family, abandonment, life, unanswered questions. It's always fun, as an actor, to do material that is challenging. Scully: I believe that you will find the answers to the biggest mysteries, and I will be there when you do. But my mysteries... I'll never have the answer. [ The Mythology ] Carter: I'm not going to reveal to you exactly how we play with mythology, but we do. Duchovny: I like the twist that Chris put on the mythology. Carter: We've already announced that the cigarette smoking man will be back on the show, and I think we're honest to what happened to him in the series finale, and how he might have survived what looked like certain death. Cigarette smoking man: I have a small problem. William B. Davis: Mulder is my enemy, but he's also someone I want. And of course I won't tell you what happens. Carter: We're playing with this mythology in a whole new way. And the government secreting of evidence about extra-terrestrials might come into play. Mulder: In 1973, the Syndicate was convened to assist in a project to colonize the world by creating alien-human hybrids. The project was ultimately unsuccessful. I doubt they ever stopped trying. Carter: Coming back together, being on the set again, was a powerful thing. But there's so much hard work to be done, because we knew that coming back, the series isn't going to be good if it's only a victory lap. It has to be original and fresh, and as good as it's ever been. So you've got to get down to business. [ First Days Back ] Mahendru: The first day was unbelievable. And I was trying to play it cool. O'Malley: Sveta, this is Dana Scully and Fox Mulder. Sveta: Hi. Mahendru: The little kid inside of me was just like, "aah!" David and Gillian just sat back into Scully and Mulder. It was incredible. Anderson: And on the second day, we were downtown Vancouver, in the city during lunchtime. McHale: So there was 1,000 people watching us. They were very excited that David Duchovny and Gillian Anderson were on the street. Duchovny: Joel McHale was like, "is this what it's like when you guys film outside all the time?" I was like, "no, this is a special occasion." William Powloski: We try to find parts of Vancouver that can play for parts of Washington, D.C., and we create everything else digitally. [ Building a Bigger X-Files ] Carter: I wrote this sequence, this crash which may or may not be Roswell in the first episode, and as is often the case when working with Mark Freeborn and his art department, they came up with a UFO crash that was so much bigger and better than I ever imagined it would be. Mark Freeborn: Chris had specific notions about what the craft should be. It was a pretty good jumping-off point. Shannon Grover: I think everybody wanted to see the 1950s classic flying saucer, the one that created all the fear and all the wonder. Freeborn: We probably made a bigger one than has been made for TV. The saucer was 50 feet in diameter. Life-size. [Laughs] Michael Diner: It took a team of painters and sculptors and visual effects. It was really just all hands on deck. Pre-built everything in the city, break it down into its component parts, ship it all out there and reassemble it. Melissa Stubbs: I remember coming over the rise, and we were in this huge, vast land. And it was this giant flying saucer. I was like, "oh, my god, this is like a huge $100 million movie." I got a shiver, because I knew I'm part of something really special. The crash site is photographed practically. The actual crash itself was achieved through visual effects. And that's a combination of C.G. Animation for the UFO, and then we have particle simulation. We needed to have it blend seamlessly with the practical UFO set. Freeborn: Visual effects took care of the actual flying, but we supplied all of the practical, tangible assets. Three wrecked aircraft, a trench that was about 300 yards long, and practical expl*sives to create the crash landing. There will be an air cannon here. We will be sh**ting up debris. Chris could get his actors right beside the craft, feel the craft as a real entity. You arrive on the set and you see what you could only imagine. I was blown away. [ An Action-Packed Production ] "X-Files" is generally a lot of character-driven action. This has been very action-heavy for "X-Files." And as the scripts come in, you don't have a lot of time to react. We had all sorts of stunt people and stunt driving. There was a lot of k*lling and the ripping apart of people. Scully takes down a guy. Gillian did it all herself. She looked great and slick. I had five or six stunt people fully engulfed on f*re. That takes a lot of timing and fueling and it's dangerous. You have to be methodical about how you do that. We have multiple elements. We have sh*ts with visual effects. Mulder had to be thrown down a hallway. Go! Powloski: Mostly, that was done with a stunt harness rig. Visual effects was just doing sort of wire removal. With all the action that we do, Chris always wants it to be, "I believe that could happen." Even though there's monsters and aliens, it has to make sense and it has to look realistic. [ Fighting the Future ] Duchovny: I find it fun to try to learn things that I don't know. We see a side of Mulder that we haven't seen before. He busts out some fight skills. In "the X-Files," we want to be real. How would Mulder fight? And both Chris and David had the same answer ... whatever he learned at Quantico. So, after the punch ... boom comes in with his left, and just scoop it here and come on on the inside for a hook. The other character in the fight is the room. How the room is in the set design very much dictates how the fight goes. What can we wreck? What can we smash through? What gets destroyed? So we started there and choreographed a fight when we're gonna smash that window. That desk goes. Breakaway tear over here. We broke it up into three to five moves for David. Right, right, left. Oh, right. Yep. So that he could learn that piece and David could do most of it himself. Action! [Grunting] There was two lines in the script. And it ended up taking us nine hours to sh**t it. Who sent you?! If we're lucky, we'll get a hint of what's coming down the pipe, and they can start building or designing towards that, get a little bit of a head start. Especially for makeup effects. It's a fresh k*ll. [Rustling] [ A Creature Feature ] Darin Morgan: I always wanted a more kind of classic, a universal horror, "Creature of the black lagoon" type of thing. But I also need expressions and to do some kind of funny stuff with the monster. So he's got to be more moldable. Bill Terezakis: Rather than go through a 10-hour process of covering someone in head-to-toe, we took the approach of making it all as large prosthetic appliances. We're pre-painting everything in my shop. When we went to set, it was just a matter of assembling the puzzle. Morgan: The special effects makeup guy, you know monsters. That's what they live for ... they turn into a monster. They become their own creation. [Both screams] Did that just happen?! Mulder: A decade of my life in this office in search of the truth. And all the time, I was being led by my nose through a dark alley to a d*ad end, exactly as they planned. Carter: The poster has become so iconic, it's really the heart of the show. Because it doesn't say, "I believe." It says, "I want to believe." It's the struggle to find the truth. You always wonder... that they weren't lying to you, too. [ Their Struggle ] Carter: The title of the first episode is "My struggle." I was reading a terrific series of books by a guy named Knausgaard. The first one, called "My struggle," about his life. And so I thought, why not get into the intimate detail of Mulder's life? Mulder: Scully, listen to me. I've been misled. We've been misled. Carter: But episode 6 will also be called "My struggle," but it will be Scully's struggle, and you'll see the details of her struggle through her own eyes. Scully: You have something to tell me? Monica: Something you need to know. Annabeth Gish: There's a part of me always that comes to the show as a fan and in just a few scenes, I really have a lot of rich material to play. [ The Legacy & the Future ] Carter: When I see the pilot, I'm just reminded about all the hard work that went into it, all the mistakes, all the potential. The nights in the forest with David and Gillian. The pouring rain, the freezing cold. That pilot was a miracle. So for me, I'm reminded when you believe in something and you have a passion for something, it pays off. Scully: I have seen this before, believing that you're onto some truth, that you can save the world! Mulder: This will finally be their undoing. Scully: It will be your undoing, Mulder. Anderson: I like the intimate scenes between Mulder and Scully that bring us closer together, adding to the history of the series. Scully: Listen to me ... as your friend and as a physician, you are on dangerous ground here. Mulder: I know what I'm doing. Duchovny: You could possibly make 12 different shows out of this show. It's a very flexible frame in terms of tonality, in terms of action, in terms of mythology, in terms of subject matter. It can go a lot of different ways. And the fans, I think, like all those ways that it goes. Mulder: Did it look anything like this? The thing I saw only had two eyes, and it was wearing underwear. Scully: Boxers or briefs? Anderson: On the one hand, it feels like no time has passed and that we've just kind of picked up where we've left off. And on the other hand, when we ran the other day... [Laughs] Scully: Oh! Sorry. Guy: A bit of privacy, please! Rhys Darby: If you're gonna do "X-Files," do it to the N-th degree. I think I did that. I've been nude. I've been transformed. I've been sexed. [Laughs] I've done it all. The fans are obviously very excited it's returning. The phenomenon is still there. The truth is still out there. Mulder: Maybe ... Maybe it's a foot. It was definitely an animal. Scully: Animals don't sh**t blood out of their eyeballs. Mulder: Well, tell that to the horned lizard, which sh**t blood out its eyeballs, Scully. Scully: Mulder, the internet is not good for you. Kumail Nanjiani: It's so wonderful to be a small part of this universe that I love so much. Lauren Ambrose: It's really fun to walk into this cultural phenomenon and be a part of it and to see these actors playing these iconic roles again. Scully: This is dangerous. Mulder: When has that ever stopped us before? Robbie Amell: I'm part of television history right now. There are very few, if any, shows that have the same recognition as "the X-Files." Joel McHale: I'm just so glad that when I die, people will say, "he was in 'the X-Files.'" I want to prepare you for what you're about to see, Mr. Mulder. There aren't really any shows quite like it on TV anymore. Mulder: All we can do, Scully, is pull the thread, see what it unravels. Nanjiani: The story that it sets up is really interesting. Mulder: We've never been in more danger. Skinner: Then do something about it. Annet Mahendru: Reopening "the X-Files" is magical. Mulder: Are you ready for this? Scully: I don't know there's a choice. ["The X-Files" theme plays]

{"type": "series", "show": "The X-Files", "episode": "10x00 - The X-Files Re-Opened (preview special)"}

foreverdreaming

Mulder (O.C.): My name is Fox Mulder. Since my childhood, I have been obsessed by a controversial global phenomenon. Since my sister disappeared when I was 12 years old... in what I believe was an alien abduction. My obsession took me to the FBI, where I investigated paranormal science cases through the auspices of a unit known as the X-Files. Through this unit, I could continue my work on the alien phenomenon, and the search for my missing sister. Mulder (O.C.): In 1993, the FBI sought to impugn my work, bringing in a scientist and medical doctor to debunk it... which only deepened my obsession for the better part of a decade, during which time that agent, Dana Scully, had her own faith tested. Mulder (O.C.): In 2002, in a change of direction and policy, the FBI closed the X-Files, and our investigation ceased. But my personal obsession did not. Mulder (O.C.): There are 10,000 sightings each year in North America alone, and so it's been since the dawn of time... Stone Age and even biblical references into our modern age. Mulder (O.C.): In 1947, Kenneth Arnold saw nine unidentified craft out the window of his small plane, followed by the historic crash at Roswell and its legendary cover-up. In 1957, UFOs were spotted over our nation's capital. The Pentagon held press briefings. Multiple witnesses in 1967 at Malmstrom Air Force Base in Montana see fighters scramble but easily outrun by UFOs that climb upwards of 200,000 feet, twice the service ceiling of our highest-flying spy planes. Dr. Edgar Mitchell, the sixth man to walk on the Moon, cites secret studies on extraterrestrial materials and bodies. Secretary of State Cyrus Vance and future president Gerald R. Ford validate the UFO phenomenon in official government memoranda. But now people only laugh, and only Roswell is remembered. Mulder (O.C.): But we must ask ourselves... are they really a hoax? Are we truly alone? Or are we being lied to? [ THE TRUTH IS OUT THERE ] [ HIGH DESERT NORTHWESTERN NEW MEXICO 1947 ] Can I ask how much longer? Two shakes of a lamb's tail, Doc. Step quick. [ OUR LADY OF SORROWS HOSPITAL WASHINGTON, D.C. ] Excuse me. Dr. Scully? Scully: Yes. You have a phone call. Scully: I'm just heading into surgery. That's what I told him, but... but he said it was important. Scully: Who is it? He says his name is Walter Skinner, Assistant Director, FBI. If I was the president, the moment I was inaugurated, my hand would still be hot from touching the Bible, and I would immediately race to... wherever they hold... have the files about Area 51 and UFOs, and I'd go through everything to find out what happened. The aliens won't let it happen. Mulder: My life's become a punch line. What's happening out there, Scully? Scully: A.D. Skinner's looking for you. Mulder: Why doesn't he just call me? Scully: He doesn't know how to reach you, Mulder. I barely know how myself. Mulder: What does he want, Scully? Scully: He wants to know if you've been watching someone called Tad O'Malley on the Net... apparently, he's reached out to us from the FBI. Mulder: Hold on. Mulder (O.C): I'm bringing him up. It comes down to this. It's a mainstream liberal media lying to you about life, liberty and your God-given right to bear firearms. Mulder: Why would I watch this jackass, Scully? 9/!! was a false flag operation. It was a warm-up to World w*r III. Now, hear me on this. It's all part of a conspiracy dating back to the UFO crash at Roswell... Mulder: I thought you were done with UFOs. Mulder (O.C.): The stranglehold they put on your very existence, I believe is how you put it. Scully: I'm just the messenger, Mulder. Scully (O.C.): Apparently this guy is desperate to meet. Mulder: Tell Skinner to set it up. Scully: Seriously? Mulder: And don't pretend I'm going alone. [ DOWNTOWN WASHINGTON, D.C. ] Scully: Uber? Mulder: Hitchhiked. Relax, Scully. I'm kidding. Scully: I just worry about you, Mulder. Mulder: Not to worry, Doc. I'm taking good care of myself. Scully: It's good for you to get out of that little house every once in a while. Mulder: It certainly was good for you. Scully: I'm always happy to see you. Mulder: And I'm always happy to find a reason. Tad: Fox Mulder? Mulder: Yes. Tad: Tad O'Malley. And you must be former agent Dana Scully. Scully: Yes. That's... quite an entrance you make there. Mulder: She sh*t men with less provocation. Tad: Funny. I heard you were funny. Join me for a little ride? Mulder: I'd be happy to talk to you, Mr. O'Malley, but right here is fine. Tad: Allow me my small precautions. Low-flying aircraft often employ what they call "dirtboxes" to record conversations that I prefer private. Scully: Aircraft employed by whom? Tad: I'm afraid I can only speculate. Shall we? Tad: Because... why not? Mulder: None for me, thanks. Scully? Scully: I take it you have enemies. Tad: Well, not always of my choosing, Dana. Mulder: Air's getting a little hot in here. Tad: Oh, I'm sorry... those don't roll down. I had the vehicle bulletproofed. 'Cause you never know when a g*n-toting liberal might go Hinckley. Scully: You'll have to excuse him. How can we help you, Mr. O'Malley? Tad: I'm not some Johnny-come-lately to the UFO phenomenon, Mr. Mulder. Like yourself, I'm a true believer. Mulder: No, I only want to believe. Actual proof has been strangely hard to come by. Tad: You ran the X-Files. You were the X-Files. You all but wrote the book. Mulder: I'm afraid that book is closed. Scully: As are the X-Files. For better or worse, we've... moved on with our lives. Mulder: Yes, we have. For better or for worse. Tad: Well, that's beside the point. Mulder: What is the point, Mr. O'Malley? And how does a man with your conservative credentials count himself a believer in UFOs and 9/!! false flag conspiracies? Tad: I take it you think my message is disingenuous. Mulder: Conspiracy sells... it pays for bulletproof limousines. Tad: You think I do it for the ratings? Mulder: I think you're The O'Reilly Factor with a shopworn little gimmick. Tad: What Bill O'Reilly knows about the truth could fill an eyedropper. Mulder: The Kelly Cahill incident. Tad: Kelly Cahill and her husband were driving home in Victoria, Australia, when a craft appeared overhead. The Cahills lost an hour of time, and Kelly was hospitalized with severe stomach pain after discovering a triangle-shaped mark near her navel. As I said... my interest is real. What I need is your expertise. Scully: Our expertise for what? Tad: I'm rattling some pretty big cages in the intelligence community, but I'm prepared to go all in... prepared to blow open maybe the most evil conspiracy the world has ever known. Scully: That's quite an assertion, Mr. O'Malley. What's stopping you? Tad: If I'm putting my ass out there, I need to know it's hanging by more than just a very slender thread. Mulder: Apparently, he has something to show us. Tad: Something... and someone. [ LOW MOOR, VIRGINIA ] Scully: Aliens couldn't find this place. How did you, Mr. O'Malley? Tad: A man in my position finds himself contacted by interesting strangers. Tad: Everyone, meet Sveta. Sveta, this is Dana Scully and Fox Mulder. Sveta: Hi. Mulder: Hi. Sveta: Hello. Welcome to my home. Tad: Sveta's who suggested I call you. Mulder: And how would you know to do that? Sveta: You probably don't recognize me. Mulder: No, I think I'd remember. Sveta: You interviewed me and my family when I was just a little girl. Right after my first abduction. Please, come in. Sveta: These are from over 20 years. Tad: You both probably recognize the classic scoop-mark scars. Scully: How many times have you been abducted, Sveta? Sveta: I lost count. And then there are the screen memories they implant. Tad: The memories implanted over actual memories to make abductees forget. Scully: I'm familiar with the syndrome. Sveta: They aren't always effective, and things come back to me sometimes. Scully: Like what kind of things? Sveta: Tests they do. Harvesting and stuff. Scully: The aliens made you pregnant? Sveta: A number of times. But they take the babies before they're born. Those are the memories they can't remove. Scully: They removed your unborn fetuses? Sveta: Through here. They do everything through here. Even with the DNA. Tad: Tell them about your DNA, Sveta. Sveta: I have alien DNA. For sure. Scully: Have you had a doctor confirm that? Sveta: No. Mulder: Something you could test? Dana? Oh, Lord. Oh, good Lord. Damn thing could be dangerous. What are you doing?! For God's sake, what have you done? [ OUR LADY OF SORROWS HOSPITAL ] Scully: I'm gonna take a swab. If you'll roll up your sleeve, I'll get some blood, too. Sveta: I know you're doubtful about this. Scully: What makes you say that, Sveta? Sveta: I'm kind of a mind reader. Scully: Is that a personal trait, or is that what happens with alien DNA? Sveta: I can move things. With my mind. Scully: Would you care to demonstrate? Sveta: I can't do it all the time. Scully: So it just... happens whenever. Sveta: I don't know how to control it. You were a couple before. Scully: I'm sorry, what? Sveta: You and Mr. Mulder. You were together, but now you're not. Scully: You reading my mind, Sveta? Sveta: He's been depressed. What you diagnosed as endogenous depression. It's what k*lled your relationship. And you have a child together. Scully: That's enough. Sveta: Do you believe me now? Scully: Why don't you tell me. Sveta: You don't know what it's like to be abducted. To be taken against your will. You don't know. Well... maybe you do. Mulder: I was right about one thing. Conspiracy's made you a very rich man. Tad: One way to look at it. What's made me rich is my pursuit of the truth. Mulder: My pursuit's not been so lucrative. Tad: I feel I need to warn you. When we arrive at our destination, the people we're meeting are very paranoid about the work they do. Tad: I want to prepare you for what you're about to see, Mr. Mulder. Mulder: A Faraday cage? For what? Tad: Do you know what an ARV is? Mulder: That's what you brought me here to see? Tad: This is Garner. He'll walk you through the science. Mulder: That's an alien replica vehicle? Garner: Given your background, I would've thought you'd seen one before. Mulder: No, never. Not like that. Garner: What we're showing you we do at great risk. Colleagues have had labs b*rned to the ground and work destroyed by our own government. Garner: It's running on toroidal energy, so-called zero-point energy. Simply the energy of the universe. Mulder: You're talking about free energy? Garner: That we've had since the '40s. No fuel, no flame, no combustion. A simple electromagnetic field. Technology kept secret for 70 years while the world ran on petroleum. Mulder: Oil companies making trillions. Garner: What I'm gonna show you next is the most unbelievable part. Mulder: Gravity warp drive... but how? Garner: Element 115. Ununpentium. Mulder: Where did you get it? Where are you going with that thing? I'm a man of medicine, sir. It's d*ad. It's done now. Then why even bring me out here? Tad: Testing yourself for alien DNA? Scully: High cholesterol. Tad: Sorry to barge in on you like this. It looks like you've had quite a day. Scully: The usual around here. Tad: Doesn't look so usual to me. Scully: It's a disease called Microtia. Children born without ears. Tad: You operate on these kids? Scully: I assist the surgeons, who are really doing God's work. Giving kids what their biology neglected. Tad: So it's a genetic deformity? Scully: Possibly, but not conclusively. It's most common in Navajo Indians. Tad: What's so striking is how alien it looks. Scully: I assure you that is simply a random coincidence, Mr. O'Malley. Tad: You mean, unrelated to your previous work experience? Scully: Far, far from that experience. Tad: Do you miss it at all? The X-Files? Scully: As a scientist, it was probably some of the most intense and challenging work I've ever done. I've never felt so alive. Tad: You mean working with Mulder? Scully: Possibly one of the most intense and challenging relationships I may ever have. And, quite honestly, the most impossible. Tad: Yeah. I got that impression. Scully: Are you here for a reason? Tad: I needed to know you weren't upset by Mulder putting you on the spot with this Sveta business. Scully: No, it's fine. I'm... used to it. Tad: And I just wanted to see you again. Sveta: How did you get here? Mulder: Hitchhiked. Mulder: There was a moment you were being asked about your abductions... about your pregnancies, how the aliens took your babies... and before you answered, you looked at O'Malley. Why? Sveta: Because it's not exactly the right question. Mulder: I'm sorry, I don't understand. Sveta: Because I don't believe it's aliens who were taking them. Mulder: But you said you were abducted. Sveta: This is difficult. These are very difficult memories, and this is... very dangerous answers. Mulder: Well, everything stays between us, Sveta. Sveta: The things I've experienced... they've affected my entire life. They've made it impossible to have anything like a normal existence. Mulder: What are you afraid of? Sveta: That it only gets worse. Mulder: Sveta, who took your babies? Sveta: Men. Mulder: Men? Humans? You saw their faces? Sveta: Yes. They took me aboard their ships. And... I was afraid they would k*ll me if I ever told anyone the truth. Mulder: It's why you didn't see a doctor. Sveta: Who can I trust? They would call me a liar when they're the liars. Mulder: You can trust me. Sveta: You worked for the government. Mulder: Technically, but not for years. Sveta: But you always wondered. If they weren't lying to you, too. [ MULDER TAP TO ANSWER ] Scully: Mulder. Mulder: Scully, listen to me. I've been misled. We've been misled. Scully: Mulder, hold on a second. Mulder: No, just-just listen to what I'm saying. What if everything we've been led to believe in is a lie? Mulder (O.C.): What if there is no alien conspiracy? Scully: Can we pull over a second? I've got to get out. Scully: Mulder, what are you talking about? Mulder: I'm talking about everything we've been led to believe. Mulder (O.C.): Our work, the X-files, everything. Scully: Can we talk about this soon? Mulder: I know why O'Malley came to us, Scully. And that girl is the key, Scully. Sveta is the key to everything. Scully: Couldn't you be jumping to conclusions? Mulder: I can't do this over the phone right now, Scully. I got to go. Scully: Mulder, where are you going? Mulder? Talk to me. [ FBI HEADQUARTERS WASHINGTON, D.C ] Mulder: Where are they... the files? Skinner: I don't know where they are. Mulder: You said no one had been down here, it hadn't been touched. Skinner: Not for 14 years since you and Scully left the Bureau. Mulder: I need access to the X-Files. Skinner: Can you tell me what this is about? Mulder: It's about controlling the past to control the future. It's about fiction masquerading as fact. Now, you owe me some answers, Skinner. Skinner: You just calm the hell down, Mulder, before we both get pissed off. I don't take orders from you. Mulder: No. Who do you take orders from? Skinner: Why do you think I called you? Because I was looking out for you, like I've always looked out for you. Mulder: A decade of my life in this office. And all the time, I was being led by my nose through a dark alley to a d*ad end, exactly as they planned. Skinner: You're blaming me for that? Mulder: No, I'm blaming myself. I'm sure they lied to you, too. Skinner: There hasn't been a day since you left that I haven't reached for my phone to call you, Mulder, wishing that you were still down here. Since 9/!!, this country has taken a big turn in a very strange direction. Mulder: How they police us and spy on us, tell us that makes us safer? We've never been in more danger. Skinner: Then do something about it, Mulder. Mulder: Now you've got my number. So if you own a registered firearm, you will actually be targeted as an enemy by your own government in the likely imposition of martial law. But I'd like to end the show on a brighter note by pointing out the heroic work being done by a friend of mine. Literally putting kids back together who are born without something we all take for granted. At Our Lady of Sorrows Hospital in Washington, D.C., Dr. Dana Scully, working to mend the lives of unfortunate children. Dr. Scully? I've got your test results back. Scully: Thank you. Nurse? I need you to do something. Of course. Scully: I need these samples retested. Was there a problem with them? Dr. Scully? We need you in here. Scully: I just want them retested, please. Thank you. Oh. And I'm expecting a call... well, I'm hoping for a call... from somebody named Mulder. [ NATIONAL MALL WASHINGTON, D.C. ] Is the hour absolutely necessary? Mulder: It was important that I see you. We made an agreement about our meeting in unsecured environments. Mulder: I took the usual precautions. I'm assuming you did, too. I've been standing here for over an hour. I haven't seen a soul. I called you because you said, if I ever put the pieces together, that you would confirm. And have you put them together? Mulder: I've met someone, I've seen something. 'Cause you weren't even close. Warring aliens lighting each other on f*re and other such nonsense. Mulder: I was being cleverly manipulated. And what brings this new clarity? Mulder: I saw an ARV running on free energy. I saw it disappear. That's what they all seem to do. Mulder: But the technology exists. It's existed since Roswell. And it's been in use, being used on humans in human testing, the taking of men, women and children that's misreported as alien abductions. So you believe you have the how. Mulder: Yes. And I think I know the why. The why is more complicated than you may ever know, Mr. Mulder. Mulder: 60 years ago, we were warned about the military industrial complex gathering too much power. This is old news. Mulder: The countdown has g*n. It began in 2012, but no one knew. Tell me something new. Mulder: Alien technology being used against us, not by aliens, not with aliens, but by a venal conspiracy of men against humanity. You're wasting my time. Mulder: What are the tests for? You tell me, Mr. Mulder. Mulder: Ten years ago, you came to me saying you couldn't take your secrets to your grave, that you couldn't live with it. I'm a man of medicine. I didn't know how my work would be used. The lies are so great, Mr. Mulder. The truth must be unassailable. Mulder: So let me tell the world. They'll make a mockery of us. Mulder: Then let me take that b*llet. And these men are capable of that. You're nearly there. You're close. Roswell. That was a smokescreen. Mulder: So I've been told. Mulder: What are you doing here, Scully? Scully: Mulder, you hang up on me, I don't hear from you all day, you're on some jag about the X-Files. Mulder: I figured it out. It all makes complete sense. All these years, we've been deceived. Scully: I don't know what you mean. Mulder: I... I couldn't call you because it's gonna sound crazy. Scully: That's why I'm here, Mulder, as somebody who cares about you. As somebody who's worried about you. Mulder: All right, just listen to me, all right? Scully: No, you listen to me, Mulder. Mulder: Scully, you got to trust me on this. Scully: I have seen this before. You're on f*re, believing that you're onto some truth, that you can save the world. Mulder: This will finally be their undoing. Scully: It'll be your undoing, Mulder. Mulder: This is my life. This is everything. This is everything I believe in. Scully: You want to believe. You so badly want to believe. Mulder: I do believe. I believe that Tad O'Malley is right. This is not an alien conspiracy. It's a conspiracy of men. Scully: Tad O'Malley is a charming man full of charming BS, Mulder. Mulder: No, he woke me up. Scully: How do you know he's not playing you? He's a player. Mulder: He's been a godsend. Scully: What are you talking about? Mulder: The truth is out there, Scully, and Tad O'Malley's gonna broadcast it. Scully: Mulder... listen to me. As your friend and as a physician, you are on dangerous ground here. Mulder: I know what I'm doing. Sveta: Is everything okay? Mulder: Yeah, everything is okay. She's the key to everything. Sveta... is the key. Scully: You know what you're doing. Mulder: Scully... Tad: Hey. Where you going? You're not leaving, are you? Scully: I just need to get out of here. Tad: Stay. It's important. Scully: Don't tell me what's important, please. I just need to leave. Tad: Wasn't she invited? Mulder: I would have invited you, Scully, but I didn't think you'd come. Scully: I shouldn't have come. Tad: Then what are you doing here? Scully: Mulder, what are you up to? Mulder: The tentacles reach far back into the last century, but it wasn't until victories in Europe and Japan and the onset of the Cold w*r that political and economic conditions became perfect for actual execution. A conspiracy bigger and more secret than the Manhattan Project. Tad: More odious and far-reaching. Mulder: No sooner had we defeated Germany than a new thr*at started appearing in skies over America, drawn to Earth by the latest thr*at to extinction: the H-b*mb. expl*si*n acting as transducers, drawing alien life forms through wormholes in spaceships using electrogravitic propulsion. Advanced extraterrestrial species visiting us, concerned for mankind and the thr*at of our self-destruction, forestalling our annihilation through their own self-sacrifice. Mulder: The crashes at Roswell. More importantly, places like Aztec. World leaders signed secret memos directing scientific studies of alien technology and biochemistry. Classified studies were done at military installations S4, Groom Lake, Wright-Patterson and Dulce, extracting alien tissue. Mulder: Tests were done on unsuspecting human subjects in elaborately staged abductions, in craft using alien technology recovered from the downed saucers... including human hybridization through gene editing and forced implantation of alien embryos. Sveta: Why do such a thing and lie about it... our own government? Mulder: Your own government lies as a matter of course, as a matter of policy... the Tuskegee experiments on black men in the '30s; Henrietta Lacks. Sveta: What are they trying to do? Mulder: That's the missing piece. Tad: But it's not hard to imagine... a government hiding, hoarding... alien technology for 70 years, at the expense of human life and the future of the planet. Driven not only by corporate greed, but... a darker objective. Mulder: The takeover of America. Tad: And then the world itself, by any means necessary, however violent... or cruel... or efficient. By severe drought brought on by weather wars conducted secretly using aerial contaminants and high-altitude electromagnetic waves, in a state of perpetual w*r to create problem-reaction- solution scenarios to distract, enrage and enslave American citizens at home with tools like the Patriot Act and the National Defense Authorization Act, which abridged the Constitution in the name of national security. Tad: The militarization of police forces in cities across the U.S. The building of prison camps by the Federal Emergency Management Agency with no stated purpose. The corporate takeover of food and agriculture, pharmaceuticals and health care, even the military, in clandestine agendas, to fatten, dull, sicken and control a populace already consumed by consumerism. And I encourage you all to go shopping more. Tad: A government that taps your phone, collects your data and monitors your whereabouts with impunity. A government preparing to use that data against you when it strikes and the final takeover begins. Scully: The takeover of America. Tad: By a well-oiled and well-armed multinational group of elites that will cull, k*ll and subjugate. Scully: Happening as we sit here. Tad: It's happening all around us. Mulder: The other shoe waiting to drop. Tad: It'll probably start on a Friday. The banks will announce a security action necessitating their computers to go offline all weekend. Mulder: Digital money will disappear. Sveta: They can just steal your money? Mulder: Followed by the detonation of strategic electromagnetic pulse b*mb to knock out major grids. Tad: What will seem like an att*ck on America by t*rrorists or Russia. Mulder: Or a simulated alien invasion using alien replica vehicles that exist and are already in use. Scully: An alien invasion of the U.S. Mulder: The Russians tried it in '47. Scully: You can't say these things. Tad: I'm gonna say them tomorrow. Scully: It's fearmongering claptrap, isolationist techno-paranoia so bogus and dangerous and stupid... that it borders on treason. Saying these things would be incredibly irresponsible. Mulder: It's irresponsible not to say it. Sveta: Especially if it's the truth. Scully: Your test came back negative. Mulder: What do you mean, negative? Scully: She has no evidence of alien DNA. [ TRUTH SQUAD WITH TAD O'MALLEY SHOW ] Tad: I promised you the truth today, but that truth has come under as*ault. Sveta: Tad O'Malley tried to put words in my mouth. He paid me to create stories about alien abductions. He is saying lies and stories for his TV show so people will watch. I am... so sorry if I misled anyone. Mulder: They got to her. Tad (O.C.): These are the depths our government stoops to. We must be making them very afraid. Nurse: Dr. Scully? Your test results came back in. Mulder: Sveta? Sveta? Sveta? No, no. Stop! You can't! You have no right... [ "FINDER SPYDER" TRUTH SQUAD WITH TAD O'MALLEY ] [ ERROR 404 SITE TEMPORARILY UNAVAILABLE ] [ DON'T GIVE UP ] Mulder: There's something called the Venus syndrome. It's a runaway global warming scenario that leads us to the brink of the Sixth Extinction. Those with means will prepare to move off the planet into space, which has already been w*apon against the poor, huddled masses of humanity that haven't been exterminated by the uber-violent fascist elites. If you believe in that kind of thing. Scully: You look exhausted, Mulder. Mulder: It was a long day at the office. Scully: I don't know if you saw, but... Tad O'Malley pulled the plug. Mulder: They're very good, these guys, you know? Scully: And what about Sveta? Where is she? Mulder: I'm sure they scared her to death. Scully: We need to find her, Mulder. We need to protect her, no matter what. Mulder: Why? You said her tests came back negative. Scully: I ran them again. In fact... I sequenced her entire genome because I didn't trust the initial results. Mulder: Are you saying she has alien DNA? Scully: And I sequenced my own genome... because of my history and... because we have a child together. Mulder: Scully... what are you saying? Scully: I'm saying she's not the only one. I'm saying someone has to stop these sons of bitches. Mulder: Skinner. Skinner. [ SITUATION CRITICAL. NEED TO SEE YOU BOTH ASAP. ] Mulder: Scully, are you ready for this? Scully: I don't know there's a choice. Sveta: Oh, no... Please... Please don't quit. No. Oh, no. No! No! Yes. Yes. I see. We have a small problem. They've reopened the X-Files.

{"type": "series", "show": "The X-Files", "episode": "10x01 - My Struggle"}

foreverdreaming

Previously on The X-Files... Mulder (O.C.): My name is Fox Mulder. In the 1990s, I began investigating paranormal science cases through a unit of the FBI known as the X-Files. My partner in this pursuit was Agent Dana Scully, a medical doctor and scientist. In 2001, we had a child together... Scully (quietly): William. Mulder (O.C.): ...but had to put him up for adoption to hide him from those who wished him harm. In 2002, the FBI closed the X-Files. 14 years later, circumstances have arisen which demand new X-Files investigations... Mulder (O.C.): Are you saying you have alien DNA? Mulder (O.C.): ...bringing Scully and I back together. (electronic whirring) Female electronic voice: Good day, Dr. Sanjay. Sanjay: Yeah. Good morning. (scanner wand squeaking) Sanjay! (laughs) Oh. You okay? Rough weekend? Sanjay: A humdinger. Work or pleasure? Sanjay: I haven't known pleasure for quite some time. (wry laugh) (tone ringing) Are you okay? Sanjay: It's nothing. Hill: The Founder looked at the data. He sent a message this morning. "Do over." Cynthia: That's it? We spent months on those trials. We've tried every new source of pluripotent stem cells, including samples from amniotic fluids. We need more than just pronouncements from above. We need direction! What about a meeting with the man? Hill: You want the Founder to tell you how terrible your data is face-to-face? The guy is a recluse. No one here's even seen him for years. (distorted): For all we know, he didn't even read the stuff. Hill (distorted): I can assure you that Augustus Goldman is (slows, distorts): fully engaged. But the Founder has other interests that keep him occupied. Yeah, what about that? Doesn't that creep you out, that he's referred to as "The Founder"? (Crows fluttering) (glass rattling) (Pencil snaps, cracks) (fingers thudding) (eyelids shudder and crackle) Cynthia: ...do it. Hill: Now. It's necessary. Data... is the key. Hill: Don't hesitate. Go. Go now. Go! (tone ringing) (distorted): No... no! (glass rattling, clattering) Can't anyone hear that? (tone stops) Sanjay: (gasps) Sorry. Excuse me. ♪ ♪ (typing rapidly) Cynthia: Do it. Hill: Now. Rogers: Data... is the key. (knock echoing) Rogers (muffled, distorted): Sanjay! Sanjay! Hill (O.C.): Sanjay, come on! Open up! (insistent banging on door) Hill (muffled): Open the door, Sanjay! Rogers (distorted): Sanjay! Sanjay, open the door! Hill: It's not opening! Rogers (O.C.): Open the door! Sanjay! Hill: Something's wrong with the system! Rogers: Sanjay, open the door! (tone ringing) (tone intensifies) (Sanjay whimpers) (gasping) (muffled): Sanjay? (muffled): Sanjay! Sanjay! (tone continues) (crackling, squishing) (brief whimper) Season 10 Episode 2 Founder's Mutation Original air date: January 25, 2016 (camera shutter clicking) Mulder: What do you make of this, Scully? Scully: Well, it seems that Dr. Sanjay had a psychotic break and committed su1c1de. Note the letter opener sticking out of his head. Mulder: Noted. Scully: All the witnesses I spoke to have consistent accounts. Mulder: I mean the room. He chose the most secured place in the building to k*ll himself. He was trying to access something. These are isolated servers, so the only way to get to the data is through this terminal, which is also protected. Scully: Is that why we're here? You're interested in the server? What are you looking for, Mulder? Guard: Unhand the hard drive, sir. Mulder: This is evidence. Guard: It's classified. Scully: The reason why we're investigating, rather than the local police is because we have security clearance. Guard: To be in the room. Not to look inside this. That is property Department of Defense. Mulder: We need to conduct a few more interviews, then, before we conclude our investigation. Guard: The individuals pertinent to this incident have already been interviewed by your colleague. Mulder: We'd like to talk to Augustus Goldman. Guard: That's impossible. Dr. Goldman was not even on campus when this happened. Mulder: Well, if you won't let me look at the drive, then I have to talk to Goldman about what the deceased was trying to access before he died. Guard: I'm not authorized to confirm that I have knowledge of the whereabouts of the Founder. Scully: Can you confirm that you have security cameras watching over the entire complex? There's that one, and I saw a few more out there. Guard: Yes. Scully: In that case, I'd like to see all of the tapes. As soon as possible. Guard: All right. I'll have those sent over. But for now, remove this body so we can secure this room. Scully: Sorry, we're not finished-- Mulder: Oh, we are finished. We are finished. Scully: Mulder, that's not your phone. Mulder: You know me, Scully. I'm old-school. Scully: Riley vs. California. The Supreme Court ruled that you needed a warrant to search a mobile phone. Mulder: That's for a suspect. Sanjay's the victim. Scully: Well, there is no victim. He k*lled himself. Mulder: Well, then, I'm sure he won't mind me talking to some of his friends. Here's someone he talked to every night. "Gupta." Scully: Dr. Sanjay is from western India. Gupta's a Marathi word. It means "secret." Mulder: How do you know that? Scully: I'm old-school, Mulder. Pre-Google. (blues song playing in background) ♪ tell me, baby... ♪ Mulder: Gupta? Thanks for meeting me. My name is... Gupta: No... no names, please. You're Sonny's friend? (no voice) Gupta: Is that guy bothering you? Mulder: Not yet. Gupta: What... do you... want? Mulder: I want to talk. Can we go somewhere more private? Gupta: I don't... know you well enough. Mulder: I'm safe. You can trust me. Gupta: Come on. Mulder: Oh, whoa, whoa, no. Gupta: Well, you said you wanted to "talk." Mulder: Yes. I-I don't think that means exactly what you think it means. Or... or I'm not... Gupta: You guys are all alike, you know? You say you want to walk on the wild side, but when it comes down to it... you're repressed. I finally let go of all that, that self-loathing and that judgment and I'm free. Stop tormenting yourself. The truth is in here. Mulder: Yeah, I've-I've heard something like that. Hey, listen, I-I-I gotta tell you... (clears throat) Sanjay is d*ad. [ FBI MORGUE WASHINGTON, D.C. ] Scully: Deceased is a male, 35 years old, five-foot-eight and three-quarters inches, 180 pounds. (sighs) The probable cause of death is the introduction-- self-propelled-- of a letter opener into the cerebral cortex by way of the ear canal. (sighs, groans) I will now commence with my overall external examination. Gupta: The last couple of weeks, he was... he was distant. He was... he was troubled. I... I thought it was me, you know? We hadn't gotten together for a while. I mean, he'd call me every night, but nothing... Mulder: .. physical. Did he talk to you about his problems? About work? Gupta: Yeah. Yeah, he said he was upset about his kids. He said they were dying. Mulder: His kids? He was single. Gupta: I didn't push it. I just tried to make him feel better. Mulder: Well, I saw where he lived. There was nothing there. He lived an antiseptic life. Gupta: He lived two lives. In two separate places. (phone buzzing) Mulder: Excuse me. Yeah. Scully: Mulder, you gotta see this. Scully: I had to break his fingers to pry them open. But he wrote that on the palm of his hand before he died. Mulder: "Founder's Mutation." Scully: The Founder is what they called Dr. Goldman at Nugenics. Is that why you wanted to talk to him? Mulder: I don't think that's the mutation Sanjay was referring to. Did you find anything else on the autopsy? Scully: Well, there were no abnormalities in Dr. Sanjay's brain. The opener destroyed the acoustic nerve and then went into the cerebral cortex. Mulder: It's weird, because the opener goes in at 90 degrees and then it veers off at 60 degrees up into his brain, like he was hunting for something. Scully: Yeah. It ended up in the auditory cortex. You know... he blurted something out at the meeting, before his su1c1de. He said, "Can't anyone hear that?" Mulder: Hmm. Scully: But nobody else could hear a thing. Mulder: Well, ultimately, hearing is just nerve impulses interpreted by the brain. What if those same impulses could be generated without actual vibrations striking the ear drum? Scully: Hmm. Mulder: Well, anyway. If he left a note on his hand, maybe he left other clues. Scully: But where? We've checked out every square inch of his apartment. Mulder: Well, he leased a place that only Gupta knew about. I think we should go to where he actually lived. [ DUPONT CIRCLE WASHINGTON, D.C. ] (indistinct conversations) Scully: It's hard to imagine, in 2016, that Sanjay had to keep his lifestyle preferences a secret. Mulder: Being gay wasn't his only secret. (tires screech, man grunts) Scully: Mulder? (distant): I found something. Mulder: His kids. Scully: Yeah. Mulder: Sanjay was afraid they were dying. These kids, they look so young. None of them look older than ten. Look at the backgrounds. Scully: It's a clinical setting. It looks like it might be a hospital. (car doors shut in distance) Scully: The police are coming up. We must have triggered a silent alarm. Mulder: All right, look around-- he's bound to have kept some information on them somewhere. (tone ringing) Mulder: (groans) Scully: Mulder? Mulder, are you okay? (footsteps approach) Scully: They're coming. Mulder. Man (distant): Police officer! Officer (distorted): Lady, put your hands where I can see 'em! Scully (distorted): FBI. (tone continues ringing) (nails scraping) (tone ringing, nails scraping, no voice) (tone stops) Scully: (distorted, indistinct, then:) ...find her. (distorted): Help me. (distorted): Find her. (echoing): Find her... Find her... Find her... (tone ringing, increasing in intensity) Skinner: Do you have anything to add to this, Agent Scully? Scully: If you look at the files that we found in Dr. Sanjay's apartment... Skinner: No, I can't look at those. Scully: They're right over there. Murphy: These files are classified. They're the property of the Department of Defense. Mulder: Well, I've had a look at them. Those files are the medical records of children with grave genetic abnormalities. How those children relate to Dr. Sanjay's su1c1de is the object of our investigation. Skinner: Well, considering the fact that you just lost access to those files, your investigation is closed. I'll submit the report on the su1c1de to the proper authorities. We're done here. Murphy: (clears throat) Let me remind you, Agents Mulder and Scully, dissemination of any classified material, either internally or publically, will be dealt with harshly. Mulder: I'm familiar with Edward Snowden. Skinner: I assume you made copies. Mulder: I managed some top sheets before the DoD took over. I think those children are failed experiments. Skinner: So you suspect the Department of Defense is experimenting with genetic modification on humans? What do you think? Scully: I think there were many troubling details to this case, and, um... if Agent Mulder has nothing more to add... Mulder: I don't. Scully: .. then I think we need time to prove his theory. Skinner: The bureaucracy in the FBI has become increasingly complex and inefficient. It might take days for your incident report and order to close the investigation to make it through the proper channels. Welcome back, you two. [ FOX MULDER - Special Agent (sign on office door) ] Mulder: Surveillance footage? Scully: Yeah, from Nugenics. I've been working on syncing all the cameras to the exact time code of Dr. Sanjay's su1c1de. (sighing) There. What happened to you at Sanjay's apartment, Mulder? I can understand why you wouldn't want to tell Skinner, but I was there, I saw you on your knees in pain. Mulder: I heard sounds. It was a high-pitched frequency, like-like a steel spike being driven through my head. And then it focused into two words... "Find her." Scully: There were no sounds. I didn't hear anything. Mulder: Look at those birds. Scully: Maybe they seeded the lawn that morning. Mulder: Infrasounds, Scully. Vibrations inaudible to the human ear but known to drive the worms up through the soil to the surface, in response to them. Scully: Mulder, how are these connected? The birds, the su1c1de, the kids, the genetic anomalies. What are you hiding? Mulder: Augustus Goldman is the only one who might know how it all fits together. We gotta talk to him. What are you hiding? (keyboard clacks) Scully: Sanjay heard sounds... right before he committed su1c1de. That could be you, Mulder. This is dangerous. Mulder: (scoffs) When has that ever stopped us before? Scully: I might know how to get to Goldman. [ OUR LADY OF SORROWS HOSPITAL WASHINGTON, D.C. ] Sister Mary: Augustus. Yes, I know him well, but he's a very private person. Some would say reclusive. Without him, we wouldn't have the resources to help these women in need. He's a true champion of the unborn. Scully: Dr. Goldman is a blessing. That's why we're here today. I've become aware of a situation that I wanted to share with you. Dr. Goldman is under investigation. Mulder: Obamacare. Scully: We wanted to spare him the indignity of having the government knock at his door unannounced. I was wondering if we could meet with him in private. Sister Mary: Dana, I'm afraid Our Lady of Sorrows cannot be a conduit for the FBI to one of our biggest donors. Scully: Sister Mary, I've worked here for seven years. You know me. Sister Mary: Yes, and I know your heart's in the right place. Scully: I wouldn't ask if it weren't important. Sister Mary: I have a number I can call. I'll agree to relay a message. Scully: Thank you. Mulder: Ask Dr. Goldman if he'll talk to us about the Founder's Mutation. Sister Mary: Stay here. (tapping on glass) Agnes: I got to get out of here. Mulder: What's your name? Agnes: Agnes. You got a car? Scully: Do you want to call someone? Agnes: You think if I could call someone I would be asking you? Just forget it. I knew you weren't gonna help me. Scully: Agnes. Wait. I'm a doctor. You can tell me anything. Agnes: I don't belong here. Not with these sheep. I don't care what I signed. Scully: The hospital is only concerned with the health of the mother and the baby. Agnes: My baby. Scully: Of course, your baby. Agnes: I changed my mind. I'm not giving it up. I don't care if he's sick. Mulder: Sick? Agnes: My baby's not right. They saw it on the... ultrasound thing, and I had a feeling, you know, ever since I got pregnant. But everybody here has the same story. Just don't say anything. I was just kidding around, okay? Mulder: If you ever want to talk. Sister Mary: I've spoken to Augustus. He said he'd be happy to meet you. Scully: Thank you. Mulder: Sister Mary, how are the patients chosen to be here? Sister Mary: They're homeless, damaged in one way or another. Alcohol, drugs, no fathers in the picture. Men and their lies. No offense. Desire is the devil's pitchfork. But as long as there's a need and an innocent child, we'll provide for each and every one. Mulder: It's insidious, Scully. A ward for pregnant women paid for by Augustus Goldman, the founder of a company with deep ties to the Department of Defense. This could be another phase of the project-- their experiments in eugenics. Those women in there... could be incubators. Scully: Mulder... I'm not a fragile little girl. Mulder: Scully... Scully: This is what you suspected all along, but were afraid to articulate. Is this what you believe happened to me 15 years ago? When I got pregnant, when I had my baby? Was I just an incubator? Mulder: You're never "just" anything to me, Scully. Scully: Do you ever think about William? Mulder: Yes, of course I do, but I've... I feel like I've had to put that behind me. Scully: He'd be 15 years old now. And I've missed every single year of his life. And sometimes... I hate myself that I didn't have the courage to stand by him. Mulder: You did what you did to keep him safe. His adoption is secret, his location is unknown because you had to protect him. Scully: Do you believe he was an experiment? Mulder: I don't know. Scully: What if he's out there somewhere, like one of those kids on Sanjay's wall, fighting for his life? Mulder: All we can do, Scully, is pull the thread, see what it unravels. (class bell ringing, student chatting) Scully: It's the first day of school. Are you nervous? Your hands are sweaty. William: Ew! That's you. Scully: (laughs) What's the most important thing to remember? William: Sit still, listen, say "excuse me" if you fart. Scully: (laughs) The most important thing to remember is that I love you. That's all you have to remember. Come on, let's go say hi to your teacher. Thank you. (bell ringing, kids chattering) William: Hi, Mom. Bye, Mom. Scully: Be home in time for dinner! Scully: (quietly): Will... William: I'm scared. Scully: You're gonna be fine. You've just broken your arm. Does it hurt anywhere else? Okay, we're gonna get you to the hospital, and take some X-rays to make sure you don't have a concussion, okay, honey? William: Mom! Mom, please! Mom! Scully: (gasps) William: What's happening to me? ♪ ♪ [ GOLDMAN TECHNOLOGY WASHINGTON, D.C. ] Dr. Goldman: "Founder's Mutation." Intriguing message. Mulder: It's what Sanjay wrote on his hand. Dr. Goldman: Yes, before his unfortunate act of self-destruction. Very dramatic, but meaningless. Scully: I've read everything you published, Dr. Goldman. It seems your research deals primarily with genetic manipulation. Dr. Goldman: Let me try to explain to you what we do here. It's no secret. We're trying to save children. I won't tell you their last names, to protect their privacy, but I can tell you what they are fighting against-- Proteus syndrome... Crouzon syndrome... all kinds of cancerous tumors... epidermal displasia... Pitt-Hawkins syndrome, ichthyosis, Marfan syndrome, among others. We are a cutting-edge research facility for these unfortunate patients. There's absolutely no cost involved to be treated here. Would you like to talk to him? Scully: Sure. (switch clicks) Dr. Goldman: Adam? Dr. Goldman (over speaker): You have a visitor. Scully (over speaker): Hi, Adam. Scully: My name is Dr. Scully. How long have you been here, Adam? Adam: Forever. Scully: And where are your parents? Adam: I don't have any. Dr. Goldman: He was sent to us as a baby. Adam has a form of Crouzon syndrome. Scully: And why is he in a sealed room? All of the children. He has a genetic disorder. He's not contagious. Dr. Goldman: Thank you, Adam. We are working with therapies unavailable anywhere in the world. We need to eliminate the environmental factors that could affect the outcome. I am searching for the key that was the seed to all of these terrible genetic abnormalities. Scully: Alien DNA? Is that why the Department of Defense is funding your research? Dr. Goldman: Dr. Scully, I was told that you were the rational one. Molly: No! Let go! Man: Molly! Oop! Molly: Let go of me! No! No! No! No! No! Dr. Goldman: I'm afraid that that is all the time that I have. Sarah will show you out. Sarah: This way, please. Scully: He didn't answer my question. (Molly screaming) Molly: Let go of me! Man: Molly! Molly! Molly: No! No! No! No! (Molly continues screaming and yelling) Scully: Did you see that, Mulder? Mulder: Interesting. (beeping) Mulder: Something's happened to Agnes. Officer: We found the victim with your card in her pocket. h*t and run-- car was moving pretty fast. Skid marks from back there up to the point of impact. (siren approaching) Officer: We're checking cameras in the area. No witnesses. Scully: What about the baby? Officer: What are you talking about? Scully: She was pregnant. Mulder: The baby's gone. (siren wailing) Scully: Mulder... Mulder: Hmm? Scully: Agnes died from blunt force trauma. Most likely from the impact of the car. Her right ulna was broken in two places, her lungs were lacerated by broken ribs, and her skull was crushed. Mulder: What about the baby? Scully: Surgically removed. I couldn't tell if the fetus was still alive when it was taken from her womb, but... they took it, Mulder. To get rid of evidence. Agnes wanted to talk. She left the hospital. That baby was the only proof that she was part of Goldman's experiment. Mulder: What if the baby was still alive? Scully: Mulder, that car h*t her so hard that a, an adult woman with the benefit of a mature skeletal structure wasn't able to survive the impact. It's highly unlikely that the baby would remain viable. Mulder: Unlikely for human fetuses. In 1973, the Syndicate was convened to assist in a project to colonize the world by creating alien/human hybrids. The project was ultimately unsuccessful. I doubt they ever stopped trying. Scully: But what you're talking about is changing the genetic makeup of a population. That's the next step in evolution. Mulder: Every new species begins with a Founder's Mutation. One child with the correct combination of DNA could be a start. Scully: There was a study published last year in Nature Communications, by Batini and Hallast, that found that Y chromosomes in the majority of European men could be traced back to just three individuals from the Bronze Age. Mulder: I did some digging around the police archives, looking for anything related to Goldman. 17 years ago, Jackie Goldman was remanded to St. Elizabeth's hospital as a forensics patient. She was adjudicated criminally insane. Scully: Dr. Goldman's wife? Mulder: She was convicted of m*rder her baby. That body also was never found. [ SAINT ELIZABETH HOSPITAL WASHINGTON, D.C. ] Mulder: Mrs. Goldman, we'd like to ask you a few questions about your husband. About his work? Scully: Mulder, she hasn't said anything in ten minutes. (yowling) Mulder: You don't like cats? Mrs. Goldman: What do you want? Scully: Can we ask you a few questions, Jackie? Mrs. Goldman: Not about my husband. He is the one still keeping me here. Mulder: Do you miss your daughter? Mrs. Goldman: Molly. [ Flashback ] Mrs. Goldman: You should see, uh, that one, that one. Mrs. Goldman (O.C.): I love my daughter. But... there was... something odd... about her. I felt it from the day she was born. I-I didn't know for sure... until she was two. Mrs. Goldman: Where's Molly? Mrs. Goldman (O.C.): She fell in the pool and nobody noticed. Molly was underwater for at least ten minutes. She should've been d*ad. I never told anyone else this. Not only was she alive... she was breathing in the water. (muffled exclamation) [ End Flashback ] Mrs. Goldman: The other moms thought it was a miracle. But I knew what it was. My husband... did... something to the embryo. He used our own daughter for his research. I was nine months pregnant at the time. I was not about to let him have my son. I had to get away from that monster. [ Flashback ] Mrs. Goldman: (gasping) Dr. Goldman: Please... don't go. I love you. Mrs. Goldman: I want my daughter, Augustus. Dr. Goldman: She is safe, so are you, right here with me. Mrs. Goldman: What did you do to her?! Dr. Goldman: Jackie! Jackie! Mrs. Goldman: No! (panting) [ End Flashback ] Mrs. Goldman: He took Molly away. He hid her from me. So I got in the car and I drove. I just drove, no idea where to go. I knew there was no chance they would leave me alone. I had another baby in my belly. Mulder: "They"? Mrs. Goldman: The government. Augustus worked for them. I couldn't trust anyone. Especially the police. I was so scared. I was going too fast. [ Flashback ] Mrs. Goldman (O.C.): And there was an animal in the middle of the road. I-I panicked and I crashed. (moaning) (gasping) (grunting) (sobs) (grunting) Mrs. Goldman (O.C.): I thought I was gonna die. (rapid gasping) Mrs. Goldman (O.C.): But that's when I heard the sound. (tone ringing) (screams) [ End Flashback ] Mrs. Goldman: It was so loud and piercing; it hurt. It was in my head. [ Flashback ] (tone ringing) (screaming) Mrs. Goldman (O.C.): He was talking to me in the only way that he knew how. And I knew what I had to do. [ End Flashback ] Mrs. Goldman: They said I k*lled my baby. I didn't. [ Flashback ] Mrs. Goldman (O.C.): I let him out. [ End Flashback ] Scully: Do you know what happened to your son? Mrs. Goldman: Passed out from loss of blood. Woke up in a hospital. I never saw my boy again. I think about him every day. Scully: A mother never forgets. Scully: All my training, everything that I know about psychology tells me that she's delusional, but, Mulder, there's something about her that I trust. Mulder: She heard a tone in her head, a screech-- that's what happened to me. Scully: Are you saying that you think the baby that communicated with her communicated with you? Mulder: Wouldn't be a baby anymore. Excuse me. Uh, you don't work for the hospital, do you? You're a subcontractor? Man: Yeah. A-1 Janitorial. We're all over the city. Mulder: Thank you. Thanks. Mulder: A-1 Janitorial also services Nugenics. You'll recognize the uniform. He's cleaning the office directly above the Secured Servers vault. He's no more than 15 feet away from Dr. Sanjay at the time of his death. (tapping keys) Scully: Action, reaction. (beeping) Mulder: I made a request for the name of the janitor on duty. Turns out he also worked at St. Elizabeth's last month. High school dropout Kyle Gilligan. We got him. Scully: I'm Special Agent Scully. This is Special Agent Mulder. We'd like to speak with Kyle Gilligan. Mrs. Gilligan: I'm his mother. Mulder: Is he around? We'd like to ask him a few questions about an incident at work. Mrs. Gilligan: The su1c1de? Mulder: You heard about that. Mrs. Gilligan: There's not a thing that goes on in my son's life that I don't know. Scully: Well, we'd still like to speak with him. Mrs. Gilligan: He's got nothing to say. Scully: Why don't you let us decide that? Mrs. Gilligan: I don't like to expose my son to stressful situations. It's not good for him. He doesn't understand it. He's simple. And he's a minor. And I won't allow it. Mulder: You didn't give birth to Kyle. Scully: (quietly) Mulder... Mrs. Gilligan: What did you say? Mulder: After the accident, where'd you find him? Mrs. Gilligan: Get the hell off my porch. Mulder: Your son is unique; have you ever wondered why? Mrs. Gilligan: Get out! Scully: Mulder, she's making it pretty clear. (birds cawing, wings fluttering) (birds screeching, squawking) Mrs. Gilligan: (quietly) Bad things happen when the birds gather. (tone ringing) Mulder: Aah! (ringing intensifies) Mulder: Aah... (groaning) Scully: Mulder...? Mulder! Mulder! (gasps) Where is he?! (tone ringing intensely) Mulder: (yelling in pain) Scully: Where is he?! (birds squawking) (mother shouting) (tone continues ringing) (tone ringing) Scully: Whatever you're doing, stop right there. (inhales) Mrs. Gilligan: Don't take him! (crying) Don't! Please don't take him! He didn't know what he was doing! He was just trying to protect me! Mulder: Is that true, Kyle? That you don't know what you're doing? Why did you k*ll Dr. Sanjay? Kyle: I didn't want him to die. Mulder: You made him k*ll himself. Kyle: No! I would never. He was... was helping me. Mulder: You got inside his head. You got inside my head. You can make people hear things. Like you just did; like you did to me in Sanjay's apartment. But you can't control it. Kyle: I just want to find my sister. Scully: Molly? Mulder: At the hospital, where you worked. You heard Jackie's story. Kyle: She told me that he has her. And Jackie is my real mother, okay? I have to find my sister. Mulder: Kyle, nobody knows where she is. Scully: I know who knows. (switch clicks) (switch clicks) Dr. Goldman: Hmm. Would you mind if I took some blood? Kyle: Where's Molly? Dr. Goldman: How do you know that name? Kyle: My... (gasps, groans) ...mother told me to find her. Dr. Goldman: And what would you do... once you found her? Kyle: I don't... know. Dr. Goldman: I'm gonna let you meet Molly. Kyle: Molly? (quiet laugh) Molly: What's your name? Kyle: Kyle. (quiet laugh) No. Y-You're not my sister. No! (clattering, thudding) Scully: Kyle...? Kyle: Molly? You're Molly. Molly (telepathically): I didn't know I had a brother. Kyle: I can hear you. Are you ready? (rumbling) Mulder: Kyle! (electrical buzzing and crackling) Dr. Goldman: Molly! No! No! Molly: Daddy, just let me go! Dr. Goldman: Get the hell away from her! (tone ringing, electrical buzzing) (screaming) Scully: Kyle! Mulder: Scully! (Goldman screaming) (electrical buzzing) Mulder: Aah! (Goldman screams in agony) (tone ringing intensely) (Goldman screaming) Skinner, keep your people behind the red tape. (helicopter flying over) Skinner: Department of Defense has control of the facility. It's now classified as top secret. We no longer have jurisdiction here. Scully: Have they found Molly or Kyle? Skinner: You were the last one to see them, Agent Mulder. Mulder: I blacked out after Goldman's eyes popped out of their sockets. Believe me, you can't unsee that. Skinner: Well, they're gone; there's no trace of them anywhere. (helicopter flying over) Scully: Kyle's blood. Mulder: A trace. [ Flashback ] (growls, screeches) William: Monkeys. Mulder: Yeah, that's... well, that's early man, William. (screeching, hooting) Mulder: And that's the monolith. William: What's a "momomyth"? Mulder: Some people think it represents our first contact with aliens. Other people think it represents the beginning of human knowledge. I... I think one day you'll probably have your own ideas about it. (hooting, grunting, screeching) William: Dad... Mulder: Hmm? William: My fin broke. Mulder: Oh. William: Space is hard. Mulder: "All great and honorable actions are undertaken with great difficulty." (imitating President Kennedy): "We choose to go to the Moon in this decade and do other things, not because they're easy... Both: "But because they are hard." (chuckles) Mulder: That's right. William: Come on, let's light this candle. We'll do yours first. Mulder: Okay. There you go. You ready? William: Yep. Mulder: Five, four, three, two, one. William: Ignition. I'm gonna go up there someday. William (O.C.): Dad! Mulder: William! (rumbling) William: Dad! Mulder: No! (rumbling fades) [ End Flashback ] ♪ ♪ Scully: Right now, we are in deep trouble. (yells) Scully: We'll be getting another case, Mulder. It has a monster in it. (both yelling) Scully: It's a fresh k*ll. Mulder: So we're looking for a man-sized horned lizard with human teeth. Scully: Mulder, the internet is not good for you. (growls) Mulder?! The X-Files-- all new next Monday on FOX.

{"type": "series", "show": "The X-Files", "episode": "10x02 - Founder's Mutation"}

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