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 stab him, Veronica.
VERONICA: There's something that you need to know about your dad.
Cut to Veronica's vision of Aaron killing 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 explosion, not only were those kids murdered, 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 kill 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 killed.
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 explosion—
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 murder 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 murder?
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 shot, 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 shooting 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 gun 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 hit 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 knife in hand, ranting like a maniac over a dead 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 threatened to use your father's money to have said witness killed. 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 murder 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 murderers. 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 murderer.
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 killed Lilly? Wow.
AARON: All I know is I got out. The next thing, it was all over the news.
LOGAN: So you tried to kill 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 shots 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 murder 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 kill 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 Homos. 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 Nazi 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 explosion.
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 dead 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 hit. 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 dead, 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 kill 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, burned 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 gun 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 shot - 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 shot 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 killer, 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 dead rat. End.
![[Alternative Awards 2021] Veronica en enquêteur](/graph/news_icon/news_icon-bcf899bdfcb15fa60c95ba545e4c3459.jpg?v1){kind=icon}
