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1.07 The Girl Next Door

Teleplay by: Jed Seidel and Diane Ruggiero
Story by: Jed Seidel
Directed by: Nick Marck

Original Air Date: 9 November, 2004
Transcribed by Inigo

VERONICA VOICEOVER: Previously on Veronica Mars…

Various scenes of Sheriff Keith Mars, Veronica and the Kanes around the body of Lilly. Cut to Duncan in shock, then with his arm around Veronica at Neptune High School and finally to his ignoring Veronica, all from 101 Pilot.

VERONICA VOICEOVER: It’s been a year since my best friend, Lilly Kane was murdered. Everyone remembers reading about the bungling local sheriff. That bungling sheriff was my dad. Duncan Kane. He used to be my boyfriend. Then one day, with no warning, he ended things.

Keith and Veronica eat dinner from 103 Meet John Smith.

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 101 Pilot.

LOGAN: Do you know what your little joke cost me?

Logan smashes one of the headlights on Veronica’s car. Veronica winces from the same episode.

WEEVIL: [to Logan] You, say you’re sorry.

VERONICA: I don’t want his apology.

End previously.

EXT – SUNSET CLIFFS APARTMENTS (SCA) – NIGHT.

Sheriff’s department vehicles and an ambulance are gathered.

RADIO: 44 Adam (?)

RESPONSE: 44 Adam, affirmative.

RADIO: We’ll do (?)

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.

An occupied gurney is wheeled out of one of the upstairs apartments.

VERONICA VOICEOVER: 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, before turning his attention back to the officers. Veronica looks out over the emergency vehicles.

Opening credits.

EXT – SCA – DAY.

Music: The Trial of the Century by The French Kicks. Caption: One week earlier. A man waters the grass and another man cleans the pool around which the complex is built. Veronica carries laundry in a basket. She calls out to the man cleaning the pool.

VERONICA: Hey Rocky.

ROCKY: Hey Veronica.

Veronica reaches the laundry room. Sarah Williams, a red-headed, heavily pregnant woman, folds her laundry on a small table outside the laundry room. A Chihuahua lies on the table.

VERONICA: Hi, Neighbour.

SARAH: [tearfully] Oh, hey Veronica.

VERONICA: [concerned] Are you okay?

SARAH: Yeah.

Sarah wipes away a tear, then responds more firmly.

SARAH: Fine.

Veronica sets her basket down inside the laundry room then comes back out with some books.

SARAH: 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 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.

Sarah sits down with some effort.

SARAH: 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.

VERONICA: Hey, Killer! Do you mind if I…

Veronica points at the Chihuahua.

SARAH: No, go ahead. He lives for the attention.

Veronica lifts the dog out of the basket and cradles him in her arms.

VERONICA: 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.

End music: The Trial of the Century by The French Kicks.

INT – NEPTUNE HIGH SCHOOL (NHS), HALLWAY – DAY.

Logan is crouched by his locker. Clemmons leans over him.

CLEMMONS: Mr Echolls. I was wondering if I could have a word.

Logan thinks for a moment.

LOGAN: Anthropomorphic.

He grins.

LOGAN: All yours, big guy.

Logan stands and slams his locker shut.

CLEMMONS: 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 chooses to ignore the sarcasm.

CLEMMONS: 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.

Showing crossed fingers, Logan tries to walk away.

LOGAN: Hope so.

CLEMMONS: Unfortunately…

Logan’s hand signals “and he keeps on talking.”

CLEMMONS: 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 around to face the vice principal.

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.

INT – NHS, JOURNALISM CLASS – DAY.

Veronica is at the keyboard of one of the computers set up at the central desk. 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.

Mallory 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?

Mallory has had enough. She seeks a rescuer.

MALLORY: Veronica? Just the girl I was looking for.

She sits on the desk, next to Veronica.

MALLORY: I'd like you to meet Evelyn Bugby.

EVELYN: [patronising] Oh, aren't you cute?

MALLORY: 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 Mallory and turns away, seeking out another victim behind her.

EVELYN: Bob Patton, is that you?

Mallory holds up a book.

MALLORY: Class of '79. Think of all the bad clothes you can mock. Velour shirts. Platform shoes.

Veronica thinks for a moment.

VERONICA: Um, okay. I'll do it.

MALLORY: [relieved] Great! Your first assignment is to scan and print all the photos Mrs Bugby tabbed.

With a glance back at Evelyn, Mallory pleads with Veronica.

MALLORY: And please. Keep her away from me.

Mallory leaves the 1979 yearbook on the desk and tries to sneak away behind Evelyn, who has snared Bob Patton. She is out of luck for Evelyn has the instincts of a bloodhound.

EVELYN: [to Bob] Very nice. Oh, excuse me, I have to go and talk to her.

BOB: Good to see you.

Evelyn catches up with Mallory.

EVELYN: Did you see what he did? He used a…

Oblivious to this, Veronica examines the yearbook.

VERONICA VOICEOVER: And somewhere amidst the "most likely to succeed" and "class sweetheart,” my mom.

Veronica finds the picture.

VERONICA VOICEOVER: Lianne Reynolds, “most likely to disappear off the face of the earth.”

Veronica stares intently at the picture.

INT – NHS, CLASSROOM – DAY.

A middle-aged black man is marking papers. There is a timer on his desk. 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. Weevil shakes his head. After writing a little more under the cover of the test sheet, Logan 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, Mr Daniels, shakes his head and slaps his hands on the desk.

DANIELS: Ah, alas.

Daniels rises and walks towards their desks.

DANIELS: You both get zeros.

Weevil holds out his hand in a “What!” gesture. Logan doesn’t seem that bothered.

DANIELS: No talking during test.

He grabs their tests and heads back to his desk. As Daniels passes him, Logan mutters, none too quietly.

LOGAN: I guess Mrs. Daniels ain't giving it up at home, huh?

Daniels pulls up short. Weevil is amused and smiles.

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 clasps his hands together in prayer and raises his eyes to the heavens.

LOGAN: Please say ‘high school English teacher’. Please say ‘high school English teacher’.

Weevil laughs openly.

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.

DANIELS: See me after class, both of you. I'll tell you where to report for detention.

Cut to later and an overshot of one of the desks. Cards are being laid out for solitaire. The camera shifts to reveal Logan as he finishes the deal and starts to play. 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 looks up to the heavens.

LOGAN: 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 shot you out.

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 are now pushed together and they sit 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 classroom door opens and Daniels enters. He sees them playing poker and slams the door shut behind him.

DANIELS: Is this Reno or detention?

LOGAN: Would you believe the best of both?

Logan grins, then laughs. 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.

DANIELS: This is punishment, gentlemen, not party time.

LOGAN: Well, that would explain the absence of balloon animals.

Logan pockets his cash.

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.

Daniels leaves. Weevil throws his head back and groans.

EXT – SCA – DAY.

Veronica gets out her keys for the Mars’ apartment, number 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 walks back out towards the centre of the complex to look up at the balcony above the Mars’ apartment.

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 sees Andre, Sarah’s partner, on the balcony to her left, heading for the gate that leads to the stairs down which the gurney will later descend. Sarah is outside the door of apartment number 210, 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 her apartment.

ANDRE: Get over it, Sarah! Grow up!

Sarah slams the door of the apartment. Andre reaches the gate and notices Veronica watching. Veronica drops her head to examine her keys and heads for the Mars’ apartment. Andre shakes his head, turns and goes through the gate.

INT – MARS RESIDENCE, VERONICA’S ROOM – 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.

INT – MARS RESIDENCE, KITCHEN – DAY.

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.

EXT – SCA – CONTINUING.

Veronica heads upstairs. She knocks on the door of #210. Killer 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 are cups toppled on the table and Killer stands amidst them, yapping. Veronica stands back from the window, concerned.

INT – NHS, JOURNALISM CLASS – DAY.

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.” Underneath the heading is the top half of a heart, crowns on each summit with name 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.

INT – NHS, BOYS’ BATHROOM – DAY.

Weevil is just finishing at the urinal. Felix is waiting.

FELIX: So, how's life with the movie star's kid?

Weevil makes his way to the sink.

WEEVIL: 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 storms out, leaving a bemused Felix.

FELIX: Wha? What'd I say?

Felix follows Weevil.

INT – NHS, HALLWAY – DAY.

Duncan is walking down the corridor. Veronica hurries to catch up with him.

VERONICA: Hey.

Duncan pauses to let her catch up then continues walking on with her.

DUNCAN: 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 stares at Veronica.

VERONICA: Which, I guess, means they were like a couple or something. Did you know about that?

DUNCAN: [expression unreadable] Uh, no. It’s weird, huh?

Duncan moves off, leaving Veronica standing.

VERONICA VOICEOVER: The boy does have a gift for evasiveness. Last year…

FLASHBACK: INT – NHS, HALLWAY – DAY.

VERONICA VOICEOVER: …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 into the middle of the hallway.

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 walks past Veronica, then pauses and turns.

LILLY: You know, I don't know what you people would do without me.

Lilly turns again and goes on her way. Veronica gives a wry smile.

END FLASHBACK.

INT – NHS, HALLWAY – CONTINUING.

Veronica carries on down the hallway.

LOGAN: [offscreen] Is this a joke?

EXT – NHS, CAR PARK – DAY.

Logan and Weevil, carrying buckets, arrive at a small blue car parked in a space marked “Daniels.” Daniels is bringing up the rear.

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 of the car.

LOGAN: I meant the car.

Logan smirks. Daniels looks a little confused. Logan acts embarrassed.

LOGAN: Oh, my God!

Logan puts his hand on his mouth for his faux pas.

LOGAN: It's not yours, is it?

Weevil, having set his bucket down, laughs. Logan draws a heart in the dust on the window of the car’s backseat.

LOGAN: You know, seriously, I don't think it's school policy to have students do chores.

DANIELS: Seriously, would you like to hear the school's policy on gambling, Mr Echolls? It's considerably detailed.

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.

INT – ENCORE OF NEPTUNE – DAY.

Veronica enters a posh clothes store. She approaches Sarah’s boss Nathan who is examining the clipboard in his hand.

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?

INT – ANDRE’S STUDIO – DAY.

Cut to a wooden floor off a doorway screened with chains.

VERONICA: Hello?

Veronica parts the chains and enters cautiously. She stops in front of a painting of a man holding his hand over his eyes, palm uppermost. Soft footsteps are revealed to be Andre. 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. This would appear to be Joanna.

JOANNA: 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 is amazed.

VERONICA: I wasn't aware this was clothing-optional!

Andre just gives a little smile. Joanna is posed.

JOANNA: Let me know when you're ready for me, Picasso.

Andre sits down at an easel holding a painting in progress of the model’s back.

ANDRE: See ya, neighbour. Thanks for dropping by.

Veronica takes one last look, turns and walks out of the studio.

INT – MARS RESIDENCE, VERONICA’S ROOM – NIGHT.

Veronica is doing homework. She can hear Killer 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.

EXT – SCA, #210 – NIGHT.

Veronica tests the door but it is locked. She moves over to the window. It opens. She climbs in.

INT – SCA, #210 – CONTINUING.

Killer is happy to see her. She picks him up.

VERONICA: Hey, Killer.

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 a 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.

EXT – SCA – CONTINUING.

Andre exits his car and heads for the apartment.

INT – SCA, #210 – CONTINUING.

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.

EXT – SCA – CONTINUING.

Andre comes up the stairs to the gate.

INT – SCA, #210 – CONTINUING.

Veronica continues to search, shining the torch into one of the open drawers. She sees a gun. Using a pencil that was on top of the dresser, she picks up the gun.

EXT – SCA, #210 – CONTINUING.

Andre reaches the front door of the apartment. He gets out his keys to unlock the door.

INT – SCA, #210 – CONTINUING.

Veronica hears him. Andre opens the front door. Veronica has managed to get herself into the shower.

ANDRE: Killer?

Andre turns on the light as Killer barks in Veronica’s arms.

ANDRE: Killer!

Andre walks further into the apartment.

ANDRE: Killer, 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.

Andre walks closer to Veronica, leaning over her.

ANDRE: 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 Killer to Andre and leaves the apartment.

EXT – SCA, #210 – CONTINUING.

Veronica expels her breath in relief.

INT – NHS, OUTSIDE ADMINISTRATION OFFICE – DAY.

There are shelves in a display case that sits in a nook in the wall. It is 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.

EVELYN: 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 case 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.

Evelyn holds one side of the picture up, Veronica holding the other, and puts her finger on the picture of Lianne.

EVELYN: She was just gorgeous.

Evelyn moves her finger along.

EVELYN: 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?

Evelyn takes the picture.

VERONICA: [softly] Right.

Evelyn places the portrait in the display case.

EVELYN: They were something, though. Like a couple in a movie.

Evelyn picks up another photograph and wrinkles her nose in distaste.

EVELYN: 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.

FLASHBACK: INT – NHS, HALLWAY – DAY.

Veronica and Lilly walk 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 stops.

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.

END FLASHBACK.

INT – NHS, HALLWAY – CONTINUING.

Present-day Veronica watches long-haired Veronica go as the return to the present is completed. She looks down at the photograph and looks up again, wondering.

DANIELS: [offscreen] Alphabetise…

INT – NHS, CLASSROOM – DAY.

Logan stands, head down, as Daniels paces the room in front of the blackboard. “Hamlet” has been the topic as shown by what’s written there.

DANIELS: …by author and then by title…

The camera follows Daniels, book in hand, to show a large bookcase.

DANIELS: …for example, Shakespeare would come after Poe…

The angle changes again to reveal Weevil, arms folded, leaning against the bookcase.

DANIELS: …and before Wordsworth and then within Shakespeare, “Macbeth” after “Hamlet.” Should I draw a diagram?

LOGAN: Aw, please. That would be helpful.

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 starts to throw books onto the floor.

WEEVIL: Oops! Heads up! My bad!

LOGAN: You obviously have no appreciation of literature.

Weevil continues to toss the books to 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’.

Weevil sits on the desk.

WEEVIL: With the vice grip.

Logan leans back against the bookcase.

LOGAN: 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 tosses the book in his hand.

WEEVIL: I think I've got your poetic justice.

LOGAN: Meaning?

Weevil jumps off the desk.

WEEVIL: 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.

EXT – NHS, CAR PARK – DAY.

Daniels jangles his car keys as he walks towards his space. He looks up.

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.

DANIELS: Where is the…

EXT – SCA – DAY.

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.

EXT – NHS – DAY.

Students are excited over something as Daniels walks towards the school with another English teacher, Lisa Murphy, last seen drilling Veronica on Pope in 101 Pilot.

BOY: Come on, man, check it out!

DANIELS: Thanks again for the ride, Lisa.

MRS MURPHY: Let me know if you need me to take you home.

DANIELS: Okay. Ah, geez. What's the problem now?

Daniels can see a crowd gathered around the flagpole. Old Glory and the school flag are being raised. The crowd cheers and claps. Daniels walks forward to disperse the crowd.

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 impaled on it.

DANIELS: Son of a b-

He opens the passenger side door and sees the flagpole rising through the middle of the car.

DANIELS: Son of a b-

The crowd is appreciative of the fun. Daniels slams the door shut and turns to them.

DANIELS: Get back to class. Go on. Move it. Go to class. Go to class, people!

The crowd disperses, leaving a bemused Mrs Murphy.

INT – NHS, HALLWAY – DAY.

Weevil is making his way down the hallway.

CLEMMONS: Mr Navarro!

Weevil pauses. Clemmons is behind him with a security guard. Weevil turns to face him.

CLEMMONS: 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 away. 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…

INT – NHS, CLEMMON’S OFFICE – DAY.

Clemmons sits on his desk.

CLEMMONS: …that's going to make this easy on you…

The camera cuts to another angle to show Weevil sitting on a chair in front of the desk. 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.

DANIELS: Do you believe this?

Daniels bends down to shout in Weevil’s ear.

DANIELS: Tell-us-who-helped-you.

CLEMMONS: Tom! Easy. [to Weevil] I’ve called your grandmother. She's been informed that, as of today, you are expelled from Neptune High School.

Weevil nods his head.

CLEMMONS: You are no longer a student here.

DANIELS: [dripping with sarcasm] And you had so much potential.

Weevil stands and starts to leave.

CLEMMONS: Okay, then. A security guard will escort you to clean out your locker.

WEEVIL: Wait.

Weevil pauses at the door and looks 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…

EXT – NHS, LUNCH AREA – DAY.

Duncan and Logan are eating lunch at one table. Dick is close by, sitting up on the wall, next to them.

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 blowing a fuse.

Duncan jabs his finger.

DUNCAN: Tell-us-who-helped-you. Tell-us-who-helped-you!

Dick jumps off the table and stands by their table.

DICK: If he starts selling oranges in front of my house, I'm gonna be pissed.

Dick moves on. Duncan and Logan laugh but Logan is thoughtful and looks over at the car, still impaled on the flagpole.

INT – MARS INVESTIGATIONS (MI) – DAY.

Emily and Randall are in Keith’s office.

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: Okay.

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’s 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: 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: No, I'm handling this case without you.

VERONICA: No, Dad. She's my friend.

KEITH: No, she's a girl you talk 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.

INT – NHS, GIRLS’ BATHROOM – DAY.

Veronica checks 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.

There is an answer on the phone.

VERONICA: 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.

INT – NHS, CLEMMONS’ OFFICE – DAY.

Clemmons is 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.

CLEMMONS: 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.

LOGAN: And all of the sudden, he's like the biggest badass in-

Clemmons casts him another warning look. Logan coughs then rolls his eyes.

LOGAN: …rad dude 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.

CLEMMONS: You can't just get away with this, young man.

Logan expels a deep breath in mock contrition.

LOGAN: 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.

INT – ENCORE OF NEPTUNE – DAY.

Veronica talks 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 raped her is the baby's father.

VERONICA: She was raped?

NATHAN: Yeah. It's one of the reasons she left her hometown and 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 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: Hey, it's Veronica. Hear you have some free time on your hands, you wanna do me a little favour?

EXT – ENCORE OF NEPTUNE – DAY.

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 sitting on 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 appearance of the bikers. Music: Yellow Butta Sunshine by Pop.

LYRICS: Yellow butta sunshine
(This version is wave from creation)
Yellow butta sunshine
(Let it rain, let it rain, let it rain, let it rain)
(This version)
(Let it rain, let it rain, let it rain, let it rain)
(Is wave from creation)
Yellow butta sunshine
(Let it rain, let it rain, let it rain, let it rain)
(This version)
(Let it rain, let it rain, let it rain, let it rain)

The bikers pull up outside the shop. Veronica and Weevil touch fists and the bikers enter the shop. Veronica smiles.

INT – ENCORE OF NEPTUNE – CONTINUING.

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 throws the pile up in the air.

FELIX: 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.

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 to stand in front of Nathan.

VERONICA: [conversationally] Nathan. Did you happen to find that journal?

Nathan is defeated. End music: Yellow Butta Sunshine by Pop.

EXT – ANDRE’S STUDIO – NIGHT.

The door opens and Joanna comes out. Andre follows carrying two large suitcases. Keith observes them from his car. Andre loads the cases into the boot of his car.

KEITH: What the hell?

Keith gets his gun out of the glove compartment and drives off after Andre.

EXT – TRAIN STATION – NIGHT.

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 walks away with the cases.

ANDRE: Well, I'll be right back.

Keith watches him go.

CLEMMONS: [offscreen] I would like to take this opportunity…

EXT – NHS – DAY.

Clemmons stands in front of a graffiti covered wall, holding a couple of paint rollers. Weevil and Logan await 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. 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 is not intimidated.

LOGAN: 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. Music: La Femme d’Argent by Air.

INT – MI – DAY.

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 assault, only its aftermath.

Veronica looks closely at a full page sketch entitled “Paradise.” It is a coastal view.

EXT – COASTAL TOWN – DAY.

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. Sarah, in dark glasses, is sitting in the stand, looking out over the ocean, a pencil and a 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.

INT – MARS RESIDENCE – NIGHT.

End music: La Femme d’Argent by Air. Veronica washes up. 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 is not tempted.

VERONICA: Hmm. Yeah, that's normal.

INT – SCA, #210 – NIGHT.

Sarah and Andre are in the bedroom of their apartment. Sarah is sitting on the bed, holding Killer. Andre checks 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 past 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 Killer for a walk. I’ll be right back.

He kisses the top of her head.

ANDRE: I love you.

SARAH: I love you too.

ANDRE: Come ’ere buddy. Come on.

Andre takes Killer 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…

INT – MARS RESIDENCE – NIGHT.

Keith is sprawled in his armchair. Veronica sits 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. I mean, 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: Do 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.

INT – SCA, #210 – NIGHT.

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.

INT – MARS RESIDENCE – NIGHT.

Keith is up and agitated.

KEITH: Why didn't you tell me she was raped?

VERONICA: I just found out.

SARAH: [offscreen, heard through the ceiling] He raped me! He raped 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 raped me!

Keith points at Veronica.

KEITH: Just stay here.

Keith hurries out, leaving Veronica looking up at the ceiling, worried.

INT – SCA, #210 – CONTINUING.

SARAH: No, I'm done keeping quiet.

RANDALL: That's enough.

Sarah cocks and holds up the gun.

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 gun out of her hand. They both scramble for the gun. Randall gets there first. He throws Sarah off 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 pistol, about to pistol-whip her.

EMILY: No!

There’s a shot 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 gap in the curtains at the window, his gun trained on Randall. The window has a hole from his bullet. 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. He looks at the blood and falls back.

EXT – SCA – CONTINUING.

Veronica races to and opens the upstairs gate to the upper floor balcony. She sees Keith lower his gun 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. Executive producer: Rob Thomas (who is a god).

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