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1.22 Leave It to Beaver

Teleplay by: Rob Thomas and Diane Ruggiero
Story by: Rob Thomas
Directed by: Michael Fields

Original Air Date: 10.05.05
Transcribed by Inigo with the contribution of Polter-Cow

VERONICA VOICEOVER: Previously on Veronica Mars…

Duncan reunites with his mother on the tarmac and Keith talks to Celeste (from 121 “A Trip to the Dentist”).

KEITH: Stop by the office and we’ll finish up.

CELESTE: Finish up?

KEITH: I’m referring to the reward.

CELESTE: Veronica and I had an arrangement.

Duncan and Veronica at the front door of the Kanes home in the same episode.

DUNCAN: I’m a murderer and a rapist now.

Cut to Duncan waking up in bed with Veronica from the flashback in the same episode.

DUNCAN: I slept with you.

Cut back to Duncan and Veronica at the front door of the Kanes home in the same episode.

VERONICA: Well what about that is so wrong?

DUNCAN: ‘Cause you’re my sister.

Cut to Keith in Las Vegas with Cheyenne from the same episode.

KEITH: I know you were with Abel Koontz at the time he supposedly murdered Lilly Kane.

Cut to Keith and Alicia cuddling on the Mars couch (from 118 “Weapons of Class Destruction”).

WALLACE: [Offscreen] You think they’re serious.

Cut to Wallace and Veronica in Veronica’s bedroom from the same episode.

VERONICA: It won’t last long. My mom’s in rehab.

Cut to Lianne sitting with Keith at the Mars apartment (from 121 “A Trip to the Dentist”).

VERONICA: When she gets cleaned up, she’s coming home.

Cut to Weevil confronting Logan from the same episode.

WEEVIL: If you think you're going to lay a hand on her the way you did Lilly...

LOGAN: Don't you even say her name.

Cut to Veronica and Logan in the pool house from the same episode.

VERONICA: You learned that from Lilly.

LOGAN: No, Lilly learned that from me.

Cut to later in the pool house when Veronica finds the videotaping equipment from the same episode. End previously. Open with a shot across the cubicles of a newspaper office. The camera pans down to Lloyd, cynical newspaperman who leans back in his chair, his hands behind his head.

LLOYD: Now, let me make sure I’m hearing this correctly. Abel Koontz couldn’t have killed Lilly Kane because at the time of the murder, he was in the company of Miss, um…

The camera reverses to show Keith and Cheyenne standing in from of him.

CHEYENNE: Cheyenne.

LLOYD: Cheyenne.

KEITH: Deborah Collins, yes.

LLOYD: [Sighs] Keith, even if I did believe your story which, at the moment I don’t, there’s no way top brass would risk a story like this. If is turned out to not be true, we’d become a national joke.

CHEYENNE: Well, we tried.

Cheyenne turns as if to go but Keith puts a hand on her arm and stops her.

KEITH: It is true. I’m serving up the story of your lifetime, Lloyd.

LLOYD: Look, Keith, I can’t risk my career because of testimony, all due respect, of a hooker.

KEITH: Well, there’s more, a lot more.

Keith gets a file from his case and hands it to Lloyd.

KEITH: You read it. If you think there’s merit, talk to Miss Collins here.

Lloyd takes the file, still sceptical.

KEITH: Thanks.

Lloyd looks resigned. Keith gives Cheyenne a comforting touch then leaves. Cheyenne, fed up, looks back down at Lloyd who sighs heavily. Cut to Keith coming up to the door of his apartment. He has some mail and looks at one particular envelope. It is from Unified Genetics and marked: Results Confidential. He stares at it for a moment and is about to open it when he hears the sound of laughter coming from the apartment. He puts the unopened envelope into his pocket and enters the apartment. Veronica and Lianne are chopping the accoutrements for tacos. They both have a spoon in their mouth and are giggling.

VERONICA: Hi Dad. This is so stupid.

LIANNE: No, I’m telling you. No tears. Keith, the radio, like old times. [To Veronica, re the spoons] It works, see.

Keith turns on the radio. Connie Francis sings “Where the Boys Are”.

SONG: Where the boys are
Someone waits for me
A smilin' face, a warm embrace
Two arms to hold me tenderly
Where the boys are, my true love will be
He's-

Lianne responds to the music choice by calling out to Keith.

LIANNE: Keith, tacos.

Veronica stares at her mother.

LIANNE: What?

VERONICA: It’s just funny to me how you always have to have your music match your meal.

LIANNE: It is called setting a mood.

VERONICA: Of course.

LIANNE: Connie Francis is spaghetti bolognaise with a crusty bread and a nice Chianti. [Off a look from Keith] Uh, sans the Chianti.

VERONICA: Okay, say we were having hot dogs and Tater Tots?

LIANNE: Late seventies southern rock, Skynyrd, maybe Creedence.

VERONICA: Pork chops.

LIANNE: Country, old school.

KEITH: Unless it’s fried, then it’s Elvis, the early years.

Lianne raises a bottle of water to Keith in agreement, then drinks from it. Keith goes back to the radio and changes the music to “La Bamba”.

SONG: Por ti sere
Por ti sere
Bamba bamba
Bamba bamba

KEITH: There you go, how’s that?

LIANNE: Perfect.

Cut to Keith, sitting in his office at Mars Investigations. He stares at the envelope from Unified Genetics and then opens it. He is nervous but opens out the sheet therein and reads. The door to Mars Investigations closes behind his visitor.

CLIFF: [Offscreen] Tell me this is a joke.

Cliff saunters in from the outer office.

CLIFF: You want to sue the Kane family.

Keith stuffs the results back in the envelope as Cliff takes a seat.

KEITH: Yes.

CLIFF: Please tell me there's another Kane family in town. Maybe a Boris and Gilda Kane?

KEITH: They’ll settle.

CLIFF: Oh, they will. Well, that’s good to hear. Seems like you have this pretty well sewn up. Anything you need me to have notarised?

Cut to a newspaper which carries the front page headline: Eyewitness Steps Forward: Escort claims she was with Koontz at time of Kane murder. The camera moves up to show that Dick is reading the story on the inside pages, with Beaver looking over his shoulder. They are outside Neptune High.

BEAVER: [Concerned] There’s phone records, man. An-an-and how do you-how do you explain the shoes, huh?

DICK: It doesn’t mean jack. You need to chill out, Beav, right now. To the grave, man, that’s what we said.

Beaver is not convinced. Cut to inside the school as Wallace, reading from the newspaper, and Veronica walk down the hallway.

WALLACE: [Reading] Since his removal from office, Keith Mars, the ousted sheriff, has tirelessly and single-handedly continued his own investigation, despite being shunned by the community at large.

VERONICA: You’d think it might be gross to read a love letter to your dad, but I kind of enjoy it.

WALLACE: All I know is if I were him right now, I’d be I-told-you-soing all over Neptune.

Veronica looks up at the sound of students greeting each other and sees Logan. She forcibly veers Wallace and herself off course, into the girls’ bathroom.

WALLACE: My blonde-pulling-me-into-the-girl’s-room fantasy? Ruined!

Veronica looks at Wallace.

VERONICA and WALLACE: [Simultaneously] Do me a favour?

Wallace grins.

VERONICA: Go outside and tell me when Logan’s gone.

WALLACE: Okay. How much longer do you think you can avoid him?

Wallace exits as Veronica leans back against the door. Cut to Alicia with Keith at Mars Investigations. Both are upset although Keith, unlike Alicia, is managing to hold back tears.

KEITH: I mean, believe me, the last thing I want to do is hurt you. If there’s a chance to keep my family together, I have to take it. I just don’t know what else to say.

ALICIA: You’re really doing this? Is it really what you want?

Keith doesn’t respond but looks despondent. Alicia strokes his arm, lets out a sob and turns to run from the office. As she is exiting, Veronica enters and Alicia pauses a moment to look at her and then goes on. Veronica looks at her father.

VERONICA: Everything okay?

KEITH: Oh, it’s fine. I just had to tell Alicia that my situation is changed.

VERONICA: Sorry. I know how much you care about her.

KEITH: Yeah.

VERONICA: She’s got to understand, though, right? I mean with Mom coming back?

KEITH: Yeah.

They hug. Cut to the Kanes. Jake and Celeste are working on a seating plan at the kitchen counter. Celeste is seated at the counter on one side whilst Jake is standing on the other, mixing a drink.

JAKE: Don’t seat the entertainment people next to the corporate people. Right? Let’s keep it civil.

CELESTE: Jake, honey, when did we become Republicans?

JAKE: We haven’t, we’re, uh, we’re going with the flow. Besides the, uh, governor’s, uh, very popular and, uh, honestly, it’s going to be good for business. And his social policy-

CELESTE: No. Just…spare me.

Duncan enters with a newspaper in his hand and stands next to Jake.

DUNCAN: So, anyone read the paper today? Garfield. I mean, will he ever learn? Oh yeah, and there was this other thing. I guess Abel Koontz didn't kill Lilly. Let's open the floor for discussion on that one, what do you say?

CELESTE: It’s hogwash, Duncan. It’s an invention of Keith Mars. The woman was a prostitute, for god’s sake.

DUNCAN: [Angry] Stop! Quit lying to me.

JAKE: Duncan, please.

DUNCAN: Dad, I can’t take it anymore. All the lies. Does anyone ever tell me the truth? Ever? You treat me like I’m six years old, you always have.

JAKE: You wanna know, Duncan? You want to know everything?

CELESTE: Jake, no!

DUNCAN: Yeah, I wanna know.

JAKE: You did it, son. You had a fit. You killed your sister.

Duncan can’t believe it. Flashback to the scene of Lilly’s murder. Celeste calls from the house.

CELESTE: Duncan. Duncan, come inside.

Duncan is down by the pool, in his football gear, cradling Lilly. Jake joins Celeste and they look at each other in confusion.

JAKE: Duncan!

Jake and Celeste race towards their children.

JAKE: Duncan!

Duncan turns his head. His face is covered in Lilly’s blood. Celeste screams. Lilly is dead. Both crouch down next to Duncan and Lilly.

JAKE: Lilly?

Jake stares at his son. Cut to present as Duncan stares at his father. The doorbell rings and Celeste exits to answer. Jake puts his hands on Duncan’s shoulders.

JAKE: Look, it was an accident, Duncan. We know it was. You didn’t know what you were doing. You loved your sister. We’ve done this for you, son, so you could have a future.

Jake pulls the distraught Duncan into a hug. Duncan cries. Celeste calls out from the doorway.

CELESTE: Keith Mars is suing us. We’ve been served.

Jake looks over at her a little disturbed by her lack of appreciation of his current priorities and returns to try to comfort Duncan. Cut to Neptune High. Veronica is working in the darkened journalism classroom. Beaver enters.

BEAVER: Hello?

VERONICA: Beaver?

BEAVER: It’s, uh, it’s Cassidy. My real name’s Cassidy.

VERONICA: What can I do for you Cassidy?

BEAVER: Well, there’s something that you should know, it’s for your own good.

VERONICA: Spill.

BEAVER: Well, the weekend that Lilly was killed, me, Dick and Logan, we were down in Mexico, surfing.

VERONICA: I know this.

BEAVER: Yeah, well Logan, he, uh, he got-he got all worked up, you know, talking about how he that Lilly was seeing somebody new.

VERONICA: Yeah.

BEAVER: So he got up early that morning, the day that Lilly was murdered, he drove back to Neptune to see her.

Veronica is horrified. Cut to Keith’s office.

VERONICA: [Flatly] Beaver said that Logan had bought Lilly a shot glass that he found in a tourist shop down there.

KEITH: Does that seem odd to you?

VERONICA: Not that odd. Lilly collected shot glasses. Beaver said it said “I got baked in Ensenada” and she would have loved it.

KEITH: [Concerned] Are you all right, honey?

VERONICA: Yeah, just…Logan.

Keith has a light bulb moment.

KEITH: Baked in Ensenada! Veronica!

Cut to them in the main office, papers strewn everywhere. “Bad Boyfriend” by Garbage starts up.

SONG: C´mon baby be my bad boyfriend
So ripe so sweet come suck it and see
But watch out daddy I sting like a bee
I know some tricks i swear will give you the bends
C´mon baby be my bad boyfriend
I´ve got something special for my bad boyfriend

Keith is reading one of the files.

VERONICA: What are you looking for?

KEITH: This. It’s an inventory of everything in Lilly’s bedroom, everything in Lilly’s car. Shot glass. Baked in Ensenada. It’s here, it was in her car. You know what this means?

VERONICA: Means Logan found Lilly.

Cut to Neptune High. Logan is at his new, upper locker as Veronica comes into view further up the hallway. They stare at each other for a moment then her returns his attention to putting his books in his locker.

SONG: I´ve got something special for my bad boyfriend

Veronica plasters a smile on her face and walks up to him.

VERONICA: Hey.

Logan looks up, then looks around.

LOGAN: Oh. I exist? Thought I felt different today.

VERONICA: I’ve been avoiding you.

LOGAN: Really? I hadn’t noticed.

VERONICA: I’m sorry. I freaked out. That night in the guest house, we were like crossing over into something and I-I don’t know, all of a sudden I just felt really weird and guilty and I started thinking about Duncan and about Lilly and…it wasn’t the easiest night to begin with.

LOGAN: [Softly] I know.

VERONICA: I just couldn’t deal.

LOGAN: Well, you could’ve told me. No, I mean even if you just said I can’t deal but you bolt and you dodge me for a couple days…

VERONICA: It’s what I do. When things get out of control, I need to be alone.

LOGAN: [Looking away from her] Listen, you know, I am freaked out, too, you know, this whole Abel Koontz thing.

Veronica drops the façade and stares hard at him.

LOGAN: Knowing what we do about Duncan. I don’t want to believe it could have been him but it’s-it’s like the only thing that makes sense, right?

VERONICA: I don’t know.

LOGAN: I have this feeling that things are gonna get really bad.

VERONICA: Yeah?

LOGAN: [Looking at her again] Don’t run out on me again, okay, I mean, if you need to do whatever, you just let me know.

VERONICA: I need to do whatever.

Logan sighs, disappointed and returns to his book.

VERONICA: Just for a couple of days and then I’ll be back to normal or as close to normal as I can get.

Logan stares at her for a moment.

LOGAN: Okay.

He leans forward, kissing on the forehead, shutting his eyes.

LOGAN: You know where to find me.

Veronica is uncomfortable and Logan walks away. Veronica uses her cell phone.

VERONICA: It’s me. I just ran into Logan. I know, I know. I couldn’t help it. He’s trying to pin it on Duncan. Any news on Tijuana?

Cut to Keith.

KEITH: The Border Patrol got back to me. Logan’s car crossed the border at 8:57am on the day Lilly was murdered. Beaver was telling the truth.

Cut back to Veronica who is standing outside an empty classroom.

VERONICA: He had plenty of time to get back to Neptune and kill her.

Cut back to Keith.

VERONICA: [Offscreen] Okay, I’ll see you later.

KEITH: Hey, are you okay?

Cut back to Veronica.

VERONICA: No, I’m fine.

KEITH: [Offscreen] Love you.

VERONICA: Love you to.

Veronica finishes the call. There are footsteps behind her. The classroom wasn’t empty after all and Weevil appears from around the corner of the door.

VERONICA: That’s not what it sounded like.

WEEVIL: It sounded a lot like Logan killed Lilly. These rich boys think they can get away with anything, don’t they.

Weevil wanders off. Cut to a conference room. Cliff and Keith are on one side of the table and Celeste and Barry Randall, last seen in 119 “Hot Dogs” are on the other side.

CLIFF: Miss Mars may have agreed to help find your son but it was Mr Mars, a licensed private investigator who located him and ensured his safe return.

CELESTE: I’d be happy to give Mr Mars a cheque right now.

KEITH: And the condition?

CELESTE: Veronica relinquishes any future claim to the Kane estate.

BARRY: Contracts are prepared; all we need is your daughter’s signature.

Barry hands a file to Keith, which Cliff intercepts.

CLIFF: Future claims? So what, she slips and falls outside Kane Enterprises; tough toenails?

KEITH: Yeah, I guess now is a good time to protect your assets with the Abel Koontz witness coming forward.

CELESTE: I’m sure you’ll encourage your daughter to do the right thing.

KEITH: Oh, believe me, I’m willing to make this deal.

Cliff, recognising that there is subtext, has no blooming idea what it is and stares from one to the other of them.

KEITH: But I’ll let Veronica make the decision…once I figure out how to explain it to her.

CELESTE: Keith, we both know your daughter knows exactly why she’s being asked to sign this. And we both know it’s better for everyone if she does.

Cliff remains flummoxed. Cut to Keith, sitting on the couch in the darkened outer office of Mars Investigations. He is reading the contract. Veronica enters.

VERONICA: You're not trying to burn a hole through a stack of paper using only the power of your stare again?

KEITH: Hey, sweetheart. Have a seat a minute; I have to talk to you.

Veronica sits next to Keith and turns her body to face him.

KEITH: I met with Celeste Kane today.

VERONICA: She’s paying you double and sponsoring our club membership?

KEITH: Well, she actually agreed to pay up but only if you sign this contract that says that you’ll never sue them again. She wants you to waive any claim on the Kane fortune.

Veronica looks at the contract and with no hesitation, picks up a pen and signs the document. Keith watches her. She notices.

VERONICA: What? Was I supposed to sign in blood?

KEITH: [Barely containing his emotions] Do you know what you just signed away?

VERONICA: There's nothing that I want from them.

KEITH: Nothing. You didn't sign away a thing.

Keith pulls the paternity test result from under the contract.

KEITH: Veronica, I am without a doubt your father.

Veronica gives a great sob and after a second with her hands to her face she reaches out for her father. They hug fiercely, Keith with tears watering his eyes. Veronica laughs and sobs at the same time.

VERONICA: Oh! Yeah, you are!

KEITH: You think that charm of yours is learned behaviour? That's genetics, baby!

Veronica grins through the tears and kisses Keith. She looks at him fondly then gasps and slaps a hand on his brow.

VERONICA: I say we put a dent in that fi’ty grand and celebrate.

KEITH: Actually, honey, this new information we have on Logan, his alibi is completely blown. I think we can finally go to the authorities.

Veronica maintains her smile but is clearly affected by this. She nods

VERONICA: Um-hm.

Keith strokes her hair. Offscreen a doorbell rings. Cut to outside the Echolls’ home where two cars from the Sheriff’s Department are parked. Cut to inside as Aaron answers the door to Sheriff Lamb and two deputies.

LAMB: Afternoon, sir.

AARON: Sheriff. Can I help you with something?

LAMB: You can show me to your son’s room. [Holding up a warrant] We’re gonna need to search it.

AARON: What do you want with my son?

LAMB: Some new information has come up regarding the Lilly Kane murder case. We’re gonna follow up. Routine.

Lamb presses past Aaron into the house, his deputies following.

AARON: Whoa, whoa, whoa. You can't just barge in here!

LAMB: Now, come on now. What? You've been in like, what, thirty cop movies? [To the female deputy] Hey, make sure you check the air conditioning vents.

DEPUTY: Got you, boss.

LAMB: [To Aaron] Our snitch says these crafty little buggers today; they hide things in the vents.

AARON: Wait a minute, wait a minute. W-where’s my son?

Cut to Neptune High as Logan exits the school, heading across the car park. Weevil is waiting for him and starts to follow him, dropping a steel pipe from his sleeve into his hand. He is about to strike when Deputy Sacks and another deputy appear from behind the school bus.

SACKS: Logan Echolls?

Weevil pulls back.

LOGAN: Yeah. What’s going on?

SACKS: We’d like you to come with us down to the station, please. We have a few questions we’d like to ask you.

Weevil walks off as Logan is taken away. Cut to an interrogation room at the Sheriff’s Department. Lamb and Logan are seated on opposite sides of a small table, alone.

LAMB: [Tapping the table for emphasis] You said you were in Mexico the day of Lilly's murder. Why?

LOGAN: How many episodes of “NYPD Blue” did you have to watch to get the finger tapping down?

LAMB: I asked you a question.

LOGAN: And I ignored it and moved on. Keep up.

Logan snaps his fingers.

LAMB: Do I look like I am playing around with you?

LOGAN: So how ‘bout that phone call, huh?

LAMB: [Whispers] Whoops.

LOGAN: What, you didn’t read the manual? Okay, I get a phone call, it’s the law.

LAMB: Your daddy’s already sending a lawyer.

Logan, grinning, holds up his cell.

LAMB: [Indulgently] Go ahead.

Logan gets up with a laugh and moves to the corner of the room to use the phone. He punches a button.

LOGAN: Hey, it's me.

Cut to Veronica at home, getting a drink out of the fridge.

LOGAN: [Offscreen] Hey, I'm in kind of a jam. Yeah, I'm here at the lovely sheriff's department, being grilled…

Cut back to Logan.

LOGAN: …without representation I might add. Hey, do you think, uh, you could track down my father, maybe work some of that Veronica magic that gets people out of these things?

Cut back to Veronica who pauses.

VERONICA: [Slowly] Sure. I'll do whatever I can.

Cut back to Logan.

LOGAN: Thanks. Well, I'd love to chat, but I have a guest.

Logan glances at Lamb who looks amused.

LOGAN: Talk to you later.

Cut back to Veronica who is frozen.

VERONICA: Okay, bye.

Veronica stares vacantly as she lets the phone drop from her ear. Cut back to the interrogation room where Lamb is laughing.

LAMB: You called Veronica Mars.

LOGAN: Yeah. What’s it to you?

LAMB: Ah, it’s funny, that’s all, I just…I mean, she’s the one who came to me with information about you.

Logan is gutted and his heart breaks. Cut to later, Lamb’s office as he enjoys his lunch. Deputy Sacks knocks and pokes his head round the door.

SACKS: Keith Mars, line two.

Lamb punches a button on his desk phone and leans back in his chair, still chewing.

LAMB: Keith. What can I do for you?

Cut to Keith at the apartment.

KEITH: The Echolls kid. What'd you find out?

Cut back to Lamb.

LAMB: Among other things, I'm pretty sure…

Cut back to Keith.

LAMB: [Offscreen] …he's dating your daughter.

Keith is thunderstruck by this. Cut back to Lamb.

LAMB: That, uh, girl of yours…

Cut back to a concerned Keith.

LAMB: [Offscreen] …she's pretty hard-boiled, huh?

KEITH: Logan. Where is he now?

Cut back to Lamb.

LAMB: We let him go on account we didn’t have much to hold him on. He lawyered up.

Cut back to Keith.

LAMB: [Offscreen] You know the deal.

Keith disconnects and drops the phone on the kitchen counter. Lianne is wiping the surface behind him.

KEITH: Lianne, where’s Veronica?

LIANNE: She took Backup out.

Keith ponders for a moment, then rises from the counter stool. Cut to Veronica and Backup on the beach. She walks past a group of people, one of whom has a surfboard. She pauses to get something from her bag as the group behind her breaks up and moves away, exposing Logan, hidden behind the surfboard.

LOGAN: So, I guess we broke up, huh?

Veronica looks behind her fearfully. She walks forward quickly. He follows.

VERONICA: What do you want me to say, Logan?

LOGAN: "Logan, I'm gonna go home and put my head in the oven because I can't go on living knowing what a heartless BITCH I am." Something like that!

Logan has moved in front of her, stopping her progress.

VERONICA: So you're saying you want me dead?

LOGAN: [Matter-of-factly] Yes.

He steps closer to her, clearly upset and on the verge of tears.

VERONICA: One word from me and Backup goes for your throat.

Logan glances down at Backup, then back at Veronica, and smiles, losing his angry tone which is replaced by with a sad, resigned one. He looks down at Backup again.

LOGAN: Is that what you'd do, boy? You’d tear out my throat?

On “tear out my throat”, he directs himself to Veronica, significantly. He bends down and strokes Backup’s head, baring himself to the dog.

LOGAN: Who's a man killer, huh? Who's a man killer?

Backup is friendly and licks his face. Logan chuckles then looks out over the beach, still kneeling. He sniffs back the tears.

LOGAN: You know, I, [he lets out a deep sigh] I knew Lilly was seeing someone. It was driving me crazy. When I left for Neptune, I didn’t know if I was gonna scream at her for treating me like dirt or beg her to take me back.

He looks up at Veronica. He sniffs again then rises to his feet.

LOGAN: And I saw her at the carwash.

VERONICA: [Suspiciously] I didn’t see you there.

LOGAN: Well, I just parked across the street and watched her. And this feeling came over me, you know, I don’t…I don’t know how to describe it but I just knew it was over. So I sat in my car and I wrote this note to her, explaining it.

VERONICA: Did you give it to her?

LOGAN: Yeah, I left it in the car.

VERONICA: With the shot glass.

LOGAN: Yeah, with the shot glass. You know, if you read that letter, you’d know I’d never hurt her.

There is the sound of a car horn and both look over at the source. It’s Keith who gets out of the car and starts running across the sand towards them.

KEITH: Hey! Get away from her! You get away from her, now!

Veronica is relieved. Logan looks down for a moment then gives one of his twisted smiles of inevitably.

LOGAN: I keep thinkin' that things can't get worse, you know? [He backs away from her] You know what? [To Keith] She's all yours.

Keith reaches Veronica and puts his arm around her. Logan walks away.

KEITH: You two are dating?

VERONICA: Not anymore.

Keith takes Backup’s lead and steers Veronica back towards his car. Cut to Veronica in her room, in front of her laptop, staring into space, deeply saddened. From the laptop, “Wannabe” by the Spice Girls is playing.

SONG: I wanna, I wanna, I wanna really really really wanna zigazig ha.
If you wanna be my lover, you gotta get with my friends,
Make it last forever friendship never ends,
If you wanna be my lover, you have got to give,
Taking is too easy, but that's the way it is.
So here's a story from A to Z, you wanna get with me you gotta listen carefully,
We got Em in the place who likes it in your face,
we got G like MC who likes it on an…
Easy V doesn't come for free, she's a real lady, and as for me...ah you'll see,
Slam your body down and wind it all around
Slam your body down and wind it all around.
If you wanna be my lover, you gotta get with my friends,
Make it last forever friendship never ends,
If you wanna be my lover, you have got to give,
Taking is too easy, but that's the way it is.
If you wanna be my lover, you gotta, you gotta, you gotta, you gotta, you gotta, slam, slam, slam, slam
Slam your body down and wind it all around.
Slam your body down and wind it all around.

On the screen, Veronica and Lilly are jumping around, singing along.

VERONICA VOICEOVER: Dad says that though his deputies found the shot glass Logan left for Lilly, the break up letter Logan says he wrote was never discovered. If Lilly wanted to keep it a secret, I have an idea where she would have kept it.

LILLY: [Offscreen] Veronica, you have to check this out.

Flashback to Lilly’s room as Lilly and Veronica lounge on the bed. “Wannabe” is still playing in the background.

LILLY: That guy I met in Italy last summer?

VERONICA: Yeah?

LILLY: He sent me some pictures.

Lilly has moved off the bed and grabbed a chair which she set under the air condition vent.

VERONICA: Doing some rewiring?

LILLY: Celeste is a bit on the nosey side.

VERONICA: Yuck.

Lilly retrieves something and heads back to the bed.

LILLY: Tell me about it. I'm getting even, though. I left phone numbers on matchbooks for Tyrone and Leroy and Chico around the room. Give the woman a little drama in her life.

VERONICA: Wait...who's Tyrone and Leroy and Chico?

LILLY: Beats me, but they seem to really upset Mom.

Veronica looks over Lilly’s shoulder at the photographs in her hands.

VERONICA: Lilly, those are naked photos.

LILLY: They certainly are.

They giggle. Cut back to Veronica staring blankly at the laptop.

VERONICA VOICEOVER: If Lilly kept Logan’s letter, that’s where she would have hidden it. Now, what does one wear to meet the governor?

Cut to later in Veronica’s bedroom. She has clothes strewn around and is dressed in the outfit of a waitress. She is just finished donning a really bad black curly wig and puts on spectacles. Satisfied she heads for the kitchen, checking her phone as she goes. She reaches into the fridge and absently grabs her mother’s water bottle and takes a swig. She chokes and spits out the vodka. Cut to her on the phone.

VERONICA: Hi, the number to the Hazelwood Facility in Soquel?

Cut to the Kanes reception. Waiting staff are wandering around with trays of canapes, serving the guests. Celeste is doing hostess duties, charming a male guest.

CELESTE: Wouldn’t plan it without you, of course. [To a hovering waitress] Dear, just take it over there. We’ll talk to you later.

As Celeste moves off, Veronica, her face hidden from Celeste by the tray she carries, makes her way through.

GOVERNOR SCHWARZENEGGER: [Offscreen] The crab puffs are fantastic.

Veronica continues to thread her way through.

WAITER: Smoked salmon, and the same…

She reaches the door to Lilly’s bedroom, just off from the reception. She dumps the tray on a small table but it is not far back enough on the table and falls to the ground with a loud clatter. She goes back to pick up the tray. Cut to her entering Lilly’s darkened bedroom. She sees the vent and heads for Lilly’s desk, turning on a small lamp. She pulls a screwdriver from her pocket and the desk chair, moving it under the vent. She notices that one of the screws is partially undone. The door of Lilly’s closet behind her moves but she does not notice. She continues the job, removes the screw and starts on the second screw when Duncan bursts into the room.

DUNCAN: Who the hell are you? What are you doing in here?

Duncan tackles her off the chair as she whips off the wig.

VERONICA: Duncan, Duncan, it’s me.

DUNCAN: Veronica! What are you doing?

VERONICA: I’m looking for something.

DUNCAN: Well, shouldn’t you be looking in my room, I mean, that’s where all the clues would be, right? Yeah, yeah, [grabs her by the arms] come on. You didn’t put on a whole costume an-and sneak into my house, just to leave empty handed.

VERONICA: Duncan, stop.

Veronica is struggling to free herself.

DUNCAN: No, come on let's see what you can find out. Really, I want you to. Find out everything. Uh, maybe I left a confession on my Etch-A-Sketch.

Duncan lets her go.

VERONICA: Duncan, Duncan, calm down, okay. I don’t think you killed Lilly, Duncan. I think Logan did.

DUNCAN: No, no way.

VERONICA: He wasn’t in Mexico the day she was killed. Dick and Beaver lied for him. [From the closet, everything can be heard.] He came back early because he found out Lilly was seeing someone, Weevil, I think and he admitted that much, but he said he wrote her a letter on the day she died that would prove his innocence. I remembered Lilly used to hide things in her air vents.

Duncan, shocked by what he is hearing, gazes up at the vent.

DUNCAN: Let’s see what’s in there.

Veronica returns to the vent and completes removal of the grate. She reaches in.

DUNCAN: Well?

She holds out three tapes.

VERONICA: There’s just these.

She hands them to Duncan who studies them as Veronica replaces the grate.

DUNCAN: I’ve got a camera we can play ‘em on.

They leave Lilly’s room and a shadow moves in the closet. Cut to Duncan’s room. He adjusts the television, then stands back with Veronica and presses the remote. The tape starts. It’s the same room in the pool house that Veronica found the videotaping equipment in 1.21 “A Trip to the Dentist”.

DUNCAN: Where’s this?

VERONICA: Logan’s. The pool house.

Lilly appears on screen.

VERONICA: That’s her pep squad outfit. This…this is the day she died.

LILLY: Come here, lover. Time to earn your keep.

Lilly lounges back on the bed, looking up. Like Veronica, she spots the camera in the fan and the one in the statue at the head of the bed.

DUNCAN: What?

The tape cuts out.

VERONICA: See the other tape.

Duncan goes to the camera and swops tapes.

DUNCAN: This one’s dated October 1st.

He returns to Veronica’s side and point the remote. This time. Lilly is lying on top of someone in the bed. Duncan is uncomfortable but forces himself to watch. After a few different camera angles, the someone’s face appears on screen.

VERONICA: Oh my god.

DUNCAN: Mr Echolls?

Duncan freezes the tape on Aaron as he knowingly poses for the camera. Veronica and Logan are both shocked. Veronica flashes back to the carwash.

LILLY: I’ve got a secret. A good one.

Veronica races back to the present and starts to hyperventilate, stepping back to sit on the bed, her mouth agape.

DUNCAN: Veronica?

Duncan sits next to her.

VERONICA: I know what happened. I know what happened.

Flashback to Lilly at the pool house on October 3rd, lying on the bed, looking at the fan. She spots the camera and investigates, finding the videotaping equipment.

LILLY: [Whispers] Oh, you dirty dog.

Lilly takes the tape in the machine and the ones left lying on top and exits. Aaron makes his entrance through the Echolls family curtains.

AARON: [Sing-song] Lilly.

He sees she’s gone and sees the bookcase open, exposing the cameras. He checks and discovers the tapes gone. Cut to Lilly driving home, running a red light and amused by the whole thing. Cut to her in her room, stashing the tapes in the vent. She then grabs a magazine and a bottle of screenblock and exits her room. Cut to Aaron, coming around the corner of the house to the pool area where Lilly has set her things down of a small table.

AARON: I want those tapes back!

LILLY: Mr. Echolls, hi! Sorry, Logan's not here.

AARON: I am not playing with you.

LILLY: Oh, really. Well, you're usually very interested in playing with me.

AARON: Lilly, give me the tapes, now.

LILLY: Like, what, you don't see yourself enough on film?

AARON: I want those tapes, you stupid little bitch.

Aaron is now furious and grabs her arm. Lilly breaks free.

LILLY: Oh, I’m the stupid one? Well, now you can just watch the tapes on “Access Hollywood” along with the rest of America.

Lilly dismisses him and turns her attention to readying herself for sunbathing. Aaron picks up a large, heavy ashtray from the table and swings hard just as Lilly looks up at him. He connects and Lilly, dead, goes flying. Aaron walks over to her, sees what he’s done and looks around in a panic. He wipes the ashtray with his dark t-shirt and throws it in the pool. He runs off. Lilly lies there until Duncan comes home. He sees her and races to her.

DUNCAN: Lilly! Lilly! Oh my god. Oh my god. No, no, no, Lilly,

He reaches her and cradles her body, burying his face into her hair, smearing himself with her blood.

DUNCAN: Lilly. Lilly, Lilly, come on. Come on. Lilly, wake up! Lilly, wake up. Wake up. My god, wake up. Lilly, wake up.

Celeste and Jake come out of the house at which point Duncan is in shock and rocking with Lilly in his arms. They run to them. Celeste screams.

JAKE: Duncan! Duncan, what have you done? What you done? Lilly! Honey, baby. What have you done? What have you done?

Jake grabs the front of Duncan’s shirt.

CELESTE: No!

JAKE: What did you do?

CELESTE: No!

JAKE: Honey, honey…

Cut back to Duncan and Veronica.

DUNCAN: Could he really do it?

VERONICA: He’s psychotic. I watched him beat a guy into a bloody mess and then ask Logan how his school day was. He beats Logan, you know?

Duncan nods.

DUNCAN: He’s here. Now. He came to meet the governor.

Veronica grabs the tapes.

VERONICA: I have to get these tapes to my dad. Will you help me? You keep Aaron in your sight at all times until I call you.

DUNCAN: Yeah, of course.

Veronica reaches the door. Duncan stands and calls after her and she pauses.

DUNCAN: Hey! Be careful, okay.

Veronica walks a short way back into the room.

VERONICA: My dad had a paternity test. [Smiling] I’m not your sister.

Duncan does a double take. Veronica gazes at him a moment longer then hurries away. Cut to her heading for her car, speaking on her cell phone.

KEITH: [Offscreen] Hi, sweetheart.

VERONICA: Dad, it’s Aaron Echolls. He did it.

Cut to Keith at the apartment.

VERONICA: [Offscreen] I have video of Lilly in his bed on the day she died, they were having an affair.

KEITH: Where are you?

Cut back to Veronica.

VERONICA: I’m just leaving the Kanes.

Cut back to Keith.

KEITH: No, you stay put. I’ll be right there.

VERONICA: [Offscreen] No Dad, he’s here.

Cut back to Veronica.

VERONICA: He’s talking to the governor. Duncan’s gonna keep an eye on him, I’ll be home in…

Cut back to Keith, very concerned.

VERONICA: [Offscreen] …ten minutes.

KEITH: All right, you come straight home, you don’t stop for anything.

VERONICA: Okay.

Cut back to Veronica as she disconnects the call. She punches in another number, never slowing her pace. Cut to the night skyline with the Coronado Bridge in the foreground. Garbage returns with “Bad Boyfriend”.

SONG: I´ve got a fever
Come check it and see
There´s something burning and rolling in me
We may not last but we´ll have fun till it ends
C´mon baby be my bad boyfriend
I wanna hear you call out my name
I wanna see you burn up in flames
Keep you on ice so I can show all my friends
Ah, c´mon baby be my bad boyfriend

Logan is teetering on one foot on the edge of the bridge railing. He has his flask and sprinkles some of the contents onto the water below, watching with fascination. He ignores the ringing of his cell phone in his car, abandoned behind him on the bridge. His answer machine starts.

LOGAN: You’ve reached Logan and here’s today’s inspirational message: Adversity is the diamond dust with which Heaven polishes its jewels.

Veronica disconnects in frustration. Cut back to Logan. He takes a swig from the flask as motorcycles approach and pull up around his car. He looks over with amused interest as Weevil takes off his helmet.

LOGAN: [Laughing and drunk] Seriously, what do you-what do you think you can do to me, huh?

WEEVIL: [Not amused] I’ll think of something.

Logan turns, still balanced on the edge, and takes up a “Matrix” pose, beckoning Weevil to bring it on. Cut to Veronica, driving in her car. Her cell rings.

VERONICA: Hey.

Cut to Duncan, in a panic.

DUNCAN: I can’t find him.

Cut back to Veronica.

VERONICA: Did you ask around?

Cut back to Duncan.

DUNCAN: I’ve been asking everyone but no one knows where he is.

Cut back to Veronica.

VERONICA: Thanks, well…call me if you find him.

Cut back to Duncan.

DUNCAN: Let me know when you get home, okay?

VERONICA: Okay.

Cut back to Veronica.

VERONICA: Bye.

Veronica disconnects and tosses the phone onto the passenger seat. She continues driving down the dark road. She looks in the rear view mirror and as she passes through moonlight, Aaron’s face appears in it. She screams and fights to keep control of the wheel. Aaron leans forward from the back seat.

AARON: Keep driving.

Veronica is terrified, each breath a strangled sob. She goes to grab her bag on the passenger seat but Aaron snatches it away from her.

AARON: Nuh, uh, uh, uh. Driving.

Aaron rifles through the bag and finds the tapes.

AARON: Oh. I’ve been looking for these.

He sits back in his seat. Veronica tugs on her seat belt to lock it, then swerves and crashes into a tree. Both are unconscious. Veronica’s phone is ringing. Her eyelids flicker. Cut to Keith who gets Veronica’s answer message.

VERONICA: [Offscreen] It’s Veronica. Leave me a message.

Keith worriedly puts down the phone and checks his watch.

LIANNE: Is everything okay, Keith?

KEITH: Yeah, it’s fine. I’ll be back soon.

He grabs his jacket and leaves. Cut to Veronica regaining consciousness. She jerks her head up from the steering wheel and sees Aaron, throw into the front seat, his head resting on the dashboard. Sobbing, she gingerly reaches into his pockets and retrieves the tapes. Her phone is on the floor under him and she carefully reaches down, underneath his body, to grab it. Aaron coughs and she jumps, pulling her hand back. She gets out of the car and looks around, She sees the lights of a house nearby. She runs towards it. She reaches the front door and knocks frantically.

VERONICA: Hello! Hello! Is anyone home? Help me, please! Hello?

She turns to run to the side of the house, glancing back at the crashed LeBaron. The passenger door is now wide open and Aaron is gone. With renewed fear, she runs round the side, dropping one of the tapes in an old washing machine and another in a barrel. She gets to the back of the house.

VERONICA: Hello? [Crying] Is anyone here?

She looks around for something to throw at an upstairs window but settles for the third tape. It lands on the roof of the veranda. She backs up to see it, nearly falling off the decking over a steep drop. She grabs the banister and sees a light come on upstairs. She runs to the sliding glass door of the house, banging on it frantically..

VERONICA: Hello? Let me in! Let me in! Please, open the door. Please, let me in.

The curtain is pulled back and a man appears at the door.

VERONICA: Please, please let me in!

There is a thump and the man seems to disappear, the curtain falling back. The door slides back, the curtains opens and it’s Aaron, fist aimed directly at her. All is blackness as Veronica comes to again, sobbing. Aaron’s voice crackles out.

AARON: [Offscreen] Veronica? You're an odd duck. Hey, how many teenage girls keep walkie-talkies in their car?

Aaron’s left her with a walkie talkie which when activated, casts a red light. Veronica is entombed in a some kind of container, with little room to move. She tests out her prison. There’s no way out.

VERONICA: What have you done to me?

AARON: [Offscreen] Veronica, dear. Where are my tapes?

Cut to Aaron. He is sitting on top of Veronica’s prison, a discarded refrigerator.

AARON: I'll let you out as soon as I have my tapes back.

Cut back to Veronica, still testing the container.

VERONICA: No, thanks. Honestly, I feel safer in here.

Cut back to Aaron who jumps off the fridge. The back porch is a veritable junkyard.

AARON: Well you know, you shouldn't.

Aaron finds a can of petrol. Cut to Keith, driving on the dark road, peering left and right. Cut back to Aaron as he pours the petrol all over the fridge and makes a trail along the porch.

AARON: You wanna know something about Joan of Arc, Veronica? Huh? God didn’t really talk to her. Uh-uh. It’s true, I saw it on TV. You know, it was one of those historical forensics programmes. And they decided she had a brain tumour. Burned alive. What a waste. She thought her death meant something. But all it meant was she was crazy. [Whispers evilly] Think about that. Veronica. Where are the tapes? [Screams] Where are the tapes?

Cut to Keith getting out of his car. He has found the LeBaron. He looks around. Cut back to Aaron.

AARON: [Whispering again] Veronica, where are the tapes, Veronica. [Screams] Where are the tapes? [Screams and kicks the fridge] Where are the tapes? You know, Lilly never told me where the tapes were hidden either. I-I kinda think there's a cautionary tale in that, Veronica. Something like I'm not going to let a seventeen year-old piece of ass [Screams] ruin my life!

Veronica sobs. Aaron paces then hears her on the walkie talkie.

VERONICA: [Offscreen] They’re on the roof, I put ‘em on the roof. Please let me out of here.

Aaron climbs up to the roof. He finds the tape Veronica threw up there and then hears Keith calling out.

KEITH: Veronica! Veronica!

Keith appears under Aaron on the porch, gun drawn.

VERONICA: [Offscreen] Dad?

Keith hears her from the walkie talkie and looks up. Keith sees Aaron on the roof, but it's too late. Aaron leaps from the roof onto Keith, and they tumble into some lawn chairs. Getting up, Keith immediately grabs Aaron in a headlock, but Aaron struggles, propelling them both into a barbecue grill. Inside the refrigerator, Veronica listens to the sounds of the men fighting. Aaron smashes a bulb on Keith's head and breaks free, and now he has the upper hand. He throws any object he can find at Keith, who tries to dodge but ends up taking quite a few hits, including several by a large toy pony. This is just as brutal as Aaron's attack on Trina's abusive boyfriend in 119 “Hot Dogs”, but without the ironic musical accompaniment. As Keith is kicked to the ground, Veronica can only listen. But now it's Keith's turn to use an unconventional weapon: a crutch. He whacks Aaron with it before pressing it against his chest and using it to push him into some shelves. Throwing the crutch away, Keith finally uses his hands, and Aaron follows suit. The men grab at each other's faces for a few moments before Aaron punches Keith in the stomach, throws him into the shelves, and then tosses him onto the ground. Veronica gasps, not knowing who's losing the fight now. It looks to be all over for Keith as Aaron raises a piece of wood to deliver the final blow, but Keith quickly grabs a metal rod from the ground and hits him in the part of his anatomy his action figure doesn't have. Aaron falls, as any man would, and Keith punches him in the face to finish him off. Well, one more time won't hurt. Hey, let's go for three. But it's Aaron who has the last laugh. Calmly taking a lighter out of his pocket, he flicks a flame into life and tosses the lighter away. The gasoline lights immediately and Veronica is now trapped inside not just a refrigerator, but a flaming refrigerator ringed with flames on the porch. Keith rises to his elbows

AARON: [Laughs] She’s in the fridge, Keith. You might want to check up on her.

Veronica bangs on the inside of the fridge, crying and choking. Keith races to the fridge but is beaten back by the flame. Aaron scurries away.

KEITH: Hang on, honey.

Keith holds up his arms to protect himself but his arms and legs are already on fire when he gets to the refrigerator and lifts it to release Veronica. She rolls out, choking and coughing. Keith stumbles back and falls into the flames. Veronica pulls him up and past the ring of fire onto an unaffected part of the porch. He is ablaze and falls again. She looks round frantically and finds a tarpaulin which she uses to beat out the flames. She cries and holds him.

VERONICA: I love you. I love you so much. I knew you’d come, I knew you’d save me. Dad.

Keith is in bad shape and can only try to breathe. Cut to Aaron, who has made it back down to the road. He finds Veronica’s bag still in the LeBaron and grabs keys out of it. He runs to Keith car and gets in the driver’s seat. He puts the keys in the ignition but pauses…

BACKUP: Grrrr....

Backup is in the back seat, his head coming forward between the bucket seats in the front. He goes for Aaron’s right arm. Aaron struggles and finally wrenches himself free, jumping out of the car and slamming the door behind him. The window isn’t open wide enough for Backup to pursue, so he barks at Aaron, staggering disoriented in the road. Aaron hears something, looks up and…bang, he’s knocked over by a large van bearing the company name Thomas and decorated by a lilly in full bloom. He flies over the side of the truck and is left lying in the road, badly hurt. The driver screeches to a halt and gets out of the van, heading towards him.

DRIVER: I’m sorry, man, I didn’t see you, you were in the middle of the street. Oh my god, you’re Aaron Echolls.

AARON: [In a stuttering whisper] Help me.

The driver bends down to him.

VERONICA: [Offscreen] Don’t touch him.

The driver looks over his shoulder and sees Veronica, pointing Keith’s gun at Aaron.

VERONICA: Do you have a cell phone?

DRIVER: [Offscreen and awed] Yeah.

VERONICA: Call 911. We need an ambulance, the police and the fire department.

Cut to an overhead of the scene, later. Ambulances and police vehicles are present.

RADIO: Rescue one. Engine five one respond. What's your ETA?

Keith is being wheeled past fire engines on a gurney. Veronica is at his head.

VERONICA: You mean the world to me, do you understand that? Are you listening to me?

KEITH: Hey, who's your daddy, huh?

VERONICA: [Half sob, half laugh] I hate it when you say that.

Keith groans and smiles. Near one of the ambulances, the man from the house is being treated for the head wound Aaron caused. Aaron himself is still on the ground but he is on a stretcher and hooked up with neck brace and oxygen. A deputy stands over him.

DEPUTY: Aaron Echolls, you have the right to remain silent. Anything you say will be used against you in a court of law. You have the right to an attorney.

As Aaron is read his rights, Jake and Duncan pull up in a Range Rover. Lamb and another deputy watch as he heads towards Aaron.

DEPUTY: [To Aaron] If you can’t afford an attorney, one will be appointed to you. Do you understand these rights?

Duncan makes to run forward with his father but Jake puts out his hand, making it clear that Duncan should stay where he is. Jake races to get to Aaron.

JAKE: You killed my daughter. You killed my daughter…

A couple of deputies rush to intervene.

DEPUTY: Sir!

JAKE: …and you’re gonna pay for it. I’ll watch you frying. I’ll destroy your family and everyone you ever loved. You killed my daughter!

The deputies have to work hard to force the increasingly agitated Jake back.

LAMB: Jake Kane.

JAKE: You killed my daughter! I’ll watch you fry, Aaron.

LAMB: You are under arrest for obstruction of justice. You have the right to remain silent.

Jake is taken back, struggling, towards his own car. Veronica watches.

JAKE: My daughter, my daughter. My daughter, my daughter.

Duncan and Veronica share a long look across the chaos. Cut to the hospital as Veronica sits by Keith’s bed.

INTERCOM: Harriet Monk, physiotherapy. Dr Harriet Monk, physiotherapy.

Veronica is looking pretty beaten up, the bruise of Aaron’s punch to her face starting to darken. A doctor enters the room

DOCTOR: He’ll be fine.

VERONICA: When?

DOCTOR: Eventually, just be patient. And you need to get some rest.

VERONICA: I won’t let him wake up and find himself alone.

DOCTOR: Is there anyone that we can call?

Veronica thinks for a moment then nearly smiles. Cut to her entering the apartment. Lianne, looking at what appears to be an account book in Keith’s room, runs into the lounge.

LIANNE: Honey? What happened? Are you okay? Where’s your father?

Lianne goes to touch Veronica’s bruise but Veronica pushes her arm away.

VERONICA: He’s in the hospital.

LIANNE: What?

VERONICA: He’s gonna be okay.

LIANNE: What, Veronica, what happened?

VERONICA: [Voice wavering but strong] It’s over now and I’ll tell you the rest in the morning. But first I need you to pack.

LIANNE: What? What do you mean?

VERONICA: You can’t be here when dad comes home.

LIANNE: Veronica.

VERONICA: [Upset] I know, Mom. I know you're not through drinking, I know you didn't even finish rehab. You checked yourself out and that was my college money. I bet on you, and I lost. I've been doing that my whole life. And I'm through.

Veronica walks past Lianne, who spins her round to face her.

LIANNE: Veronica...it's not easy.

VERONICA: [Equally upset] I know it's not.

Veronica removes her mother’s arm from her own and turns to go to her bedroom. Cut to Keith waking up at the hospital. A hand is resting gently on his shoulder.

KEITH: Hey you.

Alicia is in the chair next to his bed and smiles. She leans over close to him.

ALICIA: Veronica didn’t want you to be alone.

Cut to Veronica who lays down on her bed, exhausted. Cut to Lianne, in her coat. She unzips one of the pockets of Keith’s briefcase and takes out the cheque for $50,000. She takes it and, with her suitcase, she leaves the apartment. Veronica sleeps and Cotton Mather’s “Lily Dreams On” plays.

SONG: Lily I hope you picture me in your dreams
Put down your King James Bible, You don't need no kings
Close you eyes, baby I'll dry mine
Echoes through the phone
Far from this, Lily dreams on
Think back to fields of Catherine, you used to play
I swore I heard you laughing
And almost say

Veronica dreams. She and Lilly drift on lilos in a pool filled with floating lilies. All is serene and blue green and cream and both wear pink bikinis.

VERONICA: Isn't it better, like this?

LILLY: So much better.

VERONICA: This is how it's supposed to be.

LILLY: Totally.

VERONICA: This is how it's gonna be. From now on. Right? Lilly?

LILLY: [Sighs deeply] You know how things are gonna be now, don't you? You have to know.

VERONICA: [Hopeful] Just like this. Just like this.

LILLY: Don't forget about me, Veronica.

Veronica is alone in the pool. A tear runs down her face.

VERONICA: I could never.

There’s a knock at the door. Veronica wakes and looks at the clock. It shows 3:07. It is not clear whether it is am or pm. She opens the door slowly and smiles fondly.

VERONICA: I was hoping it would be you.

Fade and end.

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Next page: Season 2