2.11 Donut Run

Written and directed by: Rob Thomas

Original Air Date: 25 January, 2006
Transcribed by Inigo and Kiwikazoo.

VERONICA VOICEOVER: Previously, on Veronica Mars...

Veronica stares down at the unconscious, pregnant Meg in episode 209 "My Mother, the Fiend." Cut to Duncan and Veronica in the lunch area at Neptune High in episode 210 "One Angry Veronica."

DUNCAN: This has nothing to do with us.

VERONICA: No, your secret illegitimate child affects neither you nor me.

Stewart Manning stands over Veronica and Duncan with a baseball bat and complains to Lamb in episode 207 "Nobody Puts Baby in a Corner."

MR. MANNING: We found them in my daughter's room.

VERONICA: We were trying to help Grace!

MR. MANNING: Shut up!

VERONICA: They've been abusing her, they had her locked in the closet!

MR. MANNING: Shut your evil little--

From her hospital bed, Meg expresses her concerns about the baby in episode 210 "One Angry Veronica."

MEG: Their adoption contracts are all about religious indoctrination. When I think of my child brought up like that...

Veronica listens in horror. Cut to Celeste and Astrid facing Duncan and Veronica at his suite at the Neptune Grand in episode 209 "My Mother, the Fiend."

CELESTE: Astrid, if you're done gaping...

Flash forward to Veronica and Astrid in Duncan's bedroom.

VERONICA: How can you put up with her?

ASTRID: She promised to pay my way through grad school.

CELESTE: We're leaving. Now.

Cut to Keith sitting on Veronica's bed, giving her the bad news from episode 210 "One Angry Veronica."

KEITH: Honey, there's something I need to tell you. Meg died.

VERONICA: The baby?

KEITH: She survived.

Keith hugs a tearful Veronica. End previously.

INT - NEPTUNE GRAND HOTEL, LIFT.

Logan's hand presses the button marked "PH." Just as the doors are closing, footsteps can be heard running towards the elevator. It's Veronica, dressed in her Java the Hut uniform. She pushes the doors back open. She sees Logan. She boards without acknowledging him, moving to the back, next to him, turning to face the doors, which are sliding shut again. She crosses her arms.

LOGAN: [lightly] Hi ho.

Veronica considers this a moment before deciding to take offence. She turns her head to glare at him.

VERONICA: What did you say?

LOGAN: [innocently] Oh, your uniform. Hi-ho, it's off to work you go.

Veronica considers this for a moment before smiling.

VERONICA: I guess that makes me Snow White.

LOGAN: You must be on your way up to see Mopey.

VERONICA: How's he doing, Sleazy?

LOGAN: Wouldn't know, he doesn't come out of his room. Old Italian ladies don't grieve like this.

He smirks.

LOGAN: Boy, he must've really loved Meg.

VERONICA: Well, then there's that other thing. You know, he can't see his baby.

LOGAN: A baby? How'd that happen?

Veronica doesn't rise to the bait.

INT - NEPUTUNE GRAND HOTEL, PRESIDENTIAL SUITE.

Veronica opens the door into the suite and stands back, gesturing for Logan to precede her into the room. He walks in and past her, and she shuts the door. Logan stops in the lounge area, taking off his jacket, as Veronica passes him to go to Duncan's bedroom.

LOGAN: There she goes, the angel of mercy. Time to fake the donut.

He falls onto the couch. He turns his head to observe Veronica, who has entered Duncan's bedroom, but stands transfixed by the entrance..

LOGAN: Uh oh. Did you catch him waxing his board?

Veronica is frozen, looking towards the room's bathroom. The sound of a shower ceases.

VERONICA: What are you doing here?

Kendall emerges from the shower, wrapped only in a towel. She is momentarily nonplussed to see Veronica, but recovers quickly.

KENDALL: I was invited. How 'bout you?

Veronica turns on her heel and walks out of the room and the suite. Logan, bemused, gets up from the sofa and walks into Duncan's room. Kendall has her back to him, having ditched the towel, and is just slipping into a bathrobe. He smirks broadly.

LOGAN: Lost?

Kendall turns to face him.

KENDALL: Oh, quit standing there so smug. Tomorrow you're just gonna call me at two in the morning saying you want some company. For your information, that really doesn't satisfy me, Logan.

LOGAN: Really? You always come.

Kendall adopts a sardonically rueful expression and nods her head slightly as she turns away.

EXT - NEPTUNE HIGH SCHOOL (NHS) - DAY.

Veronica gazes intently as students arrive at school. Dick comes to stand next to her, watching out with her.

DICK: Logan told me what happened.

Veronica frowns a little.

DICK: You gotta let it go, Ronnie.

Veronica turns to glare at him.

DICK: Take a deep breath, let it go.

Veronica makes a "whatever" face and resumes her vigil.

DICK: If you're gonna date an heir to billions, the occasional afternoon quickie...

She looks back at him again.

DICK:...you gotta let it slide. Cost of doing business, you know? Seriously, girls like Kendall, they let you do things that girls like you...

Veronica raises an eyebrow.

DICK: Well, let's just say you should be thankful. Vile stuff, you know. Really vile stuff.

VERONICA: Move, Dick.

DICK: Just tryin' to be helpful.

Dick backs away. Veronica turns back to observe the crowd and sees Duncan. With an unhappy but determined look on her face, she walks forward to meet him. Duncan, who doesn't look pleased to see her, slows to a halt.

VERONICA: So, where were you yesterday?

DUNCAN: I stayed home.

VERONICA: No you didn't. I came by.

Duncan starts slowly forward and Veronica follows.

DUNCAN: I stayed home, then in the afternoon I went for a drive.

VERONICA: I called your cell ten times.

DUNCAN: I had it turned off.

VERONICA: Yeah, I figured that out.

DUNCAN: [frustrated] God, what's your problem? I needed some time to think.

Veronica brings them to a halt again, turning to face Duncan.

VERONICA: [angry] My problem? Starts with finding Kendall in your shower.

There are students all around them, witnessing their argument.

DUNCAN: Kendall? She probably got the bedrooms confused.

VERONICA: Don't lie to me! I trusted you the first time, but not anymore. I'm nobody's fool.

The students behind Veronica, sitting around the flagpole, are captivated by the drama.

DUNCAN: Perfect. Meg's dead, I can't see my daughter, but by all means, Veronica, let's make this about you. Why shouldn't be like any other day?

Veronica is close to shouting.

VERONICA: God, shut up about Meg already! I'M alive! I'M your girlfriend!

Duncan blows out a heavy breath.

DUNCAN: [calmly] Not anymore.

Duncan turns and walks away. The crowd make a collective "Burn!" sound, as Veronica's mouth falls open.

INT - MARS RESIDENCE.

Veronica chooses a CD from her bookcase. She pulls out the soundtrack to "The Virgin Suicides." She loads her player. Music: "How Can You Mend a Broken Heart" by Al Green.

LYRICS: I can think of younger days when living for my life
Was everything a man could want to do
I could never see tomorrow
I was never told about the sorrow
And how can you mend a broken heart?

In the kitchen, Keith pauses as he is making a sandwich. He looks towards the door to Veronica's room, hearing the music. In her room, Veronica is lying on the bed, staring up at the ceiling. Cut to Veronica as she opens her bedroom door and comes out into the front room. Keith is sitting on the couch, reading the paper and stroking Backup, who is lying on the couch next to him. He watches Veronica as she silently and listlessly gets a bowl, cereal and milk, and takes them to her room. She slams the bedroom door shut with her foot. Keith sighs before returning to his reading. End music: "How Can You Mend a Broken Heart" by Al Green. Music: "The Air That I Breathe" by the Hollies.

LYRICS: Nothing to eat, no books to read
Making love with you
Has left me peaceful, warm and tired
What more could I ask
There's nothing left to be desired
Peace came upon me and it leaves me weak
So sleep, silent angel, go to sleep
Sometimes, all I need is the air that I breathe
And to love you
All I need is the air that I breathe
Yes to love you

Keith lies in bed listening to the music. He finally gets up and a shot of his clock, sitting in front of a picture of a very young Veronica, shows that it is 6:27 in the morning. In her bedroom, Veronica is sitting cross-legged on the floor, surrounded by pictures and memorabilia of herself and Duncan. She is taking a picture of the two of them out of its frame.

KEITH: [offscreen] Veronica?

VERONICA: Sorry! I'll turn it down.

KEITH: [offscreen] I'm coming in.

Keith enters her room behind her. She doesn’t turn around.

KEITH: Honey...

VERONICA: I'm okay.

Keith kneels down behind her, looking over her shoulder at the items on the floor.

KEITH: You remember I'm a detective, right? A pretty good one?

Veronica glances back towards him briefly.

VERONICA: Duncan and I broke up.

KEITH: Yeah, I got that. Is there anything I can do?

Veronica shakes her head.

VERONICA: Thanks. Really, I just need some time.

She sighs heavily.

KEITH: Anything you need, honey, I'm here.

Veronica looks crushed. She turns her head and gives Keith a watery smile. Keith smiles back, stands and leaves the room. Once the door is closed, the camera closes in on Veronica's devastated face. She swallows hard. End music: "The Air That I Breathe" by the Hollies.

INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE.

Weevil stands in front of the large piece of art that decorates the lounge area.

WEEVIL: It's down to two guys: Hector or Bootsy.

Logan is leaning against the display case, nursing a cup.

WEEVIL: One of them stabbed Felix. Thumper says they were the only two left on the bridge with you and him.

LOGAN: So how we gonna figure out who did it?

WEEVIL: The one that did it is the one who's in business with the Fitzpatricks. He's got a pipeline of coke, meth, and E. You know anyone who can--

LOGAN: Yeah. I'll handle it.

Weevil nods.

INT - MARS RESIDENCE - DAY.

Music: "I Don't Want To Wait" by Paula Cole.

LYRICS: I don't want to wait for our lives to be over
I want to know right now what will it be

Veronica is lying on the floor, stroking the underside of Backup's neck as the dog licks her face. A light comes on and Veronica glances up before returning to staring into space.

WALLACE: [offscreen] Oh, that's just pathetic.

The shot widens to show Wallace standing at the door to Veronica's room. He strides in, heading straight for the CD player.

WALLACE: Up! Get up!

He snaps off the machine. End music: "I Don't Want to Wait" by Paula Cole.

WALLACE: I came over here to see Veronica Mars. Who's this...emo girl?

VERONICA: Leave me alone, I'm wallowing.

Wallace makes a cut-throat gesture.

WALLACE: Not anymore.

Wallace sits down on the chair at Veronica's desk.

WALLACE: We're going out. We gotta go see a movie, or get in a bar fight, or something.

VERONICA: I don't wanna get it a bar fight.

WALLACE: Tough, 'cause you're goin' if I have to drag you. But, before we do...Veronica! Shower! You smell bad.

VERONICA: You're not helping. You think you're helping, but you're not.

Wallace pulls a ticket from his back pocket.

WALLACE: You'll be needing this.

Veronica finally rolls over to face Wallace, holding herself up on her elbow.

VERONICA: And what's that?

WALLACE: A ticket to tomorrow night's basketball game.

VERONICA: Ah, he reveals his true colours.

WALLACE: That's right. I bleed the gold and green. [in an increasingly "Arr" pirate accent] I'm a Pirate born, a Pirate bred. And when me die...

VERONICA: A Pirate dead? Big talk from a guy who only moved back to Neptune to play ball.

Wallace grins.

VERONICA: If your Chicago high school hadn't their tryouts last year, you'd still be there.

WALLACE: And if "if"s and "but"s were candy and nuts, we'd all have a Merry Christmas.

VERONICA: What does that mean?

WALLACE: No clue. Something my mom says.

KEITH: [offscreen] Veronica, can you come here?

Both Veronica and Wallace get up and walk out of the bedroom. Veronica sees Keith at the door of the apartment. Lamb is there, staring at her, another deputy at his side.

KEITH: Honey, Duncan's missing.

VERONICA: What do you mean, he's missing?

KEITH: He's taken--

LAMB: He's kidnapped the Manning baby. But you already know that, don't you?

VERONICA: What?

LAMB: Veronica Mars, you're under arrest as an accomplice in the abduction, in the disappearance of Faith Manning.

Veronica looks astonished and glances at Keith. Lamb holds up handcuffs. Keith swallows and stares at his daughter. Behind her, Wallace reacts silently as Veronica frowns at Lamb.

Opening credits.

INT - SHERIFF'S DEPARTMENT.

There's a line-up going on. The camera pans across the faces. The first woman looks like a sleepy hooker, the second smiles inanely, the third is a tall business-like woman or possibly a transvestite, the fourth has a Courtney Love vibe, and the fifth is Veronica, looking gob-smacked. Veronica looks down the line.

OFFICER: [offscreen] Number five, step forward.

The camera pulls back to the whole line-up. Cut to a little later. Veronica is in one of the interrogation rooms, her head resting on her hands on the table. The door behind her opens and two men walk in. They take the seats on the other side of the table.

VERONICA: What was that all about?

It is Keith, looking very serious, and Cliff, jacketless and looking harried.

CLIFF: You were picked out of the line-up by a merchant from the L.A. jewellery district.

VERONICA: Oh.

KEITH: What do you mean, "Oh"? I was expecting shock and indignation.

Keith is unsettled by her reaction.

VERONICA: Yeah, I know what they must be thinking.

CLIFF: The witness claims you sold him some five-carat diamond earrings for eighty thousand dollars. Earrings that belong to Celeste Kane. The sheriff thinks you're an accomplice, and that you helped Duncan plan and finance this kidnapping.

VERONICA: That's a lot of thinking for Lamb. He may tire himself out.

Keith bangs on the table and Veronica jumps in her seat.

KEITH: This is not a joke. This is kidnapping. What Duncan's done is wrong and if you've helped him in any way you're going to prison. Now straighten up.

VERONICA: I did sell the earrings, Duncan asked me to. But not to finance a kidnapping. We had a plan.

KEITH: A plan?

VERONICA: A plan to get custody of the baby. Legally. Duncan wanted to hire a lawyer, but he needed money.

CLIFF: Did you know the earrings were Celeste's?

VERONICA: I didn't ask.

KEITH: Veronica.

VERONICA: I figured they were, but his parents didn't want Duncan adopting. Celeste isn't quite ready to be a grandmother.

KEITH: Veronica, listen to me clearly. You're gonna cooperate with Lamb. You're going to answer every question he asks, truthfully. And when Duncan Kane is found — and he will be found — there's gonna be no doubt whose side you are on in all this. Understood?

Veronica stares at Keith. Cut to later. Sacks opens the door to Lamb's office. A resigned-looking Veronica is behind him.

SACKS: Here's Veronica for you.

Lamb looks up as Veronica enters the room. His visitors also watch her. It's Celeste Kane and Vinnie Vanlowe..

VINNIE VANLOWE: Hey, Veronica! What's the haps?

VERONICA: Oh, you know. I didn't think there'd be air conditioning, but, other than that, this is pretty much how I pictured Hell.

CELESTE: She knows where my son is, Sheriff, I guarantee it. If she doesn't cooperate fully, I want her prosecuted for her involvement in the theft of my jewellery.

Veronica frowns.

VERONICA: What are you doing here?

VINNIE: Big case, missing person. So where do you got him stashed?

Veronica widens her eyes at him..

LAMB: All right, enough. I'll ask the questions. You're only here as a guest of Mrs. Kane. Mrs. Kane, word of advice: private investigators just make the work of law enforcement officers more difficult. Save your money. We'll find Duncan, we'll bring him in safely.

Celeste gets up to leave.

VERONICA: It's kind of weird, huh. Hoping Lamb is competent, rather than betting he's not.

CELESTE: [to Lamb] Keep me posted on any developments.

Celeste exits, pausing at the door to address Veronica.

CELESTE: I find comfort in knowing the child isn't yours.

VERONICA: Let's hope she's got your smile.

CELESTE: Mr. Vanlowe?

Vinnie, whose feet have been resting on Lamb's desk, makes a great show of pulling them off and getting up from his chair. He too pauses at the door, making the "I'm watching you" gestures at her, last seen in episode 117 "Kanes and Abel's." Veronica just stares at him. He follows up by bringing his thumb and pinkie up to the side of his head in the representation of a telephone. He mouths "Call me," cocks his head and leaves. Veronica rolls her eyes and moves into Lamb's office.

LAMB: Sit.

Veronica does, almost petulant. Lamb pulls a pad of paper out from a drawer and slaps it down in front of her. He drops a pen on top.

LAMB: Write down everything you can think of. You know what I'm looking for. Fake IDs, secret credit cards, hiding spots, favourite restaurants, anyone who might let him borrow a car, or a vacation home...

VERONICA: Let me ask you a question. Do you think the baby is better off now, with Duncan? Or with the Mannings?

LAMB: I should've busted you that night. Now my ass is in a sling if I don't find the Kane kid. You're not going home tonight unless that pad is full. When this is all over, if you left anything off, I will make it my mission to put you in prison as an accessory.

Veronica leans forward, unenthusiastically, and grabs the pen and pad. She glares at Lamb, but starts to write.

INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE.

"Dead or Alive Xtreme Beach Volleyball" is being played on the screen. Hitomi and Kasumi are 2-3 down in a game against Lisa and Lei Fang. Kasumi serves to Lei Fang who returns to Hitomi. Sporadic grunts and cries emanate from the screen as the game goes on. Dick, on the floor, and Logan, on the couch, are playing.

DICK: Dig it out, baby, dig it out. Make daddy proud.

LOGAN: Hey, listen, I need you to do me a favour.

DICK: It's not that favour Bobby Brown does for Whitney, is it?

Logan laughs (as he is not asking Dick to ease his constipation).

LOGAN: No.

DICK: Yeah, then whatev.

LOGAN: Yeah, I need you to try to buy some Ecstasy from a couple PCHers.

DICK: Yeah, no sweat. I'm like this...

He crosses his fingers.

DICK: ...with those guys.

Dick's team loses the point.

DICK: Oh, no, honey. Bad set, bad set. Don't make daddy hose you down.

Logan smiles and looks down at Dick.

LOGAN: You're not real complicated, are you, Dick?

Dick shrugs slightly.

DICK: Try not to be.

INT - SHERIFF'S DEPARTMENT.

Veronica finishes writing. She slaps the pad and pen on the desk.

VERONICA: That's everything.

She takes her jacket off of the chair and rises to leave. Lamb picks up the pad.

LAMB: Better be.

Veronica glances back at him before walking out of the office. She exits the sheriff's department part of the building, emerging into the hallway. Vinnie is doing vertical, one-handed push-ups off the drinks machine. Veronica pauses.

VERONICA: Waiting for your girlfriend to make bail?

VINNIE: No, no, no. Her shift ends at five. I'm waiting for you, V-dog.

They walk towards each other, meeting halfway.

VERONICA: What for?

VINNIE: I thought maybe you'd tell me where you're keeping Duncan, save us all some time, you know, earn some karma points.

VERONICA: I have no idea where he is, and if I did, you would be the...

Veronica counts on her fingers.

VERONICA: ...last person I'd tell.

VINNIE: Am I hearing you right? Because you'd tell Osama bin Laden before you'd tell me? Because back in my day, we had a little thing called patriotism.

Vinnie salutes. With a look of disgust, Veronica moves to pass him. He puts out his arms to detain her.

VINNIE: Here, hold on, hold on, hold on. It's negotiation, right? Okay, let's say I sweeten the pot. Let's make it...

He looks around surreptitiously.

VINNIE:...five thousand dollars, the karma points are yours to keep, and if you act now, I'll throw in a free set of steak knives.

Veronica uses crazed sign language to get Vinnie to understand what she is saying.

VERONICA: I don't know where he is.

She walks away as Vinnie calls after her.

VINNIE: All right, say no more. I gave it a shot. Can't blame a guy for that.

Vinnie heads in the opposite direction, satisfied with the encounter. Having disappeared around the corner, Veronica returns.

VERONICA: Hey, Vinnie! Dropped your pen in my bag.

Vinnie makes a "Caught" face before turning back to face her.

VINNIE: You sure it's mine? I don't think I'm missing a pen.

Veronica examines it closely, reading from the casing.

VERONICA: "Sugar's Cabaret Invitational Long Ball Championship."

Veronica pulls a face and starts to unscrew the pen, much to Vinnie's disappointment. Inside, a wire protrudes from the ink cartridge, indicating that it is a bug.

VERONICA: Pretty sure it's yours.

With a half-smile, Veronica screws the pen back together and tosses it to him. He reaches up to catch it in high arc. Veronica turns to go again.

VINNIE: Veronica.

She pauses, somewhat impatient.

VINNIE: Seventy-two hours from now, I'm gonna have that kid back. And you'll wish you had those steak knives.

Vinnie turns and walks away from her. He tosses the pen up from the hand behind his back, over his shoulder, catching it in front of his body with the same hand..

INT - NHS, CLASSROOM - DAY.

Veronica and other students are in front of computer screens. Coach Preppernau is taking a computer class again. He walks along the line of students.

PREPPERNAU: Right. Next question in the Search Engine Olympics. Contestants, get ready. What is the varsity boys' basketball team's record in district play? Go!

Veronica starts to type.

VERONICA VOICEOVER: I kill in this game.

She enters "wallace fennel" into the PlanetZowie search engine and hits search.

VERONICA VOICEOVER: See, while my nimrod classmates are typing in "Neptune High basketball" and getting fifty pages of results...

The results are displayed on her screen. The first heading reads: "Chicago Statesman - Public School Boy's Basketball: Box scores for the complete 2005-2006 season...Wallace Fennel with 5 assists and 4 rebounds in...The Storm looks to unseat defending division champions...www.chichagstatesman.com/ - 72k - Cached - Similar pages." The second entry reads: "The Storm Surge: Fennel has become a welcome addition to the Storm roster...While I cannot see Storm...without Rucker...Wallace should provide ample scoring opportunities...feelthestorm.html - 26k - Cached - Similar pages." The third entry reads:" Local Box Scores - Trevor Hale High School: Complete season 2005-2006 updates, schedules...Wallace Fennel with 5 assists and 4 rebounds...Phoenix boys put up quite a fight against the favorites...trevorhalehigh/ - 47k - Cached - Similar pages." The fourth entry reads: "Weekly Basketball Score Report: - 2 points, 3 assists, 1 rebound...Fennel, Wallace - 3 points,7 assists, 2 rebounds...Fennel connected with Rashard Rucker for a...." Veronica clicks on the first result. The Chicago Statesman page is headed with banner "Enjoying the wonderful we..." The grey, dingy background is possibly explained by the information in the title banner: "19° 'Blistering Cold'." The online newspaper's sections include Front Page, News, Sports, Finance, Entertainment, Classifieds, Editorials, and Lifebeat, listed across the top, and Automobiles, Real Estate, Workplace, Subscriptions and Yellow Pages in a side panel. Under that is a list of Home Teams - Bears, Blackhawks, Bulls, Cubs and others. The panels on the right feature columnists ("Duvall: Misogyny rampant among male...") and top stories ("On First: Sc...results from...;" "Ginsberg re...score;" "Rudolfo trac...moment too...."). More search results from the paper's own database are displayed in the centre, under the heading Public School: Boy's Basketball - Trevor Hale HS: "Trevor Hale 73 - NLCP 69: A rare, regular season matchup of public Trevor Hale and charter NLCP proved to be a nail biter. Box Score;" "Trevor Hale 67 - Yates 45: Another yawning pummeling by The Storm on the still-green Foxes. Box Score;" "Trevor Hale 71 - St. Michael's 50: The public school boys took to their last Catholic school..."

VERONICA VOICEOVER: ...all I have to do is type in Wallace's name, then click the most recent box score, then...

Veronica is increasingly puzzled by what she sees. She clicks for the box scores. The first is for the game against NLCP which replicates the information above and then adds: "Points: Dunn, 9; Fennel, 13; Johnson, 7; Mercer, 12; Rucker, 23; Thompson, 9. Assists: Dunn, 1; Fennel, 14; Mercer, 3; Rucker, 7; Thompson, 4. Rebounds: Dunn, 8; Fennel, 3; Johnson, 8; Rucker, 7; Thompson, 6.

VERONICA VOICEOVER: ...box scores from Chicago?

She clicks "Previous" and the scores come up for the 67-45 win over Yates. The description is the same as on the front page again. The scores are: "Points: Baker, 6; Fennel, 11; Johnson, 3; Mercer, 14; Rucker, 25; Thompson, 8. Assists: Baker, 4; Fennel, 13; Mercer, 1; Rucker, 2; Thompson, 7. Rebounds: Baker, 7; Dunn, 1; Fennel, 2; Johnson, 7; Rucker, 7; Thompson, 11." Veronica clicks "Previous" again and comes up with the game against St. Michaels, the full description of which is "The public school boys took to their last Catholic school appearance with triple-double digits for Rucker." The scores are: "Points: Baker, 7; Dunn, 4; Fennel, 13; Johnson, 4; Mackenzie, 6; Mercer, 9; Rucker, 25; Thompson, 3. Assists: Baker, 3; Dunn, 1; Fennel, 16; Johnson, 3; Mercer, 2; Rucker, 10; Thompson, 1. Rebounds: Dunn, 3; Fennel, 4; Johnson, 7; Rucker, 10; Thompson, 11."

VERONICA VOICEOVER: Wallace lied. He didn't come back to Neptune to play basketball.

She clicks again. This one is headed "Trevor Hale 58 - Palmer 57: Trevor Hale edged out perennial contender, Palmer, in their closest game of the season. Points: Dunn, 3; Fennel, 11; Johnson, 4; Mackenzie, 5; Mercer, 7; Rucker, 21; Thompson, 6. Assists: Baker, 1; Fennel, 17; Johnson, 1; Mercer, 3; Rucker, 8; Thompson, 3. Rebounds: Dunn, 4; Fennel, 2; Johnson, 9; Rucker, 2; Thompson, 8."

VERONICA VOICEOVER: By the looks of this, he was having a dream season in Chicago.

Veronica stares at the screen.

INT - NHS, HALLWAY - DAY.

Logan is at his locker, a top one, swapping books. Amongst the posters behind him is one urging "Attention Due: College Financial and Applications Due." Dick joins him.

LOGAN: Hey, what's the word?

DICK: Well, the one they call Bootsy told me no, and went on to suggest I perform sexual intercourse upon my own person.

LOGAN: Hm. Doesn't he understand? If you could do that, you'd never come to school.

Dick lets out a soundless whistle.

DICK: Boy, that's the truth.

LOGAN: And Hector?

DICK: Sold me ten hits of E.

Dick reaches into his pocket and pulls out a small box. He hands it to Logan.

DICK: Mint?

Logan looks down at the box. He rests it on the book in his hand and makes to write on it.

LOGAN: I gave you enough cash for twenty.

DICK: Hey, he gave me the 09er discount.

Logan stills his pen and looks over at Dick. Dick slaps him on the arm as he backs away.

DICK: Charged me double.

Logan kicks out at him.

LOGAN: And you paid it?

DICK: What's time to a hog?

Dick disappears around the corner, watched by a grinning Logan, who then returns to his preparation of the box. He writes "Hector" onto it in black magic marker. He replaces the pen's cap, put it in his locker, and starts to shut it, looking around the hallway. He spots his target, slams the locker door shut and strides into the hall, accidentally-on-purpose bumping into Weevil.

WEEVIL: Get off me, boy.

Weevil glares at Logan. Logan looks back and doffs an imaginary cap on his head in a derisive "Yes, sir" gesture. Weevil moves on a few paces, closer to the lockers and some privacy, before looking at the small box in his hand and reading the name thereon.

BORDER PATROL OFFICER: [offscreen] If he came through the border, Sheriff, it was probably before anyone knew the baby was missing.

EXT - US/MEXICO BORDER - DAY.

The customs agent, last seen in 105 "You Think You Know Somebody," is talking on his cell phone. There are shouts and the sounds of car horns blaring all around him.

BORDER PATROL OFFICER: We'd like to consider scaling the searches back.

INT - SHERIFF'S DEPARTMENT - CONTINUING.

Lamb is at this desk, checking Veronica's notes, still attached to the pad.

LAMB: You know, I don't think he's left town yet.

EXT - US/MEXICO BORDER - CONTINUING.

The customs agent is standing between two rows of stopped cars. Other agents are searching them.

BORDER PATROL OFFICER: It's really a zoo down here. If you could see it--

INT - SHERIFF'S DEPARTMENT - CONTINUING.

LAMB: I understand perfectly what this is doing at the border crossing.

EXT - US/MEXICO BORDER - CONTINUING.

LAMB: [offscreen] Let me give it some thought.

BORDER PATROL OFFICER: I'd appreciate if you would, Sheriff. We could really use some relief.

The customs agent drops the phone, missing Lamb's reassurances as he gazes on the traffic jam in front of him.

LAMB: [offscreen] Listen, I'm gonna check...got the Feds coming in...

INT - SHERIFF'S DEPARTMENT - CONTINUING.

Sacks pokes his head into Lamb's office.

LAMB: Maybe we'll call off the dogs.

SACKS: You got company.

BORDER PATROL OFFICER: [offscreen] Well, the good news is, a teen boy travelling...

Lamb puts his hand over the mouthpiece of the phone, whispering loudly to Sacks.

LAMB: Not now.

BORDER PATROL OFFICER: [offscreen] ...with a baby is pretty easy to spot.

SACKS: It's the FBI.

BORDER PATROL OFFICER: [offscreen] We don't get many of those down here.

Lamb appears to be less than thrilled.

LAMB: I'm gonna have to get back to you.

BORDER PATROL OFFICER: [offscreen] I'd appreciate it if you would, Sheriff.

LAMB: Yes. Bye.

Lamb puts down the phone and hesitates for a moment. Sacks waits expectantly.

LAMB: Send 'em in.

Lamb checks his desk. He has a small wooden peg game which he grabs and sticks in his drawer. He gets another set of papers and doesn't look up as footsteps approach his desk. He pretends to read.

SACKS: Right in here.

Two torsos appear in front of his desk, both in suits. The feminine one rests her thumbs in the waistband of her trousers. Lamb carries on reading.

SACKS: Sheriff?

He looks up at Sacks, as if distracted, then at the FBI agents standing in front of him. The camera pans up to reveal a blonde woman and a black man. The woman smiles tightly, whilst the man nods to him.

LAMB: Oh.

Lamb makes a great show of acting as if he hadn't realised that they were there. He flicks the papers closed and puts them aside, rises from his chair with a great puff, and smiles, holding out his hand. The female agent takes the lead, shaking his hand.

MORRIS: Agent Morris.

Lamb moves to shake the hand of the other agent.

WILLS: Agent Wills.

LAMB: Sheriff Don Lamb. Take yourselves a seat.

He gestures to the chairs and starts to sit, dismissing Sacks.

LAMB: Thank you.

Sacks slips out of the office, shutting the door behind him. The camera shot from behind Lamb towards the agents reveals a continuity glitch. The wooden peg game is back on Lamb's desk.

MORRIS: Now, Sheriff, I think we should make it clear right from the get-go that we are here to get that baby back. And we are willing to combine our resources--

LAMB: I'll share anything that you need--

Morris completely ignores his interruption.

MORRIS: ...until such time as you piss us off.

Lamb is startled.

MORRIS: And when that time comes — and it usually comes quickly in Sleepyburg or World's Biggest Ball of Stringsville or wherever the hell we are this week — when that time comes, we will cut you out like you were a meter maid. You don't get the photo op, and you don't get the fruit basket.

Lamb takes a deep breath and looks away, pissed off.

MORRIS: So repeat after me...

She waits for him to return his attention to her.

MORRIS: Team.

Her partner, smirking at the well practiced ritual, holds up his hands, as if a fisherman describing how big his catch was. The gap between his hands is about one foot.

MORRIS: Me.

Wills lowers his hands, reducing the gap to a couple of inches. Lamb doesn't respond. Morris and Wills both take on patronising expressions as they repeat both the words and the gestures.

MORRIS: Team.

Lamb, offended, still doesn't respond.

MORRIS: Come on, you can do it.

LAMB: [reluctantly] Team.

MORRIS: Me.

Morris rolls the M, as if dealing with a very young child. Lamb follows suit.

LAMB: Me.

MORRIS: Great. So, why don't you get us up to speed with what you've been doing here?

She looks at Lamb expectantly. Lamb looks away and smiles tightly. Elsewhere in the building, a deputy manning the front desk is reading the San Diego Dispatch. The headlines read: "Crab harvesters suffer major defeat" and "Buddhism's popularity in west rising." Steps approach the desk.

VERONICA: [offscreen] Is the sheriff around?

The deputy, standing in for Inga whose nameplate is still on the desk, looks up at Veronica.

DEPUTY: He's in with the FBI.

Veronica glances around, frustrated. The deputy recognises her and gives a deep chuckle.

DEPUTY: You're Veronica Mars, aren't you?

VERONICA: That's me.

DEPUTY: Supposed to keep an eye on you.

VERONICA: Great.

Veronica swivels and takes a seat on the bench at right angles to the desk. She grabs a magazine out of the rack on the wall next to her.

DEPUTY: You ever hit the clubs in LA, Veronica?

VERONICA: I'm eighteen.

DEPUTY: Yeah, show me a club that'll care. I moonlight over at Club Thin.

VERONICA: Club Thin?

DEPUTY: I'm a bouncer.

VERONICA: Well, I didn't think you were a cage dancer.

DEPUTY: Reason why I ask, you come up, I'll get you in.

VERONICA: Okay.

DEPUTY: Cool.

Veronica returns to her magazine. In his office, Lamb rubs his temples. There is a loud knock on his door.

LAMB: Yes.

Deputy Bouncer opens and speaks from the door.

DEPUTY: Sheriff, Veronica Mars is looking for you. Says she has something you might be interested in.

MORRIS: Mars? You mean the girlfriend?

LAMB: [to Deputy Bouncer] Put her in interrogation. [to Morris] Ex-girlfriend.

Lamb rises as Deputy Bouncer nods and leaves, closing the door behind him.

LAMB: Ugly break-up, from what I heard. Before we go in there, you should probably know something about Veronica Mars. We need to be careful with this one. She's...slippery.

Wills, who is still seated, looks up at the standing Morris, amused at her anticipated reaction.

MORRIS: Sheriff, we have interrogated Al Qaeda members at Gitmo. I think we can handle a teenage girl.

Lamb grins indulgently. Veronica is waiting in an interrogation, still reading the magazine. Lamb approaches the door, trailing Morris and Wills behind him.

VERONICA: Nick and Jessica.

Veronica looks up at Lamb.

VERONICA: Is nothing sacred?

MORRIS: [sarcastically] Whoa, Agent Wills, call for backup.

WILLS: Just the chopper?

MORRIS: Snipers.

Lamb enters the room and the FBI agents follow.

LAMB: What is it, Veronica?

He slaps the notepad containing Veronica's notes on the table, folds his arms and stands in front of her. Morris and Wills line up next to him.

VERONICA: Who are the suits?

LAMB: Agent Morris, Agent Wills. They're with the FBI. What do you got?

VERONICA: Duncan may have taken his computer, but he had a dotmac account. He used it to back up his laptop.

LAMB: What's a dotmac--

MORRIS: Online storage. Users can backup their files, or...

WILLS: Synchronise their computers, calendars, addresses...

MORRIS: Browser bookmarks.

WILLS: Mm-hm.

LAMB: It wasn't on your list.

VERONICA: I just thought of it. And I came straight here.

Lamb rolls his eyes.

WILLS: I can get a warrant so we can search it.

MORRIS: Yeah, get the computer boys to break the password.

Wills leaves the room as Sacks shouts from the main office.

SACKS: Sheriff, border patrol on line one.

VERONICA: Border patrol? Don't bother. Duncan hates Mexico.

Lamb reaches for the phone on the table.

LAMB: Is that so? Brer Rabbit?

He talks into the phone.

LAMB: Yeah, this is Lamb. No, don't back off those searches at all. No, not at all.

Lamb hangs up the phone.

LAMB: Veronica, why don't you wait outside in the hall?

VERONICA: Why don't you?

Morris shakes her head at Veronica's display of a petulant teenager.

LAMB: Your next option is [whispers behind his hand] a cell.

Veronica closes her magazine, pushes off from the table and leaves the room. Morris grabs the notepad

MORRIS: I'll take a coffee when you get a minute.

She sits on the table and starts to read, her back to Lamb. He sighs and hits the intercom on the phone.

LAMB: Sacks, two coffees.

SACKS: What?

Lamb saunters over to Veronica's side of the table. Behind him is a wanted poster for what looks like Ernie Sawyers. His picture suggests the bastard child of Peter Jackson and Kevin Smith.

LAMB: So. The [enunciating each letter] F-B-I. I've thought about it, you know. But, uh, big fish, small town. Has its perks. Still, who knows, I still might apply.

MORRIS: You go to college?

LAMB: For a year. Blew out a knee at Southwest Texas playin' ball.

MORRIS: Speak a foreign language?

LAMB: A little Mexican. Enough to get by. Tell 'em to turn their music down.

MORRIS: Any expertise in computer science, law, physics, chemistry, forensics, mathematics?

LAMB: Expertise?

He smiles and raises an eyebrow, seeking to persuade her of his charms. It fails.

MORRIS: Small town, big fish. You know, I'd ride with that.

He hides his disappointment behind a humourless smile.

EXT - INDUSTRIAL SITE - NIGHT.

The PCH bike gang is gathered. Most are already there. A few have just arrived and turn off their engines. Weevil is facing Hector. The other bikers are in a horseshoe around them.

HECTOR: I don't know what you're talkin' about, Weevil. I'm not in business with the Fitzpatricks.

WEEVIL: I know you're lying, Hector. I know you sold E to an 09er just today.

HECTOR: That?

WEEVIL: Yeah. That. You did it, didn't you?

HECTOR: Yeah. But I didn't get it from the Fitzpatricks. Some white boy asked me to get him some. He looked dumb and desperate, so I said I'd get it for him at forty a hit. He said yeah, so...

WEEVIL: So what?

HECTOR: So I just turned around and got it from this other white boy who I know deals.

Thumper steps forward aggressively.

THUMPER: He's lyin'. What white boy?

HECTOR: What was so wrong? I made a few bucks sellin' from one 09er to another.

WEEVIL: Come on. Like you know an 09er drug dealer? Who was it?

HECTOR: My sister worked with his dad.

Weevil marches up menacingly, getting into Hector's face.

WEEVIL: I want a name.

Hector stares back at him, defiant.

INT - SHERIFF'S DEPARTMENT.

Veronica is outside the department, at the drinks machine, checking the change in her hand. Sacks steps out from within.

SACKS: Veronica. They got into the files. They need you.

Cut to Veronica returning to the interrogation room. She stands at the open door.

VERONICA: That was quick.

Morris and Wills are now sitting on opposite sides of the table. Lamb is leaning against the far wall, behind Morris. On the wall are some more wanted posters - one for a George Dedlos, another for Lester Neal, wanted for murder.

MORRIS: Two hours for the search warrant, ten minutes to break his password.

VERONICA: What was it?

WILLS: Enakgem.

Morris gives her partner an irritated look.

WILLS: What? What's she gonna do with it?

VERONICA: Enakgem?

MORRIS: "Meg Kane" backwards.

Lamb smirks.

MORRIS: Miss Mars, what can you tell us about Duncan Kane's sailing ability?

VERONICA: Duncan's been sailing his whole life. Why?

LAMB: Duncan bookmarked a boat for sale. We tracked down the seller. Turns out, he sold it last week to a teenage boy who paid cash.

VERONICA: I assume that's a generous use of the term "we"?

Wills grins, appreciating Veronica's put down of Lamb.

LAMB: I got a hundred bucks says he's headin' south. What do you think, Veronica? Wanna put your money where your mouth is? How much does your boyfriend hate Mexico, huh?

VERONICA: Isn't gambling illegal?

LAMB: That's what I thought.

A phone rings and Sacks, who is in the main office and can be seen through the door, picks it up. He stands and shouts into the room.

SACKS: It's the Coast Guard. They spotted the boat. It's ignoring their warning calls. They're preparing to board.

Veronica drops her head and creeps into the room.

WILLS: That kid's going to get his self killed.

MORRIS: Put it on the speaker.

As Veronica makes her way around the room, voices issue from the speaker phone. Everyone in the room listens intently.

COAST GUARD 1: There's no one on deck. Our men are checking down below.

COAST GUARD 2: We're all clear! There's no one here.

COAST GUARD 1: No one on board, but we have found dirty diapers and twelve empty cans of Spaghetti-Os.

MORRIS: What about history of mental issues? Any chance that he just said "Goodbye, cruel world"?

VERONICA: Duncan didn't kill himself, and he didn't kill his baby. Somebody picked him up. He's still on the run.

EXT - SUNSET CLIFF APARTMENTS - DAY.

Veronica strides out of the entrance to the apartments. She walks past and ignores a van parked at the entrance. She stops, turns back and then approaches the van. What is printed on the van can only be seen in part: "...Len...ing & Heating...Emergency Services...50173." Veronica examines it for a moment and then pulls open the side door. Vinnie sits comfortably in an armchair in the back of the van, holding binoculars to his eyes, aimed through the van's window at the entrance to the apartments.

VERONICA: Mornin', Sam.

She grins and tilts her head. Vinnie drops the binoculars.

VINNIE: Mornin', Ralph.

He has a large half-eaten fritter balanced on the side of the chair. He picks it up.

VINNIE: Fritter?

VERONICA: You should be out looking for Duncan.

Vinnie takes a large bite of the fritter and responds with his mouth full.

VINNIE: Oh! Right. Duncan Kane. Ahaha. Ahhh!

He hits himself in the forehead.

VINNIE: I got so swept up in your beauty I almost forgot my assignment.

VERONICA: If you do find him, and he gives you any trouble, will you give him this?

Veronica pulls an envelope out of her bag and holds it out to Vinnie. Vinnie takes it and reads what is written on the front: "Duncan Personal & Confidential."

VINNIE: Will do.

Veronica smiles, turns and walks away. Vinnie watches her go for a moment before ripping open the envelope. He pulls out a letter, reads it and smiles.

INT - NHS, BOYS' BATHROOM - DAY.

Sean Friedrich, whose hair has grown long and shaggy since last year, is washing his hands.

WEEVIL: [offscreen] Oh, how the mighty have fallen.

Sean looks up into the mirror in front of him and sees Weevil walk into view behind him.

WEEVIL: Do you remember last year, when you looked down on me like you were so much better?

Sean finishes washing hands and turns to face Weevil, grabbing a paper towel on the way. He leans back against the counter.

SEAN: Yeah. Did you get the impression something has changed?

WEEVIL: Well, yeah. It seems both our families are in the domestic staffing industry. That makes us like family. I steal cars, you sell drugs. Hey, I can hardly tell where you end and I begin.

SEAN: I get it. What can I get you? A little crank? Some blow?

WEEVIL: Just tell me the name of your supplier.

SEAN: Yeah, that's not happening.

Weevil takes a threatening step closer.

WEEVIL: Is it the Fitzpatricks?

SEAN: The Fitzpatricks. They take a blowtorch to you if you're short a dimebag. I'm not that dumb.

Weevil stares at him, taking his measure.

SEAN: Am I free to go?

Weevil steps aside.

WEEVIL: Have a nice day.

Sean exits the bathroom. Weevil leans back against the sinks.

WEEVIL: You believe him?

The door to one of the cubicles opens. It's Logan.

LOGAN: Don't you?

Logan steps out of the cubicle.

WEEVIL: One of my boys is mixed up with the Fitzpatricks, I know it.

Logan heads for the sink, wets his hands and starts faffing with his hair.

LOGAN: Has it crossed your mind that maybe the one mixed up with the Fitzpatricks is the one that's already dead?

WEEVIL: You remember when Ciaran and Padraig Fitzpatrick still went to school here, back when we were freshmen?

Logan dries his hands and stands back against the sinks, next to Weevil.

LOGAN: They were like seventh-year seniors.

WEEVIL: The only reason they stuck around was to keep the high school drug trade going. Soon as the school got smart and expelled them, my predecessor--

LOGAN: Reaper Gus.

WEEVIL: Yes. The Reaper. Decided to expand our business. A couple months in, he disappears like Jimmy Hoffa. No one's seen him since. You know why the Reaper was called that?

LOGAN: He lost a bet?

WEEVIL: His name. Gustavio Toombs. He was Felix's big brother. So no, Felix wasn't workin' with the Fitzpatricks. No way in hell.

Weevil leaves Logan pondering this.

EXT - NHS, LUNCH AREA - DAY.

Wallace walks through the occupied tables to find Veronica sitting at one on her own. He joins her, depositing his bag lunch on the table. He looks at her tray.

WALLACE: Gonna eat your cake?

VERONICA: Take it.

Wallace takes a small bit of cake from the tray. Veronica reaches out for something on the bench next to her..

VERONICA: Got a little present for ya.

She sets out some papers, bound in plastic covers. He opens it.

WALLACE: What is it?

VERONICA: Just a little scrapbook I put together.

It is a copy of the "Chicago Statesman" webpage Veronica pulled up in class. A few more of the entries can be seen: "Trevor Hale 51 - Farringdale 30: Rashard Rucker and Wallace Fennel are playing well enough to unseat divisional champions Forest." "Trevor Hale 60 - Houns 45: Coach Snyder surpasses that Chicagoland record for most wins by a public school coach in The Storm's recent win." "Trevor Hale 57 - JFK 50: Faulty shots and missed attempts almost pinned the Storm Boys in their narrow win over JFK." "Trevor Hale 53 - Gibbons 24: After suffering a delay of game due to an injury, the capped Storm were still unstoppable."

VERONICA: You were kicking butt in Chicago.

Wallace closes the file and sighs.

VERONICA: Eight points, eleven assists a game? Undefeated?

WALLACE: I wanted to tell you.

VERONICA: Why'd you really come back, Wallace?

WALLACE: If you read these stories, then you know my new team-mate was Rashard Rucker.

VERONICA: Is that supposed to mean something?

WALLACE: Yeah. He's the best high school player in the nation. This year's Lebron James. Just before Christmas, me and Rashard, a couple of guys on the team hit this house party. Rashard had a few beers, but he said he was okay to drive. On the way home, this wino staggered out in front of the car.

VERONICA: Oh, Wallace.

WALLACE: He hit him. I was yellin' for him to stop, but he panicked. He drove to his uncle's.

VERONICA: His uncle's?

WALLACE: He's Rashard's agent, manager, boss. He said we probably hit a dog and we should just keep our mouths shut. Millions of dollars are at stake. But I couldn't just let it go. I couldn't go to practice and just pretend it hadn't happened. So I thought if I came back here, I could just...forget about it.

VERONICA: You know, you coulda told me.

WALLACE: No I couldn't.

VERONICA: Why?

WALLACE: Because you would've stayed. You'd've done the right thing. I'm embarrassed I didn't.

Cut to a little later as Veronica leaves the lunch area, sans Wallace. Her cell rings. She checks the number and then answers.

VERONICA: Hello?

DUNCAN: [offscreen] Veronica, it's me.

VERONICA: Duncan, what are you doing? Where are you? You gotta turn yourself in.

DUNCAN: [offscreen] Where I am isn't important. I'm doing the right thing.

VERONICA: No, you're not. You need to turn yourself in. You're not ready to raise that baby. We'll win in court.

Veronica steps over to a display notice stand, gaining a little privacy in the angel between two panels. On the boards are many flyers. One fan of Archimedes riffs on a hand-drawn posters "Give me a lever long enough and a prop strong enough...I can single-handedly move the world." There's a call for junior volunteers to do something that involves cuddling and another offering tutoring. Another warns against burying memory, one announces a volunteers meeting on Tuesday in one of the homerooms for the bigbrotherbigsister program. Calling 800-555-0191 will ascertain what's available on a commercial lease. Language fun and games seem all the rage in room 215. Caution may be required after school in Landry as the torture of children is implied in the graphic. Oh, and slap bang in the middle is a garish red/pink notice for Teenage Women Of Propriety, the words set vertically with the first letters of each word embellished.

DUNCAN: [offscreen] There's no way I'll ever get to keep the baby now.

VERONICA: No, don't hang up.

DUNCAN: [offscreen] I thought you'd understand, I thought you'd help.

VERONICA: Tell me where you are.

DUNCAN: [offscreen] You know what the Mannings would do to her.

VERONICA: Duncan, you're gonna get yourself thrown in prison.

DUNCAN: [offscreen] Forget it. Forget it, I'll go it alone.

VERONICA: They think I helped you.

The call cuts off abruptly. Veronica looks down at the phone.

INT - SHERIFF'S DEPARTMENT - DAY.

A computer screen shows a map. Wills is studying it.

MORRIS: You got it?

WILLS: He's up in Big Bear. Just give me five minutes. I'll have it down to a building.

Lamb reaches into his office to grab his holster. He starts to buckle it around his waist.

LAMB: We could be there in two hours.

MORRIS: Sheriff, we appreciate your time, your effort, and your cooperation, but...we got it.

Lamb stares at her as his hands fall from his holster. He snorts.

EXT - MARS RESIDENCE - DAY.

Veronica approaches the door to Apartment #110, keys in hand. She pauses and looks around carefully. She then turns and walks away from the door to her apartment, passing the window - which still bears an election poster for Keith for sheriff - and a surfboard, arriving at the door to the next apartment, #108. Continuing to glance around furtively, she uses a key to open the door. Inside the largely empty apartment, plastic sheeting covers the fixtures and fittings. She hurries forward, straight into the arms of Duncan. They kiss tenderly.

VERONICA: It's time.

They kiss again. In another room of the apartment, sheets cover the windows. There is a chair in one corner, holding a jacket and what looks like diapers. There's also a small lamp and table. In the centre of the room is a crib, with a small mobile at one end arching over the top end. Veronica and Duncan look down into the crib. The baby, dressed all in pink and wrapped in a pink blanket, looks up happily.

VERONICA: Duncan, she's beautiful.

DUNCAN: I know.

VERONICA: [convincing herself] We're doing the right thing.

DUNCAN: [more confidently] I think so.

Veronica leans over the crib and takes the baby's hand.

VERONICA: You ready to travel? Ready for a big trip?

The baby grasps her finger. Veronica plays for a moment then straightens.

VERONICA: The FBI is heading up to Big Bear, we gotta move.

Veronica starts to pack up, filling a bag.

DUNCAN: Kendall?

VERONICA: Everyone bought it. Including her.

DUNCAN: The boat?

VERONICA: The same. Everything's in motion. We gotta go now, or things are gonna fall apart.

DUNCAN: Veronica, slow down one minute.

Duncan takes Veronica by the arms, bringing her packing to a momentary halt, but she continues to reach for things to drop in the bag.

VERONICA: After we leave this room, we can't call each other, email each other, see each other...

DUNCAN: Stop.

She does, reluctantly, as if action is all that's keeping her together. She looks at Duncan on the verge of tears.

DUNCAN: Goodbye, Veronica. I love you.

Duncan brings his hand up to the side of her face, stroking her.

DUNCAN: Always have, always will.

Veronica swallows back a sob.

VERONICA: You better.

They kiss again.

INT - SHERIFF'S DEPARTMENT - DAY.

Sacks strides into Lamb's office, about to speak, but freezes. He clears his throat.

SACKS: Sheriff?

Lamb has his back to the door, standing silently, his arms behind his back, and is looking out of the windows of his office. He responds without turning around.

LAMB: Yeah.

SACKS: We got a hit on Veronica's ATM card.

LAMB: Where?

SACKS: Mexico. A hotel near Hacumba. It's big with American surfers.

Lamb finally turns around, walking forward. He smiles.

LAMB: I told 'em, didn't I. Everything outta that girl's mouth is a lie. Let's see how the FBI likes it when this high school-educated local lawman brings back the prize.

Lamb grabs his jacket and holster.

INT - MARS RESIDENCE - DAY.

Keith walks into the bathroom carrying a newspaper, ready for a long sojourn on the toilet. He notices that there is no toilet paper. He puts down his paper and searches in the cupboard in the corner. He has no luck. He leaves the bathroom and heads through Veronica's room to her bathroom. He opens the small wall cupboard door and pulls out a fresh roll. He is about to turn away when something catches his eye. He bends down and looks in the cupboard. Behind the toilet rolls, he can see a hole in the wall, into the next apartment. He pulls out the toilet rolls and then a package. It is diapers. Keith looks at them for a very long moment. He rises slowly and finally throws them down in disgust. Keith is furious. He searches Veronica's room as he tries to contact her on his cell. As he searches the desk, he comes across the emails Meg saved on her computer and a copy of Grace's punishment journal.

VERONICA'S ANSWERING MACHINE: It's Veronica. Leave a message.

KEITH: Veronica.

Keith is still furious, but he takes a deep breath to calm down.

KEITH: Hey, I need to see you at home ASAP, kiddo. We need a little daddy-daughter time.

Keith closes his phone and then picks up one of the emails. He starts to read.

EXT - NHS, CAR PARK - DAY.

Wallace and a basketball team-mate walk towards the car park from the lunch area.

WALLACE: He knows you can shoot.

BASKETBALL PLAYER: Right.

WALLACE: Just like I know you can shoot. That's why I--

A man is leaning against Wallace's car.

SAYERS: Wallace Fennel?

WALLACE: Yeah.

SAYERS: Ernie Sayers, Chicago Statesman.

The basketball player takes his leave.

SAYERS: I was hoping to ask you a few questions. Night of December 14th, a homeless man was the victim of a hit and run.

WALLACE: You mind?

Wallace gestures for the man to get off of his car so he can get into the boot.

SAYERS: That man is paralyzed. From the waist down.

Wallace's hand shakes as he tries to unlock the boot. He gives up and heads around the man and the back of the car for the driver's side door.

SAYERS: Now, a convenience store clerk who was lockin' up says that the car that hit him was a red Hummer with twenty-two inch spinnin' rims.

Wallace throws his bag into the car.

SAYERS: Do you know how many of those there are in Chicago?

Wallace slams the door shut and turns to face the man, his arms crossed against his body.

SAYERS: Less than you'd think. I talked to some kids from your old school. They say that you, Rashard Rucker, and a couple of team-mates left a house party around two a.m. that night.

WALLACE: So what's the question?

SAYERS: I guess the question is, what kind of man were you plannin' on bein'?

Wallace doesn’t respond.

EXT - US/MEXICO BORDER - DAY

Music: "Four Leaf Clover" by the Old 97s.

LYRICS: I got a four leaf clover.
It ain't done one single lick of good.
I'm still a drunk, I'm still a loser.
I'm living in a lousy neighbourhood.
Why don't you come over? I'll show you my four leaf clover.
Who'm I trying to kid? I'm not the kind of guy you'd go for.
I got a four leaf clover, but I ain't got no hope of getting you.
I got a ooo-ooo...

The camera races along at ground level between queues of cars. Lamb waits impatiently near the front of one of the queues, his fingers drumming on the steering wheel as he watches the border agents search every vehicle. The car in front of him finally moves off. The border agent he spoke to on the phone approaches him and waves him through.

BORDER PATROL OFFICER: Let him through.

Lamb pulls out and drives through. He hits the open road. He looks back in the rear view mirror, smiling and chomping down on his chewing gum.

EXT - HOTEL EL CUELGA DIEZ, MEXICO - DAY.

An ATM sign protrudes from the upper floor veranda of a small roadside hotel. A man looks out over the road, drinking from a mug. He sees Lamb's vehicle, smiles and turns to head inside the hotel. A sign hangs from the top of the veranda: "American Also Spoken." Lamb pulls in at the end of a row of cars. He gets out of the car and the camera follows his legs as he walks along the line of old, dirty vehicles, all with American plates. Lamb enters the hotel. There are a couple of men at a table in the corner and a small reception counter. The man from the veranda comes through the beads covering one of the inner doors, still carrying his mug. He moves along behind the counter, overseen by the hotel name painted across a surfboard on the wall, before facing Lamb. Lamb holds out a picture of Duncan.

LAMB: ¿Usted lo ha visto? [Translation: "Have you seen him?"]

The man looks at the photo.

HOTEL CLERK: No. But you all look alike to me.

He laughs. Lamb is not amused.

HOTEL CLERK: Try the restaurant, up the road.

Lamb gives him a hard stare before backing out of the hotel. End music: "Four Leaf Clover" by the Old 97s.

INT - MARS RESIDENCE - DAY.

Veronica hurries into her room and stops short when she sees Keith sitting at her desk. He speaks without looking at her.

KEITH: [emotional] If they take you away. If you're sent to prison...

VERONICA: [voice shaking] You read the letters, though, right? From Meg to Child Protection Services? They're about her parents.

KEITH: It's not just your life you're gambling with, Veronica. I would not survive without you. You understand what you've done?

Veronica takes a step closer to her father, who still will not look at her.

VERONICA: We had to do it.

KEITH: I know you think you did.

VERONICA: We DID.

KEITH: [angry and upset] You played ME, Veronica!

He finally looks at her, nailing her with blazing eyes. She says nothing for a moment and he turns his head away again.

VERONICA: [softly, shakily] I had to.

KEITH: I love you. I'll always love you. But I don't know how I'll ever trust you again.

He looks at her again. She's devastated. Before she can say anything, there is a knock on the door of the apartment. Keith gets up to answer it. The camera lingers on Veronica's face as she takes in what this has done to her relationship with Keith. At the door, Agent Morris hands Keith a piece of paper. Veronica comes in from her bedroom to see what is happening.

MORRIS: Mr. Mars. We, uh, we have a warrant to search your premises.

Agent Wills opens the door further as Keith steps back and lets them in. Veronica, looking wary, clears her throat as they pass her. Cut to a little later. Keith watches for a moment as two agents search the kitchen. He leaves them to it, moving to Veronica's bedroom. Veronica is leaning against the chest of drawers. Morris is standing over her desk, examining something carefully.

KEITH: Is this really necessary? Hasn't my daughter cooperated in every way asked?

Behind Veronica, Wills can be seen searching Veronica's bathroom.

MORRIS: Funny thing happened in Big Bear, Mr. Mars.

Veronica nervously watches Wills as he gets closer to the bathroom wall cupboard.

MORRIS: [offscreen] There was no sign of Duncan Kane anywhere, but...

Veronica returns her attention to Agent Morris.

MORRIS: ...the manager of the condo did show a model unit to a cute young blonde woman.

She smiles in Veronica's direction. Keith darts a glance at Veronica. Morris pulls out a minicassette.

MORRIS: We did find this minicassette in a dumpster behind the complex.

She presses play.

DUNCAN: [offscreen] Where I am isn't important. I'm doing the right thing. There's no way I'll ever get to keep the baby now.

Veronica spares another nervous glance at Wills in the bathroom.

DUNCAN: [offscreen] I thought you'd understand, I thought you'd help. You know what the Mannings would do to her. Forget it. Forget it, I'll go it alone.

Morris switches off the tape just as Wills gets to the cupboard.

MORRIS: [offscreen] And I ask myself...

Wills opens the cupboard and Veronica gasps, waiting for the sky to fall.

MORRIS: [offscreen] ...is it possible to have an unrehearsed conversation with a tape recorder?

The diapers are gone. The hole in the wall has been covered with tin foil. Veronica looks over at Keith and they share a glance. Morris seems oblivious to the tension.

MORRIS: I don't think so.

Keith glances at Veronica again.

KEITH: Sounds like they got you, honey. Well, think of the money we'll save on a prom dress. I'm gonna make a sandwich. Anyone want a sandwich?

Veronica smiles. Morris points at him.

MORRIS: You're cool, Mr. Mars. You're very cool. And you got a cool daughter. But kidnapping cases don't go away, you should know that.

KEITH: Is that a no?

INT - TATTOO PARLOUR - DAY.

The tips of a crown are being shaded in by a buzzing tool. Weevil, sitting in a barber's chair, is getting a new tattoo on the side of his neck. The tattooist sits next to him, working. On the walls are colour drawings of various tattoos.

WEEVIL: Almost done?

TATTOO ARTIST: Gettin' there. Oh.

He stops, rolling back in his chair.

TATTOO ARTIST: Hey, man, I got somethin' for you.

He rolls back to his desk at the end of the room and opens a drawer. He pulls out a sketch with a strip of photobooth pictures attached. He hands them to Weevil.

WEEVIL: What's this?

TATTOO ARTIST: I was gonna put that on your buddy's chest, before he got himself killed.

Weevil holds them up and stares at the sketch of a girl's face and chest. The strip of photos shows Felix and the girl laughing and, in the final picture, kissing.

TATTOO ARTIST: Good lookin' girl. Who is it?

WEEVIL: Her name's Molly Fitzpatrick.

Weevil's jaw tightens as he leans back for the tattoo artist to resume.

INT - RESTAURANT, MEXICO - DAY.

Lamb is questioning a dude in a diner.

SURFER: A couple hours ago, he asked me where there was a grocery store, but...I didn't see a baby.

LAMB: What'd you tell him?

SURFER: Another few miles. South. Past the old train station.

LAMB: Thanks.

Lamb pushes himself off of the counter and starts to leave. The surfer shouts at his departing back.

SURFER: It might not be the guy, man.

Lamb turns but keeps walking backwards.

SURFER: You sure you got jurisdiction down here?

EXT - MEXICO - DAY.

Music: "Four Leaf Clover" by the Old 97s.

LYRICS: I got a four leaf clover,
But I ain't got no hope of getting you.
I ain't got no hope of getting you.
I ain't got no hope of getting you.

Lamb exits the restaurant, La Tapa, gets into the car and pulls out, racing down the road. He passes three backpackers just outside the restaurant, who watch the car tear away. Past a poster advertising Ay-Chihuahuas (Il Sabor de Fuego), Lamb drives over a dirt road and some railway tracks, which shake the car. At the sound of something mechanical, Lamb glances into the rear-view mirror and sees the boot lid fly up. Lamb stops, gets out and goes to the back of the car. Inside the boot, there are empty water bottles and food packets. Lamb checks the catch. It's been rigged so that the boot can be opened from the inside. Lamb jerks his head to look behind him as he realises that he has been played. End music: "Four Leaf Clover" by the Old 97s. Back outside the restaurant, two of the backpackers are holding out their thumbs. The third, a guy in a cowboy hat with longish blond hair, a beard and a moustache, steps into shot, and gazes down the road. A pickup truck comes from the opposite direction, pulling up on the other side of the road and the backpacker heads for it.

BACKPACKER: Good luck, y'all.

GIRL: Thanks.

GUY: You too.

The backpacker runs to the truck as a voice calls out from inside.

DRIVER: ¿Necisito un paseo?

BACKPACKER: Si, si.

The backpacker throws his backpack into the back of the truck and opens the passenger door. The driver is Vinnie. Next to him is Celeste's maid, Astrid, holding the baby.

VINNIE: Gas, grass, or ass, kid. Nobody rides for free.

Duncan, for it is he in disguise, hands over a large wad of cash..

DUNCAN: Thirty grand.

VINNIE: Pleasure doing business.

Dunan gets in the car and removes the hat, wig and whiskers.

VINNIE: Oooh, you pay better than your mom.

ASTRID: You ready to see your daddy? She won't let go my finger.

DUNCAN: She thinks you're Veronica.

ASTRID: Yeah. So does the FBI.

Astrid lifts the baby off of her lap and passes her to Duncan. He smiles down at her.

DUNCAN: Hey, Lilly. Daddy's here. Everything's gonna be all right.

Vinnie starts the truck. Music: "Adelaide" by the Old 97s

LYRICS: Heaven I need a rest
I recognized the voices talking in my head
I couldn't make out everything the voices said
Loving you is a test
I remember when
I had you and you had so much promise then
You promised me that you would never leave again
To be broken you were made
Adelaide
Adelaide
To be broken you were made
Adelaide
To be broken

The truck drives down the road. They pass Lamb heading in the opposite direction and Duncan puts his hat on to avoid being spotted. They all smile as Lamb drives on, oblivious.

EXT - SUNSET CLIFFS APARTMENTS - TWILIGHT.

Veronica is at the back of the apartment block, sadly looking out over the sea. After a while, she heads slowly back to the apartment.

EXT - MEXICO - TWILIGHT.

Duncan looks down at the baby. He bends down and kisses her on the forehead.

INT - MARS RESIDENCE - TWILIGHT.

Veronica stares at a small slip of paper. It's the message from the fortune cookie that Duncan gave her in the flashback scene in 201 "Normal Is the Watchword" that re-ignited their relationship. She swallows hard, gets up from where she is sitting on the floor, and slides the slip of paper between the mirror and its frame. It reads: "TRUE LOVE STORIES NEVER HAVE ENDINGS 4 8 15 16 23, 42".

EXT - MEXICO - TWILIGHT.

Duncan looks out over the Mexican plains, his eyes full with unshed tears, until he looks down at the baby and smiles. End. End music: "Adelaide" by the Old 97s. Executive producer: Rob Thomas (who is a god).

Mini-Summary

I (Inigo) am aware of some feeling that this episode was not easy to follow, or that it suffered from huge plot holes. Whether I agree or not, it seemed that it might be helpful to add the following. The parts in italics are assumptions, but, I believe, reasonable in context. Your mileage may vary.

Duncan did not sleep with Kendall, despite her best efforts, confirming his attitude to her in 209.

Veronica and Duncan decide that the only way they can ensure the baby's safety and fulfil their promises to Meg is to abduct her. They come to this conclusion because they do not trust the corrupt Neptune authorities, they have the Kanes working against them, they already know blood tests can be faked and they firmly believe the danger to the child is imminent. They plan it together. They know that once Duncan takes the baby and disappears, Veronica will be the focus of the investigation. Their plan needs to ensure that Duncan and the baby get away, and that Veronica is exonerated from being an accomplice.

They recruit Astrid, probably on the promise of the money for grad school so that she won't have to work for Celeste any longer. She takes the earrings. Either she or Veronica (they look alike) sells the earrings to raise money.

Duncan searches online for a boat. He bookmarks his choice and buys a boat. He organises a dotmac account. Duncan records his side of a conversation with Veronica.

Duncan calls Kendall and invites her over, indicating that he is now interested in sex. He gives her a time a little before the time Logan is expected. He probably suggests she make herself comfortable for him. Veronica waits for Logan in the lobby, then ensures she is in the lift with Logan. Veronica "catches" Kendall, in Logan's presence. The point is to give credibility to the break-up. They assume that either or both Logan and Kendall will tell others about the event.

Duncan and Veronica stage the public break-up.

Veronica grieves at home. It is genuine in the sense that she is losing Duncan, but it is staged for her father's benefit to deflect the suspicions he will have once the baby is taken. It may also be that she uses the music to hide the sounds from the apartment next door and her communication with Duncan through the hole they have knocked into the wall. If Keith knew, Veronica is confident that he would turn Duncan over to the authorities.

Duncan takes the baby and hides in the apartment. Veronica keeps them supplied through the hole in the wall.

Veronica is the focus of the investigation, leaving Astrid free to take out the boat, set up the used diapers and food tins and abandon it. Veronica eventually discloses the existence of the dotmac account which leads to the discovery of the boat.

Veronica, and more importantly, the Sunset Cliffs Apartments, are being watched by Vinnie Vanlowe. This may have been an unpredicted development and she and Duncan decide it is easier to pay him off. Veronica gives Vinnie a letter for Duncan, which she knows he will open. He does. It is an offer to pay him more than he is earning from Celeste. Veronica, knowing Vinnie and his penchant for pulling a "Classic" (see 117), is confident she can and does secure his services.

Astrid goes to Big Bear. She telephones Veronica and plays the recording of Duncan. She dumps the phone and heads back to Neptune. The FBI trace the call and go to Big Bear, leaving Lamb behind, a fact Veronica anticipated with many of her veiled comments to him in front of the FBI.

Vinnie or Astrid go to Mexico and use Veronica's ATM card. The other collects the baby and takes the baby to Mexico. (The customs agent refers to them looking for a teenage boy with a baby, not an adult with a baby.) Duncan climbs into the boot of Lamb's car and fixes the catch to be able to open it from the inside. Lamb, on learning of the use of the ATM, drives to Mexico in a car that, unlike all the others, is not searched. Duncan gets out of the car while Lamb is interviewing the manager at the hotel where the ATM was used. Duncan is disguised as a hitchhiker. He is picked up by and joins Vinnie, Astrid and the baby.