2.20 Look Who's Stalking

Written by: John Enbom
Directed by: Michael Fields

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

VERONICA VOICEOVER: Previously on Veronica Mars

Veronica and Leo make out on the doorstep of the Mars' apartment in 118 "Weapons of Mass Destruction." Cut to Veronica at the sheriff's department in 119 "Hot Dogs."

VERONICA: I can't date you anymore.

LEO: Huh.

Cut to Veronica and Keith watching the television in 212 "Rashard and Wallace Go to White Castle."

NEWSCASTER: Balboa County Sheriff Don Lamb questions baseball legend Terrence Cook in connection with the Neptune High bus crash.

Terrence questions Keith as he exits Mars Investigations in 213 "Ain't No Magic Mountain High Enough."

TERRENCE: You'll take my case?

Keith updates Woody in 217 "Plan B."

KEITH: Terrence broke into his ex-girlfriend's family home, the journalism teacher who died in the bus crash.

Logan interrupts them.

LOGAN: There's something you gentlemen should probably see.

Cut to the video sent to Woody's office.

WOODY: [offscreen] That's inside my house.

KEITH: I'll look into this as well.

Cut to a peeved Mac at Mars Investigations in 219 "Nevermind the Buttocks."

MAC: I'm not speaking to you. Butters asked if he should rent a room for prom night.

Keith and Liam crash through the window of Kendall's secret house. Keith climbs into the LeBaron. Veronica shouts at Kendall, standing in front of the car.

VERONICA: Move or you're a hood ornament!

End previouslies

INT - DOCTOR'S OFFICE - DAY.

Veronica is just putting her shirt back on.

VERONICA: [stunned] I've got what?

DOCTOR: Chlamydia. It's a, uh, sexually--

VERONICA: I-I know what it is. But there must be a mistake. I don't have any symptoms, I don't feel anything...

DOCTOR: Which is not uncommon. Have you been sexually active at all within the last year or two?

VERONICA: We were, you know, safe and the guy...there's no way he--

DOCTOR: You think that but you never know. Antibiotics will take care of it.

VERONICA VOICEOVER: So my Grandma Reynolds was always saying...

A school bell sounds and we shift to...

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

Frowning, Veronica exits a classroom and walks through a busy hallway.

VERONICA VOICEOVER: ...when life gives you lemons, make lemonade. I wish she was still alive because I'd really like to ask what she suggests for when life gives you chlamydia.

She sees Wallace and Jackie cuddling and giggling against her locker. She pushes them aside.

VERONICA: Please? Get a room. In Australia.

WALLACE: Hey, we're practicing for the prom.

VERONICA: What debutante bit you and turned you into a prom zombie?

Jackie waves at Veronica. She giggles.

JACKIE: We just gave in: the whole nine yards, the ridiculous dress, the tux, lobster dinner, limo. I mean it happens once. Why not go all out?

Mac approaches from behind Veronica.

MAC: Because no one sold you as an indentured servant to Butters.

Wallace laughs.

VERONICA: Mac, I didn't think he'd actually--

MAC: He's picking me up in a Hummer limousine. We're having dinner on a replica pirate ship and I suspect he's hired a zeppelin for the ride home. I'm gonna fill my pockets with rocks, get a good grip on your ankle and I'm gonna jump off the top of a mountain.

Mac is interrupted by an announcement from Clemmons.

CLEMMONS: Attention students. Due to a significant number of alcohol violations on the senior trip, this year's prom has been cancelled.

WALLACE: What!?

The hallway erupts in the sound of students grumbling and protesting.

CLEMMONS: That is all.

Mac, on the other hand, is ecstatic and raises a fist.

MAC: Yes! Prayer works!

Veronica grins.

INT - MARS RESIDENCE - DAY.

Keith's cell rings.

KEITH: Hello? Woody! To what do I owe--

Keith listens and sighs.

KEITH: What, right now?

He shakes his head.

KEITH: What room number?

EXT - CAMELOT MOTEL - DAY.

Keith's car pulls into the motel's car park. There's a knock on a door.

INT - CAMELOT MOTEL - DAY.

Inside one of the rooms, a girl dressed in bra and panties lies unconscious on the well-used bed. Woody is standing next to the bed in his trousers and wifebeater.

WOODY: I swear it's not what it looks like.

Keith closes the door to the room. He walks over to the bed and kneels down by the girl, checking her pulse.

WOODY: Okay, it is what it looks like.

KEITH: And that is?

WOODY: Do-do I have to spell it out? She's with the incorporation campaign.

Keith rises from the bed and stares at the stuttering Woody.

WOODY: We had a few cocktails. She must have mixed with pills or something because she just...

Woody sinks down on the bed. He grabs his shirt and looks up at the disapproving Keith.

WOODY: This is not a proud moment for me. I need help to take care of this.

KEITH: I'm on retainer to help Terrence Cook, not take care of things.

Keith heads for the door.

WOODY: "Mayor brings mistress to ER! Booze, pills, underwear. Film at eleven." Please Keith.

Keith pauses by the door, shaking his head.

KEITH: I'll get her to the hospital. And I'll be discreet.

WOODY: Okay.

KEITH: But don't get the wrong idea. This is not the sort of thing I do.

WOODY: [whispers] Okay. Thank you.

EXT - CAMELOT MOTEL - DAY.

Woody is at the door to room 102, looking around to see if the coast is clear. He looks back into the room, nods his head, mouths "Okay," and opens the door to the room more widely. Keith exits the room, carrying the girl whom they've managed to dress. Woody grabs his stuff from the room. Cut to Woody looking into Keith's car. The girl is slumped on the front passenger seat.

WOODY: I owe you big time, Keith.

Keith doesn't respond, his distaste clear as he engages the engine and backs the car away.

INT - NHS, JOURNALISM CLASS - DAY.

Veronica is alone in the room, checking negatives with a jewellers' glass style magnifier. Gia enters, treading daintily on high heels. She grabs the chair next to Veronica and sits.

GIA: Hey. Have you ever been stalked?

VERONICA: As a matter of fact.

Veronica returns to examining the negatives.

GIA: Because someone's stalking me. I was hoping you might have some tips or something.

VERONICA: Dancing around in your underwear with the curtains open is always good.

Gia, totally oblivious to the sarcasm stares at Veronica, increasingly puzzled. She shakes her head and looks around desperately.

VERONICA: And it you're in chat rooms, and they suggest meeting face to face, do it in an abandoned railroad car down by the river side.

GIA: No! No, no, I mean for catching the guy. I keep seeing this car following me around.

Veronica sighs and stands up, still holding the negatives.

VERONICA: Can you describe it?

Veronica walks around the table. Gia races after her.

GIA: It's totally nondescript. I mean that's what's so unique about it.

VERONICA: Um, okay. Any reason anyone would want to follow you around?

Veronica picks up a clip board, making notes as Gia explains.

GIA: Well, last week, at karaoke, I did "Can't Get You Out of My Head" and I dedicated it to this table of cute guys, but then I realised they weren't cute. They were dweb Pan High guys and not the nice nerd kind but the weird, creepy...

Veronica heads back to her original seat with the clip board, still doing two things at once.

VERONICA: Potential stalker kind?

Veronica continues to complete the sheet on the clip board as Gia runs back to her seat and sits down.

GIA: [urgently] Is there any way that you could do some P.I. thing?

Veronica pauses her work and looks at Gia.

VERONICA: For you? The daughter of the most powerful man in town? That's a marker I want. Come to my house after school.

Gia nods as Veronica returns to her work.

INT - MARS INVESTIGATIONS - DAY.

Keith enters the office. He goes first to a box on Veronica's desk and opens it. It contains copies of a sketch of a man's face. Keith takes out a few to look more closely. Something alerts him and he swings his head towards his own office. He can see a crossed pair of high-heel shod, bare legs. Keith puts the sketches back in the box.

KEITH: Something I can help you with?

KENDALL: You should really keep your office locked.

The woman rises to her feet. It's Kendall. She lean against Keith's door, hand on her hip.

KENDALL: I want my hard drive back.

Keith shrugs and makes a face, as if he has no idea what she's talking about.

KENDALL: Come on. My friend saw you take it from my apartment.

KEITH: Your friend Liam, the drug dealer, who tried to shoot me.

KENDALL: There was an intruder in my house. He feared for his life.

KEITH: Out of curiosity, did your husband know that you kept your own place? Did he know about your jail time or that you're not even really you.

KENDALL: If the hard drive reappears by Friday, I won't press charges. I filled out the form.

She hands Keith an open pre-prepared posting box.

KENDALL: Me sending it to me, no paper trail.

Kendall walks towards the main door to exit just as Veronica comes in.

VERONICA: Mrs C! I trust you're well.

KENDALL: Oh well, if it isn't little Miss Teen Getaway. Your dad and I were just dealing with a little trouble.

VERONICA: Like Trouble, with a capital T that rhymes with C that stands for--

KEITH: [warning] Veronica!

VERONICA: I was gonna say cute.

KEITH: Miss Casablancas was just leaving.

After exchanging looks of mutual loathing, Kendall leaves and Veronica heads for the filing cabinets.

KEITH: So what did the doctor say?

VERONICA: Well, you got your money's worth.

KEITH: What does that mean?

VERONICA: It means...the stethoscope was freezing. But I'm fine. Tip top.

Veronica takes cameras out of one of the drawers.

VERONICA: Can I borrow the remote cameras tonight?

KEITH: What for?

VERONICA: For...a school project?

KEITH: [sing-song] I don't believe you.

VERONICA: Okay. This girl I know suspects that one of several creepy weirdoes she sang a Kylie Minogue song to at karaoke night might be following her around. We're trying to narrow down which one it is.

KEITH: I like your first answer better. You can earn it.

Keith collects the box of sketches from Veronica's desk.

KEITH: Send a copy to everyone on our business contact sheet. See if anyone can find him.

He hands her the box.

VERONICA: And who is this charming fellow.

KEITH: The charming fellow who hired the escort to steal Cliff's briefcase.

Veronica checks out the sketch which is of the face of a large man with short-cropped hair and a soul patch. Veronica studies it.

VERONICA: And his heart. Poor Cliff.

KEITH: Yeah. She must have been something. 'Cause he won't shut up about it.

INT - MARS RESIDENCE - DAY.

Gia is idly checking out the shelves in Veronica's room as Veronica works at her desk on the laptop.

VERONICA: Cameras are on the roof so if this guy followed you here, we should be able to spot him.

GIA: Wow! How Mission: Impossible. I feel like at any moment Tom Cruise is gonna dangle from the ceiling on cables.

Gia giggles. Veronica looks up at the ceiling.

VERONICA: Great. Now I won't be able to sleep. I hope he doesn't try to marry me.

She uses a joy stick to manipulate the two cameras, scanning the street outside the apartment complex. Gia watches over her shoulder. They watch a car park.

GIA: There! That's the car.

Veronica switches from split screen of the two cameras to the view from the one camera that has the car

GIA: Isn't it totally nondescript?

VERONICA: That's a 2002 silver Gallant.

Gia looks at Veronica, astonished.

GIA: We should order him a pizza. He would totally freak.

VERONICA: Why stop at pizza, Gia. Bet you a hot oil rubdown would really show him.

Gia scoffs. Veronica uses the joy stick to zoom in on the car's California license plate: IOU875. She starts to type.

GIA: And you can just look him up, right there on your computer? That's awesome.

VERONICA: Actually, I'm updating my Netflix queue.

The appearance that Gia was finally starting to get Veronica's sense of humour proves illusory as Gia gives Veronica a confused double-take.

VERONICA: No, wait. I think we got him.

On screen, the following appears: "Registered to Name: D'Amato, Leonardo SSN: 993-24-1585 DOB: 06/14/1983 Sex: M."

GIA: Leonardo D'Amato? God, what kind of loser is that?

VERONICA: Greek-Italian.

Gia retains the capacity to be amazed by Veronica's knowledge.

VERONICA: I used to go out with him.

Opening credits.

INT - NHS, HALLWAY - DAY.

Veronica rushes to catch up with Logan striding down the hall. She keeps step with him.

VERONICA: Hey, how’s it goin’?

LOGAN: Oh, this is gonna be good.

VERONICA: What?

LOGAN: Ah, you have that "I’d rather be making out with a broken bottle" look. Which if history serves, means you’re about to say something awkward.

VERONICA: This?

Veronica points to her face.

VERONICA: This is my "I’d rather be spelunking" look. It’s like you don’t know me at all.

LOGAN: Right. So let’s have it.

Logan reaches his locker and starts to open it.

VERONICA: So…you remember Duncan.

LOGAN: Right, blue eyes?

VERONICA: Right.

LOGAN: Yes.

VERONICA: You wouldn’t happen to know if he was with...and by with I mean with, uhhh, someone other than Meg?

Logan pauses getting his books and leans against the open locker, looking down at her.

LOGAN: Well, there was this one girl. She was uh, blonde, petite.

He closes his eyes and takes a deep sniff.

LOGAN: Smelled of marshmallows and promises.

VERONICA: Promises?

LOGAN: Yep.

VERONICA: That’s the name of my perfume!

Logan grins.

LOGAN: You know, generally speaking, I’ve kinda grown immune to your left field questions. But I’m gonna bite on this one. What do you care who Duncan did when Duncan did do dudettes?

VERONICA: Would you believe, it’s for a college application. Weird, huh?

LOGAN: You and Meg, that’s all I know about.

Veronica nods.

LOGAN: Duncan didn’t talk about his sex life much though.

Veronica looks both relieved and disappointed.

LOGAN: But he’d blush and shower a lot. That’s how you’d know he was getting some.

VERONICA: Well, I’m going to miss these moments.

LOGAN: You going somewhere?

VERONICA: Oh! You see this?

She indicates the hallway.

LOGAN: Mm-hm.

VERONICA: Uh, this is high school. We’re here for four years and then we move on. And all these people you see every day vanish from your life and you never have to think about them again.

Logan gets a book out of his locker.

LOGAN: So, we should savour our remaining moments. You should come to alterna-prom.

VERONICA: I don’t know what that is.

Logan whips outs folded card and holds it up. Veronica takes it. On the front is the word PROM with red circle around it and a red line diagonally across the circle. Inside it reads: Alterna-Prom, Friday, May 13th, 9:00pm. Neptune Grand Penthouse. Formal Attire. No Rules.

VERONICA: Wow, you and your drunk 09er buddies get the prom cancelled, and then use your inherited wealth to throw a private prom.

LOGAN: When you say it like that it sounds unjust.

VERONICA: How does it sound when you say it?

LOGAN: Mm, glamorous.

Veronica is sceptical. Logan is deliberately casual.

LOGAN: So...are you coming?

Veronica points to her frowning face.

LOGAN: What… you’d rather be spelunking?

VERONICA: No! I’d rather be...

She waits to give him the chance to read her.

VERONICA: Strapped down on an ant hill!

LOGAN: Yeah.

VERONICA: Man, you’ve really lost it. I was going to console Jackie and Wallace that night. You got their prom cancelled, remember?

LOGAN: Well bring them along. Bring whoever. You know, we with our inherited wealth don’t mind… long as you bathe and keep your hands off the silver. VERONICA: I’ll consider it.

LOGAN: [whispers] Good.

Logan watches her walk away.

INT - JAVA THE HUT.

Veronica is having a coffee with Leo. They are sitting on a couple of stools up at the counter.

LEO: Where does any disgraced former lawman go? Private security, baby.

VERONICA: Ooh, it sounds exotic.

LEO: Ah, it's boring. Big firm, tons of BS.

VERONICA: Same old Leo.

LEO: I gotta admit I was surprised to hear from you, Veronica. I figured after the whole eased out of the department episode, I kinda fell off your radar.

VERONICA: You kidding? My radar is vast.

LEO: So how's your love life?

VERONICA: Terrible. How's yours?

LEO: Also terrible.

Veronica looks over his shoulder at the sound of approaching footsteps.

VERONICA: So is that maybe why you've been stalking Miss Goodman here?

Gia appears and stands behind Veronica.

GIA: Hi. It's Gia.

LEO: Same old Veronica. Huh. It's not stalking, it's personal security. Miss Goodman is a job.

GIA: I'm a job?

LEO: Your dad hired the firm. A couple of us were assigned to keep an eye on you. Wanna go say hi to Earl? I'm sure he's parked outside.

VERONICA: Why does he want Gia watched?

LEO: I just punch the clock. My bosses don't share that kind of stuff with me. I assume there's been some sort of threat, but I-I don't know. Is that why you wanted to see me?

VERONICA: That was pretty much it, yeah.

LEO: Well, I'm a little disappointed. It's good seeing you again, Veronica. Miss Goodman.

Leo eases himself off the stool and leaves. Gia moves around Veronica to take his place on the stool.

GIA: You went out with him? He's cute, in a tough, mumbly kind of way. Why would my dad hire security? I wonder if it has anything to do with that thing with your dad.

VERONICA: What thing?

Gia pulls out a newspaper. It's the Neptune Register. The headline reads: "Supervisor questioned over private investigator's role. Former sheriff caught taking campaign staffer from Southside motel." There are a couple of pictures of Keith and Woody from the Camelot.

GIA: I don't know why they're making such a big deal of it. I mean, a girl drinks too much, that's not your dad's fault. He's just doing what he was hired to.

Veronica is a little shocked at the newspaper and stares at Gia.

INT - WOODY'S OFFICE - NIGHT.

Keith, very unhappy, marches through a number of people, straight into Woody's office. Woody's on the phone.

WOODY: Just make sure those vans are at the seniors center at nine sharp. Yeah.

He sees Keith who holds up a copy of the same newpaper headline. Woody holds up his hand.

WOODY: Thanks. I gotta run. Bye.

Woody finishes his call. His secretary hovers at the door.

SECRETARY: Woody?

Woody waves her off.

KEITH: You blame me for this?

WOODY: Keith, please, let me explain. I--

Woody stands as Keith reads aloud from the newspaper.

KEITH: "When reached for comment, Goodman's office said Mars had been engaged to investigate leaks, but Mr. Goodman had interceded when he learned the investigator had plied the staffer with alcohol."

Woody tries to put a placating hand on Woody's shoulder. Keith is having none of it and jerks away.

WOODY: Look, you're right! You're right!

Keith holds up the paper again.

KEITH: I help you, and this is what I get?

Woody looks anxiously through the window of his office into the outer office where there are a number of workers congregated. He rushes to the office door to close it.

WOODY: How could I know the manager had a camera? I'm sorry I had to do this, but there's just so much riding on this incorporation vote.

Keith wags his finger at Woody.

KEITH: I think you may be confused about something, Woody. I'm voting against incorporation.

Keith stares at Woody for a moment and then moves to leave.

INT - MARS RESIDENCE - NIGHT.

Veronica opens the door to the apartment. Gia enters.

GIA: So, I dropped by my dad's office and asked him about the security thing. He said it was nothing, just normal election precautions, and he agreed to pull the security detail once I told him that it was creeping me out.

VERONICA: Okay. So that's good, right?

GIA: But then I got home and I found this.

Gia holds up a disk. Veronica takes it. Cut to moments later. The disk is a video and it is being played on Veronica's laptop. It is of a boys' soccer game. Rodney Goodman is playing number seven. Veronica and Gia are huddled in front of the laptop on the counter, watching.

GIA: That's my brother.

VERONICA: I know. I met him, remember?

The taker of the video moves from following Rodney on the pitch to film Gia, watching Rodney from the sidelines.

GIA: What do you think it is?

VERONICA: Something very creepy.

The camera is closes up on Gia's body and face.

INT - NHS, JOURNALISM CLASS - DAY.

Gia is at work on a computer at the large central table. Veronica slides into the seat next to her. Gia is struggling.

GIA: Is a lunchlady who does body building human interest?

VERONICA: Human? Maybe. Interest? No.

Veronica puts the disk into the computer.

GIA: I can't believe I'm expected to meet newspaper deadline when I have some creepy dude stalking me.

Veronica starts it up again and then pauses when the film shows a woman with a video camera. Veronica points to the screen.

VERONICA: Do you know who that is? The woman with the camera?

GIA: That's Mrs. Harmon. You don't think she has anything to do with--

VERONICA: No, look where she's shooting. Whoever made this, she probably got him on that video. Do you think you can get that tape?

INT - MI - DAY.

Lloyd Blankenship is in Keith's office.

KEITH: Look, off the record, Lloyd. It's not that I never worked for Woody, but I never investigated any leaks and I never used a bottle of scotch to question a campaign staffer.

LLOYD: Then you might want to put that out there on the record. Woody's pushing this whole thing on you, Keith. We have him on a conference call, all off the record, of course, and he more or less implied he caught you taking advantage of this girl...

Lloyd checks his notebook.

LLOYD: Jennifer Stansfield.

KEITH: You don't believe me, talk to the staffer Stansfield.

LLOYD: You know, funny thing about her. After you dropped her off at the hospital, she took off before being treated and now no one can track her down.

Keith is surprised at this.

EXT - NHS, LUNCH AREA - DAY.

Wallace and Jackie sit side by side at one of the larger tables. Jackie's eating her lunch.

WALLACE: Batting cages. There's one up north. We could get some flowers, play a little music, take out some Chinese...

JACKIE: The prom is cancelled and you want to take me to a batting cage instead?

WALLACE: Yeah. It's for that "so casual, it's super romantic" thing.

JACKIE: That's not a thing! That's male wishful thinking. But I want to wear my dress, think fancy.

Wallace sighs.

WALLACE: Can we do it anyway? Maybe this afternoon.

JACKIE: No, I'm going to see my dad in the hospital.

WALLACE: How's that going?

JACKIE: Strange. But great. It's never been worse for him, but between us? Best it's ever been. For the first time ever, it's like one of my parents actually has time for me.

Veronica approaches from behind and climbs onto the table's bench, the other side of Jackie.

VERONICA: Okay. I have news. The senior memories once thought lost forever can, in fact, be generated after all, albeit in a slightly degraded form.

Veronica pulls out the invitation to the alterna-prom. As she does so, Corny, just taking a seat at the table behind them, notices and takes an interest.

VERONICA: The rich kids are throwing a private replacement prom.

Wallace takes the invitation and reads it.

WALLACE: Damn, they're just privatizing everything these days.

Jackie takes it from him.

JACKIE: Alterna-prom. Hm. Formal attire.

WALLACE: That's what I'm talkin' about.

VERONICA: Please don't give us the tux speech again.

WALLACE: What? You mean, how when I put on a tux, I make James Bond look like Cletus the Slack-Jawed Yokel?

JACKIE: Shh.

Veronica and Jackie shake their heads. Jackie feed Wallace a bite from her lunch. Mac sets her tray down on the table next to Veronica, but sees the invitation and grabs it out of Jackie's hand.

MAC: Oh, please tell me Butters knows nothing about this.

As Mac sits down, Corny stands over them.

CORNY: Hey, what's up? Did you say, uh, alterna-something?

Corny reaches for the invitation.

CORNY: Hmm.

INT - HOSPITAL - DAY.

Terrence lies in a hospital bed. Keith is sitting in a chair next to the bed, playing with his tie. Terrence wakes up and looks at Keith.

TERRENCE: Not exactly who I was expecting to see.

KEITH: They're finally allowing non-family visitors.

Keith rises and stands by the bed.

KEITH: Thought I'd drop by, find out what the hell you were doing breaking into the Dumas family home.

TERRENCE: She said she was writing a story. A tell-all. About the gambling, the debt, about how I threw a playoff game. When the bus thing hit, I was worried her parents would find it.

KEITH: So when you're accused of taking out a busload of kids to off your lover, you decide your best move is to break into her parents' house?

TERRENCE: Well, their unlocked garage, actually, but yeah. This whole bus thing, I'm not their man. That story about throwing the playoff game ever got out, I'm ruined. Hey, there's my girl.

Jackie arrives with a bowl of flowers and some magazines.

JACKIE: Good afternoon, Mr. Mars. It's that time of day again. Clubhouse gossip.

TERRENCE: My favorite time of day.

KEITH: Okay, I'll be in touch. [to Jackie] Keep him out of trouble.

JACKIE: I'll try.

Jackie laughs and Keith leaves.

TERRENCE: So what have we got?

JACKIE: Well, it seems that Mets manager Willie Randolph is not happy.

She bends down to kiss her father. He smiles broadly.

INT - MARS RESIDENCE - NIGHT.

Gia and Veronica are in Veronica's bedroom. Veronica is connecting a video camera to the laptop.

GIA: So I told Mrs. Harmon that my friend's boyfriend might have been at the game with another girl. Clever.

VERONICA: Not bad. You just might have a future in this racket.

They sit at the desk to watch. It's video of the same soccer game, concentrated on another child, one playing for the opposite team to Rodney's. As the camera follows the child's progress, a man can be seen with a camera.

VERONICA: Look.

Veronica pauses and rewinds the film. The man is wearing a jacket with yellow sleeves.

VERONICA: That's a Neptune letterman jacket.

They continue to watch.

VERONICA: He's gone.

Veronica runs the film back again.

GIA: But the letterman jacket's got to be something, right?

VERONICA: There, look. You see? The red truck.

Behind the man filming is a red pickup truck. Veronica runs the film backwards and forwards.

VERONICA: It's gone. And so is he. It must be his.

GIA: Snap!

VERONICA: So now we just need to find a varsity letterman who drives a red pickup and we've got our stalker.

Cut to morning. Keith, in his bathrobe, opens the door of the apartment and steps onto the porch, checking the ground. There's nothing there, much to his consternation. He walks back into the apartment and stops when he sees two newspapers on the kitchen counter. Veronica is in the kitchen spreading something gooey (peanut butter?) on toast.

VERONICA: I wanted to see what it was like, getting your news off the ground. And the stories...

Veronica pours Keith his coffee as he settles into the stool at the counter.

VERONICA: ...so tawdry. There was one yesterday about you getting a girl drunk. I can't believe it.

KEITH: What, you don't think a girl would have a few drinks with me?

VERONICA: I just read otherwise. Enjoy your headlines. Gotta go vote.

Veronica exits the apartment. Keith picks up the paper. The first story he sees is one of Lloyd's (his first name misspelled "Loyd") under the headline "Neptune vote on incorporation too close to call." It reads in part: "As Balboa County residents headed to the ballot box this morning to decide the fate of Proposition 51, county-wide polls suggested a narrow fate for Neptune's proposed incorporation." Next to that article is one about a debut and inaugural performance at the newly opened Cathy Belben Concert Hall (Cathy Belben is one of the show's writers) with its "technology-pumped doors" written by Justin Goldberg. Keith opens out the paper to see a story on Woody. "Private eye contradicts Supervisor's story. Goodman paid escort from campaign funds. By Loyd Blankenship. Senior Staff Writer. Private detective, Keith Mars, 48, has broken his silence regarding his participation in leaving Jennifer Stansfield, 25, unconscious at Neptune Memorial Hospital Monday morning. 'Supervisor Goodman was the one to ask me for help,' Keith Mars said in an on-record interview. 'I, reluctantly, agreed to clean up his mess.' Repeated calls to County Supervisor Woodrow Goodman's office went unanswered. Goodman's allegations on Monday accused Keith Mars of needing assistance in dealing with an unconscious Stansfield. 'Mr. Mars was hired, on assignment, to investigate leaks,' Goodman was quoted Monday, 'we didn't know his methods would involve alcohol poisoning.' These new accusations could not have come at a worse time for Goodman and supporters of Prop 51. 'We were already in a near-dead heat before..." On the right of that story is another on the effects of incorporation, with Jerome Bellows complaining about the rich getting richer.

INT - VOTING BOOTH - DAY.

Veronica is voting on Proposition 51. She closes the curtains.

VERONICA VOICEOVER: So. Special ballot measure number 51. Should Neptune consolidate its wealth and exclusivity at the expense of the poor and the unglamorous? Answer: no.

She votes.

INT - NHS, HALLWAY - DAY.

Logan and Dick stroll down the hall.

LOGAN: Who you taking to the alterna-prom?

DICK: Well, I considered a lot of chicks, but finally figured I'd just go stag. I mean, it's not the prom: it's the alterna-prom. Why narrow my options?

Logan looks at Dick for a moment.

LOGAN: You were shot down, huh?

DICK: It's like a conspiracy.

LOGAN: It's a good thing we're graduating. Sounds like you've hit that point where every girl in school knows you.

Dick raises his fist in the air.

DICK: Bring on the sorority girls!

They pass a group of students which includes Corny. He races up to them.

CORNY: Dude! You need me to bring anything to the big bash? 'Cause if it's one thing I know how to do right, it's potluck.

DICK: Uh, which bash is that?

CORNY: Alterna-prom? I make these killer brownies. The secret: it's all in the butter.

Logan glances at Dick and then raises his eyebrows, not happy.

EXT - NHS, CAR PARK - DAY.

Veronica is checking out the vehicles.

VERONICA VOICEOVER: The student parking permit list doesn't show any red pickups, but that doesn't mean much here, as it's not uncommon for certain students to trade up to new rides whenever they get bored. So either our mystery student doesn't drive to school, or I'm barking up the wrong tree.

Gia, looking stern, approaches Veronica.

VERONICA: So, the bad news is, the only red pickup on the list belongs to a girl--

GIA: I don't care about that.

VERONICA: Oh, I thought we were--

Veronica pulls out a San Diego newspaper, which has the same headline as Keith was reading.

GIA: What I do care about is what your stupid dad thinks he's doing.

VERONICA: Gia--

GIA: So now he's saying that it was my dad in that motel and he was sleeping with a hooker he paid in campaign money?

VERONICA: My dad didn't get that woman drunk, that's all he said.

GIA: I just don't get you people. I just don't.

Gia thows the paper down to the ground and storms off.

INT - MARS RESIDENCE - NIGHT.

Keith is watching the news on Channel 5.

NEWSCASTER: And there will be no incorporated town of Neptune, as the special ballot measure goes down by a three-point margin.

Veronica enters the apartment and stands by Keith to watch.

NEWSCASTER: Many point to the supervisor's ongoing scandals as a deciding factor. No official comment yet from the supervisor's office, but--

VERONICA: So Neptune has to keep us?

KEITH: What's a yacht without barnacles?

VERONICA: So I'm stuck on something, and hoped you could help me.

Veronica pulls out the disk. She puts it in the player under the television.

KEITH: Absolutely. Unless it's physics or chemistry. Or math. Or English. P.E. I was good at P.E.

The soccer game comes onscreen.

VERONICA: So, some guy's been stalking Gia. I got a tape of him shooting Gia's brother's soccer game.

KEITH: He-what do you mean, him shooting?

Veronica pauses the film on the man in the letterman jacket.

VERONICA: She found a DVD this guy sent to her house. Creepy footage of her.

KEITH: When? When did she get this?

VERONICA: The other day.

KEITH: Let me show you something.

Keith gets up from the sofa. Cut to moments later as Keith shows Veronica the video he has on his laptop. It's the one from inside Woody's house.

KEITH: He got this last month. Hired me to look into it, figuring some anti-incorporation guy crossed the line.

VERONICA: That's the same thing he told Gia when she asked about that security detail.

KEITH: Until I figured out that this was shot before incorporation was announced. All of a sudden, I'm off the case and his gardener confessed out of the blue.

Keith closes the laptop.

VERONICA: So what does that mean?

KEITH: Woody's scared of something and he's lying about it and it's serious. I want you to leave that tape with me and stay away from this case. This is more than just some obsessed school kid and I don't want you sticking your nose in. [seriously] And I mean that. You understand?

Veronica nods.

INT - NHS, STUDY HALL - DAY.

Veronica is putting copies of the sketch of the man who paid Cliff's hooker into envelopes with covering letters. Mr. Wu approaches from behind.

MR. WU: Miss Mars, what do you think you're doing?

VERONICA: Just some clerical business.

MR. WU: This is study hall. If you wanted clerical hall, you should have signed up for clerical hall.

Veronica smiles tightly. Wu looks up as Logan saunters in.

MR. WU: Mr. Echolls, so glad you could join us. Late.

Wu walks off. Logan slumps down into the desk next to Veronica.

LOGAN: And that is what happens when you never get laid.

VERONICA: Well why don't you invite him to your bitchin' party?

LOGAN: Hey, speaking of my bitching party, a funny thing happened. That stoner dude Corny whom I don't recall inviting offered to bring dessert.

Veronica, still stuffing envelopes, grins.

LOGAN: Exactly how many losers are now coming to my party?

VERONICA: You said invite whoever.

LOGAN: Didn't it occur to you that I might not have meant it?

Logan glances down at Veronica's desk and notes the sketch.

LOGAN: What is that?

VERONICA: Just some work stuff for my dad.

Logan stares at it intently before looking away. Veronica notices.

VERONICA: Why?

LOGAN: Nothing. Just looks like the guy my dad shared a cell with.

INT - HOSPITAL - DAY.

Terrence is sitting up in his bed. Jackie is sitting next to him, her feet curled under her. They are looking at a magazine.

TERRENCE: Now that's a hell of a dress.

JACKIE: Yeah, Gucci knockoff. Still pretty slinky, though.

TERRENCE: I thought you said your prom was cancelled.

JACKIE: It was, but some kids are having kind of a replacement prom. So Wallace and I are doing the whole thing: the dinner, the limo...oh, we got his tux, which he's warning me is some kind of insanely masculine mesmeriser of women.

TERRENCE: Just better be careful, Jackie.

JACKIE: Relax, Dad.

Jackie gets off the bed, taking Terrence's glass with her.

JACKIE: I learned the birds and the bees the hard way, remember?

Jackie refills the glass with water and returns to stand by the bed, handing Terrence his drink.

TERRENCE: I mean, it sounds like you're really falling for this Wallace guy.

JACKIE: He's a nice young man whom I like, yes. Wait, are you, like, trying to give me, like, fatherly advice?

TERRENCE: Trying. How am I doing?

JACKIE: Not bad. For a novice.

They smile indulgently at each other.

JACKIE: I like Wallace, but I'm leaving for Paris, we both know it, so there's no illusions. Which is actually nice.

INT - NHS, JOURNALISM CLASS - NIGHT.

Veronica and Gia are on computers at the side of the room. Veronica has a page of the Navigator on screen. Gia is typing quickly.

VERONICA VOICEOVER: Deadline night. I've been lying in wait to try to walk out with Gia to warn her about her dad. But, either she's writing the greatest story about lunchlady bodybuilding ever, or she's determined to avoid me.

Veronica gets up from her chair and walks towards Gia.

VERONICA: Hey. Gia, I was heading out and thought maybe--

GIA: I'm really busy right now.

VERONICA VOICEOVER: So, since strangling her would be counterproductive, that only leaves giving up.

Veronica swings around and walks out of the room, passing a teacher.

TEACHER: Night, Veronica.

VERONICA: Good night.

INT - NHS, HALLWAY - CONTINUING.

Veronica exits the room and passes Lucky who is buffing the floor.

LUCKY: Hey, Veronica.

VERONICA: Hey, Lucky.

EXT - NHS, CAR PARK - NIGHT.

The car park is almost empty as Veronica makes her way to her car. She slows and then stops when she sees a red pickup. It is parked next to a school bus in a space "Reserved for Maintenance." Veronica pulls out her cell.

VERONICA: Dad, it's me. I know you told me to stay away from this stalker thing, and I did, but it just popped up right in front of me. The red truck, it's the janitor's. And Gia's in the building with him. Call me.

INT - NHS, HALLWAY - NIGHT.

Veronica searches for Gia.

VERONICA VOICEOVER: Fifteen minutes, Dad. That's all the longer I can be expected to wait. Have tazer, will travel.

She hears giggling. Veronica follows the sounds to the door of the janitor's closet. She stands outside, watching Lucky and Gia.

LUCKY: That's Kuwait. And that's Iraq.

GIA: Wow. Was that freaky?

LUCKY: Was it freaky? You wanna see freaky? Look.

Lucky lifts up his shirt and exposes a large scar across his abdomen and side.

LUCKY: It's a roadside bomb. BOO!

Gia gasps and jumps back.

LUCKY: That was freaky.

Lucky laughs and makes a gesture of holding a large gun.

LUCKY: The insurgency: always leaving us presents. But, hell, you know, the whole world is freaky. Right?

Lucky laughs. Veronica tries to attract Gia's attention from the hallway. Gia doesn't see her.

GIA: That is so wild.

LUCKY: Yeah.

GIA: I should do, like, a human interest thing on, on you for the Navigator.

Lucky laughs again.

LUCKY: You should. Hey, let me show you something else.

Lucky turns his back from the door to bend down. Veronica is waving her arms frantically in the hall. Gia finally sees her and isn't pleased.

GIA: What do you want?

Lucky turns from his search and looks up at the door. He sees Veronica. Her presence exposed, Veronica sighs at Gia's stupidity and steps forward into the room.

INT - JANITOR'S CLOSET - CONTINUING.

LUCKY: Hey, Veronica Mars. Just in time. Do you wanna see something freaky?

VERONICA: Um...

LUCKY: Hold on.

Lucky goes back to his search. Veronica gestures with her head to pull Gia away from him and into the corner of the room with her.

VERONICA: [whispers] The guy with the red truck. Varsity jacket.

Gia finally gets it and her mouth drops open in shock.

LUCKY: Jackpot.

Lucky has found what he is looking for. He turns around to face the girls, holding a large, serrated knife.

LUCKY: Check it out. I got this off a...an Iraqi corpse. This sucker will do some serious damage. Serrated blade.

Veronica takes a step towards the door, dragging Gia behind her.

VERONICA: That's really cool, but actually we-we gotta go.

Lucky plants himself between them and the door.

LUCKY: Right. I'm sorry.

He chuckles and leans towards them. They both jump back, clear of the knife in his hand.

LUCKY: Guess the human interest story will have to wait.

Lucky drops his voice to a whisper.

LUCKY: That's too bad, 'cause I got some pretty crazy stuff I could tell you.

He throws the knife up and catches it, forcing Veronica to step back again. He looks at Gia.

LUCKY: I know your dad, you know.

He backs away from the door, juggling the knife. Keith barrels through the door, pushing him and sending Lucky crashing to the ground.

LUCKY: What the hell, man?

Keith climbs on top of him and puts one of Lucky's wrists in one side of a pair of handcuffs.

KEITH: Sheriff's on his way. Don't move.

The knife is on the floor, still close to Lucky. Veronica grabs it and puts it up on the shelf. She then helps Keith by holding down Lucky's other hand.

LUCKY: Get off me, man!

KEITH: Why have you been stalking Gia? The videos and the break-ins, why?

LUCKY: Screw you, man, just screw you! He deserved it! He deserved it!

LAMB: Everyone freeze.

Lamb arrives with his gun drawn and stands at the door. A deputy behind him joins Keith to secure Lucky. Veronica scoots away.

LAMB: Keith, when you call the Sheriff, you don't have to come yourself. Would you get up off the man?

Keith rises, leaving Lucky to the deputy.

LAMB: You said you have evidence to back up what you said?

KEITH: He basically confessed already. We get him in a room for an hour--

LAMB: "We"? I appreciate the heads-up. This is a law enforcement matter now, Mr. Mars. You can go.

KEITH: Go on ahead to your party, honey. Might be a little late tonight.

Keith bends back down and attaches the free end of the handcuffs to his own wrist. He takes the key out of his pocket and lobs it into the nearby sink. The key disappears down the plughole. Lamb is not happy.

INT - NEPTUNE GRAND HOTEL, LIFT - NIGHT.

Dick, in a tux, a pale blue ruffled shirt, wearing a lei and carrying a barrel on his shoulder, makes his way into the lift where there are already half a dozen people. He turns to face the doors just as Madison steps into the elevator.

DICK: Madison. Flying solo? Ditto. Just me and the party pig.

Madison, very like a princess complete with wrap and tiara, turns to face the front, rolls her eyes and ignores him. The doors start to close.

VERONICA: Hold it!

Veronica, wearing a black strapless dress belted at the waist, runs to the door, putting out a hand to re-open the doors. She enters followed by Wallace and Jackie, and Mac and Butters.

DICK: What up? What's that smell?

VERONICA: Mac, you really do look--

MAC: Don't distract me. I'm planning how to kill you and make it look like an accident.

The doors start to close again.

CORNY: Oh, hold it!

Corny, wearing a T-shirt displaying a tux front and a top hat, re-opens the doors and enters.

CORNY: Sweet. Penthouse, please.

He's followed by another couple and finally the doors close. The lift is packed.

MADISON: God, longest elevator ride ever.

BUTTERS: Wait for the space elevator.

Veronica, Mac, Corny, Madison and a number of the other occupants stare at Butters like he's nuts. He's oblivious for a moment, then notices.

BUTTERS: They're designing it now. A huge elevator on a hundred-mile carbon polymer cable that goes all the way to space. That'll be a long elevator ride.

MAC: Still not as long as this one.

Veronica smiles in amusement. The lift finally reaches its destination. The pinger pings and the doors open. Madison and Mac both push their way out first, simultaneously relieved.

MADISON/MAC: Thank God.

Everyone piles out behind them.

INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - NIGHT.

There's a dj at work in the corner and most of the furniture is gone. People are dancing. Logan, in a white tux and a pink rose for a buttonhole, is playing host and greets the new arrivals, the first of whom are Madison and Dick.

LOGAN: Hey, welcome! So tonight, there is only one thing I ask of you.

He shakes Dick's hand.

LOGAN: Make senior memories.

Dick points to the barrel on his shoulder.

DICK: Uh, that's why I brought the party pig.

Logan grins as Dick spots an unattached girl and heads for her.

DICK: Better watch yourself, Danielle. Here comes me and my hog.

Dick attaches a tube to the stopper on the barrel.

DICK: Sooo-ey.

Dick offers Danielle the other end. Danielle turns away in disgust. Dick sticks the end of the tube into his own mouth. Back at the door, Wallace and Jackie enter next.

WALLACE: Yo, man.

LOGAN: Hey, how's it going?

WALLACE: All right.

Butters, who is in a dark suit and coat with a red scarf and tie, and a hat, does a little dance before holding his hand out to an unreceptive Mac.

MAC: I need a drink.

Mac takes flight. Butters follows. Logan watches, a little bemused as Veronica stops in front of him.

VERONICA: Mac just had dinner on a pirate ship.

Logan chuckles and Veronica moves past him, into the room. Logan's eyes follow her as he checks her out. He whistles appreciatively.

INT - SHERIFF'S DEPARTMENT - NIGHT.

Keith and Lucky are sitting side by side in a jail cell.

KEITH: [softly, sympathetically] Back at the school you were saying Woody deserved it. Why? He do something to you? Someone you know?

Lucky looks at Keith and then leans in, about to tell him something. He's interrupted by the sound of Lamb entering the cell. Lamb sighs heavily as he bends down and tries a variety of keys on the handcuffs.

LAMB: What are you looking at, nutjob?

KEITH: Cut him some slack, Don.

Lamb's keys don't work.

LAMB: I wasn't talking to him, Keith.

Lamb pats Keith and rises, leaving the cell. Lucky laughs.

LUCKY: I don't think he likes you.

INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - NIGHT.

The party is in full swing. Jackie and Wallace are dancing very close. Elsewhere, Butters and Mac are dancing, holding each other much further apart.

BUTTERS: I'm not stupid, you know. I know it's weird to force someone to go to prom with you. I know.

MAC: So why did you do it?

BUTTERS: Because I wanted to be true to myself.

They stop dancing. Butters takes off his hat.

BUTTERS: I am weird. I thought maybe you'd understand because...you're a little weird too. That's a compliment.

MAC: Oh. Well, then you're really, really weird.

Mac glances over at Veronica, who is watching them. Veronica sticks up her thumb in encouragement. Mac glares at her before starting to dance again. Butters leads her into an awkward twirl. Elsewhere, Madison is getting herself a drink, trying to ignore Dick.

DICK: Senior year's almost over. In a month, we might never see each other again.

Veronica is nearby and glances at them.

DICK: Never. Think about how long that is. That's like forever, but worse.

MADISON: I'm not going to sleep with you.

DICK: We could fool around in the bathroom. Old times' sake? Never! It's a long time, Madison.

Madison pours a glass of champagne as Veronica decides to join the fun.

VERONICA: Leave her alone, Dick. You don't want to make her have to call the law, 'cause I hear the law really comes down hard. Have you heard that?

Madison, uncomfortable, goes on the attack.

MADISON: So, I guess you're here alone since Duncan, like, ran away, or whatever.

VERONICA: You mean, took it on the lam?

Madison takes in a painful breath as she realises the new opening she's provided. Dick, with no apparent clue as to what it means, just enjoys the barbs.

VERONICA: 'Cause I can't imagine what that's like. Can you? Being on the Lamb? Think you'd just want to close your eyes and pray for it all to end. You'd have the cops crawling all over you. Right? What do you think, Madison?

Madison looks desperately for an escape.

MADISON: There's Gia.

Madison races away.

DICK: What does Madison care about Gia? Ronnie: what do you think the odds are of you and me hooking up by the end of the night?

Dick sticks out his tongue in a manner he no doubt considers charming.

VERONICA: I happen to have them right here.

Veronica reached down the front of her dress. Dick rises on tiptoes in a vain effort to look down her dress. Veronica pulls out an imaginary piece of paper.

VERONICA: They are...a googolplex to one.

Ignorant, Dick celebrates his success.

DICK: Right on! So I'll send over a bartender and check back in with you later.

He looks over the party and spots another target. Veronica, disgusted, also glances around, seeing Madison leave Gia with the drink she poured.

DICK: Hey! Shelly! Speaking of pork, wanna meet my hog? Oow!

Dick heads for other pastures and Veronica races to Gia to stop her drinking.

VERONICA: You don't want to drink that! Trust me.

Veronica takes the glass.

GIA: Hey. Thanks for rescuing me back at school. That was cool. And I'm sorry about what I said about your dad.

VERONICA: He's been called worse.

Music: "I Hear the Bells" by Mike Doughty.

LYRICS: I hear the bells down in the canyon,
It's snow in New York some blue December,
I'm going to the moon about you, girl,
And I'm calling to you throughout the world and well
I can (I can) hear the bells are ringing joyful and triumphant
And I can (I can) hear the bells are ringing joyful and triumphant, and...
I hear the bells, they are like emeralds, and
Glints in the night, commas and ampersands
Your moony face so inaccessible
Your inner mind so inexpressible
I can (I can) hear the bells are ringing joyful and triumphant
And I can (I can) hear the bells are ringing joyful and triumphant, and...
Dum, dum, dum, dumbi-dum-dum
Dum, dum, dum, dumbi-dum-dum
I'm seeking girls in sales and marketing
Let's go make out up in the balcony
Your business dress so businesslike and I'm
Tossing the blouse over a chairback and
I can (I can) hear the bells are ringing joyful and triumphant
And I can (I can) hear the bells are ringing joyful and triumphant, and...
I can (I can) hear the bells are ringing joyful and triumphant
And I can (I can) hear the bells are ringing joyful and triumphant, and...
Dum, dum, dum, dumbi-dum-dum
Dum, dum, dum, dumbi-dum-dum
You snooze, you lose, well I have snost and lost
I'm pushing through, I'll disregard the cost
I hear the bells, so fascinating and
I'll slug it out, I'm sick of waiting and
I can (I can) hear the bells are ringing joyful and triumphant
And I can (I can) hear the bells are ringing joyful and triumphant, and...
I can (I can) hear the bells are ringing joyful and triumphant
And I can (I can) hear the bells are ringing joyful and triumphant, and...
I can (I can) hear the...

Veronica spots Jackie and Wallace making out in the corner. She pats Gia and heads towards them.

VERONICA: I thought I told you to get a room!

WALLACE: Already done got a room.

Veronica is surprised. Wallace and Jackie start to make their way out of the suite. Behind Veronica, jacketless and wasted, is Logan.

WALLACE: So, Mars, I'm leaving it to you to represent the lower middle class at the Neptune Alterna-Prom.

VERONICA: You can't just leave me here.

JACKIE: We'd stay, but I, uh, just can't control myself.

Logan watches Veronica.

WALLACE: It's the tux, I'm telling you.

Wallace and Jackie exit the suite and Veronica rolls her eyes. Logan watches Veronica as she moves back towards the wall. He meets her there.

LOGAN: Alone again.

VERONICA: Naturally.

Veronica looks out over the party. Logan, carrying a bottle of champagne turns into the wall and leans against it.

LOGAN: I, uh, I know the feeling.

Veronica puts the glass she rescued from Gia down on the small table by the wall.

VERONICA: You? Host of the greatest private replacement prom ever?

Logan smiles, takes a large swig from the bottle and drags his hand through his hair.

VERONICA: I'm sure you could have your pick of the bimbos.

Veronica listens to the music as Logan observes her.

VERONICA: I really like this song.

Veronica sits back on the table. Logan glances around and then straddles the table next to her.

LOGAN: You know, I'm surprised, Veronica. And as a keen observer of the human condition, I thought you saw through people better than that.

Veronica looks at him questioningly.

LOGAN: Bimbos? That's not me anymore.

VERONICA: So what are you like now?

LOGAN: You know. Tortured. Ever since I had my heart broke.

VERONICA: Hannah really did do a number on you, huh?

LOGAN: Come on, you know I'm not talking about Hannah.

He stares at her, eyes intense and glistening. Veronica is taken aback as she realises that Logan is talking about her. She doesn't know how to react.

LOGAN: I thought our story was epic, you know? You and me.

VERONICA: Epic how?

Logan takes another swig.

LOGAN: Spanning years and continents. Lives ruined, bloodshed, epic.

Logan pauses, staring intently at her. Veronica doesn’t move.

LOGAN: But summer's almost here. And we won't see each other at all. Then you'll leave town then...it's over.

VERONICA: Logan...

LOGAN: I'm sorry. About last summer.

This surprises her. Logan is nearly in tears.

LOGAN: You know, if I could do it over...

Logan shuffles closer to her. Veronica makes a half-hearted attempt to dispel the tension.

VERONICA: Come on. Ruined lives, bloodshed? You really think a relationship should be that hard?

LOGAN: No one writes songs about the ones that come easy.

Logan shuffles closer to her again, his eyes never leaving her. Veronica doesn't move. She looks away, clears her throat and finally looks back at him, uncomfortable and uncertain. Logan leans his head closer to her. He reaches out and strokes her cheek. Veronica shivers slightly, sighs deeply and stares up at him. Logan leans closer and closer, about to kiss her. Veronica struggles to breath.

VERONICA: [strangled] I have to go. I have to go.

Veronica slides off the table and takes off. Logan watches her go. End music: "I Hear the Bells" by Mike Doughty.

INT - NEPTUNE GRAND HOTEL, ROOM - NIGHT.

Music: "All My Life" by DJ Harry.

LYRICS: I'll come right down to it
How do I accept again
(?) I exist
I've thought about (?) 'bout it
And I (?) in limbo
I still don't know if it's something in my soul
If it's something in my soul
If it's something in my soul

Jackie, in a white, softly ruched dress, and Wallace, his jacket off, fall back onto the bed, side by side, holding hands. They gaze at each other for a moment. They kiss gently. Jackie helps Wallace remove his shirt. With the straps of her dress eased off her shoulders, Jackie lies atop Wallace as they continue to kiss. End music: "All My Life" by DJ Harry.

INT - SHERIFF'S DEPARTMENT - NIGHT.

Keith and Lucky are still in the cell, attached by the handcuffs. They talk softly.

KEITH: So, Mayor Goodman. Why do you want to scare that guy so bad? I mean, I admit I'm no great fan of the man's policies, but--

LUCKY: His, his policy? See, that's the thing. People always talk about him as this great guy. He's the mayor. He makes, he makes good burgers. He's awesome, Woody Goodman. But you don't know what he really is.

KEITH: What is he really?

LUCKY: You want to know?

Keith nods his head.

LUCKY: Hmm?

Lucky leans in to whisper in Keith's ear but pulls back at the clash of the opening cell door. Lamb and a deputy arrive.

LAMB: You might want to apologize to Sacks who spent the last hour with his arm down that drain.

The deputy applies a key to the cuffs. Lucky gives Keith a pleading look. Keith rises and walks over to Lamb.

KEITH: Couple more minutes. Please, Don. He's about to open up.

LAMB: No can do. He's going home now, he just made bail.

KEITH: Who bailed him out?

LAMB: Uh...

Lamb looks at the clipboard in his hand.

LAMB: Stewart Manning.

The deputy frees Lucky from the cuffs.

KEITH: Mr. Manning, Meg Manning's father?

Lucky walks out of the cell, followed by the deputy. Lucky rubs his wrist and glances back at Keith as he goes.

LAMB: Guess he's got a soft spot for weirdos.

EXT - MARS RESIDENCE - DAY.

Keith picks up the papers from the mat.

INT - MARS RESIDENCE - CONTINUING.

He turns to re-enter the apartment as an agitated Veronica comes out of her bedroom.

KEITH: Hey. Must not have been that wild a party if you're up this early.

VERONICA: It was...whatever.

Veronica evades further questions by leaving the apartment. Keith watches her go, concerned.

KEITH: Ah. Whatever.

He sighs and looks at the paper. He sighs again when he sees the headline: "Cook threw championship game. Woman killed in bus crash accused Hall of Fame hopeful of fixing ALCS. By Geoff Stack. Senior Writer."

INT - HOSPITAL - DAY.

Jackie is reading the same article, waiting outside Terrence's room.

P.A. ANNOUNCEMENT: Doctor Watkins to Peds ICU. Doctor Watkins to Peds ICU.

She drops the paper to her lap, saddened.

NURSE: You can go ahead in now.

Jackie rises, folds the paper and throws it in the rubbish. She puts a smile on her face and enters the room.

JACKIE: Good morning.

She walks towards his bed and he smiles up at her. Outside his room, a deputy guards the room.

INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE - DAY.

Veronica walks from the lift to the door to Logan's suite. She's nervous and uncertain. She changes her mind and swings around to face the lift again. She stops, screws up her eyes and her resolve. She knocks on the door. She nearly bolts again but there is the sound of something being knocked aside and she faces the door as it opens. Logan, shirtless and massaging his head, looks at her groggily.

LOGAN: Hello.

VERONICA: First let me say that I'm sorry for running out last night like I did. I was a bit overwhelmed; I needed to collect my thoughts, think about what you said.

Veronica is keen to get out what she has to say. Logan is confused.

LOGAN: Veronica...

VERONICA: Look, let me just get this out. I don't want to lose you from my life either. And I'm not saying I'm ready to dive back into anything, but after graduation, let's make it a point to see each other. See where that takes us. I remember what you said about our relationship being epic.

Veronica finally sees that he has no idea what she is talking about as Logan rests his head on the door.

VERONICA: ...Oh, God.

LOGAN: Last night was kind of a blur.

KENDALL: [offscreen] Is that our room service?

Veronica and Logan are both distressed beyond description as Kendall appears in a bathrobe behind Logan. Kendall looks at Veronica over his shoulder, possessively running her hands over Logan's naked abdomen.

KENDALL: No. Just Veronica Mars. What a disappointment. Come on. Let's get you cleaned up. Bye, Veronica.

Kendall disappears back into the suite. Veronica forces herself to smile through the gathering tears.

LOGAN: Look, whatever I said, I...

Veronica shakes her head and walks away from the door. Logan steps into the hallway after her.

LOGAN: You should know--

VERONICA: Stop.

Logan stares as Veronica gets into the lift. She looks back at him, her face twisted in pain as the doors close. End. Executive producer Rob Thomas (who is an evil god).