2.22 Not Pictured
Teleplay by: Rob Thomas and John Enbom
Story by: Rob Thomas
Directed by: John Kretchmer
Original Air Date: 9 May, 2006
Transcribed by Inigo.
Last edited: 27 May, 2006
VERONICA VOICEOVER: Previously on Veronica Mars...
Veronica runs to the edge of the cliff in the wake of the bus crash in 201 "Normal Is the Watchword." Dick and Beaver are standing back from the edge, gazing down. Gia is standing at the edge, stunned.
GIA: It just went straight off the cliff. They’re all dead.
Veronica finds the audio file attached to the message "Kill incorporation or else" on one of the little used computers in the Goodman house in 221 "Happy Go Lucky."
PETER: Woody’s a pervert. He’s sick. What he did to us is wrong.
Veronica plays the audio for Keith.
VERONICA: Two of the boys who died in the bus crash were on Woody’s Little League team.
Keith challenges Woody in Woody's office.
KEITH: Most adults keep their hands off of other people’s children.
Lamb sits back at his desk, refusing to take action against Woody.
KEITH: You’ll be the guy who let a child-molester and a murderer get away.
In the courtroom, Lamb gives Keith the bad news.
LAMB: Woody’s gone. He took his private plane.
At the high school, Weevil talks to Veronica.
WEEVIL: My grandmother asked me for one thing, my whole life. She wants to see me walk across that stage at graduation.
A cloth-filled hand pops out from behind a vehicle, catching Thumper and covering his mouth and nose in 217 "Plan B."
THUMPER: [offscreen] It’s Weevil, I’m telling you!
Weevil stands over the unconscious Thumper at the back of the vehicle and takes his drug money.
THUMPER: [offscreen] He set me up!
Thumper, handcuffed to a urinal at Shark Field Stadium, pleads.
THUMPER: I got something on you.
A cloth is stuffed in Thumper's mouth by Liam Fitzpatrick. Cut to Logan depressing the plunger to detonate the explosives to bring the stadium down. At the sound of the first explosion, Thumper realises his fate. Cut to a confessional.
WEEVIL: Bless me, Father, for I have sinned.
Veronica dresses in the doctor's office in 220 "Look Who's Stalking."
VERONICA: I’ve got what?
At the front door of his house, Terrence hands Wallace a note in 221 "Happy Go Lucky."
TERRENCE: Jackie left for France this morning.
At the alterna-prom, Logan, having poured in the booze, pours out his heart to Veronica in 220 "Look Who's Stalking."
LOGAN: I thought our story was epic.
He moves in slowly to kiss her. Veronica panics.
VERONICA: I have to go.
Veronica stands at Logan's door the next morning.
VERONICA: I don’t want to lose you from my life.
Kendall makes an entrance in her bikini in 201 "Normal Is the Watchword." At Neptune High, Beaver tells Veronica about his stepmother as they walk across the empty lunch area in 203 "Cheatty Cheatty Bang Bang."
BEAVER: My stepmom. She’s a gold digger.
Aaron has a deal for Kendall in 215 "The Quick and the Wed."
AARON: You’re cash-strapped. I can help. But…quid pro quo, Mrs. C.
Kendall takes a hair from Duncan's shower.
AARON: [offscreen] Quid pro quo.
Aaron stares triumphantly at Veronica in 221 "Happy Go Lucky."
JURY FOREMAN: [offscreen] We find the defendant not guilty.
Veronica is near to tears. End previouslies.
EXT - COUNTY BUILDING - DAY.
There is a huge crowd outside the building that houses the courtroom. Most of the crowd are delighted, cheering and clapping.
VOICE IN THE CROWD: Aaron!
There are other various shouts and the crowd, fronted by the cameras and microphones of the press, surges forward as Aaron comes out with his lawyers (except for Lavoie).
VERONICA VOICEOVER: So this is how it is. The innocent suffer. The guilty go free. And truth and fiction are pretty much interchangeable.
Aaron acknowledges the crowd happily.
REPORTER: Mr. Echolls, how do you feel about your acquittal?
AARON: I-I feel relieved to have my name cleared of this, this...horrible crime.
The crowd cheers and claps anew.
VERONICA VOICEOVER: There is neither a Santa Claus nor an Easter Bunny, and there are no angels watching over us.
Veronica and Keith are in the crowd, neither cheering nor clapping. Veronica is staring at Aaron, her arms crossed in front of her, miserable. Keith tightens his hold on her.
He gently touches her chin to turn her head away and starts to lead her out of the crowd.
VERONICA VOICEOVER: Things just happen for no reason.
Aaron continues to enjoy the adulation of the crowd, holding up the victory V sign with both hands.
INT - MARS INVESTIGATIONS (MI) - DAY.
This image is what appears on the front page of the Neptune Register newspaper, under the heading "Echolls Acquitted. Movie star found not guilty in teen's murder." Veronica slaps the paper down on her desk.
VERONICA VOICEOVER: And nothing makes any sense.
Veronica, sitting at her desk, stares down at the paper. Keith is standing next to her.
KEITH: We will not do this.
Keith reaches over her to take the paper.
KEITH: You can’t let this stick in your head.
He has to tug to get it out of her hands.
KEITH: However wrong it turned out, it’s done. We’re people with lives, and we will not obsess. We move on. Aaron Echolls will get his justice in his own way.
VERONICA: You really believe that?
KEITH: Yes. Now, come on. We’re running a business here.
He taps her arm with the folded up newspaper.
KEITH: Look alive.
Keith returns to his own office. He sits down, but it too wound up himself to do anything other than pick up the paper and start to read it. Outside in the main office, the buzz of an in-coming fax is heard. Veronica gets up to collect the fax. She reads it. In his office, Keith is agitated as he reads the paper. Veronica appears at the door and sees what he is doing.
VERONICA: What happened to moving on?
Caught in the act, Keith closes up the paper and tosses it aside.
VERONICA: Posted today: Meg’s dad offering twenty grand for the capture of Woody Goodman.
She hands him the fax.
KEITH: Well, I’m sure someone will get him.
Keith glances at it before handing it back to her.
VERONICA: Didn’t you say something about “we have a business to run”?
Keith nods his head, taking on an innocent demeanour.
VERONICA: Shouldn’t you be out hunting him down like the dog he is?
KEITH: I also said something about us being people with lives. See, I have this kid who’s gonna graduate from high school. I don’t wanna miss it.
VERONICA: This is Woody Goodman. He blew up a bus and molested children.
KEITH: Guess I’m just sentimental.
INT - JAVA THE HUT - NIGHT.
Wallace is at one of the small tables. There is an untouched piece of cake on the table, pushed away from him. In his hand is Jackie's note. Veronica, in her work gear, slides into the seat opposite him. She has a file in her hand which she sets down on the table.
VERONICA: When the management gives you free cake, you’re supposed to eat it. I thought you were prepared for Jackie going.
WALLACE: Never figured it’d go down like this.
VERONICA: She left you a note?
WALLACE: “But I was afraid if I saw you, I wouldn’t be able to get on a plane. I’ll always....” Well, then it’s just a bunch of private stuff.
Wallace, dispirited, puts his elbow on the table and rests his face on his bunched-up fist. He looks at Veronica.
WALLACE: What can you do about that?
VERONICA: You could use a method time-tested by women throughout the ages.
Veronica points to the cake.
VERONICA: Gorge on cake.
Wallace glances down at it, not tempted. Veronica spots something behind Wallace.
VERONICA: I’ll be right back.
She picks up the file and walks towards the entrance. A boy is standing there.
VERONICA: Johnny Ludden? Thanks for dropping by.
JOHNNY: Sure. Free gelato just to show up? Why not.
From the file in her hand, Veronica pulls out a picture. It is a blow up of the picture from Woody's wall of the eleven boy Little League team. On it, Veronica has written the names of the boys she has identified: Jamie Leahy, Tyson Richarsdon (sic), Johnny Ludden, Jordan Taylor, Michael Curry, Peter Ferrer, Franklin Carvahlos, Justin Mize, Robin Luddington and Marcos Oliveres. There is one boy on the far left that she has not identified. She shows Johnny the picture, her finger pointing to the boy she has identified as Johnny.
VERONICA: Is this you in Woody’s old team?
JOHNNY: Yeah. So, do I have to eat here, or could I get the gelato in a carton?
VERONICA: Just a few more questions first.
INT - MARS RESIDENCE - NIGHT.
Veronica enters the apartment, staring at the photograph. Keith is in the armchair, reading.
KEITH: Hey, honey.
VERONICA: Hey, Dad.
Neither have glanced up, both intent on their activities. The phone rings. Veronica answers.
VINNIE: [on the phone] Hey, Veronica Mars! Is your dad home?
Veronica grins and holds out the phone.
VERONICA: You’ve got a call…
Keith looks up curiously.
VERONICA: ...from Vinnie Vanlowe.
Keith makes an exaggerated "huh" face.
INT - SHERIFF'S DEPARTMENT - NIGHT.
VINNIE: So, of course you know about the bounty on this Goodman guy.
KEITH: I’m aware of it, yes.
VINNIE: Twenty Gs? That’s big-boy money. Gonna be a lot of top guys out there for it. I had a thought. We team up. Mars and Vanlowe. Pool our resources. Split the cash.
KEITH: Sheriff got you on video breaking into Woody's house.
Vinnie beckons Keith closer and steps forward, revealing that Vinnie is in a jail cell.
VINNIE: [quietly] But Johnny Law don't know what I got.
KEITH: What do you got?
VINNIE: All his records: tax, medical, corporate, the whole enchilada. We nail him, we split sixty-forty. I'm the sixty, by the way.
KEITH: Fifty-fifty, if the stuff you got pans out and no action until after my daughter's graduation.
VINNIE: I'm in jail! I deserve sixty.
Keith holds up his hand and rubs his thumb and forefinger together.
VINNIE: I risk my life to bring a fugitive to justice and you're giving me world's tiniest violin.
KEITH: Guess I'm just heartless.
VERONICA: [offscreen] He's got, like...
INT - MI - DAY.
Keith and Veronica are working at her desk, going through piles and piles of papers.
VERONICA: ...ten credit cards in different corporate names. We're gonna have to put a trace on all of them.
Veronica picks up another file and opens it.
VERONICA: And he has a pilot's license.
KEITH: Seasonal allergies, bad arches...
Keith flips up the paper he's reading to the sheet underneath.
KEITH: ...and he had the clap. Hm.
KEITH: Treated twice for Chlamydia. Didn't see that in his campaign materials.
Veronica is uncomfortable. Keith carries on, oblivious.
KEITH: Bingo. Heart arrhythmia.
VERONICA: So that's our strategy? Just wait for him to drop dead?
KEITH: He has to take a pill every day. There any way you can find out Gia Goodman's cell phone access code?
VERONICA: Gia's cell?
KEITH: Woody's lawyer is also an old college buddy of his. If he'd call anyone, it'd be him. If we had Gia's code and could forward her calls...
VERONICA: I guarantee you she hasn't changed it from the factory default.
KEITH: Then I have a plan.
DREAM: INT - MARS RESIDENCE - DAY.
An alarm placed on a white bedside table goes off at 6:30am. Also on the table are some pictures, some candles, a spray bottle, a diary, and a porcelain dog (or pig). The room is bathed in pale pink light. Without opening her eyes, Veronica pulls a small pillow over her head, sighing. She removes it on the sound of a knock at the door.
LIANNE: Up and at 'em, honey.
Lianne marches in, carrying folded clothes. The room is not Veronica's bedroom at the apartment, but in a different house. Lianne sets the clothes on top of a chest of drawers. She is grinning ear to ear.
LIANNE: Can you believe the big day is finally here?
Lianne exits the room. Veronica, still half asleep, is confused as she gets up. Cut to a little later. Veronica, dressed in a strapless summer dress with a petticoat frill, walks out into a smart kitchen. At the end is a breakfast table. Keith is there, in his sheriff's uniform. He watches her as she approaches the table.
KEITH: There she is.
Veronica pauses a moment before taking her seat.
VERONICA: The eyes are bright, the tail is bushy.
Lianne puts pancakes on Keith's plate and then on Veronica's.
VERONICA: Pancakes, Mom? Are you trying to give me an early jump on the freshman fifteen.
LIANNE: Eat up. You think the dining halls at San Diego State are gonna feed you like this?
She puts the empty plate from which she served the pancakes down on the kitchen counter just in time as Keith grabs her around the waist and pulls her onto his lap.
KEITH: Hmm. I love pancakes.
They start to kiss. Veronica stares at them in mixed wonder and bewilderment. Keith looks over at her.
KEITH: What? A comment? "Get a room"? You just gagged in your mouth?
VERONICA: No, it's nice.
Lianne pulls herself up from Keith's hold and leans forwards to feel Veronica's forehead.
LIANNE: Are you okay?
VERONICA: All right.
Lianne laughs again and goes to the kitchen. Keith busies himself preparing his pancakes.
VERONICA: So how's the sheriff business?
KEITH: Pretty sweet. We've got Otis sleeping it off in cell one and Lamb has to wear the Clete, the Crime-Fighting Canine costume to all the elementary schools this week.
Lianne returns with a camera. She sits down on Keith's lap.
LIANNE: Um, listen. After the ceremony, don't run off with that boy because we want to take pictures, and lots of them.
VERONICA: And I can't wait.
LIANNE: Okay, then you should practice. Say "cheese."
Lianne points the camera.
GIRLS: [offscreen] Cheese!
The scene shifts to...
EXT - NEPTUNE HIGH SCHOOL (NHS), LUNCH AREA - DAY.
...a camera as it flashes. A girl takes a picture of friends as Veronica passes behind her. She is heading for one of the tables where Logan is sitting on top of it and Duncan is sitting on its bench. Both have their graduation caps on. Duncan, and many of the students milling around them are wearing their gowns. Duncan and Logan are laughing.
VERONICA: They gave me the wrong cap and gown.
Logan pulls the cap off of his head and looks inside it.
LOGAN: Yeah, how exactly can you tell?
As Dick wanders over to join them, Veronica holds up the plastic bag containing the cap and gown she has been given.
VERONICA: It's got someone else's name on it.
DICK: Guess who's going commando?
DUNCAN: Must we?
VERONICA: Does anyone know Wallace Fennel?
Veronica mispronounces "Fennel."
DUNCAN: I do, he's in my PE class. Awesome baller. I think he works at Sac-n-Pac.
VERONICA: "Awesome baller." That doesn't really help me. Can you point him out?
DICK: You didn't hear what happened to him? Sac-n-Pac got held up when he was working.
Logan smiles and looks down.
DICK: The robber forced him into the walk-in cooler...he got frostbite.
DUNCAN: Yeah, dude lost three fingers.
VERONICA: [horrified] Oh my god, that's awful.
Duncan and Dick erupt into laughter, congratulating themselves. Logan slips off the table and walks towards Veronica.
LOGAN: Aw, sweetie, I love you. But you have to be the most gullible girl I've ever met.
He kisses her.
VERONICA: I'm trusting, sue me.
Duncan points into the distance.
DUNCAN: There he is, that's Wallace.
Veronica looks behind her. Wallace, wearing glasses, is carrying another cap and gown.
Veronica leaves the boys to chase Wallace. Behind her, Dick is showing the next table what's underneath his robes, causing Logan to spin around and laugh.
VERONICA: Wallace. Wallace?
VERONICA: I think I have your cap and gown.
WALLACE: That must make you Veronica Mars?
VERONICA: It does.
WALLACE: So. Lookin' forward to gettin' out of here?
VERONICA: I guess. I don't know. High school was a blast. Right?
WALLACE: Oh, you're one of those.
VERONICA: What's that supposed to mean?
WALLACE: Nothing. Have a good life. I'm sure you will.
Wallace walks away. Veronica worries over the scene for a moment but is distracted when she sees someone by the fountain and runs to her.
VERONICA: Tell me about everything! Tell me about this new guy. Tell me about Vassar.
LILLY: The guy is gone. We had a little screaming over fooling around with his ex.
VERONICA: That bastard.
LILLY: Oh no, no. It was, um, it was me.
She laughs. Veronica looks shocked.
LILLY: I kinda fooled around with his ex. I mean, you'd think that guys would dig that, right? What? It's college. It's expected. You'll see.
VERONICA: God, it's so good to see you.
LILLY: What is this?
Lilly points behind her.
LILLY: A Lilly Kane memorial fountain? Do you smell bacon?
INT - MARS RESIDENCE - DAY.
In her own room, Veronica is woken by Keith poking his head into her room.
KEITH: Graduation day! Get up! Lots to do! I'm making breakfast.
Keith belatedly knocks on the door on his way out. Having raised her head slightly, Veronica lets it fall back on the pillow.
EXT - NEPTUNE STREETS - DAY.
A man in a business suit, carrying a briefcase, strides towards and enters a building. He is being watched by Keith, parked on the other side of the street. Keith talks into his cell.
KEITH: Get ready.
INT - LEE'S OFFICE - DAY.
The man, Woody Goodman's lawyer Bill Lee, is met by his assistant in front of his office.
ASSISTANT: Morning Mr. Lee. Gia Goodman asked you to call her on her cell.
She proffers a slip of paper.
LEE: It's all right. I got the number.
He goes into his office and sits down at his desk. He fits an earpiece and then dials a number from memory. It rings on the other end.
LEE: Gia? Bill Lee.
VERONICA AS GIA: [on phone] Hey, so, I'm trying to get a message to Dad...
INT - MARS RESIDENCE - CONTINUING.
Veronica, dressed in a black, halter-neck dress, is at her desk.
VERONICA AS GIA: But he didn't leave us a forwarding...it's just, we got a call from Dr. Hoover and I guess his heart pills are fifty mil-something this time instead of a hundred...
EXT - NEPTUNE STREETS - CONTINUING.
In his car, Keith is listening and monitoring the call with some fancy tech equipment.
VERONICA AS GIA: [on phone] So he has to take two. It's really important.
LEE: [on phone] Got it, Gia. I'll see what I can do. You take care, honey.
INT - LEE'S OFFICE - CONTINUING.
Lee leans forward at his desk to dial another number.
EXT - NEPTUNE STREETS - CONTINUING.
In the car, Keith can listen in on the call.
VOICE ON PHONE: [on phone] Quail Creek Lodge.
LEE: [on phone] I need to leave a message for Mr. Underhill please.
Keith places one device over another. Against the sound of a ringing phone of the call being forwarded, Keith gets a number: 775-555-0122.
INT - NHS, GYM - DAY.
The camera looks down onto the cap of a student on which is written "Neptune High Class of 2006" in chalk. The student walks on and the camera pulls up to reveal the room which is decorated with a large arch of green and gold balloons. Visitors are taking their seats in the stands. The students who are graduating are to sit in the middle of the auditorium, in front of a small stage set up on the opposite wall to the visitors. Proceeding amongst the crowd is Keith and Veronica in her cap and gown. She has a large gold medallion around her neck.
KEITH: After you talked to Woody's lawyer, he immediately called the number for Quail Creek Lodge, twenty miles outside of Reno. It's a stocked hunting ranch, rich businessmen shooting captive birds.
VERONICA: You think Woody's there?
KEITH: I checked Google Earth. Satellite photos show a landing strip and a building big enough to hold a plane. I'm on a flight to Reno, leaving an hour after graduation.
VERONICA: I don't know if I like the idea of you running around a place full of armed, drunk businessmen.
KEITH: That's why I rarely go to Texas. I'll be fine. [repeats in a whisper] I'll be fine.
He leans forward and kisses her.
KEITH: I'll call as soon as I have him.
Keith grins proudly and goes to take his seat in the stands. Veronica watches him, and then notices Weevil escorting two small children and his grandmother to their seats. His grandmother, who, if she is Leticia Navarro, has aged considerably, is using a walker to slowly make her way to the stands. Veronica gives a little smile as Weevil's grandmother reaches up to adjust his cap. Cut to a little later. The band plays "Pomp and Circumstance" throughout the ceremony and Clemmons is in the middle of calling the students up one by one.
CLEMMONS: John Enbom.
There's applause as John Enbom makes his way left to right across the stage.
CLEMMONS: Wallace Fennel.
The cheers are louder for Wallace. Alicia is in the stands and rises to applaud her son. Veronica puts her hands to her mouth to use as a megaphone for a big whoo-hoo, clapping strenuously. Alicia does the same (without the hands) from the stands. Veronica is still clapping when a finger pokes her in the shoulder. Mac is sitting in the same row and they are separated by a male student. Veronica leans back so she can talk to Mac behind his back.
MAC: Guess what?
CLEMMONS: Stacey Fields.
MAC: Beaver got us a room at the Neptune Grand for tonight.
MAC: Any advice?
VERONICA: Close your eyes and think of England?
Mac is not impressed.
CLEMMONS: Howard Grigsby.
VERONICA: Just relax.
Mac grins and returns her attention to the front. The entire row stands up and starts to make their way to the side of the stage.
CLEMMONS: Hadley Klein.
Veronica pauses at the end of the row, spotting Lamb and a deputy. Lamb passes her with hardly a glance. Veronica turns to follow him with her gaze.
CLEMMONS: Phil Klemmer.
Lamb stops two rows behind Veronica's. Weevil is sitting at the end of it. Lamb stares down at him. Weevil looks up at him, not happy. There's applause going on for Phil Klemmer and one of the students shouts out.
STUDENT: Yo, Klemmer!
LAMB: Eli Navarro. You are under arrest in connection with the murder of Eduardo Orozco.
WEEVIL: No, man.
LAMB: You have the right...
WEEVIL: You're not going to do this, not here.
LAMB: ...to remain silent. Anything you say may be...
WEEVIL: Just give me ten minutes, okay?
LAMB: ...used as evidence in a court of law. You have the right to an attorney. If you cannot afford one--
Weevil erupts, jumping up and getting in Lamb's face.
WEEVIL: [screaming] Just let me graduate.
Clemmons hears this from the stage and gazes worriedly at the scene. Lamb is completely unfazed and uncaring.
LAMB: One may be appointed for you. Do you understand these rights?
WEEVIL: Please. Don't do this, man.
LAMB: Cuff him. Let's get him out of here.
The deputy goes to cuff Weevil. He jerks away.
LAMB: Hey, hey. You want to do this the hard way?
Lamb puts his hand on his gun.
Weevil turns his head to look back at his grandmother, who is holding the two youngsters and showing concern. Clemmons gets back to work.
CLEMMONS: Todd McDade.
Weevil sighs and lets himself be cuffed and led away.
LAMB: Let's go.
He stares at Veronica as he is led past her.
CLEMMONS: Cindy Mackenzie.
There's a smattering of applause. Beaver, in the stands with Dick, claps loudly and grins. Dick is clapping with less enthusiasm.
CLEMMONS: Scott Markham.
The boy who had been sitting next to Veronica is given his diploma. Clemmons leans down to the microphone.
CLEMMONS: Veronica Mars.
Keith jumps up from his seat and shouts out, clapping hard with his hands over his head.
KEITH: Yep, yep.
The applause is loud (although there are some boos in there as well). People shout out her name. Veronica is stunned by the volume and looks out over the gym. Mac, already in her seat, gives a loud holler. Wallace shouts out.
WALLACE: Well done, V.
Logan, with a crooked smile, claps. Veronica smiles proudly and goes to Clemmons, her surprise still showing on her face. Clemmons leans forward, covering the microphone with his hand.
CLEMMONS: You were expecting some other reaction?
He hands Veronica her scroll
CLEMMONS: I can't decide if my life is going to be easier or more difficult with you gone. Anything I should know in case I get another one like you someday?
VERONICA: Don't keep all your passwords taped on the bottom of your stapler. And stay cool Mr. C.
Veronica grabs the cap's tassle and moves it to the other side with a grin before leaving the stage. Clemmons watches her go with something close to regret.
EXT - NHS - DAY.
Students and guests alike are milling around outside. Keith ducks between people to reach Veronica. She laughs. Keith pulls an envelope out of his jacket.
KEITH: For you on this momentous occasion.
Veronica takes the envelope and feels it up and down. She shakes it. She smells it. Keith smiles at her. Veronica jumps up and down with childish glee.
VERONICA: A pony?
She opens the envelope and pulls out airline tickets. She reads them.
VERONICA: New York?
KEITH: We leave Tuesday.
VERONICA: [with increasing excitement] Broadway, Soho, the MOMA?
Keith shakes his head, running down his favoured itinerary.
KEITH: Yankee Stadium, Shea Stadium, Madison Square Gardens.
Veronica jumps into his arms to hug him.
VERONICA: Oh, thank you so much. This is awesome.
She lets him go. She slaps him on the arm.
VERONICA: Awesome. Now, go catch Woody. I get creeped out just knowing he's out there somewhere.
KEITH: All right. You have fun tonight.
VERONICA: That's the plan.
Keith leaves. Veronica is looking down at the tickets when she is slapped on the ass by Dick, who is wearing a t-shirt that says "Trust me...I'm rich." She looks up, offended. Dick is oblivious.
DICK: Put on your dancing shoes, Mars, 'cause tonight...
He starts to dance.
DICK: We're gonna up chuck the boogie to rhythm of the boogie the beat.
VERONICA: Up chuck?
Dick points at her.
DICK: You heard me.
Veronica aims two finger guns at his back. She heads for her car, whipping off her gown. She's still in the black halter neck dress. The LeBaron's top is down and Veronica throws her things into it before climbing in.
ALICIA: [offscreen] Veronica!
Veronica looks up. Alicia is standing by the other side of the car, holding a note.
ALICIA: Do you know about this?
VERONICA: I don't. What's wrong?
ALICIA: Wallace left this note for me on my windshield. He's booked himself a flight to Paris. He's gonna try to track down Jackie.
EXT - BROOKLYN, NY - DAY.
A wide shot of the bridges between Manhattan and Brooklyn leads to...
INT - BROOKLYN DAN'S - DAY.
...a small diner.
CUSTOMER: Hey, can I get the check, please?
The door opens and a small boy enters, followed by Jackie.
CHILD: Mommy, mommy.
The child runs forward into the diner, heading for a waitress named Kim who smiles at him. She then looks up at Jackie.
KIM: You're ten minutes late.
JACKIE: Cut me some slack, Ma. I haven't even been back two days.
KIM: Jackie. You ain't in Neptune no more. Terrence Cook vanity camp is over. This is real life.
Jackie has taken off her coat. She is also wearing the uniform of a waitress. She drops her coat, not thrilled by her life. A phone rings. Kim answers.
KIM: Brooklyn Dan's.
She listens for a moment.
KIM: Yeah. Hold on.
She holds the receiver out for Jackie.
KIM: It's for you.
VERONICA: [on phone] What? No bonjour?
INT - MARS RESIDENCE - CONTINUING.
Veronica is in her bedroom.
JACKIE: [on phone] How did you know?
VERONICA: Well, first, three point one GPA doesn't scream Sorbonne.
INT - BROOKLYN DAN'S - CONTINUING.
The camera continues to switch between the locations.
VERONICA: And the Java job. You're a might good service industry worker for the daughter of a model living on the Upper West Side...
Jackie sighs. She glances over at Kim, who is lifting the little boy onto the counter.
VERONICA:...who never held a job before. I've known for a while.
JACKIE: Look, I might have lied about my life but I swear, I never lied to Wallace about how I felt.
VERONICA: Whatever you told him, it really did the trick because he just got on a plane to Paris. The good news is, he's a four hour layover at JFK, so you can go tell him the truth before...
Jackie glances at her mother, who is watching her.
VERONICA:...he's forced to endure several ugly days of rude waiters for nothing.
EXT - NEPTUNE GRAND HOTEL (NGH) - DAY.
The camera pans down the building as a taxi arrives.
INT - NGH, RECEPTION - DAY.
Logan is collecting his mail.
AARON: [offscreen] Hello, Logan.
Logan looks up and at his father, before returning his attention to his post. It's fairly clear that he is not happy to see Aaron.
LOGAN: What are you doing here?
AARON: Well, I need a place to stay.
Aaron holds up one of the hotel's brochures.
AARON: How are the suites?
Logan, having tucked his mail under his arm, grabs some wrapped sweets from the front desk before starting to walk to the elevator.
LOGAN: Well, probably an improvement over your previous digs.
Logan untwists the wrapper of one of the sweets with his teeth.
LOGAN: It might be a little weird though. I don't think any of the other guests killed anyone.
Logan continues to concentrate on unwrapping the candy. Aaron keeps pace with him. They reach the lifts and Aaron pushes the button.
AARON: You know, you should really make more of an effort to be civil to me now, Logan.
Logan throws the wrapper down with great force before responding.
LOGAN: Why? Because you beat a murder rap and suddenly you're my father again?
He takes a bite of the candy.
AARON: No, Logan. I never stopped being your father and I never will. But I got the purse strings back.
He pats Logan's shoulder.
AARON: You're my dependent again, son.
Aaron indicates the lift, the doors of which have just opened.
AARON: Going down?
LOGAN: No, up.
Aaron boards the lift, giving Logan a little wave and a warning look.
EXT - QUAIL CREEK LODGE - DAY.
A man with a gun heads for a vehicle, the door of which are opened. He gets in and the doors close as the vehicle starts up.
INT - QUAIL CREEK LODGE, ROOM - DAY.
Inside, Woody, in wife beater, boxers and socks, is lounging in a big leather armchair, watching The Dukes of Hazzard on TV.
BO DUKE: [on TV] Marijuana? Sure got ourselves in a heap of trouble this time, cousin.
LUKE DUKE: [on TV] You got that right. Boss is gonna throw the book at us, not to mention the federal government.
Woody gets up and heads for the bathroom.
BO: [on TV] When we break our probation, we sure do a bang up job, then don't we.
LUKE: [on TV] We oughta get out of prison about the time we collect social security.
Woody stands at the toilet and unzips (??) his boxers.
BO: [on TV] Golly, Luke. We gotta get ourselves out of this.
He notices with some alarm that the bathroom window is open. Behind him, a figure slides aside the shower curtain and steps into the room. It's Keith. Woody frantically pulls a deer's head down from the wall and throws it at Keith, who sidesteps it easily. Woody heads for the open window and starts to climb out. Keith is on him, planting the taser in the middle of Woody's back. Woody cries out and sinks to the floor. Keith, panting, pulls out his cell.
KEITH: Yeah. Can you put me through to the local sheriff's department?
EXT - QUAIL CREEK LODGE - DAY.
Woody, now dressed and with his hands cuffed behind his back, is sitting on a patio chair. Keith is just finishing speaking to a deputy.
The deputy walks away and Keith joins Woody, standing by him.
KEITH: So you used me. Someone blackmails you and you use me to set up the whole girl-in-a-motel thing. Incorporation dies and your special secrets stay hidden.
WOODY: Keith, I know how this must look.
KEITH: If you're about to insist this is all some big misunderstanding, Woody, I kinda think you don't.
WOODY: I didn't crash the bus. I could never have hurt all those kids.
KEITH: I don't know, Woody. The welfare of children doesn't seem to have been terribly high on your list.
WOODY: That's not how it was. It wasn't that way at all. Those boys...if you knew their fathers, how they ignored them, mistreated them, they needed someone. I listened to them, I cared about them.
KEITH: Woody. Just stop.
DEPUTY: [offscreen] Mr. Mars.
Keith looks over at the deputy who has returned.
DEPUTY: They're ready.
Keith grabs Woody and pulls him to his feet.
INT - MARS RESIDENCE - DAY.
Veronica is looking at the Little League photo again. Her cell rings. She checks the caller ID before answering. She smiles.
VERONICA: You caught him.
EXT - AIRPORT - CONTINUING.
The camera switches between the two of them throughout the call.
KEITH: Loading him onto his own plane as we speak. Soon as the pilot gets here, we'll be homeward bound.
VERONICA: Did he confess to the crash?
KEITH: Unfortunately, he insists that he didn't do it so we're gonna need a lot more evidence to nail him.
VERONICA: I'm still trying to find that third kid from the tape.
At the airport, a man standing near the plane waves at Keith.
VERONICA: I've got everyone on the team identified except one guy. I think I know where to find him though.
KEITH: Pilot just got here. I'll be in late, so don't wait up. See you in the morning, honey.
They end the call and Keith boards the plane.
EXT - WOODY'S HAMBURGERS RESTAURANT - DAY.
Veronica climbs out of the LeBaron and heads into the fast food place.
INT - WOODY'S HAMBURGERS RESTAURANT - CONTINUING.
Veronica enters and walks over to the side where there is a display of Woody's baseball memorabilia. She finds the photo of the Little League Team. This picture is captioned with the names of the players. She finds the boy who is unidentified and runs her finger down to the bottom, ascertaining his name.
VERONICA VOICEOVER: Derek Applegate. Who are you and where do you live?
Veronica runs her eyes along the caption, finally seeing at the bottom the words "Not Pictured." The name against it is Cassidy Casablancas. Things fall into place and Veronica goes into shock.
VERONICA: Oh god.
Cut to a little later. Veronica is in the restroom, lifting her head from the sink, panting heavily. She is sweaty and pale as she stares at herself in the mirror.
EXT - WOODY'S HAMBURGERS RESTAURANT - DAY.
Veronica exits the restaurant, her cell phone to her ear. It is ringing the other end.
VERONICA: Pick up, pick up, pick up.
INT - NGH, FUNCTION ROOM - CONTINUING.
The post-graduation party is already in full swing. Beaver and Mac, happy, smiling and holding hands, walk through the party. Mac's phone is on her hip and she doesn't hear it over the sound of the music (unidentified).
EXT - WOODY'S HAMBURGERS RESTAURANT - CONTINUING.
Veronica races to her car, listening to Mac's message.
MAC: It's Mac. Leave a message.
Veronica talks as she climbs into the car.
VERONICA: Mac, it's Veronica. You have to get away from Beaver. Do whatever you have to do, but get away from him, he's dangerous. Call me when you hear this.
Veronica terminates the call and puts the key in the ignition. She punches in another number.
VERONICA: A listing for Hart Hanson?
INT - NGH, FUNCTION ROOM - DAY.
Another track plays, also unidentified so far. Dick and some others are encouraging Beaver to down a pint of beer while Mac watches.
DICK AND THE CROWD: Chug, chug, chug, chug, chug, chug.
Beaver finishes it with a flourish.
DICK: Oh, that's what I'm talking about. It feels good to be a man from time to time, huh?
They tap forearms.
DICK: Enbom, get over here.
Dick drifts away.
MAC: All I ask is that you don't follow that performance with a belch.
BEAVER: Do you want to go check out the room?
MAC: It's liquid. It's courage. It's liquid courage.
BEAVER: Yeah, well there's, uh, there's nothing up there that I'm afraid of.
Mac and Beaver leave the party and head for the lifts through the lobby. Corny spots them.
CORNY: Did you hear? Veronica's dad caught the mayor. It's all over the news. They're flying him out tonight on Woody's plane. That sleazoid's gonna fry.
Corny relishes his rendition of the effects of an electric chair.
INT - NGH, BEAVER'S ROOM - NIGHT.
Against the backdrop of activity in the bed, Mac's phone buzzes uselessly on the hotel room's bureau.
INT - NGH, FUNCTION ROOM - NIGHT.
Veronica enters the party, looking desperately for Mac and Beaver. Another unidentified song is playing. Logan can be heard talking to some people.
LOGAN: No way! No way, that's stupid, man, I wouldn't do that--
Veronica grabs his arm and pulls Logan aside.
VERONICA: Hey! Have you seen Beaver and Mac.
LOGAN: [slightly drunk] Yeah, they were here earlier.
Logan sobers up fast when he realises how panicked Veronica is.
LOGAN: What's wrong?
VERONICA: I think Beaver--
Veronica stops when she realises that Dick has joined them.
VERONICA: Where's your brother?
DICK: I think he took Ghost World up to his room. They're probably up there making love. Or playing Dungeons and Dragons. Or both, at the same time.
Veronica hurries away. Logan stares after her, concerned. Dick, as usual, is oblivious.
DICK: They're both, like, twelfth level dorks. I'm just saying.
INT - NGH, BEAVER'S ROOM - NIGHT.
Beaver is lying in the bed, looking miserable, staring at the ceiling. Mac is lying next to him, looking at him.
MAC: Don't worry about it. I'm having a good time and we've got all night, okay? We're cool here. I'm just gonna hop in the shower and then we can head back down to the party.
Beaver lets out his breath and turns his head to look at her.
INT - NGH, RECEPTION - NIGHT.
VERONICA: Can you tell me which room Cassidy Casablancas is in?
RECEPTIONIST: I'm sorry, we can't give out that information. I can ring his room if you'd like.
The receptionist taps her keyboard, then smiles apologetically.
RECEPTIONIST: I'm sorry. There's a "Do not disturb" on the room.
Veronica spins around in frustration. She starts tapping keys on her cell.
INT - NGH, BEAVER'S ROOM - NIGHT.
Beaver is sitting on the bed, dressed in his jeans, contemplating his failure. Mac's phone buzzes on the bureau. Beaver walks over and picks it up. It shows that the message is from Veronica, the date (June 3, 2006) and the time (8:12). Beaver reads the text message: "Get away from Beaver. Now. He's a killer. I'm in the lobby." Beaver thinks for a moment, puts the phone down and goes to his backpack. He pulls out a gun.
INT - GRAND NEPTUNE HOTEL, RECEPTION - NIGHT.
Veronica's phone pings. She looks at the message. It's from Mac, whose number is quoted as 1-619-555-0107, timed at 8:15 pm and received at 8:21pm, and reads: "Meet me on the roof now." Veronica hurries to the elevator, getting on while trying to dial out. As the lift doors close, she loses the signal.
VERONICA: Damn it!
AARON: [offscreen] Hello, Veronica.
Veronica's head jerks up. She is alone in the lift with Aaron. He is holding a bottle of brandy and two brandy glasses.
AARON: Well, don't look so surprised. It's a small town. Now that I'm no longer in jail, we might just run into each other from time to time.
VERONICA: I'll have to pay better attention to where I'm going then.
AARON: Well, it's a free country. Those founding fathers were really onto something.
He walks closer to her.
AARON: Freedom, it's pretty damn sweet. I like it.
VERONICA: So did Lilly. Bummer you murdered her.
AARON: You know, I can see why the two of you were such good friends. You're so much alike. You're not afraid to speak your minds. You know, that just might be the best part about the day I smashed her head in with an ashtray...
He looms even closer.
AARON: ...knowing that once and for all, she would finally shut the hell up.
The elevator arrives at its first destination.
AARON: Well, have a nice night, Veronica.
Aaron exits, leaving Veronica shaking.
EXT - NGH, ROOF - NIGHT.
Veronica hurries across the roof, looking around.
BEAVER: [offscreen] Hey, Veronica.
Veronica freezes. She turns around to see Beaver standing behind her, pointing the gun at her.
VERONICA: Where's Mac?
BEAVER: A better place. Unfortunately, she never got a chance to read your message. Now, throw me your bag.
Veronica hesitates, shaking her head.
BEAVER: [shouting angrily] I said throw me your bag.
Veronica holds up one hand to placate him. With the other, she slides the strap of her bag off her shoulder and throws the bag towards him. Beaver picks it up, taking the taser out of it. He tosses it aside. He then pulls Mac's cell out of his pocket. He holds it up.
BEAVER: So "Beaver's a killer." It's a pretty serious accusation. What exactly do you think you know?
VERONICA: You played for Woody's Little League team with Marcos and Peter. He molested all three of you. They wanted to come forward.
FLASHBACK: INT - NHS, CLASSROOM - DAY.
In the language lab, Peter and Marcos speak urgently to Beaver, who is wearing an earpiece attached to a computer teaching him French.
PETER: A couple of the Sharks had to know about it. They'll come forward. Things like this don't stay secret.
MARCOS: Damn right.
BEAVER: Yeah, but, I mean, do you guys really want people to know about it?
PETER: He's a pervert.
The computer, designed to record Beaver's attempts at French, is recording the conversation.
PETER: He's sick and what he did to us is wrong.
BEAVER: Look, please don't drag me into this.
MARCOS: You're already in it. You'll thank us later.
Peter throws Marcos a glance as Marcos gets up from the desk. Peter follows. Beaver looks at him, pleading.
VERONICA: [offscreen] Peter and Marcos were going to spill.
EXT - NGH, ROOF - CONTINUING.
VERONICA: That's why they had to die. My guess? You got the explosives from Curly Moran.
FLASHBACK: EXT - NHS, CAR PARK - DAY.
Veronica sees Beaver and Hart at his vandalised car in 221 "Happy Go Lucky."
VERONICA: [offscreen] I saw you with that sophomore, Hart Hanson, last week. Hart says you worked on his war movies with him. That you were in charge of blowing things up.
EXT - NGH, ROOF - CONTINUING.
VERONICA: He said you knew a guy who taught you how to do it, your dad's mechanic, former stunt coordinator, Curly Moran, right?
FLASHBACK: EXT - PACIFIC COAST HIGHWAY - DAY.
The bus travels along the road by the sea. The limo is just behind it.
DICK: [offscreen] Admit it, man. You're way happier in the limo than sitting on a bus getting eye daggers...
FLASHBACK: INT - LIMO - CONTINUING.
Dick and Duncan are in the seats immediately behind the partition between the driver and the rest of the vehicle, facing the back of the limo.
DICK:...in the back from Meg.
DUNCAN: I'd of been happier if you hadn't had that chilli dog.
Two girls, in the seat along the side of the limo, giggle. Beaver is sitting in the back seat, facing the same direction as the driver. He can see the bus ahead. He has his cell in his hand. He watches carefully and then presses a button. There's the sound of an explosion.
EXT - NGH, ROOF - CONTINUING.
VERONICA: Curly told Weevil that he knew who blew up the bus. He figured it out, didn't he?
Beaver just smiles.
VERONICA: That's why you needed him gone. You know Cervando's been bragging about hustling Liam Fitzpatrick, so you convince the PCHers that Curly blew up the bus.
FLASHBACK: EXT - ROAD HOG - NIGHTMusic: "Stranglehold" by Ted Nugent.
LYRICS: Here I come again now baby
Like a dog in heat
Tell it's me by the way now baby
I like to tap the streets
Now I've been smoking for so long
You know I'm here to stay
Got you in a stranglehold baby
You best get out of the way
Weevil is kicking Curly, who is on the ground. One of the bikers starts to walk towards the car.
Beaver sees him and rushes to turn on the car's lights and ignition. This alerts the bikers, who scatter.
THUMPER: Come on, man, let's go.
VERONICA: [offscreen] But you have to finish the job.
Curly is just getting to his feet. Beaver speeds the car straight into him. Curly's scream is cut short by the thud of the car hitting him. Curly's body is thrown up onto the bonnet. Beaver climbs out of the car and walks closer to Curly.
VERONICA: [offscreen] You wanted to focus any investigation in a new direction. You knew I was a key witness in the Aaron Echolls trial, so...
Beaver pulls a pen out of his pocket and writes "Veronica Mars" on Curly's hand.
VERONICA: [offscreen] Convenient, wasn't it?
Cut to a little later, as the car, with Curly still on the bonnet, speeds forward to the cliff's edge.
VERONICA: [offscreen] The Road Hog's cliff side location? Easy to dump the body.
The car brakes just before the edge and Curly's body flies off, over the cliff. End music: "Stranglehold" by Ted Nugent.
EXT - NGH, ROOF - CONTINUING.
VERONICA: You didn't hire me to catch Kendall cheating on your dad, did you? You knew what he was up to and you wanted to punish him for the way he treated you. You used me to do it.
BEAVER: And you were marvellous.
VERONICA: [voice breaking] Now let me ask you something. How is it I got Chlamydia?
Beaver raises an eyebrow.
VERONICA: Woody was treated for it. I ended up with it. Shelly Pomroy's party, sophomore year. You said Dick pushed you into a room with me after I'd been roofied. But you didn't run out like you said you did, did you? Nope. You wanted to prove you were a man.
FLASHBACK: INT - POMROY RESIDENCE - NIGHT.
Veronica is unconscious on the bed. Beaver is sitting next to her, looking down on her.
VERONICA: [offscreen] It helped that I was unconscious, didn't it? Easy to imagine whatever it is you needed to imagine.
Beaver unfastens his belt.
EXT - NGH, ROOF - CONTINUING.
VERONICA: [emotionally] You raped me!
BEAVER: And Dick still thinks I'm a virgin. You see, I know how to keep a secret.
VERONICA: That's what this was all about, isn't it. Keeping your secret? Well, it's over, it's out, I know.
BEAVER: Yeah, but I've a pretty good feeling that you won't be telling anybody.
VERONICA: I already did. I told my dad. He knows.
BEAVER: That's, uh, that's too bad. He's on Woody's plane with him, right, right now on his way back? See, because I have no more use for Woody. You heard about the bomb in Woody's car, right? Yeah, 'cause there's one on his plane and all I have to do is dial.
Veronica is horrified. Beaver laughs.
BEAVER: You wanna call your dad? Say goodbye before I press send, go ahead. I'll give you a minute.
VERONICA: [close to tears] Cassidy. No, you're not serious.
BEAVER: Fifty-six, fifty-five, tick-tock.
Veronica dials her cell frantically. The phone rings. Veronica starts to cry.
VERONICA: Pick up. Please pick up.
There's no answer and Veronica is beside herself.
VERONICA: [whimpering] Daddy.
BEAVER: Oh well.
On a phone now giving the time as 12:21am, Beaver pushes send to 555 0107. (Faux pas as that was showing up as Mac's number on Veronica's phone.) Behind Veronica's head, in the sky, there is an explosion and a fireball.
BEAVER: What do you know?
Veronica twists around and stares in shock, sobbing. She sinks down to her hands and knees. Beaver walks towards her and crouches down next to her on her left.
BEAVER: Yeah, sorry about that. I know this might be a, uh, a real bad time to ask for a favour. How would you feel, now that you've got nothing left to live for, about just rolling yourself off?
Unseen by Beaver, Veronica is punching the keyboard of her cell with her right hand.
BEAVER: I just, I really don't want your DNA all over my shirt.
INT - NGR, PRESIDENTIAL SUITE - CONTINUING.
Logan is back in his room, considering the contents of the small refrigerator. His cell sounds. He takes it out of his pocket and looks at the caller ID. It's the 8:21 message Veronica received from Mac's phone: "Meet me on the roof now." No name comes up on Logan's cell, although it is shown to be from 619-555-0123. Logan looks at the message and then up towards the ceiling.
EXT - NGR, ROOF - CONTINUING.
Beaver looks at the taser in his hand with interest. Veronica is still on her knees.
BEAVER: You sure like this thing. You ever wonder what it feels like to the people you actually taser? Let's give it a whirl, what do you say?
Beaver jabs the taser at Veronica's arm. She jerks, pulls her arm away and holds it to her body in pain.
BEAVER: You know what I was just thinking? We're Neptune Pirates, right? And this is like I'm making you walk the plank except instead of jabbing you with a sword, I'm sending three hundred thousand volts through you. Now jump.
He jabs her with it in the arm again. Veronica falls forward and rolls onto her back.
VERONICA: Please, don't.
Beaver stands and backs away from her, pointing the gun at her.
BEAVER: You couldn't do this the easy way? You know Aaron Echolls is staying here. What do you want to bet that I can get him convicted for the death of this teenage girl.
A voice rings out from behind Beaver.
LOGAN: [offscreen] No!
Beaver swings around and sees Logan standing behind him, some distance away. Beaver takes aim and fires. The shot misses Logan, ricocheting off a metal grill next to him. Logan dives to his left, behind a raised part of the roof. Beaver walks towards him. Logan pokes his head up and Beaver fires the gun again, just missing Logan as he ducks his head down. Veronica leaps on Beaver's back and tackles him to the ground, trying to grab the gun. He pushes her off, keeping hold of the gun, and gets to his feet only to be tackled from the other direction by Logan. Beaver loses hold of the gun which slides away. He and Logan grapple until Beaver uses the taser, causing Logan to release him. Beaver starts to rise but is startled when Veronica shoots into the sky. She brings the gun level at Logan and Beaver.
VERONICA: Logan, move away from him.
Logan gets to his feet, as does Beaver.
LOGAN: Veronica, don't.
VERONICA: [crying] He killed my father!
Logan starts to move slowly towards her.
LOGAN: Now give me the gun, Veronica.
VERONICA: He killed everyone on the bus! He raped me!
Music: "See My Friends" by Gravenhurst.
LYRICS: See my friends
See my friends
Laying across the river
See my friends
See my friends
Laying across the river
She is gone
She is gone and now there's no one left
Except my friends
Laying across the river
She just went
Logan looks back at Beaver in shock before returning his attention to Veronica, inching closer.
LOGAN: Look, you are not a killer, Veronica. Give me the gun.
His hand is nearly on the gun. Beaver just watches. Veronica cries hard.
LOGAN: You're not a killer, Veronica. Give me the gun.
She finally drops her arms, letting him take the gun. He wraps his arms around her as she sobs. He rocks her, glancing at Beaver who has made his way to the edge of the roof. He looks down. Logan buries his face in Veronica's hair, comforting her. He looks up again, just in time to see Beaver hoist himself over the low wall on the edge of the roof. Logan lets go of Veronica and strides a few steps forward.
LOGAN: Beaver, don't!
Beaver turns around to face them.
BEAVER: [passionately] My name is Cassidy.
LOGAN: Cassidy, don't.
BEAVER: Why not?
Veronica says nothing. Logan struggles and can't find anything to say either.
BEAVER: That's what I thought.
Beaver takes a step back and off the roof. There's a crash and the sounds of a squeal of brakes and a horn. Logan stares in horror at the space where Beaver was. Veronica walks forward and back into Logan's arms. He enfolds her in them and groans. Veronica suddenly remembers.
INT - NGH, BEAVER'S ROOM - NIGHT.
The door opens and Veronica races in, followed by Logan and a hotel employee.
All the bedding has gone. Veronica sees Mac crouched down by the side of the bed, wrapped in a shower curtain. She is distraught. Veronica gives a gasp of relief and crouches down in front of Mac.
MAC: He took my clothes. He took everything. Why?
Veronica, still in tears herself, leans forward to hug her. End music: "See My Friends" by Gravenhurst.
INT - NGH, AARON'S ROOM - NIGHT.
The brandy looks to be untouched.
AARON: Oh. My. God.
Aaron is lying naked on the couch. Kendall's head comes into view, sliding its way up his body. Aaron and she laugh.
AARON: Oh. Have I told you how much I love freedom.
KENDALL: I like it too.
They rub noses.
KENDALL: And any more freedoming tonight, and I'm gonna need a wheelchair.
She smiles and slips off his body. Aaron wipes his mouth and sits up. He watches her walk around the couch, heading for the bathroom. As the shower starts up, Aaron pulls a cigar from the table and takes great pleasure in lighting it. He grabs the remote and flicks through some channels until he finds an old movie starring himself, dressed as a Gestapo officer, riding a motorbike.
AARON: Well, well, well. Who's that handsome fellow?
Now with a glass of brandy, Aaron sits back to enjoy himself. He doesn't see the silencer of the gun pointed directly at his head behind him. Two shots fire from the gun and the screen is splattered with blood. The assassin is Clarence Wiedman. He turns and walks out of the room.
EXT - MOLLYMOOK, AUSTRALIA, BEACH - DAY.
Duncan is building a sand castle for baby Lilly. His cell rings.
INT - NGH, HALLWAY - NIGHT.
WIEDMAN: It's a done deal.
Wiedman terminates the call. He walks on after tearing a strip of tape from the lens of the hotel's security camera.
EXT - MOLLYMOOK, BEACH - CONTINUING.
Duncan lets his hand with the phone drop, contemplative and regretful. Lilly gurgles. Duncan looks at her and smiles.
INT - JKF INTERNATIONAL AIRPORT, NY.
Wallace is checking the screens. He turns and Jackie is there.
JACKIE: Hey, Wallace.
Wallace grins and holds out his arms. They hug.
WALLACE: What are you doing here? You headin' to Paris? What a coincidence, me too.
JACKIE: I'm not going to Paris.
She holds up her ticket.
JACKIE: This is for the Philly shuttle. The cheapest ticket I could get to bypass security. I need to tell you some things, Wallace. I never lived on the Upper West Side. My mom isn't a model. She's a waitress who had a one night stand with Terrence eighteen years ago. I'm just another kid from Brooklyn who got screwed up on drugs and booze and all the wrong friends, but by the time I was a sophomore--
WALLACE: The past really doesn’t matter to me.
JACKIE: I have a son, Wallace. He's two. When he was born, my mom contacted my dad and made a deal: I'd go to California and try to start over and she'd raise my baby. When my dad just dropped me from his life, I realised that I was being a hypocrite. Here I was torn up that I wasn't the centre of my dad's universe when my mom was raising my kid three thousand miles away. I can't be that person, Wallace. I had to come back. And I have to stay. And your life is in Neptune and you have to go.
Wallace is gutted.
INT - MARS RESIDENCE - NIGHT.
In a parallel Pieta shot to the one in 201 "Normal Is the Watchword," Veronica is lying across Logan's lap as he sits on the couch. They are both asleep.
DREAM: EXT - SOMEWHERE - DAY.
Veronica, aged about four, is sitting on a blanket on the grass, giggling. She is being entertained by a puppet show, with Keith the puppet master of two sock puppets.
KEITH: You're stinky. No, you're stinky. No, you're stinky.
Keith pops his head out from between the curtains.
KEITH: I mean stinky. We're both stinky. You're stinky. Honk, honk.
Keith suddenly gets excited.
KEITH: Honey, do you smell that? Do you know what that is?
YOUNG VERONICA: I smell bacon.
INT - MARS RESIDENCE - DAY.
Now in her own bed but still fully dressed, Veronica jerks awake and gasps. She races into the lounge.
She stops when she sees that it is Logan cooking breakfast. He looks over at her as her hopeful face crumples. He takes her in his arms and holds her close. She cries.
LOGAN: Here. I'm sorry. Oh, I'm sorry. I'm so sorry.
Behind her, a figure appears.
KEITH: Is that breakfast I smell?
In disbelief, Veronica tears herself out of Logan's arms and runs to her father, jumping to hug him around the neck. Keith is surprised but his arms come out to hold her.
VERONICA: You're alive? Oh, I thought you were dead.
She pulls back to look at him, although she doesn't let him go.
VERONICA: I love you so much.
KEITH: Oh, honey, what's wrong? I don't understand.
VERONICA: Woody's plane. Cassidy Casablancas blew it up.
Keith grasps the significance and pulls her into him in a tight hug.
KEITH: Holy... I wasn't on the plane.
Logan watches them together.
KEITH: Lamb didn't want me arriving with Woody getting met by the press so he had them take me off the plane at the last minute. I rented a car, I drove home.
He pulls back a little to look down at her.
KEITH: I was a little surprised to find, you know, Logan on the couch, but it was better than finding him elsewhere, right?
He grins and they both look over towards Logan, only to see the door closing behind him.
KEITH: Now what were you saying about the Casablancas boy?
INT - LEE'S OFFICE - DAY.
LEE: It's most likely going to be ruled a suicide, so insurance-wise, that's going to be a wash.
Kendall is sitting on the other side of his desk. Lee picks up a folder and flips through it.
LEE: The cops found these in Cassidy's room, however, Phoenix Land Trust. It's all in your name. I-I assumed, uh...
KENDALL: Right. Phoenix, the real estate thing. How am I doing these days?
The lawyer chuckles.
LEE: Eight million and change.
Kendall does a double take.
LEE: Tell him I said nice going.
He hands her a sheet from the file.
LEE: Betting against incorporation? Ballsy. Feels like a Richard Casablancas move to me.
INT - MARS INVESTIGATIONS - DAY.
Veronica is at her desk, peering closely at a brochure. Keith, in summer holiday shirt, shuffles over to her desk from his office.
KEITH: I can feel it already. The little town blues are melting away. You all packed?
VERONICA: Vagabond shoes and all. And pepper spray, for if we run into that Trump character.
KEITH: You sure you don't want to drive with the old man?
VERONICA: Logan's giving me a ride. We're supposed to...
Veronica makes a small air quote.
KEITH: How'd he take, um...what happened.
VERONICA: Shrugs it off. Calls himself Little Orphan Annie...which I think means badly.
She checks her watch.
VERONICA: I should go out front.
KEITH: I should get my autograph book. Carol Channing's still alive, isn't she?
Having come round to her chair, he kisses the top of her head.
KEITH: I'll see you at the gate.
Keith goes back into his office and Veronica starts to collect things at her desk.
LOGAN: [offscreen] So?
Music: "Time Flies Tomorrow" by Paul Westerberg.
LYRICS: Your heart sings a feeling
It don't ache but baby its gonna
Swing from the ceiling
Break like a pinata
Break like a whitecap
In the sand you shiver
With eyes like two hubcaps
At the bottom of the river
Time flies tomorrow
Time flies tomorrow
But it ain't made a move yet
Time flies tomorrow
And tomorrow will make a day since we've met
Veronica looks up. Logan is at the main door of the office. He picks up her carry-on bag which is stacked with her suitcase at the entrance, jiggles it and grins. Veronica smiles. Cut to moments later. Veronica walks out into the small hallway outside the door to Mars Investigations, checking her bag as she goes. Logan, carrying her luggage, glances towards Keith's office, then pulls the main office door closed. He drops the luggage and catches Veronica with a kiss, holding her and spinning them along the wall. She gasps and hangs on, kissing back.
VERONICA: What are you doing?
He halts their progress with Veronica's back against the wall.
LOGAN: I'm not gonna see you for a whole week. That's like a month.
VERONICA: Yeah, but then I'll be back and everything will be fine.
Logan sighs and kisses her neck and then her cheek.
LOGAN: Mm, you say that but I don't know.
VERONICA: I know. I can feel it.
LOGAN: And you're never wrong.
Veronica shakes her head.
Veronica giggles but any further response is interrupted by the turning on of the hall light.
KENDALL: [offscreen] Aw, young love.
Veronica glares at Kendall. Logan just smirks.
KENDALL: No, no. Hold that position. Norman Rockwell wants to come in and paint you two. Did he pin on his pin or was he too shy?
VERONICA: Why are you here?
LOGAN: Yeah, I didn't know you could come out during daylight hours.
Haughtily, Kendall proceeds to the office, passing them.
KENDALL: I have a business proposition for your father.
VERONICA: Okay, but I'm warning you, he doesn't carry much cash.
Kendall appears in Keith's office.
KENDALL: I need you to do something for me.
KEITH: Well, I'll be back in a week and at that time, I will be happy t--
Keith reaches for his jacket. Kendall puts her briefcase on his desk.
KENDALL: I need it right now.
KEITH: Sorry, Mrs. Casablancas, but I'm meeting my daughter in an hour.
KENDALL: I think you'll change your mind.
Kendall opens the briefcase. Keith looks down at the contents.
KENDALL: Like I said, it's important.
Keith stares at her.
INT - AIRPORT - DAY.
Veronica is waiting. Behind her, a board shows that her flight is boarding. Concerned, she pulls out her cell phone. It gives the date and time (June 6, 9:12am) but shows that it is getting no signal. She looks out, getting more and more anxious and looking lonelier and lonelier as the camera pulls back. End. Executive producer Rob Thomas. End music: "Time Flies Tomorrow" by Paul Westerberg.