VERONICA VOICEOVER: Previously on Veronica Mars... O'Dell's face falls at the sight of the smoking man in his outer office in 309 "Spit and Eggs."
MEL: Cyrus...we need to talk. Later, in his office, Mel reminds O'Dell of his obligations.
MEL: I've been very generous over the years. Cyrus nods. Cut to Weevil as he finds O'Dell's body.
MINDY: [offscreen] I'm a widow with two children to take care of. Keith sees Mindy in his office in 310 "Show Me the Monkey."
MINDY: I didn't kill Cyrus, Keith. Keith turns on the light in the O'Dell garage and inspects the Volvo, finding eggshell under one of the wiper blades, in 312 "There's Got To Be a Morning After Pill.
KEITH: [offscreen] I've got a little conundrum. Nish says she egged the dean's Volvo on campus the night he was murdered. Veronica seeks Veronica's input back at home.
KEITH: Mindy says she had the Volvo parked at the Neptune Grand all night. Any guess as to who's lying? Logan readies for the dream date that is not going to happen.
VERONICA: Did you and Madison have s*x over winter break?
LOGAN: We were broken up at the time.
VERONICA: You know how I feel about her.
The basketball coach throws the ball to Wallace in 306 "Hi, Infidelity."
COACH BARRY: Fennel, you run first team today.
MASON: Wait, coach-
COACH BARRY: You want to keep your starting job, Mason, start showing me something. Let's go!
Mason is pissed. End previously.
INT - HEARST COLLEGE, LOCKER ROOM - DAY.
A fist punches one of the lockers.
COACH BARRY: Damn it! Can someone tell me just what the hell we're doing out there? The team looks miserable.
COACH BARRY: We're on a basketball court in basketball uniforms, but what we're playing? That's not basketball. Wallace is sitting next to Josh Barry, taking the heat. Mason is leaning against some lockers. He is still wearing his team jacket and obviously has yet to play. Wallace glances up at him. He looks away.
COACH BARRY: Where's the passing? Where's the teamwork? Where's your heads?! And where are you, Josh? You gonna pull your head out of your ass and start playing ball? You're getting back-screened every trip down.
JOSH: I'm trying, Dad. They just-
COACH BARRY: I don't want excuses, Josh. I want you to grow up. You know what you got to do, so how about instead of whining about how you can't do it, you just man up and do it? Does that sound like something maybe you can manage?
Josh jumps to his feet.
JOSH: You know what, Dad? Not really. So, why don't you just lay off me? Josh starts to walk away.
COACH BARRY: Josh, damn it. Don't. Josh turns back angrily.
JOSH: Don't what? Quit? Hey, that might be something I'm capable of. He pulls off his shirt and throws it at his father. Coach Barry stares after him for a moment. Josh is held up at the door by the assistant coach. Like Josh, he's dark-haired. He also wears a team jacket.
ASSISTANT COACH: Wait! Josh, you don't want to do this. Your dad's been...always has been...just wait! Josh! His words are drowned out by the coach gathering together the rest of the team.
COACH BARRY: Come on, everybody. So, they're killing us inside. The assistant coach has no luck and Josh walks out. Fennel looks over to watch.
COACH BARRY: Fennel, look alive. Wallace puts on his determined face and nods.
INT - HEARST COLLEGE, FOOD COURT - DAY.
Veronica and Wallace are eating ice cream. Veronica takes a mouthful of hers.
VERONICA: Well, look on the bright side.
WALLACE: Of a twenty-point loss? In which the All-Conference small forward quit the team.
VERONICA: Well, you did play a lot of minutes for a guy who had to quit the team first semester. That's a side, and it's somewhat bright.
WALLACE: Me starting means Mason isn't. And that's been awkward.
VERONICA: Why? If you're the better player...
Wallace is more dabbing his spoon into his bowl, rather than actually enjoying it.
WALLACE: That's the thing. He smiles and shakes his head.
WALLACE: I'm not sure I am. It's just that Mason's always in the coach's doghouse, and I'm-
VERONICA: You're you.
WALLACE: So, he hasn't been speaking to me. Bright-side-wise, it's break-even at best. You get one more try.
VERONICA: Well...
Veronica plays with the ice cream in her bowl as she ponders. She finally gives up, stabbing the ice cream with her spoon and leaving it there. She pushes the bowl towards him.
VERONICA: I got nothing. Walk it off, Fennel. Veronica gets up and grabs her bag. She pauses as she passes Wallace.
WALLACE: You doing okay? With the Logan situation, I mean?
VERONICA: I've been trying really hard not to think about it, so thanks for bringing it up.
She pats him companionably on the back and walks off.
INT - MARS RESIDENCE - DAY.
It's another day. Veronica exits her bedroom to find buttered toast waiting for her. She grabs a slice and takes a bite before picking up the note Keith's left. She reads it to herself.
KEITH VOICEOVER: "If you've eaten any of this breakfast, you now owe me. Invoices have to go out today. See you at the office." Veronica grimaces and crumples up the note. She gestures her acknowledgement and faux-frustration that he's caught her fair and square. As she gathers together more of the prepared food, she shakes her head.
VERONICA: And I always fall for it. Veronica races out the door, still chewing and carrying her breakfast.
INT - HEARST COLLEGE, OUTSIDE ECONOMICS CLASSROOM - DAY.
Dick saunters down the hall, checking out the girls who pass him. He is unexpectedly joined by Professor Corrigan, a fact that doesn't thrill him. He increases his pace, and the professor matches it.
PROFESSOR CORRIGAN: Mr. Casablancas, I don't suppose your buddy Logan Echolls is gracing us with his presence today.
DICK: Doubtful. When they remove a grapefruit-sized tumour, they really recommend bed rest.
Dick enters the classroom.
INT - HEARST COLLEGE, ECONOMICS CLASSROOM - DAY.
The professor follows and Dick turns to face him.
PROFESSOR CORRIGAN: You might let him know that if he misses another class, he shouldn't bother showing up again. He'll fail automatically.
DICK: I'll let him know your prayers are with him.
Dick smirks and the professor gives him a warning look.
INT - NEPTUNE GRAND HOTEL, OUTSIDE LOGAN'S SUITE - DAY.
The hotel manager is outside the room to Logan's suite. Jeff Ratner is with him, in his hotel uniform. Jeff is leaning on a tablecloth-covered trolley that has a covered dish on top of it. The manager is shouting.
HOTEL MANAGER: Mr. Echolls, I'm more than happy to give you your hamburger. The lift door pings.
HOTEL MANAGER: We'd just like to take some of our trays. Dick comes out of the lift and into the corridor in time to hear Logan shout back through the door.
LOGAN: Leave the food and go. Jeff speaks quietly to the manager.
JEFF: We're out of salt and pepper shakers. The manager sighs and shouts back at Logan.
HOTEL MANAGER: I'm afraid I can't do that, sir. [lamely] We're running out of salt and pepper shakers. This needs to stop. Having observed, Dick takes charge.
DICK: Why don't you let me handle this? He claps and shouts through the door as he gets out his key card.
DICK: Yo, Logan. It's me. I'm coming in. I'm bringing the food. He holds up the key card in triumph to show the hotel personnel. He uses it to open the door.
DICK: Wait here. Dick takes a look at what's under the cover. He pinches a chip, grins at the manager, and pushes the trolley into the suite. They watch him enter with some frustration.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY.
Dick rolls in and looks around the suite. It's a bit of a mess, and there is a battery of uncollected tables. Logan sits in the middle of the chaos, on the couch. He hasn't shaved in days, giving him a designer stubble.
DICK: Did you hear about the fire in Veronica's neighbourhood? This gets Logan's attention as his eyes dart to Dick.
DICK: Somebody's meth lab blew up or something. Bet you can see it from the balcony. Dick rolls the trolley out to the balcony. Logan gets up and follows him out. Logan heads straight for the view, searching for the fictitious fire. Behind him, Dick exits the balcony, shutting and locking the door. Logan turns to see Dick give him a grin and two thumbs up. Logan walks up to the glass to see Dick open the suite's door to the hotel manager and Jeff.
DICK: I'm gonna take a shower. You guys go to town. Dick grins and disappears into his room. The manager and Jeff step into the room. They stare at the mess distastefully. Cut to later. Dick's had his shower. He comes out of his room, dressed and towelling his wet hair. There are maids in the room, vacuuming and cleaning furiously. Dick walks to the balcony door and opens it. He joins Logan at the edge.
DICK: You're not still looking for the fire, right? Logan doesn't respond except to fold his arms.
DICK: So, I got a message for you from the guy who teaches our economics class. You got to show up, or he's gonna fail you. It's a sad state of affairs when I'm the academic on the balcony. So, in other news, I met this girl a couple weeks ago at a party. Dick sings it out like a horny soprano.
DICK: Hot! Logan couldn't care less and doesn't respond.
DICK: Like, volcanic hot. Like, I might have to use an oven mitt to feel her up. Dick leans over subtly to see Logan's face. It's blank.
DICK: Blink if you understand. Logan finally deigns to look at him.
DICK: She's coming here tonight, and she's bringing her sister, who, I might add, she described as practically her twin. By the way, I did a little research on pathetic sad-sackery, and "hot sister" is the recommended treatment.
LOGAN: [mumbling] No, thanks.
DICK: You sure? We're thinking about going to the swim team's beach blanket blow-out. You can wear your t-shirt that says, "I'd rather be home crying."
Dick checks to see if he is making any impression. He isn't. He gives up and goes back inside, leaving Logan staring out into the distance, or into his soul.
INT - MARS INVESTIGATIONS - DAY.
Veronica comes in shouting.
VERONICA: So, per my understanding of contract law, my eating the breakfast in no way obligates me to perform any- Having grasped the door handle and pulled it open, she stops short on realising that Keith has company. Cliff is standing by the window. In the chairs in front of Keith's desk are Josh Barry and a woman. Keith makes the introductions.
KEITH: My daughter, Veronica. She works for me. Veronica gives an embarrassed smile.
KEITH: Veronica, this is Coach Barry's wife and son. Cliff brought them in. Coach Barry was found murdered last night beside the PCH. Sheriff suspects Josh, and we've been asked to help find the real killer. Opening credits.
INT - MARS INVESTIGATIONS - DAY.
The action picks up where it left off, Veronica having taken a perch on the table near the door.
KEITH: So, why don't you tell me what happened?
JOSH: I told the sheriff already. We had this fight at halftime, me and my dad. And, you know, I said I quit, and he got all mad. You know, it was like that. There's a spot out on the PCH, this little turnout overlooking the ocean. My dad goes there after losses just to sit and mellow out, so I went out to, you know, try and talk with him.
KEITH: What did you fight about?
JOSH: Dumb basketball stuff. "Buck up," "be a man," all those, you know, famous sports clichés. When I got there, I thought he already left 'cause his car wasn't there. Then I-I saw...I saw this body on the ground, and I saw blood. So, I ran over, and...it was Dad. He was dead. Shot.
KEITH: You call the sheriff then?
JOSH: No, I couldn't. I mean, I-I-I tried, but you can't get a signal there, so I...I didn't know what to do. All I could think of was Mom and Bobby and...
MRS. BARRY: Bobby is his little brother.
JOSH: I just-I just drove home so they wouldn't have to hear it from the sheriff.
MRS. BARRY: When he came in, he looked like he was in shock. He had blood all over his shirt. I-I told him to take a shower 'cause I didn't want Bobby to see him like that.
KEITH: What led them to suspect Josh?
CLIFF: Someone must have found Tom's body and called in, because after Josh showered, the sheriff arrived. He found the bloody clothes, then he found the ring...Tom's N.I.T. championship ring.
Josh holds up his hand. He's wearing the ring.
KEITH: [surprised and a little appalled] You took the N.I.T. ring off your dad's finger?
JOSH: No, he left it for me. After I quit, I took a shower, and when I went to my locker, it was just in there. I figured it was some kind of peace offering or something. That's why I went out to find him.
CLIFF: The PCHers have been responsible for a number of carjackings out there.
MRS. BARRY: I don't know why the sheriff is so focused on Josh. Those gang kids killed Tom. They stole his car. It's obvious, and he should be after them.
Keith glances up at Veronica.
KEITH: Is there anyone else who might have had a grudge with your dad?
JOSH: Mel Stoltz.
MRS. BARRY: [reproachfully] Josh.
JOSH: Well, he hated Dad. He told anyone who listened he wanted him gone.
KEITH: Mel Stoltz, Stoltz industries?
VERONICA: Hearst's primary benefactor.
MRS. BARRY: He wanted your father fired, not dead.
KEITH: We'll look into it.
Keith looks up at Veronica again and she nods.
KEITH: And don't worry about the sheriff. He has a long and proud history of being wrong. And I'm very sorry for your loss, Mrs. Barry. We'll do everything we can.
Cut to a few moment later. Cliff shows the Barrys out of the office. Veronica is at her desk and Keith is sitting on the edge of it.
KEITH: It's as bad as she says? Lamb's going after the kid?
CLIFF: Well, he was thinking very hard about it, or he really had to pee. It's hard to tell with that man.
Veronica considers this and agrees.
KEITH: And you believe the wife? She could be lying to cover for her son.
CLIFF: There's always a chance. I mean...
He shrugs.
CLIFF: I believe her. I've believed many things that turned out to be lies, but, well, you know, why even ask me?
KEITH: Well, how about the little brother. Bobby?
He glances back at Veronica to check he has the name right. Veronica nods.
KEITH: He can back up their story.
CLIFF: Bobby is severely autistic. He won't be testifying for anyone.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY.
The TV is on, advertising something loaded with coconut oil. Dick is standing haplessly in front of it.
DICK: Dude, you're not helping. He tosses a dirty sock at Logan who is back on his place on the couch. He turns his head so the sock doesn't hit him in the face. He pulls it off the side of his head.
LOGAN: I'm aware of that.
DICK: I live here, too, you know.
Dick starts picking up the discarded items of clothing littering the place.
DICK: This is my home. He continues to throw them at Logan's head.
DICK: People walk in, they don't think, "This little clean area is Dick's, and the hidden bottles of urine are Logan's." Logan starts bundling the items on his lap.
DICK: They think "Silence of the Lambs basement," and their desire to get naked near me takes a nose dive. There's a knock on the door, and Dick slaps down the last item on Logan as he heads for it.
DICK: You're lucky you're rich. This would be completely disgusting. Logan doesn't stir. Dick gets to the door and opens it.
DICK: Hello, gorgeous! Come in and meet Logan. This rouses Logan enough to lean forward and peer in the direction of the newcomers.
DICK: He doesn't normally look like this. Uh, some chick ripped out his heart and stomped on it. The guests come into view. One is a girl of Dick's age, intent on smiling at him. The other is an eleven-year-old girl, grinning from ear to ear.
DICK: Logan Echolls, Melinda and Heather Button. The girls look at Logan. Behind them, Dick finds it hilarious and shrugs helplessly.
LOGAN: [wryly] Which one's yours?
INT - HEARST COLLEGE - DAY.
Weevil turns on the light in a maintenance room. He lifts his bag onto a table. Veronica appears at the door.
VERONICA: Hey, Weevil. Weevil glances at her with a bit of a sigh, and then returns to his bag which he starts to empty of tools.
VERONICA: I'm trying to have a word with whoever's running the PCHers these days, and I was hoping you might be able to hook me up.
WEEVIL: Sure thing. Let me just call my parole officer and give him a heads-up I'll be cavorting with known criminals. I'm on the straight and narrow.
VERONICA: It's official business. I could get you a few hundred bucks.
Weevil gives her a resigned look.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT.
Logan is in hell, watching Dick and Melinda, arms around each other and Melinda's legs on Dick's lap, on the far end of the couch. Heather is wandering around, touching everything.
DICK: It's a true fact. The swim team is crazier than any frat on campus. They're wild men.
MELINDA: It's a party on the beach, like with a bonfire and stuff? I want to go so bad.
DICK: So, let's go.
Melinda frowns and nods her head towards Heather, who is checking out the hotel TV menu giving the options of "watch tv," "movies," "amenities," and "checkout." Dick glances at Heather, and then at Logan.
DICK: So, maybe you could keep an eye on-
LOGAN: No.
HEATHER: I don't need a babysitter. I can just watch TV.
DICK: Brilliant. Problem solved.
Dick jumps up. He grabs Melinda and grabs her in a fireman's lift. She screams in delight. Dick marches her to the front door. She calls out to Heather.
MELINDA: Be good! Heather watches her go. Logan sighs heavily and gets up.
LOGAN: You can order a movie if you want. I'm going to bed. He holds out the remote.
LOGAN: You scroll through like that and click on whatever you want to see. He shoves it in her hand and heads for his bedroom.
LOGAN: Try to stay out of the p0rn.
HEATHER: Gross.
INT - STOLTZ INDUSTRIES - DAY.
The reception area for Stoltz Industries was decorated by someone on crack, mixing as it does every style from Chinese antique to big-game hunter to California terracotta.
MEL'S ASSISTANT: Stoltz Industries. Thank you. Described in the credits as Mel's assistant, a woman more accurately called a receptionist is answering the phone at the reception desk. Keith, no doubt feeling his stomach acid bubbling at his surroundings, is waiting amongst the dead animals with increasing impatience.
MEL'S ASSISTANT: Stoltz Industries. Thank you. Unable to take it any longer, he marches over to the woman.
KEITH: My appointment was for an hour ago.
MEL'S ASSISTANT: He's pretty backed up. We can reschedule you for next week if that works for you.
Keith squeezes shut his eyes, although whether it is at the sound of Mel's laughter around the corner or the thought of having to bear the décor again isn't crystal clear. Whichever it is, it spurs him to go on his own manhunt. With a smile at the receptionist, he heads for the sound of Mel's voice. The woman protests...
MEL'S ASSISTANT: Mr. Mars. ...futilely. Cut to a golf ball running into the back of the fake hole (i.e. it wouldn't have stayed in the hole had Mel been on the back nine). Mel is practicing his putting as he talks into a phone's hands-free headpiece.
MEL: Uh-huh. Uh-huh. The golf ball is conveniently shot back out to him. He lines up to take another tricky shot of...oh...three feet when Keith arrives at his door. Keith walks into the office, brusque to the point of courtesy.
KEITH: Mr. Stoltz, a couple questions. I'll make it quick. Did you want Coach Tom Barry dead? And where were you at the time of his murder? Mel sighs and touches the headpiece.
MEL: I'll call you back. He removes it, throws it on the desk, and looks at Keith with some measure of disdain. This does not, of course, interrupt his golf.
MEL: Barry was a loser. It's been six years since our last conference title. I wanted him gone. He putts.
MEL: Fired would have been fine, but dead...it does the trick just as well. He puts.
MEL: As for my whereabouts, I was 35,000 feet in the air on a plane travelling back from Seattle.
KEITH: You mind telling me the airline?
MEL: Air Stoltz.
KEITH: Air Stoltz, huh? I'll look into it.
Keith turns and starts to walk out of the office.
MEL: You do that. Keith looks back so they can glare manfully at each other.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY.
Music: "White Balloons" by Stephen Ashbrook.
LYRICS: Hey, you I am one, and you are one, and that makes two And it's twice what we're used to I'm not quite sure if this is something that'll comfort you Mmm, hmm, hmm If it hurts, it's supposed to And the world keeps spinning on and on around you Watching white balloons disappear into the blue Hey, you You've been standing like a stone on solid ground And they say it's okay to break down And the world keeps spinning on and on around you Watching white balloons disappear into the blue
On overhead camera circles on and descends over Logan, moping as he lies upside down on his orange-sheeted bed. He glances behind him to the door at a sound and rolls to get up. Cut to him opening the door into the lounge. Heather is watching The Ant Bully on the TV. She has a large towel wrapped around herself. There's a table trolley next to her. One dish is eaten, the other is still covered.
LOGAN: You're still here. Logan walks across the suite.
HEATHER: Either that or you're dreaming. Logan opens the door to Dick's room. The bed hasn't been slept in. Logan stares at it, catching flies with his mouth hanging open, possibly for the antelope that lives in Dick's headboard. Heather shouts from the other room.
HEATHER: They didn't come home. The phone rings and Logan turns to go back to the lounge. He checks the caller ID as he picks it up.
LOGAN: Where are you? Why aren't you here?
DICK: [on phone] Dude, I'm in Vegas. Things got a little crazy last night. We decided to take a road trip.
INT - LAS VEGAS, DICK'S HOTEL ROOM - CONTINUING.
Dick's happy in his garishly appointed hotel room. In the background, there's a window through which can be seen the Paris Las Vegas with a fake Eiffel Tower and a fake hot-air balloon.
DICK: I think I'm in love, man.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING.
LOGAN: Mazel tov.
Logan glances at Heather, then turns away from her, lowering his voice.
LOGAN: Get your ass back to Neptune.
INT - LAS VEGAS, DICK'S HOTEL ROOM - CONTINUING.
DICK: I would, but we just got here. The ride was a bitch.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING.
LOGAN: Imagine how much you'll hate it bound in the trunk of my car.
INT - LAS VEGAS, DICK'S HOTEL ROOM - CONTINUING.
DICK: It's not like you're leaving the suite anyway.
Dick takes a step forward, revealing the bed and Melinda, in a vest and pink knickers, bouncing thereon.
DICK: And I wasn't going to play this card, but... Dick sits on the bed just as Melinda crash dives onto it.
DICK: Shuffle, shuffle, shuffle - you slept with my one long-term girlfriend, dude. Melinda nibbles his ear before standing up and starting to jump again.
DICK: Their parents are out of town, so I think a day of playing the nanny is the least you could do.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING.
LOGAN: Well, look. Be home by tonight.
Heather watches, unsurprised by this turn of events.
LOGAN: Yeah, yeah. Bye. Logan hangs up, not happy.
INT - LAS VEGAS, DICK'S HOTEL ROOM - CONTINUING.
Dick stares at the phone with a bit of a frown for a millisecond before turning to the bouncy Melinda and laughing. With a cowboy yell...
DICK: Oooww! ...he grabs her around the waist and pulls her down.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING.
Heather grins at Logan.
HEATHER: I got you some eggs. She points to the covered dish.
HEATHER: But they're probably cold. Logan nods. Heather looks at him quizzically.
HEATHER: Is that all you do is sleep? Logan glares at her. End music: "White Balloons" by Stephen Ashbrook.
EXT - INDUSTRIAL AREA - DAY.
Veronica and Weevil are leaning against their respective cars. Veronica peers into the distance, then glances back at Weevil. Weevil checks his watch.
WEEVIL: I don't know what to say. Gang kids are usually quite punctual.
VERONICA: It's all right. Part of me actually hopes they don't show.
WEEVIL: Veronica Mars, scared of a few bikers?
Weevil scoffs as he walks to stand next to her.
WEEVIL: Not even a quarter college-educated and already you're square as- Veronica smiles.
VERONICA: It's not the bikers, per se. It's more what they represent.
WEEVIL: I rest my case.
Veronica shakes her head.
VERONICA: If they show, they probably didn't do it, which would look not so good for Josh. If they don't show, there's a good chance they did it. The noise of motorcycles puts an end to the speculation. Three bikers round the corner.
WEEVIL: Maybe they're here to confess. The bikers come to a stop in front of them. Veronica turns back to Weevil.
VERONICA: I am interested to see who replaced you at the top of the food chain. The lead biker removes his helmet. It's Arturo. When Veronica sees him, she can't quite believe it. Weevil glances at her as if he too is a little embarrassed. Arturo climbs off his bike and walks towards them.
ARTURO: You brought me here to talk to her?
WEEVIL: You know each other?
VERONICA: I caught Arturo here mugging pizza boys last year and taped him to a pole. You gave me the impression running the gang was a man's job.
Weevil sighs heavily.
WEEVIL: It was.
ARTURO: [peevishly] Hey, I don't have to be here.
VERONICA: Sure, you do. The law is coming down on you hard. Lots of people think you're responsible for the coach's death. If it wasn't you, tell me why I should believe it.
ARTURO: '96 Roadmaster.
VERONICA: Is that some kind of code?
WEEVIL: It's a car. A ten-year-old station wagon.
ARTURO: That's what the paper said the coach was driving. You think we're gonna kill a dude over an $800 crap-mobile? Besides, guns? It ain't our style.
VERONICA: So, what is your style?
Arturo holds up his right hand, flat and horizontal.
ARTURO: Nail board on the road. He makes a fist with his left.
ARTURO: Target hits it. Tire goes flat. Pulls over. And just as the dude finishes changing the tire, we roll up. Your average white dude in a BMW? Gets all jumpy when he's surrounded by brown people on bikes. [proudly] They usually give up the keys without us asking. Weevil and Veronica exchange a significant glance.
ARTURO: That all you wanted to know?
WEEVIL: That's it.
ARTURO: Okay.
Arturo heads back to his bike. He turns back to them on having another thought.
ARTURO: Find out who did it. This dead coach is killing my business.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY.
Music: "White Balloons" by Stephen Ashbrook.
LYRICS: I'm not quite sure if this is something that'll comfort you Mmm, hmm, hmm If it hurts, it's supposed to And the world keeps spinning on and on around you Watching white balloons disappear into the-
Heather braves the lion's den and walks into Logan's room. He's lying on the bed, staring up at the ceiling.
HEATHER: Are you sick? She walks to the side of the bed and leans on her hands on it.
LOGAN: No.
HEATHER: You want me to put highlights in your hair?
Logan turns his head long enough to give her a baleful look.
LOGAN: No.
HEATHER: Could you show me how to hook up your Game Cube?
Logan sighs in the realisation that there is no getting rid of her. He pulls himself into a sitting position and gets off the bed, every step an ill-disguised effort. End music: "White Balloons" by Stephen Ashbrook. Cut to later, in the lounge. Mario Kart is being played on the TV. One character overtakes the other on the application of a missile of some description. Heather and Logan are playing, sitting side by side on the couch.
HEATHER: Ooh! That was so awesome. Did you see that?
LOGAN: Hmm.
Logan manages the barest of smiles.
LOGAN: Yeah, if you're Daisy or Peach, you can use a heart to protect you.
HEATHER: If I had this game, I would play it every second.
Heather looks up at him.
HEATHER: We should have a tournament.
LOGAN: Yeah, I'm beating you as Peach. You need practice.
HEATHER: Your life is so cool. You have this huge TV with video games and a balcony. You live in Neptune.
LOGAN: Yeah, it's Shangri-la.
HEATHER: My family comes to Neptune every year for vacation. Do you ever go to Zip's?
Heather is rapturous.
HEATHER: Best ice cream in the whole world.
LOGAN: No, no. Amy's is better.
HEATHER: It can't be.
LOGAN: It can. And it is.
HEATHER: I don't believe you.
He stares down at her for a moment before returning his attention to the game.
LOGAN: Why should you be any different than any other woman? Heather forgets the game and looks up at him critically.
HEATHER: So, are you all sad about a girl? Logan doesn't take his eyes off the screen, but his vision goes elsewhere.
HEATHER: [slowly] Well, I guess so. She thinks for a moment.
HEATHER: I don't guess you have any extra-small clothes around? I'm starting to smell like you. This snaps Logan out of his reverie, and he glares at her again.
EXT - BARRY RESIDENCE - DAY.
Veronica, having parked in the street, gets out of the Saturn and pockets her keys. She walks up to a very modest grey house with a red door.
INT - BARRY RESIDENCE - DAY.
The front room has a bookcase, the top and one shelf of which is covered with trophies. Josh opens the door.
JOSH: Veronica, hey. Come on in. Veronica walks in slowly, thoughtful.
VERONICA: Hey. Can you show me the spot where you found your dad?
JOSH: The cops already checked.
VERONICA: They didn't know what they were looking for.
EXT - BARRY RESIDENCE - DAY.
Josh follows Veronica out of the house.
JOSH: It's so weird that he's gone. Are you close to your dad?
VERONICA: Yeah, very.
JOSH: That's cool.
VERONICA: Were you close with yours?
They pause on the sidewalk.
JOSH: It's funny. He was my best friend and my worst enemy. Josh heads for the car. Veronica stares after him, not sure how to read him at all.
INT - SHERIFF'S DEPARTMENT - DAY.
Lamb is working/playing on his computer. There's a knock on his door and Deputy Sacks walks in.
SACKS: Sheriff, there's a kid who says he saw something on the cliff the other night. With just a glance back at what is his screen, Lamb moves with unusual alacrity as he gets up from his desk. He leads Sacks out of his office and heads straight for the witness, who has his back to him.
LAMB: You say you saw something? The witness turns around. It's Mason. Cut to later. Lamb and Mason are alone in one of the interrogation rooms. Lamb is writing in a notepad, then puts down his pen.
MASON: So, after the game, I was heading to San Diego to see my girlfriend. I'm heading down the PCH, and I see the coach's car and the coach. He was arguing with someone.
LAMB: Did you see this someone?
MASON: I went by pretty quick, but I got a good look. It was Josh Barry.
EXT - CLIFFTOP - DAY.
Veronica and Josh are at the little turnout that overlooks the ocean. Veronica, hands in her back pockets, is looking around carefully. Josh, his hands in his jacket pockets, watches her.
VERONICA: No pieces of board or motorcycle tracks, but it's possible they were erased by other cars. Veronica spots something at the edge of the cliff and strides towards it. Josh follows her.
VERONICA: It's weird. Veronica points down at the flattened grass and deep indentations in the dirt.
VERONICA: It...looks like a car went off right here. Veronica goes to the very edge and look down. Josh, who has hung back a little, walks purposively up behind her. For a moment, his intentions aren't clear, but he stands by her side and they both look into the churning waves below.
EXT - BARRY RESIDENCE - NIGHT.
Darkness has fallen by the time they are driving back.
JOSH: I don't get it. Why would they push the car over, I mean, if it was a carjacking? Veronica doesn't have an answer and shakes her head. She sees lights flashing and notes Lamb's car outside the house.
VERONICA: Something's up. Lamb, leaning against his car, pushes himself off and walks towards the Saturn as Veronica parks on the opposite side of the road. She and Josh get out of the car.
VERONICA: Howdy, Sheriff. A kitten get stuck up in a tree?
LAMB: Not now, Veronica. Josh Barry?
Josh nods. On the porch of the house, his mother stands in trepidation.
LAMB: You're under arrest for the murder of your father. Josh looks resigned to it, Veronica is shocked, and Mrs. Barry starts to cry.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - NIGHT.
Logan and Heather are out on the balcony, sitting at the table. His laptop is open in front of them. Logan lifts a used plate from the table to put it back on the trolley. Heather twists the laptop to face Logan. His screen wallpaper is a picture of Veronica.
HEATHER: Is this your girlfriend?
LOGAN: Mmm. Ex.
HEATHER: She's pretty.
The phone starts to ring.
LOGAN: Is she? I hadn't noticed. Logan gets up disconsolately and walks to the phone inside the suite. He grabs it and checks the caller ID before answering.
LOGAN: Where the hell are you? You're supposed to be back.
INT - LAS VEGAS, DICK'S HOTEL ROOM - CONTINUING.
Music: "Too Much to Ask For" by Radio 4, instrumental part only. The curtains are still open for the Paris Las Vegas by night scene. Dick starts in deadly earnest.
DICK: Guess what, dude.
He throws his arm up in the air and grins.
DICK: I'm married!
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING.
There is the faint possibility that Logan's panic is in response to concern for his friend's welfare, rather than for the thought of another day with the kid.
LOGAN: Get back here, man.
INT - LAS VEGAS, DICK'S HOTEL ROOM - CONTINUING.
Dick is not is not impressed by Logan's version of "Congratulations." He stumbles drunkenly towards the bed and sinks down on it. Melinda is passed out.
DICK: Dude, where's the love? I'm on my honeymoon. God. Dick closes up the phone and looks over at his unblushing bride, still wearing his look of disgust. End music: "Too Much to Ask For" by Radio 4.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING.
Logan still has the ear to his phone, not expecting the hang up. He drops it as Heather hurries past him, heading for the door with all her stuff.
LOGAN: Where are you going? She turns to face him, grinning.
HEATHER: Oh, a guy I was chatting with online wants to meet me, so he's gonna pick me up out front and then take me to Zip's for ice cream.
LOGAN: Yeah, you're not going anywhere.
HEATHER: Uh, yeah, I am.
LOGAN: No, you're not.
HEATHER: You can't make me stay here.
LOGAN: Heather-
Heather starts to giggle. Logan is confused.
HEATHER: Like I'd really go meet a guy that I met online. Logan nods and grins back.
LOGAN: Nicely played. He turns to walk back to the balcony and she follows. Without looking round, he holds out his hand behind him for her to slap. She does, hard.
HEATHER: So, who was that on the phone?
LOGAN: Oh, just your brother-in-law.
INT - SHERIFF'S DEPARTMENT - DAY.
Veronica saunters into the cell area. Josh, laying on the bottom bunk, sees her and gets up. They meet at the bars.
VERONICA: So, how's it going?
JOSH: The sheriff's a tool, but otherwise...
Veronica nods.
JOSH: You find out anything?
VERONICA: They found your dad's car in the water below the cliff. Carjacking is off the list, and that's not great for you.
JOSH: What? God, now with Mason, it's like they're just lining up against me. I...I don't understand.
VERONICA: Is there any reason Mason would lie about seeing you, grudges or anything?
Josh shakes his head.
JOSH: Naw, just against my dad. He lost the starting job a few games ago.
VERONICA: Still...
JOSH: He's got a temper...and a gun, I've seen it. At a party once, he was, like, showing it off. I told the sheriff. He didn't care. No one believes me. You believe me, don't you?
Veronica searches for the right answer.
VERONICA: At Mars Investigations, believing our clients is just one of the many services we offer. Is there anything I can get you?
JOSH: Ah, I don't know. Something to read, cookies, peanut butter if possible, a hacksaw.
Veronica smiles.
VERONICA: I can do reading materials, but the sheriff personally inspects all the food, and it rarely makes it back to the intended inmate.
JOSH: Well, I'll live.
They smile.
INT - MARS INVESTIGATIONS - DAY.
Keith is on the phone at his desk.
KEITH: Hi, is this maintenance? He listens for a moment.
KEITH: Yeah, I was wondering if anyone at your airport refuelled a Gulfstream V last Friday. He listens again.
KEITH: Yeah, that's right. As he awaits the information, he readies himself to write.
KEITH: About what time did you see Mr. Stoltz? His pen hovers over his pad, but he's not too happy with the information he is getting.
KEITH: Thank you. He puts the phone down and makes a note. A little disgruntled, he adds the note to the file, closes it, and takes it to the filing cabinet in his office. As he drops in it, Mindy arrives at the door behind him.
MINDY: I got your call. Keith freezes for a second, then slams the drawer shut and turns to face her, looking sombre.
MINDY: Did I catch you at a bad time?
KEITH: I'm afraid I was calling to say I want off the case.
MINDY: I don't understand.
KEITH: Mrs. O'Dell, I found eggshell under the wiper blade of your Volvo, the car you were driving that night, the same night his office was egged by a bunch of disgruntled students.
MINDY: No, Keith, I-I didn't leave that hotel until just before dawn. I have no idea how eggshell ended up on the car.
KEITH: I can only come up with one answer, and it isn't one you'd like. But that's only half of it. I also discovered a mysterious call on your cell phone the night of your husband's death.
MINDY: [showing horror] You tracked down my cell-phone bill?
KEITH: If you and Landry were together all night at the Neptune Grand, then why did you need to call his cell at 1:32 in the morning?
MINDY: I'm sorry. I don't know why. It doesn't make any...
She stops and then has a revelation.
MINDY: Yes. I remember now. Um, I r-ran down to the lobby to get some toothpaste.
KEITH: And you called Hank?
MINDY: Yeah, it was for him. One of his students works in the hotel, and he didn't want to be seen by him. I just wanted to know what brand he used.
Keith doesn't look convinced. A cell phone rings.
EXT - HEARST COLLEGE - CONTINUING.
Professor Landry is walking across the campus.
LANDRY: Hello? Keith Mars, what can I help you with?
INT - MARS INVESTIGATIONS - CONTINUING.
Keith is at his desk and Mindy is still with him. Keith has Landry on the speaker phone.
KEITH: Well, as you know, Dr. Landry, I'm working with Mrs. O'Dell to try to prove her husband was murdered, and I was just trying to tie up some loose ends.
LANDRY: [on phone] The crime...
EXT - HEARST COLLEGE - CONTINUING.
LANDRY: Is that you've taken the case. Cyrus O'Dell killed himself. You're simply taking money from his grieving widow.
KEITH: [on phone, equably] I appreciate your firm ethical stand.
INT - MARS INVESTIGATIONS - CONTINUING.
KEITH: I'll mull that over, but in the meantime, I was wondering why there's a cell phone charge between you and Mrs. O'Dell at 1:30 a.m. I was led to believe the two of you were together the entire evening.
EXT - HEARST COLLEGE - CONTINUING.
LANDRY: As I recall, she called me from the lobby asking what brand of toothpaste I preferred.
INT - MARS INVESTIGATIONS - CONTINUING.
LANDRY: [on phone] I do hope that helps. Now, if you excuse me, I have a class.
KEITH: I appreciate your time.
Keith cuts off the phone.
MINDY: Look, I can't explain the eggshell. I wish I could, but I need to know if you're still working to find my husband's killer.
KEITH: You still want me?
MINDY: Well, you're digging, albeit in the wrong place, but...it's more than I can say about the sheriff's department.
Keith gazes at her thoughtfully.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY.
Another Mario Cart game is in action. Logan is chirpier as he plays until...
HEATHER: Why is that girl your ex? He looks down at her, then back at the screen.
LOGAN: Because that's the nice thing you call people when you stop dating them.
HEATHER: Well, why aren't you dating if you still love her?
Logan sighs loudly and looks down at her again. She holds his stare.
HEATHER: It's pretty obvious. They both return their attention to the game.
LOGAN: Because I screwed up.
HEATHER: How?
LOGAN: [getting a little fed up] I did something that I shouldn't have done, okay?
Heather laughs that off.
HEATHER: Well, did you tell her you were sorry?
LOGAN: [sharply] Yes.
HEATHER: Like, in a way so she knows you mean it?
LOGAN: Yeah.
HEATHER: Are you sure?
Frustrated, Logan manipulates his control to pause the game. The game screen holds on "continue," offering "restart," "change course," "change characters," and "quit." Logan looks down at Heather.
LOGAN: [intently] I poured my heart out to her on her voice mail, and she never even called me back. She's done.
HEATHER: Well, maybe you should try harder. Call her again.
LOGAN: Well, you need to keep your mind on the race. You're not getting any better at this.
Logan starts the game up again and puts an end to further discussion.
INT - NEPTUNE GRAND HOTEL - DAY.
In what one can easily imagine to be the bowels of the hotel, a man sits in a security room, watching a television screen. Keith arrives at the open door behind him and knocks on it. The man swivels around.
KEITH: How are the ponies treating you, Reggie?
REGGIE: I'm still working here, aren't I?
They shake hands and Reggie's view is revealed. He's watching security cameras on a bank of four screens.
REGGIE: What's up? You want me to check up on your daughter again?
KEITH: Just want to confirm a client's alibi, and I figured you'd be the guy to talk to.
REGGIE: What date are you looking for?
KEITH: December 10.
Reggie shakes his head.
REGGIE: Oh, no can do, Keith. The hard drive starts recording over itself after a month. That stuff's history. Hey, if you know their plates, I could talk to my buddy who works valet. They keep those records in the computer forever. Reggie smiles. Keith nod approvingly.
EXT - HEARST COLLEGE - DAY.
Mason exits one of the buildings. Veronica races towards him from the side and walks by his side.
VERONICA: Mason, hi. I'm Veronica, Wallace's friend. Actually, I'm working with the Barrys.
MASON: Oh, yeah, he told me. It's too bad. Looks like Josh's dad pushed him too far, huh?
VERONICA: What did you tell the sheriff you saw that night?
MASON: Oh, just what I saw. I was heading south on the PCH, saw the coach's car, saw the coach, saw Josh. They were arguing.
They climb up some stairs.
VERONICA: Were they facing each other?
MASON: Yeah.
VERONICA: So, how did you see both?
Veronica illustrates with her hands.
VERONICA: If you're coming this way and you see the coach arguing with someone, it sounds like that person's back is to your direction of travel.
MASON: No, it was him. I saw his hair, the Hearst basketball jacket. And, yeah, I looked back and saw his profile when I went by. It was him.
They come out the other side of the passage through Hepner Hall.
VERONICA: Josh suggested you've been pretty upset with his dad about losing your starting job. Mason is incredulous and comes to a halt. Veronica turns to face him.
MASON: You really think that I would kill my coach because he wasn't starting me?
VERONICA: A woman in Texas hired a hit man to take out the mother of her daughter's cheerleading rival, so, you know, I'm pretty much willing to consider anything. Where do you keep your gun?
Mason's had enough.
MASON: Man, screw you, okay? He walks off in a huff.
INT - MARS RESIDENCE - NIGHT.
Keith enters the apartment. He is a little astonished to see Veronica baking. She glances up and grins. He shuts the door behind him.
KEITH: Did you suffer a blow to the head?
VERONICA: It's work. They're for Josh.
Keith leans against the counter and watches her as she sections off the dough to make cookies.
KEITH: So, this means you believe him?
VERONICA: I'm not sure. I certainly want him to believe I believe him.
KEITH: Ahh, sneaky. He may need some cheering up. I checked with Mason's girlfriend. She confirmed he was with her the night of the murder.
Veronica stares at him sadly for a moment.
VERONICA: Dad, do me a favour.
KEITH: Anything.
VERONICA: [sincerely] Don't get murdered.
KEITH: Honey.
Veronica speaks with increasing emotion. Keith straightens up to stand closer to her.
VERONICA: Because I couldn't live without you, and all I've been doing is thinking about what I would do if I didn't have you.
KEITH: [gently] Maybe you should let me handle this case by myself.
VERONICA: [with faux-humour] You know that won't work.
She lets out a half-laugh, half-cry to shake her out of her moment of vulnerability.
VERONICA: I only brood when I'm not doing anything. She looks up at Keith to reassure him and goes back to business, albeit that she's about to load a tray of cookies into the oven.
VERONICA: How did Mindy take it when you told her you dropped the case?
KEITH: I didn't quite drop it.
Veronica straightens from putting the tray in the oven and stares at her father, puzzled.
KEITH: She had an excuse for the phone call that checked out. I hit up my sources at the hotel, but they don't keep surveillance tape that long. Veronica scraps some mixture from the bowl with the spoon.
VERONICA: Tell me again why you have a relationship with Neptune Grand security. She passes the spoon to Keith.
KEITH: I may have learned something bigger. Keith slowly peels the dough from the spoon.
KEITH: According to valet records, someone took out the Volvo at 1:51 a.m. and returned it at 2:59 a.m. He pops the dough in his mouth. Veronica is excited.
[SCENE_BREAK]
VERONICA: The witness said they heard the gunshot somewhere between 2:20 and 2:30.
KEITH: I know.
VERONICA: So, it's one of them, right? It has to be.
KEITH: It doesn't have to be, but it looks that way. My relationship at the Grand doesn't have access to registration receipts. You know anyone over there who might be willing to bend some rules?
Keith licks his fingers.
VERONICA: Possibly.
INT - NEPTUNE GRAND HOTEL, RECEPTION.
Veronica heads for the reception desk. Tina, last seen in 306 "Hi, Infidelity," is manning the desk.
TINA: Good evening, Logan's girlfriend. Veronica, right?
VERONICA: That's...right.
TINA: How can I help you?
VERONICA: You remember Rory Finch.
TINA: Your mystery guest.
Veronica nods.
TINA: Haven't seen him in a while.
VERONICA: Like, since December 10th?
Tina checks her computer.
TINA: Precisely. That's his last day.
VERONICA: Do you have a record of the charges made to the room that night?
TINA: Let's see.
Tina taps a few more keys.
TINA: They have a room-service charge, crème brûlée just before midnight. And then they started a pay-per-view movie at 2:02 a.m.
VERONICA: I know it always says that the movie title isn't listed on the bill, but you guys know, right?
TINA: [conspiratorially] So true.
She taps.
TINA: It was Kiss Kiss Bang Bang.
VERONICA: You don't have any way of checking to see who delivered the room service, do you?
TINA: No, but I know who works the graveyard. His name's Jeff Ratner. They stuck him on the shift after they busted him for stealing toiletries.
VERONICA: Rrrratner, eh?
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE.
Music: Unknown. Heather excitedly pulls Logan into Dick's room.
HEATHER: Come here! You have to listen to this.
She pulls him over to the chest at the side where a radio is playing.
HEATHER: I called KRAC like two hundred times. I kept getting this recording, and then finally, I got through. They're gonna play my request.
LOGAN: Uh, local calls are two dollars each.
Heather's face falls. Logan stares at her. She opens her mouth to say something but can't. Logan relents.
LOGAN: I'm teasing. Heather grins and Logan smiles back. He glances with concern at the radio.
INT - NEPTUNE GRAND HOTEL, KITCHEN.
End music: Unknown. The radio's on in the kitchen too, just as Veronica is looking for Jeff.
DJ: I've got a dedication going out from a very sad boy...
Music: "What's Left of Me" by Nick Lachey.
LYRICS: I feel you Crawling underneath my skin Like a hunger Like a burning To find a place I've never been Now I'm broken And I'm faded I'm half the man I thought I would be But you can have what's left of me-
Veronica passes the radio without a glance.
DJ: To a very special girl. So, if you're out there and you're listening, Veronica... Veronica freezes.
DJ: This is from Logan. He's sorry, girl, and he wants you back. Disbelieving, though whether from the fact of the dedication or the song choice is unclear, Veronica turns to stare at the radio. She walks back slowly and stares at it for a moment. She switches it off. End music: "What's Left of Me" by Nick Lachey. She turns to resume her search and runs straight into Jeff Ratner bringing through some food for a table trolley.
JEFF: Take it from the guy who has to clean up after him. Jeff carries a covered dish of food to a newly laid table trolley and sets it down.
JEFF: You don't want what's left of Logan Echolls. He just lies around in bed all day and smells.
VERONICA: Jeff Ratner. Just who I was looking for. Let's talk crème brûlée.
Jeff gives her a wary look.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE.
Music: "What's Left of Me" by Nick Lachey.
LYRICS: I want you I feel you Crawling underneath my skin Like a hunger Like a burning To find a place I've never been Now I'm broken And I'm faded I'm half the man I thought I would be But you can have what's left of me It's falling faster Barely breathing Give me something To believe in Tell me it's not all in my head
Nick's still powering it out in Dick's room. Logan is cringing. Heather is beyond enrapt.
LOGAN: I really wish you hadn't have done that.
HEATHER: You're gonna thank me.
Logan is not so sure and stares down at the ground.
HEATHER: Girls love that stuff. They like it when you make them feel like they're a big deal, like you'd do absolutely anything to be with them. People in love shouldn't break up. Giving up is just stupid. Logan nods and reaches out to put his hand on top of her head. He pats her in a way that shows how foreign the gesture is for him. He turns around and walks out of the room. Heather follows him into the lounge.
HEATHER: Okay, I'm starting to feel like I'm living in a hamster cage. Is there a workout room or something?
LOGAN: Yeah, I'll show you.
End music: "What's Left of Me" by Nick Lachey.
INT - NEPTUNE GRAND HOTEL, CORRIDOR.
Jeff leads Veronica to the door of the room Mindy and Landry shared the night the dean died.
JEFF: This is the room. This is where I brought the crème brûlée. This is right where I was standing when I heard the fight. Can I leave now?
VERONICA: A fight? What kind of fight?
JEFF: People yelling at each other.
VERONICA: What were they saying?
JEFF: You know, I didn't hold a glass to the door. You'd be surprised what you overhear working in a four-star hotel. I figured it was the wrong time to deliver the crème brûlée, so I left and came back later.
VERONICA: Who answered the door when you came back?
JEFF: I don't know. Some lady.
VERONICA: The one you heard yelling?
JEFF: No.
This surprises Veronica immensely.
VERONICA: Are you sure?
JEFF: Yes, I'm pretty sure. I heard two men yelling.
Veronica does a bit of a double take.
INT - NEPTUNE GRAND HOTEL, ELEVATOR.
Elevator doors open to reveal Veronica and Jeff waiting to board. Logan and Heather are already in there. Veronica and Logan are each stunned by the presence of the other. Jeff hurries in. He sighs as he turns and realises that Veronica hasn't moved.
JEFF: Getting in? She spares him a momentary glance from staring at Logan to nod. She steps onto the lift. Logan shuffles aside and she stands uncomfortably next to him. She struggles before coming out with...
VERONICA: Hi. Logan stares straight ahead.
LOGAN: Hey. Another moment of uncomfortable silence goes by. Veronica looks around Logan at Heather.
VERONICA: Is that my shirt? Heather looks down at her t-shirt.
LOGAN: Yeah, she was out of clothes.
VERONICA: Oh.
Heather looks over at Veronica, who is completely bemused and at a loss. Heather recognises her and starts to get excited. She starts to bump Logan, whispering and squeeing.
HEATHER: It's her. It's her.
LOGAN: Yeah.
Veronica can't help but hear and be even more embarrassed. She looks at Jeff who narrows his eyes. Logan casts her a quick glance.
HEATHER: It's her, isn't it? Oh, my God! It's her. Tell her!
LOGAN: Shh.
HEATHER: Tell her how you feel.
LOGAN: Shut up.
Logan is desperately wishing this isn't happening. Heather can't contain herself. She steps out from Logan's side, a huge grin on her face.
HEATHER: Excuse me, Miss Veronica? Yeah, were you listening to super hits 98? 'Cause there was just this dedication.
VERONICA: Yeah, I, um...
She darts a glance at Logan.
VERONICA: Heard it.
HEATHER: Well, it's true. Logan's sorry, and he misses you. And he wants you back. And you two should get back together...
The elevator pings
HEATHER: Because he totally loves-
LOGAN: This is our floor.
Logan can't push Heather out fast enough. He gets them out but can't resist staring back at Veronica. They look at each other an age before the door closes between them.
JEFF: Trouble in paradise? Veronica looks up at him, a little shell-shocked.
INT - NEPTUNE GRAND HOTEL, CORRIDOR - CONTINUING.
Outside, Logan walks away from the elevator, also shell-shocked. Heather gushes.
HEATHER: I can't believe you blew that. That was the most perfect opportunity. Why didn't you tell her how you feel? Logan finally snaps and turns on her.
LOGAN: Because I'm not eleven, and I'm not delusional. You don't know a single thing about love, Heather. Heather's face crumples.
LOGAN: You know, it isn't writing someone's name o-on the back of your notebook and drawing a heart around it. It is easy to be happy all the time when you're eleven. You talk to me about love when you know something about it. Logan storms off, and Heather is left to cry alone.
INT - HEARST COLLEGE, CRIMINOLOGY CLASS - DAY.
The subject for the Criminology class is "Advanced Applied Victimology." Landry drops his bag by his lectern and digs around in it.
VERONICA VOICEOVER: Knowing that Dr. Landry and Mrs. O'Dell left the Grand in time to kill the dean adds a whole new level of weirdness to attending Landry's profiling class. Veronica finds her seat in the lecture room, but before she can sit down....
LANDRY: Miss Mars, can I talk to you for a second? A little hesitantly, Veronica walks down the stairs towards him.
LANDRY: Good news. You've made it to the second round of the FBI internship. It seems that the feds were as impressed with you as I am.
VERONICA: Oh. Great. Thanks for pushing me to apply and the recommendation.
LANDRY: Well, I'm sure the dean's letter didn't hurt either.
VERONICA: The dean's...?
LANDRY: I put a notice on the faculty blog asking if anyone would want to contribute an additional letter. Cyrus...
He bends down and pulls out a file.
LANDRY: Came through for us. A copy of your application. He hands it to her. Veronica opens the file and starts to read the letter. She is stunned.
LANDRY: Are you okay, Veronica?
VERONICA: Yeah. Fine.
She closes the file and recovers herself.
VERONICA: It just reminds me of that one scene from Kiss Kiss Bang Bang.
LANDRY: Really?
VERONICA: Yeah, you know, after Robert Downey Jr. dies, Val Kilmer gets a message from him?
LANDRY: Kiss Kiss Bang Bang? Robert Downey survives the whole film.
VERONICA: Oh, I must be confused.
Landry doesn't think so.
INT - MARS RESIDENCE - DAY.
Veronica is sitting on Keith's desk as seen from the side door from the hall.
KEITH: And you brought up the movie with him?
VERONICA: Yeah, and he was up on the details. It sounds like he watched it. Dad...
Veronica pulls out the file Landry gave her.
VERONICA: Look at this. Keith takes it and opens the file.
VERONICA: I guess Dr. Landry asked Dean O'Dell to write me a recommendation letter for the internship at the FBI. Keith reads the letter out loud.
KEITH: "Dear Sir, in my twenty-five years working in academia, I have not come across a young person with more initiative, intelligence, and character than Veronica Mars." Keith sits up a little straighter and smiles. He continues reading.
KEITH: "I enthusiastically recommend her and would be happy to discuss this remarkable young woman in greater detail. Sincerely, Cyrus O'Dell, Dean of Students, Hearst College." Veronica's eyes fill.
VERONICA: I would have settled for, "I find her nosiness charming."
KEITH: Man had good taste. Let's honour him by putting his killer behind bars.
VERONICA: Agreed.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - DAY.
Logan is back to lying on his orange sheets. The phone by his bed sounds. He sighs and picks it up, having checked the caller ID.
LOGAN: Where are you?
EXT - ON THE ROAD - CONTINUING.
Dick's driving.
DICK: Hey, buddy. Got a question for you. You know a good lawyer? Melinda, in the passenger's seat, casts him a withering look.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING.
LOGAN: I know a lawyer.
DICK: [on phone] Good. I'm gonna need one.
EXT - ON THE ROAD - CONTINUING.
DICK: Like, we're on the road. We'll be home in a couple of hours. Wifey-poo wants to talk to you.
Dick holds out the cell phone to Melinda. She snatches it.
MELINDA: Hey, Logan, is Heather doing okay?
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING.
LOGAN: Yeah, is she ever not? Is she always like this, so...bubbly?
MELINDA: [on phone] That's kind of her new thing.
Logan looks in the direction of lounge, now concerned.
EXT - ON THE ROAD - CONTINUING.
MELINDA: Well, she started acting weird when our dad walked out. I don't think she can get it through her thick skull.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING.
MELINDA: [on phone] It can really wear you out, huh?
EXT - ON THE ROAD - CONTINUING.
MELINDA: Just make sure she takes her Prozac, or she'll just drive you nuts.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING.
Logan doesn't respond, instead rolling his eyes at himself. Cut to a little later. Logan is standing at the closed door to Dick's room. He knocks. Heather shouts though the door.
HEATHER: Go away! Logan, leaning against the doorjamb, puts his hand on his hip.
LOGAN: Well, now you made me want ice cream, so... He sighs heavily.
LOGAN: I'm going to Amy's. Come with me if you want. The door eventually opens. Logan smiles warmly at her. Heather relents and smiles back.
INT - MARS RESIDENCE - DAY.
Keith is by Veronica's office, checking some files, when Mindy arrives.
MINDY: So, any progress on the case? Uh, your message sounded urgent.
KEITH: Significant progress, I think. Mrs. O'Dell, what can you tell me about Kiss Kiss Bang Bang?
MINDY: Um, I can tell you it's a movie.
KEITH: Is that it?
She laughs uncomfortably.
MINDY: Why on earth is this important?
KEITH: Because I heard that was the movie playing in your hotel room at the time your husband died.
She shrugs.
MINDY: Well, maybe Hank started it after I fell asleep.
KEITH: [with increasing aggression] I also have the valet log showing that your Volvo was checked out roughly thirty minutes before the murder and checked back in roughly thirty minutes afterwards.
MINDY: No, then someone is framing me.
KEITH: Who was in your room with you that night?
MINDY: Hank, but you-
KEITH: Other than Hank.
MINDY: No one.
KEITH: A witness says he overheard two men arguing loudly at approximately midnight in your room.
MINDY: No. Then-then he heard the TV.
KEITH: [sharply] I don't believe you, Mrs. O'Dell.
MINDY: I don't need to listen to this. You're off the case, Mr. Mars.
She starts to walk out of the office.
KEITH: You can fire me, Mrs. O'Dell, but I'm afraid you can't take me off the case. She turns back to glare at him.
KEITH: I quite liked your husband. She shoulders her bag and walks out. He watches her go without qualm.
INT - NEPTUNE GRAND HOTEL, OUTSIDE LOGAN'S SUITE - DAY.
Heather and Logan get off of the elevator and walks towards the suite.
HEATHER: Okay, this is better than the place I used to go with my parents.
LOGAN: Well, with age comes wisdom. You know, you can play Mario Kart online. We should have a weekly game or something, keep you sharp.
Logan sticks the key card in the door to open it. Heather looks up at him with disgust.
HEATHER: Quit flirting with me, old man. I'm eleven. Logan grins.
HEATHER: Jeez. That's creepy.
LOGAN: Yeah.
INT - NEPTUNE GRAND HOTEL, LOGAN'S SUITE - CONTINUING.
They walk into the suite and slap-bang into a domestic as Dick and Melinda are screaming at each other.
MELINDA: You called me a freak!
DICK: I called your toes freakish. I didn't call you a freak. It's supposed to go big toe, little toe, and then on down the line, not big toe, bigger toe.
MELINDA: You really make me sick.
DICK: I make you sick? You're the freak.
Logan and Heather watch happily.
LOGAN: Ahh, newlyweds. Melinda turns on them.
MELINDA: Where the hell have you been? I've been waiting to go for like twenty minutes. Logan and Heather glance at each other.
MELINDA: Get your stuff. We're going. Melinda grabs her bag and marches to the door. Heather, still in Veronica's t-shirt, collects her backpack and heads to follow her, passing Logan.
HEATHER: Fridays at four are good for me. She hugs him around the waist. Logan holds her and smiles down at her. Dick gives Melinda a salute and she returns it with a filthy look. The girls leave.
LOGAN: [amused] There goes the old ball and chain, eh?
DICK: I need a shower.
Disgruntled, Dick heads for his room.
INT - SHERIFF'S DEPARTMENT - DAY.
Veronica arrives at the jail cell bearing gifts.
VERONICA: Here you go, sheriff-approved reading material. She passes a small pile of books and magazines through the bars, which Josh takes. The book at the top of the pile is Alexandre Dumas's The Count of Monte Cristo.
VERONICA: I think you'll really enjoy the Dumas book. Josh flicks open the pages. After the first few, he finds a stash of cookies in an area cut out through the pages.
VERONICA: It's quite chunky. He smiles down at her.
JOSH: Thanks, Veronica. Veronica nods.
JOSH: I've been thinking it over. It's Mason. Why else would he lie? It makes sense. You got to find that gun.
VERONICA: Josh, if he did do it, he probably threw the gun in the ocean.
JOSH: Yeah. You're probably right. Thanks anyway for the stuff.
VERONICA: Hang in there, okay?
Josh nods and Veronica leaves. Josh takes the books back to his bunk. He opens the Dumas and takes out a cookie. He looks at it for a moment, and then up at his cell mate on the top bunk. The cell mate, giving the appearance of an emaciated homeless man, peers down at Josh and the cookies. Josh looks at the cookie again before popping it in his mouth.
INT - HEARST COLLEGE, OUTSIDE ECONOMICS CLASSROOM - DAY.
As unaffected by life as ever, Dick marches happily down the hall. He points.
DICK: You coming? Logan, clean-shaven and smirking, joins him in the march to the classroom.
LOGAN: Let the learning begin. Dick turns into the classroom. Logan continues straight on to Professor Corrigan. He holds up a shiny, red apple.
LOGAN: You miss me? Corrigan, who's obviously never read Snow White, takes it with a sceptical glare. Logan spins around and walks into class.
INT - HEARST COLLEGE, CRIMINOLOGY CLASSROOM - DAY.
In criminology, Landry is in full flow.
LANDRY: In all these cases, the criminals operated for years unsuspected within the completely ordinary settings, the classic, "He seemed so nice..." On the slide screen, is a somewhat disturbing picture of Aileen Wuornos grinning.
LANDRY: "He kept to himself." The slide changes to a picture of John Wayne Gacy.
LANDRY: Knowing the signs, we can identify the criminal among us before... Landry pauses as he spots Lamb and a deputy enter the lecture room.
LAMB: Oh, sorry, Professor. I need one of your students. Veronica Mars? Veronica rolls her eyes. She holds up her hand. Lamb smiles and walks until he stands right behind her.
LAMB: Miss Mars. He takes her wrist, still held in the air, and slaps on a pair of handcuffs.
LAMB: You are under arrest for the aiding and abetting of the escape of Josh Barry. Veronica is taken aback and Lamb pulls her to her feet. Lamb is enjoying himself as he pulls her arms behind her. Landry watches curiously.
LAMB: You have the right to remain silent. Anything you say can and will be used against you in a court of law.
Plan: A: Logan; Q: Who is upset after Veronica breaks up with him? A: Veronica; Q: Who is arrested for being an accomplice to Josh's escape? A: Dick; Q: Who invites two girls over to cheer Logan up? A: an eleven-year-old girl; Q: Who does Logan have to babysit instead of the two girls? A: Keith; Q: Who does Wallace's widow hire to investigate the murder? A: Professor Landry; Q: Who is the other person who gave a false alibis? A: Wallace; Q: Who rejoins the Hearst basketball team right before the coach is found dead? A: Josh; Q: Who is the son of Wallace's widow? A: his accomplice; Q: What is Veronica accused of being when Josh escapes from prison? Summary: Logan is upset after Veronica breaks up with him, so Dick invites two girls over to cheer him up, but Logan has to babysit an eleven-year-old girl instead. Keith and Veronica discover that the alibis given by Mindy O'Dell and Professor Landry do not match. Wallace rejoins the Hearst basketball team right before the coach is found dead. His widow hires Keith to investigate the murder and clear her son Josh. When Josh escapes from prison, Veronica is arrested for allegedly being his accomplice.