VERONICA VOICEOVER: Previously on Veronica Mars... Mercer and Parker meet in 306 "Hi, Infidelity."
MERCER: Hi, I'm Mercer. Parker hurries Veronica away from Mercer and the radio station.
PARKER: Oh, that guy, Mercer... Whilst staying with the dialogue from 306 "Hi, Infidelity," the scene cuts to Parker standing before the mirror, her head shaved, and of Mac and Veronica glancing at each other in horror from 301 "Welcome Wagon."
PARKER: His cologne. It's burned into my brain. Veronica sits in Lamb's office in 306 "Hi, Infidelity."
VERONICA: I'm here about the rapes at Hearst. Mercer Hayes.
LAMB: We found two vials of GHB.
Logan talks to Veronica in the Food Court.
LOGAN: It's Mercer. Lamb just arrested him for the rapes on campus. He didn't do it. I was with him the night of the rape this summer. In the bar at the Neptune Grand, Keith faces his daughter about Harmony.
KEITH: It's completely innocent. We're just friends.
VERONICA: Unless your friend is a...
Cut to Keith and Harmony in each other's arms in her hotel room.
VERONICA: Unhappily married woman. End previously.
INT - MARS RESIDENCE - DAY.
It's very early in the morning. Veronica opens the door into the apartment and closes it behind her as quietly as she can. She grimaces as the slight noise it makes. In her bedroom, Veronica pulls a bag out of her closet and sets it on her desk. She takes some clothes from her drawers and stuffs them in the bag, tiptoeing the whole time. She's creeping towards the door of the apartment when Keith appears from his bedroom.
KEITH: [softly] Where are you staying these days? Veronica freezes.
KEITH: If I can be so bold. Veronica pulls a wry face before she turns to face her father.
KEITH: You didn't come home last night. Veronica doesn't respond, but stares at him.
KEITH: I called Logan's room at the Grand. He...said he didn't know where you were. Thing is, I think he was telling the truth.
VERONICA: [self-righteously] I didn't come home last night, you didn't come home the night before that.
Keith leaves the door of his bedroom and walks towards her. According to the clock on the top shelf of the bookcase, it's 6:50. (Of course, it may always show this time.)
KEITH: That's what this is about? He stops in front of her.
KEITH: Don't you think we should talk?
VERONICA: Do you?
Keith is taken aback by her coldness.
VERONICA: Wallace is letting me stay in his dorm room until he and his roommate get back from their weekend...cramming Paper Chase-style at some motel out in Twentynine Palms. Come on, Dad. I thought you'd be happy.
KEITH: [incredulous] Happy?
VERONICA: Now you can have your new...
Veronica searches for the words.
VERONICA: Married girlfriend over and you two can... She again casts around for the words, a patently false smile on her face.
VERONICA: I don't know, go crazy.
KEITH: Don't make a joke out of this.
Veronica drops the smile and stares up at him, bristling in her judgement.
KEITH: It's my life. It's my choice.
VERONICA: And this is mine.
Veronica turns on her heel and walks out of the door without another word. Keith stares after her, upset.
INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - DAY.
Veronica has just showered and her hair is still wet. She finishes dressing, pulling down a t-shirt to add to the boxer shorts she has on.
VERONICA VOICEOVER: What does a girl do when it seems every male in her life has let her down? Veronica goes over to the closet. The inner door of the closet has a mirror. Veronica bends down, searching in the closet and oblivious to the fact that Piz is standing at the open door of the room, watching her.
VERONICA VOICEOVER: She seeks sanctuary, a place where no one can find her. A place where- Piz clears his throat.
VERONICA: Oh! Veronica jerks upright and spins around. Her mouth drops open at the sight of Piz. She gives an embarrassed chuckle as Piz enters the room and closes the door.
VERONICA: How long have you been standing there, Piz? I might expect a tip.
PIZ: Just, like, two seconds.
VERONICA: What are you doing here?
PIZ: Oh, that, yeah. Uh, I live here. This is my room.
He starts towards Veronica who hasn't moved from the relative safety of the closet. Piz points to the other end of the room, beyond her.
PIZ: That's my bed. Veronica coughs a little as Piz passes her for his end of the room.
PIZ: You remember my guitar. Veronica finally shuts the closet door and follows his progress. Piz puts a hand on his pride and joy, resting on the end of his bed.
PIZ: [lovingly] That's where it gently weeps. He grins at her.
VERONICA: You're supposed to be cramming in a motel, like in The Paper Chase?
PIZ: You mean The Shining? All work and no play makes Wallace psychotic. I cough, like, once; he told me to take it outside. I asked him if he wanted a pizza and he was all, like...
Piz turns and heads for his bed, waving his hands in the air as he imitates Wallace.
PIZ: "Did we come here to eat or study?" He collapses on his bed, taking off one of his shoes and tossing it on the floor. Over his head is a poster for Jet, a band a fondness for which he shares with Mac as it was seen on her side of her dorm room in the pilot.
PIZ: Better question: what are you doing here?
VERONICA: Wallace said I could crash here while you boys were out of town.
PIZ: Yeah, but why?
Veronica takes a breath and then laughs, for she is not going to answer the question. She moves over to Wallace's bed to grab her bag.
VERONICA: Um, you know what? I'm gonna get out of your way.
PIZ: You're welcome to stay.
Veronica pauses on her journey to the closet to get her stuff. She looks at him quizzically. Piz shrugs. Veronica considers the proposition.
INT - HEARST COLLEGE, OUTSIDE WALLACE AND PIZ'S DORM ROOM - DAY.
The R.A., Moe, walks down the hallway, biting his nails. He pauses on seeing a girl, Meryl, huddled on the floor, her back to the wall. Meryl is watching the passing students, looking deeply worried. There is a case or backpack next to her. Moe crouches down.
MOE: Uh, can I help you?
MERYL: Yeah, this is my boyfriend's room. He's supposed to be here, but...
She shakes her head. Moe lays a comforting hand over hers.
MOE: Could I get you some tea, while you wait? Meryl, already freaked by her missing boyfriend, looks at Moe as if he were demented. Her eyes dart to the door of her boyfriend's room and her bottom lip droops.
INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - DAY.
Veronica, still in her t-shirt and boxer shorts, is lying on Wallace's bed, deeply focused on what is on her laptop screen. Beyond her, Piz is sitting on the small red couch. There is a book open on his knees, but he is giving it scant attention, his eyes continually straying to Veronica. He sighs on hearing a knock at the door. The rhythmic knock (some say "Imperial March" from Star Wars ) continues as he makes his way to the door. He opens it to find Meryl, a mug in her hands, and Moe.
PIZ: Hey, Moe, what's up? Moe looks beyond Piz and sees Veronica atop Wallace's unmade bed. Veronica glances at herself in her boxers and the unmade bed, realising how compromising things appear. She lifts herself to a sitting position.
VERONICA: Not what it looks like.
MOE: Not one to judge.
Moe chuckles and gives Piz an approving nod. Veronica is marginally less sanguine, pulling down her t-shirt primly.
MOE: You haven't seen your next door neighbour around, have you?
PIZ: Sully or Glen?
MOE: Sully.
Moe points to Meryl.
MOE: This is his girlfriend. Meryl smiles hopefully.
MERYL: Hi.
MOE: He knew you were coming, right Meryl?
MERYL: Yeah. I mean, I flew down from Sacramento. Sully said he would pick me up at the airport. It's not like him to flake. He's in trouble; something's happened to him, I'm positive.
Piz turns to stare at Veronica and the other two do the same. Veronica has a momentary "Why me?" reaction until bowing to the inevitable. She holds up her hands.
VERONICA: Fine. I'll see what I can do. Opening credits.
INT - HEARST COLLEGE, SULLY AND GLEN'S DORM ROOM - DAY.
Pictures of scantily-clad women decorate the wall of one side of the room. The camera pans around to reveal Sully's desk, closet (on which is fixed a poster for Dust on the Bible by Bad Livers), and bed over which there is a large poster of the band, the Rakes (a Pi Sig favourite too). The door to the room opens. Veronica peers in and hits the light switch. She enters. Moe and Piz pause at the door.
PIZ: Keys to all our rooms?
MOE: All R.A.s do.
Meryl pushes past them to join Veronica, who is staring at the wall with the posters of women.
MOE: For just such occasions.
VERONICA: Well, I guess you never have to wonder if your boyfriend is straight.
Meryl smiles.
MERYL: Those aren't Sully's. His roommate must have put them up.
VERONICA: Ah.
Veronica is sceptical but lets it go. She turns to a room-divider/bookcase and starts to snoop around. Meryl follows her.
MERYL: So, you do this, like, a lot? Find people? Mo and Piz finally move into the room towards them.
VERONICA: People, stuff. Veronica doesn't find anything of interest and moves over to Sully's desk.
MERYL: Really? That's interesting.
MOE: Hey, check this out.
Moe is bent down over a small chest of drawers under a large poster of Marlene Dietrich. Piz has pulled down a toiletries bag from the top of the bookcase Veronica vacated. He shuffles through the contents.
PIZ: Toothbrush is here. Razor's here. Moe shuts a drawer and rises, holding a bottle of beer.
MOE: He's really not supposed to have beer. Veronica in the meantime has found a Facebook on Sully's desk. She flicks through, finding a page on which the corner is turned down and one picture is circled. It is of Scarlett Reyes of Chula Vista, California. (For the detailed obsessed, and the sucker who has to collect the names for MI.net's Who's Who section, the others that can be seen by these old eyes are: Amy Oppat of San Diego, CA, Dorata Pearl of Detroit, MI, Anne Phanco of Santa Fe, NM, Mike K. Plagge of Princeton, NJ, Jason Potiker of Seattle, WA, Thomas Pulido of Scottsdale, AZ, Judy Rainier of Los Angeles, CA, Kellee Ramm of Denver, CO, Tyler Rechif of Klamath Falls, OR, Charles Reh of San Diego, CA, Carter Reynaud of Tempe, AZ.
VERONICA: Do you know who Scarlett Reyes is?
MERYL: No. Why?
Veronica holds the page out to show Meryl.
VERONICA: Any idea why Sully might be circling hotties in the Freshman Facebook?
MERYL: Oh, that's not Sully's circle.
Veronica frowns at Meryl. She cocks her head for an explanation.
MERYL: His circles are more perfect. He's had all these drafting classes. Veronica doesn't appear to be convinced.
MERYL: Listen. I appreciate the help, you guys, but I think I'm just gonna wait here until Sully shows.
VERONICA: Well, I've got class right now. I'll check back with you after.
Veronica turns to walk back around the bed but spots something of interest in the wastepaper basket. She picks it up and starts rummaging. Moe glances at Piz in surprise.
PIZ: A year of finishing school; what are you gonna do? Veronica picks out a small slip of paper. Veronica examines it.
VERONICA: A credit-card receipt. I'll check to see if he's out spending money. Meryl stares at her, a little bemused. Veronica exits and Meryl looks down into the wastepaper basket, still frowning.
INT - HEARST COLLEGE, CRIMINOLOGY LECTURE ROOM - DAY.
The room is darkened as Professor Landry has slides up on a large screen behind. The screen currently displays a map of the United States, on which each state in coloured in one of five colours.
LANDRY: And one final item of business... The screen changes to a slide with the words "Term Research Paper" on it. "CRIM 101" is in the top right-hand corner.
LANDRY: Your end-of-term research paper. There's a collective groan.
LANDRY: Oh, yes. Your assignment: to plan the perfect murder. He clicks on the remote in his hand. The details are added to the slide on the screen: "Plan the Perfect Murder. *20 Pages, MLA. *Grade determined by number of flaws or holes in your plot. *Due one week before finals." Veronica watches from her seat.
VERONICA VOICEOVER: From the guy who couldn't plan an affair with the dean's wife. One of the students holds up her hand.
LANDRY: Yes, Miss Starr?
MISS STARR: Does it matter who the victim is?
LANDRY: That is entirely at the killer's discretion. Though I may say, in years past, I've made a popular target.
The students laugh appreciatively. Veronica does not join in.
VERONICA VOICEOVER: The man who would be my mentor: Mr. Popular. Just another on the list of men who disappoint. Landry closes down the slides.
LANDRY: Good luck. See you all Tuesday.
Landry is by now at the lectern. Behind him, under the screen, part of what is written on the whiteboard can be seen: "Will cover, before Christmas break -Genesis of law, primitive...modern legal systems - Theories of causations...or thought of causations - Criminal apologies...the white collar crime."
LANDRY: A-and, Miss Mars, you mind sticking around? I need to speak to you. Veronica draws in a deep breath, not happy. There's a brief cut to show the room nearly empty. Veronica, who has stayed in her seat, finally rises and walks up to the front.
VERONICA: We don't have to do this. It really doesn't matter to me. Landry walks forward, holding a wad of papers, as if he hasn't heard her.
LANDRY: Veronica, I am recommending you for a summer internship at the FBI. He hands the papers to her. She scans the top sheet.
VERONICA: [uncertainly] Fifteen hundred words on why I'll benefit from the program?
LANDRY: Yeah. They take it seriously. Fill that out, and I'll accept that in lieu of your "plan a perfect murder" paper. We both know that you can do that in your sleep, right? The guy who runs the intern program in Quantico is an old undergrad buddy. I'll see that your application makes it into the small pile, if you know what I mean.
Having collected his stuff together, Landry exits. Veronica calls out after him.
VERONICA: Got it. Thanks.
VERONICA VOICEOVER: No term paper, a dream internship, and all I have to do is keep my mouth shut.
EXT - HEARST COLLEGE - DAY.
Logan is sitting on top of a bench, waiting. He's playing with the shirt that's not being currently worn over his t-shirt. Veronica sees him and after a brief hesitation, walks to him. She's in a hostile mood.
VERONICA: I'm on the case, okay? Don't worry. The sheriff won't let me see Mercer until tomorrow morning. Logan stops fiddling with his shirt, laying it across his thigh.
LOGAN: Look, I'm not here to talk about Mercer. There's a long pause as Veronica starts to get uncomfortable.
LOGAN: Okay? I just...I don't know. I want to make things right between us. Logan slides off the back of the bench. Veronica starts to walk away, leaving Logan frustrated that she won't stand still and talk. He follows.
VERONICA: You tell me your friend couldn't have raped a girl because he was with you this summer. Then you won't tell me what you were doing or why you can't come forward to provide an alibi, so how exactly do you propose to make things right? [scoffs] Are you gonna hypnotise me?
LOGAN: I don't know. I was hoping your desire to find the real rapist might outweigh your need to drag me over the coals.
VERONICA: Who says I can't do both?
Logan spins around in front of her, forcing her to stop.
LOGAN: [angry] Hey, Veronica! Trust me. Veronica is taken aback by his vehemence. Logan tempers the passion and stares down at her.
LOGAN: It is better for everyone if this secret stays that way, okay? Please, have a little faith.
VERONICA: How bad does your alibi have to be if Mercer would rather stay in jail than divulge it?
Logan doesn't answer, begging with his eyes.
VERONICA: Huh? He won't respond. She laughs humourlessly and walks away again.
VERONICA: Maybe I don't want to know what you were up to. Logan chases after her again.
LOGAN: When have you ever not wanted to know anything? She doesn't answer, her face set. Logan sighs and catches up to her side again.
LOGAN: Your dad called me last night. He woke me up wanting to know where you were.
VERONICA: Is that so?
LOGAN: So, where are you staying these days?
VERONICA: It's better for everyone if that secret stays that way.
Veronica takes a left turn. Logan doesn't follow, so she turns to face him.
VERONICA: Is that how it works? Did I get the inflection right? She turns on her heel and walks away from him. He watches her go, gutted.
INT - HEARST COLLEGE, SULLY AND GLEN'S DORM ROOM - DAY.
Veronica stands at the door and knocks. It is opened enthusiastically, but Meryl's joy is short-lived when she sees it is Veronica at the door. Meryl sighs.
VERONICA: Still no word, huh?
MERYL: I think we should go to the police.
Veronica walks into the room, patting Meryl on the arm as she passes her, and heading around Sully's bed for his desk.
VERONICA: Not yet. It hasn't been forty-eight hours. College boy isn't around when his high school girlfriend shows up? The sheriff would laugh you out of there.
MERYL: I don't get it. Why would he laugh?
VERONICA: Because the sheriff is a moron.
This depresses Meryl.
VERONICA: No activity on Sully's credit card, but I had an idea walking over here. Any chance you know his cell phone pin number? Meryl thinks. Cut to a few moments later. Meryl joins Veronica sitting on the bed. Veronica is listening to an automated message on her cell phone.
AUTOMATED VOICE: [on phone] Welcome to voicemail. You have twelve new messages.
MERYL: Put it on speaker phone.
Veronica taps some keys to do so. She plays the first message.
MERYL: [on phone] Sully, I'm here at the gate. Are we meeting at bag- Veronica plays the next one.
MERYL: [on phone, plaintively] Sully, I'm at baggage. Veronica plays the next one.
SCARLETT: [on phone] Hey, there, Sully. It's Scarlett. Are we still on for tomorrow night? Food Court at eight? You told your girlfriend, right?
MERYL: Weird. What do you make of that?
Veronica cannot believe Meryl's naivety.
INT - SHERIFF'S DEPARTMENT - DAY.
In one of the jail cells, a big, scary-looking man snores softly in the top bunk. Another one, ever scarier due to the eye-patch, bandaged head, and t-shirt covered in blood, is doing the same in the lower bunk. Off to the site, on the cold, hard bench, Mercer is huddled, trying to sleep.
VERONICA: Nobody willing to spoon you? Veronica approaches the bars. Mercer looks up.
MERCER: Uh, no one volunteered.
VERONICA: Well, you know what they say in the big house: if you can't find a partner, use a wooden chair. Let's rock.
Mercer has pulled himself up into a sitting position. He glances at his cell mates who are starting to get restless with the noise. He walks up to the bars to continue the conversation without disturbing them.
MERCER: What are you doing here, Veronica?
VERONICA: You. Logan says he's got an alibi for the two of you...the night of the third rape. August 13th?
MERCER: I suppose he does.
VERONICA: So, you do remember.
MERCER: That night? Yeah. It's...memorable. The night of the other three rapes, I...
Mercer shrugs to indicate that he has no idea.
VERONICA: Care to share what you two free-spirited lads were up to? I'll give you a hint. It was squalid.
MERCER: Logan has good reason to keep that to himself. But you shouldn't worry. He's a solid guy. I mean, I'd want him to be my boyfriend if I swung that way.
VERONICA: Give it time. You just got here.
Mercer looks back with concern at his cell mates.
VERONICA: So, if there's anything you can tell me that could help clear you-
MERCER: The sheriff seemed awfully interested in my cologne. Uh, GQ had a sample of it in the back-to-school issue, so I hardly think that's some huge clue. Now, do you think I'm the only guy at Hearst who owns clippers and subscribes to Gentleman's Quarterly?
VERONICA: And keeps a stockpile of GHB handy, from what I hear.
MERCER: That wasn't mine. I think someone's setting me up. Okay, there...
Mercer glances behind him and speaks more softly.
MERCER: There are a couple guys who owe me big.
VERONICA: I'll bite. Who?
MERCER: Pi Sig president Chip Diller.
VERONICA: Not that shocked.
MERCER: Dean Cyrus O'Dell.
VERONICA: You're lying.
MERCER: Big boxing fan, the dean. Unfortunately, he can't pick them. And he has a student aide, uh, place the bets for him, but it's the dean's money. He'd like to see me gone.
VERONICA: I'll look into it.
MERCER: Thanks, Veronica. Ah, Logan's, uh, bragged you up. I appreciate the help.
INT - HEARST COLLEGE, SULLY AND GLEN'S DORM ROOM - DAY.
Knocking first, Veronica enters the room. Meryl is standing forlornly in the middle of it.
VERONICA: Hey, Meryl, any luck?
MERYL: No. none. I called all the hospitals. I talked to his professors, and nobody has seen or heard from him. I-
Meryl paces a little.
MERYL: Look, I was just thinking. Veronica sighs and shuts the door.
MERYL: Sully told me that in his physics class, they're working with lasers. So, what if Sully accidentally discovered some new technology, you know, like some kind of laser cannon that could assassinate people from space or something? As Meryl gets increasingly passionate about her bizarre theory, Veronica approaches her carefully, with her hands gesturing for Meryl to calm down.
MERYL: He could be running from, I don't know, sinister forces! Meryl finishes her imaginative tale by sitting down hard on the edge of the room divider. Veronica crouches down in front of her and speaks gently.
VERONICA: Have you ever heard of Occam's razor, Meryl?
MERYL: Is that a space laser?
Veronica shakes her head.
MERYL: Has it already been invented?
VERONICA: No, it's a theory. Basically, the theory states that when given a set of possible explanations for a phenomenon, we should embrace the least complicated. So...
Veronica takes a deep breath.
VERONICA: I guess I'm saying that if on the one hand, you have Sully inventing a space laser, and on the other, maybe he wants to break up but is taking the coward's way out...
MERYL: You're saying maybe he's breaking up with me? I hope that's all it is. At least then I'd know he's okay.
Behind them, the door to the room swings open. They both look to see a long-haired, baseball-capped, stonnerish-looking guy. He freezes.
GLEN: Oh. Hey. He stares at them for a moment, then walks past them to the far end of the room. He throws down his bag. Both rise to join him in his part of the room.
GLEN: I didn't see the sock, so I figured there was nothing nasty going down.
VERONICA: Are you Glen?
GLEN: The man, the myth, the legend. Which one of you is Meryl?
MERYL: That's me.
GLEN: For real?
He leers at Veronica.
GLEN: And that makes you the hot friend. So, where's Sully at? He falls back onto his bed, propping himself up on an elbow.
VERONICA: Uh, we were hoping you might know.
GLEN: Me? Man, he asked me to clear out for the weekend 'cause you were coming down.
VERONICA: When's the last time you saw him?
GLEN: Yesterday morning. He was going surfing.
MERYL: Sully doesn't surf. He's from Sacramento.
GLEN: That's where he said he was heading.
VERONICA: Why are you back early?
GLEN: 'Cause my stepmom confiscated my Xbox. The bitch is taking her life in her own hands, you know what I'm saying? Plus, I figured maybe Sully didn't need the room after the knock-down, drag-out you two had on the phone Thursday night.
Veronica can't believe Meryl hasn't told her this. Meryl hangs her head down guiltily.
VERONICA: Wait. You two had a fight? Meryl finally looks up Veronica, although she doesn't seem to be that apologetic.
INT - MARS INVESTIGATIONS - DAY.
Harmony opens the outer door of the office and pauses. Keith is at one of the filing cabinets behind Veronica's desk, his back to the door.
HARMONY: Hey. Keith doesn't turn around immediately, but does drop his head and grin. Then he turns, a smile on his face. Harmony is still at the door.
HARMONY: I just came by to make sure your phone was working okay.
KEITH: It's fine. I know because I've picked it up a dozen times and listened to the dial tone...
Harmony steps into the office and closes the door. She closes the space between then, ending up in front of the reception desk.
KEITH: Wanting to call. It's just, um...
HARMONY: Don't beat yourself up. What happened happened.
KEITH: Yeah, but...it doesn't make it right.
Keith heads for his office. Harmony rushes after him, catching him at the door to his office.
HARMONY: Keith, would it help you to know that my husband and I haven't had s*x for eight months? We're just two people who share the same house.
KEITH: And a child.
HARMONY: Yes, and a child.
Keith sadly turns away from her again.
HARMONY: I'm going to leave him, Keith, as soon as he gets back to town.
KEITH: That's crazy.
He turns back to her.
HARMONY: No, it's sensible. Sticking out a loveless marriage, that's crazy. I want to know... She takes a step closer.
HARMONY: This thing I'm feeling, do you feel it, too?
KEITH: Yes. Absolutely. But it's not that s-
They both chuckle at the plight they're in.
HARMONY: Simple. I know. It's complicated, and we're not gonna figure it out in a day. Let's just do one thing. Keith leans down, as if to kiss her and she rises up to meet him, but they don't actually kiss.
HARMONY: You, me, Palm Springs, this weekend. Take some time away from Neptune. Just see? Just say you'll go away with me. Keith is smiling and when he leans down again, their faces do touch. Cut to seconds later. Harmony backs out of Keith's office. She's startled by a presence. Vinnie Vanlowe is sitting on the small couch in the outer office, reading a magazine.
HARMONY: Oh. Excuse me.
VINNIE: No rush...Mrs. Chase.
Harmony freezes, then stares at him. Cut to seconds later in Keith's office. He is returning to his desk when Vinnie appears at the door. Keith sits in his chair. Vinnie gazes in the direction Harmony left.
VINNIE: Nice-looking lady.
KEITH: Vinnie. To what do I owe...this?
VINNIE: You know that show Let's Make a Deal, where they make...deals?
Vinnie eases himself into the chair opposite Keith. He's carrying a large envelope.
VINNIE: Well, the Fitzpatrick boys have me on retainer. I practically have an office down there and they got this crazy idea that little Miss Kendall Casablancas owes them money and that you... Vinnie chortles.
VINNIE: Know where the money's hidden. Now, a word of advice, Keith: don't owe the Fitzpatricks money. So, what if...instead of me expending a lot of energy tracking it down, we split the retainer? It's as easy as you [whispering dramatically] whispering an address in my ear.
KEITH: I don't know where Kendall is. Sorry, Vinnie.
VINNIE: No biggie. That's cool. Let's peek behind door number two.
Vinnie flings the envelope at Keith, so it lands right in front of him. Keith starts to open it.
VINNIE: Now, this is not a value judgement, Keith, 'cause, believe me... Vinnie laughs in a lascivious manner. Keith gazes on pictures of him and Harmony in her room at the Neptune Grand.
VINNIE: I have been there. I mean, there was this one married lady, smokin' hot blonde. Cried all day and ashed Pall Malls all over my couch, but, man, could she lay the lumber. Now, this one you got, though, I mean, a lady in the streets and a freak in the sheets.
KEITH: What do you want?
VINNIE: Well, first...
Vinnie picks up one of the pictures.
VINNIE: You could acknowledge the artistry here. I mean, you remember how dark it was. Open aperture, full zoom from across the street. Steadiest hands in the biz.
KEITH: Why are you here, Vinnie? Money?
VINNIE: The girl at the Fotomat used to call me the human tripod. Wait. That's something else.
KEITH: How much?
Vinnie throws the picture back on the desk. He looks up innocently.
VINNIE: Hmm? Keith stares steadily at him.
VINNIE: Mmm. Vinnie thinks with fervour.
VINNIE: Well, Mr. Chase is paying me two grand to prove that his wife is having an affair. So, I figure you double that, and we can all walk away winners, except for... Vinnie laughs again.
VINNIE: Mr. Chase, of course. Vinnie drops all levity. He gets suddenly serious and threatening.
VINNIE: Sound like a deal, Keith? Keith doesn't respond.
INT - HEARST COLLEGE, FOOD COURT - NIGHT.
Music: "Silver Girl" by Mere Mortals.
LYRICS: Well once I had a silver girl But I can't feel her now We had to crash, I had to bring her down She'd work all day for seven sons And made our light shine on And when she moved, she smiled for everyone Sometimes I shake like I'm in love But I'm okay the next day Sometimes I shake like I'm in love But I'm okay The street for me, the home for you The smile for everyone When you move the sparks come off your tongue Well, here we come now, baby Always in the know Our days go by and heroes sigh too slow Sometimes I shake like I'm in love But I'm okay the next day Sometimes I shake like I'm in love But I'm okay the next day Sometimes I shake like I'm in love But I'm okay the next day Sometimes I shake like I'm in love But I'm okay the next day The next day, the next day, the next day
Meryl and Veronica walk into the start of the busy Food Court. Veronica glances around before picking her spot.
VERONICA: Over here. She pulls Meryl, who is somewhat reluctant, over to the side where they can stand behind a half wall topped with a planter containing a row of Mother-in-Law's Tongues. They are well-hidden from the diners. Veronica parts some of the leaves to get a good look.
VERONICA: You know... She turns away from her surveillance to face Meryl.
VERONICA: You really should have told me about the fight you and Sully had.
MERYL: It wasn't that big a deal. It was just the long-distance thing getting to us.
VERONICA: You have a fight, and then he's not around when you fly in. That doesn't make you the least bit suspicious?
MERYL: No.
Veronica sighs at Meryl's refusal to accept her worldview. She looks back out over the Food Court. She sees Scarlett set down a drink and tray at one of the tables. She points.
VERONICA: There. Scarlett from the Facebook. Meryl races off. Veronica chases after her.
VERONICA: Wait! Wait! Veronica grabs her arm at the entrance to the Food Court, stopping Meryl's determined march to Scarlett. Meryl swings around, held back by Veronica's grip.
MERYL: Aren't we talking to her?
VERONICA: Not yet.
Veronica's eyes dart around the Food Court.
VERONICA: You might spook him. Meryl has no idea what she's talking about.
MERYL: Spook who?
VERONICA: If Sully sees us waiting for him, he might, you know, try to slip away.
MERYL: Veronica, you just don't get it. Sully is in trouble. And if this Scarlett girl could help us find him...
Meryl looks pointedly down at Veronica grip on her arm. Veronica lets go, holding up her hands in defeat. Meryl immediately makes for Scarlett, sitting down on the seat next to her. Veronica follows her to the table more slowly.
MERYL: Hi. I'm Meryl. I'm Sully's girlfriend. Scarlett is taken aback.
SCARLETT: Oh. Hi. Veronica reaches the table and stands behind Meryl.
MERYL: And this is my friend Veronica. Veronica gives a huge, fake grin which disappears as quickly as it came.
MERYL: So, you're supposed to meet Sully here, aren't you?
SCARLETT: Right. To study.
Veronica walks around the table, still glancing around, looking for Sully. Once she is on the other side of Scarlett, she attacks.
VERONICA: When was the last time you saw him?
SCARLETT: In physics lab, on Thursday.
Veronica gives Meryl an almost triumphant look before sinking into the chair the other side of Scarlett.
SCARLETT: Wait. He's not around? Is he all right?
MERYL: Actually...
VERONICA: [sarcastically] Dig the outfit. Is that from Dolce and Gabbana's study-buddy collection?
MERYL: [warning] Veronica.
SCARLETT: It's Friday. I'm going to a club after.
VERONICA: Scarlett, did you happen to notice whether Sully invented a space laser of some sort?
MERYL: You don't have to be mean.
VERONICA: I'm sorry, Meryl, but Scarlett here has either stolen your boyfriend or she wants to. That's just the way it is. You can choose to be a patsy...
Veronica sees Professor Landry up at one of the food stands.
VERONICA: Or you can choose not to be.
VERONICA VOICEOVER: And if you'll excuse me, I need to make this point elsewhere in the food court.
Veronica sighs.
VERONICA: Talk amongst yourselves. She abruptly rises from the table, leaving a nervous Scarlett and a slightly pissed off Meryl behind. Veronica heads for Landry, catching him after he has paid and heading for a table.
VERONICA: Dr. Landry?
LANDRY: Veronica. Have a seat. Share a rib.
VERONICA: I don't like to get my hands dirty.
He gets that she may not be talking about the ribs, but chooses to ignore it.
LANDRY: How's your application?
VERONICA: Well, here's the thing, I thought about it, and I'm gonna pass on the FBI thing.
They come to a halt at an empty table.
VERONICA: So, you'll get my "plan a perfect murder" paper along with everyone else's.
LANDRY: I don't quite understand. Why?
VERONICA: Why? Because...because I'm not sure I'll get much out of a special summer program if I feel I've been bought off.
Landry puts his tray down on the empty table.
LANDRY: Why would you feel bought off?
VERONICA: I was never gonna tell anyone about your...situation with the dean's wife. I guess I don't think any less of you as a professor. I just don't feel right about taking this. The internship feels like hush money.
LANDRY: Take the internship. There's no quid pro quo here. I'm not worried about what you might say about what you saw at the Grand. This is about nothing more or less than the fact that you are, by far, my strongest student. Forget me, Veronica. Think about you. Think about how this would look on your résumé.
VERONICA: My résumé?
LANDRY: Three more years, and that's all that's gonna matter about what happened here. Think it over.
Landry takes his seat at the table.
VERONICA VOICEOVER: Okay. Consider my mind blown... She turns and sees Scarlett pull Meryl into a hug.
VERONICA VOICEOVER: And then put back together and blown again.
INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - NIGHT.
End music: "Silver Girl" by Mere Mortals. Piz opens the door to the room from the hall. Veronica is working at Wallace's desk, albeit with the laptop on her lap.
VERONICA: Yo, room dog. What up? Big plans this Friday night?
PIZ: Work. You? Study night?
VERONICA: Planning the perfect murder.
She smiles.
PIZ: Uh, oh. Piz heads for his part of the room. Meryl is fast asleep in his bed.
PIZ: There's a girl in my bed.
VERONICA: [lasciviously] Yeah, buddy.
Piz looks at her, a little shocked, an expression which then turns quizzical.
VERONICA: It took a double shot of night-time cold medicine to get her down. It also stopped her sniffling. She's pretty worked up about her boyfriend.
PIZ: Understandable, but, um, where am I sleeping?
VERONICA: Play your cards right...the floor.
PIZ: Keith Richards wouldn't sleep on the floor.
VERONICA: Probably true.
Piz collects a big box of records from beside his bed.
VERONICA: They still make vinyl records?
PIZ: Uh, dance music still comes in vinyl. I'm covering Mercer's slot.
VERONICA: His slot? What slot?
PIZ: Club Flush. Club and house music.
This excites Veronica's interest. She closes and puts aside the laptop together with her notepad.
VERONICA: Hold on. I'm coming with you. She grabs her jacket and bag and follows him out of the room.
INT - HEARST COLLEGE, RADIO STATION - NIGHT.
There are a few people in the station's outer office. They ignore Piz and Veronica who go straight to the desk. Piz drops the box of albums, then uses the keyboard on the computer there. He pulls up a schedule page.
PIZ: Here it is. Every show, every D.J. shift is logged on this computer. The screen shows a week's worth of programmes. Veronica bends down and takes over control with the mouse.
PIZ: What happened on September 30th?
VERONICA: Parker was raped.
Piz appears to have been ignorant of the fact. Veronica carries on with her seach. She pulls up the details for "Club Flush - Mercer Hayes" on the right-hand side. It indicates that Mercer was on from 9pm to 11pm (?!) on Saturday, September 30th and that his show is a weekly. It's reported to end on 30/06/06 which is confusing as it's reporting a September show and American-style dates are used elsewhere. It states that there are no attendees for the show. On the left-hand side of the screen, the programme for all of Saturday can be discerned, with the name of the DJ, the title of the show and the time: Kevin Simmons with "Emo Lounge" at 1pm, Gregory Barker and Mike Kennedy with "Left Over Right" at 2pm, Kenneth Goldman with "Goldman's Gold" at 4pm, News at 6pm, Jessica Prindle with "The 33 Chart Toppers" at 7pm, Mercer at 9pm and Lionnel Feilspar with "Furrious Musings" at 11pm. Veronica changes the date to look at the schedule for March 24th. Then, Mercer was on air from 10pm to midnight, along with Hans Tucker with "Three Cents" at 7pm and Randal Mitchell with "Soul Brother" at 9pm.
VERONICA: Mercer couldn't have raped Stacy, either. Wait. Unless he pre-recorded his show so he knew he'd have an alibi. Piz picks up his albums, heading over to the large bookcase.
PIZ: I seriously doubt it.
VERONICA: Why's that?
PIZ: It's a call-in request show.
INT - NEPTUNE GRAND, PRESIDENTIAL SUITE - NIGHT.
Logan is asleep in bed and the room is dark, but Veronica's silhouette can be seen, standing by the bed. She turns on the lamp beside the bed. Logan stirs and slowly turns to look up at her. He sighs.
LOGAN: Something tells me this isn't a booty call.
VERONICA: I got what you need to get Mercer out of jail. It's yours, Logan. No one has to know where you were that night...no one except me.
Logan pulls himself up into to sitting position.
LOGAN: Can you leave it alone? Can you trust me? They stare at each other for a long moment, Veronica's eyes filling.
VERONICA: No, I can't. I'm not built that way.
LOGAN: Who gets blackmailed by his girlfriend?
Veronica drops her head, but doesn't back down. He stares at her, hurt.
LOGAN: Oh, I guess I do. He drops his head and sighs. Veronica risks a glance at him, waiting.
LOGAN: We were in Tijuana. Veronica nods, as if she expected that.
LOGAN: You know, we partied all night. I mean, it was no big deal. And when we got back to our rooms, he started making these drinks, flaming DPs. You know, you set a shot glass of rum and amaretto on fire, and you drop it in a beer.
VERONICA: Hold on. Let me get a pen. I want to jot down this recipe.
LOGAN: He set the room on fire.
VERONICA: He did? And where were you for all this fun?
LOGAN: Asleep in my room.
VERONICA: [strangled] Alone?
LOGAN: [quietly] Yeah, alone.
Veronica masks disbelief with something of a scoff.
VERONICA: Well, then, you're not really much of an alibi, are you?
LOGAN: We were in Mexico, Veronica. We had adjoining rooms. I g-...I mean, the door between the rooms was open. I could hear them.
VERONICA: Them?
LOGAN: There were girls in his room. Is that what you want to know?
Veronica turns away from him. Logan throws back the covers and slides out of bed, angry.
LOGAN: I am your boyfriend, Veronica, and you're treating me like a criminal.
VERONICA: You could have told all this to Lamb.
LOGAN: By the time we got out of the room, the fire was spreading. The whole motel was going up in flames. Okay, w-
Logan runs his hand through his hair.
LOGAN: And, I don't know, we had to get out of there.
VERONICA: You didn't stick around to try to help?
Logan swallows hard.
VERONICA: You didn't see if everyone was okay? Logan looks down at the floor before responding.
LOGAN: You know, it's because of the look on your face right now that I didn't want to tell you. I did what nine out of ten guys in my situation would have done. I ran. You know, so, either Mercer sits in jail here, or he gives his alibi and sits on his ass in some Mexican jail. At least here he's innocent.
VERONICA: Tell Lamb to check the log at the campus radio station.
Veronica turns and starts walking out of the suite.
VERONICA: That should get your friend released. Logan watches her go, then sighs deeply as he leans down with his hands on the bed.
INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - DAY.
It's Veronica's turn to be fast asleep. A hand shakes her awake.
MERYL: [in a loud whisper] Veronica! Veronica! Hey! Hey! You've got to listen to this. Meryl, who is sitting on Wallace's bed, holds up her cell phone. Veronica is very slowly coming to consciousness and lifts herself up.
MERYL: At first I didn't recognise the voice 'cause it's kind of noisy. But now, I'm sure it's Sully. Veronica takes the phone, still trying to wake up.
AUTOMATED VOICE: [on phone] First saved message. Sully's voice is very slurred and there are loud sounds in the background of laughter and shouting.
SULLY: [on phone] I'm so sorry I missed you. I can't wait to see you. I'll talk to you later. Veronica perks up a little.
VERONICA: The number Sully called you from, you check your Caller ID?
MERYL: Yeah. He used his cell. I tried calling him back but it just rings and rings, and it goes to voicemail.
VERONICA: That's great. As long as he's got it turned on, we can track him. I've just got to grab a gizmo from my dad's office.
Veronica gets out of bed. She heads for the closet, having to step over, who is stretched out on the floor, on the way. He's partially awake, calling out groggily.
PIZ: Can you bring back an egg sandwich of some sort, if it won't slow you down? Veronica nods.
VERONICA: Egg sandwich? Piz gives her a sleepy thumb's up. Veronica points at him and then at Meryl in a Blues Brothers reference.
VERONICA: Egg sandwich. Orange whip? Hmm? Meryl laughs for the first time since arriving at Hearst. Piz rolls over to go back to sleep and Veronica grabs her clothes from the closet.
INT - MARS INVESTIGATIONS - DAY.
Veronica is rummaging through one of the filing cabinet drawers in Keith's office. She doesn't find what she's looking for and tries another. Keith enters.
KEITH: You're up early.
VERONICA: Yeah, you too.
KEITH: You don't have to go through all this trouble avoiding me. I know you're disappointed. But at least give me the opportunity to explain.
VERONICA: What's to explain? That's the way the world works. You're an adult. I'm an adult. What's her name's an adult.
Having found what she is looking for, Veronica slips it into her bag.
KEITH: But I want you to understand that this is not just some fling. Veronica... Keith grins.
KEITH: This is something special. Veronica busies herself with putting things back in the drawer that she had removed in her search.
VERONICA: "This is something special." Where have we heard that before? Oh, yeah, from every john we've ever caught with his pants down.
KEITH: Veronica.
VERONICA: So if Jake Kane thought he and mom had something special, would that have been okay?
KEITH: Harmony is leaving her husband.
VERONICA: Listen to yourself. Does her husband know this yet?
Keith can't answer the question.
VERONICA: Yeah. Veronica walks around him to leave his office. She turns at the door to face him again.
VERONICA: Look, Dad, do what you got to do, okay? I've seen too much working here to ever be surprised again.
KEITH: I know you, Veronica. You're not that jaded.
VERONICA: I didn't used to be. I had this one shining example that gave me some faith.
Veronica trounces off, leaving Keith close to tears.
[SCENE_BREAK]
EXT - NEPTUNE STREETS - DAY.
Veronica's Saturn turns right at a junction. In the car, Veronica is driving and Meryl is holding the tracker. Veronica casts a worried look at Meryl.
VERONICA: I ran Sully's cards again. There were a bunch of charges from last night, all in this neighbourhood.
MERYL: Charges from where?
Veronica sighs.
VERONICA: Circus of Liquors, Crazy Girls, World of Cigarettes. Meryl takes a moment to digest this diary of debauchery.
MERYL: At least he's okay, right? They pass a couple of guys harassing a passing girl.
VERONICA: I guess we can rule out kidnapping... unless he was abducted by the Insane Clown Posse. The tracker shows a basic street map. Some streets are named, like Euclid Rd., Starcrest Ln., and Merryl Dr. The tracker is showing the cell phone on the corner of Reno Dr. and the road they are on. Veronica looks at the map and pulls into a business across the street from the target, entering the parking lot for Big City from Euclid Road.
VERONICA: This is it. Veronica looks at the location. It is the River Stix. She gives a wry chuckle.
VERONICA: Of all the gin joints in all the cities in all the world. Meryl unclips her seat belt and makes to leap out of the car. Veronica grabs her by the arm to stop her.
VERONICA: Meryl. We can't go in there. Let me call someone for help. Last time I went in there, my boyfriend pulled a gun on the owner of the place. Veronica is rummaging through her bag. Meryl looks down at the tracker.
MERYL: That's Sully's cell phone, that blinking dot, right? Veronica pulls out her laptop and her cell phone.
VERONICA: We'll get help. We'll call the sheriff.
MERYL: You mean the moron?
VERONICA: He's a well-armed moron.
Veronica punches a few numbers and puts the phone to her ear.
MERYL: Fine. While Veronica awaits a response, Meryl, whose hand is still on the door handle, makes her own decision; she leaps out of the car. Veronica tries to grab her but fails. Veronica lets out a frustrated sigh as she watches Meryl run across the street towards the bar. Veronica lets her head fall back on the headrest.
VERONICA: Oh, crap.
INT - RIVER STIX - DAY.
Music: "A Pair of Brown Eyes" by the Pogues.
LYRICS: One summer evening drunk to hell I stood there nearly lifeless An old man in the corner sang Where the water lilies grow And on the jukebox Johnny sang About a thing called love And it's how are you kid and what's your name And how would you bloody know? In blood and death 'neath a screaming sky I lay down on the ground And the arms and legs of other men Were scattered all around Some cursed, some prayed, some prayed then cursed Then prayed and bled some more And the only thing that I could see Was a pair of brown eyes that was looking at me But when we got back, labelled parts one to three There was no pair of brown eyes waiting for me And a rovin' a rovin' a rovin' I'll go For a pair of brown eyes I looked at him he looked at me All I could do was hate him While Ray and Philomena sang Of my elusive dream I saw the streams, the rolling hills Where his brown eyes were waiting And I thought about a pair of brown eyes That waited once for me So drunk-
A player breaks on a pool table, drawing favourable comments from one of those watching. At the bar, Meryl is talking to Danny Boyd.
DANNY: The name's Billy Sullivan, huh? Meryl hold up her hand to indicate a couple of inches taller than herself.
MERYL: About this tall, blond hair?
DANNY: Huh. Let's see. Uh...
Danny calls out to the pool players.
DANNY: Hey! Uh, Irish lad, medium build, lost? The pool players just smile and return to their game. Veronica is striding up the bar, towards Danny and Meryl.
DANNY: No, we don't get many of those in here.
MERYL: No?
DANNY: No.
Veronica reaches Veronica and pulls her arm urgently.
VERONICA: Meryl, we need to go. Meryl resists and won't budge. Meanwhile, Danny is staring at Veronica, open-mouthed.
MERYL: You said Sully's here somewhere.
DANNY: I know you.
Danny takes a step towards her.
DANNY: You're Keith Mars' little girl. It's, um... Danny walks around behind her and between them, putting his arms around them both.
DANNY: Veronica. So... Danny drops his arms and passes between them, turning to face them again.
DANNY: You're always dropping by here looking for people. And what gives you the idea young Billy Sullivan stopped here? Veronica looks behind Danny, at the stacked boxes for goods from Circus Liquors and World of Cigarettes.
VERONICA: You're sitting on it, Potsie.
DANNY: What? This? It just fell off a truck we were lucky enough to happen by.
Veronica pulls out her cell and punches in a number.
VERONICA: You mind getting this?
DANNY: What?
A cell phone starts to ring at the bar.
VERONICA: Sully's cell phone. Maybe he was in here last night, tending bar. Unseen by Veronica, Liam Fitzpatrick spots her and bows down to creep up behind Veronica. He grabs her in a bear hug, pinning her arms to her body and lifting her off the floor.
LIAM: Uh, mind if we take you to him?
VERONICA: Let me down.
Danny laughs but Meryl is frightened as she watches them.
LIAM: Are you here to lecture us on stealing now? Liam starts to sway with Veronica in his grip, dancing. Veronica tries to struggles but is immobilised.
LIAM: It's not enough your dad put half my family in jail. Not that I hold a grudge. No! Fair play, Sheriff Mars.
MERYL: Let go of her!
LIAM: Patience, sister. You'll get your turn.
Liam sings drunkenly along with the Pogues.
LIAM: [singing] And a-roving, a-roving, a-roving I'll go for a pair of brown eyes. Liam keeps spinning around. Veronica is struggling to breathe.
LIAM: You see, now I got a real problem, 'cause private investigator Mars sticks his nose into my business, and he helps that Casablancas bitch check out of Neptune with millions in my cash. Huh?
VERONICA: [strangled] I can't breathe.
Liam laughs.
LIAM: Oh! Meryl, desperate to do something, grabs a bottle of beer and holds it up, ready to hit Liam. Danny, behind her, gives her a WTF?! look and lifts it out of her hand. Thwarted, Meryl tries to step forward to intervene but Danny pulls her back. A man at the bar stumbles off his stool and heads for them. It's Vinnie, holding out a cell phone, also apparently drunk.
VINNIE: Say "cheese"! Click! Vinnie laughs.
VINNIE: Got it and send. Hey, Keith Mars is gonna love this one, Liam! He laughs again. Liam, not so thrilled, finally lets Veronica's feet touch the floor.
VINNIE: Think of his face when he opens up this e-mail. Vinnie holds up his hand for a high-five.
VINNIE: Up high! Liam doesn't respond, staring at Vinnie as if he were a lunatic.
VINNIE: All right. Ooh, better yet, how about one of you licking her face? Vinnie holds out the phone again to take another picture. Liam lets go of Veronica and snatches it angrily out of Vinnie's hand. He throws it across the room, smashing it. Vinnie holds up his hands.
VINNIE: Easy, big guy. Liam takes a deep breath and decides to end his sport.
LIAM: Okay. He wanders off, singing unintelligibly. Meryl grabs Veronica and they hurry out of the bar. End music: "A Pair of Brown Eyes" by the Pogues.
EXT - RIVER STIX - DAY.
Veronica and Meryl walk quickly towards the car, Veronica shivering and wiping her arm. Vinnie runs after them, catching up with them on the other side of the road.
VINNIE: Hey! Veronica turns to face him.
VINNIE: What, are you just gonna cut out of there without so much as a "gracias, señor"? Vinnie puts his finger to his lips, glances back at the bar and then jerks his head to indicate that they should move further away. They pass the side of the Saturn.
VINNIE: Ooh, sweet new ride. Hybrid, right? I'm waiting for the hybrid Camaro. Veronica smiles as he halts behind the car.
VERONICA: You sobered up pretty quick.
VINNIE: What the hell are you thinking, Veronica? You got no business being in a place like that. You got me?
VERONICA: It was...
Veronica glances at Meryl who drops her head in shame.
VERONICA: Unintentional. Hey, you didn't really send that picture message to my dad, did you?
VINNIE: Well, if I did, it was a miracle. The phone didn't have a camera on it. Hey, that kid you were looking for? I saw him come in last night, like he just came back from the beach, only wasted. Couldn't remember his name. Danny got his wallet, said he'd help him get back home, then took him on some kind of wild shopping spree. After that, the Fitzpatricks got bored and kicked him out.
VERONICA: Any idea where he might be now?
VINNIE: Best guess. The drunk tank?
Vinnie shrugs, then heads back to the bar. Veronica and Meryl make for the car.
INT - SHERIFF'S DEPARTMENT - DAY.
Veronica and Meryl stand before the counter. Lamb shoves a file at the deputy standing next to him as he deals with them.
LAMB: Yeah, we got him. Lamb walks to the coffee machine. Veronica and Meryl follow him.
LAMB: Picked him up last night, staggering around, wearing a wet suit. Looked like just another dumbass on his way back from tearing up Mexico. No ID, too drunk to even give us his name. Then this morning, we find he still can't remember his name. Then we notice a big knot on the back of his head.
VERONICA: Oh, God.
LAMB: Figured he bumped his head surfing. I'm gonna have Sacks take him to the hospital as soon as he gets back with my bear claw.
Lamb glances around then heads to his office.
MERYL: Can I see him? Lamb stops and turns back to her, taking a few steps forward.
LAMB: You got ten bucks? Confused, Meryl looks back at Veronica. She shakes her head. Meryl turns back to laugh who is doing a silent belly laugh.
LAMB: Whew! Kidding. I'll have someone let you back there in a minute. Lamb disappears into his office.
VERONICA: Meryl?
MERYL: Yeah?
VERONICA: I'm so sorry that I, you know... jumped to the wrong conclusions.
MERYL: It's okay, Veronica. I never would have found him without you and I know what it looked like. If I hadn't been in love before, I wouldn't have believed it, either.
Meryl hurries away, keen to see Sully. Veronica stares after her. Cut to a few moments later. Veronica stays behind as Meryl stands at the bars of the cell.
MERYL: Sully? A blond in a wet suit is sleeping on the bottom bunk.
MERYL: Sully! He lifts his head and sees her. He gets up from the bunk.
SULLY: Meryl? He staggers to the bars.
SULLY: I was looking for you. He reaches out for her, putting his hand on the back of her head. He draws her forward and kisses her forehead. Veronica is watching and quite effected by this tender moment. She jumps when Lamb interrupts.
LAMB: Hey! Lamb marches up to the cell.
LAMB: No touching! He gives out a loud sigh.
LAMB: We're gonna take your boyfriend to the hospital now, so, you want to tag along. A deputy opens the cell and Lamb exits after glancing at Veronica. Meryl turns to Veronica.
MERYL: Bye, Veronica. I'll see you next time I'm in town, okay? Meryl grins and Veronica nods. Cut to a little later. Veronica walks down the outside hallway, heading for the main door. As she passes the opening into the Sheriff's department, she sees Mercer being led to the cells by a deputy.
VERONICA: Hey, what are you still doing here? Didn't Logan-
MERCER: Yeah. He came by and talked to the sheriff last night. Thanks, by the way.
VERONICA: Why are you still here?
MERCER: Oh, there's something about my attitude the sheriff has found lacking. He's decided to keep me here as long as he's allowed under law.
The deputy pulls Mercer along. Mercer calls out to her over his shoulder.
MERCER: Uh, Logan's picking me up for breakfast tomorrow, if you want to come with.
VERONICA: Doubtful.
INT - MARS INVESTIGATIONS - DAY.
Keith is sitting in his office playing with his pen and thoughtful. There's a clatter from the outside office. Harmony, excited, appears at the door.
HARMONY: All gassed up and ready to go! She rattles her keys. Keith smiles. She steps into the office, searching the floor.
HARMONY: Where's your bag?
KEITH: Harmony.
Harmony sags and sighs.
HARMONY: We're not going, are we? Keith shakes his head.
KEITH: No. Harmony rushes to the desk and leans towards him on the other side.
HARMONY: I'm sorry, Keith. I've fallen for you. And I'm packed. And I'm standing here. And I'm asking you to come away with me. Harmony gives him a desperate smile. Keith is nearly in tears.
KEITH: [whispering] Harmony...I can't. Keith slowly shakes his head and swallows hard. Cut to later. Harmony is gone and Keith is pining, looking out of the window. His phone rings.
KEITH: Hello.
INT - NEPTUNE GRAND, PRESIDENTIAL SUITE - DAY.
Logan is pacing at the suite.
LOGAN: Hey, Mr. Mars. The camera continues to cut between the two of them.
INT - MARS INVESTIGATIONS/NEPTUNE GRAND, PRESIDENTIAL SUITE - DAY.
KEITH: [worried] Logan, everything okay?
LOGAN: Yeah. Uh, I'm looking for Veronica. I think she's trying to hide from me, actually.
KEITH: Yeah, she's been keeping me out of the loop, too. You might try Wallace's. She said she was staying with him.
INT - NEPTUNE GRAND, PRESIDENTIAL SUITE - DAY.
LOGAN: Okay. Thanks. Bye.
Logan ends the call and sighs.
D.J. HELLFISH: [offscreen] This is KRFF...
INT - HEARST COLLEGE, FOOD COURT - NIGHT.
Veronica carries her tray to one of the tables.
D.J. HELLFISH: Hearst college radio. And I'm your host, D.J. Hellfish. Please don't touch that dial. As she puts her tray down, she frowns.
D.J. HELLFISH: And for those of you in the food court, you're listening to me whether you like it or not. You might as well enjoy it.
Music: "Captain" by Shapes of Race Cars.
LYRICS: There's a face with a ballroom feel That's all about you That's all about Lucky race car I'm driving through Never without you Never with you Captain, take me to the real Electric blondes in summer feel Pretty hearts that never die Captain, take me to the... We built a screen out of watching you Just to see true, just to see Eat I scream, and we'll shoot the moon To be about you, just to be you Captain, take me to the real Electric blondes in summer feel Pretty heart that never die Captain, take me to the sky Captain win and you and I
On her tray are a drink and a plate of pasta. She looks critically at the paste, grabs the plate and takes it back up to the counter.
VERONICA: Excuse me. Veronica pushes past a couple of people waiting for food to address the person behind the counter.
VERONICA: Yeah, I ordered the capellini, and I'm pretty sure that hair doesn't belong to an angel. The girl gives an apologetic look and takes the plate away. A few moments later, Veronica heads back to her table with a fresh serving. She sits down and takes a large swig of her drink. She pulls her cell phone out of her bag. According to the phone, it is 7:52 pm on October 4th. She has three voice mails from Logan, one from Keith and three more from Logan. She sets the phone to play her voice mails, taking another swig from her drink.
LOGAN: [on phone] Hey, Veronica. It's me. Give me a buzz. Veronica frowns and punches the button for the next message.
LOGAN: [on phone] Veronica, is everything all right? Call me. Her brow furrows a little and she goes to the next one, where Logan is clearly frustrated.
LOGAN: [on phone] Hey, Veronica, where are you? Give me a call. Veronica stares at the phone, her brow furrow...ier and punches for the next message.
KEITH: [on phone] Veronica, it's me. I want you to come home. Veronica takes a bite of her pasta.
KEITH: I ended things with Harmony, and...I'd-I'd just like to see you, okay? Veronica smiles softly. She punches a button on her phone and reaches for her drink but pauses, not feeling right. She looks up and the rest of the Food Court is a psychedelic blur. Veronica rubs her eye. She looks up again and takes a deep breath. She shakes her head, passing it off as a momentary thing and returns to eating her meal. End music: "Captain" by Shapes of Race Cars.
INT - HEARST COLLEGE, WALLACE AND PIZ'S DORM ROOM - NIGHT.
Piz is sitting on his bed, about to strum an acoustic guitar. There's a knock on the door. He puts down the guitar and walks to the door. It's Logan. They stare at each other for a minute.
PIZ: Logan. Logan looks past him, into the room, confused.
LOGAN: Hey, I'm looking for Veronica.
PIZ: She was around earlier, but I haven't-
LOGAN: Is she with Wallace?
PIZ: He's out of town a-at a motel...studying.
Piz smiles slightly in memory of crazy Wallace/in triumph at Logan knowing he's had Veronica to himself (mileages vary but this writer goes for the former).
LOGAN: Hey, 'cause Veronica's dad thought that, uh... Logan looks into the room again as his words trail off. He looks back at Piz who just looks at him steadily.
LOGAN: Hmm. Logan looks down at the floor for a moment.
LOGAN: Well, if you see her, a-ask her to call me? . Piz nods. Logan backs away, taking a last look into the room.
LOGAN: Thanks. Piz watches him go.
EXT - HEARST COLLEGE - NIGHT.
Veronica staggers a little as she walks across the campus. She reaches some stairs leading down to the parking garage. She's increasingly disorientated and about halfway down, clutches at the rail.
VERONICA: I know this feeling. She staggers on, turning into the garage.
INT - HEARST COLLEGE, PARKING GARAGE - CONTINUING.
Inside the garage, she is now having real difficulty, staggering badly. She pulls the keys to the Saturn out of her bag, trying to focus on the line of cars as she makes her way past them.
VERONICA: I can't believe this is happening to me...again. She sees the Saturn and stumbles towards it. A dark shape on the other side of the garage is watching her. Veronica senses it and slowly turns her head. She can't make the figure out clearly but knows someone is there.
VERONICA: It's him. She tries to run to the car door, nearly falling before she gets there. She manages to get the door open, but collapses to the floor of the garage before opening far enough to crawl in. As she falls, she twists, landing stomach side down. The car keys fall a little way from her hand. The figure starts walking towards her. Veronica stretches out for the keys and just manages to set the car alarm off before losing consciousness. The horn and the lights of the Saturn start to sound and flash intermittently.
EXT - HEARST COLLEGE - CONTINUING.
Logan, walking back from the dorm, hears the alarm. He looks over into the garage and can see the Saturn with its lights flashing, although he can't see Veronica, who is on the other side of it. He starts to run.
INT - HEARST COLLEGE, PARKING GARAGE - CONTINUING.
The figure looms over Veronica. A hand, sheathed in a thin surgical-like glove, reaches for the keys. All that can be seen is a white wrist. The alarm is turned off.
EXT - HEARST COLLEGE - CONTINUING.
Logan's reached the stairs where Veronica realised that she had been given GHB. He notes the alarm has been silenced. He slows a little, but carries on into the garage.
INT - HEARST COLLEGE, PARKING GARAGE - CONTINUING.
Logan enters the garage and starts trotting along the line of cars.
LOGAN: Veronica! He reaches the Saturn and finds her on the floor. He bends down over her. He gently picks her up, turning her over.
LOGAN: Hey, come here. Hey. He cradles her against his body, one hand on her face, the other holding up her head. Veronica doesn't open her eyes but speaks in a distressed voice.
VERONICA: Take me home. Logan pulls her to him. As he does, he sees some of Veronica's hair on the floor of the garage and gasps. He leans over, gently parting her hair at the back of her head. She has a bald patch streaked with blood.
LOGAN: Oh, my God. He holds her closer to him, rocking her for a moment. His eyes dart around the garage. He eases her away to look at her face, still supporting her head. He strokes her face, shaken to the core.
LOGAN: Hey.
INT - MARS RESIDENCE - NIGHT.
Veronica is lying on the couch, covered in a blanket. Keith is balanced on the edge of the couch, pouring medicine into a spoon.
KEITH: [softly] Honey? Honey? Keith brings the spoon to her mouth. Logan is standing behind Keith, watching with concern.
KEITH: Open up, honey. Doctor said we should get more of this in you. Keith lifts Veronica's head so she can take the medicine. She does but groans and makes a face.
VERONICA: Oh, that's nasty. She laughs weakly.
LOGAN: [voice breaking] Cowboy up, Mars. Veronica goes to sleep. Cut to later. It's early in the morning as some light is streaming into the room. Keith is asleep in the armchair. Logan is on the end of the couch, his arms around her feet which are resting on his lap. He's also asleep. Only Veronica is awake, gazing at Logan.
VERONICA VOICEOVER: So, what would Stan Marsh say in a situation like this? I think we all learned a valuable lesson about faith. You give it to the people you love. She shifts her stare to her father.
VERONICA VOICEOVER: But the people who really deserve it are the ones who come through even when you don't love them enough. Veronica gives a pained smile and swallows hard. End.
Plan: A: dishonesty; Q: What does Veronica see in Keith, Logan, and Professor Landry? A: Keith; Q: Who breaks up with Harmony after being blackmailed by Vinnie Van Lowe? A: Professor Landry; Q: Who offers Veronica an internship with the FBI? A: Wallace and Piz's dorm room; Q: Where does Veronica stay when she meets a girl trying to locate her missing boyfriend? A: Mercer; Q: Who is cleared of being the rapist by providing an alibi? A: the food court; Q: Where was Veronica drugged? A: the last minute; Q: When did Logan arrive at the scene of the rapist's latest victim? Summary: Increasingly frustrated by what she sees as dishonesty by Keith, Logan, and Professor Landry, Veronica withdraws from all of them. While staying at Wallace and Piz's dorm room, she meets a girl trying to locate her missing boyfriend. Professor Landry offers Veronica an internship with the FBI, Keith breaks up with Harmony after being blackmailed by Vinnie Van Lowe, and Mercer is cleared of being the rapist by providing an alibi. After being drugged at the food court, Veronica almost becomes the rapist's latest victim, but he is frightened off by Logan arriving at the scene at the last minute.