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Opening credits.
LYRICS: A long time ago, we used to be friends
But I haven't thought of you lately at all.
Come on now sugar, bring it on bring it on, yeah
Just remember me when we used to be friends
A long time ago, we used to be friends.
EXT – NEPTUNE HIGH SCHOOL – DAY.
Three cheerleaders run across the car park as Veronica arrives in her LeBaron, parks up and heads towards a crowd that has gathered in front of the school.
VERONICA VOICEOVER: This is my school. If you go here, your parents are either millionaires or your parents work for millionaires. Neptune, California, a town without a middle class. If you’re in the second group, you get a job; fast food, movie theatres, mini-marts. Or you could be me. My after-school job means tailing philandering spouses or investigating false injury claims.
The crowd is twittering about something ahead. Veronica makes her way through them.
MALE VOICE IN THE CROWD: Who’d that guy rat out?
BOY IN THE CROWD: The bikers.
GIRL IN CROWD: Why doesn’t somebody cut him down?
The focus of the crowd’s attention is a young black man, Wallace Fennel, taped to a flagpole. He is naked, although his dignity is preserved by the positioning of the tape. The misspelled word ‘Snich’ is painted in large letters across his chest. The crowd is ringed around him.
ANOTHER BOY IN THE CROWD: [Sarcastically] Yeah! I’ll do it. I wanna be the guy up there tomorrow!
No one is helping Wallace and one particularly obnoxious individual approaches him with a camera, taking a photograph of himself with the humiliated captive.
JERK: All right, say cheese. Smile.
Wallace swallows hard. Veronica is unimpressed with the passivity of the crowd and with the jerk and approaches them.
VERONICA: [To the jerk] Move.
JERK: Who died and made you the quee-
His posturing is cut off by Veronica’s production of a small knife and he makes a sharp exit.
JERK: You ARE a freak.
Veronica starts to slice through the tape around Wallace’s lower body.
VERONICA: You’re new here, huh. Welcome to Neptune High.
A school bell rings. The crowd starts to disperse. Veronica mocks enthusiasm with a sneer as they go.
VERONICA: Go Pirates!
An overhead shot shows the crowd leaving as Veronica saws at the tape.
INT – NEPTUNE HIGH SCHOOL, CLASSROOM – DAY.
A class is in session. As the teacher, Mrs Murphy, walks forward, the students are revealed, including Veronica, whose head is resting on her arms on the desk. She looks to be asleep.
MRS MURPHY: This is advanced placement. We expect more. It’s called ‘An Essay on Man’ but what Pope’s really talking about is faith. Right? Anybody? Did anybody complete the reading? Veronica? Veronica Mars!
Veronica jerks upright. She wipes one eye, attempting to wake up.
VERONICA: Um-hum
MRS MURPHY: Congratulations, you’re my volunteer. Pope. An Essay on Man. Epistle I.
VERONICA: “Hope springs eternal in the human breast;
Man never is, but always to be blest:
The soul, uneasy and confined from home,
Rests and expatiates in a life to come.”
MRS MURPHY: And what do you suppose Pope meant by that?
VERONICA: Life’s a b***h until you die.
The other students giggle.
MRS MURPHY: Okay, thank you Ms Mars for that succinct and somewhat inappropriate response.
Veronica returns her head to the desk as Mrs Murphy carries on.
MRS MURPHY: I think what Pope’s saying is that the thing that keeps us powering through life’s defeats is our faith in a better life yet to come.
Veronica doesn’t look convinced.
INT – NEPTUNE HIGH SCHOOL, HALLWAY – DAY.
Veronica rounds the corner of an empty school corridor with successive sets of lockers on the side between classroom doors. A miscellany of posters decorate the walls and the fronts and sides of the lockers, including a number exhorting Pirate Pride and another with IAGO printed down the side with writing too small to decipher leading off each letter.
VERONICA VOICEOVER: Random locker searches. It’s the latest tactic the administration has adopted in their losing war on drugs except the searches aren’t really random.
Standing in front of Veronica’s locker are a tall, stern looking man in a suit and a deputy, Deputy Sacks, who holds the leash of a German Shepherd.
VERONICA VOICEOVER: I know when they’re gonna to happen before Vice Principal Clemmons does.
DEPUTY SACKS: Veronica Mars, this should be good.
CLEMMONS: Veronica, will you please open your locker.
As Veronica is doing so, the dog starts to bark.
VERONICA: [To the dog] Buster.
The dog gives a little whine and obeys her. Deputy Sacks looks down at the dog, disappointed by its acquiescence. Veronica opens her locker. It is completely empty save for a picture on the back of the door. It is a picture of Vice Principal Clemmons framed in a heart.
VERONICA: Wow. This is a little embarrassing.
Veronica smiles defiantly at Clemmons. Cut to an unappetizing dinner tray of meatloaf, gravy and mixed peas and corn. Veronica stabs at it unenthusiastically. The camera pulls back to reveal:
EXT – NEPTUNE HIGH SCHOOL, LUNCH AREA – DAY.
Music: Insincere by the Dandy Warhols.
LYRICS: I might sound insincere ‘cause I’m…
Wasted all the time.
Veronica is alone at one of the tables of the school’s outdoor eating area. People fast motion around her until the camera rests on a table across from her. There are a number of students sitting and standing around the table. Veronica is staring at them. A pizza delivery man arrives at the table.
VERONICA VOICEOVER: I used to sit there. At that table. It’s not like my family met the minimum net worth requirement. My dad didn’t own his own airline like John Enbom’s…
John holds out a gold card to the delivery man.
VERONICA VOICEOVER: …or serve as ambassador to Belgium like Shelly Pomroy’s, but my dad used to be the sheriff and that had a certain cachet.
Another boy approaches the pizza table.
VERONICA VOICEOVER: Let’s be honest, though. The only reason I was allowed past the velvet ropes was Duncan Kane.
Duncan sits down at the pizza table.
VERONICA VOICEOVER: Son of software billionaire, Jake Kane, he used to be my boyfriend.
FLASHBACK: INT – NEPTUNE HIGH SCHOOL, HALLWAY – DAY.
Veronica and Duncan are walking down the school hallway. Her hair is very long. Duncan’s arm is around her shoulders. They kiss as they walk.
VERONICA VOICEOVER: Then one day, with no warning, he ended things.
Veronica, still with long hair, closes her locker and turns, smiling, to see Duncan walking past. His friend, Logan Echolls, is whispering in his ear as they go. Duncan glances at and then ignores Veronica.
END FLASHBACK.
EXT – NEPTUNE HIGH SCHOOL, LUNCH AREA – CONTINUING.
Veronica continues to stare at Duncan. Logan, standing by the table, notices her staring. He commences a performance for her.
VERONICA VOICEOVER: And let’s not forget Logan Echolls. His dad makes twenty million a picture. You probably own his action figure.
Logan sits on Duncan’s knee. He leans back onto Duncan’s chest and smirks, not taking his eyes off her. He starts rubbing his own chest in a faux-lecherous manner. Duncan shoves him off.
VERONICA VOICEOVER: Every school has an obligatory psychotic jackass. He’s ours.
Laughing, Logan sits down, claps and points mockingly at Veronica. End music: Insincere by The Dandy Warhols. Veronica is so intent on out-staring Logan that she doesn’t notice that Wallace has sat down at her table and is unpacking his lunch.
WALLACE: You okay.
VERONICA: What?
WALLACE: You look, I don’t know, hypnotised.
VERONICA: Did I say you could sit here?
Looking fed up, Wallace starts to repack his lunch and stands, preparing to go.
VERONICA: [Relenting] Wait a minute. Of course you can sit here. Sit wherever you want.
He sits back down.
WALLACE: That-that was cool, what you did, cutting me off of that pole.
VERONICA: Well…
From behind Veronica comes a head-shaven, tattooed biker – Weevil, heading straight for Wallace.
WEEVIL: My b***h. Weren’t you supposed to wait for me at the flagpole? I’m not sure I could have made that any clearer.
Weevil sits down next and very close to Wallace, deliberately getting in his face. More bikers follow, standing behind Weevil. Wallace takes a deep breath and lets out an uncomfortable laugh.
WALLACE: Okay, I get it, a’right. Very funny.
WEEVIL: Yeah.
WALLACE: I guess we’re even now. Right?
WEEVIL: [Aggressively] You get what boy? You get that you’re a dead man walking, is that what you get?
VERONICA: Leave him alone.
Weevil turns his attention to Veronica, grins and moves to stand over her.
WEEVIL: Sister, the only time I care what a woman has to say is, is when she’s riding my big old hog but even then it’s not so much words just a bunch of oohs and aahs, you know?
VERONICA: So it’s big, huh?
WEEVIL: Legendary.
VERONICA: Well let’s see it. I mean if it’s as big as you say, I’ll be your girlfriend. [Breathless] We could go to prom together.
Her refusal to be intimidated surprises and amuses him and he laughs as he looks around at his fellow bikers, one of whom is Felix.
VERONICA: What? What seems to be the problem? I’m on a schedule here, vato.
FELIX: [Offended] Dude, Weevil. Don’t let blondie talk to you like that!
VERONICA: Sounds like your buddy here wants to see it too.
FELIX: Ah, hell, I’ll show you mine.
Felix gets closer to Veronica and makes to drop his pants. Weevil puts out an arm to stop him but in any event, he is interrupted by the arrival of the Vice Principal.
CLEMMONS: Felix Toombs. What on God’s green earth is going on here? All right gentlemen, move it along. Veronica, why does trouble follow you around?
Veronica smiles blandly as Clemmons moves the bikers on. Felix throws Wallace a filthy look as he goes. Veronica and Wallace are alone again at their table.
VERONICA: So what did you do?
WALLACE: What?
VERONICA: Why are you a dead man walking?
FLASHBACK: INT – SAC’N’PAC – NIGHT.
Music: Sittin’ on Top of the World by Botany Boyz. Wallace sits at the checkout of a small convenience store, reading a comic. Two bikers come in and head for the chilled units at the back.
WALLACE: [Offscreen] Oh yeah, I work at Sac-n-Pac. Last night I was working by myself. Couple of those guys came in.
The Latin biker, Hector Cortez, takes out a large beer bottle and hands it to the Asian biker, Phuong Wn, who puts it in his coat as Hector does the same with another bottle.
HECTOR: Oh man, happy birthday bro.
PHUONG: Oh thanks, man.
The bikers continue to pocket the beer.
WALLACE: [Offscreen] They just walked right to the back of the store and started stuffing all these forties into their pockets. So I hit the silent alarm.
Wallace can see the bikers head towards him on the surveillance screen at the checkout. Hector picks up a small packet of gum and both head for the checkout. They lean in and Hector reads Wallace’s name badge.
HECTOR: Wallace.
Hector carefully smoothes a dollar bill and sticks it in Wallace’s pocket.
WALLACE: [Offscreen] I guess the dude thought a one dollar bill would cover it.
HECTOR: Keep the change.
They laugh, Hector’s laugh being hyena-like. Hector points at Wallace with both hands and the bikers leave.
WALLACE: [Offscreen] That’s when the police came.
PAUSE FLASHBACK.
End music: Sittin’ on Top of the World by Botany Boyz.
EXT – NEPTUNE HIGH SCHOOL, LUNCH AREA – CONTINUING.
VERONICA: We don’t have police here. We have a Sheriff’s Department.
RESUME FLASHBACK.
Lamb, the gum-chewing sheriff walks into the Sac’n’Pac. He gestures to Wallace.
LAMB: You, come on.
Wallace follows him outside.
FLASHBACK: EXT – SAC’N’PAC – NIGHT.
Wallace is taken aback by the presence of a whole gang of bikers, including Weevil and Felix, watching from their bikes.
BIKER: What’s up snitch?
LAMB: Come here. They say they paid.
The two bikers who took the beer are handcuffed and in the custody of Deputy Sacks. Hector is grinning. Wallace is intimidated that this is going down in full view of the gang.
LAMB: Well, did they?
WALLACE: Yeah.
HECTOR: Like I said.
Hector laughs.
LAMB: [To the bikers] Shut up. [To Wallace] But you pressed the alarm anyway.
WALLACE: It was an accident.
Lamb stalks off in disgust, re-enters the store and retrieves the surveillance video. Wallace watches him as he comes back outside.
LAMB: [To the deputy] Sacks, get ‘em outta here. Get ‘em outta here. We got enough.
Sacks grabs the shoplifting bikers and heads for the car. Lamb gets up close, just behind Wallace’s right shoulder and sniffs derisively.
LAMB: You need to go see the wizard. Ask him for some guts.
VERONICA: [Offscreen] “Go see the wizard”, he said that?
END FLASHBACK.
EXT – NEPTUNE HIGH SCHOOL, LUNCH AREA – CONTINUING.
WALLACE: Yeah.
VERONICA: Congratulations, sport. In your short time here, you’ve already managed to piss off the motorcycle gang and the local sheriff.
Wallace shakes his head.
EXT – APARTMENTS – DAY.
Music: Just Another by Peter Yorn.
LYRICS: You and I, we're two of a kind
I hate to say it but you'll never relate
What makes you tick?
It makes me smile.
You said that I should get away from it all
And bury my head in the sand if I want to
I think you should thank me now
You were lying wide awake in the garden
Trying to get over your stardom
And I could never see you depart us
And you're my baby
You’re just another girl
You’re just another girl.
A small U-shaped, apartment complex surrounds a small pool. It goes from one storey to two to three as it circles the pool. The music seems to be coming from the open window of one of the apartments. Veronica enters through a small gate into the pool area. She hears the music. There is the sound of a splash as a memory is triggered.
FLASHBACK: EXT – KANE RESIDENCE – DAY.
Duncan is in the pool, arms resting at the side as he looks up at Veronica.
DUNCAN: Hey baby, it’s our song.
From behind her come the sounds of laughter. About ten people around Veronica’s age, including Logan, who has his arm around Lilly Kane, surround Veronica’s mother, Lianne who is carrying a large birthday cake. Some of the kids are carrying presents.
FRIENDS: Happy birthday, Veronica
LIANNE: Happy birthday, Veronica. Are you surprised?
LIANNE/NEIGHBOUR: Veronica.
VERONICA: Mom?
END FLASHBACK.
EXT – APARTMENTS – DAY.
NEIGHBOUR: Veronica, it’s me. Honey can you give me-can you give me a hand?
Veronica is forced back to the present by a smoky-voiced black woman, loaded with two grocery bags, stopped at the small gate Veronica entered earlier. Veronica glances back at the pool then heads over.
INT – MARS APARTMENT – DAY.
The door opens and Veronica enters, greeted by a large brown and white pit bull terrier. She crouches down to pet him.
VERONICA: Hey, who’s a big boy? Who’s a big boy?
EXT – BEACH – DAY.
Veronica unleashes the dog and throws a ball for him. The dog overruns then picks up the ball.
VERONICA: Good boy.
She spots Wallace on the beach with a model airplane. Wallace waves. She hesitates, then gives a small wave back, looking thoughtful.
EXT – MARS INVESTIGATIONS – DAY.
End music: Just Another by Peter Yorn. Veronica pulls up in her car behind a red Jaguar convertible with the licence KANE 2.
VERONICA VOICEOVER: I was shocked to discover Celeste Kane’s car outside Dad’s office. Duncan’s mom. She hates me almost as much as she adores her son.
Veronica enters the street level door and climbs the stairs for ‘Mars Investigations’ situated over a pawn shop.
INT – MARS INVESTIGATIONS – DAY.
The main office area boasts a couch, a desk and some filing cabinets. There is a small kitchenette off the end and a door leading into another office, marked with the name ‘Keith Mars’. Veronica heads straight for the closed door, attempting to eavesdrop. The main office door bursts open and a man carrying a briefcase and file enters. He looks like and will prove to be a slightly seedy lawyer, named Cliff McCormack.
CLIFF: Veronica Mars.
With a slight ‘caught in headlights’ look, Veronica glances at him and heads for the desk.
VERONICA: My dad’s with a client.
CLIFF: Apparently. That’s okay, I’m happy out here chatting with you.
Cliff heads for the desk and they both sit down on either side of it.
VERONICA: Like I said, my dad’s with a client.
CLIFF: I heard you but your dad’s out tracking down bail jumpers half the time and yet somehow all the cases that come in here still get handled. How is that?
VERONICA: We’re efficient.
CLIFF: Very efficient. Um look, I’m just going to leave this file here, open on your desk and if you decide to take a look at it, cool. One of my clients, Loretta Cancun, dances at the Seventh Veil…
VERONICA: Classy.
CLIFF: These are my people, V. She was busted for vandalism, taking a baseball bat to the washing machine that stole her quarters at Suds’n’Duds.
VERONICA: And Johnny Cochran was booked.
CLIFF: [Smirking] I make no apologies. I like this case, it’s tawdry. Miss Cancun says the Seventh Veil has an interesting way of keeping their liquor licence…
Cliff gets to his feet and starts for the exit.
CLIFF: …despite their rather lax ID policy. She wants to make a deal. If your [emphasises sarcastically] dad has time, he should look into it.
Cliff leaves. The inner office door opens and a well dressed woman enters the main office. She turns straight for the exit.
CELESTE: [Imperiously] Don’t get the wrong idea Mr Mars. I don’t like you.
Following her out of the office is Keith Mars, listening impassively as she walks away. She turns and notices Veronica for the first time.
CELESTE: [To Keith, although staring disdainfully at Veronica] I hate the fact that I’m here [returning her attention to Keith] but I do know if anyone would be dogged and resourceful in this matter, it’ll be you. Don’t call me at home, I’ll call you. And I’ll need it right away.
She casts another unpleasant look at Veronica then turns and marches out. Keith and Veronica look at each other.
KEITH: [Quietly] Hi.
He goes back into his office and closes the door. Veronica stares at the closed door for a moment then moves to the window to watch Celeste get into her car and drive away.
VERONICA VOICEOVER: Sure she’s a b***h, but can you blame her. After all Dad did try to send her husband to jail for life.
Cut to later. Keith and Veronica are in the main office, sitting at the desk eating from plastic containers.
KEITH: [Innocently] How’s school?
VERONICA: If you think we’re going talk about my school day and not the fact that Celeste Kane was in your office ten minutes ago, you’re deluded.
KEITH: Um-hm. You making good grades?
VERONICA: Kane’s got something on the side, doesn’t he?
Keith finds the contents of his fork more to his liking as a topic of conversation.
KEITH: You know what? Say what you want about real cheese, I am a fan of the orange powder packet stuff.
VERONICA: [Sighs in frustration] My grades are fine and I like the orange powder too but can we please talk about Mrs Kane.
KEITH: [Giving in] Yes, she thinks he’s seeing someone. Late nights, motel matches, the usual.
VERONICA: Sexual appetite?
Keith is horrified but resigned to his daughter’s insight.
KEITH: Gone.
VERONICA: Did you take the case?
KEITH: Well, we need the money, Veronica
VERONICA: Good, I would have been pissed if you hadn’t.
KEITH: Well, I wouldn’t have cared if you were. Give me some of that apple.
The phone rings. Veronica grabs it.
KEITH: Aw don’t…
VERONICA: [Into the phone] Mars Investigations. Um-hm. Just a sec.
Veronica hands the phone’s receiver to Keith.
VERONICA: [Whispering] It’s Andy.
KEITH: [Into the phone] Keith Mars. Yeah, how long ago.
Keith gestures to Veronica for pen and paper which she quickly passes to him.
KEITH: [Into the phone] What’s he driving? I’ll get the 7:30 out of San Diego and I’ll meet you by the thing by the fountain. Good work. Thanks.
Keith ends the call. There’s a slight mis-edit of the cut as Keith magically goes from sitting to standing in the blink of an eye.
KEITH: Our guy’s on the move. Andy picked him up in El Paso. Another day and he’ll probably try to cross the border so I gotta head out.
VERONICA: You go. I’ll have the flight booked by the time you get to the airport.
Keith heads into his office to get his stuff together.
VERONICA: Do you want a rental car in Texas?
KEITH: Yeah, nothing fancy this time, Veronica. Seriously
VERONICA: A Blazer is not fancy and we can bill it anyway. [Off his look] Fine, I’ll get you a Crown Vic. Once a cop…
KEITH: Don’t do anything on the Kane case, I’ll handle it.
VERONICA: Okay.
KEITH: Given our relationship with that family, I just…
VERONICA: Fine, I said okay.
KEITH: Okay. If all goes well, I’ll be back tomorrow night. If not, the night after.
Keith comes back into the main office with a bag which he drops. He sits back down next to Veronica.
KEITH: I’ll call and I’ll check in.
VERONICA: You always do.
KEITH: And Veronica.
VERONICA: Yes?
Keith puts his hand on the top of Veronica’s head.
KEITH: When you go after Jake Kane, you take backup.
VERONICA: I always do.
Keith snorts, pulls her head forward to kiss her on the forehead and exits. Veronica sits back and finishes her sandwich.
VERONICA VOICEOVER: By the time Dad’s plane landed in El Paso…
EXT – KANE SOFTWARE – NIGHT.
Veronica is in her car, watching through the windows of a large brightly lit office where a figure can be seen. The figure leaves the office and exits the building.
VERONICA VOICEOVER: …I’d already picked up Jake Kane at his house and followed him to his office. Streaming video was invented and perfected here at Kane Software. The day the company went public, Jake Kane made a billion dollars. Everyone who worked for him in fact, right down to the secretarial pool, became millionaires. He’s beloved here. Half the people in this town owe their fortunes to him.
FLASHBACK: EXT – CAR WASH – DAY.
Music: White Lines by Grandmaster Melle Mel.
LYRICS: (Ooh White Lines) Vision dreams of passion
(Blowin? through my mind) and all the while I think of you
(Pipe cries) a very strange reaction
(For us to unwind) the more I see, the more I do
(Something like a phenomenon) Baby!
(Tellin your body to come along, but white lines blow away)
It’s a sponsored car wash. Veronica and Lilly, dressed in matching pep squad tee-shirts and shorts are cleaning a car. Other pep squanders are running about.
VERONICA VOICEOVER: And I knew the family well. Jake’s son, Duncan, was my first and only love. His daughter Lilly was my best friend.
VERONICA: [Teasing] God Lilly, I see the Prozac’s working.
LILLY: [Happily] High on life, Veronica Mars. I’ve got a secret, a good one.
An older girl in pep squad gear approaches.
HEAD PEP SQUADDER: Girls, less talk, more scrub.
LILLY: Later.
Lilly bounces away as Veronica carries on cleaning the car.
VERONICA VOICEOVER: Those were the last words Lilly and I ever shared.
End music: White Lines by Grandmaster Melle Mel.
FLASHBACK: EXT – KANE RESIDENCE – NIGHT.
Lights flash on top of a car from the Sheriff’s Department. Keith, in uniform, heads into the Kane house while Veronica waits in the car.
VERONICA VOICEOVER: Later that night as I was driving home from picking up dinner with Dad, a call came in over the radio. All the dispatcher said was that there was a disturbance at the Kane estate.
Veronica can see Duncan is sitting in the entrance, disconnected and rocking back and forth.
VERONICA VOICEOVER: Dad gave me specific instructions to stay in the car but the moment I saw Duncan, I knew that this was more than a disturbance.
Veronica gets out of the car and runs to Duncan.
FLASHBACK: INT – KANE RESIDENCE – CONTINUING.
She kneels before him.
VERONICA: What happened? Duncan, what happened?
Duncan is completely unresponsive. Veronica looks around and then back at Duncan.
VERONICA: Where’s Lilly?
Duncan reacts by furrowing his brow.
FLASHBACK: EXT – KANE RESIDENCE – CONTINUING.
Keith approaches the body of Lilly Kane, lying by a pool. She is still in her pep squad uniform. She is lying on her back and has a massive head wound. Keith is saddened. Jake, a sobbing Celeste and Lamb, at this point a deputy, stand in the background.
VERONICA VOICEOVER: But everyone knows this story. The murder of Lilly Kane. It was on the cover of People magazine. It made ‘Entertainment Tonight’. The town flooded with journalists.
Celeste sobs loudly.
FLASHBACK: INT – KANE RESIDENCE – CONTINUING.
Veronica is still trying to get information from Duncan.
VERONICA: Duncan, talk to me, please.
Veronica gives up with Duncan and runs outside.
FLASHBACK: EXT – KANE RESIDENCE – CONTINUING.
Keith is crouched down by Lilly’s body.
VERONICA VOICEOVER: And of course everyone remembers reading about the bungling local sheriff, the one who went after the wrong man.
Veronica appears and stops suddenly behind Keith (twice in either a slightly bad edit or through artistic choice) and she is distressed to see Lilly.
VERONICA: Oh my god!
Veronica is shocked. Keith rises and grabs her in a hug.
VERONICA VOICEOVER: That bungling sheriff was my dad.
Keith simultaneously holds her and forces her back.
END FLASHBACK.
EXT – CAMELOT MOTEL – NIGHT.
Jake makes his way between parked cars and up some stairs to the top floor of the two-storey motel. Veronica pulls up in front of the hotel and observes.
VERONICA VOICEOVER: But if my dad wasn’t right about Jake Kane then, it looks like Mrs Kane is right about him now. Not a lot of high powered business meetings taking place at the Camelot at one in the morning.
Jake knocks on the door of Room 6 and is let in.
VERONICA VOICEOVER: They say the divorce rate is twice as high for parents who lose a child. Lose a child. Now there’s a euphemism for you.
FLASHBACK: INT – NEPTUNE HIGH SCHOOL, LIBRARY – DAY.
Veronica is using one of the computers. Near her, two boys are staring at a different computer screen.
VERONICA VOICEOVER: That hardly takes into account the way she was found.
VERONICA: What? You guys found a way to unlock the porn?
COMPUTER GUY: It’s the Lilly Kane video. How do you think that family feels?
Veronica moves round to see. Lilly’s body is on the screen, head wound in full display.
VERONICA VOICEOVER: Six weeks after Lilly Kane’s death, someone from the Sheriff’s Department leaked the crime scene video. Within 24 hours it was all over the net. Streaming video made it possible. Someone made a fortune while Dad took the blame.
A distressed Veronica quickly leaves but runs straight into Logan.
LOGAN: [Tearful] So does your, uh, does your dad still think that Lilly’s father did this? That’s my girlfriend. Your friend. Duncan’s sister. Your dad is destroying the Kane family. What’s the matter with you people, huh? What’s the matter with you?
FLASHBACK: INT – MARS RESIDENCE – NIGHT.
Lianne is packing cushions into large moving boxes while Keith follows her.
KEITH: He did it, Lianne. The man is a liar, nothing changes. Nothing adds up. Not his alibi. Not the sequence of events. Nothing.
LIANNE: I don't care. It doesn't matter.…
The argument continues although the voices are faint.
VERONICA VOICEOVER: My dad’s belief that Jake Kane was the murderer became a moot point. An emergency recall election removed him from office. Mom wanted to move out of Neptune.
The camera pulls back to reveal Veronica, in hearing distance of the argument, sitting in front of a television on which commentary can be faintly heard in the background.
VERONICA VOICEOVER: The loss of status, the loss of income was too much for her. We were gonna move all right, we couldn’t afford our house. But Dad wasn’t gonna to be run out of town and neither was I.
On the television Veronica is watching, there is a Breaking News story. A man is being led in handcuffs by the newly promoted Sheriff Lamb.
TV: …our own Jennifer Stevens…
VERONICA: Dad, come here.
TV: …own by-line. The Neptune’s Sheriff’s Department reacted…
KEITH: [Joining her in front of the television] Hey, I’m sorry honey. Me and your mom, we’re going to work this out, okay.
TV: …has apprehended Abel Koontz, a disgruntled former Kane Software employee. Koontz, a software designer, was fired during the development stage of Kane Software’s streaming video project. [Lamb holds up an evidence bag in each hand] Shoes and a backpack belonging to the deceased were discovered on Koontz’s houseboat by Sheriff Don Lamb, who said-
Keith switches off the television. Note: the shoes are sandals.
END FLASHBACK.
EXT – CAMELOT MOTEL – CONTINUING.
Veronica continues to observe Room 6 of the Camelot hotel as she unscrews the top of a thermos. The sound of motorcycles fills the air and she is soon surrounded by the bikers.
VERONICA: Well, this can’t be good.
Weevil gestures for her to roll down her window.
WEEVIL: Car trouble, miss?
VERONICA: Yeah, as a matter of fact. I think it might be a loose belt but if you wouldn’t mind checking under the hood.
One of the bikers approaches the car.
SCARY BIKER: Hey Weevil, who gets the first danc-
Veronica’s pit bull jumps out of the window of the back seat of the car, jaws fastening onto the biker’s arm and bringing him down.
SCARY BIKER: Get him off me! Get him off me, get him off me!
Felix comes around from the front of the car, threatening.
FELIX: Girl, you best call off your dog.
Veronica tasers him in the centre of his chest and he goes down. Weevil is not impressed with the state of his troops.
VERONICA: Backup! Chill!
Backup lets go of the scary biker.
VERONICA: [To Weevil] I’ll tell you what. We’ll call it a draw.
WEEVIL: Baby, come on, it’s too late for that.
VERONICA: Here’s the deal. Leave that kid at school alone for a week and I’ll make sure your boys walk.
WEEVIL: Why you care so much for that skinny negro anyway. Things I heard about you, he must really lay the pipe right, huh.
VERONICA: Yeah, that’s it.
Felix claws his way back up to Veronica’s open window and is shown sight of the charged taser.
WEEVIL: All right, all right, all right. Felix, we get it, you’re a badass, okay. But for once don’t be stupid.
Felix backs off, somewhat grateful.
VERONICA: Not bad advice.
WEEVIL: All right, one week. After that, we come for you, your boy and your little dog too.
VERONICA: [To a growling dog] Backup, be cool.
WEEVIL: You get lonely out here remember, Weevil love you long time.
Weevil blows Veronica a couple of kisses. Veronica gives him the thumbs up and the bikers depart.
VERONICA VOICEOVER: Quite a reputation I’ve got, huh. You wanna know how I lost my virginity? So do I.
FLASHBACK: INT – POMROY RESIDENCE – NIGHT.
Music: Give You More by Taxi Doll.
LYRICS: I wanna give another little thing a try
A little something that has finally caught my eye
I’ll move it so you’ll see it feels just like a crawl
And then I’ll know exactly how you’re gonna fall
I know what you’re wanting
I know what you’re needing
I know what you’re wanting
I want to give you more just like that, yeah
I’m gonna give you more
I’m gonna give you more
I’m gonna give you more
And I won’t let you down when move it around
I’m gonna give you more
I’m gonna give you more
I’m gonna give you more
Get your feet off the ground, gonna turn it around, yeah.
A party is in full swing. Couples are eating each other, drinking and otherwise being appropriately debauched as Veronica threads her way through the crowd.
VERONICA VOICEOVER: I went to a party at Shelly Pomroy’s just to show everyone their whispers and backstabbing didn’t affect me.
Veronica is being snubbed by one and all. Logan is doing shots at the bar.
VERONICA VOICEOVER: It was a mistake.
Logan turns and looks at her. She carries on, an expression of disgust on her face as she passes Duncan whose neck is being licked by girl. He sees her. As she goes through the crowd, a drink suddenly appears in her hand.
VERONICA VOICEOVER: I don’t know who handed me the drink. I wish I did. It turns out it was your basic rum, coke and roofie.
Veronica glances around and then drinks. End music: Give You More by Taxi Doll.
FLASHBACK: EXT – POMROY RESIDENCE – NIGHT.
Music: Girls by Death in Vegas. It is later. Outside is lit with square and star shaped paper lanterns. There is a pool and a Jacuzzi in which a number of people are sitting. Veronica’s vision is blurred and she moves unsteadily past the Jacuzzi and collapses onto a sun lounger. The people in the Jacuzzi laugh at her. Fade out.
FLASHBACK: INT – POMROY RESIDENCE, BEDROOM – EARLY MORNING.
Veronica comes to. She is on a bed, partially covered by the bedding. She is still wearing her white party dress but her panties are on the floor. She cries silently, then stands, wiping her tears.
FLASHBACK: EXT – STREET – EARLY MORNING.
Veronica walks barefoot down the street.
VERONICA VOICEOVER: I never told my dad. I’m not sure what he would have done with that information but no good would have come of it. And what does it matter. I’m no longer that girl.
END FLASHBACK.
EXT – CAMELOT MOTEL – CONTINUING.
Jake leaves the motel room, turning back to have a few last words with its occupant.
VERONICA: All right lady, let’s see ya.
Veronica takes pictures but only a woman’s hand can be seen on the door. End music: Girls by Death in Vegas
EXT – NEPTUNE HIGH SCHOOL – DAY.
Music: Bathroom Stall by DAMe Lee. Veronica is walking across the car park. A bright yellow Xterra, driven by Logan, is making its way through the car park.
LOGAN: There’s Veronica.
Logan pulls up to and keeps pace with Veronica. Logan is driving, Duncan is in the passenger’s seat and a couple of other guys are in the back.
LOGAN: Hey Ronnie. Hey, we’ve decided that we’d, uh, we’d rather surf than study today, you wanna come with? Duncan will promise to take his shirt off. Does that sweeten the pot?
Logan looks back at his appreciative audience in the rear as Veronica continues walking, ignoring him.
LOGAN: Does it make you horny? Hey DK, flex for your ex.
DUNCAN: [Not amused] Shut up, Logan
LOGAN: All right, all right. Hey. Hey. Hey!
Veronica and the car stop as Logan pulls out a hipflask.
LOGAN: What do you say to a little hootch, huh? What’s the matter, aren’t you your mother’s daughter? Hmm? Now there was a woman who could drink. Hey, what’s she up to nowadays, maybe she’ll join us. Do you know where she is? Any clue?
Duncan’s had enough and grabs Logan by the shoulder.
DUNCAN: Leave her alone, man
LOGAN: Ooh, chill pill, man. All right. [(Dubbed in, not well)] Aw, she used to be fun, man. Bye.
Logan floors it and races off. End music: Bathroom Stall by DAMe Lee. Veronica gazes at its trail.
VERONICA VOICEOVER: It’s been eight months since I’ve seen my mother.
FLASHBACK: INT – MARS APARTMENT – DAY.
Veronica gets out of bed and sees a music box with a note attached.
VERONICA VOICEOVER: A month after Dad lost his job, Mom split for good. All she left me was a unicorn music box and a note saying she would be back for me someday.
The note reads: Veronica, I have to leave for a while. I’ll be back for you. Love always, Mom. Veronica crumples the note and throws it in the rubbish following it swiftly with the music box.
END FLASHBACK.
EXT – NEPTUNE HIGH SCHOOL, LUNCH AREA – DAY.
Veronica heads for her lunch table. Wallace is already there. Veronica sits and digs out an apple and a notebook.
WALLACE: Girl, you should hear what people say about you.
VERONICA: So then what are you doing sitting here?
WALLACE: You sat next to me.
VERONICA: This is my table.
WALLACE: And what a fine table it is. What do you suppose this is made of? Oak?
VERONICA: Look, if people are saying such awful things…
WALLACE: Well, I figure I’ve got a choice. I can either hang out with the punks who laughed at me, took pictures of me while I was taped to that flagpole or I can hang out with the chick who cut me down.
Veronica grins.
VERONICA: So you want to get the PCH Biker Club off your a**?
Wallace nods and Veronica laughs.
INT – NEPTUNE HIGH SCHOOL, ART ROOM – DAY.
Veronica and Wallace are at the table of another student. He is looking through a notebook.
CORNY: This is so twisted. I love it.
VERONICA: Well can you do it ‘cause we need it fast.
CORNY: Oh hell yeah, for you, oh anything. I’ll even throw in the glazing gratis.
VERONICA: Go to town. Thanks Corny.
Veronica and Wallace leave. Music: Weak Becomes Heroes by The Street.
LYRICS: Turn left up the street
Nothing but grey concrete and dead beats…
We were just standing there minding our own
And it went on and on
We all smile, we all sing
The weak become heroes then the stars align.
We all sing, we all sing, sing…
The night slowly fades and goes slow motion
All the commotion becomes floating emotions
Same piano loops over
Dizzy new heights blinded by the lights
These people are for life
It’s all back to his place at the end of the night, yo…
We were just standing there minding our own
And it went on and on
We all smile, we all sing
The weak become heroes then the stars align.
Corny continues to flick through the notebook.
CORNY: Oh my god!
INT – MARS APARTMENT, VERONICA’S BEDROOM – DAY.
There is a board on the wall, covered in surveillance photos, computer discs and post-it notes. Veronica is sitting at a low table, using a laptop.
VERONICA VOICEOVER: While Corny did his thing, I downloaded the pictures from the Camelot. Every girl’s gotta have a hobby. Photography’s mine.
Veronica pulls up a picture of a man (note: meant to be but not Jake Kane) and a license plate and prints it off. She looks at it closely, then pins it onto her board.
INT – MARS APARTMENT, KITCHEN – NIGHT.
Fade out music: Weak Becomes Heroes by The Street. Note: the front door, size and layout of the apartment will be different in subsequent episodes. Veronica sits at a small table in the kitchen of the apartment, doing homework. Keith enters, drops his bags, looks at her and sighs loudly.
VERONICA: And?
Keith stretches out his arms.
KEITH: Who’s your daddy?
VERONICA: Ack. I hate it when you say that.
KEITH: You know what, this is important. You remember this. I used to be cool!
VERONICA: [Sceptical] When?
KEITH: ’77. Trans Am, Blue Oyster Cult in the 8-track, a foxy stacked blond riding shotgun, racing for pink slips. Now wait a minute, I’m thinking of a Springsteen song. Scratch everything, I was never cool.
VERONICA: I don’t know which bothers me more, “foxy” or “stacked”.
Keith has removed his jacket and searches through its pockets..
KEITH: I nailed our bail jumper one hundred yards from Me-xi-co.
He holds out a cheque and hands it to Veronica.
KEITH: Twenty five hundred bucks. No sack dinners tonight. Tonight, [starting a shuffle] we eat, like the lower middle class to which we aspire. Fire up the ‘bachie.
Keith shuffles off right, singing as he goes.
KEITH: Ya-pa-ba-pa-ba, bom-pa-da-bompa, ba-bop. [Pops head back round] For real, steaks.
Veronica laughs. Music: Don’t Fear the Reaper by Blue Oyster Cult.
LYRICS: All our times have come, here but now they’re gone
Seasons don’t fear the reaper nor do the wind, the sun or the rain
We can be like they are, come on baby
Don’t fear the reaper. Baby take my hand
Don’t fear the reaper. We’ll be able to fly
Don’t fear the reaper. Baby I’m your man
La, la, la, la, la, la, la, la, la, la.
EXT – APARTMENTS – NIGHT.
Keith is grilling steaks on a barbeque which is situated in an open area on the upper floor, the roof of one of the single storey apartments. Keith grooves as he cooks.
VERONICA: So Jake Kane went to the Camelot last night and hooked up with some hussy.
KEITH: Didn’t I say something about you not getting involved in that?
VERONICA: I remember you saying something about taking Backup.
KEITH: You get pictures?
VERONICA: No money shot, the woman in question never stepped foot outside but I did get pictures of licence plates. I figured you could run them.
KEITH: Let me see ‘em.
Veronica hand over the photo she printed off. Keith turns away from Veronica to examine it. He is shocked at what he sees. He crumples the photo.
KEITH: You stay away from Jake Kane.
He tosses photo down.
KEITH: I don’t want you doing anything else on this case. We’re gonna drop it anyway and I’m-I’m gonna let his wife know.
VERONICA: What? We’re dropping the case? Why? What’s wrong? Who is it? Why don’t you just tell me?
KEITH: Veronica. No! It’s done, it’s over with. Just stay away from him!
Keith is very serious. End music: Don’t Fear the Reaper by Blue Oyster Cult. Veronica is perplexed.
EXT – SEVENTH VEIL – NIGHT.
The Seventh Veil is situated amongst other sleazy joints advertising various enticements in neon: Les Girls. Nude. Body Shop. Nude Girls. Dream Girls. A vehicle from the Sheriff’s Department is parked immediately outside. Veronica’s LeBaron is parked on the other side of the street and she is observing.
VERONICA VOICEOVER: I had another case to occupy my brain. Loretta Cancun says the Seventh Veil has an interesting way of keeping their liquor licence. This was phase one of my plan to save Wallace. Phase two would begin the next day.
Veronica trains her camcorder on the Seventh Veil.
INT – NEPTUNE HIGH SCHOOL, HALLWAY – DAY.
Veronica and Wallace enter from outside and run up a short flight of steps.
VERONICA: Let’s go.
WALLACE: Hey, FloJo, slow your a** down.
Veronica pauses at the top and holds Wallace back to observe Logan, whose locker is about to be searched by the Vice Principal and the deputy (without Buster). Logan opens the locker and steps back.
LOGAN: There you go.
From inside the locker, a bong, in the form of a cherub, can be seen. Clemmons reaches for it.
CLEMMONS: Well, what’s this Logan? This would appear to be a device they use to smoke marijuana.
SACKS: [Dubbed in, not well] That’s exactly what it looks like.
CLEMMONS: Back to the office. Come on.
Logan is amazed and looks around. He spots Veronica.
GUY IN HALL: Oh man, Logan’s busted.
He points at her.
LOGAN: It was you?
Veronica does a ‘who me?’ gesture. Logan laughs, then gets serious.
LOGAN: Listen, I know it was you. This isn’t over, okay.
Veronica exaggerates a yawn.
CLEMMONS: Hey.
Logan grins but is still pointing, now close.
LOGAN: You’re so cute. Listen, I’ll get you for this.
CLEMMONS: [Pushing Logan along] Let’s go.
LOGAN: I will.
CLEMMONS: Come on, let’s go.
Music: Pata Pata by Miriam Makeba. Corny watches and then walks on, congratulating Veronica as he goes.
CORNY: Eeee, solid.
WALLACE: You’re right, that was funny.
VERONICA: Meet me at my car after school. Let’s see if you’ve done your part.
EXT – SHERIFF’S DEPARTMENT – DAY.
VERONICA VOICEOVER: After school, I drove Wallace to the Sheriff’s Department. This was phase three.
Veronica and Wallace are sitting in the LeBaron. Wallace is clutching the control unit like that of his model airplane.
WALLACE: You know, we could get into a lot of trouble for this.
Veronica reaches for the control unit.
VERONICA: Give it here.
Wallace shakes her off.
WALLACE: Wait. I’m gonna do it. I just thought one of us should state the obvious.
Wallace hits one of the controls. It clicks.
INT – SHERIFF’S DEPARTMENT – CONTINUING.
The bong in the police evidence room sparks and begins to smoke. Cut to Inga who smells something. Cut to the grill over the door to the evidence room with smoke pouring out.
EXT – SHERIFF’S DEPARTMENT – CONTINUING.
WALLACE: I wonder if it worked.
INT – SHERIFF’S DEPARTMENT – CONTINUING.
Inga sees the smoke.
INGA: Ach, du lieber Gott. Ein feuer!
EXT – SHERIFF’S DEPARTMENT – CONTINUING.
A racing fire engine pulls up in front of the Sheriff’s Department. Veronica and Wallace watch, flushed with success.
VERONICA: It worked.
INT – SHERIFF’S DEPARTMENT – CONTINUING.
Firemen enter the evidence room. Extinguisher sounds. End music: Pata Pata by Miriam Makeba.
INT – FIRE STATION – DAY.
A couple of firemen are setting up barbells. Veronica enters the station.
VERONICA: Hey Adam. Hey Eddie, is the Chief around?
The Chief is coming up behind her. He has a large envelope in his hand.
PHIL: Well if it isn’t Smokey the Barely Legal.
VERONICA: I saw you in action today Phil. You were very brave. Did you make the switch?
He hands over the envelope.
PHIL: Fait accompli.
VERONICA: [Softly] Thank you.
VERONICA VOICEOVER: Plenty of people in this town…
INT – MARS INVESTIGATION.
Veronica is at her desk..
VERONICA VOICEOVER: …still love Dad. That comes in handy sometimes. Other times you rely on your own devices.
Veronica enlarges the Camelot picture on her laptop and focuses on the license plate. She picks up the phone and dials. Throughout the call she keeps a wary eye on Keith’s office.
TELEPHONE: San Juan Capistrano PD.
VERONICA: [Adopting Inga’s accent] Tony, it’s Inga. Ahh, guess what? Our computers is down again.
TONY: Inga. Upgrade already, this must be the tenth time.
VERONICA: You preach to the choir, Tony. Listen, we had a hit and run last night. Victim got the plates but we need someone to run them.
TONY: No problem. Hit me.
VERONICA: Arizona-Four-Victor-Golf-Zero-Zero-Zero.
TONY: Well, I’ll be damned. Some families.
VERONICA: What is it?
TONY: That car is registered to one Lianne Mars.
Veronica lets the mouthpiece drop away from her mouth. She is slowly replacing the now dead phone when Keith opens the door from his office.
KEITH: Bored.
He leans against the doorjamb.
KEITH: Call it a day, maybe catch a movie or something?
VERONICA: Explain to me again why we’re dropping the Kane case.
KEITH: Look. I, um, [Uncomfortably and walking away from Veronica] I did run those plates and uh it’s what I thought, corporate espionage stuff.
Keith heads into the kitchenette as Veronica sags behind him.
KEITH: It’s dangerous. We don’t get paid enough. So… let’s just drop it okay?
VERONICA: Okay
KEITH: Movie?
VERONICA: Can’t.
Veronica grabs her stuff. She heads for the door.
KEITH: Well maybe we can rent something. Uh, what are you-what are you in the mood f-
Veronica doesn’t respond and Keith watches her go out the door.
INT – SHERIFF’S DEPARTMENT – DAY.
Veronica approaches Inga’s counter.
INGA: Veronica! Ach, little Veronica, how are you? How’s your father.
VERONICA: Fine, Inga, we’re both fine.
INGA: I haven’t seen you since… since…
VERONICA: [Brusquely] Been a while. Can you tell me where the Cortez-Wn prelim is?
INGA: Courtroom three.
VERONICA: Thanks.
Veronica turns and walks out.
VERONICA VOICEOVER: The last time I was here. Come on, Inga. That’s easy.
FLASHBACK: EXT – SHERIFF’S DEPARTMENT – EARLY MORNING.
Veronica is still in her white party dress from Shelly Pomroy’s party. She slowly mounts the steps to the Sheriff’s Department.
FLASHBACK: INT – SHERIFF’S DEPARTMENT – CONTINUING.
She approaches Inga’s desk, clearly distressed.
INGA: Veronica! What happened to you?
VERONICA: I need to report a crime.
FLASHBACK: INT – SHERIFF’S DEPARTMENT, LAMB’S OFFICE – CONTINUING.
Sheriff Lamb is at his desk and Veronica sits on the other side.
LAMB: [Sarcastically] Is there anyone in particular you’d like me to arrest or should I just round up the sons of the most important families in town?
Veronica can’t believe his response.
LAMB: I’ve got not a shred of evidence to work with here but that really doesn’t matter to your family, now does it.
Veronica can’t hold back a tear.
LAMB: Ummm...look at this. She cries.
Lamb leans back in his chair.
LAMB: I’ll tell you what Veronica Mars, why don’t you go see the wizard. Ask for a little back bone.
END FLASHBACK.
INT – COURTROOM THREE – DAY.
Lamb is giving evidence.
LAMB: When we find ‘em, they’ve still got twenty bottles stuffed in their pockets.
Lamb pauses and frowns when he sees Veronica enter the courtroom and sit down.
LAMB: They say they bought the beers but we’ve got it all on tape, so…
PROSECUTOR: Your Honour, can we show the tape?
JUDGE: Let’s see it.
LAMB: All right, what you’re gonna see here are the two defendants over there.
The defendants are Hector and the Phuong from the Sac’n’Pac. They are being represented by Cliff.
LAMB: They enter and…
The video is not from the Sac’n’Pac. It is from the Seventh Veil where one of the deputies is escorting one of the strippers from the club to his vehicle.
JUDGE: What are we seeing here, Sheriff?
LAMB: Uh, your Honour, I…
JUDGE: Sheriff Lamb, is this one of your officers? Is this how you run your department?
Lamb is uncomfortable, Veronica amused. The courtroom gives a collective gasp as the stripper drops her head to the deputy’s lap. Lamb is frantically trying to figure out what’s going on.
CLIFF: Ahh, Your Honour, is this an appropriate time to for a dismissal in People v Loretta Cancun.
Lamb looks up. Veronica fashions a gun with forefinger and thumb and nails him with a verbal ‘Tsk’. Music: Atomic Girl by The Wannabes.
LYRICS: Hello, Atomic Girl, your signal’s getting weak
The world is suffocating fast
{?}
There’s been a problem
You’re so much stronger
You’re lonely by yourself
Just waiting to be found
Yes, I miss you too.
Lamb gets it, as does Cliff who is appreciative. Veronica leaves.
JUDGE: Counsel.
Lamb stares after her. He is not a happy bunny.
EXT – BEACH – DAY.
Veronica pulls up in the LeBaron and parks. She sees Wallace flying his model airplane on the beach. She has the envelope from Phil in her hand as she gets out of the car and heads for him.
VERONICA: Got a present for you.
Veronica hands the envelope to Wallace. He open it and pulls out a video. He gives a huge sigh of relief as he replaces it in the envelope.
WALLACE: I owe you big time.
VERONICA: I had my own reasons for doing it, trust me.
WALLACE: Oh no you don’t. You really think I’m gonna let you get away with that? That might play with the masses. But underneath that angry young women shell, there’s a slightly less angry young woman who’s just dying to bake me something. You’re a marshmallow, Veronica Mars, a twinkie.
Veronica laughs softly. End music: Atomic Girl by The Wannabes. Later, nearly twilight, still on the beach, Veronica has the controls of the model airplane.
VERONICA: Okay, how do I make it loop the loop?
Wallace is distracted by something he can see in the distance.
WALLACE: Uh, Veronica?
VERONICA: Yeah.
WALLACE: Your car.
Veronica looks and hands the controls back to Wallace. She heads for her car. Logan is lying on the hood, a crowbar or tyre iron in his hands. Three other guys are standing around. Next to Veronica’s car is another SUV. Veronica stops in front of her car. Wallace races up behind her.
LOGAN: Hey, Veronica Mars.
He jumps off the car.
LOGAN: Do you know what your little joke cost me?
VERONICA: Well, I’m pretty sure you won’t be getting your bong back.
Logan swings the crowbar and takes out a headlight. Veronica flinches. Logan grins and twirls the crowbar.
LOGAN: Wrong answer. Would you care to guess again?
VERONICA: Clearly your sense of humour.
Logan takes out the other headlight.
LOGAN: Nope. You’re usually so good at pop quizzes. No, the correct answer is my car. That’s right. My Daddy took my T-Bird away. And you know what I won’t be having. Fun, fun, fun.
Logan, smirking, has moved to stand directly in front of Veronica, the crowbar resting on the back of his neck. He doesn’t notice the sound of motorbike engines pulling up.
LOGAN LACKEY: Uh-uh, Logan.
Weevil and co. pull up to the scene. Logan finally notices and turns around. Weevil gets off his bike as Logan heads towards him.
WEEVIL: What do we have here? Vandalism? No, no, no. Only vandalism that happens in this town goes through me.
LOGAN: Listen man, I don’t have a problem with you.
WEEVIL: That’s where you’re wrong.
They stare at each other and Weevil moves to relieve Logan of the crowbar. In the meantime Felix has pulled himself onto the running strip of the SUV and leaned in to pick up a CD.
FELIX: Hey yo. Is this O-Town any good? I mean my little sister likes it but you know, she likes ponies and juice boxes too.
The bikers laugh. Logan looks at the bikers, weighing up the chances.
WALLACE: I suddenly feel like I’m in a scene from ‘The Outsiders’.
VERONICA: Be cool, Sodapop.
Weevil, having taken the crowbar from Logan, heads for the SUV.
LOGAN LACKEY: Hey that’s not his car, that’s my mom’s car.
WEEVIL: She can bill me.
Weevil hits the SUV in the middle of the hood, hard. He takes out one of the headlights and then goes for the hood a couple times more. Everyone watches – the Loganites in dread, the biker in glee.
WEEVIL: That’s it.
Weevil hands the crowbar to the car owner’s horrified son.
WEEVIL: Head for the hills. I’m not gonna say it twice.
The Loganites head for the SUV.
WEEVIL: [Pointing to Logan] Except for you. You, say you’re sorry.
LOGAN: [Chuckles] Rub a lamp.
Logan winks and smirks. Weevil punches him in the stomach. Logan goes down. Veronica looks uncomfortable.
WEEVIL: I said, say you’re sorry.
Logan gets back up and faces Weevil again.
LOGAN: [Deliberately] Kiss my a**.
Weevil throws a punch to Logan’s face. He goes down again. Weevil laughs. Logan gets up, blood coming from his nose. He remains defiant and is not going to apologise.
WEEVIL: Now…
VERONICA: Let him go.
WEEVIL: Are you sure? I could do this for a while.
VERONICA: I don’t want his apology.
Logan wipes the blood from his nose and groans. He heads for the SUV, stumbling slightly.
LOGAN LACKEY: Let’s go man, come on. Are you all right?
LOGAN: I hope you guys are comfortable.
WEEVIL: So that, uh, surveillance tape just… poof?
VERONICA: That’s fortunate.
Logan and friends drive off with words of encouragement from the bikers.
WEEVIL: My uncle has a body shop on the highway. If you come in, you know, I can make sure your body gets the full service treatment.
VERONICA: Okay, now you apologise.
WEEVIL: I’m sorry, w-was that too dirty, ‘cause…
VERONICA: Not to me dork. [Indicating Wallace] To him.
WEEVIL: Right. No.
VERONICA: Fine. He has the only copy of the Sac’n’Pac video. Wallace, let’s go decide what to do with it.
WEEVIL: Okay. Wait, wait, wait, look, look. I’m sorry man, umm, for, you know, taping you to the-the flagpole, I’m sorry.
WALLACE: All right.
WEEVIL: Can I have the tape back now?
WALLACE: Nope.
Veronica laughs and she and Wallace get in her car as Weevil looks on. Music: Butterflies by David Garza.
LYRICS: Speaking of the truth, I like to hear that once in a while
And I’ll even listen to all your vanity
Utter lies are like butterflies
They just both die in a couple of days
Show me all your proof, put it right in front of my eyes
And I’ll even listen to all your vanity
Utter lies are like butterflies
They just both die in a couple of days.
EXT – STREET – NIGHT.
Veronica is driving.
VERONICA VOICEOVER: This morning when I woke up, I had one person in the world I could count on. But if there’s something I’ve learned in this business, the people you love let you down.
Veronica has pulled up outside Mars Investigations and watches her father leave the office. She heads in once it’s clear and goes into the office.
INT – MARS INVESTIGATIONS – NIGHT.
Veronica heads for Keith’s office.
VERONICA VOICEOVER: Dad doesn’t think I know where he keeps the combination to the safe. He’s wrong. Of course, I’ve never needed to use it.
End music: Butterflies by David Garza. Veronica opens the safe and pulls out a large file. She looks through it.
VERONICA VOICEOVER: Oh my god, the Lilly Kane murder file. What’s Dad been up to? Some of these notes are less than a month old. The confessed killer is already on death row but Dad still hasn’t given up on the case.
She pulls out a bag of mini-cassettes. She flicks through a legal document on Abel Koontz’s forfeiture of $91,913 to the State. A miscellaneous crime report includes “…car wash several… in her car, VW Bug, plate;… days later by PB5 underwater… sea weed, etc… with Miss Kane. Missing is her back-pack… has been found and no definite suspects for the… of Jake Kane”. There are photos including one of dead Lilly (with no head wound), one of Lilly’s neck captioned “Left upper cervical. Strangulation marks, left side of neck”. Another photo is of her hand with the caption “Right hand, all fingers. Silver ring on right hand”. (Note: the original intention was for Lilly to have disappeared and for her body to have been found some days/weeks later in the water.) She picks up the crumpled copy of her photo of Jake at the Camelot.
VERONICA VOICEOVER: My surveillance photo from the Camelot, why is it in the Lilly Kane file? What was Mom doing there and what business did she have with Jake Kane. And the million dollar question, why did Dad lie to me?
Music: All You Need Is Love by the Beatles music box style. Veronica is now sitting at the desk in the main office, pondering. Keith enters.
KEITH: What are you doing back here? I saw the light.
VERONICA: I forgot a few of my books.
KEITH: It’s up and at ‘em, Atom Ant, come on. It’s family fun night. I called out to Mama Leone’s, I rented ‘The South Park Movie’.
VERONICA: My favourite.
KEITH: Hey, who’s your Daddy?
VERONICA: [Smiling] You are. Uh, I have to make a stop, so… meet you at home?
KEITH: Okay. But hurry up. I worry about you.
VERONICA: [Kissing her father] Yeah, you do.
She leaves. Keith looks over to the desk. The unicorn music box is open and playing the music on the desk. He looks sad and pensive.
VERONICA VOICEOVER: Okay, so he lied to me. But I’ve got to believe he has his reasons. He’s probably trying to protect me. That’s what dads do.
EXT – STREETS – NIGHT.
Veronica is driving. The music picks up with a few more instruments.
VERONICA VOICEOVER: Still, I’ve got too many questions swirling about in my head to wait until he’s willing to share. These questions need answers. That’s what I do.
EXT – CAMELOT MOTEL, BALCONY – NIGHT.
Veronica knocks on the door of Room 6. There is no answer. The camera pulls back as Veronica gazes out over the motel balcony.
VERONICA VOICEOVER: Okay, it’s a long shot but I can’t help myself. I used to think I knew what tore our family apart. Now I'm sure I don't. But I promise this. I will find out what really happened and I will bring this family back together again. I'm sorry, is that mushy? Well, you know what they say. Veronica Mars, she's a marshmallow.
End. Executive producer: Rob Thomas (who is a god). End music: All You Need Is Love by the Beatles music box style.
 marshjazz · Sat Oct 28, 2006 @ 07:20pm · 0 Comments |
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