Yolanda, an old friend of Veronica's, is kidnapped. Yolanda's father, rap producer Percy "Bone" Hamilton, hires Keith to find her. Aaron tries to grieve after Lynn's suicide, but Logan thinks that he is faking, and that she is still alive. Logan asks Veronica to help find his mother.
VERONICA VOICEOVER: Previously on Veronica Mars ... All the "previously" clips are from the episode or outtakes of the episode 112 "Clash of the Tritons" and opening with Veronica in Rebecca's office. (Rebecca's line is re-jigged from the one in the episode.) REBECCA: You know, Veronica, you're not going to be able to come back with Lilly's death. VERONICA: I'll find closure when Lilly's killer's rotting away in prison. Cut to Logan in Rebecca's office, a shot of Logan not used in the previous episode. LOGAN: You know Veronica was my friend too. Lilly and I would have stayed together. Keith and Aaron at Mars Investigations. AARON: These stories. I mean they're tearing my family apart. The Echolls Family Breakdown (including unfortunate glimpse of director's hand reflected in the mirror behind Lynn). AARON: If you try to divorce me, I will leave you with nothing. No house. No maid and no friends- LOGAN: Right, Dad! You say another word to her and I will kill you. LYNN: I can not take this anymore. Cut to Lynn popping pills RADIO: requesting assistance for possible jumper on the Coronado Bridge. End previously. Open on the diamond-ringed hand of Bone Hamilton, as he thrusts down what appears to be a script. He is lying on a sunlounger, wearing a phone earpiece. He is being served by his wife and his wife, Vanessa, is approaching from the sumptuous house. BONE: [Angry] No! Look, if they can not commit at least ten million, man, we're going someplace else. Handle it. He rips out the earpiece. Vanessa reaches him and passes him a sheet of paper. VANESSA: Nice day. BONE: It's always nice here. What's this? VANESSA: A waiver so Bryce can drop PE. BONE: Drop PE? VANESSA: His physics teacher agreed to sponsor him for independent study so he needs to drop a class. BONE: [Signing the form] Dropping PE. You know that boy could stand with a dodge ball or two. [Handing it back] Toughen his ass up. And why's this club so high this month? VANESSA: Yolanda took riding lessons. BONE: Like on a horse? First time I saw a horse, I was thirteen. Damn thing was on TV. VANESSA: And the streets were tough and you lost a lot of homies But this is Neptune and her friends took them. You should talk to her when she comes home from Gabrielle's. She's supposed to call if she stays over. BONE: I'll do more than talk to her, all right. Tell me this, baby: how do you like to end up with Black Velvet and Urkel, huh? [Snorts] Speak of the devil. Their son, Bryce, gormless and nerdy, approaches from the house. BONE: What's up, his? What's the matter? BRYCE: [Ominously] It's Yolanda. Something's happened. Cut to Mars Investigations where Wallace and Veronica are doing homework on the couch. Their papers are spread out on the small table in front of them. Amongst them is a tabloid, "Week Beat" bearing the headline: Aaron Echolls' Private Tragedy. Lynn's car parked on bridge - abandoned. There is a large picture of Aaron, head drooped and a full body shot of Lynn. Smaller unrelated items are a picture of Reality Television Hits Keep Comin 'Pg. 33. WALLACE: Did she really leave a note on a Blackberry? VERONICA: Yeah. Talk about post-modern. WALLACE: How ' VERONICA: He has not been at school since. We're not exactly phone buddies. Keith enters from outside, gingerly. He very slowly makes his way to his office. VERONICA Hey, Dad. How's the back holdin 'up? Do you remember to take your pills? KEITH: Should not you be doing your homework instead of nagging me? Veronica hands him some pills as he passes. KEITH: Thanks. VERONICA: Next time, remember: drunk lift, combative lease jumpers with your legacy, not your back. Keith takes his tablets with some show of reluctance. VERONICA: And use your heating pad. Keith, miserable, goes into his office. VERONICA: [Throwing Keith's parting shot] And eat fiber. KEITH: Hmm. Veronica smiles and looks at Wallace who has a new do. She's fascinated by it. WALLACE: It must suck to have tabloid creeps in your face at a time like this. Wallace notices her attention to his hair. WALLACE: Stop staring. It's just hair. VERONICA: Resisting the urge to touch ... Veronica raises a hand towards Wallace's head. WALLACE: [Pressing her hand away] You keep resisting that urge. They both turn to the sound to the outside door opening. It's Bone. BONE: Hey, I'm, uh, looking for Keith Mars. VERONICA: Yeah, sure, in here. Dad? KEITH: [Offscreen] Yeah? Bone does not wait for Keith's office and closes the door. Wallace has not taken his eyes off. WALLACE: You know who that is? VERONICA: Should I know who that is? WALLACE: If you're serious about your urban population. VERONICA: I am absolutely serious about my cred with the urban demo. WALLACE: Drive-by Records. [Off Veronica's blank look] Reported to be held in a contract. [And again] Twice and stronger each time. [Veronica is still not getting it] The gangster rap impresario. [Nope] That's Bone Hamilton. Cut to Keith and Bone in Keith's office. KEITH: How can I help you, Mr Hamilton? Keith sits down carefully. Bone remains standing and gives Keith a photo. BONE: My daughter's missing. I need you to get back. Cut back to Veronica and Wallace. VERONICA: Hamilton? God, that's Yolanda Hamilton's dad? WALLACE: I did not know you knew her. VERONICA: We used to be friends ... a long time ago. Opening credits. Yolanda being held up by Keith. Bone can be seen out of focus beyond it, sitting opposite Keith. KEITH: You sure it's not just some kind of misbehaviour teenage. It's not uncommon for- BONE: Maybe your teenager. But Yolanda, she knew the rules. And her friend Gabrielle tells me that she was studying at her place 'til midnight. Now my son, he finds his car up the block, the door open, the light is still on, a sign of struggle. We're not talking about teenage misbehaviour, man, somebody's got her. KEITH: Mr Hamilton, much as I appreciate the business, sounds like something for the police. BONE: Hey, hey, hey. I do not like the police. [Leaning forward] And the feeling is mutual. And what I hear, sounds like something you'd understand. Keith is quiet for a moment. KEITH: Any idea who might want to do this? Bone laughs. BONE: Look, man, let's just say I'm a couple of big deals going down real soon. And there's some cats out there who would not mind seeing it screwed up. Bone unfolds the list and throws it on the desk in front of Keith. It's a long list. Keith gazes at it as Bone stands. KEITH: It's a lot of ideas. BONE: That's just southern California. Keith's face, the so-called placid, is a picture. BONE: Now if you hear anything about New York, Detroit, Atlanta; I got more lists. I suggest you start at the top. Sam Bloom. Bone exits. Cut to the apartment. Veronica is stirring the contents of a large saucepan as Keith enters. KEITH: Hey honey, what's cooking? VERONICA: Not quite sure myself. Something that ends in -aroni. Keith pullovers to a magazine out of the folder he is carrying and starts reading it. VERONICA: Any luck? KEITH: Nothing in the car, no one in the neighborhood saw or heard anything. VERONICA: So you figured you'd check what's up with Nelly? KEITH: I'm reading up on my client. And if you buy it, he's the scariest alive guy who's also launching a line of casual wear. Veronica picks up the photo of Yolanda from the file. VERONICA: She's a senior at my school. I can ask around, background info. KEITH: Sure. But be discreet. Customer's a little sensitive, okay? Veronica nods. Cut to Veronica walking down the halls of Neptune High. VERONICA VOICEOVER: Our client is not only one who's sensitive. This is not the first time I've had the chance to help Yolanda Hamilton. Veronica, looking sad, grinds to a stop in the hallway. Flashback to Yolanda, looking lost, coming down the hallway. Duncan, Veronica, Lilly, and Logan are at Duncan's (wall stickers on the inside of the door: Ramones) and Lilly's open lockers. DUNCAN: Whoa! New student alert. LILLY: Glad to see you guys are equal opportunity oglers. LOGAN: Hey, I do not judge the color of the skin by the content of their sweater. Logan laughs and glances back at Duncan for approval of his wit, which is duly given by Duncan's giggle. LILLY: Good thing I'm not a jealous guy. The bell rings, Logan Lilly kisses and they move off. Veronica heads for Yolanda. VERONICA: What's going on in the teacher's lounge? YOLANDA: This is not English? Mrs Murphy? VERONICA: Not even close. I'm Veronica. You're ... YOLANDA: New. Yolanda Hamilton. VERONICA: Lemme show you. Veronica leads Yolanda past present Veronica day as the flashback ends. Cut to Keith examining a trophy. He swings round to Sam Bloom, at his desk in his office. KEITH: Field Masters, three years in a row. SAM: I was good. So you did not tell me what this was in regards to, Mr Mars. KEITH: I'm trying to find someone, Mr Bloom. The daughter of a customer of yours. To Mr Hamilton. SAM: Yolanda come to her senses and run away from him? KEITH: So you know Yolanda. SAM: I did not. Our kids grew up together. Wh-why would you think I'd know anything about her disappearance? KEITH: He implied that there was some pretty bad blood between you two. A grudge. Sam laughs. SAM: Bad blood, huh? Well, that's one way to put it. Hatred would be another way. Oh, so he did not fill you in. When Bone was, uh, as he was fond of telling the magazines, he did not advertise the fact that he was much better off than he was. Everyone was making money. KEITH: It sounds like you are on good terms. SAM: Sounds like it. When he later did not know that he was involved in some ingenious tax evasion, I had to make a choice. Lose my practice to the IRS or talk. I thing to save my practice. Bone went back to prison. KEITH: I'm not sure I understand. It sounds like he's the one with the grudge. SAM: Well, that's not the whole story. Sam pushes himself away from his desk. He is in a wheelchair and wheels himself around the desk. SAM: About two months in his sentence, I was leaving work. A car pulled up, fired ten shots into my car. KEITH: He tried to have you killed? SAM: Well, it does not matter where I'm realizing who the real Percy Hamilton is. It's Bone. Yolanda's friend, Gabrielle, is sitting at one of the outdoor lunch tables. GABRIELLE: I mean, we might have lost track of time studying ... Gabrielle continues talking to an observing Veronica. VERONICA VOICEOVER: One thing about an ex-cop for a dad is that some boring Sunday when you've seen all the reruns, he might kill time describing, for instance, how to tell if someone's lying in an interrogation. Take Yolanda's friend Gabrielle here: the indirect eye contact, the smile that does not crinkle the eyes. Gabrielle is displaying this behavior. She breaks and looks at Veronica. GABRIELLE: So sh-she still is not back, huh? VERONICA: She's missing. She's in danger. Quit lying and tell me what really happened. Gabrielle thinks about it for a moment. GABRIELLE: We'd been sneaking out of this club in LA, Blender. The bouncer Marcel used to work for her dad. I've been seeing this guy. He's older. My parents would disown me if they knew. VERONICA: How long did you stay at the club? GABRIELLE: When did you leave me? Yolanda was still there. But she had her car. VERONICA: Thanks. I hope she's okay. GABRIELLE: [Pissed off] You think I do not. She's my friend. Who are you? Gabrielle collects her stuff and stomps off. Veronica stares after her then gets her cell phone out of her back. She punches in a number. VERONICA Hey, Dad. Something to check ... VERONICA VOICEOVER: Who am I? I was Yolanda's first friend at Neptune. Flashback to Logan, Lilly and Dick eating Chinese at one of the outdoor tables. DICK: So, new girl. What's your dad do? Duncan, Veronica and Yolanda are also at the table. YOLANDA: He's one of the Dixie Chicks. And, yeah, he makes more money than your dad. Everybody laughs. YOLANDA: Was that your real question? LOGAN: You guys ready for the biggest blow-out of all time? DUNCAN: Where are your parents going this time? LOGAN: Nepal. Logan rubber band off sweaters Lilly's wrist as she eats. LOGAN: Sherpas lug their crap up and down a mountain for two weeks so they can take pictures of a yak. Duncan cringes as Logan flicks the rubber band at him. VERONICA: While I take pictures of you in the comfort of your living room. LILLY: Happens twice a year. His parents leave town. He throws a big party and he gets busted. You must be there. VERONICA: You must. YOLANDA: I guess I must. Cut to present day Veronica, with her cell at her ear. Cut to Aaron, dressed in a dress at the end of the bed in his darkened bedroom. He is gazing at a picture in a frame. Logan enters carrying a suit. LOGAN: If you really want flowers, it seems to be the way to go. Logan drops the following on the bed. LOGAN: Here's your costume. Aaron looks over at it listlessly LOGAN: You know, it's not enough, I can order you a veil. AARON: You remember that day we went to the zoo on your tenth birthday. Aaron reaches out and takes out his hand. AARON: We told you that we were all gonna get dressed up as a favorite animal. You remember her animal. LOGAN: Yeah, it was a mermaid. Logan says his hand is from Aaron's. Aaron sighs. AARON: When it's done we have a trick on her, no one else had gotten dressed up ... [fondly] she wore that costume around the rest of the day, anyway. LOGAN: Yeah, I remember that day. [Breaks and glares down at Aaron] You've got a nosebleed. AARON: You're going to get out of the backseat because we did not buy you a monkey then when I went to grab you, you smacked your head against a window. LOGAN: I guess we just remember it differently, Dad. Aaron sighs loudly and looks away tragically. Logan throws up his hands. LOGAN: It's fine. Logan heads for the door. AARON: Have you heard from your sister? LOGAN: [Bitter] Yeah. She feels a telegram. Heartbroken. Fermare. Can not make it back from Sydney. Fermare. Underwater scene shoot tomorrow. Fermare. Entire crew said prayer for Mom. Fermare. Love you. Fermare. AARON: Logan. LOGAN: Stop? Boy, there's no people like show people. [Does jazz hands] Ya-da-ti-da. [Smiling humorously] She did not send a wreath though. Gah, it's gorgeous. Tulips and hyacinth. Probably set you back hundreds. AARON: Your mom loved tulips. LOGAN: Yeah, it was an overwhelming gesture. Aaron goes back to gazing sadly at the picture in his hand. The doorbell rings. Logan stares at his father. LOGAN: Do not get up. Aaron shows no signs of being heard or the doorbell or his son. Logan stares at him for a moment. VERONICA: [Offscreen] Where you going? Cut to Mars Investigations. Keith is putting on his coat in his office. Veronica is at her desk. KEITH: Marcel, what doorman you call me about? Number four on the enemies list. He was Bone's bodyguard until he paid too much attention to Yolanda and Bone had him fired after a symbolic meeting between his boot and Marcel's groin. Keith reaches for his car keys on Veronica's desk but she snatches them away. KEITH: Veronica, this is a Mars Investigation matter. I'm Mars. VERONICA: And who am I? KEITH: Veronica, and you're staying. VERONICA: Veronica MARS. And you're on painkillers! And the bottle says do not operate heavy machinery and a car's heavy. Keith is irritated but defeated. Cut to Veronica and Keith in the car, outside a club. The music is "The Bomb" by the Pharcyde. SONG: [Repeated ad nauseum] I can not I just can not get enough. KEITH: You? Stay in the car. VERONICA: And remember, you watch your back. I mean that medically. Keith gets out of the car slowly and Veronica watches his progress in the rear view mirror. Cut to Keith, walking up to the top of the line of people trying to get into the club. CLUB-GOER # 1: Did you get in last week? CLUB-GOER #: 2 No. Cut back to Veronica, who is now twisted around to watch what is going on behind her. She has a box with Valet stubs being fed through the slot at the top. Cut back to the bouncer at the head of the tail. MARCEL: I just let her in, man, that's it. KEITH: Bone fired you for being a little too friendly with your daughter. That did not make you a little mad? MARCEL: No, it's made me smart. I got into trouble looking at that girl. If Bone's got you after me, he must not know who was here that night. KEITH: Who was here? Cut to Keith getting back into Veronica's car. VERONICA: Where to, boss? KEITH: Heard of a rapper named Dime Bag? VERONICA: Dad, I thought you read Vibe. "Shot My Boo", "Thuggin '". KEITH: Lovely tunes, I'm sure. But you might remember the guy that Bone Hamilton supposedly dangled out of a window until he signed a contract. VERONICA: That was Dime Bag? KEITH: Number two on the list. He was here Saturday night with his bunch of dudes. Veronica winces and groans. VERONICA: His posse, Dad. The Eagles had a bunch of dudes. KEITH: Well the posse is at the Duke Hotel. Keith picks up a bag from between the seats. KEITH: What's this? VERONICA: Clues. Valet stubs. I figure even kidnappers have to park. [Off his look] I know. Stay in the car. Throwing an impatient glance at her father, Veronica starts the car. The music ends and cut to Veronica leaning against the car in an underground car park. Keith is heading towards her. VERONICA: Any luck? KEITH: Their manager said that Mr Bag is out on the town and that Dime would not talk to me, even if he were here. That is unless Bone might be willing to beg. VERONICA: So what next? KEITH: Plan B. Keith heads for the boot of the car. Veronica considers two different bugging devices. VERONICA: What do you think, the T6 or the T9? KEITH: T9. How do I look? Keith is in overalls. Veronica hands the bug and inspects him. VERONICA: Like a humble drudge KEITH: That'll do. Keith exits. Veronica still has the T6 bug in her hand and puts it in her pocket. She closed the case. Cut to the hotel lobby. Veronica is leaning against a wall near reception. VERONICA VOICEOVER: When I put Yolanda, I never imagined a year later I was waiting in a hotel lobby while my dad bugged a rapper's room trying to find her. I thought it would be a long time ago, and I would be hanging out like we did the first month, just being normal. This being of course before that word lost all meaning. Flashback to Yolanda's house. Lilly, Yolanda and Veronica, who is carrying a large bowl of popcorn, is coming down to a small stairway which is lined with framed records and discs. LILLY: Are these platinum? No wonder you do not talk about your dad. He's TuPac, he's secretly still alive. YOLANDA: He's just a producer. Nothing interesting. VERONICA: So how come he's never around? BRYCE: He's away ... Unseen by the girls, Bryce is crouching at the bottom of the stairs to Yolanda's room. BRYCE: ... on business for a little while. YOLANDA: Excuse my little brother. He's an eavesdropping little freak. Yolanda pushes him away and shows the girls into her room. LILLY: Ugh. Mine's worse. Veronica turns and glares at Lilly. Bryce is left standing outside. BRYCE: I'm doing a project. YOLANDA: Do it somewhere else, Bryce. Yolanda closes the door on him. Cut to later. Playing through the rest of the flashback is Tsar's "The Girl Who Would Not Die". SONG: I remember her The girl who would not die She said it was not true I knew it was a lie People on the street Would cry out if they knew The things that I have done To make the dream come true When she blew my mind away All the feelings were betrayed Heaven would squeeze her Hell would release her into my brain Veronica and Lilly are lounging on Yolanda's bed while Yolanda is curled up in a large armchair. All are flicking through magazines. LILLY: Okay, for my next boyfriend, Jude Law type gold Colin Farrell type? VERONICA: Next? What happened to Logan? LILLY: He's insanely jealous all the time and it's getting on my nerves. YOLANDA: I know it's not cool to admit this goal I like a jealous streak on a man. Keeps' em in line. LILLY: All yours. I'm saying his party this weekend 'cause I do not want him getting all the time. Veronica makes a face that includes sticking her tongue out and Yolanda laughs. LILLY: It's not my fault. I can not help it, VERONICA: Well if you're ditching, that means Yolanda and I will have to party for three. LILLY: Which means Yolanda will be partying for two and a half. Veronica rolls her eyes. LILLY: Oh, but we're still going that fleet thing in San Diego, right? VERONICA: Uh-huh. LILLY: It's the best. All these weird, angry bands play and hundreds of cute sailors get totally wasted and fight on the sidewalk. They all laugh. YOLANDA: You know? I'm really glad I'm putting you guys. LILLY: You should be glad. We're the best. VERONICA: Um-hmm. LILLY: Now I can not wait for San Diego. It'll be rockin 'like dockin'. It's all about it and it's going to be contrasted with Veronica's sad face as it's flashback ends and she stands in the lobby of the hotel. Dime Bag and his hangers-arrive at reception, complaining. FLUNKY: We got some problems here. RECEPTIONIST: What can I do for you? DIME BAG: Yo, y'all call that a penthouse? A pent doghouse maybe. FLUNKY: He's saying it's small. VERONICA VOICEOVER: Uh-oh. It looks like Darius Bagley's aka Dime Bag and crew are arriving home early. Not good. If they catch Dad in their room ... FLUNKY: What we asked for a big ass room. RECEPTIONIST: I'll get you switched right now. VERONICA VOICEOVER: Good news? They will not walk in on Dad bugging their room. Bad news, he's bugging the wrong room. Veronica pulls the spare bug out of her pocket coat and shifts it to her pocket holes. RECEPTIONIST: Okay, room 1411, our biggest. DIME BAG: You know, y'all could learn a little something about VIP service. While this is going on, Veronica has taken off her coat and has taken it to the corner and picked up a clipboard from the reception counter. She puts on a bright smile. VERONICA: Thank you so much, [glancing at the receptionist's name] Sarah. Uh, I'm Melinda, your hospitality hostess. I'm so sorry about the mix-up. The new help does not always get you here, I can show you to your room. Sarah is bemused but does not interfere after glancing at the apparent satisfaction of the guests at this turn of events. Ozmomatli's "Saturday Night" starts up. SONG: Dip, dive, socialize Get ready for the Saturday night Dip, dive, socialize Get ready for the Saturday night Dip (dip), dive, socialize Get ready for the Saturday night Dip, dive, socialize Get ready uh. They head for the lift, Veronica entering and pushing the button to close the door. Cut to Veronica sliding back double doors into a suite. DIME BAG: Ah-hah, yeah. Now this what I'm talkingin 'about, baby. FLUNKY: Yeah. VERONICA: So, you have your bathroom, [frantically looking round] right back there and your television, if you want to watch that. Uh, chairs for s-sitting and your, uh, the phone in case you need to make a call ... The phone is on a table with the back of a couch against which it stands. As she talks, Veronica goes to the table, and the table, she plants the bug under the table. She plays her songs and picks up the phone to hide her action. VERONICA: ... would be, just right like that. DIME BAG: All right. It's cool. VERONICA: I'll have them send you some more ... is that Crystal? FLUNKY: You're damn straight, Melinda. VERONICA: Enjoy your stay. Veronica exits with an expression of relief. Keith is waiting. KEITH: Where have you been? What did I say- VERONICA: Bathroom break. They get into the car, Keith groaning as he sits .. VERONICA: How'd we do? Keith opens a small laptop and sets the bug running. KEITH: I think we're in business. WOMAN'S VOICE: They give us this upgrade, you just watch golf like an old coot. MAN'S VOICE: {Outcome} of ten more minutes. VERONICA: Here, let me try this. Veronica types into the laptop. The Sonic Snoop on the screen changes the transmitter receiver from the T6 to the T9. New voices come in 5x5. DIME BAG: [Offscreen, through the transmitter] Yo, man, that damn hospitality hostess was lyin 'about that Cristal, man! FLUNKY: [Offscreen] And she is hot! DIME BAG: [Offscreen] If you like 'em scrawny. Keith gazes balefully at his daughter as the rapper and his friend laugh. VERONICA: [Forestalling] Just ... please, do not ask. DIME BAG: [Offscreen] Yo, man, did she leave the key for the mini bar, man? VERONICA: Now what? DIME BAG: [Offscreen] Need some drinks. Now we're gonna have some girls up- Keith slams the laptop closed, cutting off the transmission. KEITH: I get Mr. Hamilton to beg. Veronica gets out her keys. VERONICA: [Crossly] I'm not scrawny. [Off Keith's look] I'm not! Cut to the Echolls' house. Pictures of Aaron and Lynn cover a piano in a large lounge area. Aaron and Logan, both in dark suits, are walking into a corridor. Logan, collar up, stops to use the reflection for the window to his top button on his shirt. AARON: Logan. I have a pretty good idea what is going through your head. They reach the front doors. Logan looks at Aaron for a moment then concentrates on doing up his tie. Aaron pauses with his hands on the door and looks at his son. AARON: I know you blame me for your mother's death. That's okay. Our marriage had some very high highs and some [theatrically] very low lows. And I know that this hard act is putting you on your way of coping. But let's make a deal, all right? From now on, we're gonna be team. Our war's over now Logan. [Softly] It's what she would have wanted. Logan, having finished his fashion, looks at his father fairly impassively. He very deliberately donates his sunglasses then gives a peace sign. Aaron nods his head briefly and opens the door. Logan exits first and breaks, then hears the click of a camera. He takes off his sunglasses and peers around. He sees a paparazzi behind a rock. His face is twisted in rage he runs at the photographer who scrambles up and takes off. AARON: Logan! The photographer gets to the door with Logan right behind him. A crowd is on the other side of the gate. The photographer tries to vault Logan grabs him. LOGAN: Picture, man, huh? Logan, at the same time as grabbing the camera, pulls him off the gate with sufficient strength that the photographer's left on his back on the ground. LOGAN: Something real? Here's real for you! Logan raises the camera and smashes it down hard on the drive. PHOTOGRAPHER: Hey, that's a thousand dollar camera! From cringing from the threat that Logan was going to attack him, the photographer sits up and crawls over the pieces. Aaron races up, hands outstretched to stop any fight. AARON: Logan! Enough! LOGAN: You know what Mom would have wanted! She would have wanted to sleep with all her friends. She would have wanted to care for you. So okay, Dad, let's be honest. Maybe we both wished we'd be better. But she's only gone because of you. Logan holds up his hands and storms off. The crowd mutters as Aaron stares after him. He turns to the photographer gets off the ground. PHOTOGRAPHER: Who's gonna pay for my camera? AARON: I'll tell you what. I'll get buried here. [To the crowd] Hey everybody! [Raises both hands and waves] Enjoying the show, huh? Aaron turns and heads back to the house. Cut to a classroom and Bryce, performing some kind of science experiment that involves running water in a fish tank filled with earth and plants. He seems well satisfied with the results. Veronica enters. VERONICA: They said you had PE this period. BRYCE: I dropped it for independent study. VERONICA: Independent study of sand? BRYCE: Civil engineering. Soil erosion modeling in a ... urban context. VERONICA: Cool. I'm ... BRYCE: Veronica. I remember. VERONICA: Just helping you know, you know, see if we can track Yolanda down. BRYCE: Track her down? Like she just gone lost or something. Someone's got her. One of the other low lives Bone stepped on to get to the top. Whatever happened to Yolanda, it is his fault. VERONICA: He is desperate to get back. BRYCE: Hmm. Then where's the police? He's ashamed of me, you know. He's been in jail a third of my life but I'm an embarrassment. State Science Fair winner two years straight but I'm soft. Is that why you guys being stopped? You figure out our dad was in jail? VERONICA: I did not know about that. She never talked about your dad. BRYCE: So, you just drifted apart. It's too bad. She really liked you guys. VERONICA VOICEOVER: And I liked her. Flashback to Logan's party. The music is "Hey Ma" SONG: Look at the range man I was a whole new game plan Looked and said that's nothing but game Cam She was right; she was up in the Range man Dropped her off at the L, now I'm flippin 'the cell That's right I had to call up L You L, what up, I hit, what else, more dome, say word And we got it on tonight Hey my, what's up, lets slide, all right, all right And we get it on it You smoke, I smoke, I drink, me too, well good Cause we get high tonight Got droops, got Shots, got Trucks, got juice, all right Cause we take a ride tonight So my, what's up, let's slide, all right, all right And we gon get it on tonight Logan, Yolanda, Duncan and Veronica are sitting around a low table, playing quarters. Logan laughs as a quarter drops into his glass. He picks up the glass. LOGAN: [Drunkenly] Girl is deadly at this. DUNCAN: You're letting her win. LOGAN: Yep, or maybe it's going to get me drunk and she'll take advantage of me. YOLANDA: Dream on. Logan throws back his drink. VERONICA: Careful Logan, Lilly's just sick, she's not dead. LOGAN: Sick, my ass! She's jerking me around. [Giggles] She's looking sick to you earlier D? DUNCAN: Hey, leave me out of this. [To Veronica] We need to get you home. Remember the last time, Homecoming? Veronica, on Duncan's lap, groans in acknowledgment. She starts to move, Yolanda on both cheeks. VERONICA: Gotta go, yo. YOLANDA: Make a tree, Veronica and Duncan leave Logan and Yolanda to the game and head downstairs. DUNCAN: So, Yolanda seems cool. VERONICA: Oh is she? I've got a good eye. They are halfway down the stairs when Veronica breaks. VERONICA: Oh, shoot, my purse. I'll be right back. Duncan carries on down as Veronica runs up the stairs. VERONICA: Hey, if you guys are still conscious, have you seen my- As she crests the stairs, Veronica stops in shock. The music stops. Logan and Yolanda are kissing. Both seem into it. Cut to Neptune High, still within the flashback, as Lilly and Veronica thread their way down to a crowded hallway. LILLY: They what ?! VERONICA: It was a second look. Let me ask Yolanda about it. LILLY: I do not know a Yolanda, do you? Veronica stares at Lilly, distressed. Cut to present. Veronica exits. KEITH: [Offscreen] We know he has a motive ... Cut to an office at the Hamilton's home. Bone is at the desk with Keith. Vanessa stands anxiously on the other side of the desk. KEITH: ... he was at the club and he will not talk to me. He's the best lead we have right now and we need to know what he knows. Bone is not a happy bunny. VANESSA: [Impatient] Percy, this is not business, this is your daughter. BONE: Look, I ... I know this is my daughter. He snatches up the phone receipt, his apparent distaste. RECEPTIONIST: [Offscreen, on phone] Villa Marquis. May I help you? BONE: Room 1411. RECEPTIONIST: [Offscreen] One moment. Bone sinks to his chair. "Living It Up" by The League plays. The camera cuts between the two as they talk. DIME BAG: Yo, what up? This is Dime Bag. BONE: It's me, Hamilton. DIME BAG: Whoa ho ho ho. Heard you got a little personal problem. BONE: Man, look, II-I'm just calling to see if you know anything about Yolanda. DIME BAG: Yolanda, huh? I can know a little something about that. Why, what's up, what's the deal? BONE: Look, man, wh-whatever you got against me and you- DIME BAG: Bones, I just wanna hear you beg and I'll tell you where she's at. This is like me holding you out of a window. BONE: Damn man. DIME BAG: Wa-wait, now hold on, Bone. Saying "Damn, man" is not begging. Bone gets fortitude from the picture he is holding of himself and Yolanda when she was a toddler. BONE: Dime Bag, man. This is my daughter. If you could help me get back ... I'm begging. DIME BAG: You almost like a little woman there, Bone. But you know what? To tell you the truth. I do not know nothin 'about Yolanda. I mean I can have seen her at the club for a minute, now that was it. All right? So why do not you go back to crying and leave me alone, you little bitch. Bone blusters then slams the receiver, breaking something in the process. KEITH: Wait, wait. Ju-Quiet. The Sonic Snoop is open on Bone 's desk and they listen. DIME BAG: You should have heard this fool cryin '. [In cruel caricature] "Yo, Dime Bag, man, that's my daughter." Sounds like a little bitch. FLUNKY: Hey! She is fine though, man. I would not know what I'm sayingin '. Bryce wanders in the room and listens, unobserved by the adults. DIME BAG: Man, who do not you think is fine. I would be nice though, huh? Bones' little Miss Princess locked up in a closet somewhere, available whenever, huh, I mean, if that was possible, right? Bone can not take it anymore and slams the laptop shut. He stands, breathing deeply and spots Bryce. BONE: What are you lookingin 'at boy? Bryce stares at his father at a time then turns and walks away. Cut to the parking stubs, spread out over Veronica's bedroom desk. She is on her laptop while Wallace spells through them. [SCENE_BREAK] WALLACE: Look at all these valet stubs. Man, I'm in the middle of a hot shot of dudes and making out with sexy widows. VERONICA: Sexy widows show up later. [Sees something of interest on the screen] Hey! WALLACE: What? VERONICA: Bloom. My dad talked to a Sam Bloom but ... he's in a wheelchair. The record page for the Blooms. The first record is from the Division of Motor Vehicles for Benjamin Bloom: 08-15-2004 - Warning - Loitering, reported by neighbors. There is another entry for Rebecca Bloom: 05-30-1995 - $ 150 Fine - Parking Within 10ft of Hydrant Fire. Underneath are Samuel Bloom's subscriptions which are exactly identical in every detail to Samuel Mackenzie's subscriptions seen on "Silence of the Lamb" (tsk, tsk props guys, do not you know you've gotten a cult show here - fans look at this stuff, or maybe it's just me). WALLACE: Benjamin Bloom. VERONICA: Hold the cigar, I'm not done yet. She brings up the personal detail page. It was Samuel Bloom's born on November 22, 1961, and his wife Rebecca nee Leibovitz was born on July 1, 1965. Under children, Benjamin (born in London) 1985. VERONICA: Sam Bloom Esquire has a named Benjamin who was at the club the night she disappeared. I'll take that cigar now. Cut to the Echolls' home. Lynn's wake is in progress. Flowers are everywhere and people in dark suits wander about fairly aimlessly. Logan Enters, playing a hand as he approaches various people .. LOGAN: [To a gray-haired gentleman] Thanks for coming out. GENTLEMAN: Our pleasure. LOGAN: It means a lot to the family Logan shakes his hand with gusto and a little too long. LOGAN: Thank you. [On spotting a woman, click and point at a finger gun at her] Nice to see you. WOMAN: Logan. LOGAN: It's good to have friends around. She takes his hand and pecks him on the cheek. WOMAN: I'm so sorry. LOGAN: It's good to have friends around. He moves on to an elderly couple. In mock seriousness, he takes the woman's hand. LOGAN: My father thanks you. ELDERLY WOMAN: You're welcome. LOGAN: My mother thanks you. [Pause] I thank you. Logan moves on again, taking a deep sigh but it's part of the act. He seems to be taking piss out of the whole affair. He sees another patsy and race up to him, grabbing his shoulders and grinning. LOGAN: I'm glad you're here. As he shakes the man, it can be seen that MAN has something in his left hand MAN: [Somewhat taken aback] Thank you. He walks on, blowing out a breath and playing with the item in his hand; a lighter, opening and closing it. Harvey Greenblatt, Aaron's agent, is talking intently to Aaron. Logan comes out for the first time, seems genuinely engaged. HARVEY: ... Aaron, this is a little awkward goal, uh, the studio's been calling non-stop. They just can not wait any longer. Now I know it's a hard time but we do not want them for somebody else and, uh, I think I should just give them a call, make the deal, just make sure. AARON: Good god, Harvey, this is my wife's funeral. LOGAN: [Hard] So Harve. Harvey turns and sees Logan. LOGAN: Hey. Harvey nods and smiles LOGAN: Do you think next time we have these things that ICM will let us use the boardroom. You know, so there's no travel, no trailer size negotiations. I do not know, it's just a thought. Harvey stares at Logan, uncomfortable. Logan walks closer and seems to be addressing Harvey's goal by the end, he's staring at Aaron. LOGAN: Can I get you anything? Mimosa? Finger sandwich? [Bitterly] A tissue? Logan turns and walks into the house. Harvey sighs heavily and then turns back to Aaron. HARVEY: Look, I-I'm sorry, I ... this is an awful time but ... we do not want the studio to move on somebody else- AARON: Harvey! [Holds up a finger] I do not want you to negotiate this deal for me. In fact, I do not want you to bargain for me. Aaron pats Harvey on the arm and heads back to the house. HARVEY: Are you firing me? Aaron breaks at the door and turns back to Harvey. AARON: No, I'm not firing you. I'm out of the business. I'm done. Aaron uses the Echolls raised in his hands and goes into the house, leaving a gutted Harvey behind. Cut to Logan's room. One of the most popular WEGA flat screen TVs, which has been written with Zelda type game is in progress. TV: Your health is critical! Logan is sitting at the end of his bed, intent on the game. He has taken off his jacket and loosened his tie. There is a knock on the door and Duncan steps in. DUNCAN: What are you doing? LOGAN: Trying to get this magic amulet but it takes concentration so it could keep it down. DUNCAN: Logan. It's your mom's funeral reception. Maybe we should- LOGAN: It's not my mom's reception. It's his. So you want to eat crab puffs and discuss today's "Variety", knock yourself out, man. Thanks for coming, it really means a lot to the family. DUNCAN: Logan, I'm your friend, and I'm starting to get a little worried. Logan finally stops staring at the screen and laughs, throwing the controller onto the floor. LOGAN: And now I'm dead. Duncan is not reassured. Logan slaps his hand. LOGAN: None of this matters, man, do not worry. Logan gets off the bed and walks over a chest of drawers by the window. DUNCAN: What are you talking about? Logan gets the lighter out of his pocket and starts playing with it again while leaning on the chest of drawers, gazing at a picture of he and his mother. LOGAN: You know Mom's dad fought in the Korean War? Duncan shakes his head. LOGAN: Uh. Well, he got this lighter in Seoul. He was taken over when he was captured. He and his buddies escaped and he had it engraved. Logan throws the lighter to Duncan who catches it with one hand. He looks down at it. The engraving reads: FREE AT LAST. LOGAN: And it was always in her purse. But she left it on her trainer the night she disappeared. [Off Duncan 's blank look] It' s a sign. Duncan still does not understand. LOGAN: You know, man, come on, I mean, she hated all this, she hated him. [Laughs] They did not find a body because they were not dead. Logan recovers the lighter from Duncan and holds it up. LOGAN: She just escaped. Logan laughs again but Duncan is seriously concerned about his friend. Cut to Sam Blooms office, where he is at his desk. SAM: No! As far as I know, Ben does not hang out at hip hop clubs. Keith is standing in front of his desk. KEITH: Then why was he there? He was at the club Yolanda disappeared. SAM: Well, II am sure there is some explanation. KEITH: Did you know that he got a traffic warning last month? A neighbor had called someone who was watching the Hamilton house. How did he feel about the shooting? SAM: Outraged. What else could he be? KEITH Where's he now, Mr. Bloom? SAM: He's at USC. But you will not find him there. He and some friends are in Mexico hiking. Can not be reached. KEITH: You hear from him, you let me know. Keith leaves. Sam looks worried. Cut to Mars Investigations. Veronica is at her desk as Keith enters. VERONICA Hey Dad. Did you find Benjamin Bloom? KEITH: No, but his dad seemed squirrelly when I asked how he was. How's your sorority speak. VERONICA: Like awesome! Why? Cut to later. Veronica is on the phone. VERONICA: Hi, is Ben there? Oh, is this his roommate? Cool. Um, hi, this is Lisa, I put Ben last fall on this beach blanket bingo mixer. Keith motions to her to move it on. VERONICA: Yeah, it's a boring story. But, um, I need to talk about something involving crabs and I heard that it was going to Mexico with some of the guys. [Listens] Oh. [And again] Really? Uh, thanks. KEITH: Crabs? VERONICA: No Mexico. Roommate said he's been acting kinda weird but he left alone last week. But he said he saw something on his desk. A hotel confirmation number for Vegas. Keith picks up the phone receiver and dials. KEITH: Tom Decintio please. [Breaks] Tom! Keith Mars. How's Vegas? [Listens] Yeah, yeah, I got somebody here. Veronica holds up her notebook. KEITH: Benjamin Bloom, license 4-PC-1-0-7-5. Might be in one of the hotels. Thanks. Keith ends his call and looks down on Veronica, who sighs heavily. Keith perches on the edge of her desk and leans over her back and massage. KEITH: You've been working overtime on this, kid. Hmm. You said she's a friend? VERONICA: Hmm, something. VERONICA VOICEOVER: What was that word again for almost friend. As Keith moves to a massage both her shoulders, flashback to the school outside. Yolanda runs to catch up with Veronica, who keeps walking, Yolanda to keep pace. YOLANDA: Veronica! Can you talk to Lilly? I heard what Logan said about that night and it's totally untrue. I did not do anything. VERONICA: I saw it, Yolanda. Veronica stops and looks at Yolanda. YOLANDA: We were just talking, you know, and he just kissed me. The story, I threw myself at him? I'd never do that. Please, make her understand. VERONICA: I do not know, sometimes she's really- A car horn honks. Lilly is in her car, at least one other girl is in the back seat. Lilly is shielding her eyes against the sun, shouting. LILLY: Veronica! Come on. San Diego's waiting. Veronica looks back and smiles at Lilly. LILLY: In or out, Veronica? In or out? YOLANDA: I swear, he kissed me. It did not go anywhere. I do not want to blow it here. Lilly, impatient, blows the horn to a couple more times. Veronica looks back at Lilly who does "what are you going to do" gesture. Veronica turns back to Yolanda VERONICA: You should have known better. Veronica turns back on Yolanda, leaving her standing, and heads for Lilly's car. VERONICA VOICEOVER: Do I tell my dad that his fiercely non-compliant daughter has a fresh face? Cut back to the present. Bone enters Mars Investigations. BONE: Hey, we need to talk. Cut to Keith's office. He hands Keith note. BONE: It came an hour ago. They want a half million if I am ever to see Yolanda alive again. KEITH: Okay, I know this is hard to believe. [Examining the note] This is strange. BONE: Strange how? KEITH: Well you get that ransom demand and they give you the details of the drop at the last minute so you can not stake it out but this guy, he gave it all. The time, the place ... BONE: That's' cause he's stupid, man. Look at the top. KEITH: [Reads] If you want a little Miss Princess back home ... BONE: Yeah, that's what we heard on the bug. "Little Miss Princess." It's Dime Bag. Hey, if I do not get my daughter back, somebody Keith nods. Cut to Bone's home office. He is loading cash into a briefcase as Keith enters. KEITH: That the money? BONE: Five hundred plus the GPS tracker and the dye pack you put in here. Bastards will not even make it a block. KEITH: Look, Mr Hamilton, I know we're talking about this goal. BONE: And I've already told you I do not use for the police. I have my justice right here. Three heavies have come into the room, behind Bone. Keith sighs in frustration. KEITH: Look. This is not the way to deal with this. If you care about your daughter, you'll go to the cops. BONE: Hey. If the cops were so great, why are you still one, huh? KEITH: Mr Hamilton. I can not be party to this. BONE: Then you've done you're bit. Check in the mail. BONE hands the box to one of the heavies BONE: Load it up. Let's roll. Keith watches this unhappily and turns to look at Vanessa, stood behind him. She shakes her head and is nodding in understanding. VERONICA: [Offscreen] I thought you were fired. Cut to a Neptune street. It is pouring with rain. Keith has his arm around Veronica 's shoulders, holding her close as they share the same umbrella and slowly walking down the street. VERONICA: Why are we here? KEITH: Trying to save the girl. This is the dumbest kidnapper ever or the smartest. I mean, it gives the drop in advance and it's the worst possible spot. There's no escape routes. It's totally open to surveillance. I mean, getting away with the money will be impossible. Veronica seems to have an idea of ​​the rain, the people and the water pouring down the drains. VERONICA: Maybe not totally impossible. Cut to Veronica with a carrier bag filled with yellow plastic ducks. Keith holds one up. KEITH: Oh, Veronica ... this is really fatping at straws. VERONICA: Make yourself useful. Get those things in a row. Veronica starts the car. Cut back to the street where Bone is pacing. Cut back to Veronica and Keith, using the tracking device in the car. VERONICA: Any signal yet? KEITH: Yeah, take this right. Back to the street, Bone is waiting. He nods to his heavies who are spread around the area. His cell phone rings. He pulls it from his pocket. BONE: Yeah. The voice on the phone is digitally disguised. VOICE: Do you see the taxi up the street? There is a taxi idling up the street. BONE: [Looks] Yeah, I see it. I got the money. VOICE: Go to the trash can on the corner. You'll find a plastic football. Bone retrieves a football. BONE: I got it. VOICE: You can keep your cash. That's a million dollar ring that you like to wave to people inside the football and throw it down the storm drain. I'm watching you. The cab will not stop unless you've done this. Do it now. Bone takes off his ring and inserts it through a slit into the ball which he throws down the drain. BONE: All right, it's done. Now what? The cab moves forward. The voice on the phone is replaced by a dialling tone. BONE: Hello! Hello! [Shouting at the heavies] It's the car. Get that car. Armed, they race to the cab. They open the back doors. It's empty. BONE: Where is she? [Banging the top of the taxi] Damn. They stand around, flummoxed. Cut to a storm drain. Little rubber ducks are popping out. Bryce watches, confused about the ducks but smiles when the football turns up. He grabs it. VERONICA: Hey, Bryce. Bryce is startled as Veronica comes up behind him. He turns and sees Keith not far behind her. BRYCE: How'd you guys find me? VERONICA: Whoever did this dumb or really smart. Veronica picks one of the ducks and removes a bug from it. VERONICA: You're really smart. BRYCE: Yeah, so are you. Cut to the side as they walk up from the storm drain. Keith walks behind them, speaking on the cell phone. VERONICA: So she was never kidnapped? BRYCE: No. She just ran off. VERONICA: How do you know? BRYCE: She always thinks I'm not around but I hear things. VERONICA: Eavesdropping again, huh? BRYCE: She was on the phone talking about someone at the club, running off forever. I rode in the trunk when she left Gabrielle's for LA. Drove the car back, made it seem like she'd been abducted and that was that. VERONICA: God, Bryce, why? BRYCE: Trust me. You would not understand. VERONICA: But Yolanda, is she okay? BRYCE: As far as I know. I think she is trying to get my dad's attention. I may have stolen some of her thunder. KEITH: [Into his cell] So she's okay. [Breaks] No kidding. Thanks Tom. Here's what we'll do. Cut to the Hamilton home. Bone is sitting with his head in his hands while Vanessa paces. Bryce enters followed by Keith and Veronica. VANESSA: Bryce! Where have you been? KEITH: Mrs Hamilton, Mr Hamilton, I think there's something Bryce wants to tell you. Bryce slaps the ring on a glass table top. BRYCE: You lost your ring. Bone picks it up and looks at it. KEITH: Your daughter was not kidnapped. She's just run off. Bryce here's the one who wrote the note. BRYCE: [Off his parents astonished looks] Well, you can be mad, Dad. But you can not call me soft. BONE: No. I guess I can not. VANESSA: Bryce, my god, where's Yolanda? KEITH: She for yourself. Keith steps forward with the laptop. KEITH: She can see you. The pinhole at the top of the screen is a camera. Keith sets the laptop on the table. Yolanda appears, a boy behind her. YOLANDA: Ma? Dad. Here's the good news. I'm fine. And I'm married now. VANESSA: What? YOLANDA: I'm Mrs Benjamin Bloom. Which is why? I'm telling you and I'm blowing you just ... get over yourselves and make up, we're not coming back. BONE: Okay, look here baby girl. How many times do I have to tell that I did not order that drive-by. YOLANDA: You let everyone believe you ordered because it gave you cred. Never mind it just turned me and Bryce into gangster's kids. Bone looks up at Bryce. YOLANDA: Give us your blessing. And, um, we'll come home. After the honeymoon. Bryce scratches his head, unwilling to comply. YOLANDA: All right then, be like that. Yolanda leans forward on the screen and switches off the camera Cut to Veronica's room. She has the camera in place and it is trained on the same Las Vegas hotel room. Yolanda comes into view. YOLANDA: Veronica? Is that you? How did you ... VERONICA: I just wanted to say congratulations on the marriage and I'm sorry. I should have been a better friend. YOLANDA: Veronica, if I had been in your position, I would have done the same thing. There's a sharp knock on the front door. Cut to Veronica making her way across the dark lounge to the door. She opens it. It's Logan, arms wrapped around himself. VERONICA: [Perplexed] Logan, what are you doing here? LOGAN: I want you to find my mother. End.
Lord of the Bling