Veronica investigates a woman's fiancé, but finds that the only secret he has been concealing is that he is independently wealthy. Meg's sister asks Duncan to help retrieve information from Meg's laptop before her parents find it. The man who Alicia met in Chicago comes to Neptune, and Keith finds out that he is Alicia's former husband and Wallace's father.
VERONICA VOICEOVER: Previously on Veronica Mars... Veronica runs towards the site where the bus drove off the cliff in 201 Normal Is the Watchword. GIA: It just went straight off the cliff. They're all dead. Duncan holds Veronica as she looks down at the wreckage. Cut to Java the Hut, behind the counter in 202 Driver Ed. DUNCAN: This isn't your fault. VERONICA: If it wasn't for me, Meg would have been in the limo. She wouldn't need a machine to breathe. Cut to the lunch area at Neptune High, as Jackie approaches Wallace and Veronica, from 203 Cheatty Cheatty Bang Bang. WALLACE: You met Jackie, right? VERONICA: I didn't realize you were lunch buddies. WALLACE: I like her, okay? Cut to Java the Hut, as Veronica sees to Jackie and her "friend." JACKIE: Hey Veronica. VERONICA: Hey Jackie and Random Dude. JACKIE: This is Veronica, the girl I was a total bi-atch to. Cut to Lamb examining Curly Moran's body at the beach in 202 Driver Ed. LAMB: Hey, check this out. "This" is Curly's hand on which is written "Veronica Mars." Cut to the Sheriff's Department where Veronica is being questioned in 203 Cheatty Cheatty Bang Bang. LAMB: Mr David "Curly" Moran, never seen him before? VERONICA VOICEOVER: I have seen this man before. Flashback to the makeshift memorial for the victims of the crash at the site. MORAN: Thanks. Return to the interrogation room as Veronica looks at the picture of her name on Curly's hand. VERONICA VOICEOVER: Why would this man have my name magic markered across his hand? Cut to Symbolic Motor Car Company, as Veronica looks at the picture of Curly and Aaron Echolls. VERONICA VOICEOVER: What was it Aaron wrote to Curly on that picture? All these years... Cut to the poster of "The Long Haul," hanging on the wall at Logan's house. VERONICA VOICEOVER:...still on "The Long Haul." Featuring a stunt performed by David "Curly" Moran. Cut to the Presidential Suite at the Neptune Grand. VERONICA: The bus crash, it was meant for me. Cut to Chicago, as the lift doors close on Alicia and Keith at the Rossmore Hotel, cutting them off from the man chasing them. CARL: Hey, Cher! KEITH: You know that guy? ALICIA: No. End previously. INT - MARS INVESTIGATIONS (MI) - DAY. The office is littered with posters, including one that says "Vote Keith Mars - Balboa County Sheriff," and stickers for Keith's campaign. On some of the posters, a "logo" is present, three seven-point stars with the middle one filled in. Veronica is at her desk, on the telephone. VERONICA: Hi, can you tell me if Meg Manning has been moved from the intensive care unit? An-and what are the visiting hours? Veronica makes a note. VERONICA: Thank you. As she puts the phone down, a woman marches in, all of a-flutter. VERONICA: Can I help you? JULIE: I need to hire a detective. VERONICA: Right place, wrong day. Ah, we're not usually open on Sundays. JULIE: This is kind of an emergency. I need to investigate my boyfriend...or, I guess my potential fiancé now that I found an engagement ring in his gym bag. VERONICA: You found it in his-- JULIE: I need some serious, serious answers. VERONICA: I can take down your information and make sure Mr Mars gets it first thing. The woman takes a seat opposite Veronica. JULIE: His name is Collin Nevin. Veronica writes down the name. VERONICA: Okey-dokey. Start with the basics. Our standard package, your garden variety background check, criminal record, aliases. JULIE: I need way more than that. VERONICA: Well, there's our premium package. Mr Mars'll get to know a few friends, chat up an ex or two. JULIE: Which is exactly what I'm afraid Collin's doing. Look, Collin lives off a trust fund. He has a lot of free time. I'd like to know how he spends it. VERONICA: Well, there is our silver package. JULIE: What's the silver package? VERONICA: Premium package plus surveillance, phone records, email monitoring. It's basically an all-access pass to what he's doing when you're not looking. JULIE: I'll take it. Her cell beeps. JULIE: Oh...it's him. He thinks I'm at yoga. She hands Veronica a card. VERONICA: Great. Ah, well, Mr Mars will review your case, Miss Bloch, and he'll be in touch tomorrow. Julie Bloch heads for the door just as Keith enters. VERONICA: Ah, man of the hour. Keith Mars, Julie Bloch. Julie shakes his hand. JULIE: Looking forward to working with you, Mr Mars. She exits, leaving Keith a little bemused. KEITH: Huh! Nice. He closes the door behind him. KEITH: Jumpy fiancée? VERONICA: [enthusiastic] Jumpy potential fiancée...with cash to burn. She practically handed me a blank check. KEITH: You're supposed to be here organizing the office, not soliciting clients. Maybe you haven't noticed, I'm running for sheriff? I can't even get to the cases I already have. VERONICA: Well maybe I could help. Just with the little stuff, nothing that requires body armor. KEITH: Veronica, you don't work here; you work at Java the Hut. VERONICA: Yeah, that tip money's gonna pay for Stanford. KEITH: No, but the Kane Scholarship will, so use your nights to study. Now please, call Miss Jumpy and tell her I can't take this case. Veronica slaps down her pen, sighs loudly and picks up the phone. Keith watches her for a second, then heads for the kitchenette, looking back to make sure she is doing it. VERONICA: Julie, hi. It's Veronica from Mars Investigations. I'm really sorry, but Mr Mars is unable to take on any new cases at this time. Recommendation? Ah, Nick Harris Detectives is always good. Keith nods his approval in the kitchenette as he pours himself a coffee. VERONICA: If you're looking locally, Vinnie Vanlowe is a respected detective. Keith puts the pot down hard and looks back at his daughter in disbelief. The camera pulls closer to the phone in Veronica's hand, close enough to hear the dialing tone. VERONICA: I'm really sorry about this Julie. Uh, I hope it all works out. We wish you the best. Veronica puts the phone back on the receiver. She casts a glance at her father and, once his back is turned, rips the sheet of paper on which she wrote Julie's information from the pad, folds it and puts it, with Julie's card, into her back pocket. VERONICA VOICEOVER: The only way I'd ever make two grand in a week working at the Hut is if they installed a pole. Dad might be too busy for Miss Brightside but I think I can pencil in some time to make a couple quick G's. INT - JAVA THE HUT - DAY. At two of the small sofas, Veronica, not in uniform, sits with Julie, coffees on the table between them. VERONICA: Mr Mars thought that due to the nature of your case, it might be beneficial for you to have a detective of the female persuasion. JULIE: Aren't you awfully young to be doing this? VERONICA: It's amazing, I never get tired of that question. Julie, why do you suspect that Collin is up to something? Veronica gets out another pad, ready to take notes. JULIE: My family is wealthy, like, very. I tend to fall for guys who nail the girl who's teaching my spin class while letting me pay his rent. Money isn't supposed to matter, so I'm letting Collin think I'm regular old middle class. VERONICA: I see. Well, is there something that's prompting your concern right now? JULIE: Phone calls...at late hours. Lame excuses for getting out of the house. Lately, it's tennis. There is a framed photo of a woman on his bar. VERONICA: Okay. Ahh, got it. I'm on it. JULIE: Thanks. INT - FENNEL RESIDENCE - DAY. Alicia carries a glass to the kitchen from the dining area, where Darrell lingers in the background. ALICIA: Wallace. Wallace is in the kitchen, at the sink. The refrigerator door is covered in Fennel family pictures. Do you have a shift at Sac-N-Pac tonight? Wallace grabs his keys and makes his way back into the dining area and the front door. WALLACE: No. [boasting] Hottest girl in school asked me for some help with the Trig. I'm gonna give her a hand. Alicia follows him. ALICIA: You need help with Trig. WALLACE: In fact, I might give her both hands. Darrell picks up his backpack and looks up at his brother. DARRELL: Are you hitting that? Wallace laughs, as does Alicia, despite herself. ALICIA: Darrell! EXT - FENNEL RESIDENCE - DAY. In the driveway, Wallace gets into his car and drives off as Alicia and Darrell come out of the house. Alicia waves at him but falters when she sees the man from Chicago drive slowly past in the opposite direction, in a white SUV. They stare at each other but he does not stop or slow, disappearing around a corner. Opening credits. EXT - RUNNING TRACK - DAY. Various people are using the track. A camera focuses on one man in particular, running in sunglasses. The camera whirs as many shots are taken. Veronica is in the stands, taking the pictures. Her cell rings. She checks the number before answering. The camera switches between the two of them, with Julie coming down the stairs at her home. VERONICA: Hi, Julie. JULIE: Find out anything? VERONICA: Yep, you can rest easy. He's on his eighth lap and I'm on my way to Starbuck's, 'cause I gotta say...spying on Collin? A little boring. JULIE: I looked up his caller ID history. He's had twenty calls in the past six days from the same number. Don't you think that's odd? VERONICA: It's worth looking into. What's the number? I'll-- JULIE: I already sent it to you. Don't forget, tomorrow he has tennis. INT - MI - DAY. Keith is in his office. ALICIA: [offscreen] Knock knock. Keith looks up and footsteps sound in the outer office. Hips appear at his door, swaying, and a hand holds a paper bag. KEITH: Tell me that's a ham and cheese sandwich. Keith rises as Alicia walks into the office. They meet partway. Keith grabs the bag. ALICIA: And I almost went for the chicken salad. KEITH: Ohh, you just fulfilled one of the top ten male fantasies. Oh, yeah, a guy dreams his whole life of a beautiful woman bringing him a sandwich. Keith gives her a long, thorough kiss. She strokes his cheek as they part. Keith stuffs the sandwich in his mouth. ALICIA: Do you have a spare gun that I could borrow? Keith freezes, sandwich still in his mouth. He pulls it out and puts it back in the bag. KEITH: That depends. Who do you intend to shoot? ALICIA: The guy who called out to me in the club in Chicago. "Cher"? He was my old boyfriend and Cher was his nickname for me. KEITH: When we were in Chicago, I asked you-- ALICIA: I know. He caught me completely off-guard. We dated almost twenty years ago before I was married. And I was young, and naive...and he was crazy. KEITH: So where does the gun part come in? ALICIA: He drove by my house yesterday morning. He's tracked me down. KEITH: There's no way I'm letting you take a gun you don't know how to handle to a house with a seven year old. So, I'll give you something a little safer to curl up with at night. ALICIA: What? Keith gives her a goofy grin. ALICIA: You? He maintains his funny face. She laughs. ALICIA: What do we tell the kids? Keith waves his hand in a chop near his throat. KEITH: [whispers] Nothing. He smiles. INT - FENNEL RESIDENCE - DAY. Alicia, a little frazzled, slips a pancake from one pan into another which holds its own pancake. She takes the pan with the pancakes to the dining area where Wallace and Darrell are sitting with plates full of scrambled egg and bacon, and glasses of orange juice. ALICIA: I think I cooked these too fast. I got a late start this morning. Alicia adds the pancakes to their plates. WALLACE: Mom, you okay? ALICIA: Uh-huh. WALLACE: Why don't you just sit down and eat? There's a knock on the French doors. It's Keith with a large paper bag. ALICIA: Ahh, nice surprise. Alicia lets him in. KEITH: Good morning. ALICIA: Hi. KEITH: I was out early doing some surveillance...thought I'd stop by, say hi... He puts the bag down on the table. ...and send the Fennel men to school with a belly-full of sugar. Wallace digs straight in. WALLACE: [with mouth full]Keith Mars for Sheriff. Keith chuckles. INT - NEPTUNE HIGH SCHOOL (NHS), HALLWAY - DAY. Veronica heads for her locker. Wallace is already at his, sorting through his books. VERONICA: My dad spend the night at your place? WALLACE: Yep. VERONICA: He do the AM-donut-fake-out run? Wallace pulls the bag of donuts from his locker. WALLACE: Want one? Veronica's head does a little shake. Unseen by either, Jackie arrives and slaps Wallace on the bum. Wallace twists around, grinning as Jackie laughs. JACKIE: [shouts] Get back, ladies, he's mine! Veronica is disapproving. You really are a basketball star, aren't you, I mean I'm not just smacking the ass of some Dungeons and Dragons geek, right? VERONICA: Oh, he's a star. Just ask him. WALLACE: [to Jackie] Come on. Let's go. Wallace and Jackie walk down the hall together. Jackie puts her arm around his shoulder, stroking his hair. Wallace's arm is around her waist. Veronica, sour-faced, slams her locker shut and watches them go. EXT - FENNEL RESIDENCE - DAY. The man from Chicago creeps up to the window, peering into the house. He tries the window. The whir of a camera is heard. Keith is tucked behind a corner of the house, taking photographs. KEITH: Smile. The man stops trying the windows and turns to face him. KEITH: Oh, yeah, work it, work it. Work it. CARL: You're gonna be pulling that camera out-- He stares to walk towards Keith who pulls back his jacket to show his gun. KEITH: Ah-ah... The man sees the gun and stops. KEITH: ...light's much better where you're standing. The man smiles. CARL: Keith Mars, former sheriff, private detective, author. KEITH: Wow. Carl Morgan, three years Lompoc, assault and battery, cocaine possession, intent to sell. We should really give our publicists pats on the back. CARL: I expected you to become a problem at some point. KEITH: There's a flight to Chicago leaving San Diego at 4:45, you need to be on it. The next time I shoot you, it won't be digitally...unless I hit you in the finger and then we'll have a big laugh about it. Morgan laughs. CARL: Your old lady took something of mine. I'm not leaving 'til I get it back. He winks, then turns and walks away. KEITH: She's not my old lady. She's my special lady friend. Morgan doesn't stop. EXT - NEPTUNE HOSPITAL - DAY. A car pulls up outside the entrance. VERONICA VOICEOVER: Hospitals wig me out, but... EXT - NEPTUNE HOSPITAL - DAY. Veronica walks up one of the corridors, checking numbers as she goes. She is carrying a bunch of flowers. VERONICA VOICEOVER: ...I've put this off for too long. It's time I see Meg. She stops, having found the right door. She hasn't seen Duncan behind her, sitting on one of the chairs. DUNCAN: Veronica? Veronica whips around. VERONICA: [surprised] Duncan? I...didn't know you were... Duncan stands. VERONICA: How's Meg? Before he can answer, the door behind Veronica opens. A middle-aged couple exits the room. MR MANNING: [to Duncan, angry] You again. Why do you come here every day? How many times do I have to tell you? Veronica looks quizzically at Duncan. MR MANNING: We never want to see you again. Now stay away from our daughter. The woman shakes her head. MRS MANNING: [to Veronica, tearfully] And you, I mean, how can you come here? Don't you know that you presence is upsetting to us? From behind them, Lizzie Manning exits the room, holding the hand of a little girl. Lizzie is very different to the girl last seen in 108 Like a Virgin. Gone is the bleach-blonde hair, the make-up and the provocative clothes. Her mousy blonde hair is pushed back by an Alice band, her face is clean and she is in a school uniform. The little girl has either been crying very hard or she has two black eyes. She cowers behind Lizzie's skirt. DUNCAN: We care about Meg. LIZZIE: Mom, he-- MR MANNING: Quiet! If you really cared about Meg, she wouldn't have been on that bus. INTERCOM: Dr Godot, Nurses Station Three. Dr Godot, Nurses Station Three. Duncan has no answer and walks away. Veronica sets the bunch of flowers down on the chair on which Duncan was sitting and follows him. Mrs Manning drops her head and Mr Manning puts his arm around her as Veronica and Duncan walk away, down the corridor. VERONICA: You didn't tell me about-- DUNCAN: What, that Meg was important to me? INTERCOM: Dr Roberts, Floor Stat, Dr Roberts, Floor Stat. VERONICA: About her parents. Duncan pauses as Veronica walks on in front of him. He regrets snapping at her. He hurries to catch up. DUNCAN: Look, wanna go eat or something? VERONICA: Can't. Work. Gotta go watch a tennis match. Veronica hurries out, leaving Duncan standing. EXT - NEPTUNE STREET - DAY. Collin, in silver Jaguar, pulls into a driveway of a house. Veronica pulls up in the street just beyond. She photographs him approaching the front door. VERONICA VOICEOVER: Well this isn't a tennis court. What are you up to, Collin? He knocks on the door of the house, which bears the number 8520. A woman answers and greets him with a hug. Veronica takes more pictures. Collin and the woman disappear into the house. VERONICA VOICEOVER: No good, it appears. What is it with men? Never where you expect them to be. Veronica transfers the pictures from her camera to her laptop. Underneath the TZAR FX window, which is downloading the latest pictures, are a couple more windows, including an email she's already prepared, addressed to Julie Bloch, entitled "Collin: Sit down before reading." In it she says, "Attached are the photos of Collin I took today, so sorry." The latest pictures appear, numbered 24 to 36. Veronica picks up her phone and dials. JULIE: [offscreen] Hello? VERONICA: Julie? It's Veronica. Another window has appeared underneath the email, setting out Veronica's menu: Network - Perseus - MINIBITES - Desktop - veronicamars - Applications - Documents - Movies - Music - Pictures. On the right, on the desktop, she has: MINIBITES - Cases - Collin Nevin - Newspapers - Photographs - School Work. VERONICA: Can you check your email? I'm sending you some photos right now. She adds the pictures to the email. VERONICA: And do you know anyone who lives at 8520 Primrose Lane? JULIE: [offscreen] No, why? VERONICA: I'm afraid I've got some bad news and some more bad news. First, Collin's not playing tennis and second, that number that showed up twenty times on his caller ID? JULIE: [offscreen] Yeah? VERONICA: That number belongs to whoever lives here on Primrose Lane. It's where he goes instead of tennis. Did you...get the photo yet? Do you recognize the woman? JULIE: [offscreen] No, oh no. VERONICA: Julie. JULIE: [offscreen] No, no, no. VERONICA: Sh, Ju-- JULIE: [offscreen] No. VERONICA: Julie! Listen to me. Do not panic. Okay? I'll call you as soon as I know anything. Okay? JULIE: [offscreen] Okay. VERONICA: All right, bye. Music: Jealously by the Stereophonics. LYRICS: Jealousy my devil Jealousy my hell Jealousy insomnia Jealousy sleep well Veronica creeps through the bushes of the house next door, settling at a low wall close to the target house, camera in hand. VERONICA VOICEOVER: All right, Collin, just give me what I came for. You and your hot little number, deep in the throes of... Through the camera lens, she spies through the window and sees the woman carrying a tray to a table. Collin is sitting at the table, reading aloud from a book. Standing over him is a rabbi. RABBI and COLLIN: [Hebrew] VERONICA VOICEOVER: ...a Hebrew lesson? Before Veronica has a chance to process this, she hears a car race up to the house. VERONICA: Rut-roh. It's Julie in a silver BMW Z4. Her hair is in curlers and she has bleach paste on her eyebrows and upper lip. She screeches to a halt and starts to march up to the house. VERONICA: Julie, no! Veronica leaves the camera on the low wall, and races towards Julie, who is oblivious. Veronica takes a flying leap and tackles Julie to the ground. JULIE: Oh! Oh! Julie, the wind knocked out of her, lies flat on her back under Veronica who is straddling her to hold her down. VERONICA: Julie, stand down. He's not cheating on you. He's with a rabbi. JULIE: A rabbi? He's not Jewish. I'm Jewish. Veronica pauses for a moment, encouraging her to think. VERONICA: Are you there yet? Julie finally gets it, and let's her head drop back to the ground. Veronica sits up and sighs. End music: Jealousy by the Stereophonics. INT - MARS RESIDENCE - NIGHT. It's 2:25 in the morning. Veronica is lying in bed, awake. VERONICA VOICEOVER: Every day. That's what Meg's dad said. What's Duncan doing at the hospital? Her cell, placed next to her clock, rings. On the shelf above it is a picture of Lilly and on the wall to the left is a "Vote Mars for Sheriff" sticker. Veronica reaches up to the small shelf with the clock to pick up the phone. JULIE: [offscreen] Do you think he still loves her? Still in her thoughts, Veronica answers for her own dilemma. VERONICA: I don't know. She comes to her senses. VERONICA: What? Who is this? Julie is sitting up in bed. The camera switches between the two as they talk. JULIE: It's Julie. The photo of the woman on the bar? She's gotta be an ex. If he's keeping her close, do you think he still loves her? VERONICA VOICEOVER: Whoa. If I'm pondering the same question about my boyfriend, does that make me crazy too? VERONICA: Julie... Veronica sits up and twists to look at the clock. VERONICA: ...it's two twenty-seven in the morning. The silver package has its perks but post midnight girl-talk is not one of them. JULIE: What if I get an upgrade? Wh-what comes after silver? VERONICA: Psycho. JULIE: What? VERONICA: Gold. Julie, it's three thousand dollars. JULIE: What...does it include? VERONICA: Uh, we dig deeper. Three months of internet activity, heavier surveillance. We talk to consultants to set up a temptation scenario, and see if he responds. JULIE: That's perfect. That's exactly what I need. And with the gold package, can you find out who that is in the photo on the bar? VERONICA: We can find out...but...if you want my opinion, I'd say there's a fine line between looking for a problem and creating one. Good night. Veronica puts the phone down and ponders her words. INT - SHERIFF'S DEPARTMENT - DAY. Keith knocks casually on the door as he enters Lamb's office. Lamb is at his desk, a poster behind him reading: "Re-elect Sheriff Lamb. Tough on CRIME." Lamb isn't thrilled at the sight of his visitor. LAMB: Who let you into my office? KEITH: That's funny. Lamb smiles tightly at the joke as Keith drops a large photo on his desk. KEITH: I was wondering the same thing. I thought you might want to catch a bad-guy or something. Lamb, sceptical, picks up the picture. It's one Keith took of Morgan. KEITH: That's Carl Morgan, drug dealer, he's currently wanted for questioning in Chicago on an armed robbery. Lamb drops the photo on the desk and looks up at Keith. LAMB: Drug dealer. Keith nods. LAMB: For me. Keith nods more vigorously. LAMB: [snidely] It's not even my birthday. KEITH: He's buddies with a dealer I'm tracking. There's no bounty on him; nothing in it for me. LAMB: Mm, nothing but the joy of giving. KEITH: It's not a present, Sheriff. It's kind of your job...for now anyway. Lamb smiles. KEITH: Hope you're having fun. Keith exits and Lamb picks up the picture and stares at it. INT - NHS, HALLWAY - DAY. Veronica stands at her open locker, looking for something in her bag. She reaches into and busies herself in her locker. WEEVIL: Yo, Martha. Weevil has five bikers (a much scarier looking bunch than last year) in tow as he leans against the locker next to hers. WEEVIL: Heard you took a ride downtown behind a one-eighty-seven. So, did you flop for the cops or did the local Wapner hook you up with some ankle bling? Veronica isn't intimidated and slams her locker shut before facing him. VERONICA: You know the deal, cuz. Every time a kitty cries in this town, Onetime tries to put a case on me. She notices his hoop earrings. VERONICA: Speaking of bling, what's up with the hoops? If I rub your head, do I get three wishes? WEEVIL: You rub my head and you might want to make seeing tomorrow your first wish. Veronica's face falls and it is not immediately clear whether she is startled by the aggression in Weevil's response or something else. It's something else... FLASHBACK: INT - SHERIFF'S DEPARTMENT - DAY. Lamb holds up the small evidence bag holding the square diamond earring. LAMB: Missing an earring? Lamb throws it down on the table. END FLASHBACK AND RETURN TO NHS, HALLWAY. To Weevil, Veronica has spaced out. WEEVIL: You need to be alone for a second? VERONICA: Where's that disco ball you usually wear? Weevil chuckles and performs for his boys.. WEEVIL: It's probably deep in some chick's shag carpet. They laugh appreciatively. VERONICA: You think? WEEVIL: Yeah. VERONICA: 'Cause I'm guessing more like an evidence bag in the sheriff's office. Weevil takes a breath and turns to his boys, hitting fists with one. WEEVIL: I'll holla atcha, dog The bikers back away to give them privacy. VERONICA: My question, and I'm betting it's the sheriff's, is what was your earring doing at the Road Hog, in the last place Curly Moran was seen alive? WEEVIL: You know, I-I don't even know what earring you're talking about, so-- VERONICA: It's kind of like the one you're wearing in your yearbook photo. Hmm... Veronica starts punching numbers on her cell. VERONICA: ...Sheriff's Department speed dial. If this doesn't get me out of that jaywalking ticket. Hello, Inga. He puts his hand on her arm. WEEVIL: Okay. Veronica smiles and drops the phone from her ear. They start to walk down the hallway, the other bikers watching carefully. WEEVIL: A couple weeks ago, a few days before Curly beached, I got this weird call, some guy saying Curly was behind the bus crash. VERONICA: You don't know who it was? WEEVIL: They just said Curly was hired by the Fitzpatricks to get back as Cervando. VERONICA: As in the Fighting Fitzpatricks? WEEVIL: Uh-huh. VERONICA: I think my dad put, like, five of the Fitzpatricks in Chino. WEEVIL: Look, they're Irish Catholic. For every five you put away, there's ten more at home. Cervando'd been going around bragging about how he hustled Liam Fitzpatrick out of a few grand down at River Styx. VERONICA: That's a lot of info for an anonymous call. What'd you do? WEEVIL: Nothing. VERONICA: I'm sure. They pause. WEEVIL: The Fitzpatricks are meth-head lunatics, but they're not gonna kill a bus full of kids over three grand. Their problem with Cervando would have been solved in an alley with a baseball bat. VERONICA: Gimme your cell. He hands it over. WEEVIL: I called the mystery guy back, already, all it does it ring. On the display of Weevil's phone are two names, Dante and Hector, and two numbers, 555-0153 and 555-0179. She punches 555-0153 into her cell. WEEVIL: Look, should I be expecting a visit from Lamb? If I know I'm being brought in, I'll put on my good underwear, you know? Veronica snaps the phones shut and hands Weevil's back to him. VERONICA: You should really do that anyway. Veronica walks away with Weevil giving her a doleful look. The clock in the hall shows the time as 1:45. INT - COOK RESIDENCE - DAY. Music: Jealous Love by Robert Cray LYRICS: Seem to never, ever show And every time, a pretty girl walk by I catch you watching me, baby Out the corner of your eye. To be so sweet and yet so blind You know you're killing my love, baby With your jealous mind. Jealous love I wanna say it one more time Oh, you oughta trust me sometime. I'm home from work everyday on time. You've got your hand in my pocket For that number you thought you'd find. Jealous love I wanna say it one more time Oh, you oughta trust me baby. Jealous love The curtains are closed as Jackie and Wallace make out. Wallace's cell rings. He breaks off to answer it. Jackie watches him fondly... VERONICA: [offscreen] Hey, buddy, whatcha doing? WALLACE: Veronica, are you in immediate life-threatening danger? ...until she hears who it is at which point her face tightens. INT - MARS RESIDENCE - CONTINUING. VERONICA: At this precise moment, no. INT - COOK RESIDENCE - CONTINUING. The scene continues to shift between the two. WALLACE: Then I'm hanging up. VERONICA: [offscreen] Wait, wait, my go-to temptress just canceled on me and I need an AV wizard to be my eyes and ears for a scenario I've got going down at four. As Veronica talks, Jackie pushes Wallace back against the couch and climbs on top of him. She starts nibbling his neck. He laughs. WALLACE: Hey, I'd love to help, but I've got my own scenario going on right here. VERONICA: Wallace, if you're getting all that Jackie-love with two dollars in your pocket, imagine what you'd get with, say, two hundred. Cut to a tiny bit later as Wallace puts on his shoes. Jackie is most put out. JACKIE: You didn't ask, "How high?" WALLACE: What? JACKIE: Didn't Goldilocks say, "Jump"? WALLACE: It is not even like that. JACKIE: What's it like? WALLACE: We're friends, Jackie. If she needs me, I'm gonna come through, just like she would for me. JACKIE: Right. I guess you have different rules here, where I'm from, the girl you make out with is the one you do favors for. I may have to have a chat with Miss Pixie-Stick. WALLACE: I wouldn't do that. She's not somebody you wanna piss off. JACKIE: [seriously] Neither am I. End music: Jealous Love by Robert Cray. EXT - NEPTUNE STREET - DAY. On the oceanfront, Wallace is waiting at the open boot of his car. The LeBaron pulls in behind him. Veronica gets out, dressed to seduce - a tiny tight sweater over a low-cut, clinging t-shirt, a short skirt, fishnets and boots. Her hair is in low bunches. VERONICA: Sorry I'm late... She runs over to him, as fast as her tight skirt will allow. VERONICA: [sorority voice] ...whipped-cream fight at the sorority house. They both giggle. VERONICA: Can you hand me a mike? Veronica holds out her hand as Wallace rummages in the back of the car. WALLACE: You got some place to hide it? Veronica puts the mike down her cleavage. Wallace gets the receiver and puts it in his ear. WALLACE: Do you own those clothes, or did you make a stop at Dirty Coeds-R-Us? VERONICA: Ha ha. WALLACE: And I need to be paid up 'fore tonight. Gotta make a little peace with my woman. VERONICA: Are you sure she's your woman, cause I saw her at Java the Hut the night after our double-date and...some guy was...all over her. WALLACE: Like a couple of weeks ago, when we only had like two dates. So what? VERONICA: So it's...progressed? WALLACE: Yeah, it's progressed. Have you seen her with another guy since? No. See, when you assume, you really just make a ass out of you. Wallace picks out a lug wrench and lays it by the LeBaron's front tire. VERONICA: Just stay as tight as you can. WALLACE: Just go Lolita his ass. Let me do my thing. Veronica gets a tool out of her bag and removes the valve core from the tire to let the air escape. The tire flattens. EXT - COLLIN'S HOUSE - DAY. The doorbell rings. Collin opens to door to Veronica, who is in full bimbo-mode. COLLIN: Can I help you with something? VERONICA: Please, that would be so great. Wait, do you have an accent? COLLIN: Yeah, I'm Scottish. VERONICA: Really. Like from Scotland? That's so awesome. Foreign men are so much sexier than regular men. She very obviously checks out his body. He's a little uncomfortable and raises his eyebrows. VERONICA: Oh...sorry. I hope I'm not bothering you, it's just, I got a flat and...my cell phone's dead and I can't find my triple-A card. Do you think you could give me a hand? EXT - NEPTUNE STREET - DAY. At Veronica's car, Collin tries to loosen the nuts. VERONICA: I tried real hard; I just couldn't get the nuts off. I think they're just...too tight. She crouches down next to him and picks up the lug wrench. VERONICA: But, I did just put lotion all over my hands so they're kind of slippery. She lets it drop between her fingers. COLLIN: You do know you've got to jack the car up first, right? VERONICA: Oh yeah, do you have a jack? Wallace is across the street, behind another parked car, videoing proceedings. Collin and Veronica stand and Veronica wipes her forehead, leaving a dirty mark. COLLIN: Oh you ah, you've got a... Collin pulls a handkerchief from his pocket and hands it to her. VERONICA: Oh, how cute are you? Veronica uses the wing mirror to wipe the mark away, making sure to bend down in such a way as to show off her ass. Wallace smiles as he gets a good shot of Collin checking out her ass. Veronica finishes and hands Collin back his handkerchief. COLLIN: No, keep it. Listen, ah, we could be out here all day with me doing this so, why don't I go in and call you a tow truck or something. VERONICA: Do you have a computer in there? Because I kind of need more than a tow-truck right now. I go to UCSD and I have this mid-term that if I don't turn in in about ten minutes... COLLIN: All right. Come on. Wallace continues to film as they go towards the house. He can hear Veronica through his earpiece. VERONICA: [through earpiece] Okay, come on, the accent? Wallace watches them disappear into the house. The reception on the mike falters and Wallace's face takes on a look of consternation. INT - COLLIN'S HOUSE - CONTINUING. Collin and Veronica mount steps up to the main living area. VERONICA: Are you like the catch of the year or what? COLLIN: Hardly. There's art on the walls, wood flooring and ocean views. A clock on the wall shows it's 4:10. VERONICA: Please. Oh, my girlfriend Paige would love this place. She's not my girlfriend girlfriend, she's just my friend, I mean, we share a dorm room, so, whatever, it's college right? Oh, she would really love this place. As Collin sits down on a couch, Veronica pauses and stretches to show off her body. VERONICA: I mean, who wouldn't want to wake up to this view. You should really let me know if you ever want to party with us. We're fun, double the fun. COLLIN: Oh, I don't have too many parties. I'm a pretty mellow guy. Veronica settles herself on the arm of the couch, right next to him. VERONICA: Really, you seem kind of...I don't know, wild to me, like a caged animal kind of thing. COLLIN: Oh, you'd have to ask my...girlfriend about that. My actual girlfriend. We're not just dorm mates, if you get my drift. EXT - NEPTUNE STREET - CONTINUING. Wallace is getting more and more concerned as the reception breaks up badly and he can only hear a few words. VERONICA: I...she's...pretty. COLLIN: Drop...gorgeous. INT - COLLIN'S HOUSE - CONTINUING. VERONICA: Can I ask you something? COLLIN: Sure. VERONICA: What about me? Veronica leans closer into him, starting to tumble into his lap. Collin slides along the couch to avoid her. VERONICA: I mean if the range were pretty to drop dead gorgeous, where would I fall? Veronica slips down into the space vacated by Collin, staying close. COLLIN: You'd fall under "knows she's gorgeous, but like to hear it anyway." Don't forget about that mid-term. Collin gets up. Veronica gives him a look of defeat, then follows. EXT - NEPTUNE STREETS - CONTINUING. Wallace is pacing and looks at his watch. WALLACE: [anxious] Veronica. INT - COLLIN'S HOUSE - CONTINUING. Veronica is at the table on which Collin's computer is situated. She takes a disc out of its cover and slides it into the machine. VERONICA: This is really sweet of you. I owe you like the biggest favor ever. Collin's computer shows on its menu: Network - The Clan - Collin - Desktop - collin - Applications - Documents. "Documents" is highlighted as is the list next to it: Downloads - Library - Mailboxes - Personal - Preferences - System - Vacation Photos - Web Cache - Work. On the desktop on the right are icons for "The Clan" and "Collin Burn Files." VERONICA: Seriously, you can ask me for anything. Veronica transfers the wholes list to the second icon and starts the process of burning 18 items to "Collin Burn Files," described as Item: "AIM Log" of which she has copied 829 KB of 35.6 MB. Time remaining is initially shown to be about fifteen minutes but then quickly corrects itself to lest than a minute in the second its taken to burn 2.2 MB. Collin is standing by a poster on the wall of the film "Matchstick Men." VERONICA: Somebody's a big movie buff, I see. Quick, favorite movie of all time, don't think about it, just answer. COLLIN: Oh, I don't know, that's...that's a hard one. This really isn't my place, actually, I'm just house-sitting for my friend. VERONICA: Your friend a big Nicholas Cage fan? Next to the poster is another, this one for "City of Angels." COLLIN: My friend is Nic Cage. VERONICA: Really. EXT - COLLIN'S HOUSE - CONTINUING. Wallace can't hear anything now and decides he has to do something. INT - COLLIN'S HOUSE - CONTINUING. VERONICA: Nic Cage, that's hot. The doorbell rings. COLLIN: Would you excuse me a second? Collin goes to answer the door. Veronica's file is nearing completion at 68.47% and she quickly runs to the top of the stairs to see who's at the door. It's Wallace. COLLIN: Hello. WALLACE: Uh, hi. Wallace sees Veronica behind Collin. She gesticulates that she needs a little longer and for Wallace to stall him. WALLACE: Would you like to help the hungry, starving children of...the world. Veronica can't believe the lameness and mouths "What?" at him. COLLIN: I'm sorry, are you selling something? WALLACE: Yes...I am. Veronica gestures to him to keep it up and that she'll right down. She races back into the bowels of the house. WALLACE: I'm selling, um, pens and candy. Veronica heads for the computer. COLLIN: [offscreen] I'll take a couple of boxes of candy. Wallace's grin at having come up with this plan falters a little when he realises he will have to produce something. He slips his backpack off his shoulder and unzips it. Meanwhile, Veronica's disc has finished burning and she grabs it. Wallace is standing with a narrow box of candy. WALLACE: All I got is this box of Ay Chihuahuas. Collin laughs. COLLIN: That box is open. WALLACE: You want a couple pens? Collin is looking very confused. He's then knocked aside as Veronica barges past him. She grabs Wallace then turns back to Collin. VERONICA: I emailed the paper and called triple-A. Thanks for your help. Your karma's golden. Ciao. Wallace and Veronica run off. Collin is bemused. VERONICA: [offscreen] Whatcha doing? INT - NEPTUNE GRAND, PRESIDENTIAL SUITE - NIGHT. Duncan is watching television. He holds his cell phone to his ear in one hand and the remote in the other. DUNCAN: I'm cramming for that Latin quiz. Can't forget about the Kane legacy. There's a knock on his door. VERONICA: [offscreen] Have you had dinner? DUNCAN: No, I'm tired of room service. He gets up and walks to the door. It's Veronica with the phone to her ear in one hand and a large bag in the other. VERONICA: Then may I suggest Dim Sum... She drops the phone from her ear and goes all sexy. VERONICA: ...and then some? Duncan laughs. A little later, Veronica is on the couch, eating. Duncan is up at the shelves on which the food has been laid out, putting more into bowls. VERONICA: I got the don't-wait-up call for the second night in a row...and if Dad can work all night with Mrs Fennel, then. Mmm. Duncan brings the food to the coffee table in front of the couch and sets them down. He sits close to Veronica, taking her plate and setting it aside. VERONICA: Hmmmm. They put their arms around each other, their free hands intertwining. DUNCAN: What if...we start the evening with "and then some" and work our way back to the Dim Sum? VERONICA: It's officially under consideration. May I ask you something first? DUNCAN: Yes to costumes. No to props. Does that cover it? VERONICA: Why didn't you tell me how often you'd visited Meg since the accident? Duncan closes down. He extricates himself and attends to the food. DUNCAN: Chinese food it is. You want one egg roll or two? Veronica can't believe it. Later, Duncan is asleep while Veronica sits up in bed, wearing a large t-shirt, working on her laptop. VERONICA VOICEOVER: Mental note: don't mention partner's ex-girlfriend if one expects to fool around. And while we're on the subject of men I failed to seduce today, time to see what Collin likes to google. What dirty little secrets are lurking in your browser history? Escort agencies...bootycall.com...Neptune Swingles? On the computer, the time is shown as 1:40 am. It's Saturday. Within a window marked "Collin Nevin Browser History," history numbers 296-299 are visible, but only three have entries. Number 297 was a one-stop search at www.planetzowie.com for Earlimart, conducted at 17:49:27 on October 10th. Number 298, he searched for proposal tips four minutes later. Number 299 was a visit to three pages on www.genealogygopher.com at 17:56:01. There, he did a visitor search for Julie Bloch. VERONICA VOICEOVER: Well look at that. Julie was so afraid to tell Collin about her family's money. Apparently he's figured that out all on his own. Cut to later. Both Duncan and Veronica are asleep. There's a banging on the door. Veronica lifts her head then shoot up. [SCENE_BREAK] VERONICA: Oh my God. It's my dad. Duncan, in his boxers, races out of bed and grabs his jeans. Veronica wraps the sheet around herself. DUNCAN: [calls out] Who is it? LIZZIE: It's Lizzie. Um, I really need to talk to you. DUNCAN: H-hang on a sec. VERONICA: What is Meg's sister doing here at two AM? Duncan spreads his hands to indicate he doesn't know. He hurries out to the main room. Veronica starts to follow but Duncan holds out a hand, stopping her. VERONICA: Oh, sorry, should I hide in the bedroom like a hooker? Perfect. Veronica angrily sweeps the sheet from the bed and around herself as Duncan silently pleads for her co-operation. He sighs and shuts the bedroom doors. Veronica walks back to the end of the bed and sits, fed up. Duncan goes to the door of the suite to Lizzie. Lizzie is not so dourly dressed this time, wearing something sparkly. LIZZIE: Sorry, I-I didn't know where else to go. In the bedroom, Veronica can hear them. DUNCAN: [offscreen] Is Meg alright? LIZZIE: [offscreen] She didn't wake up or anything. Duncan and Lizzie are still at the door. The camera goes to Veronica on occasion to show her reactions to their conversation. LIZZIE: My parents got a call from the school. They're going tomorrow morning to clean out Meg's locker. She kept this at school. Lizzie enters the suite and holds out a laptop as Duncan shuts the door behind her. LIZZIE: It's got everything on it. I'm sure Meg told you that my parents aren't real big on privacy. T-they go through our, our rooms, our cars, our backpacks. DUNCAN: So, you want me to hide it for her? LIZZIE: Well, whatever genius called from the office told my parents about this computer. Meg has a laptop my parents didn't know about. They're gonna wanna see what's on it. I don't have the password. But we have to get her personal stuff off this computer and put it back by morning. DUNCAN: Okay, so...what do you want me to do? LIZZIE: You're the son of a computer visionary. C-can't you do something? DUNCAN: I can burn a CD. LIZZIE: All I know is if my parents see what's on there, they'll pull the plug on Meg tomorrow. Can I use your bathroom real quick? DUNCAN: Uh, ah, not really. Lizzie opens the doors to the bedroom. She freezes when she sees Veronica. VERONICA: Hi, Lizzie. Okay, so apparently looks really can't kill. DUNCAN: I'm sorry, I-I didn't want you to be-- LIZZIE: Did you hear us? VERONICA: Yes. And if you'll let me, I know someone who can help. Cut to a little later. Fingers fly across the laptop's keyboard. A DOS-like list under the heading "File System Start" is on the display screen. Mac is at work, Duncan and Veronica sitting on the couch one side of her and Lizzie on the other. MAC: I have to say, it is a little comforting. I haven't snuck out of my house at three AM in a while. Nice to know I still have the chops. On the display appears: K:/*CONFIGURED*/USER/MEGMANNING/PASSWORD/LOCKED ATTEMPTED LOGIN 00.9981.2837.B K:/FIELD SOURCE REQUEST/SUBMIT/ !GENZ-HACKALGORITHM!-('ESTABLISH USERID') DEFINE-USER-WITHOUTATTCHED.SYSQ.TTF REMOVE HEADER - FAILED ATTEMPT 1 K:/FIELD SOURCE REQUEST/SUBMIT/ !FENX-HACKALGORITHM69!-('ESTABLISH USERID') DEFINE-USER-WITHOUTATTCHED.SYSQ-7789.TTF JOIN - PASSWORD STORED REMOVE FIELD STRING - SUCCESSFUL MAC: And, I'm in. Meg's background is an aquamarine flame against a blue stone-textured background. The word "hot" appears within the flame in the same blue. MAC: This is the hard drive. You want all the emails, right? LIZZIE: Mmm. On the desktop, there are two icons, "Meg's HD" and "FLASHDRV." Meg's own files include: Church - Pep Squad - Mail - Web Cache. Mac moves the mail folder to the flashdrive icon. MAC: You must have some nosey-ass parents. Lizzie laughs ruefully and looks over at Duncan, raising her eyebrows. Mac removes the flashdrive from the computer. She hands it to Duncan. MAC: And this goes...to you? Right? DUNCAN: Yeah, I guess. Duncan takes it. Cut to morning. Duncan is brushing his teeth in the bedroom, still in his robe and boxers. The flashdrive is on the table in the lounge area. Veronica comes out of the bathroom, fully dressed. They smile at each other and Duncan heads into the bathroom as Veronica comes out into the lounge area. She sees the flashdrive just sitting there. Music: So Jealous by Tegan and Sara. LYRICS: I don't know how it's become such a problem Keep you up all night if I try to remain calm How can they ask I want the ocean right now I get so jealous that I can't even work I want the ocean right now I get so jealous that I can't even work I want the ocean right now I get so jealous that I can't even work I want the ocean right now I get so jealous that I can't even work There I am in the morning I don't like what I see There I am in the morning I don't like what I see Veronica stops and looks down at the flashdrive. VERONICA VOICEOVER: Are you crazy, Duncan? Leaving this out here in the open? Do you leave heroin out when Iggy Pop spends the night? Veronica gets out her laptop and sits down. She grabs the flashdrive and plugs it into the machine. Before she can do anything else, her cell rings and she notes the number, smiling resignedly. She answers. VERONICA: Hello, Julie. INT - JULIE'S HOUSE - CONTINUING. Julie is curled up on a couch. JULIE: Was it awful? VERONICA: [offscreen] He was a consummate gentleman. INT - NEPTUNE GRAND, PRESIDENTIAL SUITE - CONTINUING. VERONICA: He didn't try to flirt. And in fact, he just told me how great you were. INT - JULIE'S HOUSE - CONTINUING. Julie looks almost devastated. INT - NEPTUNE GRAND, PRESIDENTIAL SUITE - CONTINUING. Veronica awaits her response. JULIE: [offscreen] Okay. I guess this is the moment that I officially became a jealous freak. On her laptop, the menu comes up, showing the contents of the flashdrive as "Meg's files." VERONICA: Hey, Julie, can I call you back later? Veronica switches off the phone and stares at the laptop. She cocks her head in thought, and then pulls out the flashdrive. She puts it back on the table, arranging it in the same place it was, a little proud smile on her face. It doesn't last as she wonders what she's doing. She sighs. End music: So Jealous by Tegan and Sara. EXT - FENNEL RESIDENCE - DAY. Keith comes out of the house, jiggling his keys. Someone shouts in the distance. MALE VOICE: He already left for work. Keith looks up and slows on seeing his car, parked in the street. There are wheel clamps on all four wheels. Keith is pissed off, despite the nice "Keith Mars for Sheriff" poster stuck in the Fennel's front lawn. INT - SHERIFF'S DEPARTMENT - DAY. Lamb is sitting back in his chair. The phone rings. Lamb punches a button. LAMB: It's Lamb. EXT - FENNEL RESIDENCE - CONTINUING. Keith is still standing outside the house, cell phone to his ear. The camera cuts between them. KEITH: I'm thinking I might have a boot for you too. Any ideas where I can put it? Lamb grins. LAMB: Hey, you started it with your "I found you a wanted man" BS. Lamb reaches forward and grabs a file. LAMB: You send me in to arrest Carl Morgan, AKA Nathan Woods, Chicago cop, big-time decorated detective. Keith is shocked. LAMB: Did you think I wouldn't check up on the guy, Keith? His record is one phone call away... Keith is beyond shocked, he is devastated. His hand with the phone drops down, consigning Lamb's words to the ether. LAMB: ...how stupid do you think that I am? Keith looks back at the house. INT - MARS INVESTIGATIONS - DAY. The posters and boxes of stickers have all been cleared away. Julie enters. Veronica is at her desk. JULIE: I already know it's awful if you wouldn't tell me over the phone. Veronica grabs a file and walks towards the couch. They sit. VERONICA: After a thorough investigation, Collin appears to be a loyal, committed partner without a criminal record and...his friends and exes both speak very highly of him. She hands Julie the file. JULIE: The bad news must be really bad? VERONICA: The house he currently lives in and the car he drives aren't his. He's housesitting...for Nicolas Cage. That's Lisa-Marie in the framed photo on the bar. And finally, it appears as though he did do some research into your background and he is aware that your family's wealthy. JULIE: [semi-hysterically] He went digging for information on me. I should have known. He told me he had a trust fund. He-he totally let me believe that house was his. He... VERONICA: I have some of his internet history on my computer if you want to... Keith walks in. He's not happy. VERONICA: Mr Mars, I thought you had the Kiwanis banquet. KEITH: Miss Bloch, I need to speak with Veronica for a moment. Would you mind? JULIE: Sure, I need to go stand in traffic for a while. Maybe jump off a pier. Julie is close to tears and leaves. Veronica awaits the storm. Keith closes the door behind Julie. KEITH: Another satisfied customer? Keith hands her a file from his briefcase. KEITH: Here, can you file this under "cases I don't have time for that my disobedient daughter can take behind my back"? Veronica, having taken the file and now standing, turns to Keith. VERONICA: I'm really sorry. KEITH: For what? Taking the case or getting caught? VERONICA: Okay, for both. I just thought it was crazy to pass up that amount of money and I thought I could handle it. KEITH: [angry] You always think you can handle it, Veronica. Veronica heads for her desk. KEITH: Believe it or not... She pauses, her back to him. KEITH:...at eighteen, you can't handle everything. And you don't get away with it all, either. VERONICA: I know. Keith walks towards her, pointing. KEITH: Whether it's playing I-Spy after school or staying out all night at your boyfriend's hotel room. Veronica, now at her desk, is horrified, not expecting that. She sinks down into her seat. KEITH: You're just not quite as clever as you think you are. Keith grabs his office door and enters, letting it slam behind him. As Veronica processes this, she glances at Collin's browser history on the laptop. She notices something (other than the fact that the display is now showing Saturday, 1:43 AM, whereas the office clock shows it to be 16:10) and picks up the phone. EXT - NEPTUNE STREETS - CONTINUING. Julie is in her car, now badgeless, parked at the side of the road. Her cell sounds. She wipes her nose and answers. JULIE: [tearfully] Hello? INT - MI - CONTINUING. The camera alternates between them. VERONICA: Julie, I just thought of something. JULIE: You know, you think you're dating Prince Charming...but you're really dating Prince Charming's Kato. I just called him. I ended it. It's over. She sniffs noisily. JULIE: As soon as he checks his messages. VERONICA: You broke up with him on his-- Julie, the internet search that Collin did on your family was dated five days ago. JULIE: Yeah, so? VERONICA: So you found the ring, like, two weeks ago. He-he checked into your family after he bought the ring. He was probably looking to find your father so that he could ask for his approval. I-I'll bet he didn't even know about the money. JULIE: He lied about the house. VERONICA: He told you it was his? JULIE: It was implied. He probably lied about the trust fund too. VERONICA: You didn't exactly tell him the truth either. JULIE: It's one thing to lie and say you're not rich. The other way around is way less cool. VERONICA: I think I get it now. Money matters. JULIE: Of course it matters. Veronica hangs up. INT - FENNEL RESIDENCE - DAY. Keith uses a key to enter and calls out. KEITH: Alicia, Alicia, it's me, Keith. Anybody home? There's no response. Cut to a few moments later, as Keith searches through files in a desk. He pulls out a blue file and starts to flick through it. INT - MARS RESIDENCE - DAY. Veronica is in the kitchen folding laundry. After folding a couple of t-shirts, she comes to Collin's handkerchief. It is monogrammed and she notices it for the first time. The monogram is a crest and the initials PCN. VERONICA VOICEOVER: When your mom's an alcoholic, you spend a lot of time looking at bottles. Veronica searches through the drinks cupboard. She pulls out a bottle of scotch. INT - JULIE'S HOUSE - DAY. Julie opens a box addressed to "Julie Block." (A further example of Veronica's sudden inability to spell.) She strips off the tape and opens the box, picking up an advert on top. It is for Loch Nevin single Highland malt, with the crest on the picture of the bottle matching that on Collin's handkerchief. Underneath is a letter from Veronica which Julie picks up. VERONICA VOICEOVER: Julie, I wanted you to have these. Everything Patrick Collin Nevin told you is true. He does have a trust fund, perhaps bigger than either of us imagined. The enclosed article mentions that he hates to flaunt his wealth or his celebrity friendships. Julie picks the handkerchief out of the box and gazes sadly at it. VERONICA VOICEOVER: You both wanted to be sure you were loved for who you really were. And it seems that one of you was. INT - MI - DAY. Keith pulls one of his pictures of Carl Morgan/Nathan Woods off the printer. Files are stacked all over Veronica's desk and a phone starts to ring. Keith hurries back to get the call. KEITH: Keith Mars. Mr Pasqual. Keith reaches forward, digging through the piles of files. KEITH: Yes, uh, I know, it's been a little busy here. He continues searching through, starting to hum. KEITH: Um...here we go. He pulls out a file from the stack and opens it. KEITH: I'm sorry, sir, it looks like you wife is indeed having an affair. He puts the file back, pausing to listen. KEITH: Your uncle? Missing persons case. He starts to search a different, smaller stack of files. KEITH: I'm very sorry sir. It-a-it's a little filing mix-up. You were stuck inside of Mr Pastorelli's file. He finds the file, opens it and scans it.. KEITH: Your Uncle Al is alive and well in a retirement home in Waikiki and, as far as I know, completely faithful. Keith laughs to make light of his faux-pas. KEITH: I have his number right here. INT - MARS RESIDENCE - NIGHT. Keith wanders into Veronica's bedroom, attempting to be a little nonchalant. Veronica looks up at him from her desk. Keith smiles at her. Veronica stares at him in anticipation. She cocks her head a little to encourage him to speak. KEITH: Okay. Maybe I can use your help around the office. A bit. Veronica's mouth falls open. She pushes back from her desk, making the sound of screeching brakes. VERONICA: I'm sorry. Come again? Keith doesn't respond. VERONICA: You're never going to tell me what happened to prompt this, are you. He shakes his head. KEITH: Nope. Now, I'm just talking about a little help with research, filing, the phones--- VERONICA: I do give good phone. KEITH: It's just a couple days a week. And you're keeping your job at the Hut. VERONICA: Of course, I'll be needing a raise. Keith points at her on his way out ("yeah, that's going to happen" perhaps) and exits. Veronica returns to her laptop. VERONICA VOICEOVER: Since talking to Weevil, I've been dying to track down this mysterious tipster. Veronica is on PryingEyez, on the blank database search page. VERONICA VOICEOVER: Who knows if Weevil, or the tipster for that matter, was telling the truth? She types in a (different than she took from Weevil's phone) number = 619-555-0162. VERONICA VOICEOVER: Maybe Curly Moran was part of a plot to retaliate against a PCHer, and maybe that's exactly what someone wants up to believe. That call could have come from anywhere, a business line, a pay phone, or-- The page comes up. The number is shown to belong to Aaron Echolls of 880 Muir Street, Neptune, CA 90909. (The house number was 15663 in 106 Return of the Kane.) Aaron's SSN is 931-45-8974 and his date of birth is September 24th, 1959. Lynn is shown as deceased, with SSN 917-38-4781 and a date of birth of January 17th, 1963. VERONICA: Oh, my God. EXT - NHS - DAY. A couple of students are talking in the foreground as Logan walks out of the school in the background. STUDENT: You're, like, accepted. ANOTHER STUDENT: Hey. Veronica is waiting for him and starts walking towards him. When he sees her, he does a mock turn on his heel before pressing forward towards her. LOGAN: Okay. God, I just can't take the begging. Having put his hands on his head, he drops them to his side. LOGAN: I'll relent, just once. But, ah, no cuddling after...and I won't call you in the morning. VERONICA: Saturday, September twenty-fourth, there was a two minute and twenty-three second phone call on Weevil's cell phone made from your house. The caller claimed that Curly Moran was responsible for the bus crash. The same Curly Moran who's friends with your dad. [accusatory] Any explanation? LOGAN: My day is complete. Veronica Mars has accused me of evil. Logan accompanies this with a full dramatisation of twirling the ends of his imaginary moustache. LOGAN: Hm. Where to start? Oh yes, who the hell is Curly Moran? And how do you know he knows my dad and what conspiracy theory have you pulled out of your ass this time? Again he illustrates his last point with his hand. VERONICA: The fact, evidenced by the poster in your house, is that Curly Moran was the stunt-coordinator on "The Long Haul," starring Aaron Echolls, circa 1982. Logan nods. VERONICA: Now, September twenty-fourth? LOGAN: Like I have any idea w-- A thought strikes him and he reaches into his backpack. LOGAN: I think I do remember that night. That was the night of my Life Short party. Mm. He pulls out from his page a crumpled piece of salmon-coloured paper, stretching it out to show her. On it is written: LIFE'S SHORT _k it away like there's no tomorrow. Come - Rock out - Black out @ Logan's 880 Muir St. Sept. 20m, 9pm. Kegger. (Um, guys, the date - either a cock-up or Logan's making a mistake, deliberate or otherwise.) VERONICA: Of course, a group of lower-middle class Neptune High students plummet to their death and the 09ers throw a party. LOGAN: Hence the Life Short part. It was in their honor and in the end, it wasn't just your social betters. In fact, your pal, Weevil, and his biker boys crashed it. He moves past her, then pauses and laughs. LOGAN: Oh, and, ah... He turns back to her. LOGAN: Lamb and a half dozen deputies came by to break it up, or at least collect the kegs. VERONICA: There are five numbers registered to your house. This call came from a number I don't recognize. LOGAN: Well, gee willikers, Veronica, it sounds like you're on to something. Maybe the pool boy did it. Logan makes a big show of looking at a watch he doesn't have. LOGAN: Um. He shows Veronica his wrist and walks off. She stares after him, then turns away. INT - MI - DAY. Keith is in his office, on the telephone. In front of him are spread out various papers. The first is a Certificate of Live Birth. It shows that Cherie Parker Saunders was born on March 9th, 1968 at the Chicago Memorial Hospital in Cook County. Her mother was Chelsea Gay Saunders, aged 21, who was born in Iowa and her husband, middle name Allan, aged 26, who was born in Illinois. They lived at 3369 South Halsted, Cook County. KEITH: You don't have anything? He lifts it to reveal another document. This is a rental application for 8708 Dallas St, Chicago, Ill. 60191 for the period of May 1985 to May 1986. The rent is $1600 a month and that is due, together with a security deposit of the same amount and a credit check fee of $25.00 have to be paid up front. The application is in the name of Cherie Woods, home number 555-0193, work number 555-0105, SSN 563-13-2924, driver's license number/state A3278904, vehicle - an '83 silver Honda Civic, license plate number/state 3PRY956, CH. A previous address of 6073 Horton Drive, since June 15th 1982 is shown, vacating for school and another earlier address. KEITH: Not under "Woods" either? By 1987, she was going by Alicia Fennel. He pauses at the person at the other end of the phone talks. KEITH: Yeah, she does. What? Are you sure? Keith is very upset by what he is hearing. EXT - FENNEL RESIDENCE - DAY. Wallace, abs showing nicely, is working on his car's engine. NATHAN: [offscreen] Wallace. Wallace looks around, then stands, closing the bonnet as he does. Carl Mogan/Nathan Woods is standing by his car. WALLACE: Yeah. Who are you? Woods pulls a photograph of himself and Alicia out of his pocket. He holds it out. NATHAN: Take a look. Wallace shrugs. WALLACE: Am I supposed to know you? NATHAN: You sure are, Wallace. I'm your father. Wallace isn't sure how to react. End.
Green-Eyed Monster