02x12 - Rashard and Wallace Go to White Castle

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VERONICA VOICEOVER: Previously, on Veronica Mars...
Veronica holds out a plastic bag containing the frozen dead rat from the bus from the scene in 209 "My Mother, the Fiend."

VERONICA: Are you keeping a dead rat in our freezer?
KEITH: I found it on the bus.
VERONICA: You checked out the bus and didn’t tell me?
KEITH: I should have taken over this case.

At the sheriff's department, Veronica waits to see Lamb and the FBI in 211 "Donut Run."

DEPUTY BOUNCER:: You ever hit the clubs in L.A., Veronica?
VERONICA: I’m eighteen.
DEPUTY BOUNCER:: I’m a bouncer. You come up, I’ll get you in.
VERONICA: Okay.

Weevil blows up at Logan in the boys' bathroom at Neptune High in 209 "My Mother, the Fiend."

WEEVIL: I thought you k*lled Felix.
LOGAN: I didn’t.

Having resolved their differences, at least temporarily, the boys conspire in the Presidential Suite of the Neptune Grand in 211 "Donut Run."

WEEVIL: It’s down to two guys.
LOGAN: How are we gonna figure out who did it?
WEEVIL: The one that did it is the one that’s in business with the Fitzpatricks.

Wallace, looking fine with his muscles on show, questions a stranger in 204 "Green-Eyed Monster."

WALLACE: Who are you?
NATHAN: I’m your father.

Lamb closes a file as he talks into his speaker phone in 205 "Blast from the Past."

LAMB: You send me in to arrest Carl Morgan...

Keith, who is standing outside the Fennel residence, is listening on his cell.

LAMB: [offscreen] ...a.k.a. Nathan Woods.

Lamb rests back in his chair.

LAMB: Chicago cop.

Veronica and Wallace talk in the lunch area at the high school in 211 "Donut Run."

VERONICA: Why’d you really come back, Wallace?
WALLACE: You know my new teammate was Rashard Rucker. Rashard had a few beers, but he said he was okay to drive. This wino staggered out in front of the car. He hit him.

From the same episode, Wallace is confronted at his car.

SAYERS: Ernie Sayers, Chicago Statesman. The homeless man was a victim of a hit-and-run.
WALLACE: So what’s the question?
SAYERS: The question is, what kind of man were you planning on being?

End previously. A Kn*fe descends slowly into...

INT - JAVA THE HUT.

...a gooey chocolate cake. It is used to push a large piece onto a cake server. The cake is placed on a small plate. The plate is handed over to Veronica, who takes it to a nearby small table where Wallace sits, alone and uncomfortable. Veronica puts the cake in front of him and sinks into the chair opposite him.

VERONICA: So, the manager’s boyfriend just dumped her, and she says this helps with the stress.
WALLACE: What is it?
VERONICA: A German Chocolate Nut-gasm.
WALLACE: I don’t think that’s gonna help.
VERONICA: Well, eat it anyway, because Rashard Rucker isn’t just any guy. You are about to implicate THE basketball phenom of the decade, the second coming of LeBron James, in a hit-and-run. And all those people around him waiting for it to start raining million-dollar bills, they might open their newspapers tomorrow and decide they don’t like you.
WALLACE: I gotta do the right thing…but look, you don’t have to do this. I’ll be fine.
VERONICA: Please, let me. My boyfriend just fled the country with his dead ex-girlfriend’s baby. I need a project.

Wallace smiles. Veronica glances towards the entrance. Ernie Sayers has arrived and is attended by one of the waitress.

WAITRESS: Hi.
VERONICA: Your reporter’s here.

Veronica gets up from the table.

VERONICA: I’ll send him over. Don’t let him misspell your name.

INT - SHERIFF'S DEPARTMENT - NIGHT.

Inga turns from one of the desks behind the counter at the sound of footsteps. It's Keith, carrying in one hand a book into which is inserted a piece of paper, and in the other, an iPod.

INGA: Keith.
KEITH: Evening, Inga. How’s police work? Don got some big bus-crash leads hidden away?
INGA: I know nothing.
KEITH: Oh, okay.

Keith pulls the piece of paper from the book.

KEITH: I’m being audited. No big deal, but I was hoping you could get me copies of these old expense and salary documents.

He hands her the piece of paper which, from the reverse, appears to have a list of about a dozen items on it.

INGA: Goodness. We have it. But it’ll take me a while to dig this out, if you—
KEITH: I got me a book...

Keith holds up his book. It is Bill O'Reilly's "Those Who Trespass." He then picks up the iPod.

KEITH: ...and a Bad Company album. Take all the time you need.

Keith puts the earphones on and grins. Inga grins back and walks away from the counter to collect Keith's documents. He watches her go. The iPod starts to play. It's not Bad Company. It's his interviews about security in the sheriff's department from 210 "One Angry Veronica." Once Inga has gone, Keith walks around to her side of the counter.

KEITH: [on tape] You ever lose a card?
SACKS: [offscreen on tape] So, if somebody found it, it’s no good. We change the codes.

Keith opens one of the drawers.

KEITH: [on tape] But you still need a card, right?

Keith picks up a blank card. Lying at the bottom of the drawer is a slip of paper listing various codes. Each is crossed off as a new one is added. #56556, #47832, #24901, #17381, #98537 and #72328 have all been used and scratched. The current code is #56741.

SACKS: [offscreen on tape] Inga has the codes in her drawer. She can just make a new card right there.

Keith places the card into the slot in the machine under the counter. On the computer screen on the desk, he finds the encoding form and types in the security number. The card in the machine slides further in and then out as the card is encoded. Keith grabs the card. Cut to moments later as Keith opens a door leading into a small hallway. Opposite is the door to the evidence room.

LEO: [offscreen on tape] No one keeps an eye on the third-floor evidence room. The hard drive in the surveillance camera, someone decides that they have to dump the files every couple days.

Keith glances up at the surveillance camera. It is pointed at the floor, obviously out of use. Keith shakes his head. He uses the encoded card in the slide lock. He enters the evidence room. He casts his eyes around until alighting on a large box, the label of which includes the words "Bus Crash," resting on a shelf below a plastic bag which contains, among other things, a hammer. Keith grabs the box and pulls it off the shelf. He sets it on a small table at the end of the room. He opens it. Lying at the top are four mini-cassettes, each labelled. Keith opens his book. He has already cut out a hole through the pages towards the back of the book. He places the tapes in the hole. He replaces the lid and puts the box back on the shelf. Back in the main office, a stack of papers, a foot deep, slaps down on the counter. Inga has returned. She looks up and sees Keith on one of the chairs, reading his book and listening to his iPod. Keith looks up, smiles and removes the earphones.

KEITH: Bless you, Inga.

He rises, slipping the earphones into his pocket as he approaches the counter.

INGA: My pleasure. How was your book?
KEITH: Weird. But I expect it’ll start making more sense soon.

He grins.

EXT - NEPTUNE HIGH SCHOOL (NHS) - DAY.

Wallace exits the school. Veronica is close behind him.

VERONICA: Hey.

She catches up and they walk on together.

VERONICA: Oh, you look better than I expected. I figured you’d be covered in eggs and rotten fruit hurled by angry basketball aficionados.
WALLACE: Me too, but there’s nothing. I checked online, radio: no word. Maybe he’s just a slow typist.

They walk up the steps to the tables in the lunch area and out of sh*t, passing Molly Fitzpatrick, sitting alone at one of the tables. She is stabbing listlessly at her food. Weevil, carrying a tray, approaches and invites himself to join her.

WEEVIL: You should try that cobbler, Molly. It’ll surprise you.

Molly is very surprised that Weevil is sitting next to her. She responds in a voice with a heavy lisp.

MOLLY: Thanks for the tip, but I don’t really like surprises. And why are you sitting here?
WEEVIL: Well, I was gonna start with some small talk, but, okay. Were you dating Felix?

Molly jerks back in shock.

MOLLY: What? No, what are you…

Weevil pulls out the photobooth strip of pictures of her and Felix that the tattooist gave him in 211 "Donut Run." He glances around before sliding it towards her and fixes on her reaction.

MOLLY: Where did you get this?
WEEVIL: Apparently he was gonna get you tattooed somewhere on his person. And from your reaction, I’m guessing it wasn’t gonna be on his forehead.
MOLLY: Yeah, it was kind of a secret, and I’d appreciate it if it stayed –
WEEVIL: Was he working for your family? Was he dealing for them?
MOLLY: [peeved] What? I thought you were friends, but if you’re asking me that, you didn’t know him at all.

Weevil sighs and looks away.

WEEVIL: No, I knew him.
MOLLY: My uncles and cousins didn’t know about us. If they’d have known, they probably would have k*lled us both.
WEEVIL: How did you guys even meet?
MOLLY: At church. St. Mary’s.
WEEVIL: Of course. The only place the micks and the sp*cs ever get together without someone getting punched.
MOLLY: My uncle’s a priest there.
WEEVIL: [incredulous] Liam Fitzpatrick?! If that guy’s a priest, then I’m Buzz Aldrin.
MOLLY: Brother, Patrick. That’s my family. Twelve hoodlums, one priest.

Weevil processes all of this.

MOLLY: You haven’t touched your cobbler.
WEEVIL: Yeah, I don’t like surprises either.

INT - FENNEL RESIDENCE - EARLY MORNING.

It's 4:25 in the morning and Wallace is in bed when his cell phone rings. Wallace reaches for it, groggily checking the number.

WALLACE: Hello?

INT - WOOD RESIDENCE - CONTINUING.

Nathan is sitting in a chair in what looks to be a small apartment. The clock behind him shows that it is 6:35 in Chicago. Nathan is holding up a newspaper in one hand and the phone in the other.

NATHAN: Wallace, you know what’s in this morning’s paper?

INT - FENNEL RESIDENCE - CONTINUING.

The camera alternates between locations as the conversation proceeds. Wallace sits up at Nathan's question.

WALLACE: Nathan, look, I know what you said, but I just couldn’t pretend. I had to do the right thing.
NATHAN: The right thing? Son, do you know what it says?
WALLACE: No, but I know what I—
NATHAN: This is why I wanted you to keep quiet. Rashard and the other two kids in the car just came out saying when the car hit the homeless guy, you were driving.

Wallace seems more disappointed than shocked.

Opening credits.

EXT - NHS, LUNCH AREA - DAY.

Wallace and Veronica are standing on the walkway, between the side of the school and the lunch area, looking at the copy of the Chicago Statesman that Wallace holds.

VERONICA: So that’s what happens when you try to do the right thing.

A close-up of the newspaper shows most articles written in faux-Latin and a number of headlines: "Stocks tumble on word of faulty earnings reports by Steve Broussard, Junior Staff Writer" and "Yoga Toga Party - As the {?} of the yoga {?} during the late nineties and early {?} comes to a grinding halt. Many outposts of the pagan ritual are seeking gimmicks to re-entice their customers back to the mat. Will it work? Toga and Fries?, E1." The caption to the main picture reads: "April Breck attends to Sgt. Chris O'Donnell who's [sic] convoy was struck by an IED near Najaf, Iraq." But the headline of interest to Wallace and Veronica is the one written by Senior Staff Writer, Ernie Sayers: "Teen implicated in car accident - NBA hopeful confirms team-mate struck man, attempted cover-up."

WALLACE: Just looks like I’m trying to weasel out of my evil deeds.

As Wallace lets the paper drop, Veronica grabs it, looking at it more closely.

VERONICA: No, the weasel is this basketball guy. God, I just want him smashed.

Veronica illustrates by crumpling the newspaper. Wallace rushes to snatch it back.

WALLACE: Hey! The paper’s from the library. Last thing I need is the librarian turning on me too.

They start to walk.

WALLACE: Ah, Rashard’s cool. It’s not like he—
VERONICA: [astounded] Cool?! Um, are we thinking of the same word? Because I don’t remember, say, Steve McQueen ever hitting a homeless man in his Hummer and framing someone else for it.
WALLACE: No. He’s got this uncle. He’s like his father, manager, and enforcer. These guys all lying? That’s gotta be because of him. Uncle Rucker, paying ‘em off…or scaring ‘em.
WALLACE: Oh, look, he’s coming here. UCLA’s trying to recruit him. If I could just talk to Rashard alone, we were friends. I’m sure—
VERONICA: Yeah, he’d say, “Excuse me. You’re standing between me and my money.”
WALLACE: Man. Is there anybody you don’t think is corrupt deep down?

They reach an empty table and sit down.

VERONICA: Yes, you. And I don’t want you suffering for it, because jail?

Veronica waves her hands.

VERONICA: Is no fun.
JACKIE: [offscreen] What’s no fun?

Veronica and Wallace look up as Jackie stops by the table.

VERONICA: Um….jail?

Jackie laughs.

JACKIE: Oh, I thought you were talking about Mr. Wu’s game-show quiz.
VERONICA: No, I was talking about jail.

Wallace casts Veronica a wary glance. A dodgy edit or continuity skip covers the fact that Veronica grabs the newspaper that is on the table to busy herself with it while Wallace and Jackie talk.

JACKIE: So, Wallace, I haven’t seen much of you since Chicago. How was it?
WALLACE: It was all right. A bit…complicated.
JACKIE: I left you a couple messages, uh, but when I didn’t hear back, I figured…
WALLACE: Yeah. I was just…taking some time.
JACKIE: But we should hang out, the three of us. I don’t know, maybe this weekend?

The silence is just that bit too long.

WALLACE: I’m busy, but you guys go ahead.

Veronica looks up at Jackie, a little horrified. Jackie stares back, seemingly open to the idea but not feeling the welcome. Veronica presses her lips together as Jackie covers with a smile.

JACKIE: Right. Uh, see you around.

Jackie walks away. Veronica hands back the newspaper.

VERONICA: You guys didn’t work out your stuff yet?

Wallace shrugs.

WALLACE: I’m just trying to figure out if I can deal with someone like that in my life right now.

A bell rings and they move to head into school, as do all the other students around them.

VERONICA: Answer? No. What you need in your life right now is a good lawyer.
WALLACE: You know a good lawyer?
VERONICA: I know…a lawyer.

INT - MARS INVESTIGATIONS - DAY.

Cliff is using the phone on Veronica's desk.

CLIFF: Right. Got it, thanks.

He drops the phone onto its holder and turns to face Wallace and Veronica, sitting on the small couch.

CLIFF: So, it’s called self-surrender.

Cliff sits on the top of Veronica's desk.

CLIFF: At the negotiated time five days hence, Wallace Fennel will turn himself in to the Neptune Sheriff’s Department, who will oversee his transfer to the Chicago police.
WALLACE: What if I’m not there?
CLIFF: Then they’ll issue a warrant, you’ll be arrested, probably found guilty, and end up married to some enormous m*rder*r named Tiny. My advice? Be punctual.
VERONICA: Or prove your innocence.
CLIFF: Or that. Suit yourself.

Cliff grabs his briefcase and leaves. Wallace leans forward, determined to see the bright side.

WALLACE: All right. So that’s good.

Veronica gives him a disbelieving look.

VERONICA: Good? What, in the same way that Rashard is “cool”? Do you know what any words actually mean?
WALLACE: I mean, if I’m cleared in the next five days, I’m back on the team in time for the Pan High game.
VERONICA: Pan High? How can you even think of the game right now?

Veronica gets up and marches to her desk.

WALLACE: Rival school, biggest game of the year? I can’t help it. I’m male.
VERONICA: Well, here’s a message from the females: you’re nuts.

She sits at her desk and starts to consult the laptop, with a sigh. Wallace gets up and joins her, looking over her shoulder.

VERONICA: So, let’s see what’s up for “Bribe Rashard into Being a Bruin” Week.
WALLACE: You got his whole schedule. How’d you manage that?
VERONICA: Remember Tracy James?
WALLACE: You mean…

Wallace graphically indicates large breasts. Veronica frowns in distaste.

VERONICA: Yes. Those boobs named Tracy James that went to Neptune and are now a Bruin cheerleader. She says our best bet is the Booster dinner.
WALLACE: Booster dinner? Can we get in?
VERONICA: No. But she says it’s not uncommon to find certain…slightly skanky girls lurking outside in hopes of meeting the big recruit and, given that these recruits are teen males, often succeeding.

Wallace gets a faraway look in his eye.

WALLACE: That happens. So, you think when I apply to college, I—
VERONICA: [firmly] No.

Wallace tsks in disappointment.

VERONICA: But it does seem like our best bet to get you to see Rashard.

Wallace nods. Keith shouts from his office.

KEITH: [offscreen] Veronica?
VERONICA: [shouting back] What?!

Wallace glances at Keith's closed door.

WALLACE: [quietly] You got my future in your hands. Don’t drop it.

Wallace takes himself off. Veronica worriedly watches him go. Keith pops his head out of his office.

KEITH: I believe the correct response is, “How can I be of service, sir?”

Veronica grins, holding out supplicating hands.

KEITH: Can you dig up the Murray file? I guess now we need to destroy it.

Veronica is shocked.

VERONICA: What? THEY reconciled? How?
KEITH: Mystery of love would be my guess.

Keith disappears back into his office, closing the door.

VERONICA: [to herself] A million-dollar “Sorry I banged the maid” ring would be mine.

Veronica continues to view the laptop screen. Cut to a little later. Veronica is feeding a photograph of a man and a woman at a restaurant through the shredder. She picks up the next from the pile on her desk, examines it and sighs. This one, showing the couple getting much closer, feeds through. She picks up the next one and pauses. She stares intently at the top right-hand corner of the photo, away from the couple in the centre. In his office, Keith is deep in some papers when Veronica lays the photo down on top of them. Keith gets agitated, picking it up and handing it back to her.

KEITH: What? What, no, I don’t want to see the one where you can see his—

She doesn't take it, leaving it on the desk.

VERONICA: Take a look in the top-right corner.

Keith, catching her serious tone, picks up the picture again and looks as directed. The picture shows Terrence Cook, holding between his own hands the hands of a young woman, who is smiling up at him.

KEITH: That’s Terrence Cook and, uh…
VERONICA: Miss Dumas, the journalism teacher.
KEITH: Who d*ed in the bus crash. Well, you met Terrence the day of the bus crash. What was he like?
VERONICA: Um, nice. He signed stuff for people, the usual sports-star thing. He also has some gambling issues.
KEITH: Gambling issues like lost fifty bucks at the dog track?
VERONICA: Like owes millions to scary men.

Keith drops his pen and leans back in his chair, half annoyed and half resigned at this.

KEITH: And you know this how?
VERONICA: I don’t know if this will help the whole you-trusting-me thing...

Keith doesn't rise to this, keeping his expression neutral.

VERONICA: ...or ruin it even worse, but during the election I did a thing you won’t approve of, and now I have a tape you should hear.

INT - NEPTUNE GRAND HOTEL, PRESIDENTIAL SUITE.

A golfer takes a swing at the four-par first hole in "Hot sh*ts," last seen when Duncan and Logan played together in 205 "Blast from the Past."

LOGAN: [offscreen] dr*gs, m*rder...

Logan is playing by himself, concentrating on the game.

LOGAN: ...frame-ups...
GAME: Nice one.
LOGAN: ...St. Mary’s Church. God, why didn’t we think of that sooner?

Weevil is leaning back on the sofa, at right angles to Logan, staring at the ceiling.

WEEVIL: Seriously, man, this has got to be it.

Logan doesn't take his eyes off the game.

LOGAN: And you’re convinced of this? Why?

Weevil leans forward.

WEEVIL: You met the Fitzpatrick family?

Logan nods, still playing.

LOGAN: And found them scrappy but loveable.
GAME: Smooth.
WEEVIL: So out of thirteen brothers and cousins, you got twelve hoods and a priest. Father Patrick.

On screen, the golfer, now at the eighteenth hole, swings.

WEEVIL: [offscreen] So, I was thinking –

The ball lands in the rough, near a sand bunker.

LOGAN: [offscreen] Oh, damn.
GAME: Can't a brother get a break? Come on—

Weevil glares at Logan and then at the game. He gets up and yanks the plugs out of the Playstation. The TV screen goes dead.

LOGAN: [annoyed] What?! You were thinking, you want me to alert the media?
WEEVIL: [equally pissed off] This concerns you too, jailbird. You think I like sneaking over here like this? Focus, man!
LOGAN: Okay, man, I’m focused. Go ahead, think.

Weevil paces.

WEEVIL: Okay, we got a Fitzpatrick priest running the show at a church where all the PCHers go, right?
LOGAN: That’s decent thinking for a novice. But aren’t priests supposed to be, like, I don't know, good and stuff?
WEEVIL: Before he took his orders, Patrick Fitzpatrick was up to his eyeballs in the family business. He even did six months for as*ault for b*ating up some stoolpigeon.
LOGAN: Yeah, but in church? Where are you gonna pass packages of dr*gs and money?
WEEVIL: You ever been to a Catholic church?

Logan looks up at Weevil. Cut to later. Weevil opens the door of the suite and steps into the hallway. They seem to have had some renovations as the lift doors are now where Logan exited the room where he had sex with Kendall in 202 "Driver Ed" was. Weevil heads for the lift. He doesn't see the Mexican man around the corner who watches him.

INT - SITE OF THE BOOSTER DINNER - NIGHT.

Rashard Rucker is being led through a busy hotel bar by two cheerleaders who are wearing matching jeans, sparkling tops and cropped sweaters, presumably in the college colours of turquoise and yellow. According to the credits, one of these girls is Tracy. (Wallace exaggerated her attributes.)

TRACY: So, Rashard, any more questions we can answer about the school?
RASHARD: Well, uh, one question I had was, you know what I mean, “Hey, where’s the party?”

They all come to a halt at the entrance to the hotel. Behind them is a notice, marking it as the site of an Alumni Dinner. Also behind them are three men in deep conversation.

TRACY: We figured wherever you were going.
RASHARD: Oh.

He laughs and the girls giggle. Looking out into the street, Rashard sees a limo. The moustachioed driver is standing in front of it, holding up a sign with Rashard's name printed on it.

RASHARD: I was actually just going to my limo. You know you all is welcome to come along.

He laughs again, enjoying his blessings.

RASHARD: Oh, god.

The girls continue to giggle as the three of them head for the limo.

EXT - SITE OF THE BOOSTER DINNER - CONTINUING.

The driver opens the door and they all climb in. In the hotel, one of the men standing near the entrance talking to the other two men glances at the limo. As the limo driver closes the door, the man excuses himself from his companions and starts to head for the limo.

INT - LIMOUSINE - CONTINUING.

Inside the limo, the driver takes his seat. Veronica is in the seat next to him.

VERONICA: Okay, so we’re headed to the Forum Suites Hotel.

As the limo starts to drive away, Veronica punches a button on her cell. In the back, Rashard continues to impress the giggling girls.

RASHARD: [offscreen] This is how I roll.

Wallace picks up at the other end of Veronica's call.

WALLACE: [offscreen] Yeah?
VERONICA: [chirpy] We’re on our way, and everything’s going perfect. We’ll see you there?
WALLACE: I’m moving.
VERONICA: Super. Bye then.

Noises continue from the back until cut off by the sudden braking of the limo when a truck pulls out across the road.

LIMO DRIVER: Hey!

They are stuck there for a moment. Veronica hears the sound of a heavy tread. She looks in the side mirror and sees the man from the hotel striding towards the car. It's Monte Rucker, Rashard's uncle/manager.

VERONICA: Actually, we’re in a hurry, so…

She's too late as Monte pulls open the back door. The girls look up at him, still smiling broadly.

TRACY: Hi!
MONTE: Hi yourself…and bye. Get out.

Their smiles fade as they glance at Rashard.

RASHARD: Whoa, hang on—

Monte jabs his finger at Rashard.

MONTE: You. Don’t say anything.

The girls climb out the other side as Monte climbs in. Veronica sees this from the driver's mirror and silently groans. The driver shrugs as Monte issues forth instructions through the intercom.

MONTE: [offscreen] Forum Suites Hotel.

As the car moves off, Monte chastises Rashard.

MONTE: What the hell are you doing?
RASHARD: Nothing, man. They just a couple nice girls who wanted to—
MONTE: First of all, I ain’t man. I’m your family, your management, and your brains, so don’t be cute with me. Second, those aren’t girls, those are leeches...

In the front, Veronica rolls her eyes.

MONTE: [offscreen] ...looking for a big bad of money to latch on to.

She punches her phone again. In the back, Rashard tries to defend himself.

RASHARD: Man, it ain’t ev—

Monte cuts him off with a glare. Rashard pauses and tries again.

RASHARD: It wasn’t like that.

In the front, Veronica grimaces as she gets Wallace's answer message.

WALLACE: [offscreen] This is Wallace. Leave a message.
VERONICA: [still chirpy but with urgency] Hi! We might need to make a slight change of plan. Give me a call the instant you get this message.

She and the driver exchange a resigned look.

MONTE: [offscreen] I’ve been there. I’ve seen this happen.

Monte continues with the sage advice in the back.

MONTE: Some smilie thing, filling out a pair of jeans real nice shows up. One wrong move and a lawsuit later...

He snaps his fingers.

MONTE: There goes your shoe deal.

He snaps them again.

MONTE: There goes ten million bucks.

Rashard sighs. In the front, Veronica points.

VERONICA: Just down in the garage.

The limo drives into the underground car park. Meanwhile, Monte ceases hectoring and his voice softens.

MONTE: Look, I’m not saying don’t enjoy the fruits of your success. You deserve the best. Just don’t be dumb.

Veronica points again.

VERONICA: Right between there.
RASHARD: [offscreen] Can I still go to the Alpha Rho Nu thing Thursday?

In the back, Monte smiles and nods.

MONTE: Yeah. Just remember – you think with your brains, not with…this.

Monte slaps him in the nuts. Rashard gasps in pain.

INT - FORUMS SUITES HOTEL, UNDERGROUND CAR PARK - CONTINUING.

The limo pulls in tight between two cars.

RASHARD: [offscreen] Damn, uncle!

Wallace, waiting in one of the cars, nods as the limo drives slowly through. Veronica continues to direct the driver.

VERONICA: Just forward a little more.
LIMO DRIVER: Ma’am, the passengers won’t be able to open their doors.
VERONICA: You don’t say.

The limo stops, pulled a little forward of the two cars. Veronica and the driver can exit but the back doors are blocked. Wallace leans out of his window and raps on the darkened back window of the limousine.

WALLACE: Rashard!

Veronica, who is wearing a UCLA blazer, races over to Wallace.

VERONICA: I tried to call you, but your phone doesn’t work down here.
WALLACE: What’s going on?
VERONICA: Well, a funny thing happened on the way to the Forum Suites.

The window of the limo rolls down.

WALLACE: Rashard!

Monte's face, like thunder, glares out at Wallace. Behind him Rashard looks surprised.

MONTE: No. Now what the hell’s going on here?

Wallace casts a disappointed looks at Veronica. She shakes her head.

MONTE: I told you once, now I’m telling you with more force: do not mess with my boy.

He holds up his cell phone, giving Wallace a good look at it.

MONTE: I got that reporter on speed dial. I’m glad to call him again.

The driver gets out of the limo.

LIMO DRIVER: Ma’am, uh, do you want me to pull back so that the doors clear?
VERONICA: Actually, that’s okay, we’re just—

Monte, still trapped in the car, addresses the driver.

MONTE: What I want is your name and license number.
LIMO DRIVER: I’m sorry?
MONTE: You’re sorry? Well, you ain’t the one being kidnapped, Jack.
LIMO DRIVER: Kidnapped? You’re not with them?
MONTE: Hell no.

Confused, the driver turns to Veronica.

LIMO DRIVER: Ma’am?
MONTE: Now you want to get us the hell out of here, or do you want me to dig up the Chief of Police’s number?

He waves the phone about again.

MONTE: Which I got in here, too. He’s a big basketball fan.

Wallace and Veronica exchange defeated looks. Cut to moments later. The limo drives away, leaving Wallace and Veronica standing, gazing at its tail lights.

VERONICA: Well, it almost worked.
WALLACE: Any other ideas?

They start to head towards Wallace's car.

VERONICA: Yeah, a cheeseburger. I’m late for my shift, and there’s a drive-through on the way.

Wallace stops short.

WALLACE: Oh, man. The drive-through!
VERONICA: Right, it’s that thing they have where we don’t even have to leave the soothing comfort of our cars.
WALLACE: The night of the accident, like five minutes before, we hit White Castle. The drive-through.

Veronica stares at him, quizzically.

WALLACE: Don’t you see? There’s a witness right there! The drive-through guy.
VERONICA: He saw Rashard at the wheel.
WALLACE: He got his autograph! I mean, hell, there might even be security tape of Rashard driving. We find that drive-through guy, I got a witness.

Wallace races towards his car.

VERONICA: What about my cheeseburger?
WALLACE: Raincheck.

He gets into the car and starts the engine, excited.

WALLACE: I’m heading back, get Nathan to find that drive-through guy, get us both off the hook.

Veronica grins.

INT - JAVA THE HUT - NIGHT.

Lars is singing again. It is excruciating again. This time he is doing Air Supply's "All Out of Love."

LARS: [singing] I’m all out of love
What am I without you?
I can’t be too late
To say that I was so wrong

Veronica hurries in.

VERONICA VOICEOVER: Great. So I’m late, it’s super-busy, I missed dinner, and it’s “make the karaoke machine want to k*ll itself” night.

Veronica pauses to tie back her hair. She spots Weevil in the corner, gesturing at her to come over.

VERONICA VOICEOVER: And also, it seems, “Veronica, I need a favor night.”

Just in front of where Veronica has paused, a customer approaches the counter with his empty cup.

BRITT: Excuse me. Can I get some hel—

The man behind the counter is busy and ignores him.

BRITT: Wow, so who do you got to know to get some help around here?

As he turns, Veronica is there, coffee pot in hand.

VERONICA: Veronica Mars, apparently.

She grabs his cup and starts to fill it. On stage, Lars has thankfully done.

KARAOKE DJ: Thanks, Lars.

There's a smattering of applause.

KARAOKE DJ: That was Lars, everyone.

Lars is almost overcome with emotion as he waves at the crowd.

KARAOKE DJ: Next up, Britt.
BRITT: Hey, thanks, Veronica.

Britt heads for the stage. Various voices shout "Whoo!" and "Yeah!" around the room. Britt slides off his jacket, leaving it on one of the tables.

BRITT: Make it B-17.
GIRL: Yeah, Britt!
MAN: Go, Britt!

Britt — in real life, Britt Daniel, lead singer of Spoon — picks up the mike as the intro to Elvis Costello's "Veronica" plays. He starts to sing. Really well.

BRITT: [singing] Is it all in that pretty little head of yours
What goes on in that place in the dark?
Well, I used to know a girl and I could have sworn
That her name was Veronica

Lars' date is transfixed by Britt's performance, a tear running down her cheek. Lars stares at her as she stares at Britt.

BRITT: [singing] And she used to have a carefree mind of her own
And a delicate look in her eye

Shown up again by a much better singer, Lars throws up his hand in disgust and walks away.

BRITT: [singing] These days I'm afraid she's not even sure
If her name is Veronica

Britt continues his performance in the background as Veronica, order pad and pencil in hand, approaches Weevil.

BRITT: [singing] Do you suppose, that waiting hands on eyes,
Veronica has gone to hide?
VERONICA: And how can I help you, sir?
WEEVIL: I need a favor.
VERONICA: Ah, a favor. One of our specialties.
BRITT: [singing] And all the time she laughs at those who shout her name and steal her clothes
WEEVIL: I need you to bug the confessional at St. Mary’s Church.

Veronica's eyes widen momentarily.

VERONICA: Um…I’m sorry, that’s not on our menu.
BRITT: [singing] Veronica
VERONICA: Maybe you should try “you’re crazy” down the street?
BRITT: [singing] Veronica
LOGAN: [offscreen] It’s not just for him.

Veronica looks over at the next table, surprised to see Logan. Her eyes narrow.

VERONICA: Isn’t this a very odd coincidence…Or, wait —
BRITT: [singing] Did the days drag by? Did the favours wane?
Did he roam down the town all the time?
VERONICA: Are you guys, like, roomies now and he ate your peanut butter and now you’re not speaking?

Weevil drops his head, stoically bearing up to the sarcasm.

LOGAN: Funny you should bring up roomies, as I just lost one.
BRITT: [singing] Well it was all of sixty-five years ago
When the world was the street where she lived
LOGAN: I don’t suppose you can help me find where Duncan disappeared.
BRITT: [singing] And a young man sailed on a ship in the sea
With a picture of Veronica
VERONICA: Ooh, sorry, one favor per customer.
WEEVIL: Uh, yeah, can we stay focused here? ‘Cause if we’re seen together by the wrong people, that would be bad…
BRITT: [singing] On the empress of India

Weevil brings his cup to his mouth, still keeping his head down. Veronica grins with revelation.

VERONICA: So, this is sneaking.
BRITT: [singing] And as she closed her eyes upon the world

Weevil blows out a long breath and rolls his eyes.

VERONICA: I’ve got a pantomime horse disguise you could use. Do either of you have any experience being a horse’s ass?
LOGAN: Yeah, I’m glad my misfortunes amuse you.
BRITT: [singing] Picked upon the bones of last week’s news
She spoke his name out loud again
LOGAN: Look, that church is the only place the Fitzpatricks and the PCHers hang together.
WEEVIL: And the priest is a Fitzpatrick. It must be where they’re getting the dr*gs to the traitor in the PCHers.
BRITT: [singing] Do you suppose, that waiting hands on eyes,
LOGAN: Who’s probably the one who k*lled Felix.
BRITT: [singing] Veronica has gone to hide?
LOGAN: Look, Veronica.
BRITT: [singing] And all the time she laughs at those who shout her name and steal her clothes

Logan sighs heavily.

LOGAN: Can you just once save my ass without comment?

Veronica sighs and stares at him for a moment, until...

BRITT: [singing] Veronica

...her attention is drawn to the music.

BRITT: [singing] Mmm, Veronica

Veronica seems to draw something from this, a sense of who she is. She smiles and turns back to face Logan and Weevil.

VERONICA: No. Because saving your ass with comment, it just…it works better for me.
BRITT: [singing] Did the days drag by? Did the favours wane?
VERONICA: I will not bug a confessional.
BRITT: [singing] Did he roam down the town all the time?
VERONICA: Video, maybe, but no sound.
BRITT: [singing] Will you wake from your dream, with a wolf at the door...
LAMB: [offscreen] What did you mean by...

INT - MARS RESIDENCE - NIGHT.

Keith is listening to one of the interview tapes as he dunks a cookie in a glass of milk.

LAMB: [offscreen on tape] ...“it smelled”?
d*ck: [offscreen on tape] Dude, it smelled like the ass of something that d*ed.

FLASHBACK: INT - SHERIFF'S DEPARTMENT - DAY.

d*ck is in one of the interview rooms with Lamb.

LAMB: And you can’t say what it was?
d*ck: I’m not, like, a professional smell-ologist. It stank. So I got a limo.
LAMB: You ever heard of the name David Moran, sometimes known as Curly?
d*ck: Curly? Sure. Worked on my dad’s Aston Martin. Guy was a trip.

END FLASHBACK.

INT - MARS RESIDENCE - CONTINUING.

Keith has a pad of paper in front him, ready to take notes. He brushes off crumbs as he listens to the next tape.

LAMB: [offscreen on tape] Where you aware of a bad smell?
BEAVER: [offscreen on tape] Yeah, i-it was really bad.

Keith jots down a note on the pad.

FLASHBACK: INT - SHERIFF'S DEPARTMENT - DAY.

Beaver is now the one in the interview rooms with Lamb.

BEAVER: You know, d*ck, he said that we should get a limo, and I think that was, like, his first good idea ever, so…

Beaver laughs nervously.

LAMB: Name Curly mean anything to you?
BEAVER: Uh, the mechanic?

Lamb nods.

BEAVER: Yeah, yeah, I met him, you know, but, uh, well, my dad, he went to the shop, he usually just took my brother, cars being, you know, man stuff.

END FLASHBACK.

INT - MARS RESIDENCE - CONTINUING.

Veronica enters the apartment looking tired and vaguely harassed.

KEITH: Hey, honey. How was work?

She sighs deeply and leans back against the wall.

VERONICA: Interesting. And how was your day?

She pushes off the wall and joins him in the kitchen. Keith is sorting out some food.

KEITH: Also interesting. I had a thought about the rat.
VERONICA: Hmm…that you could make his lips and feet into hot dogs? I think somebody b*at you to that one.

Keith places a hot dog into a bun.

KEITH: You thought it was a sign, a message to you, "You are a rat"? What if we were just being too...fancy and sophisticated?

He drops the plate with the hot dog on the counter as Veronica laughs.

VERONICA: That’d be a first.
KEITH: I mean too…symbolic. What does a dead rat do?
VERONICA: Besides smell?
KEITH: A dead rat’s only talent – it smells. Bad enough to drive anyone who could afford another ride off the bus. I’m just saying, keep in mind, honey: you’re not the only possible reason that that bus crashed.

INT - NHS, HALLWAY - DAY.

Veronica closes her locker.

VERONICA VOICEOVER: It always was a weird coincidence. The rich kids lived, the poor kids d*ed.

Veronica watches as d*ck sneaks up behind a lowly student and pulls him up by the back of his jeans. d*ck's crowd find this incredibly funny as the student cries out in pain at the wedgie.

VERONICA VOICEOVER: But why would someone want to k*ll all the poor kids? Despite Dad’s best efforts, I still feel like I’m the only target that makes sense.

Wallace walks towards her. They carry on up the hallway together.

VERONICA: So, the drive-through guy?
WALLACE: Guy.

Veronica is confused.

WALLACE: Guy Abrutti. That’s his name. Nathan tracked him. Twenty-six, Caucasian, worked at White Castle for a year.
VERONICA: That’s great! Right? Why aren’t you smiling?

They pause.

WALLACE: Guy Abrutti hasn’t come into work for the last three days. Nobody’s seen him since. Surveillance video’s gone and Guy’s gone.
VERONICA: Uncle Rucker got to him.
WALLACE: Probably bought him off, just like the other guys. Got any other ideas?

Veronica frowns.

INT - ST. MARY'S CHURCH - DAY.

An organ plays ponderously as the camera drops down from the vaulted ceiling. Someone is sitting in one of the pews of the all-but-empty church.

VERONICA VOICEOVER: Confession at St. Mary’s is four to six, Tuesdays and Wednesdays, with bugging hours just preceding.

Veronica walks slowly up the aisle.

VERONICA VOICEOVER: Do I feel guilty? Yes.

She pauses, the rose window behind her framing her face.

VERONICA VOICEOVER: Fortunately, that’s what this place was made for.

As she stares forward, a priest comes up behind her. They glance at each other as he passes by her.

VERONICA VOICEOVER: At least Weevil was right about one thing. Father Patrick Fitzpatrick does look rather unecclesiastical. Definitely the priest I want on my side in a teen Kn*fe fight.

Veronica goes to the end of the church, putting a bill in the box. She grabs a taper and lights a candle. She moves on to a statue of Mary, in front of which an elderly woman is praying on her knees. Veronica stands behind the woman and folds her hands in prayer.

VERONICA: I’m…really sorry about this.

She takes a deep breath. The woman looks back at her, slightly offended. Veronica wilts a little, glances back at the statue, and then moves away. Cut to moments later as Veronica plants a very small camera at the top of the inside of the confessional booth. She pushes a button and a red light activates. She backs away, seen through the eye of the camera, as she reaches up to make adjustments.

VERONICA: I’m going to hell. It’s that simple. I am going straight to hell.
FATHER PATRICK: Confession hasn’t quite started yet but...

Veronica is startled by the voice from the other side of the grill and looks back at the camera furtively.

FATHER PATRICK:...what makes you say that?

She improvises, kneeling before the grill.

VERONICA: Um, well, I’ve done some things that probably aren’t quite, you know, on the up-and-up, God-wise.
FATHER PATRICK: I see. Is there an example of this?
VERONICA: Sometimes when I know someone is bad I do improper things.
FATHER PATRICK: Like what?
VERONICA: Like...trying to prove to the world that they’re bad and get them punished.
FATHER PATRICK: Yes. I know the feeling, actually.
VERONICA: You do?
FATHER PATRICK: I wasn’t always on the up-and-up god-wise myself. But I worked at it. There’s a passage, Romans 12:19. “Vengeance is mine. I will repay, sayeth the Lord.”
VERONICA: Yeah, I see now. I-I guess I should just probably be a better person. Thanks—

Veronica tries to scurry away but is halted by his words.

FATHER PATRICK: “Therefore, if thine enemy hunger, feed him. If he thirst, give him drink. Be not overcome of evil, but overcome evil with good.”
That might be something for you to think about.

Veronica stares at the priest through the grill. Moments later, she exits the booth and hurries up the side aisle. She passes another worshipper, sitting alone in one of the pews. About ten rows behind him, she places the camera's storage device at the back of one of the pews and leaves the church.

EXT - L.A. STREET - NIGHT.

Veronica joins an anxious Wallace. They walk together up the street, heading for a house on the other side of the road.

WALLACE: Man, I practically peed myself waiting on you. Where have you been?
VERONICA: Nowhere. But if God asks, I was with you.
WALLACE: You’re sure Rashard’s gonna be here?
VERONICA: I heard him talking in the limo. This frat-party thing was at the top of his to-do list. All we got to do is blend in, ease through the door, and get you in a room alone with him, so just hold it in.

The large house is decorated with red Christmas-style lights, wrapped around the banisters and columns of the veranda, and around the windows. People are crowded on the stairs and veranda.

WALLACE: What fraternity did you say this was?
VERONICA: Alpha Rho something.

They pause in the street.

WALLACE: Alpha Rho Nu? A black fraternity.

They look up at the house again. All the people spilling out of the house are black. Veronica grins.

WALLACE: Part of us isn’t blending in.
VERONICA: I’ll just – I’ll be in the car. Okay?

Veronica play-punches Wallace in the arm as she turns to go back to her car. Wallace smiles and heads into the house.

INT - ALPHA RHO NU FRATERNITY HOUSE - NIGHT.

The music that could faintly be heard in the street is loud in the house. Music: "Shine More" by Sarah Pires.

LYRICS: Boy, I'm catching up on you
For all the things you put me through
Nothing else that you could say
No, no, no
Is gonna make me {?}
Boy, I'm catching up on you
For all the things you put me through
{?}
I'm catching up on you, yeah.
{?}
Every little thing, everything you do
Sooner or later

Wallace threads his way through the party-goers, who are exclusively black. He sees Rashard dancing with a couple of girls.

WALLACE: Rashard. Rashard!

Rashard's smile fades when he sees Wallace.

WALLACE: Can I talk to you?

Rashard stares at him for a moment, then addresses the group around him.

RASHARD: Yo, excuse me a sec, man.
MAN: A’ight.
RASHARD: Let’s go.

Rashard leads Wallace into a relatively quiet room.

RASHARD: What are you doing here, man?
WALLACE: You know what I’m doing here. Look, man, I’m just as freaked out about what happened as you, but there was a right thing to do and a wrong thing to do, and WE picked wrong.
RASHARD: It was an accident, man, end of story.
WALLACE: [incredulous] End of story? Your uncle’s about to have me thrown in jail, man. Yeah, it was an accident, but the truth is the truth, and you can’t just walk away from that. I’m telling you this as your friend, Rashard. I mean, we were friends, right?
RASHARD: Yeah. I mean, that’s what I thought.
WALLACE: Right. So, can’t we figure out—
RASHARD: But then you got to come and try to rat me out like that. Man, I don’t even know—
WALLACE: What? Rashard, it’s not like that.
RASHARD: No? Okay, then what is it like? Huh? You know how hard I worked for this. You know how much I got on the line right now?
WALLACE: Fifty million over the first five years if I read it right. But, Rashard, I came to talk to you, man, not your uncle.
RASHARD: Man, this IS me, man! Yo, and if you want to mess with me, bring it on. ‘Cause I’ll hit you back FIFTY million times harder. Why don’t you just go home, man? Get out of my life.

Rashard barges past a disappointed Wallace, thumping him hard in the shoulder. End music: "Shine More" by Sarah Pires. Music: "See The Sun" by Scavone.

LYRICS: See the light, rappers rap glamorous {?}
Yo this is all that we've got and you will never know
If this was all for the top or not
Everybody on this planet want to see the sun,
Everybody want to know where you're coming from
{?}
Everybody on this planet want to see the sun,
Everybody want to know where you're coming from
{?}

After a little time, Wallace follows Rashard out of the smaller side room, dejected. He walks into the main room. He sees Rashard being flirty with a girl, as they lounge on a couple of the chairs pushed back against the wall. The girl is Jackie. She looks up at Wallace and laughs.

JACKIE: Wallace?
WALLACE: What are you doing?
JACKIE: I’m at a party. What does it look like? What’s wrong?
WALLACE: Stay away from this guy, seriously.

Jackie stands and pulls her hair back from her ear, leaning forward in a show of trying to hear him better.

JACKIE: What?
RASHARD: [derisively] Yeah, you know this guy?
WALLACE: [forcefully] Yeah, she know me. She know me well enough to take my word and just go. Come on.

He reaches out for her arm. She jerks away

JACKIE: [angry] God, Wallace, when did who I talk to at a party become your business?
WALLACE: Come on. Jackie, let’s just go.
JACKIE: So, what, you own me? You know, it might have been nice if you would have maybe returned one of my phone calls when you were in Chicago, filled me in on this new development.

Rashard slowly rises from his seat.

RASHARD: Hey, um, Jackie, is this guy bothering you?
JACKIE: Yes, he’s starting to.
RASHARD: Okay.

Rashard calls out to a couple of guys wearing APN tee-shirts, jackets and/or baseball caps.

RASHARD: Hey, hey, we got a party foul over here.

The guys come up behind Wallace.

RASHARD: This little man here is, uh, messin’ with my special lady friend.

Jackie glares at Wallace and notes Rashard's arm around her shoulder.

MAN: Yeah?

They grab Wallace and pull him backwards.

WALLACE: Hey, man, watch out. Hey, come on, man! He’s not even from Alpha Rho Nu!

Jackie watches, concerned now. Rashard laughs and she returns her attention to him.

RASHARD: All right. How about we enjoy this party, huh?

Jackie laughs.

JACKIE: This party’s kind of over for me.

Wallace is still shouting in the background, struggling with the two bigger men.

JACKIE: You know what? I do know a really good club in Hollywood. We could have a really good time.
RASHARD: Damn…Well, ah, you know, my uncle told me I had to stick around here for a while and just—
JACKIE: Oh, is he here? Maybe I can ask for his permission.
RASHARD: Okay, I—

Rashard looks over Jackie's head and watches at a protesting Wallace is shoved into a closet.

WALLACE: Wait a minute…It wasn’t me, anyway! I was...

The door slams shut behind him and a chair is shoved under the handle. One of the guys sits in the chair. Wallace's shouts can still be heard.

WALLACE: Come on, man! Let me out the closet! Come on, man!
RASHARD: You know what? I call my own sh*ts. Let’s go.

Jackie smiles and chuckles.

EXT - ALPHA RHO NU FRATERNITY HOUSE - NIGHT.

Outside, it's raining. Veronica watches the house from the comfort of the LeBaron. She rouses from her boredom when she sees Jackie and Rashard exit the house and get into Jackie's sports car parked in front. Veronica smiles, shakes her head and starts the engine. End music: "See The Sun" by Scavone.

INT - ALPHA RHO NU FRATERNITY HOUSE - NIGHT.

Music: "Better Than That" by Hadas.

LYRICS: ...it's an act
Don't think I don't see
I know you better than that
My friends don't believe
That you're feeling me
They think I'm naïve
But you know me better than that
Don't keep on holding back
I know it's an act
Don't think I don't see
I know you better than that
My friends don't believe
That you're feeling me
They think I'm naïve
You know me better than that

Wallace has been let out of the closet. He walks though the house and sees Monte, talking frantically into his cell phone. Monte spots him.

MONTE: What the hell are you doing here?
WALLACE: Man, I came to talk to your neph—
MONTE: Look. He’s a good boy with a lot on his mind, and he doesn’t need a little rat like you messing with his head. Now, you want to talk to someone, you talk to me. Better yet, you just keep your mouth shut. You see what happens when you open it. Now where is he?
WALLACE: Well, apparently he left the party with my ex-girlfriend. But you’re right, Uncle Monte, he is a good boy.

Wallace walks around Monte to leave.

MONTE: Where’d she take him?

Wallace pauses, turns back and laughs.

WALLACE: You know, this might actually be fun. I know where she likes to go.

End music: "Better Than That" by Hadas.

INT - CLUB THIN - NIGHT.

Music: "Ego Trips" by the Catalogue.

LYRICS: You're so selfish
You're so vain
I can hear you hogging all the blame
Yeah, I told you life was a game
You could never play
Driving me crazy,
Your mind is going to get the better of you
Ego trips, they're so ridiculous
They're ridiculous
Well I said those ego trips, they're so ridiculous
It's ridiculous
The rain was falling on my bed

The club DJ primes a record. It's busy with people drinking at the bar, talking on cells, making out and generally having a good time. At the entrance, patrons are required to put their metal items in a small tray before going through a metal detector. Jackie and Rashard arrive and enter the club.

EXT - CLUB THIN - NIGHT.

Outside, a taxi pulls up and the door swings open before it even stops. Monte gets out, eyeing the club. He holds up his cell, either to check the address or take a picture, and heads in.


INT - CLUB THIN - NIGHT

Monte stands in the queue for the metal detector.

DEPUTY BOUNCER: Place all metal objects here.

Monte drops in his keys and his cell phone into the tray, held by Deputy Bouncer. As Deputy Bouncer pulls back out of sight and walks down to the other side of the metal detector, he palms the cell, replacing it with an identical phone. Monte is already waiting and gestures impatiently.

DEPUTY BOUNCER: Have a good time.

Monte takes his items and disappears into the club. Deputy Bounty watches him go and then heads for a small alcove near the entrance. Veronica is waiting. He hands her the phone.

VERONICA: Great. Thanks, deputy.
DEPUTY BOUNCER: No problem. Sure you don’t want to stay awhile? Get a little crazy?
VERONICA: Sorry. Have to get to church.

The deputy, puzzled, watches her go. End music: "Ego Trips" by the Catalogue.


INT - ST. MARY'S CHURCH - NIGHT.

Veronica is in the dark and empty church. She glances around and then drops to retrieve the camera's storage unit.


INT - MARS RESIDENCE - NIGHT.

Veronica plugs the unit into her laptop.

VERONICA VOICEOVER: It’s always an uncomfortable moment, seeing the façade come off a supposedly good person. For instance, seeing the priest who quoted you Romans 12:19 in a rather pleasant voice distributing dr*gs to his crime-lord brother through the confessional.

On screen, Liam Fitzpatrick is kneeling in the confessional. Veronica peers more closely at the screen.

VERONICA VOICEOVER: Wait, where’s the distributing? There’s supposed to be distributing.


INT - NHS, CLASSROOM - DAY.

The computer classroom seems empty as Veronica races in, until the camera pulls back to reveal Weevil, sitting, waiting and fed up. Veronica, grabbing the seat next to him, takes out and starts to unwrap the cord from the camera unit.

WEEVIL: First you make me come in early, which is something I never do, and then you’re late. Fortunately I found this video online. This guy gets his whole head stuck up an elephant’s—
VERONICA: Fascinating, I’m sure, but I think you’d rather see this.

Veronica plugs the unit into the computer in front of which Weevil is sitting.

VERONICA: So, Father Patrick, scary looking? Yes. Evil, no.

On screen, Liam is in the confessional, clutching a hymnal close to his chest. He puts it down under the bottom edge of the grill.

VERONICA: Brother Liam, on the other hand…I had to watch it twice to get how they worked it, but keep your eye on Liam’s hymnal.

Veronica fast-forwards the video. Liam leaves. Another two men come and go in quick succession.

VERONICA: So, the Lord giveth…

Thumper enters the confessional. Veronica slows the film.

VERONICA: ...and the stooge taketh away.

Thumper takes the hymnal. Weevil stares at the screen.

WEEVIL: Thumper.


EXT - NHS, LUNCH AREA - DAY.

Wallace picks up half of a rather unappetizing-looking curled-up sandwich. He stares at it for a moment and then drops it back onto the table.

VERONICA: [offscreen] Why don’t you call for pizza?

A hand holding a cell phone appears in front of him. He takes it. Veronica sits at the table next to him.

WALLACE: Is this…
VERONICA: Uncle Monte’s Rucker’s super-phone in which his entire universe of information is stored? Yes.

Wallace grins.

VERONICA: If he’s paying off Guy Abrutti, there’s got to be a number in there somewhere. The call log goes back four days. Just email all the numbers to your dad and let the police work ensue.
WALLACE: Damn. Up high, V. Mars.

Wallace holds up his hand for a high-five. Veronica obliges. Jackie, smiling, approaches the table.

JACKIE: Hey.

They look up at her. Her smile fades. Veronica and Wallace glance at each other.

JACKIE: What? Don’t I get some?

She holds up her hand. Veronica grins, as does Wallace who reaches up to give her a high-five. Jackie laughs as she slaps Wallace's palm.

JACKIE: Ah.

Veronica holds up hers and they slap hands. Jackie giggles as she joins them at the table.

JACKIE: How’d I do?
VERONICA: From what I heard? Whew, ice bitch.
WALLACE: Oh, yeah, she was good. Poor Rashard. Kid never had a chance.
JACKIE: It’s a dubious talent, but snagging guys has always been a breeze.

She looks pointedly at Wallace.

JACKIE: It’s holding on to the good ones that’s tricky.

Wallace responds with a bit of a chuckle. Veronica looks away.

JACKIE: So what do you think, Wallace, are you maybe free this weekend?
JANE: [offscreen] Hey, Wallace.

Jackie's head whips around. Jane, last seen sneezing her way out of the SexEd class in 209 "My Mother, the Fiend" and before that lusting for Wallace in 202 "Driver's Ed," approaches the table.

JANE: We still on for tomorrow after the game?
WALLACE: Oh, yeah, ma’am.

Veronica half sighs, half chortles and drops her head in her hand. Jane grins at Wallace and walks away. She smiles ruefully. Wallace shrugs.

VERONICA: If I could control him, I would.


EXT - INDUSTRIAL SITE - NIGHT.

Weevil's bike slowly drives along a dark, wet road, turning into some sort of construction site. The g*ng, their bikes lined up opposite him, are waiting. Weevil pulls up and takes off his helmet.

HECTOR: Weevil, what’s up, man?

Weevil climbs off his bike. He walks towards the line of bikers.

WEEVIL: Here’s what’s up. There’s a traitor amongst us. Someone who signed up with the Fitzpatricks to deal dr*gs and break the rules.

He stops in front of Thumper.

WEEVIL: And I don’t like it when people break the rules. Do I, Thumper?

Thumper stays silent but isn't surprised or intimated.

WEEVIL: You got anything to say?
THUMPER: Yeah. So what?

Weevil, on the other hand, is surprised by his reaction.

THUMPER: So what if we want to make some money selling dope to rich white boys? Is that such a bad thing? I don’t think so.
WEEVIL: What do you mean, “we”? Do you got a mouse in your pocket?
THUMPER: I mean we like the rest of us.

Thumper holds out his arms, indicating the rest of the g*ng. Weevil looks along the line.

WEEVIL: Right. [angry] The Fitzpatricks made Felix’s brother disappear! The Reaper, your old leader! And now you want to go work for them?
THUMPER: Let me make sure I got this straight. Working with our enemies, you got a problem with that?
WEEVIL: You bet I do.
THUMPER: Then maybe you can tell us what you were doing meeting at the Neptune Grand with Logan Echolls.

Weevil drops and shakes his head.

HECTOR: And you were gonna bust me up for selling to an 09er last week.
THUMPER: Hector’s cousin works maintenance there. He saw you, all buddy-buddy with the piece of trash who k*lled Felix.

Weevil knows he's been out-played.

THUMPER: You’re right, there’s rules. Like not selling out your brothers. I’m not like you, Weevil. I don’t make good speeches, so I’m just gonna say, adios. Hope that covers it.

The g*ng have circled Weevil during Thumper's tirade. They grab hold and start to jostle him.

WEEVIL: Hey, hold on, man.

Cut to a little while later. Thumper stands on a gantry, overlooking the scene. Weevil is hanging from the end of a large pulley, bound by ropes around his wrists. He's already taken some blows and blood flows from a cut near his left eye. As the rest of the g*ng stand around Weevil, another biker punches him hard in the face.

THUMPER: Okay, that’s enough. Get outta here.

The bikers start to disperse. One grabs Weevil around the waist as another lifts the rope off of the pulley. They let Weevil, still bound, fall to the ground.

BIKER: Adios, man.

The majority of the bikers get on their bikes and ride away, leaving Hector and Thumper at the scene. Hector looks troubled as he gazes down at Weevil who is trying to raise himself from the ground.

THUMPER: Take Weevil’s bike, drive it into the ocean. I’ll pick you up and bring you back.

Hector stares at Weevil a moment longer before slowly walking towards Weevil's bike. Thumper appears to stand over Weevil as the sound of Weevil's bike fades. Weevil groans as he continues to try and lift himself up. He looks up at Thumper, who is smirking down at him.

WEEVIL: You lied all along, didn’t you? That night on the bridge, you were there. You k*lled Felix, didn’t you?
THUMPER: That’s an interesting theory, Eli. But before you think about spreading it around, I think you should see something.

He holds out his cell.

THUMPER: Remember this?

He has video on his phone. It's tagged with the number V0015_11302005 (wrong date?). It appears to show Weevil b*ating up Curly Moran.

THUMPER: That night you nearly kicked Curly’s head in?

On the mini-screen, Weevil kicks the head of the supine Curly.

THUMPER: So I’d keep my mouth shut, ‘cause you probably don’t want this getting around to, say, the cops, do you?

Weevil gives Thumper a furtive look.

THUMPER: Didn’t think so.

Thumper walks away, leaving Weevil on the ground. Thumpers's bike roars away.


INT - HOTEL.

Music: "Jump Around" by House of Pain.

LYRICS: Jump around.
Jump around.
Jump around.
Jump up, jump up and get down.
Jump, jump, jump, jump
Everybody jump, jump, jump, jump
Jump, jump, jump, jump
Everybody jump, jump, jump, jump
Jump, jump, jump, jump
I'll serve your ass like John MacEnroe
If your steps up, I'm smacking the ho
Word to your moms I came to drop bombs
I got more rhymes than the bible's got psalms
And just like the Prodigal Son I've returned
Anyone stepping to me you'll get b*rned
Cause I got lyrics and you ain't got none
So if you come to battle bring a shotgun
But if you do you're a fool, cause I duel to the death
Try and step to me you'll take your last breath
I gots the skill, come get your fill
Cause when I sh**t ta give, I sh**t to k*ll
I came to get down
I came to get down
So get out your seats and jump around
Jump around
Jump around
Jump around
Jump up Jump up and get down.
Jump, jump, jump, jump

A dork carrying a bottle of champagne, dances into the main room of a large hotel suite, pantsless. He's jumping and singing to the music. Two girls sitting on the plush couch are not impressed and cast each other a "Oh dear god, why are we here?" look. Guy finally notices that they are not having a good time.


ABRUTTI: Come on, ladies. Don’t be shy.

One of the girls takes a sip of her champagne to relieve the boredom.

ABRUTTI: You want more champagne? I’m on it. Room service, whatever you want. Chicken fingers, cake, fine cheeses, just name it, ‘cause you are very special ladies, and I’m on someone else’s tab.

He grins, blind to their indifference. There's a knock on the door.

ABRUTTI: See? Hah! I think it, it happens.

He races to the door, grabbing a wad of bills out of a bag stuffed full of money, set on a table near the door.

ABRUTTI: Greetings, kind sir.

He pulls the door open. It's Nathan looking very scary. He holds up his badge as he strides purposefully into the room.

NATHAN: Guy Abrutti?

Guy's body is no impediment to Nathan's relentless forward movement. Nathan puts his hand on Guy's chest pushing him backwards.

NATHAN: I need to know some things.

He brings them both to a stop when he sees the money.

NATHAN: Oh…did you get this money from Monte Rucker? Did you, uh...

Nathan snatches the bills from Guy's hand.

NATHAN: ...take it in exchange for your silence as a witness? And do you remember Rashard Rucker at the wheel of a red Hummer on the night of December 14th?

Guy is intimidated and about to spill his guts. End music: "Jump Around" by House of Pain.


INT - SCHOOL BUS - DAY.

Music: "I Summon You" by Spoon.

LYRICS: Remember the weight of the world
It's a sound that we used to buy
On cassette and 45
And now this little girl
She says will we make it at all
Eight--

The bus is fairly full and the camera glides up the aisle, taking in the faces. Towards the back, in a seat on his own, is Weevil. He is not a happy bunny. He swallows hards as the bus pulls to a stop.


EXT - NHS, CAR PARK - DAY.

Weevil gets off the bus. His face bears the marks of his b*ating. He heads towards school and a small group comprising d*ck and three other 09ers. They spot him and start to laugh. d*ck points and takes a breath, about to quip.

WEEVIL: Open your mouth and you’re losing every one of those teeth.

Weevil walks past them as d*ck slaps his hand over his mouth. With his other hand, he makes a dickhead sign on his forehead. d*ck and the guys with him laugh. End music: "I Summon You" by Spoon.


INT - NHS, HALLWAY - DAY.

The cheerleaders are shaking their pompoms as they head into the gym. A lot of the basketball team are loitering. Wallace is talking up another player.

WALLACE: You got time, you got time.

The player shakes Wallace's hand and walks away as Veronica arrives to stand next to Wallace.

WALLACE: Hey. You made it.

Inside the gym, the stomp-stomp-clap (tm Queen) has started.

VERONICA: You know, I read that article in Scientific American about the pep rally effect, and I thought, “hey, if it’s science.”
WALLACE: Hey, I told you everything would be good.

A cell phone in Wallace's pocket rings. He reaches for it. He looks at the number and laughs. He answers, in jovial mood.

WALLACE: Hey, there, Monte.

Wallace grins at Veronica, who steps closer in interest.

WALLACE: Yeah, I don’t know I got this thing. Just came across it.

Veronica laughs.

WALLACE: Yeah, sorry to hear about your legal troubles, but that can happen when you open your mouth.

Veronica gasps slightly at Wallace's daring.

WALLACE: My advice? Keep it shut, Uncle Rucker. Now, if you’ll excuse me, I’ve got me a pep rally.

Wallace hands the phone to Veronica, laughing.

WALLACE: Now that was good.
VERONICA: [giggling] Yeah.

They head into the gym.


INT - MARS RESIDENCE - NIGHT.

Keith is listening to the tapes again, sitting at the counter. Behind him the TV is on.

LAMB: [offscreen on tape] You ever heard the name Curly Moran, worked at Symbolic Motors?


FLASHBACK: INT - SHERIFF'S DEPARTMENT - DAY.

Gia Goodman is now in the interrogation room.

GIA: My dad went there. That guy Curly was the only guy around that knew how to fix my Fiat.

LAMB: And were you aware of anything strange about the bus?
GIA: Other than, like, it smelled like something gross and dead?
LAMB: That’s why you didn’t take the bus home? The smell?
GIA: Actually, my dad told me not to. I mean, he must have been totally psychic...

END FLASHBACK.


INT - MARS RESIDENCE - CONTINUING.

Veronica enters the apartment. Keith doesn't immediately notice, even when she shuts the door none too quietly behind her, and continues to concentrate on the tape.

GIA: [offscreen on tape] ...or something, because he was like, “don’t get on the bus.” And then those guys got a limo, so…

Keith finally realises Veronica is there when she walks past him. He quickly pulls the earphones from his ears. Veronica has walked over to the television.

KEITH: I didn’t see you come in.
VERONICA: Didn’t I tell you to turn off the TV if you’re not watching it?
KEITH: I get lonely when you’re out with all your fancy friends and I’m here by myself with nothing.

Keith joins her, standing in front of the television.

KEITH: Did we win?

Veronica gasps in an exaggerated fashion.

VERONICA: Yes, thanks to Wallace Fennel’s eighteen points and ten rebounds!

Keith whistles, mightily impressed. In the background, the news is starting.

NEWSCASTER: [offscreen] This is the Channel Thirteen News Break. In a surprising development, Balboa County Sheriff Don Lamb…

Keith's ears prick up. Veronica has the remote in her hand and is about to turn it off.

KEITH: Wait.

They watch the breaking news together.

NEWSCASTER: …questions baseball legend Terrence Cook...

A picture of Lamb escorting a camera-shy Terrence Cook is put up on the screen behind the newscaster's head.

NEWSCASTER: ...in connection with the Neptune High bus crash that claimed the lives of seven people.

Veronica and Keith stare at the screen, shocked.

NEWSCASTER: [offscreen] Details tonight at eleven.

End.