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VERONICA VOICEOVER: Previously on Veronica Mars…
All the "previously" clips are from the episode or outtakes of the episode 112 "Clash of the Tritons" and opening with Veronica in Rebecca's office. (Rebecca's line is re-jigged from the one in the episode.)
REBECCA: You know, Veronica, you're not going to be able to come to terms with Lilly's death if you keep all that pain bottled up inside you.
VERONICA: I'll find closure when Lilly's killer's rotting away in prison.
Cut to Logan in Rebecca's office including a shot of Logan not used in the previous episode.
LOGAN: You know Veronica was my friend too. And if she hadn't ratted me out then Lilly and I would have stayed together.
Keith and Aaron at Mars Investigations.
AARON: These stories. I mean they're tearing my family apart.
The Echolls family breakdown (including unfortunate glimpse of director's hand reflected in the mirror behind Lynn).
AARON: If you try to divorce me, I will leave you with nothing. No house. No maid and no friends-
LOGAN: Right, Dad! You say another word to her and I will kill you.
LYNN: I cannot take this anymore.
Cut to Lynn popping pills and then to her car abandoned on the bridge.
RADIO: requesting assistance for possible jumper on the Coronado Bridge.
End previously. Open on the diamond-ringed hand of Bone Hamilton, as he thrusts down what appears to be a script. He is lying on a sunlounger, wearing a phone earpiece. He is being served by a maid and his wife, Vanessa, is approaching from the sumptuous house.
BONE: [Angry] No! Look, if they can't commit at least ten million, man, we're going someplace else. Handle it.
He rips out the earpiece. Vanessa reaches him and passes him a sheet of paper.
VANESSA: Nice day.
BONE: It's always nice here. What's this?
VANESSA: A waiver so Bryce can drop PE.
BONE: Drop PE?
VANESSA: His physics teacher agreed to sponsor him for independent study so he needs to drop a class.
BONE: [Signing the form] Dropping PE. You know that boy could stand to get hit in the head with a dodge ball or two. [Handing it back] Toughen his a** up. And why's this club bill so high this month?
VANESSA: Yolanda took riding lessons.
BONE: Like on a horse? First time I saw a horse, I was thirteen. Damn thing was on TV.
VANESSA: And the streets were tough and you lost a lot of homies but this is Neptune and her friends took them. You should talk to her when she comes home from Gabrielle's. She's supposed to call if she stays over.
BONE: I'll do more than talk to her, all right. Tell me this, baby: how did a man like me end up with National Black Velvet and Urkel, huh? [Snorts] Speak of the devil.
Their son, Bryce, gormless and nerdy, approaches from the house.
BONE: What's up, son? What's the matter?
BRYCE: [Ominously] It's Yolanda. Something's happened.
Cut to Mars Investigations where Wallace and Veronica are doing homework on the couch. Their papers are spread out on the small table in front of them. Amongst them is a tabloid, "Week Beat" bearing the headline: Aaron Echolls' Private Tragedy. Lynn's car is found parked on bridge - abandoned. There is a large picture of Aaron, head drooped and a full body shot of Lynn. Smaller unrelated items are a picture of Harry Potter in the lower left corner and a small headline across the top which reads: Reality Television Hits Keep Comin' Pg. 33.
WALLACE: Did she really leave a note on a Blackberry?
VERONICA: Yeah. Talk about post-modern.
WALLACE: How's Logan holding out?
VERONICA: He hasn't been at school since. We're not exactly phone buddies.
Keith enters from outside, gingerly. He very slowly makes his way to his office.
VERONICA: Hey, Dad. How's the back holdin' up? You remember to take your pills?
KEITH: Shouldn't you be doing your homework instead of nagging me?
Veronica hands him some pills as he passes.
KEITH: Thanks.
VERONICA: Next time, remember: lift drunk, combative bail jumpers with your legs, not your back.
Keith takes his tablets with some show of reluctance.
VERONICA: And use your heating pad.
Keith, miserable, goes into his office.
VERONICA: [Throwing Keith a parting shot] And eat fibre.
KEITH: Hmm.
Veronica smiles and looks at Wallace who has a new do. She's fascinated by it.
WALLACE: It must suck to have tabloid creeps in your face at a time like this.
Wallace notices her attention to his hair.
WALLACE: Stop staring. It's just hair.
VERONICA: Resisting the urge to touch...
Veronica raises a hand towards Wallace's head.
WALLACE: [Pressing her hand away] You keep resisting that urge.
They both turn at the sound to the outside door opening. It's Bone.
BONE: Hey, I'm, uh, looking for Keith Mars.
VERONICA: Yeah, sure, in here. Dad?
KEITH: [Offscreen] Yeah?
Bone doesn't wait but heads straight for Keith's office and closes the door. Wallace has not taken his eyes off his since his arrival.
WALLACE: You know who that is?
VERONICA: Should I know who that is?
WALLACE: If you're serious about your cred with the urban demographic.
VERONICA: I am absolutely serious about my cred with the urban demo.
WALLACE: Drive-by Records. [Off Veronica's blank look] Reported to have held a man out of a window in order to get him to sign a contract. [And again] Twice jailed and emerged stronger each time. [Veronica is still not getting it] The gangster rap impresario against whom all gangster rap impresarios measure themselves. [Nope] That's Bone Hamilton.
Cut to Keith and Bone in Keith's office.
KEITH: How can I help you, Mr Hamilton?
Keith sits down carefully. Bone remains standing and gives Keith a photo.
BONE: My daughter's missing. I need you to get her back.
Cut back to Veronica and Wallace.
VERONICA: Hamilton? God, that's Yolanda Hamilton's dad?
WALLACE: I didn't know you knew her.
VERONICA: We used to be friends...a long time ago.
Opening credits. Open on the photo of Yolanda being held up by Keith. Bone can be seen out of focus beyond it, sitting opposite Keith.
KEITH: You sure it's not just some kind of teenage misbehaviour. It's not uncommon for-
BONE: Maybe your teenager. But Yolanda, she knew the rules. And her friend Gabrielle tells me that she was studying at her place 'til midnight. Now my son, he finds her car up the block, the door's open, the light's still on, a sign of struggle. We're not talking about teenage misbehaviour, man, somebody's got her.
KEITH: Mr Hamilton, much as I appreciate the business, sounds like something for the police.
BONE: Hey, hey, hey. I don't like the police. [Leaning forward] And the feeling is mutual. And what I hear, sounds like something you'd understand.
Keith is quiet for a moment.
KEITH: Any idea who might want to do this?
Bone laughs.
BONE: Look, man, let's just say I gotta couple of big deals going down real soon. [Getting a folded piece of paper from his inside jacket pocket] And there's some cats out there who wouldn't mind seeing it screwed up.
Bone unfolds the list and throws it on the desk in front of Keith. It's a long list. Keith gazes at it as Bone stands.
KEITH: It's a lot of ideas.
BONE: That's just southern California.
Keith's face, though remaining placid, is a picture.
BONE: Now if you hear anything about New York, Detroit, Atlanta; I got more lists. I suggest you start at the top. Sam Bloom.
Bone exits. Cut to the apartment. Veronica is stirring the contents of a large saucepan as Keith enters.
KEITH: Hey honey, what's cooking?
VERONICA: Not quite sure myself. Something that ends in -aroni.
Keith pulls a magazine out of the folder he is carrying and starts reading it.
VERONICA: Any luck?
KEITH: Nothing in the car, no one in the neighbourhood saw or heard anything.
VERONICA: So you figured you'd check what's up with Nelly?
KEITH: I'm reading up on my client. And if you buy it, he's the scariest guy alive who's also launching a line of casual wear.
Veronica picks up the photo of Yolanda from the file.
VERONICA: She's a senior at my school. I can ask around, background info.
KEITH: Sure. But be discreet. Client's a little sensitive, okay?
Veronica nods. Cut to Veronica walking down the halls of Neptune High.
VERONICA VOICEOVER: Our client isn't the only one who's sensitive. This isn't the first time I've had the chance to help Yolanda Hamilton.
Veronica, looking sad, grinds to a stop in the hallway. Flashback to Yolanda, looking lost, coming down the hallway. Duncan, Veronica, Lilly and Logan are at Duncan's (sticker on the inside of the door: Ramones) and Lilly's open lockers.
DUNCAN: Whoa! New student alert.
LILLY: Glad to see you guys are equal opportunity oglers.
LOGAN: Hey, I judge not by the colour of the skin but by the content of their sweater.
Logan laughs and glances back at Duncan for approval of his wit, which is duly given by Duncan's giggle.
LILLY: Good thing I'm not the jealous type.
The bell rings, Logan kisses Lilly and they move off. Veronica heads for Yolanda.
VERONICA: Dying to figure out what goes on behind the scenes in the teacher's lounge?
YOLANDA: This isn't English? Mrs Murphy?
VERONICA: Not even close. I'm Veronica. You're…
YOLANDA: New. Yolanda Hamilton.
VERONICA: Lemme show you.
Veronica leads Yolanda past present day Veronica as the flashback ends. Cut to Keith examining a trophy. He swings round to Sam Bloom, at his desk in his office.
KEITH: Masters Champ, three years in a row.
SAM: I was good. So you didn't tell me what this was in regards to, Mr Mars.
KEITH: I'm trying to find someone, Mr Bloom. The daughter of a former client of yours. A Mr Hamilton.
SAM: Yolanda come to her senses and run away from him?
KEITH: So you know Yolanda.
SAM: I did. Our kids grew up together. Wh-why would you think I'd know anything about her disappearance?
KEITH: He implied that there was some pretty bad blood between you two. A grudge.
Sam laughs.
SAM: Bad blood, huh? Well, that's one way to put it. Hatred would be another way. Oh, so he didn't fill you in. When Bone was, uh, as he's fond of telling the magazines, fighting his way up from the mean streets, he didn't advertise the fact that much of his success was due to his comfortably upper middle class Jewish lawyer. Everyone was making money.
KEITH: It sounds like you were on good terms.
SAM: Sounds like it. When he later didn't tell me that he was involved in some ingenious tax evasion, I had to make a choice. Lose my practice to the IRS or talk. I chose to save my practice. Bone went back to prison.
KEITH: I'm not sure I understand. It sounds like he's the one with the grudge.
SAM: Well, that's not the whole story.
Sam pushes himself away from his desk. He is in a wheelchair and wheels himself around the desk.
SAM: About two months into his sentence, I was leaving work. A car pulled up, fired ten shots into my car.
KEITH: He tried to have you killed?
SAM: Well, he denies it of course but that's when I realised who the real Percy Hamilton is. It's Bone.
Cut to Veronica sitting at one of the outdoor lunch tables with Yolanda's friend, Gabrielle.
GABRIELLE: I mean, we might have lost track of time studying and all but…
Gabrielle continues talking to an observant Veronica.
VERONICA VOICEOVER: One thing about an ex-cop for a dad is that some boring Sunday when you've seen all the reruns, he might kill time describing, for instance, how to tell if someone's lying in an interrogation. Take Yolanda's friend Gabrielle here: the indirect eye contact, the smile that doesn't crinkle the eyes.
Gabrielle is displaying this behaviour. She pauses and looks at Veronica.
GABRIELLE: So sh-she still isn't back, huh?
VERONICA: She's missing. She's in danger. Quit lying and tell me what really happened.
Gabrielle thinks about it for a moment.
GABRIELLE: We'd been sneaking out to this club in LA, Blender. The bouncer Marcel used to work for her dad. I've been seeing this guy. He's older. My parents would disown me if they knew.
VERONICA: How long did you stay at the club?
GABRIELLE: When Jamie and I left it was probably around midnight. Yolanda was still there. But she had her car.
VERONICA: Thanks. I hope she's okay.
GABRIELLE: [Pissed off] You think I don't . She's my friend. Who are you?
Gabrielle collects her things and stomps off. Veronica stares after her then gets her cell phone out of her back. She punches in a number.
VERONICA: Hey, Dad. Something to check…
VERONICA VOICEOVER: Who am I? I was Yolanda's first friend at Neptune.
Flashback to Logan, Lilly and d**k eating Chinese at one of the outdoor tables.
d**k: So, new girl. What's your dad do?
Duncan, Veronica and Yolanda are also at the table.
YOLANDA: He's one of the Dixie Chicks. And, yeah, he makes more money than your dad.
Everybody laughs.
YOLANDA: Was that your real question?
LOGAN: You guys prepared for the biggest blow-out of all time?
DUNCAN: Where are your parents going this time?
LOGAN: Nepal.
Logan pulls a rubber band off Lilly's wrist as she eats.
LOGAN: Sherpas lug their crap up and down a mountain for two weeks so they can take pictures of a yak.
Duncan cringes as Logan flicks the rubber band at him.
VERONICA: While I take pictures of you yakking in the comfort of your living room.
LILLY: Happens twice a year. His parents leave town. He throws a big party and he gets busted. You must be there.
VERONICA: You must.
YOLANDA: I guess I must.
Cut to present day Veronica, with her cell at her ear. Cut to Aaron, dressed in a robe at the end of the bed in his darkened bedroom. He is gazing at a picture in a frame. Logan enters carrying a suit.
LOGAN: If you really want flowers, dying seems to be the way to go.
Logan drops the suit on the bed.
LOGAN: Here's your costume.
Aaron looks over at it listlessly
LOGAN: You know, if it's not sad enough, I can order you a veil.
AARON: You remember that day we all went to the zoo on your tenth birthday.
Aaron reaches out and takes Logan's reluctant hand in his.
AARON: We told your mom that we were all gonna get dressed up in costume as our favourite animal. You remember her animal.
LOGAN: Yeah, it was a mermaid.
Logan disentangles his hand from Aaron's. Aaron sighs.
AARON: When she realised we played a trick on her, no one else had gotten dressed up…[fondly] she wore that costume around for the rest of the day, anyway.
LOGAN: Yeah, I remember that day. [Pauses and glares down at Aaron] On the way home I spilled a milkshake in the Beamer and you gave me a nosebleed.
AARON: You poured that milkshake out in the backseat because we didn't buy you a monkey then when I went to grab you, you smacked your head against a window.
LOGAN: I guess we just remember it differently, Dad.
Aaron sighs loudly and looks away tragically. Logan throws up his hands.
LOGAN: It's fine.
Logan heads for the door.
AARON: Have you heard from your sister?
LOGAN: [Bitter] Yeah. She sent a telegram. Heartbroken. Stop. Can't make it back from Sydney. Stop. Underwater scene shoot tomorrow. Stop. Entire crew said prayer for Mom. Stop. Love you. Stop.
AARON: Logan.
LOGAN: Stop? Boy, there's no people like show people. [Does jazz hands] Ya-da-ti-da. [Smiling humourlessly] She did send a wreath though. Gah, it's gorgeous. Tulips and hyacinth. Probably set you back hundreds.
AARON: Your mom loved tulips.
LOGAN: Yeah, it was an overwhelming gesture.
Aaron goes back to gazing sadly at the picture in his hand. The doorbell rings. Logan stares at his father.
LOGAN: Don't get up.
Aaron shows no signs of having heard either the doorbell or his son. Logan stares at him for a moment longer then turns and leaves the room.
VERONICA: [Offscreen] Where you going?
Cut to Mars Investigations. Keith is putting on his coat in his office. Veronica is at her desk.
KEITH: Marcel, that doorman you called me about? Number four on the enemies list. He was Bone's bodyguard until he paid too much attention to Yolanda and Bone had him fired after a symbolic meeting between his boot and Marcel's groin.
Keith reaches for his car keys on Veronica's desk but she snatches them away.
KEITH: Veronica, this is a Mars Investigation matter. I'm Mars.
VERONICA: And who am I?
KEITH: Veronica, and you're staying.
VERONICA: Veronica MARS. And you're on painkillers! And the bottle says don't operate heavy machinery and a car's heavy.
Keith is irritated but defeated. Cut to Veronica and Keith in the car, outside a club. The music is "The Bomb" by the Pharcyde.
SONG: [Repeated ad nauseum] I just can't get enough
I just can't get enough.
KEITH: You? Stay in the car.
VERONICA: And remember, you watch your back. I mean that medically.
Keith gets out of the car slowly and Veronica watches his progress in the rear view mirror. Cut to Keith, walking up to the top of the line of people trying to get into the club.
CLUB-GOER#1: Did you get in last week?
CLUB-GOER#:2 No.
Cut back to Veronica, who is now twisted around to watch what is going on behind her. She spots a box with Valet stubs being fed through the slot at the top. Cut back to the bouncer at the head of the queue.
MARCEL: I just let her in, man, that's it.
KEITH: Bone fired you for being a little too friendly with his daughter. That didn't make you a little mad?
MARCEL: No, it made me smart. I got into enough trouble looking at that girl. If Bone's got you after me, he must not know who was here that night.
KEITH: Who was here?
Cut to Keith getting back into Veronica's car.
VERONICA: Where to, boss?
KEITH: Heard of a rapper named Dime Bag?
VERONICA: Dad, I thought you read Vibe. "Shot My Boo", "Thuggin'".
KEITH: Lovely tunes, I'm sure. But you might remember the guy that Bone Hamilton supposedly dangled out of a window until he signed a contract.
VERONICA: That was Dime Bag?
KEITH: Number two on the list. He was here Saturday night with his bunch of dudes.
Veronica winces and groans.
VERONICA: His posse, Dad. The Eagles had a bunch of dudes.
KEITH: Well the posse is at the Duke Hotel.
Keith picks up a bag from between the seats.
KEITH: What's this?
VERONICA: Clues. Valet stubs. I figure even kidnappers have to park. [Off his look] I know. Stay in the car.
Throwing an impatient glance at her father, Veronica starts the car. The music ends and cut to Veronica leaning against the car in an underground car park. Keith is heading towards her.
VERONICA: Any luck?
KEITH: Their manager said that Mr Bag is out on the town and that Dime wouldn't talk to me, even if he were here. That is unless Bone might be willing to beg.
VERONICA: So what next?
KEITH: Plan B.
Keith heads for the boot of the car. Cut to later as Veronica considers two different bugging devices.
VERONICA: What do you think, the T6 or the T9?
KEITH: T9. How do I look?
Keith is in overalls. Veronica hands him the bug and inspects him.
VERONICA: Like a humble drudge no one would notice breaking into a room.
KEITH: That'll do.
Keith exits. Veronica still has the T6 bug in her hand and puts it in her pocket. She closes the case. Cut to the hotel lobby. Veronica is leaning against a wall near reception.
VERONICA VOICEOVER: When I met Yolanda, I never imagined a year later I'd be waiting in a hotel lobby while my dad bugged a rapper's room trying to find her. I thought a year later, she and Lilly and I would be hanging out like we did the first month, just being normal. This being of course before that word lost all meaning.
Flashback to Yolanda's house. Lilly, Yolanda and Veronica, who is carrying a large bowl of popcorn, are coming down a small stairway which is lined with framed records and discs.
LILLY: Are these platinum? No wonder you don't talk about your dad. He's TuPac, he's secretly still alive.
YOLANDA: He's just a producer. Nothing interesting.
VERONICA: So how come he's never around?
BRYCE: He's away…
Unseen by the girls, Bryce is crouching at the bottom of the stairs by the door to Yolanda's room.
BRYCE: …on business for a little while.
YOLANDA: Excuse my little brother. He's an eavesdropping little freak.
Yolanda pushes him away and shows the girls into her room.
LILLY: Ugh. Mine's worse.
Veronica turns and glares at Lilly. Bryce is left standing outside.
BRYCE: I'm do-I'm doing a project.
YOLANDA: Do it somewhere else, Bryce.
Yolanda closes the door on him. Cut to later. Playing through the rest of the flashback is Tsar's "The Girl Who Wouldn't Die".
SONG: I remember her
The girl who wouldn't die
She said it wasn't true
I knew it was a lie
People on the street
Would cry out if they knew
The things that I have done
To make the dream come true
When she blew my mind away
All the feelings were betrayed
Heaven would squeeze her
Hell would release her into my brain
Veronica and Lilly are lounging on Yolanda's bed while Yolanda is curled up in a large armchair. All are flicking through magazines.
LILLY: Okay, for my next boyfriend, Jude Law type or Colin Farrell type?
VERONICA: Next? What happened to Logan?
LILLY: He's insanely jealous all the time and it's getting on my nerves.
YOLANDA: I know it's not cool to admit this but I like a jealous streak on a man. Keeps 'em in line.
LILLY: All yours. I'm ditching his party this weekend 'cause I don't want him getting all crazy violent every time a boy undresses me with his eyes, which happens all the time.
Veronica makes a face which includes sticking her tongue out and Yolanda laughs.
LILLY: It's not my fault. I can't help it, God made me fabulous.
VERONICA: Well if you're ditching, that means Yolanda and I will have to party for three.
LILLY: Which means Yolanda will have to be partying for two and a half.
Veronica rolls her eyes.
LILLY: Oh, but we're still going to that fleet week thing in San Diego, right?
VERONICA: Uh-huh.
LILLY: It's the best. All these weird, angry bands play and hundreds of cute sailors get totally wasted and fight on the sidewalk.
They all laugh.
YOLANDA: You know? I'm really glad I met you guys.
LILLY: You should be glad. We're the best.
VERONICA: Um-hmm.
LILLY: Now I can't wait for San Diego. It'll be rockin' like dockin'.
It's all very jolly and in sharp contrast to Veronica's sad face as the flashback ends and she stands in the lobby of the hotel. Dime Bag and his hangers-on arrive at reception, complaining.
FLUNKY: We got some problems here.
RECEPTIONIST: What can I do for you?
DIME BAG: Yo, y'all call that a penthouse? A pent doghouse maybe.
FLUNKY: He's saying it's small.
VERONICA VOICEOVER: Uh-oh. It looks like Darius Bagley aka Dime Bag and crew are arriving home early. Not good. If they catch Dad in their room…
FLUNKY: What we asked for was a big a** room.
RECEPTIONIST: I'll get you switched right now.
VERONICA VOICEOVER: Good news? They won't walk in on Dad bugging their room. Bad news, he's bugging the wrong room.
Veronica pulls the spare bug out of her coat pocket and shifts it to her trousers pocket.
RECEPTIONIST: Okay, room 1411, our biggest.
DIME BAG: You know, y'all could learn a little something about VIP service.
While this is going on, Veronica has taken off her coat and tossed it in the corner and picked up a clipboard from the reception counter. She puts on a bright smile.
VERONICA: Thank you so much, [glancing at the receptionist's name tag] Sarah. Uh, I'm Melinda, your hospitality hostess. I'm so sorry about the mix-up. The new help doesn't always quite [air quotes] get it but if you gentlemen will follow me, I can show you to your room.
Sarah is bemused but doesn't interfere after glancing at the apparent satisfaction of the guests at this turn of events. Ozmomatli's "Saturday Night" starts up.
SONG: Dip, dive, socialise
Get ready for the Saturday night
Dip, dive, socialise
Get ready for the Saturday night
Dip (dip), dive, socialise
Get ready for the Saturday night
Dip, dive, socialise
Get ready uh.
They head for the lift, Veronica entering last and pushing the button to close the door. Cut to Veronica sliding back double doors into a suite.
DIME BAG: Ah-hah, yeah. Now this what I'm talkin' about, baby.
FLUNKY: Yeah.
VERONICA: So, you have your bathroom, [frantically looking round] right back there and your television, if you want to watch that. Uh, chairs for s-sitting and your, uh, the phone in case you need to make a call…
The phone is on a high table level with the back of a couch against which it stands. As she talks, Veronica goes to the table and, obscured by the table and the couch, she plants the bug under the table. She plays ditzy and picks up the phone to hide her action.
VERONICA: …would be, just right like that.
DIME BAG: All right. It's cool.
VERONICA: I'll have them send up some more…is that Cristal?
FLUNKY: You're damn straight, Melinda.
VERONICA: Enjoy your stay.
Veronica exits with an expression of relief. Cut to the underground car park where Keith is waiting.
KEITH: Where have you been? What did I say-
VERONICA: Bathroom break.
They get into the car, Keith groaning as he sits..
VERONICA: How'd we do?
Keith opens a small laptop and sets the bug running.
KEITH: I think we're in business.
WOMAN'S VOICE: They give us this upgrading, you just watch golf like an old coot.
MAN'S VOICE: {Outcome} of ten more minutes.
VERONICA: Here, let me try this.
Veronica types into the laptop. The Sonic Snoop on the screen changes the transmitter receiver from the T6 to the T9. New voices come in 5x5.
DIME BAG: [Offscreen, through the transmitter] Yo, man, that damn hospitality hostess was lyin' about that Cristal, man!
FLUNKY: [Offscreen] And she is hot!
DIME BAG: [Offscreen] If you like 'em scrawny.
Keith gazes balefully at his daughter as the rapper and his friend laugh.
VERONICA: [Forestalling] Just... please, don't ask.
DIME BAG: [Offscreen] Yo, man, did she leave the key for the mini bar, man?
VERONICA: Now what?
DIME BAG: [Offscreen] Need some drinks. Now we gonna have some girls up-
Keith slams the laptop closed, cutting off the transmission.
KEITH: I get Mr. Hamilton to beg.
Veronica gets out her keys.
VERONICA: [Crossly] I'm not scrawny. [Off Keith's look] I'm not!
Cut to the Echolls' house. Pictures of Aaron and Lynn cover a piano in a large lounge area. Aaron and Logan, both in dark suits, are walking into from a corridor. Logan, collar up, stops to use the reflection for the window to do up his top button on his shirt.
AARON: Logan. I have a pretty good idea what's going through your head.
They reach the front doors. Logan looks at Aaron for a moment then concentrates on doing up his tie. Aaron pauses with his hands on the door and looks at his son.
AARON: I know you blame me for your mother's death. That's okay. Our marriage had some very high highs and some [theatrically] very low lows. And I know that this hard act you're putting on is just your way of coping. But let's make a deal, all right? From now on, we're gonna be team. Our war's over now Logan. [Softly] It's what she would have wanted.
Logan, having finished his tie, looks at his father fairly impassively. He very deliberately dons his sunglasses then gives a peace sign. Aaron nods his head briefly and opens the door. Logan exits first and pauses, then hears the click of a camera. He takes off his sunglasses and peers around. He sees a paparazzi behind a rock. His face twisted in rage he runs at the photographer who scrambles up and takes off.
AARON: Logan!
The photographer gets to the closed gate with Logan right behind him. A crowd is on the other side of the gate. The photographer tries to vault over but Logan grabs him.
LOGAN: Picture, man, huh?
Logan, at the same time as grabbing the camera, pulls him off the gate with sufficient force that the photographer's left on his back on the ground.
LOGAN: Something real? Here's real for you!
Logan raises the camera and smashes it down hard on the drive.
PHOTOGRAPHER: Hey, that's a thousand dollar camera!
From cringing from the threat that Logan was going to attack him, the photographer sits up and crawls over to the pieces. Aaron races up, hands outstretched to stop any fight.
AARON: Logan! Enough!
LOGAN: You know what Mom would have wanted! She would have wanted you to not sleep with all her friends. She would have wanted you to care as much about her as her career. So okay, Dad, let's be honest. Maybe we both wished we'd been better. But she's only gone because of you.
Logan holds up his hands and storms off. The crowd mutters as Aaron stares after him. He turns as the photographer gets off the ground.
PHOTOGRAPHER: Who's gonna pay for my camera?
AARON: I'll tell you what. I'll get on it just as soon as I've buried my wife. [To the crowd] Hey everybody! [Raises both hands and waves his fingers at them] Enjoying the show, huh?
Aaron turns and heads back towards the house. Cut to a classroom and Bryce, performing some kind of science experiment that involves running water in a fish tank filled with earth and plants. He seems well satisfied with the results. Veronica enters.
VERONICA: They said you had PE this period.
BRYCE: I dropped it for independent study.
VERONICA: Independent study of sand?
BRYCE: Civil engineering. Soil erosion modelling in a…urban context.
VERONICA: Cool. I'm…
BRYCE: Veronica. I remember.
VERONICA: Just helping my dad out with some background info, you know, see if we can track Yolanda down.
BRYCE: Track her down? Like she just gone lost or something. Someone's got her. One of the other low lives Bone stepped on to get to the top. Whatever happened to Yolanda, it is his fault.
VERONICA: He is desperate to get her back.
BRYCE: Hmm. Then where's the police? He's ashamed of me, you know. He's been in jail a third of my life but I'm an embarrassment. State Science Fair winner two years straight but I'm soft. Is that why you guys stopped being friends? You figure out our dad was in jail?
VERONICA: I didn't even know about that. She never talked about your dad.
BRYCE: So, you just drifted apart. It's too bad. She really liked you guys.
VERONICA VOICEOVER: And I liked her.
Flashback to Logan's party. The music is "Hey Ma" by Cam'Ron.
SONG: Look at the range man
I got a whole new game plan
Looked and said that's nothing but game Cam
She was right; she was up in the Range man
Dropped her off at the L, now I'm flippin' the cell
That's right I had to call up L
You L, what up, I hit, what else, plus dome, say word
And we got it on tonight
Hey ma, what's up, lets slide, all right, all right
And we get it on tonight
You smoke, I smoke, I drink, me too, well good
Cause we gon get high tonight
Got droops, got Coups, got Trucks, got juice, all right
Cause we gon take a ride tonight
So ma, what's up, let's slide, all right, all right
And we gon get it on tonight
Logan, Yolanda, Duncan and Veronica are sitting around a low table, playing quarters. Logan laughs as a quarter drops into his glass. He picks up the glass.
LOGAN: [Drunkenly] Girl is deadly at this.
DUNCAN: You're letting her win.
LOGAN: Yep, or maybe it's to let her get me drunk and she'll take advantage of me.
YOLANDA: Dream on.
Logan throws back his drink.
VERONICA: Careful Logan, Lilly's just sick, she's not dead.
LOGAN: Sick, my a**! She's jerking me around. [Giggles] She look sick to you earlier D?
DUNCAN: Hey, leave me out of this. [To Veronica] We need to get you home. Remember the last time, Homecoming?
Veronica, on Duncan's lap, groans in acknowledgement. She starts to move, leaning forward to air kiss Yolanda on both cheeks.
VERONICA: Gotta go, yo.
YOLANDA: Make like a tree, V.
Veronica and Duncan leave Logan and Yolanda to the game and head downstairs.
DUNCAN: So, Yolanda seems cool.
VERONICA: Oh is she? I've got a good eye.
They are halfway down the stairs when Veronica pauses.
VERONICA: Oh, shoot, my purse. I'll be right back.
Duncan carries on down as Veronica runs up the stairs.
VERONICA: Hey, if you guys are still conscious, have you seen my-
As she crests the stairs, Veronica stops in shock. The music stops. Logan and Yolanda are kissing. Both seem into it. Cut to Neptune High, still within the flashback, as Lilly and Veronica thread their way down a crowded hallway.
LILLY: They what?!
VERONICA: It was a one second look. Let me ask Yolanda about it.
LILLY: I don't know a Yolanda, do you?
Veronica stares at Lilly, distressed. Cut to present. Veronica exits.
KEITH: [Offscreen] We know he has motive…
Cut to an office at the Hamilton's home. Bone is at the desk with Keith. Vanessa stands anxiously the other side of the desk.
KEITH: …he was at the club and he won't talk to me. He's the best lead we have right now and we need to know what he knows.
Bone is not a happy bunny.
VANESSA: [Impatient] Percy, this isn't business, this is your daughter.
BONE: Look, I… I know this is my daughter.
He snatches up the telephone receipt, his distaste apparent.
RECEPTIONIST: [Offscreen, on telephone] Villa Marquis. May I help you?
BONE: Room 1411.
RECEPTIONIST: [Offscreen] One moment.
Bone sinks to his chair. "Living It Up" by The League plays. The camera cuts between the two as they talk.
DIME BAG: Yo, what up? This is Dime Bag.
BONE: It's me, Hamilton.
DIME BAG: Whoa ho ho ho. Heard you got a little personal problem.
BONE: Man, look, I-I-I'm just calling to see if you know anything about Yolanda.
DIME BAG: Yolanda, huh? I may know a little something about that. Why, what's up, what's the deal?
BONE: Look, man, wh-whatever you got against me is between me and you-
DIME BAG: Bones, I just wanna hear you beg and I'll tell you where she's at. This is like me holding you out of a window.
BONE: Damn man.
DIME BAG: Wa-wait, now hold on, Bone. Saying "Damn, man" ain't begging.
Bone gets fortitude from the picture he is holding of himself and Yolanda when she was a toddler.
BONE: Dime Bag, man. This is my daughter. If you could help me get her back… I'm begging.
DIME BAG: You almost sound like a little woman there, Bone. But you know what? To tell you the truth. I don't know nothin' about Yolanda. I mean I may have seen her at the club for a minute, now that was it. All right? So why don't you go back to crying and leave me alone, you little b***h.
Bone blusters then slams down the receiver, breaking something in the process.
KEITH: Wait, wait. Ju-Quiet.
The Sonic Snoop laptop is open on Bone's desk and they listen.
DIME BAG: You should have heard this fool cryin'. [In cruel caricature] "Yo, Dime Bag, man, that's my daughter." Sounds like a little b***h.
FLUNKY: Hey! She is fine though, man. I wouldn't mind having that locked away somewhere, you know what I'm sayin'.
Bryce wanders into the room and listens, unobserved by the adults.
DIME BAG: Man, who don't you think is fine. I would be nice though, huh? Bones' little Miss Princess locked up in a closet somewhere, available whenever, huh, I mean, if that was possible, right?
Bone can't take anymore and slams the laptop shut. He stands, breathing deeply and spots Bryce.
BONE: What you lookin' at boy?
Bryce stares at his father a moment then turns and walks away. Cut to the parking stubs, spread out over Veronica's bedroom desk. She is on her laptop while Wallace sorts through them.
WALLACE: Look at all these valet stubs. Man, I thought being a private eye was about shooting dudes and making out with sexy widows.
VERONICA: Sexy widows show up later. [Sees something of interest on the screen] Hey!
WALLACE: What?
VERONICA: Bloom. My dad talked to a Sam Bloom but…he's in a wheelchair.
On the laptop, she has pulled up the Record page for the Blooms. The first record is from the Division of Motor Vehicles for Benjamin Bloom: 08-15-2004 - Warning - Loitering, reported by neighbours. There is another entry for Rebecca Bloom: 05-30-1995 - $150 Fine - Parking Within 10ft of Fire Hydrant. Underneath are Samuel Bloom's subscriptions which bizarrely are identical in every detail to Samuel Mackenzie's subscriptions seen on 111 "Silence of the Lamb" (tsk, tsk props guys, don't you know you've got a cult show here - fans look at this stuff, or maybe it's just me).
WALLACE: Benjamin Bloom. Close but no-
VERONICA: Hold the cigar, I'm not done yet.
She brings up the personal detail page. It shows Samuel Bloom was born on 22 November 1961 and his wife Rebecca nee Leibovitz was born on 1 July, 1965. Under children, Benjamin (who has at least one sister whose details cannot be seen) is listed as being born on 10 June, 1985.
VERONICA: Sam Bloom Esquire has a son named Benjamin who was at the club the night she disappeared. I'll take that cigar now.
Cut to the Echolls' home. Lynn's wake is in progress. Flowers are everywhere and people in dark suits wander about fairly aimlessly. Logan enters, playing a part as he approaches various people..
LOGAN: [To a grey-haired gentleman] Thanks for coming out.
GENTLEMAN: Our pleasure.
LOGAN: It means a lot to the family
Logan shakes his hand with gusto and a little too long.
LOGAN: Thank you. [On spotting a woman, click and points a finger gun at her] Nice to see you.
WOMAN: Logan.
LOGAN: It's good to have friends around.
She takes his hand and pecks him on the cheek.
WOMAN: I'm so sorry.
LOGAN: It's good to have friends around.
He moves on to an elderly couple. In mock seriousness, he takes the woman's hand.
LOGAN: My father thanks you.
ELDERLY WOMAN: You're welcome.
LOGAN: My mother thanks you. [Pause] I thank you.
Logan moves on again, taking a deep sigh but it's part of the act. He seems to be taking the piss out of the whole affair. He sees another patsy and race up to him, grabbing his shoulders and grinning.
LOGAN: I am glad you're here.
As he shakes the man, it can be seen that Logan has something in his left hand
MAN: [Somewhat taken aback] Thank you.
He walks on, blowing out a breath and playing with the item in his hand; a lighter, opening and closing it. Cut to outside by the pool where Harvey Greenblatt, Aaron's agent, is talking intently to Aaron. Logan comes out and for the first time, seems genuinely engaged.
HARVEY: …Aaron, this is a little awkward but, uh, the studio's been calling non-stop. They just can't wait any longer. Now I know this is a hard time but we don't want them looking for somebody else and, uh, I think I should just give them a call, make the deal, just to make sure.
AARON: Good god, Harvey, this is my wife's funeral.
LOGAN: [Hard] So Harve.
Harvey turns and sees Logan.
LOGAN: Hey.
Harvey nods and smiles and Logan lets out a laugh.
LOGAN: Do you think next time we have one of these funeral things that ICM will let us use the boardroom. You know, so there's no travel, no trailer size negotiations. I don't know, it's just a thought.
Harvey stares at Logan, uncomfortable. Logan walks closer and seems to be addressing Harvey but by the end, he's staring at Aaron.
LOGAN: Can I get you anything? Mimosa? Finger sandwich? [Bitterly] A tissue?
Logan turns and walks into the house. Harvey sighs heavily and then turns back to Aaron.
HARVEY: Look, I-I'm sorry, I… this is an awful time but… but we don't want the studio to move on somebody else-
AARON: Harvey! [Holds up a finger] I don't know how many more ways there are for me to say this but… I don't want you negotiating this deal for me. In fact, I don't want you negotiation any deals for me.
Aaron pats Harvey on the arm and heads back into the house.
HARVEY: Are you firing me?
Aaron pauses at the door and turns back to Harvey.
AARON: No, I'm not firing you. I'm out of the business. I'm done.
Aaron uses the Echolls family raised hands gesture and goes into the house, leaving a gutted Harvey behind. Cut to Logan's room. On the large WEGA flat screen television, upon which a post-it is stuck with writing including at the bottom, LOT J, a Zelda type game is in progress.
TV: Your health is critical!
Logan is sitting at the end of his bed, intent on the game. He has taken off his jacket and loosened his tie. There is a knock at the door and Duncan steps in.
DUNCAN: What are you doing?
LOGAN: Trying to get this magic amulet but it takes concentration so if you could keep it down.
DUNCAN: Logan. It's your mom's funeral reception. Maybe we should-
LOGAN: It is not my mom's reception. It's his. So if you want to eat crab puffs and discuss today's "Variety", knock yourself out, man. Thanks for coming, it really means a lot to the family.
DUNCAN: Logan, I'm your friend, man and I'm starting to get a little worried.
Logan finally stops staring at the screen and laughs, throwing the controller onto the floor.
LOGAN: And now I'm dead.
Duncan is not reassured. Logan slaps his hand.
LOGAN: None of this matters, man, don't worry.
Logan gets off the bed and walks over to a chest of drawers by the window.
DUNCAN: What are you talking about?
Logan gets the lighter out of his pocket and starts playing with it again while leaning on the chest of drawers, gazing at a picture of he and his mother.
LOGAN: You know Mom's dad fought in the Korean War?
Duncan shakes his head.
LOGAN: Uh. Well he got this lighter in Seoul. He held onto it even when he was captured. He and his buddies escaped and he had it engraved.
Logan throws the lighter to Duncan who catches it with one hand. He looks down at it. The engraving reads: FREE AT LAST.
LOGAN: And it was always in her purse. But she left it on her dresser the night she disappeared. [Off Duncan's blank look] It's a sign.
Duncan still doesn't understand.
LOGAN: You know, man, come on, I mean, she hated all this, she hated him. [Laughs] They didn't find a body because she's not dead.
Logan recovers the lighter from Duncan and holds it up.
LOGAN: She just escaped.
Logan laughs again but Duncan is seriously concerned about his friend. Cut to Sam Blooms office, where he is at his desk.
SAM: No! As far as I know, Ben doesn't hang out at hip hop clubs.
Keith is standing in front of his desk.
KEITH: Then why was he there? He was at the club the night Yolanda disappeared.
SAM: Well, I-I am sure that there is some explanation.
KEITH: Did you know that he received a traffic warning last month? A neighbour had called that someone was watching the Hamilton house. How did he feel about the shooting?
SAM: Outraged. What else could he be?
KEITH: Where is he now, Mr Bloom?
SAM: He's at USC. But you won't find him there. He and some friends are in Mexico hiking. Can't be reached.
KEITH: You hear from him, you let me know.
Keith leaves. Sam looks worried. Cut to Mars Investigations. Veronica is at her desk as Keith enters.
VERONICA: Hey Dad. Did you find Benjamin Bloom?
KEITH: No, but his dad seemed squirrelly when I asked how he was. How's your sorority speak.
VERONICA: Like awesome! Why?
Cut to later. Veronica is on the phone.
VERONICA: Hi, is Ben there? Oh, is this his roommate? Cool. Um, hi, this is Lisa, I met Ben last fall at this beach blanket bingo mixer.
Keith motions to her to move it on.
VERONICA: Yeah, it's a boring story. But, um, I need to talk to Ben about something involving [searches for something] crabs and I heard that he was going to Mexico with some of the guys. [Listens] Oh. [And again] Really? Uh, thanks.
KEITH: Crabs?
VERONICA: No Mexico. Roommate said he's been acting kinda weird but he left alone last week. But he said he saw something on his desk. A hotel confirmation number for Vegas.
Keith picks up the phone receiver and dials.
KEITH: Tom Decintio please. [Pauses] Tom! Keith Mars. How's Vegas? [Listens] Yeah, yeah, I got someone here I need to find and he might have blown your way.
Veronica holds up her notebook.
KEITH: Benjamin Bloom, licence 4-P-C-1-0-7-5. Might be in one of the hotels. Thanks.
Keith ends his call and looks down on Veronica, who sighs heavily. Keith perches on the edge of her desk and leans over to stroke and massages her back and shoulder.
KEITH: You've been working overtime on this, kid. Hmm. You said she's a friend or something?
VERONICA: Hmm, something.
VERONICA VOICEOVER: What was that word again for almost friend.
As Keith moves to massage both her shoulders, flashback to the school outside. Yolanda runs to catch up with Veronica, who keeps walking, forcing Yolanda to keep pace.
YOLANDA: Veronica! Can you talk to Lilly? I heard what Logan said about that night and it's totally untrue. I didn't do anything.
VERONICA: I saw it, Yolanda.
Veronica stops and looks at Yolanda.
YOLANDA: We were just talking, you know, and he just kissed me. The story, I threw myself at him? I'd never do that. Please, make her understand.
VERONICA: I don't know, sometimes she's really-
A car horn honks. Lilly is in her car, at least one other girl is in the back seat. Lilly is shielding her eyes against the sun, shouting.
LILLY: Veronica! Come on. San Diego's waiting.
Veronica looks back and smiles at Lilly.
LILLY: In or out, Veronica? In or out?
YOLANDA: I swear, he kissed me. It didn't go anywhere. I don't want to blow it here.
Lilly, impatient, blows the horn a couple more times. Veronica looks back at Lilly who does a "what are you going to do" gesture. Veronica turns back to Yolanda
VERONICA: You should have known better.
Veronica turns her back on Yolanda, leaving her standing, and heads for Lilly's car.
VERONICA VOICEOVER: Do I tell my dad that his fiercely non-conformist daughter caved to peer pressure and left a totally cool person on her own in a new school?
Cut back to the present. Bone enters Mars Investigations.
BONE: Hey, we need to talk.
Cut to Keith's office. He hands Keith a note.
BONE: It came an hour ago. They want a half million if I am ever to see Yolanda alive again.
KEITH: Okay, I know this is hard to believe but the note at this point is very good news. [On examining the note] This is strange.
BONE: Strange how?
KEITH: Well usually you get that ransom demand and they give you the details of the drop at the last minute so you can't stake it out but this guy, he gave it all. The time, the place…
BONE: That's 'cause he's stupid, man. Look at the top.
KEITH: [Reads] If you want little Miss Princess back home…
BONE: Yeah, that's what we heard on the bug. "Little Miss Princess." It's Dime Bag. Hey, if I don't get my daughter back, somebody's gonna die.
Keith nods. Cut to Bone's home office. He is loading cash into a briefcase as Keith enters.
KEITH: That the money?
BONE: Five hundred plus the GPS tracker and the dye pack you put in here. Bastards won't even make it a block.
KEITH: Look, Mr Hamilton, I know we talked about this but I think we should involve the police.
BONE: And I've already told you I have no use for the police. I have my justice right here.
Three heavies have come into the room, behind Bone. Keith sighs in frustration.
KEITH: Look. This is not the way to deal with this. If you care about your daughter, you'll go to the cops.
BONE: Hey. If the cops were so great, why aren't you still one, huh?
KEITH: Mr Hamilton. I can't be party to this.
BONE: Then you've done you're bit. Cheque's in the mail.
Bone hands the case to one of the heavies
BONE: Load it up. Let's roll.
Keith observes this unhappily and turns to look at Vanessa, stood behind him. She shakes her head to indicate that there is nothing she can do and he nods in understanding.
VERONICA: [Offscreen] I thought that you were fired.
Cut to a Neptune street. It is pouring with rain. Keith has his arm around Veronica's shoulders, holding her close as they share the same umbrella and walk slowly down the street.
VERONICA: Why are we even here?
KEITH: Trying to save the girl. This is either the dumbest kidnapper ever or the smartest. I mean, he gives the drop location in advance and it's the worst spot possible. There's no escape routes. It's totally open to surveillance. I mean, getting away with the money will be impossible.
Veronica seems to have an idea as she looks round at the rain, the people and the water pouring down the drains.
VERONICA: Maybe not totally impossible.
Cut to Veronica getting into the car with a carrier bag filled with yellow plastic ducks. Keith holds one up.
KEITH: Ah, Veronica... this is really grasping at straws.
VERONICA: Make yourself useful. Get those things in a row.
Veronica starts the car. Cut back to the street where Bone is pacing. Cut back to Veronica and Keith, using the tracking device in the car.
VERONICA: Any signal yet?
KEITH: Yeah, take this right.
Back to the street, Bone is waiting. He nods to his heavies who are spread around the area. His cell phone rings. He pulls it from his pocket.
BONE: Yeah.
The voice on the phone is digitally disguised.
VOICE: Do you see the taxi up the street?
There is a taxi idling up the street.
BONE: [Looks] Yeah, I see it. I got the money.
VOICE: Go to the trash can on the corner. You'll find a plastic football.
Bone retrieves a football.
BONE: I got it.
VOICE: You can keep your cash. Instead put that quarter million dollar ring you like to wave at people inside the football and throw it down the storm drain. I'm watching you. The cab won't stop unless you've done this. Do it now.
Bone takes off his ring and inserts it through a slit into the small football which he throws down the drain.
BONE: All right, it's done. Now what?
The cab moves forward. The voice on the phone is replaced by a dialling tone.
BONE: Hello! Hello! [Shouting at the heavies] It's the car. Get that car.
Armed, they race to the cab. They open the back doors. It's empty.
BONE: Where is she? [Banging the top of the taxi] Damn.
They stand around, flummoxed. Cut to a storm drain. Little rubber ducks are popping out. Bryce watches, confused about the ducks but smiles when the football turns up. He grabs it.
VERONICA: Hey, Bryce.
Bryce is startled as Veronica comes up behind him. He turns and sees Keith not far behind her.
BRYCE: How'd you guys find me?
VERONICA: Whoever did this was either really dumb or really smart.
Veronica picks up one of the ducks and removes a bug from it.
VERONICA: You're really smart.
BRYCE: Yeah, so are you.
Cut to later as they walk up from the storm drain. Keith walks behind them, speaking on the cell phone.
VERONICA: So she was never kidnapped?
BRYCE: No. She just ran off.
VERONICA: How do you know?
BRYCE: She always thinks I'm not around but I hear things.
VERONICA: Eavesdropping again, huh?
BRYCE: She was on the phone talking about meeting someone at the club, running off forever. I rode in the trunk when she left Gabrielle's for LA. Drove the car back, made it seem like she'd been abducted and that was that.
VERONICA: God, Bryce, why?
BRYCE: Trust me. You would not understand.
VERONICA: But Yolanda, is she okay?
BRYCE: As far as I know. I think she tried to get my dad's attention. I may have stolen some of her thunder.
KEITH: [Into his cell] So she's okay. [Pauses] No kidding. Thanks Tom. Here's what we'll do.
Cut to the Hamilton home. Bone is sitting with his head in his hands whilst Vanessa paces. Bryce enters followed by Keith and Veronica.
VANESSA: Bryce! Where have you been?
KEITH: Mrs Hamilton, Mr Hamilton, I think there's something Bryce wants to tell you.
Bryce slaps the ring down on a glass table top.
BRYCE: You lost your ring.
Bone picks it up and looks at it.
KEITH: Your daughter wasn't kidnapped. She's just run off. Bryce here's the one who wrote the note.
BRYCE: [Off his parents astonished looks] Well, you can be mad, Dad. But you can't call me soft.
BONE: No. I guess I can't.
VANESSA: Bryce, my god, where's Yolanda?
KEITH: She for yourself.
Keith steps forward with the laptop.
KEITH: She can see you. The pinhole at the top of the screen is a camera.
Keith sets the laptop on the table. Yolanda appears, a boy behind her.
YOLANDA: Ma? Dad. Here's the good news. I'm fine. And I'm married now.
VANESSA: What?
YOLANDA: I'm Mrs Benjamin Bloom. Which is why I'm telling you from here because until you guys and the Blooms just… get over yourselves and make up, we're not coming back.
BONE: Okay, look here baby girl. How many times do I have to tell ya that I didn't order that drive-by.
YOLANDA: You let everyone believe you ordered it because it gave you cred. Never mind it just turned me and Bryce into gangster's kids.
Bone looks up at Bryce.
YOLANDA: Give us your blessing. And, um, we'll come home. After the honeymoon.
Bryce scratches his head, unwilling to comply.
YOLANDA: All right then, be like that.
Yolanda leans forward on the screen and switches off the camera her end. Cut to Veronica's room. She has the laptop camera in place and it is trained on the same Las Vegas hotel room. Yolanda comes into view.
YOLANDA: Veronica? Is that you? How did you…
VERONICA: I just wanted to say congratulations on the marriage and I'm sorry. I should have been a better friend.
YOLANDA: Veronica, if I had been in your position, I would have done the same thing.
There's a sharp knock on the front door. Cut to Veronica making her way across the dark lounge to the door. She opens it. It's Logan, arms wrapped around himself.
VERONICA: [Perplexed] Logan, what are you doing here?
LOGAN: I want you to find my mother.
 marshjazz · Thu Nov 23, 2006 @ 07:47pm · 0 Comments |
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