Episode #03.13: Postgame Mortem
Original Air Date: February 13, 2007
Written by: Joe Voci
Directed by: John Kretchmer
Report Card (Capsule Episode Review)
Yearbook (Recurring & Guest Stars/Character Statistics)
Drama Club (Performances: Highlights and Lowlights)
Chemistry (The Analysis of LoVe Scenes)
Journalism (The Mystery of the Week)
Study Hall (Miscellaneous Plot Details)
Extra Credit (Clues to the Season Mystery Arcs)
History (Flashbacks) (None)
Band Class (The Music of Veronica Mars)
Literature (LoVe Lines/In Memory/Quotable Quotes)
Social Science (In Reference To ... Pop Culture & The World)
Homeroom (On Second Viewing, Get a Clue)
Pep Squad Practice (Ambiguously (Or Not) Gay Logan Moments) (None)
Detention (While the Censors Were Out to Lunch ...)
Philosophy (Unanswered Questions)
Principles of Democracy (Hindsight is 20/20)
Extra Curricular Activities (Beyond the Broadcast)
Role Call (Written/Compiled By ...)
Staff Grade: A
Membership Median Grade: A
What a lovely bounce back from the horror of last week. In Postgame Mortem we see some recurring characters who add a bit of oomph to the preceedings, the continued toned down Keith/Veronica relationship, Wallace (yes, Wallace!) pops in for a few minutes and Veronica actually shows sadness over her break-up with Logan more than once. In addition, Logan receives a strong B-story in which he interacts delightfully with an adorable 11-year old. A cliche? Yeah, but both actors involved sell it beautifully. Add to that the return of Cliff!, Dick getting married (and a hint at a meeting with Cliff for a divorce), clues (real clues!) to the second mystery arc, as well as a mystery of the week that intrigues and it ain't even over yet!, this one's a keeper.
Credited Cast Non-Appearance
Julie Gonzalo - Parker Lee
Chris Lowell - Stosh "Piz" Piznarski
Tina Majorino - Cindy "Mac" Mackenzie
Recurring Guest Stars (Previous Episode Appearances)
Mario Ardila, Jr. - Arturo
- Season Two Appearances
Anna Campbell - Tina Callas
- Hi, Infidelity
Patrick Fabian - Professor Hank Landry
- Welcome Wagon
- Hi, Infidelity
- Of Vice and Men
- Spit & Eggs
- Show Me the Monkey
Brandon Hillock - Deputy Sacks
- Season One Appearances
- Season Two Appearances
- Welcome Wagon
- President Evil
- Lord of the Pi's
- Spit & Eggs
- Show Me the Monkey
- Poughkeepsie, Tramps & Thieves
David Magidoff - Jeff Ratner
- Hi, Infidelity
Matt McKenzie - Coach Tom Barry
- Hi, Infidelity
Jaime Ray Newman - Mindy O'Dell
- President Evil
- Hi, Infidelity
- Spit & Eggs
- Show Me the Monkey
- There's Got to Be a Morning After Pill
Daran Norris - Cliff McCormack
- Season One Appearances
- Season Two Appearances
- President Evil
Robert Ri'chard - Mason
- President Evil
- Hi, Infidelity
Jeremy Roberts - Mel Stoltz
- Spit & Eggs
Guest Stars
Jonathan Chase - Josh Barry
Juliette Goglia - Heather Button
Lisa Jay - Melinda Button
Tracey Needham - Mrs. Kathleen Barry
Who's Who in Neptune
Josh Barry - Son of murdered Hearst basketball coach Tom Barry, also former member of the team. Accused by Sheriff Lamb of being the killer.
Heather Button - Younger sister of Dick's lady friend, Melinda. Spends the weekend with Logan in his suite.
Melinda Button - Dick's lady friend who leaves her little sister with Logan. Ends up running off to Vegas with Dick and marrying him.
Mrs. Barry - Coach Tom Barry's widow.
Hey! It's That Girl
Juliette Goglia (Heather Button) - Although she's only been acting for three years, Juliette has already made her mark. She is best known for her role as Little Girl God on Joan of Arcadia, a role she began when she was only eight years old. Her portrayal of a wise, all-knowing God in the guise of a quirky little girl quickly made her a favorite God avatar among fans of the show. In 2006 Juliette made an unforgettable guest appearance on CSI as Hannah West, the genius younger sister of a boy accused of murdering a classmate. She was sufficiently creepy in the role, leaving CSI investigators and viewers alike guessing at the truth even after the credits had rolled. Prior to this role, she was last seen in multiple episodes on Desperate Housewives.
Highlights
Jason Dohring (Logan Echolls) - There's a kind of absolute stillness to the way Jason Dohring plays Logan's dejection at the beginning of the episode. All his movements are slow, as if he's under water. He hardly makes eye contact (and of course is silent). His body language is closed-in -- fingers laced over a pillow when we first see him, hugging his arms outside on the balcony, not once, but twice, frequently looking down. His eyes look hurt (how does he do that?), and he doesnt react at all to Dick's assays at humor. When Dick throws clothes on him, he flinches but takes it, as if dirty laundry is the punishment he deserves.
The first time he shows any sign of life is when Melinda and Heather come in: He sits up and begins to look more like a person and not a piece of furniture. But the first time he really starts responding to Heather (or anyone) is during their first Mario Kart game. Watch his delivery of Amy's ice cream supremacy: "It can. And it is." It's the first time in this episode he has that quintessential Logan snap in his voice. This scene marks a real turning point for the character. He engages for the first time, wakes up. And Dohring brings it on in the way he sits (leaning forward, engaging with the game), in his voice, and in the way he begins looking sideways at Heather, referencing her as he speaks.
By the midway point when Heather pulls her prank, Dohring has brought his normal physicality back to the role. The irritation in his voice at Dick, the low-five he gives Heather when he says, "Well played," and the faster pace of his walk, it all has noticeably more energy. He's no longer wading through mud in slow motion depression. And then when he and Veronica see each other, Dohring returns to his original non-responsive body language. He stands motionless, avoiding Veronica's gaze even when he talks to her, and his voice is once again muted. Though, in keeping with the theme of this storyline, he snaps out of it somewhat after Heather's pushiness gets to him, allowing for that amazing intense mutual stare with Veronica.
The next scene shows him back in bed, only now he's curled on his side in a defensive posture rather than on his back in a "I would rather be dead, thank you very much" position, and then when he knocks on the bedroom door to invite Heather for ice cream, his affect is still low, he's looking at the ground and his voice is thick. But when she opens the door, he gives her the sweetest smile on earth and you just know this is the healing moment, he's come out of his shell for this little girl. Which is evident in his warmth with Heather as they say goodbye, the quirk of his eyebrows as he teases Dick about the latter's wife, and the smart-aleck way he presents his professor with the apple, it's all quintessential ironic, amused Logan, and Dohring sells it as a full recovery. He's taken us on a complete journey from motionless sadness to fully awake and engaged, largely through body language and intonation. A truly wonderful performance.
Juliette Goglia (Heather Button) - Juliette Goglia plays Heather as a sunny but tentative character, with an unusual attention to subtle undercurrents. When she first enters the hotel room, for example, she gives a Logan hesitant smile (which, of course, he doesnt respond to), but by the time Dick and her sister leave, she's reacting entirely neutrally to him, with no intimacy. I loved the way she walks around the living room in her first scene, exploring and touching everything. It's a very eleven-year old action, but it also echoes her later attitude toward Logan: Curiosity and a friendly pushiness.
During the first Mario Kart scene, watch her expressions when she asks, "Are you all sad about a girl? Oh, I guess so." She plays at least half a dozen different beats there, from puzzlement (complete with cute little frown lines between her eyes) to "Oops, he's not responding." Every beat is so completely transparent, you know just what she's thinking. She's also completely adorable when she pulls the met a guy online stunt. Her eyebrows go up for emphasis, and when she laughs at Logan for falling for the trick, she throws her head back in delight. In the elevator scene, her voice breaks with her semi-whispered excitement and she lets out little thrilled squeaks and I just want to bring her home and hug her, she's so adorable. And yet it's not at all over the top and is just the tweener affect needed to make this scene positively excruciating for our heroes without ever tipping over into giggling or anything else that might make us want to belt her.
This is a very fine line, and Goglia does a dynamite job with it here and throughout the episode. She's surprisingly unaffected and natural for a child actor but with an awareness of how to play the emotional beats. I also thought she and Dohring created a wonderful, touching and totally believable rapport by the end of the episode. The physicality in how she threw her arms around his midsection in a goodbye hug was a final, perfect touch. Showing their journey from hesitation to ease.
Anna Campbell (Tina) The desk clerk at the Neptune Grand, last seen in Hi, Infidelity, does a lot with a small slice of screen time. This is only her second episode, but we get such a kick out of her. Why? I think it has everything to do with the husky amusement in her tone. When she says "Precisely," she doesn't just say it, she gives it a casual lilt, as if to say, "Nothing fazes me." Her delivery of "Crme brulee just before midnight," complete with oh-so-slight eyebrow raise, speaks of intimacy in the hotel room. This young woman sees all, knows all, and relishes all.
Scene One: She's Done ... Or Maybe He Is?
You know, I'm kinda with Heather on this one. I'm not really thinking that Logan tried hard enough. Which is rather telling in a way. I mean, "I poured my heart out on her voicemail?" That's it? He poured his heart out on her voicemail, oh yeah, and he also ragged on her ass before the heart-pouring came about. Now, I'm not saying that Logan wasn't right completely in what he said before the mushy stuff, but when trying to win a girl back ... do you really start out by basically starting a fight? No, you don't ... unless a part of you -- a part you don't even realize is there -- doesn't want to win her back. At least on those terms.
Look, I'm not saying that Logan doesn't love Veronica. At all. I'm not saying that he doesn't want to be with her. However, I said over and over and over again during their first round of dating this season that Logan was walking on eggshells. He literally subdued himself for her, in the hopes that it would be enough to keep her by his side. It didn't work. They broke up. Sure, she came back, but once they got back together that tinge of anxiety came back with it. Maybe he wasn't quite walking with the same care on the eggshells, but the fact that she was still questioning him and not just accepting had to have been a pain in the ass. I mean, SHE came to him this time ... and yet, he may have felt that he was still on trial. And that's gotta suck.
So when Veronica latched onto something else "bad" that Logan did and used it as justification to dump all over him and them again -- this time leaving her in the position of power -- maybe there was a part of himself, some measure of self-esteem that kicked in and said: Enough is enough! And I'm not sure he even realized it, but the fact that he considers a voicemail that began with him reaming her out before telling her he loves her is all he could do to get her back is, as I said above, telling. I don't want to believe that it's over between them, and I really don't ... I just believe that Logan has finally accepted that some major changes have to take place before he and Veronica will get back together. He may not realize it, but the fact that he didn't even remotely give it his all and yet he was ready to conclude that she's done means that maybe he's just tired of playing the game and needs a break himself.
I know that this sounds depressing and all that jazz, but honestly I don't think it is. If I look at this as a long-term situation and not likely only seven episodes left to get these two back on track, this is probably the best thing that could have happened to them. Will Logan and Veronica get back together before the end of this season ... which is possibly the series end? I don't know. But, looking at it more long-term, as if there were the two additional seasons definitively to come in the five-year arc that Rob Thomas mentions, this really does work. Logan (and Veronica) needs to realize that he is just as important as Veronica in this relationship and as of this point, that has not happened. He's always trying to catch up, make up, be enough and that's not healthy at all.
I do believe that Logan and Veronica are IT; they belong together in the long haul and are made for each other. However, neither one is ready to be together right now and this time apart -- although painful -- could be the best thing they need to realize what they both need to do to make this relationship work. Because it can ... they just need to figure out how to do it. And neither one has so done that figuring out yet.
Scene Two: A Sad Boy and a Special Girl
See?! Logan totally COULD get her back if he really tried. I was not happy with Kristen Bell's performance last week, but this (and the next) scene were beautifully played. Everything about it ... from how she stood stock-still when she heard her name, how her lips parted, her eyes widening as if considering (yes, considering) when the DJ said "he's sorry, girl, and he wants you back" to the slow turning and painful yearning as she listened to the lyrics:
Scene Three: It's Her
See!?!? The love is still there. The look on both of their faces when they first saw each other. Sigh. And here we see a play on the analysis I offered in the above two scenes. Veronica is the one to talk to him first, a soft anxiousness in her voice. She is also the one looking at him ... looking for a sign. And when Heather starts saying all of the things that Veronica is waiting for from Logan, you can see it on her face. Veronica is looking at him, expecting something, waiting for him to say everything this little girl is and all he does is cut Heather off and usher her out of the elevator.
And her final look ... man, that's it right there. Veronica wants him to come to her, she wants him to apologize and pledge eternal love so she can take him back. Not right away, but soon enough, dangle hope and then acquiesce which puts them back on the ground she's comfortable with -- she in the position of power, he as her willing supplicant. Now, I'm not saying that she specifically sees it that way, but that's how it's been and that is what she's used to and feels right for them. However, take a look at his final look.
He's done. He's not going to apologize for something wrong he didn't do; he's not going to prostrate himself and declare undying love and beg her to take him back. Dick didn't realize it, but the fact that Logan was holing himself up in his suite was his way of reclaiming his balls because he didn't want to see Veronica, he didn't want to get her back ... not like this, not under these circumstances. In other words, he finally discovered that he still has some pride. And if they're going to get back together, she's going to make the first move ... not him.
Rocky road, indeed. Ups and downs like a rollercoaster, oh boy, and if we knew for sure that we had a fourth season, I'd actually be thrilled about this turn of events, not expecting or wanting them back together at the end of the season. Heck, I'd even be fine with them even dating other people, because they need this now. They need to understand that they only belong with one another ... but as the people they were when they fell in love. A Logan, in all of his extravagant, over the top, a tad bit of a bad boy glory and a Veronica, wary, weary but with trust and faith in her feelings for him -- as they both sure seemed to be that brief first period of dating before accusations of rape and murder and revenge and ex-boyfriends came between them. They need to relearn to be those people with each other again and if it means staying apart, becoming strangers or friends, seeing other people to see how they are not right for them, so be it. Sadly, I don't think we have the time ... but if we did, oh if we did, I think it would be one helluva journey with an amazing pay-off.
It's half-time during the big basketball game at Hearst. Wallace, Mason and their fellow ballers are getting royally reamed out by their coach for doing, well, seemingly everything wrong. Where's the passing? Where's the defense? Where are their heads? Although everyone is feeling Coach's wrath, none is feeling it more intensely than a player named Josh -- who, in addition to being Coach's favorite target, is also his son. Lucky kid (she says in a voice dripping with sarcasm).
The Coach starts ranting a blue storm at Josh about his lack of focus, how he's getting dogged every time he drives the ball down the court, and then something about how he needs to grow up. Not sure what that has to do with dribbling or passing skills, or just playing college basketball for that matter, but Coach clearly feels strongly about this. Coach hammers and hammers at Josh, telling him to buck up, do better, be stronger, get his head out of his ass (which, nice Dad), blah, blah, blibbidy freaking blah, until Josh has finally had enough. Standing up to his father, both literally and metaphorically, Josh tells his father (in a voice shaking just slightly with cold rage) that the one thing he knows he can do is quit. He all but spits the words at his father while simultaneously throwing his jersey in his pop's face.
All I can say is "Go Josh! Go Josh! Go, go, go Josh!" Somebody get some cheerleaders in here now to do one of those inspiring "Give me a 'J'!" cheers, or something with the word "appreciate," 'cause that boy deserves some serious applause for having the guts to stand up to the old tyrant that way. That's the spirit lad!
After that rousing and inspiring beat-down from the Coach, capped off with an entirely unpleasant father/son confrontation, the Coach taps Air Fennell to jump into Josh's vacant space and tries to rally the troops. I'm thinking that's about as likely now as that old adage about snow in hell.
When we next see our favorite freshman basketball star, he's lunching (or having a consolatory bowl of ice cream?) with his BFF (and can I just say FINALLY!) who's trying to help him find the bright side of a twenty-point loss. Guess that rallying was about as effective as I thought it would be, which is to say NOT EFFECTIVE AT ALL. Veronica points out that one of the bright sides is that he got a lot of court time for a guy who quit the team -- kind of -- first semester. (And I just want to wave a quick hello to continuity since I'm sure it is only here for about ten minutes.) Good one Veronica! But sadly, that's offset by the fact that Coach put Wallace in first string ahead of Mason. Veronica, good and supportive friend that she is, assures Wallace that he was chosen because he's the better player. Wallace, sadly, is not convinced. Clearly neither is Mason since he's now giving Wallace the old cold shoulder. In Wallace's mind, that kind of makes the sides break even. Veronica tries to come up with another silver lining on this cloud, but alas, she's got nothin' for Wallace but an empty platitude and the remains of her bowl ice cream. In return, Wallace decides to bring up the dark cloud in her sky ... one uber hot ex-boyfriend described as the "Logan situation." Clearly as unhappy with Wallace's conversational topics as he was with hers, she skedaddles with a glum look on her face, determined not to think of said uber hot ex-boyfriend and the fact that he's an ex.
The next day Veronica storms into Mars Investigations hollering at her father about the unfairness and questionable legality of his breakfast contract, but her tirade of righteous indignation is brought to a screeching halt when she realizes that Daddy dearest has clients in his office. Keith invites Veronica to join the meeting and tells her that Coach Barry was murdered the night before on the PCH. Cliff brought in the Coach's wife and son -- you remember Josh -- because Lamb is looking to Josh as his primary murder suspect. The Barry's have hired Keith to find the real killer to keep Josh far away from the perils of community soap.
Keith asks Josh to give him a rundown of what happened the night before. Josh recounts his unpleasant convo with dad in the locker room at half-time that ended in his quitting the team. He tells Keith that his dad goes to this little strip of land on the PCH overlooking the ocean (and, um, doesn't like the whole PCH do that?) to meditate or something when he loses. Josh went out there to talk to him, perhaps mend a few fences, but when he arrived his Dad's car was no where to be found. Unfortunately, his father's body was. Josh found his dad lying in a pool of blood, shot dead by the side of the highway.
Josh goes on to say that he couldn't get a cell signal out there on the PCH so instead of calling the police, he rushed straight home to tell his mom and little brother Bobby so they wouldn't hear it from anyone else. It's apparent that he was distraught and not thinking clearly because we all know how bad this looks. And that's before he gets to the really bad part of the story. Mom continues that when Josh arrived home he was in bad shape: He looked like he was in shock and there was blood all over his clothes. She didn't want her youngest son to see his older brother like that so she encouraged her son to take a shower and change. *FacePalm* Jesus, lady! And you didn't think that might look, oh, I don't know, suspicious?
Cliff takes over and finishes the sad (in so many ways) tale. It seems someone found Coach Barry on the side of the road and called it in because the Sheriff arrived at the Barry's residence just as Josh was getting out of the shower. Lamb found Josh's bloody clothes and Coach Barry's NIT championship ring and jumped to all the wrong conclusions. Keith is troubled that Josh might have taken the ring off his father's finger, but not to worry. Apparently after Josh quit the team, when he came back from his post-game shower, his dad had left the ring in his locker. Josh saw it as a peace offering, and it was what made him want to seek his father out that night for a heart to heart.
Cliff points out that the PCH'ers have been responsible for a number of carjackings out on the PCH and Mrs. Berry jumps on this with both feet. She doesn't know why Lamb is so fixated on Josh when those horrible gang boys clearly shot her husband, stole his car, and left him for dead.
Trying to tie up loose ends, Keith wonders if anyone else might have had it in for the Coach. You know, aside from the ENTIRE ANGRY BASKETBALL TEAM. (Minus Wallace, of course) Josh pipes right in with the fact that Mel Stoltz hated his father. You remember Mel, right? The guy chompin' on a big stogie and dropping thinly veiled threats at the Dean on the day he was murdered? Turns out he had it in for Coach Barry and wanted him fired. Veronica reminds everyone -- or maybe just Keith, or maybe just the viewing audience, I can't really tell -- that Stoltz is Hearst's primary benefactor. Keith assures him that they will look into it, and then offers the only words of comfort he has at his disposal: "Don't worry about the Sheriff. He has a long and proud history of being wrong." Hee!
After the Barry's leave, Cliff hangs around for a little follow-up chat with Mars 1 and Mars 2. He assures them that by the look on the Sheriff's face at the time of the arrest, he really did have it in for Josh -- or he had to pee really bad. It's hard to say which. (And hee! To the look of 'yeah, true' on Veronica's face after that comment.) For what it's worth -- which isn't much, based on Cliff's track record -- he believes them. There's another piece of bad news though that he hadn't yet shared. Unfortunately, young Bobby won't be able to corroborate their stories because he's severely autistic. Things do not look too bright and sunshine-y for Josh right now.
Veronica pays a visit to Weevil and asks if he can hook her up with the current head of the PCH'ers. Weevil is all full of snark as he tells her that he's glad to do it, no problem. First he just needs to give his parole officer the head's up that he'll be consorting with known criminals. After a beat he reminds Veronica for like the zillionth time that he's on the straight and narrow. Now, I'm all for your new leaf here Weevs, but perhaps the reason Veronica keeps forgetting is because you seem to forget from week to week exactly how big a dip you'll take in the criminal pool. Case in point: Where was this righteous indignation last week when she asked you to steal and cube an '09er's Mercedes? Taking a step off the straight path onto that slightly crooked one Veronica frequents didn't seem like such a big deal just last week... Regardless, Veronica tries to bait him with the promise of cash. I can't tell by the look on Weevil's face if that did the trick or just served to piss him off even more.
While Veronica's off trying to lure Weevil back ... well, near his former life of crime, Keith is trying to get a little face time with Mel Stoltz at his office. Unfortunately, Mel's not cooperating and Keith's been kept waiting for over an hour. The friendly receptionist tries to explain to Keith that Mel's backed up and that she'd be happy to reschedule him for next week. Keith hears what we assume is Mel's laughter wafting down the hall and it seems to put him over the edge. Keith decides he'd rather just be seen now and get it over with and throws a tight smile to the receptionist on his way back to Mel's office.
Keith finds Mel negotiating his practice putting strip and chatting into his hands-free headset. He cuts to the chase and tells Mr. Stoltz that he just has a couple of questions and he'll make it quick: 1) Did he want Coach Barry dead; and 2) where was he the night of Barry's murder? Mel looks momentarily nonplussed and then assures his phone buddy he'll call him right back. Apparently the direct approach has captured Mel's attention.
He tells Keith, flat out, that Barry was a loser of a Coach and yes, he wanted him gone. Fired would have done just fine, but hey -- dead works too. (And the temperature in the room drops a solid 40 degrees in a nanosecond) As for the night in question, he was in the air, on a jet on his way back from Seattle. And if Keith doesn't have anything further to bug him about, he'd like to get back to trimming up his handicap. Keith assures him he'll be looking into the situation. Mel doesn't seem worried by this in the slightest.
I guess the lure of money was strong enough because the next time we see Veronica and Weevil, they're leaning against their respective cars (and hello green machine! -- and simultaneously -- LeBaron, how we miss you!) awaiting the arrival of the PCH'ers in what appears to be an industrial complex. Veronica's clearly fretting and Weevil's teasing that he's surprised that his (former) boys aren't there yet because gang members are generally very punctual. Veronica shares her fear that the bikers will show, but it isn't for the square reason Weevil implies. See, if the PCH'ers show, it means that it is unlikely that they killed Coach Barry. And that would be very bad news for Josh. Since the rumbling of big hogs sounds in the distance, I'm guessing bad news is about to arrive. Before I can fully formulate that thought, three cycles bearing helmeted riders roll up to the meeting place.
Veronica wonders aloud who replaced her buddy Weevil at the top of the food chain, and is damn near shocked to see that her old pizza-boy-muggin'-buddy Arturo is running the gang now. Veronica cracks (and Weevil agrees) that she was under the impression that gang leader was a man's job. (Well, if you've only got two lackey's, perhaps manliness isn't quite as big a necessity.) Veronica fills Weevil in on her history with Arturo and then does a little fishing to see if Arturo might be guilty of shooting the Coach during a routine carjacking. Arturo scoffs but Veronica demands some kind of compelling information that will make her believe in his innocence.
Arturo looks like he'd rather not be doing this, but perhaps he just decided it would be easier to comply with her request than to possibly face the wrath of Mr. Sparky and a roll of duck tape again. He reminds Veronica that the papers said Coach was driving a '96 Roadmaster. As head of a gang who may or may not be committing a series of carjackings in town, he points out that there is literally no reason for he or his boys to be interested in going to all that trouble to steal an $800 piece of crap station wagon. Besides, the PCH'ers have given up using guns. Nailboard on the road is a much more effective, and low risk, carjacking tool.
I hate to say it, but that is a pretty compelling argument. Things are looking worse for Josh by the minute. After her strike out with Arturo, Veronica pays a visit to Josh at home. She's hoping to really search the spot where his dad was killed on the PCH highway for clues. Josh tells her the Sheriff's department already checked it out, and Veronica resists the urge to repeat herself (slowly and monosyllabically) when she mentions that the scene really needs to be searched by someone who, you know, is actually interested in doing their job and knows what they are looking for. The two chat briefly about their relationships with their dads and Josh confesses that his dad was both is best friend and his worst enemy. And I thought my relationship with my dad was complicated!
While Veronica and Josh are taking a little field trip and sharing their feelings, someone is paying a visit to Lamb with information about the Coach's death. It's Mason, looking utterly untrustworthy, there with a tale for the Sheriff. See the night that the Coach died, Mason happened to be on the PCH driving over to his girlfriend's house. He drove past the Coach and his car pulled off on the side of the road. The Coach was arguing with somebody and as Mason whizzed by, he got a good look at both Coach and his attacker -- and I know you didn't see this one coming -- JOSH! Dun, dun, DUN!
Meanwhile, Veronica and Josh are surveying the scene of the crime. Veronica is clearly looking for any kind of clue that will perhaps either confirm or contradict Arturo's version of events. She doesn't see anything incriminating right off the bat, but upon closer inspection realizes that the tire tracks and crushed grass by the edge of the cliff make it appear that a car has gone over the edge. She and Josh tentatively step closer to the edge and take a peek at the turbulent ocean crashing below. Josh steps closer to Veronica and the sweeping camera angle and moody backlighting make the late afternoon setting go a little creepy. I begin to wonder if Veronica is safe with Josh after all.
The next time we see them, the duo are back in Veronica's Saturn headed for home, so apparently my momentary concern was for naught. Josh wonders why a carjacker would push the car into the ocean and Veronica's wearing that expression that clearly says "how do I delicately tell you that a carjacker wouldn't?" As the two arrive back at Josh's house, we see Lamb and Sachs lingering on the street in front of the house trying to look cool while leaning on the squad car in the glow of the flashy lights. No sooner has Josh stepped out of the car than Lamb is on him, arresting him for the murder of his father.
Veronica pays a visit to her client in jail and Josh tries to puzzle out how he ended up there and what in the hell actually happened to his father. Veronica fills him in on the fact that they did find his dad's car in the ocean at the base of the cliff which pretty handily ruled out the carjacking scenario. She also points out that this development doesn't look good for him. Josh marvels at all of the forces lining up against him, including Mason. Veronica wonders if Mason would have any reason to lie, perhaps a grudge against Josh or something, but it seems Mason only had a grudge against the Coach.
Josh explains that his dad had taken away Mason's starting spot a few weeks ago and Mason's been pissed off ever since. Upon further reflection, Josh's unease about Mason grows. He tells Veronica about Mason's violent temper, and the real kicker: He knows Mason owns a gun. He swears he tried to tell the Sheriff about it, but unsurprisingly the Sheriff declined to pay him any attention. Josh hopes that Veronica believes him at least, and she gently assures him that believing their clients is just one of the many services offered at Mars Investigations. In the meantime, she offers to bring him anything he might need. With a small smile, he requests something to read, peanut butter cookies, and a hacksaw -- you know, since she's asking. Veronica warns that very little on his list is going to make it beyond the Lamb "inspection," but promises to try anyway.
Back at Mars Investigations, Keith makes a phone call to the airport to check up on Mel's alibi for the night of the shooting. By the look on his face, I'm going to guess the alibi checked out. And things continue to look worse and worse, and yet again worse, for Josh.
Veronica heads back over to Hearst and corners Mason coming out of class. She asks him to share the story he told Lamb with her about the night of the Coach's murder. He recounts again that he was heading south on the PCH, drove by the Coach, the Coach's car, and Josh who was arguing with the Coach. Veronica reminds him that if he was driving towards the Coach, and the Coach was facing Josh, Mason shouldn't have been able to get a good look at Josh. Mason says that he recognized Josh's hair, team jacket, and profile on the drive by. It was definitely him.
Veronica throws out the fact that she's heard Mason was really pissed at the Coach for taking away his starting position. Mason's demeanor changes instantly and he goes on the defensive -- which, FINALLY! It's about time someone got pissed off at Veronica's presumptuous nature and tendency to accuse people of crimes without, you know, proof. Mason is incredulous because although he was pissed about the starting position, he wasn't pissed enough to kill his coach! Veronica tries to draw a comparison to the Texas Cheerleader Murdering Mom, and then goes in for the kill by asking Mason where he keeps his gun. Mason responds, understandably, with a pithy and concise "screw you."
When Keith arrives home that night, he finds Veronica making Josh a batch of peanut butter cookies as promised. They discuss their thoughts on whether or not he might be guilty and Keith fills her in on the fact that he confirmed at least part of Mason's alibi. Before they can get much deeper into the conversation, Veronica gets a little teary and makes her dad promise to not get murdered because she doesn't know what she'd do without him around. *Sniff* For what it's worth, I don't know what we'd do without him either -- so Keith, your many fans would like to second that motion.
The next afternoon Veronica pays Josh a visit in his cell to pass him some Lamb-approved reading materials, such as The Count of Monte Cristo which is actually kind of clever when you realize that there is almost no way in hell Lamb would grasp the irony of that particular book being good prison reading. Veronica encourages him to dip into the Dumas classic -- she's sure he'll find it, uh, chunky. He flips through the pages of the novel and discovers the classic secret niche in a book. Only this one is filled with homemade peanut butter cookies and not, you know, like a nail file or a lock picking set. Josh thanks Veronica for the gifts.
Before she leaves, Josh tells her he's been giving it some thought and he's decided that the only explanation for Mason's false testimony is that he was the one to kill Coach Barry. He begs her to prove it, to find the gun. Veronica gently tells him that if Mason did do it, it is likely he threw the gun in the ocean as well, which means no one is ever going to find it. Josh is clearly disappointed, but is becoming resigned to his fate. He thanks Veronica again for her generosity and Veronica tells him to hang in there before taking her leave. (Not before body checking Sachs on her way out, of course). Josh lays down on his bunk, opens the book, and with a strange and indecipherable look on his face, nibbles at a cookie.
We flash over to Veronica, listening to a lecture from Landry in profiling class. As the good Doctor finishes his overview of those characteristics that help identify a criminal in their midst, Lamb appears at the back of the class to interrupt the session. Reliving what may be one of his fondest moments ever as Sheriff, Lamb once again accosts Veronica in a very public setting -- at school, nonetheless -- cuffs her and places her under arrest. But this time its not for fake ID's, it's for -- GASP! -- aiding and abetting the escape of Josh Barry.
Dun, dun, dun, DUN! Be sure to tune in next week kids for the (not so) exciting conclusion of "does anyone really care who killed the mean basketball coach?"
It's the elusive Economics classroom and Professor Corrigan (who must have finally made Dick's acquaintance at some point) approaches Mr. Casablancas with a message for Logan: Show up fast or don't show at all. It would appear that Logan has been missing a lot of classes and Dick's repeated assertion that Logan is sick has worn thin. Dick assures sarcastically that he'll let his friend know the professor's prayers are with Logan. Good one, Dick. We follow our suddenly studios Mr. Casablancas to the Neptune Grand, where a battle of wills is raging on. The hotel Manager with Jeff Ratner in tow tries to force his way into the suite and kindly offer Logan some food. Likewise to collect some salt and pepper shakers, which Logan has apparently been hoarding. Logan's response from behind the closed doors is a less-kindly "go away and leave the food."
Dick takes pity on the salt and pepper shakers-less and takes the matter into his own hands. He opens the door with his key and enters into what looks like a several-weeks worth of boy-mess. There on the couch sits Logan in all his catatonic glory (and may I take this opportunity to say that no one who hasn't washed or changed his clothes in days should be allowed to look this good! Especially notice the stubble!). Dick assesses the situation and, in a stunning display of a sudden flicker of intelligence, tricks Logan out to the balcony with a suggestion that there's a fire in Veronica's neighborhood to be seen from there (someone's meth lab has blown up). Again, good one, Dick.
While Logan is trying to spot the fire (or his will to live) on the oh so fake Neptune horizon, Dick locks him out there so the giddy hotel staff can grab their condiment dispensers and their food carts back, and, while at it, change the sheets. Logan, who clearly doesn't have the energy to even protest, stands there on the balcony pondering the spectacle of Dick being the thinking and the nurturing one.
As nurturing as Dick gets, of course, because nothing's ever purely altruistic with him. It turns out he met this girl at a party a week before (I know, shocker!) and she is hot. She is also, clearly, not that bright, because she finds Dick's company fascinating and wants to come over and play. She also wants to bring her sister, whom she calls "practically her twin." Dick advertises the said sister as a recommended treatment for "pathetic sad sackery." Which treatment Logan refuses with apathetic "no, thank you."
Smart of him, as it turns out. Later when the sisters (not so much twins) show up, the recommended treatment turns out to be eleven years old. And while Logan so justly wonders which "twin" is Dick's (and let's face it, an eleven-year-old is much more Dick's mental equal than anyone older), his roommate hastily introduces him to Melinda and Heather Button (yes, folks, that's their unfortunate last name). Little Heather -- who is, appropriately, cute as a button -- is dumped on Logan (while Dick and Melinda can go indulge in some beach blanket bingo with the swim team Don't ask.) so fast and so skillfully, he doesn't know what hit him until he is left babysitting. Not happy with the situation, Logan informs the girl that she can watch TV while he is going to bed. He walks out of the living room with the parting shot of Logan's Parental Tip Number One: "Try to stay out of the porn."
Having heeded the advice, Heather -- when we see her next -- is dutifully watching the unporn-like The Ant Bully while indulging in some room service. Which she thoughtfully ordered for two. Shocked at seeing her still there, Logan dials Dick's cell for some much-deserved verbal ass whupping. It appears, his unreliable roommate and the other Button did not come home last night. It also appears that Dick and Melinda took a little road trip to Vegas. Dick thinks he is in love (and I don't know what is funnier, the fact that Dick is performing the act of thinking or that he uses the word "love.") In response to Logan's threat of tying him up and transporting him thus back to Neptune in the trunk of his car, Dick pulls out the guilt card. As in, "you slept with my one long-term girlfriend" and, therefore, owe me a babysitting gig. (Sorry, Dick, but you, of all people, don't get to use this card. Now, stick it back in the deck, you unmitigated asshat!).
Logan, who is now sufficiently depressed again, goes back to bed. After some time young Heather (who wonders if all he does is sleep) enters his room and -- by way of conversation -- offers to put highlights in his hair. Interesting approach there, kid. What guy wouldn't want a makeover from an eleven-year-old? Clearly, Logan wouldn't. So she asks him to hook up the Game Cube instead.
Cut to later and Logan -- having emerged from his shell o' doom somewhat -- is playing Mario Kart with Heather in the living room. Looking scruffy and adorable, he dispenses gaming advice and Logan's Parental Tip Number Two: "If you're Daisy or Peach, you can use a heart to protect you." (And if you're Logan, there's no heart to protect you when yours is breaking). Heather is enthralled and waxes poetic on Logan's life and Neptune in general. Ah, to be eleven again! When a huge TV, video games and a balcony seem like Shangri-La. She mentions that her family comes here every year for vacation, and that she especially likes Zipz ice cream. Logan contests that Amy's is better, and they enter into a "no way, yes way" ice-cream sophistication dispute. Heather tells Logan she doesn't believe him, and he is not surprised. After all, why should she be different from any other woman.
Heather surmises from this remark -- and other obvious signs like not bathing and refusal to part with his bed -- that Logan is sad about a girl. When he won't corroborate, she asks him for some small clothes, because she is beginning to smell like odeur de Logan. Later -- after both have clearly cleaned up a bit -- they are having lunch on the balcony. Logan's laptop is on the table and its wallpaper is Veronica's picture. Heather asks if this is the girlfriend -- to which Logan replies "ex" -- and observes that she is pretty. Logan tries to assure her that he hadn't noticed, but his half bitter/half sarcastic tone belies the message.
He is saved from further discussion of said ex when Dick calls again and informs Logan that he and Melinda got married. Clearly not thrilled that Logan's heartfelt congratulations takes the form of a "get back here, man!," Dick's response is a hang-up. Which leaves Logan to inform Heather of the happy acquisition of a very colorful brother-in-law. Heather has a colorful information to offer Logan, as well. She is on her way out to meet with a guy she chatted with on-line. Logan panics and forbids the meeting until Heather laughs and tells him she is kidding. She may be young, but she is wise beyond her years. Logan is impressed and tells her that this was nicely played.
They follow up with another game of Mario Kart, this time a lot more comfortable with each other. Heather initiates a personal conversation with the dogged determination only an eleven-year-old can get away with when prying into someone else's private life. She wants to know why Veronica is Logan's ex. Because, he explains, that's the nice thing you call people when you stop dating them. Heather wants to know why they aren't still dating if he is still so obviously in love with her. Logan tells her it's all his fault (and the collective LoVe audience sighs in exasperation). He screwed up. And yes, he tried to tell Veronica he was sorry. He left a message. (And the collective LoVe audience is sighing again). She didn't return it. She is done. (And the collective LoVe audience scrapes their collective hearts off of various floors).
Heather tries the cheerleading method. She tells him he should try harder, call her again. His rebuttal takes the form of Logan's Parental Tip Number Three: She needs to keep her mind on the game, because she isn't getting any better at it. They resume the game. Heather wisely doesn't pursue the subject, but, as it later turns out, she is far from dropping it completely. Her next attempt is of the proactive variety.
Later on she is seen excitedly pulling Logan into Dick's room to listen to the radio. She tells her less-than-enthusiastic audience that she's been calling in the local radio station (KRAC) that plays requests trying to place one. She has, apparently, made two hundred of those calls before she got through (although I suspect she exaggerated the number a bit for the dramatic effect). She is slightly knocked off her high by Logan informing her that those two hundred were two bucks a pop, but she is quickly restored to her glee by his smile and the assertion that he is kidding. Now, personally, I doubt he was kidding about the actual price of the call, but he probably wasn't seriously perturbed by the total cost.
Then a song comes on the radio, and at this point we cut to Veronica, who just happens to be on a case at the Grand. She is walking through the kitchen where a radio is conveniently placed for her to hear a dedication "from a very sad boy to a very special girl, so if you are listening, Veronica, this is from Logan. He is sorry and he wants you back." Nick Lachey then proceeds to plead that she take what's left of him. Veronica stops short, partly shocked (though whether by the choice of the song or by the fact of the request is hard to tell) and partly moved. She listens for a short while, and then shuts off the radio with a determined expression. Jeff Ratner -- whom she is tracking down here for an interrogation session -- informs her that she wouldn't want what's left of Logan. By way of explanation he ventures a low-rent witticism: What's left of Logan is lying around all day and smells. Wisely, Veronica ignores his commentary.
In the meantime, Logan is visibly cringing in the suite. He tells young Heather that she shouldn't have done that. Heather is not convinced. In fact, she thinks he is going to thank her later, because "girls love that stuff" and Veronica is sure to run right back to him after hearing this. She concludes with the statement that people in love shouldn't break up. Giving up is just stupid. (And the collective LoVe audience wants to hug Heather). Logan is clearly not impressed by the eleven-year-old insight into love, but he is touched by Heather's gesture nonetheless. He pats her on the head and they decide they need to go to a workout room, because the suite is just stifling. While taking an elevator they are joined by Veronica and Jeff (who inexplicably does what Veronica tells him to do). The meeting is a-a-a-awkward. Logan and Veronica exchange reluctant hello's. Veronica is torn between discomfort and curiosity to know who the little girl wearing her very small shirt is. Logan explains the shirt with "she was out of clothes." Which enlightens Veronica not at all. However, she doesn't pursue, since any kind of conversation between the two of them right now is painful.
Heather, not feeling the pain, and realizing that the suspicious girl in the elevator is THE girl, tries -- with all the subtlety of a woodpecker -- to nudge and shove Logan into telling Veronica how he feels. Failing to rouse him into action, she takes matters into her own hands and asks "Miss Veronica" if she, by any chance, was listening to super hits 98 just now. Veronica concedes uncomfortably, glancing at Logan ... who is probably wishing that the elevator would drop right then and there and kill them all.
The elevator refuses to oblige and he is forced to listen to Heather telling Veronica that he is sorry, and they should get back together, and he still loves her, and The torture mercifully ends with the doors opening and Logan dragging Heather the hell away from this humiliation. He can't resist a last parting look, however, and he and Veronica stare at each other for a long moment. The look is charged and full of many unspoken things.
As soon as the elevator doors close behind Veronica and the annoying Ratner, Heather confronts Logan on his silence. She can't believe he didn't use this golden opportunity to tell the girl how he feels! She wants to know why. Why? Because he is not eleven and he is not delusional. He points out to the rapidly deflating girl that she doesn't know anything about love. That love is not writing someone's name on the back of a notebook and drawing a heart around it. Love and happiness are easy at the age of eleven, he states (probably -- and understandably -- not thinking of his own abused eleven-year-old self at this point), and that she should talk to him when she knows something about the subject. Heather is left standing there with tears in her eyes as Logan walks back to his suite, his bedroom and his hideous orange sheets and blue fishies on the wall.
There he lies until he gets another phone call from Dick ... who now needs a good lawyer, because the "'till death do us part" is coming before either quite croaks. Wifey-poo, suddenly recovering her hitherto missing concern for her little sister, wants to ask Logan how Heather is. Logan informs her that Heather is overly bubbly and wants to know if she is always like that. Melinda tells him that no, that's a new thing, acquired after their dad walked out on them. She also wants Logan to make sure Heather takes her Prozac (right, because a) it's a great idea for an eleven-year-old, and b) like this particular eleven-year-old really needs an upper!)
This new piece of information explains a lot, and Logan, now feeling guilty for yelling at Heather and not recognizing the signs, sets about to remedy the situation. Screw Prozac ... the best medicine is ice cream. Logan knocks on Heather's door and invites her out to sample Amy's. Ah, the forgiveness of a child: So easily bought. Then again, who can resist a scruffy Logan when he smiles like that?
When we see the dynamic duo next, they are coming back to the suite, full of ice cream and contentment. Heather concedes that Amy's is, in fact, better than Zipz, and in return for her displayed wisdom Logan offers to keep her sharp by playing weekly Mario Kart with her on-line. Heather is thrilled but hides it well with the quip: "Quit flirting with me, old man. I'm eleven." Hee!
They enter the room to find Dick and his "ball and chain" arguing out who is the bigger freak (it's a toss up, if you ask me). Logan's sarcastic "ah, newlyweds" gets them out of the argument. Melinda, who clearly wants out of not just the argument, but the marriage and this suite, grabs Heather and is ready to run. Heather hugs Logan and he holds her, smiling down at the girl. They make a standing date to play on-line video games Fridays at four. And then the Buttons are off, as Dick declares that he needs a shower.
The next time we see both Logan and Dick, they are walking toward class, clean-shaven and just plain clean. And wonder of wonders, Logan is smiling. He is ready to let the learning begin. He is ready to embrace something again. He is ready to live again. As he hands an apple with a cheeky smile to Professor Corrigan, he asks: "Miss me?" And I can't speak for the professor, but, boy oh boy, did we miss you! Welcome back to the smirk, and the spin, the cocky tilt of the head, and the over-emphasized hand gestures. Welcome back, Logan!
Mindy O'Dell saunters into the Mars Investigations, apparently per Keith's request. If she expected cocktails and finger sandwiches, she is rudely disappointed by Keith, who informs the grieving widow that he wants off her case. She is understandably perplexed and he explains that he doesn't take kindly to his clients lying to him. Apparently the egg shell he found under the O'Dell Volvo's windshield wiper places the said vehicle at the Hearst parking lot on the night of the murder, just in time to be egged by a bunch of disgruntled students.
Mindy asserts that she didn't leave the Neptune Grant that night, and she has no idea how her Volvo wondered off by itself from the Grant's parking garage. Keith seems to have an idea, and that's just the half of it. There is also a mysterious charge on Mrs. O'Dell's cell phone that night. Mindy is horrified to realize that the PI she hired to investigate the murder is actually doing his job and investigating everything, including her.
Keith is less interested in explaining and more in finding out why -- if Mrs. O'Dell and Professor Landry had indeed spent the night in question together at the Grant -- there's a phone call from her cell to his at 1:30 in the morning? Mindy is a bit at a loss at first, but produces an explanation in due time. Apparently Landry needed toothpaste (clearly not happy with the one provided by the hotel. Otherwise, why was it only he who needed the toothpaste and not Mindy as well? Is her oral hygiene a bit lax?). And because of the pesky Jeff Ratner encounter possibility it had to be Mrs. O'Dell on the toothpaste-buying mission. A mission she embraced so readily and quickly, she forgot to ask her lover what particular brand he would like and had to call him from the lobby.
A likely story, as they say in the PI business. Or at least that's what Keith thinks. The next we hear a cell phone ringing and see professor Landry answering it, wondering what he can do for the illustrious investigator. Tie up some loose ends, it would seem, for the murder case of Cyrus O'Dell. Landry doesn't so much want to tie anything op as he wants to take an ethical stand: He is appalled by Keith taking money from a grieving widow of a man who so obviously killed himself. Keith is impressed by such staunch display of morality, but undeterred in his quest to find out if Mindy really did call the good professor to ask what she claims she did. Turns out, she was telling the truth. Landry corroborates the story of the 1:30 a.m. toothpaste-themed phone conversation. And, unless the secret lovers have rehearsed this beforehand (which is not out of the question), this is yet another dead-end.
Mindy, who was sitting at the Mars Investigations listening to Keith and Landry's exchange, inquires if Keith is still determined to find her husband's killer. Keith, in turn, wants to know is she still wants him to. She does, apparently impressed that he is digging, albeit in the wrong place. Which is more than she can say about the sheriff's department. (Aw, Mindy, didn't you know? The sheriff's department is too pretty to dig.).
Next we follow Mr. Mars to the Neptune Grand (where, apparently, all roads lead to these days) on a visit to his buddy the security guard. Whose purpose is to keep tabs on Veronica's nocturnal visits to her various boyfriends and confirm clients' alibis. "No can do," says the buddy, because the December 10th tape Keith wants to see is a month too old. The drive starts recording over itself after a month. But maybe Keith can have a better luck with a parking valet: Those guys apparently keep the records forever.
Papa Mars goes home where he is astonished to find his daughter engaged in baking and wants to know if she suffered a blow to the head. (Why exactly he would be so astonished is unclear for us long-time viewers, who have seen Veronica bake on several occasions before). Veronica, in turn, wonders how Mindy took the news that Keith is dropping her case. He explains that he didn't so much drop it as decided to keep it after the phone call checked out. And that his sources in the hotel came up empty. Veronica then wonders why Keith has a relationship with the Neptune Grand security (while the audience wonders if Veronica didn't, in fact, suffer that blow to the head after all. Since the same question was canvassed between father and daughter last season.).
Keith (whose memory is clearly better than that of his daughter) ignores the question and tells her instead that he has learned from the valet records that Volvo has been taken out at 1:51 a.m. and returned at 2:59 a.m. Veronica chimes in with the "ear-witness" testimony of a gunshot heard between 2:20 and 2:30 a.m. The father/daughter team ponders the possibility of either Landry or Mindy (or both) being the culprit. There isn't enough evidence yet, and Keith asks Veronica if she knows someone at the Grand who may be willing to bend some rules. "Possibly" says Veronica. ("Definitely," say the rest of us. I mean, really, at this point, is there anyone on the show who isn't willing to bend the rules without the slightest provocation?).
Cut to Logan's pal Tina behind the reception desk at the Grand. She greets approaching Veronica with a smile and a "good evening, Logan's girlfriend." (Tina, who, clearly, has been on vacation for the past several weeks, because that's the one plausible explanation for her being the only hotel staff left who doesn't know Logan's heartbroken at this point.) From her Veronica finds out that Rory Finch -- a.k.a. Hank Landry -- hasn't been to the hotel since December 10th. Tina is also handy with the room charges from that night (because, apparently, pretending to be Logan's girlfriend still buys you unlimited privileged information with no explanation required what so ever). There is a room-service charge, crme brle just before midnight. And then a pay-per-view movie at 2:02 a.m. Kiss Kiss Bang Bang could not be a more appropriate title to select for an illicit nightcap, if you ask me. And just to put a cherry on the top of the illegal information cake Tina is so happily and inexplicably handing out to Veronica, she also volunteers that it was Jeff Ratner who delivered the room-service order. Jeff Ratner, whose punishment, it would appear, for stealing toiletries (or, pissing off Veronica, really) was being stuck working the graveyard shift.
Veronica tracks down the put upon Ratner in the kitchen and wants to talk crme brle. Jeff -- who also must have suffered a blow to the head (it's going around), because he doesn't seem to hold any kind of a grudge against Veronica -- readily shows her the room where he delivered the order on the night in question. Also, he tells her he overheard a fight behind the closed doors. Specifically, people yelling at each other. He wisely figured it wasn't the time for sweets and left to return with the order later. "Some lady" answered the door when he came back. To Veronica's question if it was the same lady who he overheard yelling, he answered no. Because, as it turns out, the yelling was done by two men.
Veronica, having filed all this free and ready info away, approaches professor Landry the next day in class. She oh so casually leads the conversation to Kiss Kiss Bang Bang laying a trap for her favorite professor. A trap he doesn't fall into, because when she says that Robert Downey Jr. dies in the movie, Landry contradicts the statement. Which shows he at least watched the film at some point. Whether it's enough to prove he watched it at 2:02 a.m. on the December 10th is debatable, but Veronica lets it slide for now. She also learns in the course of this conversation that the late great Dean O'Dell wrote a touching letter of recommendation for her application to the summer FBI internship program.
A misty-eyed Veronica takes the letter to her dad and they read it together, basking in the praise so outlandish it makes you wonder if this epistle isn't more suitable for a submission to the Vatican as Veronica's canonization application. To her credit, Veronica states that she would have settled for "I find her nosiness charming" from the Dean. (Eh, Veronica, no one finds your nosiness charming anymore.). So, on the strength of this panegyric from beyond the grave, the Mars family reaffirms their dedication to finding the great man's killer. You know, to honor the guy by putting whomever offed him behind bars. Good thing the guy wrote the letter, then. Otherwise, clearly, he would not have deserved being honored thus. Good to know where the Mars Investigations' motivations lie.
Keith, once again, summons Mrs. O'Dell to his office (why, who can say, considering the woman lives ten blocks away from him. I guess he just likes to make her work for it.). This time he informs her he has made significant progress and asks for her critical opinion of Kiss Kiss Bang Bang. She seems to know it's a movie, but beyond that she has no aesthetic assessment to offer. Keith is surprised, since that's the movie she was supposedly watching with Hank Landry on the fateful night in the hotel. Mindy lamely suggests that maybe Hank watched it after she fell asleep.
Keith informs her that the valet log shows the Volvo being taken and then put back. Mindy denies any knowledge of it and suggests someone's framing her. Keith next wants to know who was in the room with her that night besides Hank. She claims that no one was. When he tells her a witness heard two men arguing loudly at approximately midnight in that room, Mindy insists it was the television.
Keith doesn't believe her, which pisses the widow off. She informs him that he is officially off the case. He informs her that she can't take him off the case, though she can fire him. It's an impasse and Mrs. O'Dell loses the stare down contest and walks out.
So, this is what we've learned today, folks: We liked the Dean and want his killer caught; we don't believe his widow, we don't know what to think of professor Landry, and Jeff Ratner is a tool. We have a wandering car, a twice-delivered crme brle, a mysterious male voice in the room, and no answers. Stay tuned for further developments.
"White Balloons" (Stephen Ashbrook)
Scene(s): It's pretty darn difficult to be mopery when a perky 11-eleven year old is the first thing you see when you wake from your slumber of sorrow. And even harder when she clearly shares your love of video-gaming and asks you to get involved in the hook-up. Seriously. What's a guy got to do to be unhappily miserable?
"Too Much To Ask For" (Radio 4)
Scene: Ring, ring. It's Dick ... and he's MARRIED! Aww, his very first -- of no doubt many future Dick Jr. ex-missus' -- wife.
"What's Left Of Me" (Nick Lachey)
Scene: Sigh, oh Heather ... it's going to take much, much more than a song dedication to melt Veronica's heart. Hire a hit on her life and arrange for Logan to save her and then we're talkin'!
LoVe Lines
(The elevator doors open to reveal Heather and Logan standing inside; Veronica looks mortified, Logan looks like he wants to throw himself off the hotel Beaver style. Jeff gets on the elevator, Veronica doesn't.)
Jeff: Getting in? (She does; Logan steps away and stares fixedly at the elevator doors.)
Veronica:(Softly.) Hi.
Logan: (Shoulders tightening defensively.) Hey.
Veronica: (Noticing Heather.) Is that my shirt?
Logan: Yeah, she was out of clothes.
Veronica: Oh. (After a moment she frowns.)
Heather: (Looks at her shirt then lights up; meanwhile, Logan decides jumping off the roof wouldn't be enough, maybe he should throw himself under a truck too because -- ) That's her! (Smothered squeal.) It's her, it's her! (Referring to the shirt.) It's hers! Oh my God ... (Blushing; Jeff Ratner gives her a *look;* Logan tries not to look at Veronica; Veronica tries to pretend she's not hearing a word.) Tell her! (*Thinks* she's stage whispering and being subtle.) Tell-her-how-you-feel.
Logan: (Softly.) Shut up.
Heather: (She steps out and smiles at Veronica.) Excuse me, Miss Veronica? Yeah, were you listening to Super Hits '98? 'Cause there was just this dedication --
Veronica: Yeah, I um, (Switching gaze from Heather to Logan awkwardly.) heard it. (Logan dies some more.)
Heather: Well, it's true. Logan's sorry (*dies*) and he misses you (he's dead already!) and he wants you back (Veronica looks at Logan like she sympathizes with his multiple deaths.) and you two should get back together because he totally loves --
Logan: (Desperately.) This is our floor.
(Doesn't look at Veronica and shoves Heather *gently* but determinedly out of the elevator ... once free, he looks back, finally realizing he can't take feeling like *that* any more; Veronica stares back ... the elevator doors close.)
Quotable Quotes
Wallace: You doing okay? With the Logan situation I mean?
Veronica: (Taking a breath and smiling bemusedly.) Been trying really hard not to think about. Thanks for bringing it up.
Professor Corrigan: Mr. Casablancas, I don't suppose your buddy Logan Echolls is gracing us with his presence today?
Dick: Doubtful. When they remove a grapefruit-sized tumor they really recommend bedrest.
Dick: So, I got a message for you from the guy who teaches our economics class. You gotta show up or he's gonna fail you. It's a sad state of affairs when I'm the academic on the balcony. (No reaction from Logan.) So, in other news, I met this girl a couple weeks ago at a party ... (Using an fake opera voice.) Hotttttt! Like, volcanic hot. Like, I might have to use an oven mitt to feel her up. (And still no reaction from Logan.) Blink if you understand. (Logan turns his head toward Dick.) She's coming here tonight, and, she's bringing her sister. Who, I might add, she described as practically her twin. By the way, I did a little research on pathetic sad-sackery and Hot Sister is the recommended treatment.
Logan: (Quietly.) No thanks.
Dick: You sure? We're thinking about going to the swim team's Beach Blanket Blowout. You can wear your t-shirt that says, (Using a wimpy, sissy voice.) "I'd Rather Be Home Crying." (Watching Logan for a moment, he just turns and leaves him alone on the balcony.)
Keith: It's as bad as she says? Lamb's going after the kid?
Cliff: Well, he was thinking very hard about it. Or he really had to pee, it's really hard to tell with that man.
Dick: (Standing in front of Logan, who's on the couch again.) Dude, you're not helping. (Tosses a sock onto Logan's head.)
Logan: I'm aware of that.
Dick: (Walking around the room, tossing various items of clothing at Logan.) I live here too, you know. This is my home. People walk in they don't think, "This little clean area is Dick's. The ten bottles of urine are Logan's." They think, "Silence of the Lambs basement," and their desire to get naked around me takes a nose dive. (There's a knock on the door.) You're lucky you're rich; this would be completely disgusting.
Dick: (Ushering the girls into the room.) He doesn't normally look like this. Some girl ripped out his heart and stomped on it. (Making introductions.) Logan Echolls, Melinda and Heather Button.
Logan: (Looks in surprise at Melinda, her much younger sister, and Dick, who makes a gesture of "What can you do?") Which one's yours?
Heather: Are you sick?
Logan: No.
Heather: You want me to put highlights in your hair?
Logan: (Really not sharing her excitement.) No.
Heather: Could you show me how to hook up your Gamecube? (Logan sighs, but then reluctantly gets out of bed with a groan.)
Heather: (While playing the game.) Ooh! That was so awesome. Did you see that?
Logan: Yeah, if you're Daisy or Peach, you can use a heart to protect you.
Heather: If I had this game, I would play it every second. We should have a tournament.
Logan: Yeah, I'm beating you as Peach. You need practice.
Heather: Your life is so cool. You have this huge TV with video games and a balcony. You live in Neptune.
Logan: (With mild sarcasm.) Yeah, it's Shangri-la.
Heather: My family comes to Neptune every year for vacation. Do you ever go to Zipz? Best ice cream in the whole world.
Logan: Amy's is better.
Heather: It can't be.
Logan: It can. And it is.
Heather: I don't believe you.
Logan: Why should you be any different than any other woman?
Heather: (She considers him for a moment.) So, are you all sad about a girl? (Logan doesn't respond.) Well, I guess so.
Heather: (to Logan.) I don't guess you have any extra-small clothes around? I'm starting to smell like you.
Veronica: Howdy, Sheriff. A kitten get stuck up in a tree?
Lamb: Not now, Veronica.
Heather: Is this your girlfriend?
Logan: Mmm. Ex.
Heather: She's pretty.
Logan: (Sarcastically.) Is she? I hadn't noticed.
Logan: Where the hell are you? You're supposed to be back.
Dick: Guess what, dude? (Barely waiting for a response before ... ) I'm married!
Logan: Get back here, man!
Dick: Dude, where's the love? I'm on my honeymoon. God! (Dick hangs up the phone and looks back at where his "wife" is passed out on the bed.)
Logan: Where are you going?
Heather: Oh! A guy I was chatting with online wants to meet me. So he's gonna pick me up out front and then take me to Zipz for ice cream.
Logan: Yeah, you're not going anywhere.
Heather: Uh, yeah. I am.
Logan: No. You're not.
Heather: You can't make me stay here.
Logan: Heather! (She starts to laugh.)
Heather: Like I'd really go meet a guy that I met online.
Logan: (Smiling at her little prank.) Nicely played. (He turns back toward the balcony and slips his hand back for a (low) high five as she follows.)
Heather: So, who was that on the phone?
Logan: Just your brother-in-law.
Veronica: So, how's it going?
Josh: Sheriff's a tool, but otherwise ...
Josh: You believe me, don't you?
Veronica: At Mars Investigations, believing our clients is one of the many services we offer.
Heather: So, why is that girl your ex?
Logan: Because that's the nice thing you call people when you stop dating them.
Heather: Well, why aren't you dating if you still love her? (Logan sighs and looks at Heather.) It's pretty obvious.
Logan: Because I screwed up.
Heather: How?
Logan: I did something I shouldn't have done, okay?
Heather: Well, did you tell her you were sorry?
Logan: Yes.
Heather: Like, in a way so she knows you mean it?
Logan: Yeah.
Heather: Are you sure?
Logan: (Pauses game, turns towards Heather defensively.) I poured my heart out to her on her voicemail. She never even called me back. She's done.
Heather: Well, maybe you should try harder. Call her again.
Logan: Yeah, you need to keep your mind on the race. You're not getting any better at this. (Logan starts the game back up, Heather looks disappointed.)
Veronica: Dad, do me a favor ...
Keith: Anything.
Veronica: Don't get murdered --
Keith: Honey --
Veronica: (Tearfully.) 'Cause I can't live without you and all I've been doing is thinking about what I would do if I didn't have you.
Keith: ... Maybe you should let me handle this case by myself.
Veronica: You know that won't work; I only brood when I'm not doing anything.
Tina: (Perkily) Good evening, Logan's Girlfriend. (Veronica stiffens.) Veronica, right?
Veronica: That's right!
Tina: I know who works the Graveyard; his name's Jeff Ratner. They stuck him on the shift after they busted him for stealing toiletries.
Heather: Come here! (Dragging Logan behind her toward the radio.) You have to listen to this! I called KROC, like, two-hundred times. I kept getting this recording and then, finally, I got through! They're going to play my request! (Smiling giddily.)
Logan: Ah ... local calls are two dollars each.
Heather: (Smile drops along with all facial color.)
Logan: ... I'm teasing. (No, he wasn't.)
DJ: (A dedication is read over Nick Lachey's "What's Left Of Me.") I've got a dedication going out from a very sad boy to a very special girl. So if you're out there and you're listening, Veronica, this is from Logan. He's sorry, girl; he wants you back. (Veronica slowly approaches the radio.)
Nick: "Now I'm broken, and I'm fading. I'm half the man I thought I would be but you can have what's left of me." (With determination, Veronica switches the radio off.)
Jeff: Take it from the guy that has to clean up after him, you don't want what's left of Logan Echolls. (Shuddup, Ratner.)
Logan: I really wish you hadn't of done that.
Heather: People in love shouldn't break up. Giving up is just ... stupid. (Logan pats her on the head and walks away.)
Heather: I can't believe you blew that. That was the most perfect opportunity! Why didn't you tell her how you feel?
Logan: (Logan's patience, which awesomely stood up to the elevator test, snaps.) Because I'm not eleven! And I'm not delusional! You don't know a single thing about love, Heather. You know, it isn't writing someone's name on the back of a notebook and drawing a heart around it! (Heather starts to cry..) It is easy to be happy all the time when you're eleven. Talk to me about love when you know something about it. (Logan walks off, leaving Heather to cry alone.)
Veronica Mars Voiceover: Knowing that Dr. Landry and Mrs. O'Dell left The Grand in time to kill the Dean adds a whole new level of weirdness to attending Landry's profiling class.
Dr. Landry: Are you okay, Veronica?
Veronica: Yeah, fine. It just reminds me of that one scene from Kiss Kiss Bang Bang.
Dr. Landry: (With skepticism.) Really?
Veronica: Yeah, you know, after Robert Downey, Jr. dies, Val Kilmer gets a message from him?
Dr. Landry: Kiss Kiss Bang Bang? Robert Downey survives the whole film.
Veronica: (With faux innocence.) Oh! I must be confused.
Veronica: Look at this. (Handing Keith her application file for the FBI internship.) I guess Dr. Landry asked Dean O'Dell to write me a recommendation letter for the internship at the FBI.
Keith: (Reading from the letter.) 'Dear Sir: In my twenty-five years working in academia, I have not come across a young person with more initiative, intelligence, and character than Veronica Mars. I enthusiastically recommend her and would be happy to discuss this remarkable young woman in greater detail. Sincerely, Cyrus O'Dell, Dean of Students, Hearst College.'
Veronica: (Somewhat teary.) I would have settled for 'I find her nosiness charming.'
Keith: Man had good taste. Let's honor his memory by putting his killer behind bars.
Veronica: Agreed.
Logan: (Answering the phone.) Where are you?
Dick: (In the car, on the other end of the phone.) Hey, buddy. Got a question for you: You know a good lawyer?
Logan: I know a lawyer.
Logan: (Knocking softly on the door.)
Heather: Go away!
Logan: (Softly, somewhat apologetically.) Well, now you've made me want ice cream so ... I'm going to Amy's. Come with me if you want.
Heather: (Opening the bedroom door.)
Logan:
Heather:
Heather: Okay, this is better than the place I used to go with my parents.
Logan: With age comes wisdom. You know you can play Mario Kart online. We should have a weekly game or something, for sure.
Heather: (Teasing.) Quit flirting with me old man. I'm eleven. Jeez, that's creepy.
Melinda: You called me a freak!
Dick: I called your toes freakish. I didn't call you a freak. It's supposed to go big toe, little toe, and then on down the line. Not big toe, BIGGER toe.
Melinda: You really make me sick.
Dick: I make you sick? You're the freak!
Logan: (Arriving on the scene with Heather in tow.) Ahhh, newlyweds.
Melinda Where the hell have you been? I've been waiting to go for like twenty minutes. Get your stuff -- we're going.
Heather: (Grabs her stuff and trails behind her sister, pausing in front of Logan.) Fridays at four are good for me. (Hugs Logan before following her sister out.)
Logan: (To Dick, with amusement.)There goes the old ball and chain, huh?
Dick: (Disgustedly.) I need a shower.
Veronica: (Passing books through the bars.) There you go. Sheriff approved reading material. I think you'll really enjoy the Dumas book. (Josh flips the book open to the peanut butter concealed cookies inside.) It's quite chunky.
Logan: (To his professor with a shiny apple and cheeky smile.) You miss me?
Post [Game] Mortem ... (Referenced by the episode title.)
In Latin, post-mortem literally means "after death" and is generally used as a synonym for an autopsy. An autopsy, or post-mortem examination, is a medical procedure that consists of a thorough examination of a human corpse to determine the cause and manner of a person's death to evaluate any disease or injury that may be present. It is usually performed by a specialized medical doctor called a pathologist, and by definition is only performed on humans, by humans.
Autopsies are either performed for medical purposes or for legal purposes such as a criminal investigation. Thanks to the highly prolific CSI family of shows, most of the American television viewing audience is now intimately familiar with the process. Between the original CSI, CSI: Miami and CSI: New York, I bet it is safe to say that just about every TV-watching adult in the US of A has been privy to the dissection of at least one unfortunate soul. And you know, I've been thinking -- with the volume of dead bodies that pile up in Veronica's home town, don't you think they should set up shop for CSI: Neptune? I mean, Veronica's aces at detective work but since the Sheriff can't be counted on to deliver more than inappropriate humor in an investigation, it might be nice to know someone else with a brain was on the job. After all, Veronica's got a lot on her plate and she's been seriously neglecting certain parts of her social life -- I mean, call your BFF once in a while, woman! -- and she needs some extra personal time to woo back her heartbroken ex. I'm just sayin'.
Meth Lab ... (Referenced by Dick when he tricks Logan out onto the balcony.)
Methamphetamine is a stimulant drug that produces an intense sensation of euphoria when swallowed or snorted. Users become addicted to meth quickly and tend to use more of it with increasing frequency. The negative side effects to the central nervous system are depression, aggressiveness, insomnia and paranoia. Meth use increases heart rate and blood pressure and can result in stroke, cardiovascular collapse, organ damage and death.
In the United States, the illegal manufacturing of methamphetamine is punishable from ten years to life in prison. The sale of ingredients used in meth production is also heavily monitored. In March of 2006, President Bush signed The Combat Meth Act, which limited the sale of ephedrine, the base ingredient of meth, to 3.6 grams per day, and customers must provide identification and sign a sales log. The manufacturing of meth in labs is highly dangerous, and there have been many cases of lab explosions to prove it. Meth labs have been found in garages, barns, apartments, etc. (Presumably some have been found in apartments in Veronica's neighborhood, considering the quickness with which Logan headed to the balcony.)
Contract Law ... (Referenced by Veronica when she questions the legality of Keith's instant breakfast contract.)
I actually had an exam on contract law the morning after this episode aired, so I can say with near certainty that Keith's contract would not be enforceable. A contract needs three components for validity: an offer, an acceptance, and valid consideration. The offer is the proposed terms made by the offerer. Like, if Keith had said "I'll make you breakfast if you come to the office later to help mail invoices," he would have made a unilateral offer to Veronica. The offer is valid if there is a presence of intent to contract, definiteness of terms, and communication to the offeree.
Likewise, a valid acceptance of the offer requires intent to contract, agreement to the mirror image of the terms of the offer (for Common Law cases, such as service contracts like this one), and communication to the offerer. If there is a both a valid offer and valid acceptance, then the parties have an agreement. The final element of a valid, enforceable contract is consideration, which is an exchange of something with legal value (service of mailing invoices), bargained for and given in exchange for an act or promise (breakfast).
This contract wouldn't be enforceable because the offer was not valid until after it was communicated to Veronica, and if there was no valid offer, then there can't be a valid acceptance. Keith could argue that since Veronica went on to eat the breakfast after reading Keith's letter, then the contract was made valid and Veronica "owed him," but the wording was still pretty shady. But I guess with Cliff as the family lawyer, 'pretty shady' is to be expected.
NIT ... (Referenced by Josh when he talks about his dad's championship ring.)
The National Invitation Tournament (NIT) is a 32-team post-season tournament for men's and women's college basketball. The NIT was started in 1938 and was operated by the Metropolitan Intercollegiate Basketball Association (MIBA). The semi-final and final rounds have always been played at New York's Madison Square Gardens. In its early years, the NIT drew the best teams in the country. Starting in the 1960's, however, the NCAA tournament gradually became the main tournament, as it began including more conferences and inviting more than just the conference champions. In 2005 the NCAA purchased the rights to the NIT tournament from the MIBA in order to settle an antitrust lawsuit.
With its current status as, in essence, a consolation tournament, the NIT often carries a negative stigma. Teams that hope for the NCAA tournament but have to settle for the NIT are generally not happy with the NIT invite. In fact, some teams have even turned down invites. For teams that are rebuilding or for small schools that are still on their way up, striving to reach the big time, however, an NIT invite is often seen as a positive step on their road to a future bid to the NCAA Tournament, the Big Dance. So Coach Berry's NIT championship, while in theory something to be proud of, may not have been all that great. But the fact that he actually wore his NIT ring rather than stashing it in a drawer somewhere is probably a sign that his NIT championship was something he was proud of, not ashamed of.
Autism ... (Referenced by Cliff about Josh's brother.)
According to the Autism Society of America, Autism is defined as "a complex developmental disability that typically appears during the first three years of life and is the result of a neurological disorder that affects the normal functioning of the brain, impacting development in the areas of social interaction and communication skills." Both children and adults with autism typically show difficulties in verbal and non-verbal communication, social interactions, and leisure or play activities, but as it is a "spectrum" disorder, autism affects each individual differently and at varying degrees.
Autism is classified as one of five Pervasive Developmental Disorders (PPD), a category of neurological disorders characterized by "severe and pervasive impairment in several areas of development." It is the most common of the PPD's affecting an estimated 1 in 150 births (according to the CDC). This means that as many as 1.5 million Americans today are believed to have some form of autism.
Despite it's prevalence, autism is a disease that the general public knows very little about. Most of the public perception of this disease has been based on portrayals of autistics in films such as Silent Fall and the Academy Award-winning Rain Man. Unfortunately, none of the films released to date have given a complete or accurate picture of the disorder and the way it manifests in both children and adults.
Howard Hughes / Bottles of Urine ... (Referenced by Dick when he tries to get Logan to clean up.)
Howard Hughes was known for being an aviator, a movie producer, a billionaire and ultimately a strange, reclusive hypochondriac. Born in 1905, Hughes began his multi-faceted career by focusing on movies. He dated many famous Hollywood actresses, including Katherine Hepburn and produced many important movies. One of his most infamous movies was The Outlaw, produced in 1941 and starring a busty Jane Russell.
Hughes movie career also led to his interest in aviation. The film, Hell's Angels, allowed Hughes to develop his interest in flying, which in turn led to the formation of the Hughes Aircraft Company. Hughes set several speed records and also became involved in building military aircraft. Hughes also was deeply involved in several political situations throughout the course of his lifetime. Of particular interest is the fact that Hughes, as a Nixon supporter, was deeply involved in the conspiracies involved in the Watergate scandals and several CIA assassination plots.
Ultimately, however, Hughes is remembered for his strange reclusive behavior in his final years. He had a fear of microbial infection and constantly washed his hands and repeated certain phrases. He eventually became a complete recluse, locking himself away in darkened rooms in a medication-induced daze. Toward the end of his life, his inner circle was largely composed of Mormons because he considered them trustworthy even though Hughes himself was not a member of their religion. By this time, Hughes had become severely addicted to codeine, Valium, and a number of other prescription drugs and was becoming increasingly frail. Many biographies and fictionalized works state that he stored his urine in jars and wore Kleenex boxes as shoes, although he reportedly did the latter only once, as "protection" when a toilet flooded.
Silence of the Lambs ... (Referenced by Dick as what their suite is starting to look like.)
Silence of the Lambs is a 1988 novel by reclusive author, Thomas Harris. The psychological thriller is a sequel of sorts to Thomas' 1981 Red Dragon, featuring a haunted FBI agent Will Graham who retired after putting Hannibal Lecter in prison. After another twisted murderer draws Graham out of retirement, he uses Lecter to capture this killer. A similar theme is applied in Silence of the Lambs, this time the FBI agent is one in training and there's a sexual tinge to the quid pro quo between the agent, Clarice Starling, and Lecter.
The book was made into a successful thriller, directed by Jonathan Demme with a screenplay adaption by Ted Tally and starring Jodie Foster as Starling and Anthony Hopkins as Lecter. The film went onto win five Oscars, including Best Picture, Director, Actor and Actress, the first time a film had won all four major categories since 1934's It Happened One Night. This despite the fact that the film had been released in February, a rare win considered the premiere was nearly a year before the Academy Award telecast and that Hopkins had only roughly sixteen (!) minutes of screentime.
A sequel, simply titled Hannibal, that concentrated on Lecter (including his background) was released in 1999, with a film version premiering in 2001 (although Julianne Moore took over the role of Clarice Starling because Foster was disturbed by the weakening of the character of Clarice, not to mention the sexual/quasi-romantic relationship between the two main characters that ended the book).
Seattle ... (Referenced by Stolz's alibi.)
Seattle, Washington, founded in the 1850s and named after Chief Seattle (a leader of the Suquamish and Duwamish Native American tribes; he was a prominent figure among his people who became a Roman Catholic convert and pursued a path of accommodation to white settlers), is the largest city in the Pacific Northwest region of the United States.
Its official nickname is the Emerald City because of the lush evergreen trees in the surrounding area; it is also referred to as the Rainy City, the Gateway to Alaska, Queen City, and Jet City, due to the local influence of Boeing. Seattle residents are known as Seattleites. The city is known as the birthplace of grunge music, and it has a reputation for heavy coffee consumption (Starbucks is a locally founded coffee company).
Seattle's climate is mild, with the temperature moderated by the sea and protected from winds and storms by the mountains. Despite being partially in the rain shadow for the Olympic Mountains, the city of Seattle has a reputation for raining frequently. In actuality, the "rainy city" receives an unremarkable 38 inches of precipitation a year, less than most major Eastern Seaboard cities, such as New York City which averages 47.3 inches. Seattle's worldwide reputation for rain derives from the fact that it is cloudy an average of 226 days per year (versus 132 in New York City) and that most of its precipitation falls as drizzle or light rain. In other words, while it rains regularly, it usually doesn't rain very hard.
Las Vegas, Nevada ... (Referenced by Dick and Melinda's weekend destination.)
Las Vegas is the largest city in the state of Nevada, with a population of 545,147 people. The Las Vegas Valley was originally part of Mexico, but American explorer John C. Frmont's sojourn to the area led to its annexation to the United States on May 10, 1855. Vegas officially became an American city in 1911.
Vegas has a couple well-known monikers, the first being The Entertainment Capital of the World. It is a popular vacation and entertainment destination, with theatres, concert halls and comedy clubs. But Vegas is most known for its gambling, which explains the city's other nickname: Sin City. Gambling was legalized here on March 19, 1931. The Las Vegas Strip is home to a number of hotel and casino resorts (e.g. the Bellagio and Monte Carlo), most of which are themed (e.g. the MGM Grand and Caesars Palace) to add to the Vegas experience. Vegas is also considered a "sinful" city because alcoholic beverages are available most everywhere and the adult entertainment industry is quite active. But this image also makes Las Vegas a popular setting for movies and television shows -- even Veronica Mars.
Foodchain ... (Referenced by Veronica about how replaced Weevil as the head of the PCHers.)
Food chains and food webs or food networks describe the feeding relationships between species in a biotic community. In other words, they show the transfer of material and energy from one species to another within an ecosystem.
As usually diagrammed, an organism is connected to another organism for which it is a source of food energy and material by an arrow representing the direction of biomass transfer. Organisms are grouped into trophic levelsfrom the Greek for nourishment, trophikosbased on how many links they are removed from the primary producers. Primary producers, or autotrophs, are species capable of producing complex organic substances (essentially "food") from an energy source and inorganic materials. These organisms are typically photosynthetic plants or algae, but in rare cases, like those organisms forming the base of deep-sea vent food webs, can be chemotrophic. All organisms that eat the autotrophs are called heterotrophs. They get their energy by eating the producers. (Courtesy of Wikipedia, April 22, 2006)
'96 Roadmaster ... (Referenced by Arturo as the coach's car.)
The Roadmaster was an automobile built by the Buick division of General Motors. Buick first used the Roadmaster name between 1936 and 1958. So Arturo's definition of the coach's Buick as such wasn't entirely accurate. However, in 1991, Buick again applied the Roadmaster name to its full-size rear-wheel drive sedan and station wagon models as a replacement for the Buick Estate. The origins of the Roadmaster name date to 1936 when Buick renamed its entire model lineup to celebrate the engineering improvements and design advancements over their 1935 models. Buick's Series 40 model range became the Special, the Buick Century took the place of the Series 60 and the Series 90 -- Buick's largest and most luxurious vehicles -- became the Limited. Buick's Series 80 became the Roadmaster.
A 1996 Roadmaster.
The Roadmaster held out until 1996 when the end had clearly come. For its final year, the traditional, rear wheel drive Roadmaster enjoyed only a few changes. Engine coolant could last five years or one hundred thousand miles, and automatic climate control became standard. The Roadmaster Estate Wagon and the Chevrolet Caprice wagon would be the last full-size station wagons until the introduction of the Dodge Magnum sports wagon in 2005.
Gamecube ... (Referenced by Heather when she tries to coax Logan out of his bed.)
The GameCube was unveiled on the August 24, 2000, one day before Nintendo's SpaceWorld trade show. Shaped roughly like a cube, the console is available in a variety of colors. In Japan, the system is also available in Spice (orange), or in limited edition colours like Crystal White, Mint Green, Copper, and White with black pinstripes.
The Nintendo GameCube uses a proprietary storage medium, the Nintendo GameCube Game Disc, based on Matshusita's optical-disc technology; the discs are approximately 3 1/8 inches) in diameter (considerably smaller than the CD's or DVD's used in competitors' consoles), and have a capacity of approximately 1.5 gigabytes.
It seemed that the GameCube was very much aimed at a younger audience. With the Playstation 2 having a strangle hold on the mainstream gaming community and the X-box aiming at an older -- shall we say more mature -- audience. The GameCube seemed to be filling a gap in the market with its toy-like looks and large controller appealing to a younger generation.
Despite this the GameCube is actually of a slightly more technical advancement than the PS2 and almost as powerful as the X-box. The main problem the GameCube suffered was due to its inability to play DVD's/CD's. As mentioned above, the GameCube uses much smaller discs as this was thought to help curb piracy but inevitable led to the console buying public viewing it as a draw back. On the other hand, its largest draw though could be said to be the many popular titles such as Mario Sunshine, Zelda the Wind Waker and Donkey Konga. These were all multi-player games and allowed for family fun.
BMW ... (Referenced by Artuto as the kind of car the PCHers typically go after.)
BMW (an acronym for Bayerische Moteren Werke Bavarian Motor Works) is German company that manufactures automobiles and motorcycles. The companys tagline in English is "The Ultimate Driving Machine."
Mario Kart / Daisy / Peach ... (Referenced by the video game Logan and Heather were playing.)
Super Mario Kart was the original Mario Kart game released back in the yesteryear of 1992 (I may add here than many an hour was wasted by myself and Mr. Shiny on this game). The game play mainly consisted of players racing go-karts and trying to obtain random items by driving through (or over in Super Mario Kart) question mark blocks, which could be used for either defense, offense or by powering up the engine for a short amount of time (boost). Each Mario Kart game hosts several gameplay modes, which could be played in both single player and multi player.
Mario Kart: Double Dash!! is the game that Logan and Heather were playing in the actual episode. It was designed specifically for the GameCube and is the fourth game in the Mario Kart series. The gameplay is much the same as the original but it does require that a kart has two racers. In addition, extra characters have been included and in addition to all this, its major draw is that it allows LAN play using the GameCube broadband adapter. Up to four GameCubes can be connected, allowing for sixteen player multi-player games (two players controlling each kart). So Logan & Heather can definitely keep their weekly game meetings ;)
It had a variety of characters that had originally appeared in the Mario series of games and they were Mario, Luigi, Princess Peach, Toad, Yoshi (my personal favorite), Donkey Kong Jr, Koopa Troopa and Bowser. The two characters mentioned specifically by Logan are Daisy and Peach.
Princess Daisy a.k.a. Daisy and Princess Peach a.k.a. Princess Toadstool a.k.a. Peach.
Princess Daisy is a character in the Mario series of games. She first appeared in Super Mario Land for the Game Boy back in 1989. She is the Princess of the Kingdom of Sarasaland a neighboring nation to the Mushroom Kingdom.. It is from here that she is kidnapped by the alien Tatanga. She is rescued by Mario.
There seemed to be some kind of romantic interest between the two but this could be attributed to the fact that she was often mistaken for Princess Peach whom Mario had rescued in previous games. After her initial debut Daisy was not seen again for ten years and reappeared in the game Mario Tennis. It is in this game that confirmation was given that Princess Daisy and Peach are indeed separate characters.
Her debut in the Mario Kart series of games came in Mario Kart: Double Dash!! where she was partnered up with Princess Peach. Daisy even has the honor of having her own track in the game the "Daisy Cruiser." She is a good light-weight character that has strong acceleration and top speed, great drifting and item using, but low handling. Daisy is considered to be witty and energetic and one of the only characters that uses slang. She is considered to be tomboyish although -- as her name suggests -- her special powers are based on flowers and daisies.
The other character referenced is Peach (or to give her her full title: Princess Peach, also know as Princess Toadstool). Like Princess Daisy, Princess Peach is a character in the Mario series of games. She first appeared in Super Mario Bros back in late 1985. She is the Princess of the Mushroom Kingdom where a great percent of the Mario games are set.
Peach lives in the Mushroom Kingdom with her mother and father (King & Queen Toadstool). She lives a solitary life in her palace being kept under the protection of Toad guards. This is due to the fact that only Peach can undo the evil magic cast upon her kingdom by Bowser. It is because of this reason that she is kidnapped by Bowser and eventually rescued by Mario.
She as appeared in nearly all the Mario games and is the first female character to have been given her own game as the main character "Super Princess Peach," released in 2006. In the Mario Kart series, she is among the lightest characters with the fastest acceleration, the lowest top speed, and the best off-road ability to take the shortcuts on each course. Character wise she is said to be very kind, well-mannered, and a noble person. It is also said that she possesses a pure heart and a pure voice and likes to help out whenever possible.
Shangri La ... (Referenced by Logan when Heather says how great Neptune is.)
A fictional place described in the 1933 novel Lost Horizon by British author James Hilton, Shangri-La is a mystical, harmonious valley at the western end of the Kunlun Mountains. The term has become synonymous with any earthly paradise in general. However, for some in particular, it is a mythical Himalayan utopia, where all inhabitants are happy and at peace, completely cut off from the outside world. Shangri-La is based on the concept of Shambhala - a mystical city in the Tibetan Buddhist tradition.
Sometimes used as an analogy for a life-long quest, something that has long been obsessively sought, Shangri-La is similar to other metaphors of perfection, true happiness, or Utopian ideals which include the Garden of Eden, El Dorado, The Holy Grail, and The Fountain of Youth. Simply put, it is representative of a perfect earthly paradise that exists, but will forever be hidden from humanity.
Zipz Ice Cream ... (Referenced by Heather as the best ice cream ever.)
Sunny California! It has everything a person may want, including ice cream. What it doesn't appear to have is Zipz Ice Cream.
Right place, wrong town.
Founded in Chicago, IL, and Marlboro, NJ, Zipz is a full service Dessert Center that offers a wide variety of hard and soft serve ice cream, custom decorated cakes and other specialties that include malts and shakes, sundaes and Italian Ice. Relaxing atmosphere and something called Topping Central with twenty available toppings -- what can be more fun? (Well, Logan has a better suggestion, but all in due time).
One of the fun specialties is Zookie Pop -- a low fat snack with three available toppings: butterscotch, caramel, and chocolate. Not sure what it actually is, but it looks interesting enough to brave trying one.
The place also specializes in making birthday cakes decorated with your favorite characters: Barbie, Bob the Builder, Dora the Explorer, Elmo, Justice League, Looney Tunes, Mickey Mouse, Snow White, Cinderella, Sleeping Beauty, Pokemon, Rugrats, Shrek and many more. I'm certain for the right price they'd make you that one with the Dude on it. You can stick candles into his nostrils.
Even though a single California location couldn't be tracked down, I have no doubt Zipz would be very successful in So Cal. It offers almost all of its products as fat-free and sugar-free options.
Amy's Ice Cream ... (Referenced by Logan as the best ice cream ever.)
Another place conspicuously absent from anywhere near the fictional town of Neptune, but famous nonetheless, is Amy's Ice Cream -- an Austin-based and privately-owned chain of ice cream shops in Central Texas. We will, however, forgive Rob Thomas for this little geographical lie. Apparently Amy's is so good, it ought to be in California! And in all the remaining states, too.
Amy's Ice Cream was started by Amy (naturally) Miller in 1985. A pre-med student at Tufts University, she worked for Steve's Ice Cream until it was bought out by a big bad corporation. Deciding that running an ice-cream parlor named after herself would undoubtedly be much more fun than dissecting cadavers, Amy -- and her business partner Scott Shaw -- promptly wrote a hot check for the lease of a store in Austin, and Amy's was born. I am assuming the hot check cooled off at some point and was covered, because the one shop has since grown into a robust and popular chain of twelve locations.
Amy's offers over two hundred flavors of ice cream and fruit ices (a non-dairy alternative not unlike sherbet). It should be noted that only a limited portion of those three hundred is offered at any given location at any given time. The standards include Sweet Cream, Just Vanilla, Mexican Vanilla (it's spicier, I presume), Coffee, White Chocolate, Belgian Chocolate and Dark Chocolate. Mexican Vanilla seems to be the most popular.
The chain offers three sizes of ice cream: Tiny (4 ounces), Small (6 ounces) and Large (8 ounces). And may I take this opportunity to commendd them for the portion control. Of course they do encourage you to get the Small or the Large ones by offering with it mixed in "Crush'ns" -- almonds, walnuts, pecans, mixed nuts, oatmeal cookies, chocolate chip cookies, Oreos, Cameos, Nutter Butters, Reeses Cups, Butterfingers, Kit Kats, M&Ms (both plain and peanut), health bars (because it's so effective with the Large ice cream, no doubt), chocolate chips, fresh strawberries, bananas, Whoppers, Junior Mints, Twix, cookie dough, granola, raisins, coconut, Grape Nuts, marshmallows, Snickers, graham crackers, ginger snaps, hot fudge, butterscotch, pecan praline, gourmet chocolate sprinklers or a variety of other items. Man, you'd need two hundred flavors just to fit all those "Crush'ns" in! Oh, and if you do insist on a Tiny size (good for you!), you can get some "Crush'ns" sprinkled on top.
Other products include smoothies, malts, shakes, and other treats that are all made from the rich fourteen percent butterfat ice cream.
Amy's has a very interesting employee selection process. The chain likes to create unique and fun atmosphere and service. The job application is a white paper bag and the prospective employee is told to be creative. Only requirements are the name and the contact information somewhere on the bag. The bags have been returned decorated, with stories written on them and videos placed inside. Many Amy's "scoopers" do tricks like throwing ice cream off the spade behind their backs, under the leg, etc.
On Amy's website the description of the creative way employees operate is put thus: "Fun, fun, fun 'til your daddy takes the T-bird away!" I have to say that after reading that, I understood why Logan feels such affinity for this particular brand.
San Diego ... (Referenced by Mason's alibi, the city where his girlfriend lives.)
It is believed that the first humans settled in the San Diego area some 20,000 years ago, along the coast, and 12,000 ago in the desert area, but it was in 1542 that Portuguese explorer Juan Rodriguez Cabrillo sailed from Mexico into the Bay and claimed the area for Spain, naming it San Miguel. At the time, there were 20-30,000 of the Kumeyaay tribe living there. In 1602, explorer Sebastian Vizcaino arrived on his ship, San Diego, and named the area for the Spanish Catholic saint, San Diego de Alcal. Then, in 1769, the first of a chain of twenty-one missions along the California coast was founded by Father Junipero Serra and the California Governor Gaspar de Portola. It was built on Presidio Hill and named Mission San Diego de Alcal. The first colonists arrived in 1774 and San Diego came under Mexican rule in 1821 when Mexico won its independence from Spain. Then, in 1848, a treaty ending the war between the U.S. and Mexico set the official international border and declared San Diego an American city. Two years later, San Diego County was created and the City of San Diego was incorporated.
Today, with a population of around 1.25 million, San Diego is the second largest city in California and the seventh largest in the nation. According to the San Diego city website, more than 96 percent of the residents are employed, with a median family income of a
Original Air Date: February 13, 2007
Written by: Joe Voci
Directed by: John Kretchmer
Staff Grade: A
Membership Median Grade: A
What a lovely bounce back from the horror of last week. In Postgame Mortem we see some recurring characters who add a bit of oomph to the preceedings, the continued toned down Keith/Veronica relationship, Wallace (yes, Wallace!) pops in for a few minutes and Veronica actually shows sadness over her break-up with Logan more than once. In addition, Logan receives a strong B-story in which he interacts delightfully with an adorable 11-year old. A cliche? Yeah, but both actors involved sell it beautifully. Add to that the return of Cliff!, Dick getting married (and a hint at a meeting with Cliff for a divorce), clues (real clues!) to the second mystery arc, as well as a mystery of the week that intrigues and it ain't even over yet!, this one's a keeper.
Credited Cast Non-Appearance
Julie Gonzalo - Parker Lee
Chris Lowell - Stosh "Piz" Piznarski
Tina Majorino - Cindy "Mac" Mackenzie
Recurring Guest Stars (Previous Episode Appearances)
Mario Ardila, Jr. - Arturo
Anna Campbell - Tina Callas
Patrick Fabian - Professor Hank Landry
Brandon Hillock - Deputy Sacks
David Magidoff - Jeff Ratner
Matt McKenzie - Coach Tom Barry
Jaime Ray Newman - Mindy O'Dell
Daran Norris - Cliff McCormack
Robert Ri'chard - Mason
Jeremy Roberts - Mel Stoltz
Guest Stars
Jonathan Chase - Josh Barry
Juliette Goglia - Heather Button
Lisa Jay - Melinda Button
Tracey Needham - Mrs. Kathleen Barry
Who's Who in Neptune
Josh Barry - Son of murdered Hearst basketball coach Tom Barry, also former member of the team. Accused by Sheriff Lamb of being the killer.
Heather Button - Younger sister of Dick's lady friend, Melinda. Spends the weekend with Logan in his suite.
Melinda Button - Dick's lady friend who leaves her little sister with Logan. Ends up running off to Vegas with Dick and marrying him.
Mrs. Barry - Coach Tom Barry's widow.
Hey! It's That Girl
Juliette Goglia (Heather Button) - Although she's only been acting for three years, Juliette has already made her mark. She is best known for her role as Little Girl God on Joan of Arcadia, a role she began when she was only eight years old. Her portrayal of a wise, all-knowing God in the guise of a quirky little girl quickly made her a favorite God avatar among fans of the show. In 2006 Juliette made an unforgettable guest appearance on CSI as Hannah West, the genius younger sister of a boy accused of murdering a classmate. She was sufficiently creepy in the role, leaving CSI investigators and viewers alike guessing at the truth even after the credits had rolled. Prior to this role, she was last seen in multiple episodes on Desperate Housewives.
Highlights
Jason Dohring (Logan Echolls) - There's a kind of absolute stillness to the way Jason Dohring plays Logan's dejection at the beginning of the episode. All his movements are slow, as if he's under water. He hardly makes eye contact (and of course is silent). His body language is closed-in -- fingers laced over a pillow when we first see him, hugging his arms outside on the balcony, not once, but twice, frequently looking down. His eyes look hurt (how does he do that?), and he doesnt react at all to Dick's assays at humor. When Dick throws clothes on him, he flinches but takes it, as if dirty laundry is the punishment he deserves.
The first time he shows any sign of life is when Melinda and Heather come in: He sits up and begins to look more like a person and not a piece of furniture. But the first time he really starts responding to Heather (or anyone) is during their first Mario Kart game. Watch his delivery of Amy's ice cream supremacy: "It can. And it is." It's the first time in this episode he has that quintessential Logan snap in his voice. This scene marks a real turning point for the character. He engages for the first time, wakes up. And Dohring brings it on in the way he sits (leaning forward, engaging with the game), in his voice, and in the way he begins looking sideways at Heather, referencing her as he speaks.
By the midway point when Heather pulls her prank, Dohring has brought his normal physicality back to the role. The irritation in his voice at Dick, the low-five he gives Heather when he says, "Well played," and the faster pace of his walk, it all has noticeably more energy. He's no longer wading through mud in slow motion depression. And then when he and Veronica see each other, Dohring returns to his original non-responsive body language. He stands motionless, avoiding Veronica's gaze even when he talks to her, and his voice is once again muted. Though, in keeping with the theme of this storyline, he snaps out of it somewhat after Heather's pushiness gets to him, allowing for that amazing intense mutual stare with Veronica.
The next scene shows him back in bed, only now he's curled on his side in a defensive posture rather than on his back in a "I would rather be dead, thank you very much" position, and then when he knocks on the bedroom door to invite Heather for ice cream, his affect is still low, he's looking at the ground and his voice is thick. But when she opens the door, he gives her the sweetest smile on earth and you just know this is the healing moment, he's come out of his shell for this little girl. Which is evident in his warmth with Heather as they say goodbye, the quirk of his eyebrows as he teases Dick about the latter's wife, and the smart-aleck way he presents his professor with the apple, it's all quintessential ironic, amused Logan, and Dohring sells it as a full recovery. He's taken us on a complete journey from motionless sadness to fully awake and engaged, largely through body language and intonation. A truly wonderful performance.
Juliette Goglia (Heather Button) - Juliette Goglia plays Heather as a sunny but tentative character, with an unusual attention to subtle undercurrents. When she first enters the hotel room, for example, she gives a Logan hesitant smile (which, of course, he doesnt respond to), but by the time Dick and her sister leave, she's reacting entirely neutrally to him, with no intimacy. I loved the way she walks around the living room in her first scene, exploring and touching everything. It's a very eleven-year old action, but it also echoes her later attitude toward Logan: Curiosity and a friendly pushiness.
During the first Mario Kart scene, watch her expressions when she asks, "Are you all sad about a girl? Oh, I guess so." She plays at least half a dozen different beats there, from puzzlement (complete with cute little frown lines between her eyes) to "Oops, he's not responding." Every beat is so completely transparent, you know just what she's thinking. She's also completely adorable when she pulls the met a guy online stunt. Her eyebrows go up for emphasis, and when she laughs at Logan for falling for the trick, she throws her head back in delight. In the elevator scene, her voice breaks with her semi-whispered excitement and she lets out little thrilled squeaks and I just want to bring her home and hug her, she's so adorable. And yet it's not at all over the top and is just the tweener affect needed to make this scene positively excruciating for our heroes without ever tipping over into giggling or anything else that might make us want to belt her.
This is a very fine line, and Goglia does a dynamite job with it here and throughout the episode. She's surprisingly unaffected and natural for a child actor but with an awareness of how to play the emotional beats. I also thought she and Dohring created a wonderful, touching and totally believable rapport by the end of the episode. The physicality in how she threw her arms around his midsection in a goodbye hug was a final, perfect touch. Showing their journey from hesitation to ease.
Anna Campbell (Tina) The desk clerk at the Neptune Grand, last seen in Hi, Infidelity, does a lot with a small slice of screen time. This is only her second episode, but we get such a kick out of her. Why? I think it has everything to do with the husky amusement in her tone. When she says "Precisely," she doesn't just say it, she gives it a casual lilt, as if to say, "Nothing fazes me." Her delivery of "Crme brulee just before midnight," complete with oh-so-slight eyebrow raise, speaks of intimacy in the hotel room. This young woman sees all, knows all, and relishes all.
Scene One: She's Done ... Or Maybe He Is?
You know, I'm kinda with Heather on this one. I'm not really thinking that Logan tried hard enough. Which is rather telling in a way. I mean, "I poured my heart out on her voicemail?" That's it? He poured his heart out on her voicemail, oh yeah, and he also ragged on her ass before the heart-pouring came about. Now, I'm not saying that Logan wasn't right completely in what he said before the mushy stuff, but when trying to win a girl back ... do you really start out by basically starting a fight? No, you don't ... unless a part of you -- a part you don't even realize is there -- doesn't want to win her back. At least on those terms.
Look, I'm not saying that Logan doesn't love Veronica. At all. I'm not saying that he doesn't want to be with her. However, I said over and over and over again during their first round of dating this season that Logan was walking on eggshells. He literally subdued himself for her, in the hopes that it would be enough to keep her by his side. It didn't work. They broke up. Sure, she came back, but once they got back together that tinge of anxiety came back with it. Maybe he wasn't quite walking with the same care on the eggshells, but the fact that she was still questioning him and not just accepting had to have been a pain in the ass. I mean, SHE came to him this time ... and yet, he may have felt that he was still on trial. And that's gotta suck.
So when Veronica latched onto something else "bad" that Logan did and used it as justification to dump all over him and them again -- this time leaving her in the position of power -- maybe there was a part of himself, some measure of self-esteem that kicked in and said: Enough is enough! And I'm not sure he even realized it, but the fact that he considers a voicemail that began with him reaming her out before telling her he loves her is all he could do to get her back is, as I said above, telling. I don't want to believe that it's over between them, and I really don't ... I just believe that Logan has finally accepted that some major changes have to take place before he and Veronica will get back together. He may not realize it, but the fact that he didn't even remotely give it his all and yet he was ready to conclude that she's done means that maybe he's just tired of playing the game and needs a break himself.
I know that this sounds depressing and all that jazz, but honestly I don't think it is. If I look at this as a long-term situation and not likely only seven episodes left to get these two back on track, this is probably the best thing that could have happened to them. Will Logan and Veronica get back together before the end of this season ... which is possibly the series end? I don't know. But, looking at it more long-term, as if there were the two additional seasons definitively to come in the five-year arc that Rob Thomas mentions, this really does work. Logan (and Veronica) needs to realize that he is just as important as Veronica in this relationship and as of this point, that has not happened. He's always trying to catch up, make up, be enough and that's not healthy at all.
I do believe that Logan and Veronica are IT; they belong together in the long haul and are made for each other. However, neither one is ready to be together right now and this time apart -- although painful -- could be the best thing they need to realize what they both need to do to make this relationship work. Because it can ... they just need to figure out how to do it. And neither one has so done that figuring out yet.
Scene Two: A Sad Boy and a Special Girl
See?! Logan totally COULD get her back if he really tried. I was not happy with Kristen Bell's performance last week, but this (and the next) scene were beautifully played. Everything about it ... from how she stood stock-still when she heard her name, how her lips parted, her eyes widening as if considering (yes, considering) when the DJ said "he's sorry, girl, and he wants you back" to the slow turning and painful yearning as she listened to the lyrics:
- I'm broken, and I'm fadin'
I'm half the the man I thought I would be
But you can have what's left of me
Scene Three: It's Her
See!?!? The love is still there. The look on both of their faces when they first saw each other. Sigh. And here we see a play on the analysis I offered in the above two scenes. Veronica is the one to talk to him first, a soft anxiousness in her voice. She is also the one looking at him ... looking for a sign. And when Heather starts saying all of the things that Veronica is waiting for from Logan, you can see it on her face. Veronica is looking at him, expecting something, waiting for him to say everything this little girl is and all he does is cut Heather off and usher her out of the elevator.
And her final look ... man, that's it right there. Veronica wants him to come to her, she wants him to apologize and pledge eternal love so she can take him back. Not right away, but soon enough, dangle hope and then acquiesce which puts them back on the ground she's comfortable with -- she in the position of power, he as her willing supplicant. Now, I'm not saying that she specifically sees it that way, but that's how it's been and that is what she's used to and feels right for them. However, take a look at his final look.
He's done. He's not going to apologize for something wrong he didn't do; he's not going to prostrate himself and declare undying love and beg her to take him back. Dick didn't realize it, but the fact that Logan was holing himself up in his suite was his way of reclaiming his balls because he didn't want to see Veronica, he didn't want to get her back ... not like this, not under these circumstances. In other words, he finally discovered that he still has some pride. And if they're going to get back together, she's going to make the first move ... not him.
Rocky road, indeed. Ups and downs like a rollercoaster, oh boy, and if we knew for sure that we had a fourth season, I'd actually be thrilled about this turn of events, not expecting or wanting them back together at the end of the season. Heck, I'd even be fine with them even dating other people, because they need this now. They need to understand that they only belong with one another ... but as the people they were when they fell in love. A Logan, in all of his extravagant, over the top, a tad bit of a bad boy glory and a Veronica, wary, weary but with trust and faith in her feelings for him -- as they both sure seemed to be that brief first period of dating before accusations of rape and murder and revenge and ex-boyfriends came between them. They need to relearn to be those people with each other again and if it means staying apart, becoming strangers or friends, seeing other people to see how they are not right for them, so be it. Sadly, I don't think we have the time ... but if we did, oh if we did, I think it would be one helluva journey with an amazing pay-off.
It's half-time during the big basketball game at Hearst. Wallace, Mason and their fellow ballers are getting royally reamed out by their coach for doing, well, seemingly everything wrong. Where's the passing? Where's the defense? Where are their heads? Although everyone is feeling Coach's wrath, none is feeling it more intensely than a player named Josh -- who, in addition to being Coach's favorite target, is also his son. Lucky kid (she says in a voice dripping with sarcasm).
The Coach starts ranting a blue storm at Josh about his lack of focus, how he's getting dogged every time he drives the ball down the court, and then something about how he needs to grow up. Not sure what that has to do with dribbling or passing skills, or just playing college basketball for that matter, but Coach clearly feels strongly about this. Coach hammers and hammers at Josh, telling him to buck up, do better, be stronger, get his head out of his ass (which, nice Dad), blah, blah, blibbidy freaking blah, until Josh has finally had enough. Standing up to his father, both literally and metaphorically, Josh tells his father (in a voice shaking just slightly with cold rage) that the one thing he knows he can do is quit. He all but spits the words at his father while simultaneously throwing his jersey in his pop's face.
All I can say is "Go Josh! Go Josh! Go, go, go Josh!" Somebody get some cheerleaders in here now to do one of those inspiring "Give me a 'J'!" cheers, or something with the word "appreciate," 'cause that boy deserves some serious applause for having the guts to stand up to the old tyrant that way. That's the spirit lad!
After that rousing and inspiring beat-down from the Coach, capped off with an entirely unpleasant father/son confrontation, the Coach taps Air Fennell to jump into Josh's vacant space and tries to rally the troops. I'm thinking that's about as likely now as that old adage about snow in hell.
When we next see our favorite freshman basketball star, he's lunching (or having a consolatory bowl of ice cream?) with his BFF (and can I just say FINALLY!) who's trying to help him find the bright side of a twenty-point loss. Guess that rallying was about as effective as I thought it would be, which is to say NOT EFFECTIVE AT ALL. Veronica points out that one of the bright sides is that he got a lot of court time for a guy who quit the team -- kind of -- first semester. (And I just want to wave a quick hello to continuity since I'm sure it is only here for about ten minutes.) Good one Veronica! But sadly, that's offset by the fact that Coach put Wallace in first string ahead of Mason. Veronica, good and supportive friend that she is, assures Wallace that he was chosen because he's the better player. Wallace, sadly, is not convinced. Clearly neither is Mason since he's now giving Wallace the old cold shoulder. In Wallace's mind, that kind of makes the sides break even. Veronica tries to come up with another silver lining on this cloud, but alas, she's got nothin' for Wallace but an empty platitude and the remains of her bowl ice cream. In return, Wallace decides to bring up the dark cloud in her sky ... one uber hot ex-boyfriend described as the "Logan situation." Clearly as unhappy with Wallace's conversational topics as he was with hers, she skedaddles with a glum look on her face, determined not to think of said uber hot ex-boyfriend and the fact that he's an ex.
The next day Veronica storms into Mars Investigations hollering at her father about the unfairness and questionable legality of his breakfast contract, but her tirade of righteous indignation is brought to a screeching halt when she realizes that Daddy dearest has clients in his office. Keith invites Veronica to join the meeting and tells her that Coach Barry was murdered the night before on the PCH. Cliff brought in the Coach's wife and son -- you remember Josh -- because Lamb is looking to Josh as his primary murder suspect. The Barry's have hired Keith to find the real killer to keep Josh far away from the perils of community soap.
Keith asks Josh to give him a rundown of what happened the night before. Josh recounts his unpleasant convo with dad in the locker room at half-time that ended in his quitting the team. He tells Keith that his dad goes to this little strip of land on the PCH overlooking the ocean (and, um, doesn't like the whole PCH do that?) to meditate or something when he loses. Josh went out there to talk to him, perhaps mend a few fences, but when he arrived his Dad's car was no where to be found. Unfortunately, his father's body was. Josh found his dad lying in a pool of blood, shot dead by the side of the highway.
Josh goes on to say that he couldn't get a cell signal out there on the PCH so instead of calling the police, he rushed straight home to tell his mom and little brother Bobby so they wouldn't hear it from anyone else. It's apparent that he was distraught and not thinking clearly because we all know how bad this looks. And that's before he gets to the really bad part of the story. Mom continues that when Josh arrived home he was in bad shape: He looked like he was in shock and there was blood all over his clothes. She didn't want her youngest son to see his older brother like that so she encouraged her son to take a shower and change. *FacePalm* Jesus, lady! And you didn't think that might look, oh, I don't know, suspicious?
Cliff takes over and finishes the sad (in so many ways) tale. It seems someone found Coach Barry on the side of the road and called it in because the Sheriff arrived at the Barry's residence just as Josh was getting out of the shower. Lamb found Josh's bloody clothes and Coach Barry's NIT championship ring and jumped to all the wrong conclusions. Keith is troubled that Josh might have taken the ring off his father's finger, but not to worry. Apparently after Josh quit the team, when he came back from his post-game shower, his dad had left the ring in his locker. Josh saw it as a peace offering, and it was what made him want to seek his father out that night for a heart to heart.
Cliff points out that the PCH'ers have been responsible for a number of carjackings out on the PCH and Mrs. Berry jumps on this with both feet. She doesn't know why Lamb is so fixated on Josh when those horrible gang boys clearly shot her husband, stole his car, and left him for dead.
Trying to tie up loose ends, Keith wonders if anyone else might have had it in for the Coach. You know, aside from the ENTIRE ANGRY BASKETBALL TEAM. (Minus Wallace, of course) Josh pipes right in with the fact that Mel Stoltz hated his father. You remember Mel, right? The guy chompin' on a big stogie and dropping thinly veiled threats at the Dean on the day he was murdered? Turns out he had it in for Coach Barry and wanted him fired. Veronica reminds everyone -- or maybe just Keith, or maybe just the viewing audience, I can't really tell -- that Stoltz is Hearst's primary benefactor. Keith assures him that they will look into it, and then offers the only words of comfort he has at his disposal: "Don't worry about the Sheriff. He has a long and proud history of being wrong." Hee!
After the Barry's leave, Cliff hangs around for a little follow-up chat with Mars 1 and Mars 2. He assures them that by the look on the Sheriff's face at the time of the arrest, he really did have it in for Josh -- or he had to pee really bad. It's hard to say which. (And hee! To the look of 'yeah, true' on Veronica's face after that comment.) For what it's worth -- which isn't much, based on Cliff's track record -- he believes them. There's another piece of bad news though that he hadn't yet shared. Unfortunately, young Bobby won't be able to corroborate their stories because he's severely autistic. Things do not look too bright and sunshine-y for Josh right now.
Veronica pays a visit to Weevil and asks if he can hook her up with the current head of the PCH'ers. Weevil is all full of snark as he tells her that he's glad to do it, no problem. First he just needs to give his parole officer the head's up that he'll be consorting with known criminals. After a beat he reminds Veronica for like the zillionth time that he's on the straight and narrow. Now, I'm all for your new leaf here Weevs, but perhaps the reason Veronica keeps forgetting is because you seem to forget from week to week exactly how big a dip you'll take in the criminal pool. Case in point: Where was this righteous indignation last week when she asked you to steal and cube an '09er's Mercedes? Taking a step off the straight path onto that slightly crooked one Veronica frequents didn't seem like such a big deal just last week... Regardless, Veronica tries to bait him with the promise of cash. I can't tell by the look on Weevil's face if that did the trick or just served to piss him off even more.
While Veronica's off trying to lure Weevil back ... well, near his former life of crime, Keith is trying to get a little face time with Mel Stoltz at his office. Unfortunately, Mel's not cooperating and Keith's been kept waiting for over an hour. The friendly receptionist tries to explain to Keith that Mel's backed up and that she'd be happy to reschedule him for next week. Keith hears what we assume is Mel's laughter wafting down the hall and it seems to put him over the edge. Keith decides he'd rather just be seen now and get it over with and throws a tight smile to the receptionist on his way back to Mel's office.
Keith finds Mel negotiating his practice putting strip and chatting into his hands-free headset. He cuts to the chase and tells Mr. Stoltz that he just has a couple of questions and he'll make it quick: 1) Did he want Coach Barry dead; and 2) where was he the night of Barry's murder? Mel looks momentarily nonplussed and then assures his phone buddy he'll call him right back. Apparently the direct approach has captured Mel's attention.
He tells Keith, flat out, that Barry was a loser of a Coach and yes, he wanted him gone. Fired would have done just fine, but hey -- dead works too. (And the temperature in the room drops a solid 40 degrees in a nanosecond) As for the night in question, he was in the air, on a jet on his way back from Seattle. And if Keith doesn't have anything further to bug him about, he'd like to get back to trimming up his handicap. Keith assures him he'll be looking into the situation. Mel doesn't seem worried by this in the slightest.
I guess the lure of money was strong enough because the next time we see Veronica and Weevil, they're leaning against their respective cars (and hello green machine! -- and simultaneously -- LeBaron, how we miss you!) awaiting the arrival of the PCH'ers in what appears to be an industrial complex. Veronica's clearly fretting and Weevil's teasing that he's surprised that his (former) boys aren't there yet because gang members are generally very punctual. Veronica shares her fear that the bikers will show, but it isn't for the square reason Weevil implies. See, if the PCH'ers show, it means that it is unlikely that they killed Coach Barry. And that would be very bad news for Josh. Since the rumbling of big hogs sounds in the distance, I'm guessing bad news is about to arrive. Before I can fully formulate that thought, three cycles bearing helmeted riders roll up to the meeting place.
Veronica wonders aloud who replaced her buddy Weevil at the top of the food chain, and is damn near shocked to see that her old pizza-boy-muggin'-buddy Arturo is running the gang now. Veronica cracks (and Weevil agrees) that she was under the impression that gang leader was a man's job. (Well, if you've only got two lackey's, perhaps manliness isn't quite as big a necessity.) Veronica fills Weevil in on her history with Arturo and then does a little fishing to see if Arturo might be guilty of shooting the Coach during a routine carjacking. Arturo scoffs but Veronica demands some kind of compelling information that will make her believe in his innocence.
Arturo looks like he'd rather not be doing this, but perhaps he just decided it would be easier to comply with her request than to possibly face the wrath of Mr. Sparky and a roll of duck tape again. He reminds Veronica that the papers said Coach was driving a '96 Roadmaster. As head of a gang who may or may not be committing a series of carjackings in town, he points out that there is literally no reason for he or his boys to be interested in going to all that trouble to steal an $800 piece of crap station wagon. Besides, the PCH'ers have given up using guns. Nailboard on the road is a much more effective, and low risk, carjacking tool.
I hate to say it, but that is a pretty compelling argument. Things are looking worse for Josh by the minute. After her strike out with Arturo, Veronica pays a visit to Josh at home. She's hoping to really search the spot where his dad was killed on the PCH highway for clues. Josh tells her the Sheriff's department already checked it out, and Veronica resists the urge to repeat herself (slowly and monosyllabically) when she mentions that the scene really needs to be searched by someone who, you know, is actually interested in doing their job and knows what they are looking for. The two chat briefly about their relationships with their dads and Josh confesses that his dad was both is best friend and his worst enemy. And I thought my relationship with my dad was complicated!
While Veronica and Josh are taking a little field trip and sharing their feelings, someone is paying a visit to Lamb with information about the Coach's death. It's Mason, looking utterly untrustworthy, there with a tale for the Sheriff. See the night that the Coach died, Mason happened to be on the PCH driving over to his girlfriend's house. He drove past the Coach and his car pulled off on the side of the road. The Coach was arguing with somebody and as Mason whizzed by, he got a good look at both Coach and his attacker -- and I know you didn't see this one coming -- JOSH! Dun, dun, DUN!
Meanwhile, Veronica and Josh are surveying the scene of the crime. Veronica is clearly looking for any kind of clue that will perhaps either confirm or contradict Arturo's version of events. She doesn't see anything incriminating right off the bat, but upon closer inspection realizes that the tire tracks and crushed grass by the edge of the cliff make it appear that a car has gone over the edge. She and Josh tentatively step closer to the edge and take a peek at the turbulent ocean crashing below. Josh steps closer to Veronica and the sweeping camera angle and moody backlighting make the late afternoon setting go a little creepy. I begin to wonder if Veronica is safe with Josh after all.
The next time we see them, the duo are back in Veronica's Saturn headed for home, so apparently my momentary concern was for naught. Josh wonders why a carjacker would push the car into the ocean and Veronica's wearing that expression that clearly says "how do I delicately tell you that a carjacker wouldn't?" As the two arrive back at Josh's house, we see Lamb and Sachs lingering on the street in front of the house trying to look cool while leaning on the squad car in the glow of the flashy lights. No sooner has Josh stepped out of the car than Lamb is on him, arresting him for the murder of his father.
Veronica pays a visit to her client in jail and Josh tries to puzzle out how he ended up there and what in the hell actually happened to his father. Veronica fills him in on the fact that they did find his dad's car in the ocean at the base of the cliff which pretty handily ruled out the carjacking scenario. She also points out that this development doesn't look good for him. Josh marvels at all of the forces lining up against him, including Mason. Veronica wonders if Mason would have any reason to lie, perhaps a grudge against Josh or something, but it seems Mason only had a grudge against the Coach.
Josh explains that his dad had taken away Mason's starting spot a few weeks ago and Mason's been pissed off ever since. Upon further reflection, Josh's unease about Mason grows. He tells Veronica about Mason's violent temper, and the real kicker: He knows Mason owns a gun. He swears he tried to tell the Sheriff about it, but unsurprisingly the Sheriff declined to pay him any attention. Josh hopes that Veronica believes him at least, and she gently assures him that believing their clients is just one of the many services offered at Mars Investigations. In the meantime, she offers to bring him anything he might need. With a small smile, he requests something to read, peanut butter cookies, and a hacksaw -- you know, since she's asking. Veronica warns that very little on his list is going to make it beyond the Lamb "inspection," but promises to try anyway.
Back at Mars Investigations, Keith makes a phone call to the airport to check up on Mel's alibi for the night of the shooting. By the look on his face, I'm going to guess the alibi checked out. And things continue to look worse and worse, and yet again worse, for Josh.
Veronica heads back over to Hearst and corners Mason coming out of class. She asks him to share the story he told Lamb with her about the night of the Coach's murder. He recounts again that he was heading south on the PCH, drove by the Coach, the Coach's car, and Josh who was arguing with the Coach. Veronica reminds him that if he was driving towards the Coach, and the Coach was facing Josh, Mason shouldn't have been able to get a good look at Josh. Mason says that he recognized Josh's hair, team jacket, and profile on the drive by. It was definitely him.
Veronica throws out the fact that she's heard Mason was really pissed at the Coach for taking away his starting position. Mason's demeanor changes instantly and he goes on the defensive -- which, FINALLY! It's about time someone got pissed off at Veronica's presumptuous nature and tendency to accuse people of crimes without, you know, proof. Mason is incredulous because although he was pissed about the starting position, he wasn't pissed enough to kill his coach! Veronica tries to draw a comparison to the Texas Cheerleader Murdering Mom, and then goes in for the kill by asking Mason where he keeps his gun. Mason responds, understandably, with a pithy and concise "screw you."
When Keith arrives home that night, he finds Veronica making Josh a batch of peanut butter cookies as promised. They discuss their thoughts on whether or not he might be guilty and Keith fills her in on the fact that he confirmed at least part of Mason's alibi. Before they can get much deeper into the conversation, Veronica gets a little teary and makes her dad promise to not get murdered because she doesn't know what she'd do without him around. *Sniff* For what it's worth, I don't know what we'd do without him either -- so Keith, your many fans would like to second that motion.
The next afternoon Veronica pays Josh a visit in his cell to pass him some Lamb-approved reading materials, such as The Count of Monte Cristo which is actually kind of clever when you realize that there is almost no way in hell Lamb would grasp the irony of that particular book being good prison reading. Veronica encourages him to dip into the Dumas classic -- she's sure he'll find it, uh, chunky. He flips through the pages of the novel and discovers the classic secret niche in a book. Only this one is filled with homemade peanut butter cookies and not, you know, like a nail file or a lock picking set. Josh thanks Veronica for the gifts.
Before she leaves, Josh tells her he's been giving it some thought and he's decided that the only explanation for Mason's false testimony is that he was the one to kill Coach Barry. He begs her to prove it, to find the gun. Veronica gently tells him that if Mason did do it, it is likely he threw the gun in the ocean as well, which means no one is ever going to find it. Josh is clearly disappointed, but is becoming resigned to his fate. He thanks Veronica again for her generosity and Veronica tells him to hang in there before taking her leave. (Not before body checking Sachs on her way out, of course). Josh lays down on his bunk, opens the book, and with a strange and indecipherable look on his face, nibbles at a cookie.
We flash over to Veronica, listening to a lecture from Landry in profiling class. As the good Doctor finishes his overview of those characteristics that help identify a criminal in their midst, Lamb appears at the back of the class to interrupt the session. Reliving what may be one of his fondest moments ever as Sheriff, Lamb once again accosts Veronica in a very public setting -- at school, nonetheless -- cuffs her and places her under arrest. But this time its not for fake ID's, it's for -- GASP! -- aiding and abetting the escape of Josh Barry.
Dun, dun, dun, DUN! Be sure to tune in next week kids for the (not so) exciting conclusion of "does anyone really care who killed the mean basketball coach?"
It's the elusive Economics classroom and Professor Corrigan (who must have finally made Dick's acquaintance at some point) approaches Mr. Casablancas with a message for Logan: Show up fast or don't show at all. It would appear that Logan has been missing a lot of classes and Dick's repeated assertion that Logan is sick has worn thin. Dick assures sarcastically that he'll let his friend know the professor's prayers are with Logan. Good one, Dick. We follow our suddenly studios Mr. Casablancas to the Neptune Grand, where a battle of wills is raging on. The hotel Manager with Jeff Ratner in tow tries to force his way into the suite and kindly offer Logan some food. Likewise to collect some salt and pepper shakers, which Logan has apparently been hoarding. Logan's response from behind the closed doors is a less-kindly "go away and leave the food."
Dick takes pity on the salt and pepper shakers-less and takes the matter into his own hands. He opens the door with his key and enters into what looks like a several-weeks worth of boy-mess. There on the couch sits Logan in all his catatonic glory (and may I take this opportunity to say that no one who hasn't washed or changed his clothes in days should be allowed to look this good! Especially notice the stubble!). Dick assesses the situation and, in a stunning display of a sudden flicker of intelligence, tricks Logan out to the balcony with a suggestion that there's a fire in Veronica's neighborhood to be seen from there (someone's meth lab has blown up). Again, good one, Dick.
While Logan is trying to spot the fire (or his will to live) on the oh so fake Neptune horizon, Dick locks him out there so the giddy hotel staff can grab their condiment dispensers and their food carts back, and, while at it, change the sheets. Logan, who clearly doesn't have the energy to even protest, stands there on the balcony pondering the spectacle of Dick being the thinking and the nurturing one.
As nurturing as Dick gets, of course, because nothing's ever purely altruistic with him. It turns out he met this girl at a party a week before (I know, shocker!) and she is hot. She is also, clearly, not that bright, because she finds Dick's company fascinating and wants to come over and play. She also wants to bring her sister, whom she calls "practically her twin." Dick advertises the said sister as a recommended treatment for "pathetic sad sackery." Which treatment Logan refuses with apathetic "no, thank you."
Smart of him, as it turns out. Later when the sisters (not so much twins) show up, the recommended treatment turns out to be eleven years old. And while Logan so justly wonders which "twin" is Dick's (and let's face it, an eleven-year-old is much more Dick's mental equal than anyone older), his roommate hastily introduces him to Melinda and Heather Button (yes, folks, that's their unfortunate last name). Little Heather -- who is, appropriately, cute as a button -- is dumped on Logan (while Dick and Melinda can go indulge in some beach blanket bingo with the swim team Don't ask.) so fast and so skillfully, he doesn't know what hit him until he is left babysitting. Not happy with the situation, Logan informs the girl that she can watch TV while he is going to bed. He walks out of the living room with the parting shot of Logan's Parental Tip Number One: "Try to stay out of the porn."
Having heeded the advice, Heather -- when we see her next -- is dutifully watching the unporn-like The Ant Bully while indulging in some room service. Which she thoughtfully ordered for two. Shocked at seeing her still there, Logan dials Dick's cell for some much-deserved verbal ass whupping. It appears, his unreliable roommate and the other Button did not come home last night. It also appears that Dick and Melinda took a little road trip to Vegas. Dick thinks he is in love (and I don't know what is funnier, the fact that Dick is performing the act of thinking or that he uses the word "love.") In response to Logan's threat of tying him up and transporting him thus back to Neptune in the trunk of his car, Dick pulls out the guilt card. As in, "you slept with my one long-term girlfriend" and, therefore, owe me a babysitting gig. (Sorry, Dick, but you, of all people, don't get to use this card. Now, stick it back in the deck, you unmitigated asshat!).
Logan, who is now sufficiently depressed again, goes back to bed. After some time young Heather (who wonders if all he does is sleep) enters his room and -- by way of conversation -- offers to put highlights in his hair. Interesting approach there, kid. What guy wouldn't want a makeover from an eleven-year-old? Clearly, Logan wouldn't. So she asks him to hook up the Game Cube instead.
Cut to later and Logan -- having emerged from his shell o' doom somewhat -- is playing Mario Kart with Heather in the living room. Looking scruffy and adorable, he dispenses gaming advice and Logan's Parental Tip Number Two: "If you're Daisy or Peach, you can use a heart to protect you." (And if you're Logan, there's no heart to protect you when yours is breaking). Heather is enthralled and waxes poetic on Logan's life and Neptune in general. Ah, to be eleven again! When a huge TV, video games and a balcony seem like Shangri-La. She mentions that her family comes here every year for vacation, and that she especially likes Zipz ice cream. Logan contests that Amy's is better, and they enter into a "no way, yes way" ice-cream sophistication dispute. Heather tells Logan she doesn't believe him, and he is not surprised. After all, why should she be different from any other woman.
Heather surmises from this remark -- and other obvious signs like not bathing and refusal to part with his bed -- that Logan is sad about a girl. When he won't corroborate, she asks him for some small clothes, because she is beginning to smell like odeur de Logan. Later -- after both have clearly cleaned up a bit -- they are having lunch on the balcony. Logan's laptop is on the table and its wallpaper is Veronica's picture. Heather asks if this is the girlfriend -- to which Logan replies "ex" -- and observes that she is pretty. Logan tries to assure her that he hadn't noticed, but his half bitter/half sarcastic tone belies the message.
He is saved from further discussion of said ex when Dick calls again and informs Logan that he and Melinda got married. Clearly not thrilled that Logan's heartfelt congratulations takes the form of a "get back here, man!," Dick's response is a hang-up. Which leaves Logan to inform Heather of the happy acquisition of a very colorful brother-in-law. Heather has a colorful information to offer Logan, as well. She is on her way out to meet with a guy she chatted with on-line. Logan panics and forbids the meeting until Heather laughs and tells him she is kidding. She may be young, but she is wise beyond her years. Logan is impressed and tells her that this was nicely played.
They follow up with another game of Mario Kart, this time a lot more comfortable with each other. Heather initiates a personal conversation with the dogged determination only an eleven-year-old can get away with when prying into someone else's private life. She wants to know why Veronica is Logan's ex. Because, he explains, that's the nice thing you call people when you stop dating them. Heather wants to know why they aren't still dating if he is still so obviously in love with her. Logan tells her it's all his fault (and the collective LoVe audience sighs in exasperation). He screwed up. And yes, he tried to tell Veronica he was sorry. He left a message. (And the collective LoVe audience is sighing again). She didn't return it. She is done. (And the collective LoVe audience scrapes their collective hearts off of various floors).
Heather tries the cheerleading method. She tells him he should try harder, call her again. His rebuttal takes the form of Logan's Parental Tip Number Three: She needs to keep her mind on the game, because she isn't getting any better at it. They resume the game. Heather wisely doesn't pursue the subject, but, as it later turns out, she is far from dropping it completely. Her next attempt is of the proactive variety.
Later on she is seen excitedly pulling Logan into Dick's room to listen to the radio. She tells her less-than-enthusiastic audience that she's been calling in the local radio station (KRAC) that plays requests trying to place one. She has, apparently, made two hundred of those calls before she got through (although I suspect she exaggerated the number a bit for the dramatic effect). She is slightly knocked off her high by Logan informing her that those two hundred were two bucks a pop, but she is quickly restored to her glee by his smile and the assertion that he is kidding. Now, personally, I doubt he was kidding about the actual price of the call, but he probably wasn't seriously perturbed by the total cost.
Then a song comes on the radio, and at this point we cut to Veronica, who just happens to be on a case at the Grand. She is walking through the kitchen where a radio is conveniently placed for her to hear a dedication "from a very sad boy to a very special girl, so if you are listening, Veronica, this is from Logan. He is sorry and he wants you back." Nick Lachey then proceeds to plead that she take what's left of him. Veronica stops short, partly shocked (though whether by the choice of the song or by the fact of the request is hard to tell) and partly moved. She listens for a short while, and then shuts off the radio with a determined expression. Jeff Ratner -- whom she is tracking down here for an interrogation session -- informs her that she wouldn't want what's left of Logan. By way of explanation he ventures a low-rent witticism: What's left of Logan is lying around all day and smells. Wisely, Veronica ignores his commentary.
In the meantime, Logan is visibly cringing in the suite. He tells young Heather that she shouldn't have done that. Heather is not convinced. In fact, she thinks he is going to thank her later, because "girls love that stuff" and Veronica is sure to run right back to him after hearing this. She concludes with the statement that people in love shouldn't break up. Giving up is just stupid. (And the collective LoVe audience wants to hug Heather). Logan is clearly not impressed by the eleven-year-old insight into love, but he is touched by Heather's gesture nonetheless. He pats her on the head and they decide they need to go to a workout room, because the suite is just stifling. While taking an elevator they are joined by Veronica and Jeff (who inexplicably does what Veronica tells him to do). The meeting is a-a-a-awkward. Logan and Veronica exchange reluctant hello's. Veronica is torn between discomfort and curiosity to know who the little girl wearing her very small shirt is. Logan explains the shirt with "she was out of clothes." Which enlightens Veronica not at all. However, she doesn't pursue, since any kind of conversation between the two of them right now is painful.
Heather, not feeling the pain, and realizing that the suspicious girl in the elevator is THE girl, tries -- with all the subtlety of a woodpecker -- to nudge and shove Logan into telling Veronica how he feels. Failing to rouse him into action, she takes matters into her own hands and asks "Miss Veronica" if she, by any chance, was listening to super hits 98 just now. Veronica concedes uncomfortably, glancing at Logan ... who is probably wishing that the elevator would drop right then and there and kill them all.
The elevator refuses to oblige and he is forced to listen to Heather telling Veronica that he is sorry, and they should get back together, and he still loves her, and The torture mercifully ends with the doors opening and Logan dragging Heather the hell away from this humiliation. He can't resist a last parting look, however, and he and Veronica stare at each other for a long moment. The look is charged and full of many unspoken things.
As soon as the elevator doors close behind Veronica and the annoying Ratner, Heather confronts Logan on his silence. She can't believe he didn't use this golden opportunity to tell the girl how he feels! She wants to know why. Why? Because he is not eleven and he is not delusional. He points out to the rapidly deflating girl that she doesn't know anything about love. That love is not writing someone's name on the back of a notebook and drawing a heart around it. Love and happiness are easy at the age of eleven, he states (probably -- and understandably -- not thinking of his own abused eleven-year-old self at this point), and that she should talk to him when she knows something about the subject. Heather is left standing there with tears in her eyes as Logan walks back to his suite, his bedroom and his hideous orange sheets and blue fishies on the wall.
There he lies until he gets another phone call from Dick ... who now needs a good lawyer, because the "'till death do us part" is coming before either quite croaks. Wifey-poo, suddenly recovering her hitherto missing concern for her little sister, wants to ask Logan how Heather is. Logan informs her that Heather is overly bubbly and wants to know if she is always like that. Melinda tells him that no, that's a new thing, acquired after their dad walked out on them. She also wants Logan to make sure Heather takes her Prozac (right, because a) it's a great idea for an eleven-year-old, and b) like this particular eleven-year-old really needs an upper!)
This new piece of information explains a lot, and Logan, now feeling guilty for yelling at Heather and not recognizing the signs, sets about to remedy the situation. Screw Prozac ... the best medicine is ice cream. Logan knocks on Heather's door and invites her out to sample Amy's. Ah, the forgiveness of a child: So easily bought. Then again, who can resist a scruffy Logan when he smiles like that?
When we see the dynamic duo next, they are coming back to the suite, full of ice cream and contentment. Heather concedes that Amy's is, in fact, better than Zipz, and in return for her displayed wisdom Logan offers to keep her sharp by playing weekly Mario Kart with her on-line. Heather is thrilled but hides it well with the quip: "Quit flirting with me, old man. I'm eleven." Hee!
They enter the room to find Dick and his "ball and chain" arguing out who is the bigger freak (it's a toss up, if you ask me). Logan's sarcastic "ah, newlyweds" gets them out of the argument. Melinda, who clearly wants out of not just the argument, but the marriage and this suite, grabs Heather and is ready to run. Heather hugs Logan and he holds her, smiling down at the girl. They make a standing date to play on-line video games Fridays at four. And then the Buttons are off, as Dick declares that he needs a shower.
The next time we see both Logan and Dick, they are walking toward class, clean-shaven and just plain clean. And wonder of wonders, Logan is smiling. He is ready to let the learning begin. He is ready to embrace something again. He is ready to live again. As he hands an apple with a cheeky smile to Professor Corrigan, he asks: "Miss me?" And I can't speak for the professor, but, boy oh boy, did we miss you! Welcome back to the smirk, and the spin, the cocky tilt of the head, and the over-emphasized hand gestures. Welcome back, Logan!
Mindy O'Dell saunters into the Mars Investigations, apparently per Keith's request. If she expected cocktails and finger sandwiches, she is rudely disappointed by Keith, who informs the grieving widow that he wants off her case. She is understandably perplexed and he explains that he doesn't take kindly to his clients lying to him. Apparently the egg shell he found under the O'Dell Volvo's windshield wiper places the said vehicle at the Hearst parking lot on the night of the murder, just in time to be egged by a bunch of disgruntled students.
Mindy asserts that she didn't leave the Neptune Grant that night, and she has no idea how her Volvo wondered off by itself from the Grant's parking garage. Keith seems to have an idea, and that's just the half of it. There is also a mysterious charge on Mrs. O'Dell's cell phone that night. Mindy is horrified to realize that the PI she hired to investigate the murder is actually doing his job and investigating everything, including her.
Keith is less interested in explaining and more in finding out why -- if Mrs. O'Dell and Professor Landry had indeed spent the night in question together at the Grant -- there's a phone call from her cell to his at 1:30 in the morning? Mindy is a bit at a loss at first, but produces an explanation in due time. Apparently Landry needed toothpaste (clearly not happy with the one provided by the hotel. Otherwise, why was it only he who needed the toothpaste and not Mindy as well? Is her oral hygiene a bit lax?). And because of the pesky Jeff Ratner encounter possibility it had to be Mrs. O'Dell on the toothpaste-buying mission. A mission she embraced so readily and quickly, she forgot to ask her lover what particular brand he would like and had to call him from the lobby.
A likely story, as they say in the PI business. Or at least that's what Keith thinks. The next we hear a cell phone ringing and see professor Landry answering it, wondering what he can do for the illustrious investigator. Tie up some loose ends, it would seem, for the murder case of Cyrus O'Dell. Landry doesn't so much want to tie anything op as he wants to take an ethical stand: He is appalled by Keith taking money from a grieving widow of a man who so obviously killed himself. Keith is impressed by such staunch display of morality, but undeterred in his quest to find out if Mindy really did call the good professor to ask what she claims she did. Turns out, she was telling the truth. Landry corroborates the story of the 1:30 a.m. toothpaste-themed phone conversation. And, unless the secret lovers have rehearsed this beforehand (which is not out of the question), this is yet another dead-end.
Mindy, who was sitting at the Mars Investigations listening to Keith and Landry's exchange, inquires if Keith is still determined to find her husband's killer. Keith, in turn, wants to know is she still wants him to. She does, apparently impressed that he is digging, albeit in the wrong place. Which is more than she can say about the sheriff's department. (Aw, Mindy, didn't you know? The sheriff's department is too pretty to dig.).
Next we follow Mr. Mars to the Neptune Grand (where, apparently, all roads lead to these days) on a visit to his buddy the security guard. Whose purpose is to keep tabs on Veronica's nocturnal visits to her various boyfriends and confirm clients' alibis. "No can do," says the buddy, because the December 10th tape Keith wants to see is a month too old. The drive starts recording over itself after a month. But maybe Keith can have a better luck with a parking valet: Those guys apparently keep the records forever.
Papa Mars goes home where he is astonished to find his daughter engaged in baking and wants to know if she suffered a blow to the head. (Why exactly he would be so astonished is unclear for us long-time viewers, who have seen Veronica bake on several occasions before). Veronica, in turn, wonders how Mindy took the news that Keith is dropping her case. He explains that he didn't so much drop it as decided to keep it after the phone call checked out. And that his sources in the hotel came up empty. Veronica then wonders why Keith has a relationship with the Neptune Grand security (while the audience wonders if Veronica didn't, in fact, suffer that blow to the head after all. Since the same question was canvassed between father and daughter last season.).
Keith (whose memory is clearly better than that of his daughter) ignores the question and tells her instead that he has learned from the valet records that Volvo has been taken out at 1:51 a.m. and returned at 2:59 a.m. Veronica chimes in with the "ear-witness" testimony of a gunshot heard between 2:20 and 2:30 a.m. The father/daughter team ponders the possibility of either Landry or Mindy (or both) being the culprit. There isn't enough evidence yet, and Keith asks Veronica if she knows someone at the Grand who may be willing to bend some rules. "Possibly" says Veronica. ("Definitely," say the rest of us. I mean, really, at this point, is there anyone on the show who isn't willing to bend the rules without the slightest provocation?).
Cut to Logan's pal Tina behind the reception desk at the Grand. She greets approaching Veronica with a smile and a "good evening, Logan's girlfriend." (Tina, who, clearly, has been on vacation for the past several weeks, because that's the one plausible explanation for her being the only hotel staff left who doesn't know Logan's heartbroken at this point.) From her Veronica finds out that Rory Finch -- a.k.a. Hank Landry -- hasn't been to the hotel since December 10th. Tina is also handy with the room charges from that night (because, apparently, pretending to be Logan's girlfriend still buys you unlimited privileged information with no explanation required what so ever). There is a room-service charge, crme brle just before midnight. And then a pay-per-view movie at 2:02 a.m. Kiss Kiss Bang Bang could not be a more appropriate title to select for an illicit nightcap, if you ask me. And just to put a cherry on the top of the illegal information cake Tina is so happily and inexplicably handing out to Veronica, she also volunteers that it was Jeff Ratner who delivered the room-service order. Jeff Ratner, whose punishment, it would appear, for stealing toiletries (or, pissing off Veronica, really) was being stuck working the graveyard shift.
Veronica tracks down the put upon Ratner in the kitchen and wants to talk crme brle. Jeff -- who also must have suffered a blow to the head (it's going around), because he doesn't seem to hold any kind of a grudge against Veronica -- readily shows her the room where he delivered the order on the night in question. Also, he tells her he overheard a fight behind the closed doors. Specifically, people yelling at each other. He wisely figured it wasn't the time for sweets and left to return with the order later. "Some lady" answered the door when he came back. To Veronica's question if it was the same lady who he overheard yelling, he answered no. Because, as it turns out, the yelling was done by two men.
Veronica, having filed all this free and ready info away, approaches professor Landry the next day in class. She oh so casually leads the conversation to Kiss Kiss Bang Bang laying a trap for her favorite professor. A trap he doesn't fall into, because when she says that Robert Downey Jr. dies in the movie, Landry contradicts the statement. Which shows he at least watched the film at some point. Whether it's enough to prove he watched it at 2:02 a.m. on the December 10th is debatable, but Veronica lets it slide for now. She also learns in the course of this conversation that the late great Dean O'Dell wrote a touching letter of recommendation for her application to the summer FBI internship program.
A misty-eyed Veronica takes the letter to her dad and they read it together, basking in the praise so outlandish it makes you wonder if this epistle isn't more suitable for a submission to the Vatican as Veronica's canonization application. To her credit, Veronica states that she would have settled for "I find her nosiness charming" from the Dean. (Eh, Veronica, no one finds your nosiness charming anymore.). So, on the strength of this panegyric from beyond the grave, the Mars family reaffirms their dedication to finding the great man's killer. You know, to honor the guy by putting whomever offed him behind bars. Good thing the guy wrote the letter, then. Otherwise, clearly, he would not have deserved being honored thus. Good to know where the Mars Investigations' motivations lie.
Keith, once again, summons Mrs. O'Dell to his office (why, who can say, considering the woman lives ten blocks away from him. I guess he just likes to make her work for it.). This time he informs her he has made significant progress and asks for her critical opinion of Kiss Kiss Bang Bang. She seems to know it's a movie, but beyond that she has no aesthetic assessment to offer. Keith is surprised, since that's the movie she was supposedly watching with Hank Landry on the fateful night in the hotel. Mindy lamely suggests that maybe Hank watched it after she fell asleep.
Keith informs her that the valet log shows the Volvo being taken and then put back. Mindy denies any knowledge of it and suggests someone's framing her. Keith next wants to know who was in the room with her that night besides Hank. She claims that no one was. When he tells her a witness heard two men arguing loudly at approximately midnight in that room, Mindy insists it was the television.
Keith doesn't believe her, which pisses the widow off. She informs him that he is officially off the case. He informs her that she can't take him off the case, though she can fire him. It's an impasse and Mrs. O'Dell loses the stare down contest and walks out.
So, this is what we've learned today, folks: We liked the Dean and want his killer caught; we don't believe his widow, we don't know what to think of professor Landry, and Jeff Ratner is a tool. We have a wandering car, a twice-delivered crme brle, a mysterious male voice in the room, and no answers. Stay tuned for further developments.
"White Balloons" (Stephen Ashbrook)
Scene(s): It's pretty darn difficult to be mopery when a perky 11-eleven year old is the first thing you see when you wake from your slumber of sorrow. And even harder when she clearly shares your love of video-gaming and asks you to get involved in the hook-up. Seriously. What's a guy got to do to be unhappily miserable?
"Too Much To Ask For" (Radio 4)
Scene: Ring, ring. It's Dick ... and he's MARRIED! Aww, his very first -- of no doubt many future Dick Jr. ex-missus' -- wife.
"What's Left Of Me" (Nick Lachey)
Scene: Sigh, oh Heather ... it's going to take much, much more than a song dedication to melt Veronica's heart. Hire a hit on her life and arrange for Logan to save her and then we're talkin'!
LoVe Lines
(The elevator doors open to reveal Heather and Logan standing inside; Veronica looks mortified, Logan looks like he wants to throw himself off the hotel Beaver style. Jeff gets on the elevator, Veronica doesn't.)
Jeff: Getting in? (She does; Logan steps away and stares fixedly at the elevator doors.)
Veronica:(Softly.) Hi.
Logan: (Shoulders tightening defensively.) Hey.
Veronica: (Noticing Heather.) Is that my shirt?
Logan: Yeah, she was out of clothes.
Veronica: Oh. (After a moment she frowns.)
Heather: (Looks at her shirt then lights up; meanwhile, Logan decides jumping off the roof wouldn't be enough, maybe he should throw himself under a truck too because -- ) That's her! (Smothered squeal.) It's her, it's her! (Referring to the shirt.) It's hers! Oh my God ... (Blushing; Jeff Ratner gives her a *look;* Logan tries not to look at Veronica; Veronica tries to pretend she's not hearing a word.) Tell her! (*Thinks* she's stage whispering and being subtle.) Tell-her-how-you-feel.
Logan: (Softly.) Shut up.
Heather: (She steps out and smiles at Veronica.) Excuse me, Miss Veronica? Yeah, were you listening to Super Hits '98? 'Cause there was just this dedication --
Veronica: Yeah, I um, (Switching gaze from Heather to Logan awkwardly.) heard it. (Logan dies some more.)
Heather: Well, it's true. Logan's sorry (*dies*) and he misses you (he's dead already!) and he wants you back (Veronica looks at Logan like she sympathizes with his multiple deaths.) and you two should get back together because he totally loves --
Logan: (Desperately.) This is our floor.
(Doesn't look at Veronica and shoves Heather *gently* but determinedly out of the elevator ... once free, he looks back, finally realizing he can't take feeling like *that* any more; Veronica stares back ... the elevator doors close.)
Quotable Quotes
Wallace: You doing okay? With the Logan situation I mean?
Veronica: (Taking a breath and smiling bemusedly.) Been trying really hard not to think about. Thanks for bringing it up.
Professor Corrigan: Mr. Casablancas, I don't suppose your buddy Logan Echolls is gracing us with his presence today?
Dick: Doubtful. When they remove a grapefruit-sized tumor they really recommend bedrest.
Dick: So, I got a message for you from the guy who teaches our economics class. You gotta show up or he's gonna fail you. It's a sad state of affairs when I'm the academic on the balcony. (No reaction from Logan.) So, in other news, I met this girl a couple weeks ago at a party ... (Using an fake opera voice.) Hotttttt! Like, volcanic hot. Like, I might have to use an oven mitt to feel her up. (And still no reaction from Logan.) Blink if you understand. (Logan turns his head toward Dick.) She's coming here tonight, and, she's bringing her sister. Who, I might add, she described as practically her twin. By the way, I did a little research on pathetic sad-sackery and Hot Sister is the recommended treatment.
Logan: (Quietly.) No thanks.
Dick: You sure? We're thinking about going to the swim team's Beach Blanket Blowout. You can wear your t-shirt that says, (Using a wimpy, sissy voice.) "I'd Rather Be Home Crying." (Watching Logan for a moment, he just turns and leaves him alone on the balcony.)
Keith: It's as bad as she says? Lamb's going after the kid?
Cliff: Well, he was thinking very hard about it. Or he really had to pee, it's really hard to tell with that man.
Dick: (Standing in front of Logan, who's on the couch again.) Dude, you're not helping. (Tosses a sock onto Logan's head.)
Logan: I'm aware of that.
Dick: (Walking around the room, tossing various items of clothing at Logan.) I live here too, you know. This is my home. People walk in they don't think, "This little clean area is Dick's. The ten bottles of urine are Logan's." They think, "Silence of the Lambs basement," and their desire to get naked around me takes a nose dive. (There's a knock on the door.) You're lucky you're rich; this would be completely disgusting.
Dick: (Ushering the girls into the room.) He doesn't normally look like this. Some girl ripped out his heart and stomped on it. (Making introductions.) Logan Echolls, Melinda and Heather Button.
Logan: (Looks in surprise at Melinda, her much younger sister, and Dick, who makes a gesture of "What can you do?") Which one's yours?
Heather: Are you sick?
Logan: No.
Heather: You want me to put highlights in your hair?
Logan: (Really not sharing her excitement.) No.
Heather: Could you show me how to hook up your Gamecube? (Logan sighs, but then reluctantly gets out of bed with a groan.)
Heather: (While playing the game.) Ooh! That was so awesome. Did you see that?
Logan: Yeah, if you're Daisy or Peach, you can use a heart to protect you.
Heather: If I had this game, I would play it every second. We should have a tournament.
Logan: Yeah, I'm beating you as Peach. You need practice.
Heather: Your life is so cool. You have this huge TV with video games and a balcony. You live in Neptune.
Logan: (With mild sarcasm.) Yeah, it's Shangri-la.
Heather: My family comes to Neptune every year for vacation. Do you ever go to Zipz? Best ice cream in the whole world.
Logan: Amy's is better.
Heather: It can't be.
Logan: It can. And it is.
Heather: I don't believe you.
Logan: Why should you be any different than any other woman?
Heather: (She considers him for a moment.) So, are you all sad about a girl? (Logan doesn't respond.) Well, I guess so.
Heather: (to Logan.) I don't guess you have any extra-small clothes around? I'm starting to smell like you.
Veronica: Howdy, Sheriff. A kitten get stuck up in a tree?
Lamb: Not now, Veronica.
Heather: Is this your girlfriend?
Logan: Mmm. Ex.
Heather: She's pretty.
Logan: (Sarcastically.) Is she? I hadn't noticed.
Logan: Where the hell are you? You're supposed to be back.
Dick: Guess what, dude? (Barely waiting for a response before ... ) I'm married!
Logan: Get back here, man!
Dick: Dude, where's the love? I'm on my honeymoon. God! (Dick hangs up the phone and looks back at where his "wife" is passed out on the bed.)
Logan: Where are you going?
Heather: Oh! A guy I was chatting with online wants to meet me. So he's gonna pick me up out front and then take me to Zipz for ice cream.
Logan: Yeah, you're not going anywhere.
Heather: Uh, yeah. I am.
Logan: No. You're not.
Heather: You can't make me stay here.
Logan: Heather! (She starts to laugh.)
Heather: Like I'd really go meet a guy that I met online.
Logan: (Smiling at her little prank.) Nicely played. (He turns back toward the balcony and slips his hand back for a (low) high five as she follows.)
Heather: So, who was that on the phone?
Logan: Just your brother-in-law.
Veronica: So, how's it going?
Josh: Sheriff's a tool, but otherwise ...
Josh: You believe me, don't you?
Veronica: At Mars Investigations, believing our clients is one of the many services we offer.
Heather: So, why is that girl your ex?
Logan: Because that's the nice thing you call people when you stop dating them.
Heather: Well, why aren't you dating if you still love her? (Logan sighs and looks at Heather.) It's pretty obvious.
Logan: Because I screwed up.
Heather: How?
Logan: I did something I shouldn't have done, okay?
Heather: Well, did you tell her you were sorry?
Logan: Yes.
Heather: Like, in a way so she knows you mean it?
Logan: Yeah.
Heather: Are you sure?
Logan: (Pauses game, turns towards Heather defensively.) I poured my heart out to her on her voicemail. She never even called me back. She's done.
Heather: Well, maybe you should try harder. Call her again.
Logan: Yeah, you need to keep your mind on the race. You're not getting any better at this. (Logan starts the game back up, Heather looks disappointed.)
Veronica: Dad, do me a favor ...
Keith: Anything.
Veronica: Don't get murdered --
Keith: Honey --
Veronica: (Tearfully.) 'Cause I can't live without you and all I've been doing is thinking about what I would do if I didn't have you.
Keith: ... Maybe you should let me handle this case by myself.
Veronica: You know that won't work; I only brood when I'm not doing anything.
Tina: (Perkily) Good evening, Logan's Girlfriend. (Veronica stiffens.) Veronica, right?
Veronica: That's right!
Tina: I know who works the Graveyard; his name's Jeff Ratner. They stuck him on the shift after they busted him for stealing toiletries.
Heather: Come here! (Dragging Logan behind her toward the radio.) You have to listen to this! I called KROC, like, two-hundred times. I kept getting this recording and then, finally, I got through! They're going to play my request! (Smiling giddily.)
Logan: Ah ... local calls are two dollars each.
Heather: (Smile drops along with all facial color.)
Logan: ... I'm teasing. (No, he wasn't.)
DJ: (A dedication is read over Nick Lachey's "What's Left Of Me.") I've got a dedication going out from a very sad boy to a very special girl. So if you're out there and you're listening, Veronica, this is from Logan. He's sorry, girl; he wants you back. (Veronica slowly approaches the radio.)
Nick: "Now I'm broken, and I'm fading. I'm half the man I thought I would be but you can have what's left of me." (With determination, Veronica switches the radio off.)
Jeff: Take it from the guy that has to clean up after him, you don't want what's left of Logan Echolls. (Shuddup, Ratner.)
Logan: I really wish you hadn't of done that.
Heather: People in love shouldn't break up. Giving up is just ... stupid. (Logan pats her on the head and walks away.)
Heather: I can't believe you blew that. That was the most perfect opportunity! Why didn't you tell her how you feel?
Logan: (Logan's patience, which awesomely stood up to the elevator test, snaps.) Because I'm not eleven! And I'm not delusional! You don't know a single thing about love, Heather. You know, it isn't writing someone's name on the back of a notebook and drawing a heart around it! (Heather starts to cry..) It is easy to be happy all the time when you're eleven. Talk to me about love when you know something about it. (Logan walks off, leaving Heather to cry alone.)
Veronica Mars Voiceover: Knowing that Dr. Landry and Mrs. O'Dell left The Grand in time to kill the Dean adds a whole new level of weirdness to attending Landry's profiling class.
Dr. Landry: Are you okay, Veronica?
Veronica: Yeah, fine. It just reminds me of that one scene from Kiss Kiss Bang Bang.
Dr. Landry: (With skepticism.) Really?
Veronica: Yeah, you know, after Robert Downey, Jr. dies, Val Kilmer gets a message from him?
Dr. Landry: Kiss Kiss Bang Bang? Robert Downey survives the whole film.
Veronica: (With faux innocence.) Oh! I must be confused.
Veronica: Look at this. (Handing Keith her application file for the FBI internship.) I guess Dr. Landry asked Dean O'Dell to write me a recommendation letter for the internship at the FBI.
Keith: (Reading from the letter.) 'Dear Sir: In my twenty-five years working in academia, I have not come across a young person with more initiative, intelligence, and character than Veronica Mars. I enthusiastically recommend her and would be happy to discuss this remarkable young woman in greater detail. Sincerely, Cyrus O'Dell, Dean of Students, Hearst College.'
Veronica: (Somewhat teary.) I would have settled for 'I find her nosiness charming.'
Keith: Man had good taste. Let's honor his memory by putting his killer behind bars.
Veronica: Agreed.
Logan: (Answering the phone.) Where are you?
Dick: (In the car, on the other end of the phone.) Hey, buddy. Got a question for you: You know a good lawyer?
Logan: I know a lawyer.
Logan: (Knocking softly on the door.)
Heather: Go away!
Logan: (Softly, somewhat apologetically.) Well, now you've made me want ice cream so ... I'm going to Amy's. Come with me if you want.
Heather: (Opening the bedroom door.)
Logan:
Heather:
Heather: Okay, this is better than the place I used to go with my parents.
Logan: With age comes wisdom. You know you can play Mario Kart online. We should have a weekly game or something, for sure.
Heather: (Teasing.) Quit flirting with me old man. I'm eleven. Jeez, that's creepy.
Melinda: You called me a freak!
Dick: I called your toes freakish. I didn't call you a freak. It's supposed to go big toe, little toe, and then on down the line. Not big toe, BIGGER toe.
Melinda: You really make me sick.
Dick: I make you sick? You're the freak!
Logan: (Arriving on the scene with Heather in tow.) Ahhh, newlyweds.
Melinda Where the hell have you been? I've been waiting to go for like twenty minutes. Get your stuff -- we're going.
Heather: (Grabs her stuff and trails behind her sister, pausing in front of Logan.) Fridays at four are good for me. (Hugs Logan before following her sister out.)
Logan: (To Dick, with amusement.)There goes the old ball and chain, huh?
Dick: (Disgustedly.) I need a shower.
Veronica: (Passing books through the bars.) There you go. Sheriff approved reading material. I think you'll really enjoy the Dumas book. (Josh flips the book open to the peanut butter concealed cookies inside.) It's quite chunky.
Logan: (To his professor with a shiny apple and cheeky smile.) You miss me?
Post [Game] Mortem ... (Referenced by the episode title.)
In Latin, post-mortem literally means "after death" and is generally used as a synonym for an autopsy. An autopsy, or post-mortem examination, is a medical procedure that consists of a thorough examination of a human corpse to determine the cause and manner of a person's death to evaluate any disease or injury that may be present. It is usually performed by a specialized medical doctor called a pathologist, and by definition is only performed on humans, by humans.
Autopsies are either performed for medical purposes or for legal purposes such as a criminal investigation. Thanks to the highly prolific CSI family of shows, most of the American television viewing audience is now intimately familiar with the process. Between the original CSI, CSI: Miami and CSI: New York, I bet it is safe to say that just about every TV-watching adult in the US of A has been privy to the dissection of at least one unfortunate soul. And you know, I've been thinking -- with the volume of dead bodies that pile up in Veronica's home town, don't you think they should set up shop for CSI: Neptune? I mean, Veronica's aces at detective work but since the Sheriff can't be counted on to deliver more than inappropriate humor in an investigation, it might be nice to know someone else with a brain was on the job. After all, Veronica's got a lot on her plate and she's been seriously neglecting certain parts of her social life -- I mean, call your BFF once in a while, woman! -- and she needs some extra personal time to woo back her heartbroken ex. I'm just sayin'.
Meth Lab ... (Referenced by Dick when he tricks Logan out onto the balcony.)
Methamphetamine is a stimulant drug that produces an intense sensation of euphoria when swallowed or snorted. Users become addicted to meth quickly and tend to use more of it with increasing frequency. The negative side effects to the central nervous system are depression, aggressiveness, insomnia and paranoia. Meth use increases heart rate and blood pressure and can result in stroke, cardiovascular collapse, organ damage and death.
In the United States, the illegal manufacturing of methamphetamine is punishable from ten years to life in prison. The sale of ingredients used in meth production is also heavily monitored. In March of 2006, President Bush signed The Combat Meth Act, which limited the sale of ephedrine, the base ingredient of meth, to 3.6 grams per day, and customers must provide identification and sign a sales log. The manufacturing of meth in labs is highly dangerous, and there have been many cases of lab explosions to prove it. Meth labs have been found in garages, barns, apartments, etc. (Presumably some have been found in apartments in Veronica's neighborhood, considering the quickness with which Logan headed to the balcony.)
Contract Law ... (Referenced by Veronica when she questions the legality of Keith's instant breakfast contract.)
I actually had an exam on contract law the morning after this episode aired, so I can say with near certainty that Keith's contract would not be enforceable. A contract needs three components for validity: an offer, an acceptance, and valid consideration. The offer is the proposed terms made by the offerer. Like, if Keith had said "I'll make you breakfast if you come to the office later to help mail invoices," he would have made a unilateral offer to Veronica. The offer is valid if there is a presence of intent to contract, definiteness of terms, and communication to the offeree.
Likewise, a valid acceptance of the offer requires intent to contract, agreement to the mirror image of the terms of the offer (for Common Law cases, such as service contracts like this one), and communication to the offerer. If there is a both a valid offer and valid acceptance, then the parties have an agreement. The final element of a valid, enforceable contract is consideration, which is an exchange of something with legal value (service of mailing invoices), bargained for and given in exchange for an act or promise (breakfast).
This contract wouldn't be enforceable because the offer was not valid until after it was communicated to Veronica, and if there was no valid offer, then there can't be a valid acceptance. Keith could argue that since Veronica went on to eat the breakfast after reading Keith's letter, then the contract was made valid and Veronica "owed him," but the wording was still pretty shady. But I guess with Cliff as the family lawyer, 'pretty shady' is to be expected.
NIT ... (Referenced by Josh when he talks about his dad's championship ring.)
The National Invitation Tournament (NIT) is a 32-team post-season tournament for men's and women's college basketball. The NIT was started in 1938 and was operated by the Metropolitan Intercollegiate Basketball Association (MIBA). The semi-final and final rounds have always been played at New York's Madison Square Gardens. In its early years, the NIT drew the best teams in the country. Starting in the 1960's, however, the NCAA tournament gradually became the main tournament, as it began including more conferences and inviting more than just the conference champions. In 2005 the NCAA purchased the rights to the NIT tournament from the MIBA in order to settle an antitrust lawsuit.
With its current status as, in essence, a consolation tournament, the NIT often carries a negative stigma. Teams that hope for the NCAA tournament but have to settle for the NIT are generally not happy with the NIT invite. In fact, some teams have even turned down invites. For teams that are rebuilding or for small schools that are still on their way up, striving to reach the big time, however, an NIT invite is often seen as a positive step on their road to a future bid to the NCAA Tournament, the Big Dance. So Coach Berry's NIT championship, while in theory something to be proud of, may not have been all that great. But the fact that he actually wore his NIT ring rather than stashing it in a drawer somewhere is probably a sign that his NIT championship was something he was proud of, not ashamed of.
Autism ... (Referenced by Cliff about Josh's brother.)
According to the Autism Society of America, Autism is defined as "a complex developmental disability that typically appears during the first three years of life and is the result of a neurological disorder that affects the normal functioning of the brain, impacting development in the areas of social interaction and communication skills." Both children and adults with autism typically show difficulties in verbal and non-verbal communication, social interactions, and leisure or play activities, but as it is a "spectrum" disorder, autism affects each individual differently and at varying degrees.
Autism is classified as one of five Pervasive Developmental Disorders (PPD), a category of neurological disorders characterized by "severe and pervasive impairment in several areas of development." It is the most common of the PPD's affecting an estimated 1 in 150 births (according to the CDC). This means that as many as 1.5 million Americans today are believed to have some form of autism.
Despite it's prevalence, autism is a disease that the general public knows very little about. Most of the public perception of this disease has been based on portrayals of autistics in films such as Silent Fall and the Academy Award-winning Rain Man. Unfortunately, none of the films released to date have given a complete or accurate picture of the disorder and the way it manifests in both children and adults.
Howard Hughes / Bottles of Urine ... (Referenced by Dick when he tries to get Logan to clean up.)
Howard Hughes was known for being an aviator, a movie producer, a billionaire and ultimately a strange, reclusive hypochondriac. Born in 1905, Hughes began his multi-faceted career by focusing on movies. He dated many famous Hollywood actresses, including Katherine Hepburn and produced many important movies. One of his most infamous movies was The Outlaw, produced in 1941 and starring a busty Jane Russell.
Hughes movie career also led to his interest in aviation. The film, Hell's Angels, allowed Hughes to develop his interest in flying, which in turn led to the formation of the Hughes Aircraft Company. Hughes set several speed records and also became involved in building military aircraft. Hughes also was deeply involved in several political situations throughout the course of his lifetime. Of particular interest is the fact that Hughes, as a Nixon supporter, was deeply involved in the conspiracies involved in the Watergate scandals and several CIA assassination plots.
Ultimately, however, Hughes is remembered for his strange reclusive behavior in his final years. He had a fear of microbial infection and constantly washed his hands and repeated certain phrases. He eventually became a complete recluse, locking himself away in darkened rooms in a medication-induced daze. Toward the end of his life, his inner circle was largely composed of Mormons because he considered them trustworthy even though Hughes himself was not a member of their religion. By this time, Hughes had become severely addicted to codeine, Valium, and a number of other prescription drugs and was becoming increasingly frail. Many biographies and fictionalized works state that he stored his urine in jars and wore Kleenex boxes as shoes, although he reportedly did the latter only once, as "protection" when a toilet flooded.
Silence of the Lambs ... (Referenced by Dick as what their suite is starting to look like.)
Silence of the Lambs is a 1988 novel by reclusive author, Thomas Harris. The psychological thriller is a sequel of sorts to Thomas' 1981 Red Dragon, featuring a haunted FBI agent Will Graham who retired after putting Hannibal Lecter in prison. After another twisted murderer draws Graham out of retirement, he uses Lecter to capture this killer. A similar theme is applied in Silence of the Lambs, this time the FBI agent is one in training and there's a sexual tinge to the quid pro quo between the agent, Clarice Starling, and Lecter.
The book was made into a successful thriller, directed by Jonathan Demme with a screenplay adaption by Ted Tally and starring Jodie Foster as Starling and Anthony Hopkins as Lecter. The film went onto win five Oscars, including Best Picture, Director, Actor and Actress, the first time a film had won all four major categories since 1934's It Happened One Night. This despite the fact that the film had been released in February, a rare win considered the premiere was nearly a year before the Academy Award telecast and that Hopkins had only roughly sixteen (!) minutes of screentime.
A sequel, simply titled Hannibal, that concentrated on Lecter (including his background) was released in 1999, with a film version premiering in 2001 (although Julianne Moore took over the role of Clarice Starling because Foster was disturbed by the weakening of the character of Clarice, not to mention the sexual/quasi-romantic relationship between the two main characters that ended the book).
Seattle ... (Referenced by Stolz's alibi.)
Seattle, Washington, founded in the 1850s and named after Chief Seattle (a leader of the Suquamish and Duwamish Native American tribes; he was a prominent figure among his people who became a Roman Catholic convert and pursued a path of accommodation to white settlers), is the largest city in the Pacific Northwest region of the United States.
Its official nickname is the Emerald City because of the lush evergreen trees in the surrounding area; it is also referred to as the Rainy City, the Gateway to Alaska, Queen City, and Jet City, due to the local influence of Boeing. Seattle residents are known as Seattleites. The city is known as the birthplace of grunge music, and it has a reputation for heavy coffee consumption (Starbucks is a locally founded coffee company).
Seattle's climate is mild, with the temperature moderated by the sea and protected from winds and storms by the mountains. Despite being partially in the rain shadow for the Olympic Mountains, the city of Seattle has a reputation for raining frequently. In actuality, the "rainy city" receives an unremarkable 38 inches of precipitation a year, less than most major Eastern Seaboard cities, such as New York City which averages 47.3 inches. Seattle's worldwide reputation for rain derives from the fact that it is cloudy an average of 226 days per year (versus 132 in New York City) and that most of its precipitation falls as drizzle or light rain. In other words, while it rains regularly, it usually doesn't rain very hard.
Las Vegas, Nevada ... (Referenced by Dick and Melinda's weekend destination.)
Las Vegas is the largest city in the state of Nevada, with a population of 545,147 people. The Las Vegas Valley was originally part of Mexico, but American explorer John C. Frmont's sojourn to the area led to its annexation to the United States on May 10, 1855. Vegas officially became an American city in 1911.
Vegas has a couple well-known monikers, the first being The Entertainment Capital of the World. It is a popular vacation and entertainment destination, with theatres, concert halls and comedy clubs. But Vegas is most known for its gambling, which explains the city's other nickname: Sin City. Gambling was legalized here on March 19, 1931. The Las Vegas Strip is home to a number of hotel and casino resorts (e.g. the Bellagio and Monte Carlo), most of which are themed (e.g. the MGM Grand and Caesars Palace) to add to the Vegas experience. Vegas is also considered a "sinful" city because alcoholic beverages are available most everywhere and the adult entertainment industry is quite active. But this image also makes Las Vegas a popular setting for movies and television shows -- even Veronica Mars.
Foodchain ... (Referenced by Veronica about how replaced Weevil as the head of the PCHers.)
Food chains and food webs or food networks describe the feeding relationships between species in a biotic community. In other words, they show the transfer of material and energy from one species to another within an ecosystem.
As usually diagrammed, an organism is connected to another organism for which it is a source of food energy and material by an arrow representing the direction of biomass transfer. Organisms are grouped into trophic levelsfrom the Greek for nourishment, trophikosbased on how many links they are removed from the primary producers. Primary producers, or autotrophs, are species capable of producing complex organic substances (essentially "food") from an energy source and inorganic materials. These organisms are typically photosynthetic plants or algae, but in rare cases, like those organisms forming the base of deep-sea vent food webs, can be chemotrophic. All organisms that eat the autotrophs are called heterotrophs. They get their energy by eating the producers. (Courtesy of Wikipedia, April 22, 2006)
'96 Roadmaster ... (Referenced by Arturo as the coach's car.)
The Roadmaster was an automobile built by the Buick division of General Motors. Buick first used the Roadmaster name between 1936 and 1958. So Arturo's definition of the coach's Buick as such wasn't entirely accurate. However, in 1991, Buick again applied the Roadmaster name to its full-size rear-wheel drive sedan and station wagon models as a replacement for the Buick Estate. The origins of the Roadmaster name date to 1936 when Buick renamed its entire model lineup to celebrate the engineering improvements and design advancements over their 1935 models. Buick's Series 40 model range became the Special, the Buick Century took the place of the Series 60 and the Series 90 -- Buick's largest and most luxurious vehicles -- became the Limited. Buick's Series 80 became the Roadmaster.
A 1996 Roadmaster.
The Roadmaster held out until 1996 when the end had clearly come. For its final year, the traditional, rear wheel drive Roadmaster enjoyed only a few changes. Engine coolant could last five years or one hundred thousand miles, and automatic climate control became standard. The Roadmaster Estate Wagon and the Chevrolet Caprice wagon would be the last full-size station wagons until the introduction of the Dodge Magnum sports wagon in 2005.
Gamecube ... (Referenced by Heather when she tries to coax Logan out of his bed.)
The GameCube was unveiled on the August 24, 2000, one day before Nintendo's SpaceWorld trade show. Shaped roughly like a cube, the console is available in a variety of colors. In Japan, the system is also available in Spice (orange), or in limited edition colours like Crystal White, Mint Green, Copper, and White with black pinstripes.
The Nintendo GameCube uses a proprietary storage medium, the Nintendo GameCube Game Disc, based on Matshusita's optical-disc technology; the discs are approximately 3 1/8 inches) in diameter (considerably smaller than the CD's or DVD's used in competitors' consoles), and have a capacity of approximately 1.5 gigabytes.
It seemed that the GameCube was very much aimed at a younger audience. With the Playstation 2 having a strangle hold on the mainstream gaming community and the X-box aiming at an older -- shall we say more mature -- audience. The GameCube seemed to be filling a gap in the market with its toy-like looks and large controller appealing to a younger generation.
Despite this the GameCube is actually of a slightly more technical advancement than the PS2 and almost as powerful as the X-box. The main problem the GameCube suffered was due to its inability to play DVD's/CD's. As mentioned above, the GameCube uses much smaller discs as this was thought to help curb piracy but inevitable led to the console buying public viewing it as a draw back. On the other hand, its largest draw though could be said to be the many popular titles such as Mario Sunshine, Zelda the Wind Waker and Donkey Konga. These were all multi-player games and allowed for family fun.
BMW ... (Referenced by Artuto as the kind of car the PCHers typically go after.)
BMW (an acronym for Bayerische Moteren Werke Bavarian Motor Works) is German company that manufactures automobiles and motorcycles. The companys tagline in English is "The Ultimate Driving Machine."
Mario Kart / Daisy / Peach ... (Referenced by the video game Logan and Heather were playing.)
Super Mario Kart was the original Mario Kart game released back in the yesteryear of 1992 (I may add here than many an hour was wasted by myself and Mr. Shiny on this game). The game play mainly consisted of players racing go-karts and trying to obtain random items by driving through (or over in Super Mario Kart) question mark blocks, which could be used for either defense, offense or by powering up the engine for a short amount of time (boost). Each Mario Kart game hosts several gameplay modes, which could be played in both single player and multi player.
Mario Kart: Double Dash!! is the game that Logan and Heather were playing in the actual episode. It was designed specifically for the GameCube and is the fourth game in the Mario Kart series. The gameplay is much the same as the original but it does require that a kart has two racers. In addition, extra characters have been included and in addition to all this, its major draw is that it allows LAN play using the GameCube broadband adapter. Up to four GameCubes can be connected, allowing for sixteen player multi-player games (two players controlling each kart). So Logan & Heather can definitely keep their weekly game meetings ;)
It had a variety of characters that had originally appeared in the Mario series of games and they were Mario, Luigi, Princess Peach, Toad, Yoshi (my personal favorite), Donkey Kong Jr, Koopa Troopa and Bowser. The two characters mentioned specifically by Logan are Daisy and Peach.
Princess Daisy a.k.a. Daisy and Princess Peach a.k.a. Princess Toadstool a.k.a. Peach.
Princess Daisy is a character in the Mario series of games. She first appeared in Super Mario Land for the Game Boy back in 1989. She is the Princess of the Kingdom of Sarasaland a neighboring nation to the Mushroom Kingdom.. It is from here that she is kidnapped by the alien Tatanga. She is rescued by Mario.
There seemed to be some kind of romantic interest between the two but this could be attributed to the fact that she was often mistaken for Princess Peach whom Mario had rescued in previous games. After her initial debut Daisy was not seen again for ten years and reappeared in the game Mario Tennis. It is in this game that confirmation was given that Princess Daisy and Peach are indeed separate characters.
Her debut in the Mario Kart series of games came in Mario Kart: Double Dash!! where she was partnered up with Princess Peach. Daisy even has the honor of having her own track in the game the "Daisy Cruiser." She is a good light-weight character that has strong acceleration and top speed, great drifting and item using, but low handling. Daisy is considered to be witty and energetic and one of the only characters that uses slang. She is considered to be tomboyish although -- as her name suggests -- her special powers are based on flowers and daisies.
The other character referenced is Peach (or to give her her full title: Princess Peach, also know as Princess Toadstool). Like Princess Daisy, Princess Peach is a character in the Mario series of games. She first appeared in Super Mario Bros back in late 1985. She is the Princess of the Mushroom Kingdom where a great percent of the Mario games are set.
Peach lives in the Mushroom Kingdom with her mother and father (King & Queen Toadstool). She lives a solitary life in her palace being kept under the protection of Toad guards. This is due to the fact that only Peach can undo the evil magic cast upon her kingdom by Bowser. It is because of this reason that she is kidnapped by Bowser and eventually rescued by Mario.
She as appeared in nearly all the Mario games and is the first female character to have been given her own game as the main character "Super Princess Peach," released in 2006. In the Mario Kart series, she is among the lightest characters with the fastest acceleration, the lowest top speed, and the best off-road ability to take the shortcuts on each course. Character wise she is said to be very kind, well-mannered, and a noble person. It is also said that she possesses a pure heart and a pure voice and likes to help out whenever possible.
Shangri La ... (Referenced by Logan when Heather says how great Neptune is.)
A fictional place described in the 1933 novel Lost Horizon by British author James Hilton, Shangri-La is a mystical, harmonious valley at the western end of the Kunlun Mountains. The term has become synonymous with any earthly paradise in general. However, for some in particular, it is a mythical Himalayan utopia, where all inhabitants are happy and at peace, completely cut off from the outside world. Shangri-La is based on the concept of Shambhala - a mystical city in the Tibetan Buddhist tradition.
Sometimes used as an analogy for a life-long quest, something that has long been obsessively sought, Shangri-La is similar to other metaphors of perfection, true happiness, or Utopian ideals which include the Garden of Eden, El Dorado, The Holy Grail, and The Fountain of Youth. Simply put, it is representative of a perfect earthly paradise that exists, but will forever be hidden from humanity.
Zipz Ice Cream ... (Referenced by Heather as the best ice cream ever.)
Sunny California! It has everything a person may want, including ice cream. What it doesn't appear to have is Zipz Ice Cream.
Right place, wrong town.
Founded in Chicago, IL, and Marlboro, NJ, Zipz is a full service Dessert Center that offers a wide variety of hard and soft serve ice cream, custom decorated cakes and other specialties that include malts and shakes, sundaes and Italian Ice. Relaxing atmosphere and something called Topping Central with twenty available toppings -- what can be more fun? (Well, Logan has a better suggestion, but all in due time).
One of the fun specialties is Zookie Pop -- a low fat snack with three available toppings: butterscotch, caramel, and chocolate. Not sure what it actually is, but it looks interesting enough to brave trying one.
The place also specializes in making birthday cakes decorated with your favorite characters: Barbie, Bob the Builder, Dora the Explorer, Elmo, Justice League, Looney Tunes, Mickey Mouse, Snow White, Cinderella, Sleeping Beauty, Pokemon, Rugrats, Shrek and many more. I'm certain for the right price they'd make you that one with the Dude on it. You can stick candles into his nostrils.
Even though a single California location couldn't be tracked down, I have no doubt Zipz would be very successful in So Cal. It offers almost all of its products as fat-free and sugar-free options.
Amy's Ice Cream ... (Referenced by Logan as the best ice cream ever.)
Another place conspicuously absent from anywhere near the fictional town of Neptune, but famous nonetheless, is Amy's Ice Cream -- an Austin-based and privately-owned chain of ice cream shops in Central Texas. We will, however, forgive Rob Thomas for this little geographical lie. Apparently Amy's is so good, it ought to be in California! And in all the remaining states, too.
Amy's Ice Cream was started by Amy (naturally) Miller in 1985. A pre-med student at Tufts University, she worked for Steve's Ice Cream until it was bought out by a big bad corporation. Deciding that running an ice-cream parlor named after herself would undoubtedly be much more fun than dissecting cadavers, Amy -- and her business partner Scott Shaw -- promptly wrote a hot check for the lease of a store in Austin, and Amy's was born. I am assuming the hot check cooled off at some point and was covered, because the one shop has since grown into a robust and popular chain of twelve locations.
Amy's offers over two hundred flavors of ice cream and fruit ices (a non-dairy alternative not unlike sherbet). It should be noted that only a limited portion of those three hundred is offered at any given location at any given time. The standards include Sweet Cream, Just Vanilla, Mexican Vanilla (it's spicier, I presume), Coffee, White Chocolate, Belgian Chocolate and Dark Chocolate. Mexican Vanilla seems to be the most popular.
The chain offers three sizes of ice cream: Tiny (4 ounces), Small (6 ounces) and Large (8 ounces). And may I take this opportunity to commendd them for the portion control. Of course they do encourage you to get the Small or the Large ones by offering with it mixed in "Crush'ns" -- almonds, walnuts, pecans, mixed nuts, oatmeal cookies, chocolate chip cookies, Oreos, Cameos, Nutter Butters, Reeses Cups, Butterfingers, Kit Kats, M&Ms (both plain and peanut), health bars (because it's so effective with the Large ice cream, no doubt), chocolate chips, fresh strawberries, bananas, Whoppers, Junior Mints, Twix, cookie dough, granola, raisins, coconut, Grape Nuts, marshmallows, Snickers, graham crackers, ginger snaps, hot fudge, butterscotch, pecan praline, gourmet chocolate sprinklers or a variety of other items. Man, you'd need two hundred flavors just to fit all those "Crush'ns" in! Oh, and if you do insist on a Tiny size (good for you!), you can get some "Crush'ns" sprinkled on top.
Other products include smoothies, malts, shakes, and other treats that are all made from the rich fourteen percent butterfat ice cream.
Amy's has a very interesting employee selection process. The chain likes to create unique and fun atmosphere and service. The job application is a white paper bag and the prospective employee is told to be creative. Only requirements are the name and the contact information somewhere on the bag. The bags have been returned decorated, with stories written on them and videos placed inside. Many Amy's "scoopers" do tricks like throwing ice cream off the spade behind their backs, under the leg, etc.
On Amy's website the description of the creative way employees operate is put thus: "Fun, fun, fun 'til your daddy takes the T-bird away!" I have to say that after reading that, I understood why Logan feels such affinity for this particular brand.
San Diego ... (Referenced by Mason's alibi, the city where his girlfriend lives.)
It is believed that the first humans settled in the San Diego area some 20,000 years ago, along the coast, and 12,000 ago in the desert area, but it was in 1542 that Portuguese explorer Juan Rodriguez Cabrillo sailed from Mexico into the Bay and claimed the area for Spain, naming it San Miguel. At the time, there were 20-30,000 of the Kumeyaay tribe living there. In 1602, explorer Sebastian Vizcaino arrived on his ship, San Diego, and named the area for the Spanish Catholic saint, San Diego de Alcal. Then, in 1769, the first of a chain of twenty-one missions along the California coast was founded by Father Junipero Serra and the California Governor Gaspar de Portola. It was built on Presidio Hill and named Mission San Diego de Alcal. The first colonists arrived in 1774 and San Diego came under Mexican rule in 1821 when Mexico won its independence from Spain. Then, in 1848, a treaty ending the war between the U.S. and Mexico set the official international border and declared San Diego an American city. Two years later, San Diego County was created and the City of San Diego was incorporated.
Today, with a population of around 1.25 million, San Diego is the second largest city in California and the seventh largest in the nation. According to the San Diego city website, more than 96 percent of the residents are employed, with a median family income of a