VERITAS:  THE QUEST
1X04:  THE HEIST
ORIGINAL AIR DATE ON ABC:  03/10/2003
TRANSCRIBED FROM ABC

Written by:  RICK KELLARD
Directed by:  RICK KOLBE

Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html

Please do not archive this transcript without permission from the 
Transcriptionist

RATING:  TV-PG-SV
HDTV
==========================
DISCLAIMER:  
==========================
"VERITAS:  THE QUEST" and other related entities are owned, (TM) and (c) by 
Massett/Zinman Productions, Storyline Entertainment, and Touchstone Television.  
All Rights Reserved.  This transcript was made without their permission, 
approval, authorization or endorsement.  Any reproduction, duplication or 
distribution of this material in any form is expressly prohibited.  It is 
absolutely forbidden to use it for commercial gain. 

CONDITION OF USE:  (1)  Do not alter the content of this file.  (2)  Leave the 
headers/disclaimers in tact because it lists all those who have made this 
transcript possible for your enjoyment.  (3) Provide a link back to the site 
where this file originated:  http://www.webphilia.com/~anthology/wnp.html

Contact the Transcriptionist at (intrepidly002@yahoo.com)
==========================
SUMMARY:  In their search to reclaim the Sphere of Archimedes, Juliet goes 
undercover to infiltrate the fortress of a wealthy art collector.
==========================
VERITAS:  THE QUEST
1X04:  HEIST
==========================



FADE IN

NARRATOR(CYNTHIA MARTELLS):  Previously on Veritas: The Quest:

[Scenes from 1X01: Reunion]

(In the hotel room, JULIET DROIL sits down and crosses her legs.)

SOLOMON:  I'd like to meet your tutor.  This is Juliet Droil.



(Cut to:  In the dance club in Paris, NIKKO asks JULIET to dance.  She shakes 
her head.)

NIKKO:  Are we gonna dance?

JULIET:  I'm your teacher, Nikko.  We don't dance.



(Cut to:  In the jet, NIKKO asks VINCENT over the chess board.)

NIKKO:  Look, who's after my father?

VINCENT:  Ahh. Good question.



(Cut to:  At the Truth Foundation, SOLOMON asks CALVIN.)

SOLOMON:  I wanna know why Dorna is so worried about us figuring it out.  What 
do they know?  What're they hiding?



[Scene from 1X02: Antarctica]

(Cut to:  In Antarctica, the Veritas team finds the Incan pyramid in the 
underground cavern.))

TOLLAN:  (v.o.)  Secrets.



(Cut to:  At the Dept of Energy in Marshall Franklin's office, MARSHALL gets an 
unexpected visit from TOLLAN.)

MARSHALL FRANKLIN:  What kind of a secret?

TOLLAN:  The kind that kind that belong to us.  

[Quote From 1X01: Reunion]

SOLOMON:  It's about knowledge and power.  

(Various scenes over SOLOMON'S voice over:  

(Cut to:  [Scene from 1X02: Antarctica] The pyramid)
(Cut to:  [Scene from 1X01: Reunion] The metal circular piece with the symbol 
"vessel" in it.)
(Cut to:  [Scene from 1X02: Antarctica]  MAGGIE and SOLOMON look over the map of 
Antarctica.)
(Cut to:  The small aircraft crashing in the snow.)

SOLOMON:  (v.o.)  Pieces of the puzzle that I think will lead us to sudden truth 
about us.  

(Cut to:  Calvin hanging in the crevasse by his netting.)
(Cut to:  The strong light coming from the incan pyramid after the top layer had 
been moved.)

SOLOMON:  Whatever that truth is ... it'll change everything.

(Various scenes of the Veritas Team members:  JULIET, CALVIN, VINCENT, NIKKO, 
and finally, MAGGIE and SOLOMON.)

SOLOMON:  The only thing that we need to do is just keep asking the questions.

([Scene from 1X02: Antarctica]  In the study after they've lost the pyramid, 
NIKKO talks with SOLOMON.)

NIKKO:  We?

SOLOMON:  Well, yeah.

(SOLOMON turns to NIKKO who is sitting next to him behind his desk.)

SOLOMON:  Are you ready?

NIKKO:  (eager)  I'm ready.

(NIKKO and his dad look at each other and smile.)

NIKKO:  (v.o.)  All right.  Let's bring on the flood.

FADE TO BLACK.
END OF PREVIOUSLY ON:



FADE IN.

[EXT. VARIOUS MOROCCO SCENERY (STOCK) -- DAY]

LEGEND:  MOROCCO



[INT. TENT -- DAY]  

(Inside the tent, NIKKO, CALVIN and VINCENT watch over the cable that descends 
into the hole in the ground.  It holds SOLOMON suspended inside the cavern below 
as the winch slowly lets him down.)

NIKKO:  (to radio)  All right dad, can you hear me?

INTERCUT WITH:

[INSIDE THE CAVERN BELOW]

SOLOMON:  Loud and clear.

(SOLOMON is inside the hole and making his way down.)

SOLOMON:  Keep it coming, nice and easy.

(SOLOMON is crawling head first into the small opening.)

CALVIN:  You're at a hundred feet.  You should see an opening.

SOLOMON: It's just ahead.  Keep coming.

CALVIN:  All right Dr. Zond, you should be right over the altar, now.

(SOLOMON sticks his head into the opening and sees a room below him.  In the 
middle of the room is a stone pedestal on which sits a round, sphere-shaped 
object.)

SOLOMON:  I see it.

(SOLOMON enters the room through the hole in the ceiling suspended by the cable.  
He maneuvers his way over to the object on the pedestal.)

SOLOMON:  Stop.

NIKKO:  (to VINCENT)  Okay, stop.

(VINCENT stops the machine feeding SOLOMON more rope.)

(Inside the small room, SOLOMON examines the sphere.)

SOLOMON:  All the markings conform.  

(VINCENT nods; NIKKO smiles.)

SOLOMON:  (over radio)  It's what we came for.

SOLOMON:  The Sphere of Archimedes.  This is it.  (over radio)  I think I can 
reach it.

CALVIN:  Great, but don't.  The whole place is booby trapped.  Can't touch the 
alters.  Use the gloves to pick up the sphere.

(SOLOMON reaches into his pocket and puts on some special gloves.)

SOLOMON:  Switch on the magnetic field.

(VINCENT turns on the magnetic field and the Sphere rises up off of the pedestal 
and to his gloved hands.)

SOLOMON:  Take me up.

(They turn on the machine up above and it slowly pulls SOLOMON up by the cable.  
SOLOMON maneuvers himself back up through the hole in the ceiling and carefully 
guides himself up the passageway.)

(Just as he leaves, his foot catches on to the side of the hole jarring loose a 
brick stone that crashes to the ground beneath.)

SOLOMON:  Oh no!  

(Immediately, spikes in the ceiling passageway appear out from the stone sides.  
One spike, out of many, grazes off the heel of his shoe.  SOLOMON gasps.)

SOLOMON:  Ohh.

NIKKO:  Dad, are you okay?!

(And another spike cuts the cable completely.  SOLOMON falls down into the small 
room, nearly dropping the Sphere into the pit surrounding the altar.)

SOLOMON:  Agh.

(NIKKO pulls up the frayed cable.)

VINCENT:  Solomon! Talk to me.

(SOLOMON gets to his feet.)

NIKKO:  Dad, are you okay?!

(He looks down and around the small room.)

SOLOMON:  We lost the cable ...

(Then, he looks up and sees the spikes in the wall forming something that he can 
definitely climb.)

SOLOMON:  ... But I think we picked up a ladder.  I'm coming up.

SHORT TIME CUT TO:



[INT. TENT -- DAY]  

(With the Sphere on the table, they take digital pictures of the relic.  SOLOMON 
opens HALEY'S journal and compares the Sphere to her drawings.  He shows it to 
VINCENT.)

SOLOMON:  It looks identical.

(Gunshots are fired into the tent.  SOLOMON drops the journal and ducks.  
VINCENT ducks as the bullets whizz by them.)

(They turn and find several men standing in the entrance holding guns on them.)

LEAD MAN:  [Speaks Urdu]

(SOLOMON listens to him talk loudly.)

SOLOMON:  (interprets)  He wants the sphere.

LEAD MAN:  [Speaks Urdu]

(Everyone freezes with their hands up as they weigh their options.)

VINCENT:  I have a shotgun ... (beat) ... in the truck.

(Despite their precarious situation, SOLOMON laughs.)

NIKKO:  (chimes in)  Yeah, I got a swiss army knife.

(CALVIN can't help but laugh at that.  SOLOMON, too.)

SOLOMON:  Lets have a meeting about security when we get back, all right?

(SOLOMON looks at the leader and speaks.)

SOLOMON:  [Speaking urdu] and motions to the Sphere.

(VINCENT turns to look at SOLOMON with wonder.)

VINCENT:  You speak Urdu?

SOLOMON:  (to VINCENT)  Yeah, doesn't everybody?  (to the man with the gun)  
It's all yours.

HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)



FADE IN.

[EXT. TRUTH FOUNDATION - DAY]

SOLOMON:  (v.o.)  I had it right in my hands.  The symbol on the Sphere matched 
the one in Haley's journal exactly.



[INT. TRUTH FOUNDATION - HALLWAY -- DAY]

(SOLOMON walks through the hallway with MAGGIE; VINCENT and NIKKO follow close 
behind them.)

SOLOMON:  It's an iconic representation of the year 2012.  Most of the ancient 
cultures have some sort of great cycle mythology.

(They walk into the main office.)

NIKKO:  "Great cycle"?

SOLOMON:  Of time and life, a creation, a destruction, a new beginning.

NIKKO:  Huh, "Hakuna Matata".

(SOLOMON turns around and motions to VINCENT.)

SOLOMON:  (to VINCENT)  I can't reach him from here, could you please?  Thank 
you.

(VINCENT reaches out and slaps NIKKO over the back of his head with his hand.)

NIKKO:  (smiles)  Hey.

SOLOMON:  (continues)  They all predict a monumental and sudden change coming 
for the world.

(SOLOMON takes out a magnifying glass and uses it to examine the markings on a 
tablet set up on the side table.  CALVIN stands behind the tablet eating out of 
a chinese container.)

CALVIN:  Oh, well if it's doomsday, I'm going to start running up my credit 
cards.

(NIKKO leans in close next to his father to look at the tablet, too.)

NIKKO:  Why does everybody want this thing?  I mean, what do they think it does?

SOLOMON:  This tablet comes from a dig six thousand miles from where we found 
the sphere.  It tells the story of a cataclysmic earthquake that occurred in 
Shansi, China in 1556.  It killed 830,000 people.

NIKKO:  And the Sphere did that?

SOLOMON:  No.  You see this group of people right here.

(SOLOMON holds the magnifying glass over a symbol of four people holding on to 
what looks like a sphere.)

SOLOMON:  They're separated from the chaos that surrounds them.  They were 
saved.  Look, they're holding onto a sphere.  This relief predates that 
earthquake in China by two thousand years.  The Sphere didn't cause it.  It 
foretold it.  What if this Sphere could predict the end of the next cycle, the 
final outcome for mankind?  

VINCENT:  The symbol for 2012 didn't get there by accident.

SOLOMON:  Exactly.  What if it could give us the technology we need to survive?

CALVIN:  You know that kind of power is scary.

VINCENT:  Depends who holds it.

(The fax machine whirls and a paper with a photo on it feeds out.  MAGGIE looks 
at it.)

MAGGIE:  Here's your friend.  Ishaq Jirrah.  

(She turns around.)

MAGGIE:  Warlord.  His tribe helped U.S. Forces in Jalalabad.

(She hands the fax sheet to SOLOMON.)

VINCENT:  Jirrah's an errand boy.  He didn't do this alone.

(VINCENT turns around and walks toward the monitor.  MAGGIE follows.)

MAGGIE:  Which brings us to his patron.

VINCENT:  Ali Hassan Rif.  Or just plain "R" to his fellow billionaires.  

SOLOMON:  Rif's an arms dealer.  And our warlord needs guns.  He chases a lot of 
the same things we do.  There is no bigger private collector around.

(SOLOMON goes to stand next to CALVIN who sits behind the desk and works on the 
computer.)

SOLOMON:  And with his kind of influence, he gets them declared national 
treasures, bringing them under the protection of the military.

NIKKO:  This guy owns his country?  I've never heard of him.

MAGGIE:  Dahar, a small protectorate of Kazakhstan.

VINCENT:  He's a dangerous man with powerful friends.

CALVIN:  So crome dome here, he's got the Sphere.  But does that mean that he 
knows how to use it.

SOLOMON: All I know is we have try and get it back. 

VINCENT:  (pointedly)  If we know where it is, others will too.

SOLOMON:  (quietly)  Then let's be there first.

(SOLOMON heads out of the room and into the library.  VINCENT follows him.  The 
two men enter the library and close the door for a private conversation.)

[LIBRARY -- CONTINUOUS]

VINCENT:  All right, let's assume for a moment a miracle happens and we do 
recover the Sphere.

SOLOMON:  Rif could still shut down the borders. 

VINCENT:  Exactly.  We'll have the same chance of getting out as a goat in a 
pack of jackals.

SOLOMON:  Well, I'm betting on you to think of something.

VINCENT:  I think you're skipping a beat.  We're not commandos.  We're not 
thieves.  This isn't what we do.

SOLOMON:  We do what we need to do.

VINCENT:  A mission like this takes time you know that better than anyone else.  
Solomon, I've always had your back, but I wouldn't be doing my job if I didn't 
tell you, you're putting this team at great risk.

(SOLOMON takes a long moment to think about it.)

SOLOMON:  If the Sphere does hold the key to some "end of day" scenario, then I 
want to make sure it's protected by the right people.

VINCENT:  I couldn't agree with you more, but you have to ask yourself, are you 
... we - doing it the right way?

SOLOMON:  I ask myself that every day.  Listen, we go tomorrow.  If you still 
have doubts in the morning, don't get on the plane.

VINCENT:  (nods)  I'll sleep on it.

(VINCENT turns and leaves the room.)

CUT TO:



[EXT. PARK -- DAY]

(VINCENT walks through the park with COSTA and his bodyguard.)

COSTA:  It's not hard to believe that you were once part of Dorna.  But it is 
hard to believe that you now want to come back.

VINCENT:  All I ask is that you give my message to Tollan.

COSTA:  It was a messy exit, Vincent.  We haven't forgotten.  We buried two 
associates.  And then when aligned yourself with Solomon Zond - a real slap in 
the face.

VINCENT:  Breaking up is hard to do.

COSTA:  What's changed?  Why this meeting?

VINCENT:  The world isn't ready to handle the technology of the ancient ones.  
Our civilization is in chaos.  I still have my issues with Dorna, but I've come 
to realize that it's best to work within a system that has existed for thousands 
of years than with an impatient treasure hunter who's lost his perspective.

COSTA:  Forgiving the prodigal son is a nice bible story, Vincent.

(Cut to:  NIKKO reaches out and pays the vendor for his hot dog.)

NIKKO:  Thank you.

(He takes a bite, turns around ... and freezes.  Across the park, he sees 
VINCENT with COSTA.  Suspecting the worst, NIKKO takes a step to follow.)

VINCENT:  I'm prepared to buy my way back in.

COSTA:  Money's for little people.

VINCENT:  What about the sphere of Archimedes?

COSTA:  The Sphere of Archimedes?  What do you need?

VINCENT:  Seventy-two hours.  I deliver the Sphere.  I'm back in.  Tell Tollan.

(VINCENT turns around and walks away.)

CUT TO:



[EXT. VARIOUS CITY CLIPS (STOCK) -- DAY]  

(NIKKO sits on the front steps of the building and eats while a group of young 
men dance to the beat of rap music in front of him.  VINCENT slowly makes his 
way down the sidewalk directly in NIKKO'S path.)

(NIKKO looks up.)

NIKKO:  Whaddup dog?  

(VINCENT starts, then sees that it's NIKKO.)

NIKKO:  You enjoying this beautiful day?

VINCENT:  Yeah. I went for a walk.  Good for the soul.

NIKKO:  Yeah.  I saw you in the park over there.  Those friends of yours?

VINCENT:  They were lost.  Needed directions.  What are you eating?

NIKKO:  Dinner.

VINCENT:  Mocha, orange, peppermint swirl.

NIKKO:  Preparing for our mission.  Who knows when I'll see ice cream again?

VINCENT:  At two in the morning, when your blood sugar has you bouncing off the 
walls and you're looking for someone to rap with, you will avoid my door.  
That's whaddup dog.

NIKKO:  Yeah I guess so.

CUT TO:



[EXT. JET (MOVING) - DAY]



[INT. JET (MOVING) -- DAY]  

(JULIET opens the cabin door and walks into the area where SOLOMON is working.)

JULIET:  Problem of the day.  

(She walks across the room and kneels next to SOLOMON'S seat.)

JULIET:  How do I get to a man who is surrounded by a security force trained by 
the S.A.S.?

SOLOMON:  I'm working on it.

JULIET:  See I woke up this morning thinking about my great aunt.  She buried 
seven husbands, all of them loaded.  She had a plan.

(JULIET stands and walks around as she talks.)

SOLOMON:  (amused)  Yeah, obviously.

JULIET:  (explains)  See every man has an Achilles' heel.  A tendency.  
Tendencies expose weakness.  Weakness makes you predictable.

(He looks at her realizing that she has a point.)

SOLOMON:  You found a weakness?

JULIET:  (correcting)  A tendency.

(JULIET hands SOLOMON the photographs.  He glances through them and hands them 
back at her.)

SOLOMON:  No, I've already looked at these.

(She pushes the photos toward him again.)

JULIET:  Look harder.

SOLOMON:  Okay ... 

(He sighs.  JULIET puts on her glasses.)

SOLOMON:  Well, he likes publicity ... obviously he's got a thing for the 
ladies.

JULIET:  (interrupting)  Good evening.  This is Juliet Droil, reporting from 
Dahar.  

(SOLOMON stares at JULIET, then smiles.)

JULIET:  C'mon Dr. Zond, I do an interview.  I take some pictures.  I get out, 
and we're in.

(SOLOMON thinks about it for a moment, then caves.)

SOLOMON:  I want to meet your aunt.

CUT TO:



[EXT. JET (MOVING) - DAY]



[EXT. DAHAR - MARKETPLACE - DAY]

LEGEND:  DAHAR

(NIKKO and VINCENT walk through the marketplace, their sights set on ALI HASSAN 
RIF on the other side of the aisle parallel to them.  As they watch, he warmly 
hugs an old woman in welcome.)  

(SOLOMON rushes to the side, glancing behind him.  He makes his way toward 
JULIET.)

SOLOMON:  (to JULIET)  It's show time.

JULIET:  (nervous)  Am I breathing?  I don't think I'm breathing.

SOLOMON:  You're fine.  You're better than you think you are.  Trust me you can 
do this.

JULIET:  But I have a tendency to faint when I'm nervous.

(SOLOMON looks at her as he leads her out to the marketplace.)

SOLOMON:  That would have been valuable information eight hours ago.

(CALVIN puts the camera over his shoulder.)

CALVIN:  (helpfully)  Yeah, faint backwards.  Save the nose.

(SOLOMON steps aside and JULIET takes over.  She heads for ALI HASSAN RIF.)

JULIET:  Excuse me sir. CNN here ... just a few ...

(ALI HASSAN RIF turns around as his bodyguards get in JULIET'S way.  They block 
the camera view and do their jobs.)

(Off to the side, VINCENT and NIKKO watch.)

JULIET:  Just a few moments, please ... of your time.

(RIF turns around and sees JULIET.  He motions for his guards to bring her to 
him.)

ALI HASSAN RIF:  You're an American?  (she nods)  In your country if you tried 
this with Sean Penn, you might walk away with a black eye.  Over here, if you 
try it with me, you get killed.

JULIET:  Hey we came here to get the real story on you.  We came to the source.  
If you're satisfied with the way you've been depicted by the western media, then 
fine, that's the story we'll broadcast.

(RIF gets in to his car and closes the door.  His guards pile into the back of 
their truck and take off in front of him.)

(Behind them, SOLOMON sighs.  Everyone doesn't move as they continue to watch.  
JULIET stands there, watching and waiting.  CALVIN'S camera continues to record 
the proceedings.)

(Suddenly the car stops and a hand reaches out of the window.  He motions for 
JULIET to step closer.  She does.)

(She leans in to the open window.)

ALI HASSAN RIF:  Do you have a name?

JULIET:  Juliet Moore.

ALI HASSAN RIF:  Juliet Moore.  That sounds promising.  Be at my house tonight.  
I'll expect you at eight.

(She turns around and smiles.  The car drives off.  VINCENT and NIKKO step 
forward toward her.)

CUT TO:



[INT. HIDEOUT -- DAY]  

(Camera close up of a pencil.  CALVIN explains the device to JULIET.)

CALVIN:  Pencil camera.  One twist of the cap and you're live. 

(The door opens; NIKKO and VINCENT walk in carrying cases of equipment.  CALVIN 
drones on.)

CALVIN:  The cap is percentage surface mirror with a high ratio of transmission 
to reflection.  It's see-through, basically.  Just point and shoot.

(NIKKO puts down the case and moves to pick up another, his backside appearing 
on the monitor.  SOLOMON puts down his case and moves to look at the camera 
monitor.)

(JULIET looks up and sees SOLOMON watching the monitor.  He turns to look at 
her.)

JULIET:  Oops!

SOLOMON:  Get as much visual on the sphere as you can then wind up the 
interview.  Not too fast, but don't linger.  You ready?

JULIET:  Shouldn't I have a gun or something, just in case?

SOLOMON:  Juliet, you're a journalist now.  The pencil is mightier than the 
sword.  And the pencil can get through a metal detector.

(JULIET looks up at SOLOMON.)

CUT TO:



[INT. ALI HASSAN RIF'S RESIDENCE -- NIGHT]

(JULIET and CALVIN are escorted into the house.  They are met up by RIF'S 
SERVANT.)

SERVANT:  Salam.  It is our custom that all travelers to this house are offered 
an opportunity to bathe and to refresh themselves after their journey.

JULIET:  (shakes her head)  That's okay.  We didn't come that far.

SERVANT:  Ignoring the custom dishonors your host.  Please.

(JULIET and CALVIN follow the SERVANT down the hallway into the house.  CALVIN 
takes special note of the security cameras stationed high in the hallway 
corners.  JULIET points the tip of her pencil cam at the camera.  CALVIN notices 
the move.)

(A second servant appears in the hallway to take CALVIN to his bath.)

SERVANT:  You go with her.

JULIET:  (alarmed)  Wait! Where is he going?  No I said that I wanted him with 
me ...

(The SERVANT leads JULIET down the hallway in the opposite direction despite her 
protests.)

CUT TO:



[EXT. ALI HASSAN RIF'S RESIDENCE -- POOL -- NIGHT]  

(JULIET is swimming laps around the secluded pool.  She reaches near the edge of 
the pool to find RIF and his body guard standing there.  He kneels down next to 
the pool with a towel in his arms.)

ALI HASSAN RIF:  I hope the water's not too hot.  I have it kept at ninety-five.  
I never did get used to that smack of cold when you first dive in.  Listen, we 
have problem.

JULIET:  Problem?

ALI HASSAN RIF:  My security staff did some checking and apparently you're not 
who you say you are.

(JULIET doesn't say anything.  RIF stands up.)

ALI HASSAN RIF:  Now, what about that?

(The bodyguard behind RIF cocks his gun.)

(Camera holds on JULIET.)

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

[EXT. ALI HASSAN RIF'S RESIDENCE - POOL -- NIGHT]  

(JULIET stares up at ALI HASSAN RIF and explains.)

JULIET:  Okay, I'm not with CNN news.  I'm sorry I misrepresented myself.   But 
you wouldn't have given me the time of day if I'd told you who I really was.

ALI HASSAN RIF:  Is that how you think you got in here?  The awesome power of 
cable news?

JULIET:  I'm just a stringer.  I couldn't get near the big stories in the middle 
east.  But I do have a verbal agreement from their London Bureau that they'll 
take my next major interview.  I told them I had a commitment from you.

ALI HASSAN RIF:  Oh, you told Anthony Lewellyn that you had me and he bought it?

(JULIET pauses for a moment, then realizes that this is just another test.)

JULIET:  (smoothly)  I told Bridget Kinney.  Mr. Lewellyn was fired eight months 
ago.  

(RIF doesn't say anything.  He holds out the towel for her having no intention 
of leaving.  JULIET steps out of the pool and walks in front of him.  Before he 
even hands her the towel, he boldly glances down at her.  He wraps the towel 
around her.)

JULIET:  Shall we get started?

CUT TO:



[INT. HIDEOUT - NIGHT -- CONTINUOUS]  

(SOLOMON paces the warehouse floor while MAGGIE sits behind the computer.  They 
wait for the transmission.)

MAGGIE:  Right, we're transmitting.  

(SOLOMON rushes over to stand behind MAGGIE to watch the monitor over her 
shoulder.)

MAGGIE:  Okay. Here we go.

[MONITOR POV]

(ALI HASSAN RIF opens a door and they walk into the room.)

JULIET:  (from monitor)  So you have houses all over the world, that must be 
fun.   Which one is your favorite?

ALI HASSAN RIF:  (from monitor)  This one.  It has all my treasures, the art, 
the antiquities.

INTERCUT WITH:

[RIF'S RESIDENCE]

(JULIET follows RIF and conducts the interview while CALVIN follows behind 
them.)

JULIET: Does it ever bother you that all this exquisite art and the palace that 
houses it was purchased with funds derived from the selling of weapons of war?

(SOLOMON sighs and lowers his head.)

SOLOMON:  What's she doing?

(Instead of being offended, RIF takes a step closer to JULIET and answers the 
question.)

ALI HASSAN RIF:  I grew up in a world where they're not considered weapons of 
war.  They are essentials for survival.  Like water or food.  

MAGGIE:  You know, I think she got to him.

ALI HASSAN RIF:  I'm providing what is needed to protect freedom while mankind 
struggles to civilize itself.

NIKKO:  Oh, bite me.

JULIET:  (from monitor)  Sounds like a stock answer.

SOLOMON:  Don't push too hard.

(They move into another room.)

ALI HASSAN RIF:  One of the things I like to do, because I've been fortunate, is 
protect the art knowledge of the ancient world for future generations.

(They walk into the room and pass by a relic displayed on a pedestal.)

JULIET:  (from monitor)  This is Olmec.  Amazing.

(NIKKO hears the slip and reacts.  He glances up at SOLOMON.)

(JULIET leans in to look at the piece.)

ALI HASSAN RIF:  Oh, you're a student of archaeology?  

(JULIET draws in a breath realizing her slip.)

SOLOMON:  (answers to the monitor)  Say 'yes' ...

JULIET:  No.  

(SOLOMON throws up his hands in frustration.)

JULIET:  (from monitor)  I spent a lot of time in Mexico, covering women's 
soccer.  The mariachis were great.  The tequila was fantastic.  The paycheck 
sucked.

ALI HASSAN RIF:  (laughs)  Women's soccer?

JULIET:  Yeah.

(RIF signals to the guard who turns and unlocks another door.  He opens the 
door.)

ALI HASSAN RIF:  (to CALVIN)  There are no cameras in there.

JULIET:  Oh well, I was hoping he could ...

(CALVIN reassures her and puts the camera down on the chair as RIF and JULIET 
walk into the room.)

CALVIN: No, it's cool - I'll be right here.  Fine.

(JULIET nods, then follows RIF.)

(Back at the Warehouse/Hideout, the group analyze the surroundings.)

VINCENT:  The doors.  We'll need to pick those locks?

MAGGIE:  They're probably wired.  I'll blow up the image to gets the specs.

(With her pencil and pad out, JULIET walks into the room and the guard closes 
the door behind them.  She immediately begins to point the pencil at the area 
around them.)

JULIET:  This is an incredible space.  (from monitor)  This orb must be a very 
important piece to merit it's own room.

(The Sphere appears on the monitor.)

(RIF and JULIET walk around the Sphere.)

ALI HASSAN RIF:  The Sphere of Archimedes.  It's become the centerpiece of my 
collection.   Thousands of years old, still in perfect condition.

(JULIET reaches out a hand to touch the orb.)

ALI HASSAN RIF:  Don't touch it!  

(He pulls her away from the orb.)

ALI HASSAN RIF:  Not yet.  You'll be incinerated.  Copper is the best low-cost 
conductor of electricity and right now - it's full of current. 

(RIF takes out a coin and tosses it into the security field around the Sphere.  
The coin disintegrates.)

NIKKO:  Holy!

SOLOMON:  That's a problem.

(RIF steps up to the security pad along side the wall.  JULIET remains a 
respectable distance and lifts her pencil to get the security code on camera.  
The security pad beeps.)

ALI HASSAN RIF:  The voltage equals roughly  the output  of three electric 
chairs.

(He turns around and JULIET moves the pencil away from the awkward position she 
was holding it in.)

SOLOMON:  Damn it!

ALI HASSAN RIF:  It's safe now. Go ahead.

(He closes the security pad cover and watches as JULIET steps up to the Sphere.  
She reaches out cautiously to touch it.)

ALI HASSAN RIF:  (looking at JULIET)  It's a brilliant piece of art and 
technology.  Its past is littered with betrayal and death.

(JULIET picks up her pencil cam and points it at the Sphere.)

ALI HASSAN RIF:  Possession of it has turned father against son, brother against 
brother, friend into mortal enemy.  Centuries of robbery, kidnapping and murder.  
Hell of a story, don't you think?

(JULIET looks down.)

ALI HASSAN RIF:  You know ... you have got amazing eyes.

(He reaches out and takes off her glasses.)

ALI HASSAN RIF:  You've heard the expression the eyes are the windows to the 
soul?

NIKKO:  What a tool.

MAGGIE:  (smiles)  She got him right where she wants him.

ALI HASSAN RIF:  Do you agree?

JULIET:  As a metaphor, it's lovely.  As a come on, it's got some Miles.

MAGGIE:  That's a girl.

ALI HASSAN RIF:  Well in that case, I shall stop wasting your time.  Um, what is 
it they say?  Diamonds like girls, girls like ... 

JULIET:  Diamonds are a girls best friend.

ALI HASSAN RIF:  Ah, oh... 

(RIF reaches out toward JULIET'S ear and instead of pulling a coin out, he pulls 
out a diamond necklace.  He dangles it in front of her and smiles.  She gets a 
look at it and is impressed.)

JULIET:  Oh ... 

(He puts it on around her neck.)

ALI HASSAN RIF:  Oh.

JULIET:  Well ... whoever "they" are - they might be right.

ALI HASSAN RIF:  Hmmm.

(They kiss.)

(Meanwhile, the guys around the monitor start reacting as the pencil-cam spins 
around wildly.)

NIKKO:  Oh, no, no, no, no, no.  This is sick!  I can't watch this.  I hate this 
guy.  This is sick.

SOLOMON:  Me too. Take it easy.  Take it easy.

MAGGIE:  (amused)  What's a girl gonna do, hmm?

CUT TO:



[INT. WAITING ROOM -- NIGHT]

(Meanwhile, CALVIN sits up from the couch; the guard pacing the floor in front 
of the closed door.)

(RIF and JULIET walk out of the room, laughing.  CALVIN gets to his feet.)

CALVIN:  How's it going?

RIF: The interview is going very well.  Now, I'd like to see it all when it gets 
put together.

JULIET:  (hesitant)  I don't know-

ALI HASSAN RIF:  (insistent)  Tomorrow night ... dinner ... here. 

JULIET:  Dinner?

ALI HASSAN RIF:  Here.  I'll send my driver for you.

SOLOMON:  (pleased)  I think we just used up our good karma for the rest of the 
year.

NIKKO: You're not gonna send her back in there?  Not with this sleaze?

SOLOMON:  Only if we can protect her.

NIKKO:  Oh, dad.

MAGGIE:  (to VINCENT)  Can we?

VINCENT:  We'll do what we have to do.

(VINCENT stands up and leaves, SOLOMON'S gaze boring into his back.)

CUT TO:



[INT. WAREHOUSE/HIDEOUT -- NIGHT]

(MAGGIE and SOLOMON analyze RIF'S security.  On the monitor, MAGGIE pulls up the 
building schematics.)

MAGGIE:  The camera.  Part of system set up by Pike and Campbell.   British 
Company.  These gentlemen lay down the best wire around.  They don't miss an 
inch.

SOLOMON:  Pull up all the hallway shots.

MAGGIE:  There.

SOLOMON:  This one.

(SOLOMON points to a particular photo on screen that immediately expands to a 
full screen shot.)

SOLOMON:  It's the hallway in the wing with the sphere chamber, isn't it?

MAGGIE:  Right.

SOLOMON:  None of the other hallways have a west facing door.  It looks like 
there's not a room on the other side of that wall.

MAGGIE:  So that door has got to lead underground.

SOLOMON:  Be a safe place to hide a fuse box.

MAGGIE:  Oh. Well it's simple.  I'll just hack into the Pike and Campbell 
databank and get the  specs on the fuse boxes.

SOLOMON:  Take your time.  I'll be back in ten minutes.

(SOLOMON moves to get up.  MAGGIE smiles indulgently at him.)

CUT TO:



[LATER]  

(JULIET runs down the stairs in her heels as fast as she can.  As soon as she 
hits the bottom, SOLOMON stops the stopwatch.)  

SOLOMON:  Time.

JULIET: (moans)  Ugh!  God!  I can't do this.  Not in these shoes.  Those are 
the shoes you're going to be wearing.

SOLOMON:  Get used to them.

JULIET:  I don't think I'm the right person for this job.

(SOLOMON moves right in front of JULIET and looks at her.)

SOLOMON:  I think you are.  And by the time we're finished you're gonna be able 
to do this in your sleep.  Trust me.  (smiles)  Let's go again.  

(He takes her arm and leads her back up the stairs.  This time, he walks along 
side her.)

SOLOMON:  Remember the timing.  It's all about the timing.  The cameras in the 
palace corridors move in opposite directions, but they move in unison.  All you 
have to do is focus on the one in the far corner.

(SOLOMON points to the camera that's up there with it's red blinking light.)

SOLOMON:  Camera starts its sweep.

(As they watch the camera start to pan across the floor, JULIET starts to run 
down the stairs.)

SOLOMON:  You go.  Go, go, go, go, go!

(JULIET, with SOLOMON behind her, reaches the bottom, her eyes still on the 
camera above.)

SOLOMON: ... now ... take a second.

(They stop.)

SOLOMON:  Track the lens.

(SOLOMON turns JULIET so her back's against the wall, their eyes still on the 
camera above them.)

SOLOMON:  Just as it swings back ... goes right over you.  You were never there.

(JULIET looks from the camera to SOLOMON.  She shakes her head.)

JULIET:  There isn't enough time.

(In a voice that says, "yes, there is".)

SOLOMON:  You got six seconds between each lens cycle.

CUT TO:



[IN ANOTHER PART OF THE WAREHOUSE]

(CALVIN works on getting the combination to the security pad.  NIKKO sits near 
him, watching him.)

CALVIN:  Damnit!   We've punched in five numbers and I got four.  I can't crack 
the last one.  

NIKKO:  Well it sounded pretty close.

CALVIN:  Yeah, it sounded pretty close but close could get us killed.  (sighs)  
That pen mic can only pick up so much.  I need - I need Vincent.  That guy's got 
ears like a bat.  He could hear a pin drop at a Metallica concert.

(Seeing his opening, NIKKO takes it.)

NIKKO:  So, how long have you known Vincent?

CALVIN:  Uh, a few years.  He was here when I started.

NIKKO:  How did he and my dad hook up?

(NIKKO puts his cap on.)

CALVIN:  Uh, I'm not sure.  They don't talk about it much.

NIKKO:  So what's his background?

CALVIN:  He and your dad are tight now, but apparently they didn't use to be.

NIKKO:  What are you talking about?

CALVIN:  You know that scar on your dad's shoulder?  Apparently Vincent put it 
there.

NIKKO:  Well, what's the story on that?

CALVIN:  I don't know.  Excuse me, let me rephrase that - I don't want to know.

CUT TO:



[MEANWHILE, BACK WITH SOLOMON]

(JULIET and SOLOMON walk in to another part of the warehouse where he shows her 
the fuse boxes.  As he talks, JULIET studies the boxes.)

SOLOMON:  You're in the basement, there's probably dozens of these boxes all 
over the walls.  One on them controls the alarms for the doors.  Got to be 
disabled or Nikko and I are dead.  Which one do you open?

JULIET:  This one.

(She opens the correct fuse box.)

SOLOMON:  Good.  Now ...

JULIET:  Wait don't tell me.  I've got this one.  I snip the red one, then the 
blue one.

SOLOMON:  Great.  Now you've gotta get it right.  

(He takes JULIET and leads her back around the warehouse.)

SOLOMON:  Once you cut the wires, you've only got four minutes to get back to 
Rif before the backup alarm system kicks in.

JULIET:  By the time I do get back, I won't have to fake a headache.  I'll 
already have one.

(JULIET starts walking up the stairs when CALVIN gives a loud whoop of triumph.)

CALVIN:  (o.s.)  Yes!

(CALVIN comes bounding out from the other room clutching the laptop to his 
chest.  He dances from one foot to the other in excitement as he makes his way 
toward SOLOMON and JULIET.)

CALVIN:  Sting like a butterfly, swing like bee ... or whatever you said ... 
cause I'm the man!  Who's the man?  I'm the man!  Grrr.

(CALVIN opens up the laptop and presses a button on the keyboard that plays the 
matching security code beeps.)

CALVIN:  'Cause when you get to the ball, you will be singing my tune.

(The computer beeps; CALVIN turns to them and smiles.)

CUT TO:



[EXT. MARKETPLACE -- DAY]

(VINCENT makes his way through the marketplace.  Behind him, NIKKO follows at a 
respectable distance.)

TOLLAN:  (o.s.)  Hello, Vincent.

(VINCENT turns and sees TOLLAN.)

VINCENT:  Tollan.

(NIKKO notices the meeting and walks cautiously toward them.)

(TOLLAN and his bodyguard walk toward VINCENT.)

CUT TO:



[INT. ABANDONED WAREHOUSE - DAY -- CONTINUOUS]  

(VINCENT, TOLLAN and COSTA walk into an abandoned warehouse.)

TOLLAN:  Vincent, you don't look much different from the man who screwed us ten 
years ago.  After you defected, I took a lot of heat for never closing your 
file.

VINCENT:  Why didn't you have me killed?

TOLLAN:  Hmm. I guess I didn't want to believe it at the time.  But look at 
this, I've got a second chance.  

COSTA:  So, the Sphere.  You don't have it, do you?

VINCENT:  I'll have it by tonight.  

TOLLAN:  Solomon Zond plans to break in to Rif's palace and snatch the sphere.  
Just like that?

VINCENT:  There's a way in.

TOLLAN:  Oh ... tell us.  We'll take it from here.

VINCENT:  If I told you, I'd weaken my position in our bargain.

TOLLAN:  Listen, I didn't fly all the way to this godforsaken rock pile to be on 
the losing side.  The science of the ancients is our legacy.  And we don't 
bargain with that.

VINCENT:  You'll get the sphere.  It's all been figured out.

TOLLAN:  Oh, has it?

(The door opens and the GUARD pushes NIKKO into the warehouse.)

GUARD:  He was following Vincent.

VINCENT:  (quietly)  Nikko.

COSTA:  Did you figure this out?

NIKKO:  Why are you doing this?  Why are you selling out my dad?

VINCENT:  Sorry kid.  

(VINCENT grabs NIKKO and grabs his chin.)

VINCENT:  Wrong place, wrong time.

NIKKO:  No ...

(In front of TOLLAN, VINCENT twists NIKKO'S neck suddenly.  NIKKO falls to the 
ground.)

TOLLAN:  (nods)  Nice to see that you haven't lost your touch.

(TOLLAN and his men turns to climb up the stairs and leave the room.)

FADE TO BLACK.

(COMMERCIAL SET)



VERITAS: THE QUEST will continue in a moment here on ABC.



FADE IN.

[INT. ABANDONED WAREHOUSE - NIGHT]

(NIKKO groans and slowly regains consciousness.  He gets up and looks around.)

CUT TO:



[EXT. HOTEL / SIDEWALK -- NIGHT]

(JULIET exits the hotel ready for her date with RIF.)

(Leaning against the wall, CALVIN does a double take when he sees her step out 
onto the sidewalk.  He steps out and in front of JULIET to give her last minute 
instructions.)

CALVIN:  How do you feel?

JULIET:  Good.

CALVIN:  Okay, as soon as the limo hits the palace you've got forty minutes.

JULIET:  (echoes)  Forty minutes.

CALVIN:  Then you get fifteen minutes once you're inside to get to the basement.  
You got it?

JULIET:  Got it.  Okay.

CALVIN:  (encouraging)  Hey, you gonna  be great, all right?  I mean it. I'm 
serious ... I didn't think you could do this.  Sorry, I just think you got a lot 
of guts and - you're really incredible.

(CALVIN reaches over a gives JULIET a kiss on the cheek.)

(A car horn sounds and CALVIN looks up.  It's the limo.)

CALVIN:  It's show time.  Let's make him believe it.

(Standing behind the wall around the corner is SOLOMON.  He looks impatiently at 
his watch wondering where NIKKO is.)

(The limo pulls up in front of the sidewalk.  JULIET heads over to the limo 
while she and CALVIN start to argue ... loudly.)

CALVIN:  I don't think you should do this.  I'm serious.

JULIET:  Calvin, leave me alone, ok ..

CALVIN:  Listen, I think it's a bad idea, okay?  This guy, he's like the 
stinkin' owner of the planet!

(The chauffeur opens the door and JULIET moves to get inside.)

JULIET:  It's none of your business.

CALVIN:   (to the chauffeur)  One second.  

(JULIET gets into the limo; CALVIN leans in through the open back door.)

CALVIN:  Listen to me ... don't go, okay?  You are to good for this guy.  

JULIET:  (to the chauffeur)  Can you take him away, please?!

CALVIN:  I'm serious okay?

(The Chauffeur grabs CALVIN and pulls him out of the car, the two

JULIET:   Can you go!

CALVIN:  All right! Fine.   

(CALVIN raises his hands in surrender to show the chauffeur that he's not going 
to put up a struggle.  Then suddenly, he turns around and tries to get back into 
the car.  The chauffeur has his hands ful.)

CALVIN:  I'm serious!   Get out of the car ...

(NIKKO runs up to SOLOMON.)

SOLOMON:  Where the hell have you been!

NIKKO:  Look, you've got to shut everything down, okay?

SOLOMON:  What?

NIKKO:  Vincent tried to kill me.

(SOLOMON turns to peer around the corner of the building.)

SOLOMON:  It's too late.  She's already in the car.

(While CALVIN has the chauffeur preoccupied, just as the pre-arranged, JULIET 
glances back to check that SOLOMON and NIKKO are ready for her.  She reaches 
over the seat and pops the trunk for them.)

SOLOMON:  We'll deal with Vincent later.  Let's go.

(Both SOLOMON and NIKKO jump into the trunk.  NIKKO shuts the trunk door behind 
them.)

(In front on the sidewalk, the chauffeur continues to yell and push CALVIN away 
from the limo.  When they're ready, CALVIN stops putting up a fight and the 
chauffeur knocks CALVIN down to the sidewalk where he stays.  The chauffeur 
turns and heads back to his limo.)

CALVIN:  (mutters)  You need a breath mint there, my friend.

(The chauffeur gets into the limo and starts the engine.  CALVIN slowly gets to 
his feet as the limo drives away.)

(Camera holds on CALVIN.)

CUT TO:



[EXT. RIF'S RESIDENCE -- NIGHT]

(The limo #5430 [License #B 089 IFL] pulls up the drive and toward the front of 
the mansion.  The chauffeur parks the car and gets out to open her door.  JULIET 
exits the car and the chauffeur escorts her inside.  Everyone enters the 
building ... including the guard at the door.)

(When the front door closes, the trunk opens.  NIKKO peers out and seeing that 
the coast in clear, gets out of the trunk.  He and SOLOMON hurriedly get out and 
away as the chauffeur returns with a mug of something warm to drink.  He closes 
the door and goes to move the limo.)

(He starts the car.  SOLOMON and NIKKO lay low behind the trunk.  As soon as the 
limo moves, they make a break for the side of the house.)

CUT TO:



[INT. SITTING ROOM -- NIGHT]

(The doors open and JULIET is escorted into the sitting room where RIF waits for 
her.  He looks at her and is pleased when he notices that she is wearing the 
huge diamond necklace he gave her the day before.  He stands up to meet her.)

(Standing in the middle of the room in front of the doorway, JULIET takes her 
coat off and lets it fall to the floor at her feet.  She walks around looking at 
the room; RIF walks around looking at JULIET.)

JULIET:  You really know how to live.

ALI HASSAN RIF:  Well it's an art, you know.  It's the best way to express 
yourself - if you can't design timeless buildings, or paint ... 

(JULIET sits down on the sofa.  RIF takes the seat next to her, his hand on her 
leg.)

ALI HASSAN RIF:  ...or sing.

(They kiss.)

(JULIET puts a halt to it.)

JULIET:  I'm thirsty.

ALI HASSAN RIF:  We can take care of that.

(He turns to the side and enthusiastically pours two sloppy shots of tequila.)

ALI HASSAN RIF:  Here we go.

(JULIET smiles, her eyes wide.)

ALI HASSAN RIF:  Tequila.  

(He puts the bottle down and hands her a shot.)

ALI HASSAN RIF:  You see ... it seems we're both tequila lovers.

(JULIET downs her tequila shot in one swallow; so does RIF.  When he's done, he 
wildly tosses the empty shot glass over his shoulder and it flies high across 
the room and into the empty bucket near the table.)

(JULIET giggles.)

CUT TO:



[EXT. ROADWAY -- NIGHT]  

(MAGGIE and CALVIN sit in the SUV [License #B 089 IFL] by the side of the road.  
MAGGIE watches the mansion worriedly.)

MAGGIE:  She's got twenty  minutes.

CUT TO:



[INT. RIF'S MANSION - HALLWAY -- NIGHT]

(SOLOMON and NIKKO round the hallway corner as they make their way toward the 
room with the Sphere inside.  SOLOMON glances around the corner at the camera 
and pulls back, waiting.  NIKKO waits for him to move.  He glances down at the 
map in his hands.  After a moment, he tries again.)

(As the camera sweeps the hallway floor, SOLOMON and NIKKO move down the hallway 
and stop under the camera as it sweeps back.)

CUT TO:



[INT. RIF'S MANSION - SITTING ROOM -- NIGHT]  

(On the coffee table is a half bottle of Tequila and five empty shot glasses.  
On the sofa, JULIET and RIF continue to kiss.  His hands slide up her leg toward 
her thighs.  JULIET grabs his hand and moves it around her waist.)

(As he kisses her neck, she checks her watch.)

JULIET:  Mmm, where's the powder room?  I need to use the powder room.

(RIF stops kissing her and looks at her.)

CUT TO:



[INT. RIF'S MANSION - SECURITY GUARD ROOM -- NIGHT]  

(Inside the room, the GUARDS gather and play cards.  Behind them, SOLOMON passes 
by the open door.  The GUARDS stop for a moment, but continue to play cards.)

(Behind them, NIKKO passes by the open door.  One of the GUARDS throws his hand 
in to the table.  He gets up and leaves the room.)

(Cut to:  In the hallway, SOLOMON and NIKKO each turn behind a hallway corner, 
hidden from the SECURITY GUARD who has just left the room.  He walks away 
without a backward glance at them.)

(NIKKO and SOLOMON check to make sure that no other GUARDS leave the room, then 
cautiously continue toward the Sphere.)

CUT TO:



[INT. RIF'S MANSION - HALLWAY -- NIGHT]  

(For all that she's worth, JULIET runs through the hallway toward her 
destination.  Just as she was taught, she glances up at the security camera and 
stops just under it.  The camera sweeps the hallway and JULIET runs toward the 
other camera.  She makes it just as it passes over her.)

(JULIET rests her back against the wall.)

CUT TO:



[INT. RIF'S MANSION - HALLWAY -- NIGHT]  

(SOLOMON takes out the mansion schematics and checks it.  They wait as the 
camera does it's sweep, then head down the hall past the main lobby area.)

CUT TO:



[INT. RIF'S MANSION - HALLWAY -- NIGHT]  

(JULIET glances up at the camera right above her head.  She watches as it does 
its sweep.  She runs down the hallway.)

(JULIET runs down the main lobby stairs as fast as she can.  As she reaches the 
bottom, she takes her shoes off, leaves them on the stairs, then heads for the 
fuse box.  She opens the door and sneaks silently into the basement.  She shuts 
the door quietly behind her.)

(Cut to:  JULIET runs down the basement stairs.  As it gets dark, JULIET removes 
the small pen flashlight attached to her inner thigh.  She looks at the fuse 
boxes in front of her.)

CUT TO:



[INT. RIF'S MANSION - JUST OUTSIDE ROOM -- NIGHT]  

(SOLOMON carefully and quietly picks the lock to the door.)

CUT TO:



[INT. RIF'S MANSION - BASEMENT -- NIGHT]  

(JULIET picks the right box, just as she'd been taught. She has the cover open 
and looks inside.  She sticks the pen light in her mouth and gets the cutters.)

CUT TO:



[INT. RIF'S MANSION - SITTING ROOM -- NIGHT]  

(Meanwhile, RIF waits quasi-patiently for JULIET to return.  He sticks his 
finger in the shot glass and puts it in his mouth.)

CUT TO:



[INT. RIF'S MANSION - JUST OUTSIDE ROOM -- NIGHT]  

(SOLOMON looks up when he hears a noise at the doorway.  NIKKO freezes behind 
the wall corner as a GUARD opens the door.  He speaks into a phone, is 
distracted by the conversation and closes the door.)

NIKKO:  How much time do we have?

SOLOMON:  (looks at his watch)  Two minutes.

CUT TO:



[INT. RIF'S MANSION - BASEMENT -- NIGHT]  

(JULIET checks the wires.  Something's wrong.  With the wire cutters in her 
hand, she cuts the red wire ... and starts looking for the blue wire.  She can't 
find it, then realizes.)

JULIET:  (shakes her head)  It's yellow.  It was supposed to be blue.

(She sighs.)

FADE TO BLACK.

(COMMERCIAL SET)



FADE IN.

[INT. RIF'S MANSION - BASEMENT -- NIGHT]  

(JULIET stares at the wires convincing herself to cut it.)

JULIET:  Okay.  It's got to be the yellow.

CUT TO:



[INT. RIF'S MANSION - UPPER STAIRS -- NIGHT]

(RIF leans over the staircase and motions to his GUARD down below.  He says 
something.)

CUT TO:



[INT. RIF'S MANSION - JUST OUTSIDE THE SPHERE ROOM -- NIGHT]  

(SOLOMON stands just outside the doors and finishes unlocking it.  He glances at 
NIKKO and reaches for the doorknob.)

SOLOMON:  Let's hope Juliet cut those wires.

CUT TO:



[INT. RIF'S MANSION - BASEMENT -- NIGHT]  

(JULIET cuts the yellow wire and the red light goes off.)

(Cut to:  SOLOMON opens the door.)

(Cut back to:  JULIET laughs with relief.)

(Cut to:  SOLOMON sighs as he opens the door wide enough for NIKKO to go in.)

JULIET:  (thrilled)  Okay, okay.

(JULIET closes the fuse box cover and turns to leave.)

CUT TO:



[INT. RIF'S MANSION - SPHERE ROOM -- NIGHT]  

(NIKKO opens the cover to the security pad.  NIKKO glances over at SOLOMON who 
is preparing to get the sphere.  NIKKO turns his attention back to the security 
pad.)

(He pushes the sleeve to his sweater up to glance down at his inner wrist where 
he wrote down the access code.)

(NIKKO enters the code.  SOLOMON takes out a card.  NIKKO presses the enter key 
and the red alarm light turns off.)

CUT TO:



[INT. RIF'S MANSION - UPSTAIRS -- NIGHT]  

(JULIET closes the door behind her.  She turns around and heads back up to the 
stairs just as RIF walks down the stairs in front of her.  She leans down to 
pick up her shoes when she sees RIF.)

JULIET:  Oh, there they are.

(She takes a step forward toward RIF.)

JULIET:  I got lost.  Should have asked for a map.

(She glances behind her and notices the GUARD who appears down on the main 
lobby.)

JULIET:  I think this part of your house is in a different country or something.  
Why don't we go back to the fun part of your house?

(RIF leans in close to JULIET and puts his hand around her throat.)

ALI HASSAN RIF:  (softly)  Where exactly did you go?

(Cut to:  In the Sphere Room, SOLOMON tosses the credit card through the 
security field around the Sphere to make sure that it's off.  The card passes 
right through without hitting any fields.)

(NIKKO smiles.)

(Cut back to:  [STAIRCASE]  JULIET doesn't say anything.)

(Cut to:  In the Sphere Room, SOLOMON high-five's NIKKO in triumph.)

[CAMERA SLOW MOTION as their hands reach up and clap.]

(An alarm rings out.)

CUT TO:

(Extreme close up of a security camera high in the corner of the main room just 
outside the Sphere Room.  The camera pans backward to show that the room is 
large and spacious with a headless-armless statue in the room.)

(The alarm continues to blare.)

(Cut to:  In the Sphere Room, NIKKO and SOLOMON look above, surprised by the 
alarm.  They spur into action.)

(Cut to:  The ground floor main lobby.)

(Cut to:  RIF listens to the alarm ring, the lets JULIET go.  He grabs his guard 
and they head off in a certain direction, leaving JULIET standing on the stairs 
with her shoes in her hands.)

ALI HASSAN RIF:  (to his GUARD)  Leave her.
ALI HASSAN RIF:  Come with me!

(Not wanting to stay there another moment, JULIET makes a break for it. She 
rounds the corner and bumps into SOLOMON who grabs her and stops her.)

SOLOMON:  Is everything okay?

JULIET:  Yeah.

NIKKO:  Dad, it's Cal.

(NIKKO tosses the cell phone to SOLOMON who catches it and answers it.)

SOLOMON:   Calvin, we're in the house.  We're heading towards the front door, 
meet us there.

CUT TO:



[EXT. ROADSIDE -- NIGHT]

(The SUV'S lights turn on as CAL guns the engine.)

CUT TO:



[INT. RIF'S MANSION - HALLWAY -- NIGHT]  

(SOLOMON, JULIET and NIKKO turn the hallway.  SOLOMON stops everyone as a GUARD 
makes his way toward them.)

SOLOMON:  Oh, oh... no!!!

CUT TO:



[INT. RIF'S MANSION - SPHERE ROOM -- NIGHT]  

(The GUARD opens the Sphere Room doors and RIF walks in, the Sphere of 
Archimedes is gone.  He lets out a cry of frustration.)

(He stands there for a moment with his head bowed.  Then raises his head and 
slams his fists onto the empty pedestal.)

ALI HASSAN RIF:  No!

CUT TO:



[INT. RIF'S MANSION - MAIN FLOOR LOBBY -- NIGHT]  

(SOLOMON peers out the doorway and sees the GUARDS head upstairs.  He motions 
for them to follow.  They carefully run toward the front door and wait for CAL 
to show up.)

(They peer out through the front door windows as the alarm continues to blare.)

(It takes but a moment, when the SUV turns into the driveway and heads for the 
front door.)

(SOLOMON opens the door and motions for the others to follow.  The run to meet 
up with the SUV.)

(From the rooftop, a GUARD starts firing at them.)

SOLOMON:  (to NIKKO & JULIET)  Go, go!  I'll draw them away.  It's the sphere 
they want.

(SOLOMON leaves them and heads back into the house with the backpack.)

(NIKKO and JULIET continue down the driveway to meet up with the SUV.)

(Cut to:  NIKKO jumps down the stairs to the SUV, JULIET is close behind.)

(Cut to:  Inside, SOLOMON freezes with his back to the wall as the GUARDS walk 
the staircase above him.)

(Cut to:  Outside, NIKKO and JULIET get into the SUV, the guards behind them.)

CALVIN:  Get in! C'mon!

(CALVIN drives off.)

(Cut to:  Inside, SOLOMON maneuvers through the house as the GUARDS rush down 
the stairs.)

(Cut to:  Outside, CALVIN burns rubber getting away.)

(Cut to:  Inside, RIF calmly walks out of the room and finds SOLOMON walking 
rapidly toward him.)

ALI HASSAN RIF:  Who the hell are you?

(Without breaking stride, SOLOMON swings and connects with RIF'S jaw.  RIF hits 
the wall and starts to slide down to the floor.)

SOLOMON:  Solomon Zond.

(Cut to:  SOLOMON gets to the roof and starts to climb over it to the ground.  
Behind him, high above, a GUARD sees him and fires.)

(In the clear, SOLOMON runs off.)

CUT TO:



[EXT. STREETSIDE -- NIGHT]

(A taxi drives up; SOLOMON gets out.  He thanks the driver and the taxi drives 
off.)

SOLOMON ZOND:  Spasiba.  [In Russian: Thank you.]

(As SOLOMON heads for the building, VINCENT in his SUV drives up.  SOLOMON stops 
and turns around to wait for his friend.)

(VINCENT gets out of the car and draws a gun on SOLOMON.)

SOLOMON:  I'm sure you've got a hell of an explanation.

VINCENT:  I'll take the Sphere now.

(In the passenger seat of VINCENT'S SUV is TOLLAN.)

TOLLAN:  Dr. Zond ... I really don't think you're meant to have that Sphere.  
You never would've gotten it out of the country, anyway.  With our contacts, the 
embassies  - we can transport anything.  

(VINCENT puts the bag with the Sphere in the SUV.  He gets in and closes the 
door.)

TOLLAN:  You should be grateful to still be alive.  If fact if you weren't so 
annoyingly valuable from time to time, you would be dead now.  

(SOLOMON leans in close through the open window.)

SOLOMON ZOND:  You're going to wish I were someday.  Someday soon.

(TOLLAN laughs as VINCENT drives off leaving SOLOMON staring at the vehicle.)

(SOLOMON stands there for a moment, watching the SUV drive off.  He turns around 
and heads back into the building, a grim look on his face.)

CUT TO:



[EXT. AIRPORT (LANDING) - DAY]



[EXT. STREETSIDE -- DAY]  

(VINCENT carries a carton of two coffees back to the car where COSTA waits for 
him.)

VINCENT:  Double soy latte.
COSTA:  Thank you.  

(He hands COSTA his cup.  COSTA inhales the aroma and takes a drink.  VINCENT 
drinks from his cup.)

COSTA:  It's good to be back in New York.

VINCENT:  How's your coffee?

(VINCENT turns to look at COSTA who is out cold.  VINCENT smiles., then releases 
the handcuff from around COSTA'S wrists.  He takes the metal case and turns to 
COSTA.)

VINCENT:  Sleep well.

(VINCENT leaves the car.)

CUT TO:



[EXT. TRUTH FOUNDATION -- DAY]



[INT. TRUTH FOUNDATION - DAY]

(CALVIN walks out and stares at something.  He looks at MAGGIE and points.  
MAGGIE looks up and turns, her eyes wide as she sees it too.  Behind her, JULIET 
also straightens.)

(SOLOMON is on the phone when VINCENT walks into the room with something in his 
hands.)

VINCENT:  I guess I won't be getting an invitation to the DORNA Christmas Party.
(He unwraps the Sphere to show it to SOLOMON.  Everyone stares at it.)

SOLOMON:  You know, you could have let me in on your plan sooner.

VINCENT:  Too risky. I had to make it real for myself.  I wanted them to pick up 
the smell of a traitor.

MAGGIE:  Man, you are too deep for your own good.

(SOLOMON smiles and carries the Sphere.)

(NIKKO, who has just missed all the action, walks into the room.  He stops when 
he sees VINCENT.)

NIKKO:  Dad, what's he doing here?

SOLOMON:  He's completing his mission.

VINCENT:  I'm sensing you have a question or two.

NIKKO:  (to SOLOMON)  What, you knew all about this?

SOLOMON:  I asked Vincent to find a way to get the sphere out of the country.  
Now, I didn't get all the details, but I figured everything was okay when you 
told me he tried to kill you.  Vincent, for future reference, doesn't "try" - he 
either does or he doesn't.  And I couldn't tell the rest of you anything, until 
I knew that he was safe.

NIKKO:  Yeah, well you almost broke my neck.

VINCENT:  (deadpans)  Actually, I just cracked your back ... with extreme 
prejudice.  How are you sleeping these days? 

(VINCENT takes a step toward NIKKO and puts his hand on his shoulder in a 
friendly manner.)

NIKKO:  Well, better actually.

VINCENT:  Life is full of little bonuses.

(SOLOMON watches as they walk out of the room.  He turns to look at JULIET who 
stares at the Sphere.)

SOLOMON:  You did really good out there.

(She looks at SOLOMON.)

JULIET:  Just doing my job.

SOLOMON:  You did more then that.  And I really appreciate it.

JULIET:  Well don't look too surprised.  I did learn from the best.

SOLOMON:  That's true.

(JULIET laughs.)

CUT TO:



[INT. TRUTH FOUNDATION - LIBRARY -- NIGHT]  

(The Sphere sits on its material bed.  In the background, MAGGIE rushes back 
toward the Library with SOLOMON.)

MAGGIE:  (excited)  I was running the thing through preliminary tests and all of 
a sudden the sensors picked up this faint pulse.  It had a pattern.  

(They reach the Sphere where she shows SOLOMON her computer test results and 
readings.)

MAGGIE:  I've run the thing through every test that we know and it still comes 
up the same every time.  Listen.

(SOLOMON listens carefully and hears the low pulsing sounds.)

SOLOMON:  Is this what I think it is?  That's a signal?

MAGGIE:  The sphere has its own language.

SOLOMON:  We better figure out what it's trying to tell us.

(Camera holds on the Sphere of Archimedes.)

FADE TO BLACK.

========================
THE END
========================

Note:  These episodes are shorter than normal being that the network asked that 
additional time be cut from the program to allow for special news reports due to 
the war coverage, should there be any.  Being that there were none, the extra 
time was filled by airing more commercials.  These transcripts are from the 
original show airings.

Courtesy of http://www.webphilia.com/~anthology/wnp.html

Contact the Transcriptionist at (intrepidly002@yahoo.com)

Please do not archive this transcript without permission from the 
Transcriptionist.

========================
BEGINNING/TITLE CREDITS
========================
VERITAS: THE QUEST
1X04:  HEIST
ORIGINAL AIR DATE:  03/10/2003
TRANSCRIBED FROM ABC

Starring
ALEX CARTER as Dr. Solomon Zond
RYAN MERRIMAN as Nicholas "Nikko" Zond
COBIE SMULDERS as Juliet Droil

ERIC BALFOUR as Calvin Banks
CYNTHIA MARTELLS as Maggie (Hayes)

and
ARNOLD VOSLOO as Vincent Siminou

Created by:  PATRICK MASSETT & JOHN ZINMAN

Guest Starring
CARLO ROTA as Ali Hassan Rif (?)

AIDAN DEVINE as Tollan
RICHARD CHEVOLLEAU

Producer:  I.C. RAPOPORT

Co-Executive Producer:  THANIA ST. JOHN
Co-Executive Producer:  RICK KELLARD

Produced by:  IAIN PATERSON

Executive Producer:  CRAIG ZADAN
Executive Producer:  NEIL MERON
Executive Producer:  PATRICK MASSETT
Executive Producer:  JOHN ZINMAN

Written by:  RICK KELLARD
Directed by:  RICK KOLBE

========================
END CREDITS 
========================

Massett/Zinman Productions
Storyline Entertainment
Touchstone Television

Consulting Producer:  BRYAN SPICER
Co-Producers:  GABRIELLE STANTON
Co-Producers:  HARRY WERKSMAN, JR.

Co-Starring
PAWAN BANSAL as Warlord
TOUGIR SHAH as Servant
SEVOG SOGHERIAN as Limo Driver

Directory of Photograph:  DAVID MAXNESS, C.S.C.
Production Designer:  MICHAEL NOVALNY

Edited by:  DAVID B. THOMPSON
Production Manager:  SUSAN MURDOCH
First Assistant Director:  WOODY SIDAROUS
Second Assistant Director: ERIN WALKER

Casting by:  TINA GERUSSI
Original Casting by: SHARON BIALY

Music by:  JOHN NORDSTROM

Costume Designer:  JOANNE HANSEN
Make-Up Artist:  PATRICIA KEIGHRAN
Hair Stylist:  CATHY SHIBLEY

Camera Operator:  CHRIS TAMMARA
Chief Lighting Technician:  MICHAEL McDONALD
Key Grip:  JONATHAN BILLINGS

Set Decorators:  CAROLINE GEE
Property Master:  ALAN MACMINN
Script Supervisor:  DUG ROTSTEIN

Special Effects Coordinator:  KAZ KOBIELSKI
Stunt Coordinator:  MATT BIRMAN
Production Coordinator:  JANET GAYFORD

Art Director:  KENNETH WATKINS
Location Manager:  HANK MALINS
Transportation Coordinator:  GREG O'HARA

Post Production Supervisor:  DOUGLAS WILKINSON
Visual Fx Supervisor:  JON COMPFONS

Post Production Coordinators:  DEANNA STRONG
Post Production Coordinators:  BENJAMIN RAPAPORT
Music Supervisors:  KEVIN EDELMAN / JUSTIN GOLDBERG

Production Sound Mixer:  THOMAS HIDDERLEY
Sound Editors:  JILL PURDY / CRAIG HENNIGAN

Re-Recording Mixers:  ALLEN OMERAD / MIKE WAROMIUK
Music Editor:  MOIRA MARGUIS
Video Post Production:  Mania DSP

ACTRA

(c) 2003 Touchstone Television.  All Rights Reserved.

Dated:07/19/2003~lky
http://www.webphilia.com/~anthology/wnp.html