VERITAS:  THE QUEST
1X10:  AVALON
[UNAIRED IN U.S.]
AIR DATE IN SOUTH AFRICA:  07/04/2003
TRANSCRIBED FROM SABC-1

Written by I.C. RAPOPORT
Directed by DWIGHT LITTLE

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

Please do not archive this transcript without permission from the 
Transcriptionist

==========================
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==========================
SUMMARY:  When an ancient Druid sarcophagus is discovered buried in the snow, 
the Veritas Foundation is called in to investigate its origins.  Soon, the 
Veritas Team travels to a little town called Avalon where the modern day 
practice of paganism is alive and thriving.
==========================
VERITAS:  THE QUEST
1X10:  AVALON [UNAIRED IN US]
==========================



COLD OPEN:

[EXT. SNOWCOVERED HILLSIDE - DAY]

(SOLDIERS dressed in white run through the hillside.  Their leader stands on the 
side urging everyone on.)

SERGEANT (LEADER):  Move!  Move!  Move!

(One by one, SOLDIERS dressed in white carrying their weapons move rapidly past 
the leader.)

SERGEANT (LEADER):  Don't NOT think until you pass my position!

(The SOLDIERS move in a single file.)

SERGEANT (LEADER):  (shouting)  Move it!  Move it!

(The SOLDIERS use a rope to climb up the side of the steep hill.  On the top of 
the hill is the leaders.)

SERGEANT (LEADER):  Come on now!  Get up that hill!

(The SOLDIER on the top of the rope climbing shows signs of struggling to reach 
the top.)

SERGEANT (LEADER):  Are you thinking about quitting?

(Suddenly, the SOLDIER at the top of the rope trips and falls down.  He lets go 
of the rope and tumbles down the side of the snow-covered hillside.)

(The LEADER stands on the top of the hill and watches the SOLDIER roll down to 
the bottom.  He stands there watching, making sure that he's all right.)

(For a moment, the SOLDIER on the bottom of the hill doesn't move, then when he 
does, he sees something in the snow.  It looks like the color of a rock, but its 
shape is sculptured.)

(He brushes the snow aside to reveal what appears to be an ancient mask.)

(He looks at it, then calls up to his LEADER.)

SOLDIER:  Hey, Sarge!  

(He glances back down at the figure in front of him, then back up the hill.)

SOLDIER:  You should see this!

CUT TO:



[EXT. VERITAS FOUNDATION - DAY]



[INT. VERITAS FOUNDATION -- DAY]  

(SOLOMON is on his cell phone.  He walks around the open office.  Behind him, 
smack dab in the middle of the office is the large sarcophagus.  NIKKO and 
MAGGIE are examining the outer casing.)

SOLOMON:  (on phone)  They say that the Historical Society didn't know what to 
make of it.  So now, we're involved.  mm-hmmm.  Well, we'll do what we can.  It 
is unusual.  Okay.  Thanks.

(SOLOMON hangs up.  He turns to look at the case.)

MAGGIE:  It appears it has no visible seams.

NIKKO:  One piece, but, uh, (knocks twice on it) ... sounds hollow.

(SOLOMON reaches out and dusts some of the dirt off of the top of the case.  On 
what would be the "chest" of the casket, is the indentation of a symbol.  
SOLOMON seems to recognize it.)

SOLOMON:  Wait a minute.  This is a bronze-age Celtic star.

NIKKO:  And there's an inscription right here, dad.  Can you read it?

(NIKKO points to the area on the "chest" of the casket.  SOLOMON shifts around 
to stand next to NIKKO to look at it.)

(SOLOMON brushes the dirt away from the lettering.  He looks at it.)

SOLOMON:  No, not a clue.  It's Ogham, South Siberian [Cyrillic] lettering.

(Sitting in the back of the room behind the desk is JULIET.)

JULIET:  Which could date this back to three thousand years ago.

(SOLOMON points to the lettering on the sarcophagus.)

SOLOMON:  Maggie, get this translated.  Guys?  We've got ourselves a Druid 
artifact.

NIKKO:  Well, what's it doing here?  I thought the Druids were like from Wales.

MAGGIE:  Makes you want to re-think American History, huh?

(Sitting behind his desk is CALVIN.)

CALVIN:  Guys, makes me want to rethink what it was doing in that river.

(JULIET presses some keys on the laptop in front of her and finds something.)

JULIET:  Well, how about this.  Six years ago, a seven-day storm dropped thirty-
two inches of rain flooding the Cape river.

(On the monitor, there's a webpage with the headline:  "7 day storm drops 32 
inches of rain".  There's a write-up on the left of the monitor and on the right 
is a picture of the river.)

SOLOMON:  Okay, I can buy that.  It was swept downstream.  But from where?

[SCOPE VIEW] of crystals.

CALVIN:  Possible clue here.

(CALVIN looks up from the scope.)

CALVIN:  The grit I ripped off of it is definitely residue from a copper mine.

VINCENT:  Let's have a look.

(VINCENT walks into the middle of the room carrying a large map of the area.  He 
puts it down on the table.  Everyone gathers around the map to help look.)

(JULIET steps forward and points to the map.)

JULIET:  Here's where they found it.

VINCENT:  Cape River runs south of the copper mines outside this small town.

(VINCENT points to a spot on the map.)

VINCENT:  Avalon, Michigan.

SOLOMON:  Avalon.  

(beat)

SOLOMON:  Okay.  You guys keep working on this.  Nikko and I are going to take 
off for a little holiday.  

(At the mention of his name, NIKKO looks at SOLOMON.  SOLOMON puts his arm 
around his son's shoulders.)

SOLOMON: What do you say?

NIKKO:  (game)  All right.

(With a black pen, VINCENT circles the area around Avalon on the map, then draws 
a line under the town's name to emphasize it.)

DISSOLVE TO:



[EXT. ROADWAY -- DAY]  

(SOLOMON drives past a roadside sign.  It reads:

     ENTERING VILLAGE OF
     AVALON, MICHIGAN
     EST. 1823 ~ POP.967

DISSOLVE TO:



[EXT. AVALON -- DAY]  

(SOLOMON drives up the roadway toward the town.  The sign in front of the camera 
off to the side of the road reads:  The TOR MOTEL / TV / VACANCY. )

NIKKO:  (v.o.)  Some holiday.

SOLOMON:  (v.o.)  Heck.  I thought you liked the snow.

NIKKO:  (v.o.)  Yeah, with a board beneath my feet.

(SOLOMON turns into the TOR MOTEL'S parking lot and parks the car.)

CUT TO:



[INT. THE TOR MOTEL - ROOM -- DAY]  

(NIKKO moves the suitcase off the bed.  SOLOMON sits at the table in the room.  
He already has the laptop set up and is on it talking with the office.)  

SOLOMON:  Have you had any luck opening it?

CALVIN:  (from monitor)  So far, there's nothing to open, unless someone's 
figured out how.

SOLOMON:  What's that supposed to mean.

(On the monitor, the camera is trained on the sarcophagus in the middle of the 
room.  JULIET, CALVIN and VINCENT stand near the head of the casket.  MAGGIE 
steps up toward the camera.)

MAGGIE:  (from monitor)  We x-rayed it.  Found human remains inside.  You've got 
to check out these photos.

(The x-ray photos appear on the screen shown at various angles.  In the small 
top left window, MAGGIE and JULIET continue to talk with SOLOMON.)

JULIET:  Look at the teeth.

SOLOMON:  Yeah.  Those are fillings.

(The monitor changes and shows that the fillings are made out of Hg.)

(The screens shift over to have MAGGIE and JULIET up large and center while the 
x-ray is on the bottom left window of the monitor.)

MAGGIE:  (from monitor)  A Three-thousand year old druid grave with a dental 
plan.

(Cut to:  [VERITAS FOUNDATION]  View of SOLOMON on the monitor.  NIKKO moves and 
takes the seat next to SOLOMON.)

SOLOMON:  (from monitor)  Why not?  I've seen evidence of metal fillings used by 
ancient Egyptians before.

JULIET:  Yeah, but these are mercury amalgams, Doctor Zond.  That's twentieth 
century technology.

MAGGIE:  This body can't be more than a hundred years old.

(SOLOMON thinks about it and it doesn't make any sense.)

SOLOMON:  So, what's it doing being sealed up in an "ancient" sarcophagus?

(The camera holds on the "face" of the ancient sarcophagus.)

FADE OUT TO
END OF TEASER
ROLL TITLE CREDITS



FADE IN.

[EXT. AVALON - MAIN ROAD -- DAY]

(SOLOMON drives the car down the main road.)  

NIKKO:  (v.o.)  Hey, dad.  There's the Town Hall.

(The car turns in front of the square two-story brick building with the sign on 
it that reads:  AVALON TOWN HALL.  He parks the car in front of the building.)  

(They get out of the car and head for the front door.)  

(The front door opens and a young woman with straight red hair rushes out of the 
building.  As she passes them, she glances at NIKKO.  NIKKO watches her.  She 
heads for the parked car in front of the building and turns to look at NIKKO a 
second time.)

(She opens the passenger car door to the Bronco and gets inside.  A YOUNG MAN is 
behind the wheel.  NIKKO takes note of both of them, then heads into the 
building.)

(The YOUNG MAN behind the steering wheel also takes note of NIKKO before turning 
the car engine on.)

CUT TO:



[INT. AVALON - TOWN HALL - DAY -- CONTINUOUS]

(SOLOMON walks into the town hall.  Inside, a group of men can be heard having a 
conversation and laughing.)  

MEN:  (o.s.)  Who said anything about that?

(They laugh.)

(SOLOMON looks around and heads for the men who are sitting on the various 
chairs inside the office.)

SOLOMON:  Excuse me.  I'm wondering if anyone can help me find the local police 
chief.

(One of the men puts down his drink on the table and stands up to help.)

GLEN FALLON (TALL MAN):  Why, is there some kind of trouble?

SOLOMON:  Oh, no.  No, trouble.  My name is Solomon Zond.  I'm an Archaeologist 
investigating an artifact found just South of here.

(The second man sitting in the chair asks.)

VERNE (BEARDED MAN):  What kind of artifact?

GLEN FALLON:  (to VERNE)  Oh, now Verne, that's none of our business.  (to 
SOLOMON)  Glen Fallon, I'm First Selectman.

(He holds out his hand in a friendly greeting.  SOLOMON shakes it, then hurries 
to answer VERNE'S question.)

SOLOMON:  (to FALLON)  Good to meet you.  (to VERNE)  The artifact is an ancient 
sarcophagus.

GLEN FALLON:  Found around here?  Interesting.  (laughs)  Doesn't sound much 
like police business, though.

(Behind them, the front door opens and someone walks inside.)

SOLOMON:  Well, there's a body in it.

GLEN FALLON:  A body?

(VERNE stands up.)

VERNE:  Where'd you say it was found?

GLEN FALLON:  Verne.  Why don't you go and find Sheriff Coyne for us, hmm?

(VERNE nods and leaves.)

GLEN FALLON:  He'll be happy to answer any questions you might have.

SOLOMON:  (smiles in appreciation)  Thank you.

CUT TO:



[INT. TOWN HALL - SECOND FLOOR -- HALLWAY - DAY -- CONTINUOUS]  

(VERNE walks hurriedly through the second floor hallway.)

(As he walks past the MEN'S ROOM, the door opens and NIKKO walks out adjusting 
his jacket around him.)

(He closes the MEN'S ROOM door and intends to head back to the main room.  
However, right there in front of him is a door slightly ajar with the sign 
"PRIVATE" on it.  Under the sign is a symbol that looks similar to the CELTIC 
STAR found on the sarcophagus.)

(NIKKO glances back down the hallway to see if anyone is watching him.  He 
glances the other way.  When it's clear, he opens the door and walks into the 
room.)

[INT. DISPLAY ROOM / MUSEUM - DAY - CONTINUOUS]

(NIKKO closes the door and leaves it slightly ajar.  He walks into the room and 
looks around.  On the wall nearest to the door, are three rows of individual 
portraits.  In the center of the room is a display case.  In the far wall behind 
the door are a few more portraits and a book shelf near the window.)

(NIKKO walks into the room and looks around.  He turns and looks at the wall 
full of individual portraits.  At the top of the wall is a large ornate heading:  
"AVALON HALL OF FAME".)

(NIKKO looks from one picture to the other.  They're all of young men and women 
just about the age of a high school graduate.  They're dressed up in dresses or 
in suits or in their cap & gown.  Under each picture is the person's name.)

(NIKKKO starts from the very top row and finds individual black and white 
portraits of young men and women dressed in that time period.)

(He looks at one of the later portraits of a young blonde-haired woman.  The 
plate under her portrait reads:  LOWRI AMARGEIN / CHOSEN 1994.)  

(Camera zooms in on the name plate.)  

CUT TO:



[INT. TOWN HALL -- MAIN ROOM - DAY -- CONTINUOUS]

(SHERIFF COYNE holds the picture of the sarcophagus while SOLOMON narrates what 
they've found so far.)  

SOLOMON:  The type of lettering on the sarcophagus dates from around three 
thousand years ago.  But, the body inside can't be more than a hundred years 
old.

(Camera pulls back to show that SOLOMON is standing with a group of people, GLEN 
FALLON, SHERIFF COYNE, and THE DEPUTY.  SHERIFF COYNE is the one holding the 
picture.)

SHERIFF COYNE:  Well, we haven't had a murder around here in sixty-odd years, if 
that's what you're thinking.

GLEN FALLON:  Well, none that we know of, anyway.

SOLOMON:  Exactly, maybe you could go through missing persons.

SHERIFF COYNE:  Our computer files only go back ten years.

(The DEPUTY offers.)

DEPUTY KEIRAN:  We could check the archives.

(SOLOMON looks at the DEPUTY.)

SHERIFF COYNE:  Yep, yeah.  We could do that.

CUT TO:



[SECOND FLOOR - DAY-- CONTINUOUS]  

(VERNE walks up the stairs to the second floor of the building.  He looks and 
sees that the PRIVATE door is more than slightly open.)

(Inside the room, NIKKO hears the floorboards creaking and runs to hide between 
the bookshelf and the window.)

(VERNE pushes the door open and looks inside.)

(NIKKO sees VERNE, but VERNE hasn't turned around to see NIKKO.  NIKKO pauses.)

(VERNE walks into the room and looks at the wall of fame.  He walks over to a 
particular portrait of a young woman.  He presses his fingers against his lips 
in a kiss and presses it against the glass frame.)

(NIKKO bumps back against the shelf, rocking it a bit.  The boards creak.)

(VERNE turns around and sees NIKKO pressed up against the shelf and the wall.)

(NIKKO closes his eyes at his clumsiness.)

VERNE:  Hey.  

(VERNE walks over to NIKKO.)

VERNE:  You know what "private" means?

(NIKKO steps out from his hiding place and makes his way cautiously toward the 
door.)

NIKKO:  (apologetically)  Yeah. I do.  And I'm sorry, okay?

(Under VERNE'S watchful eyes, NIKKO walks to the door.  He waves clumsily to 
VERNE.)

NIKKO:  Bye.

(NIKKO walks out of the room.  In the hallway outside, the turns around to look 
back at VERNE, his arms spread out in apology.  He leaves down the stairs.)

(Camera holds on VERNE'S stern face as he watches NIKKO leave.)

CUT TO:



[FIRST FLOOR - DAY -- CONTINUOUS]  

(NIKKO reaches the ground floor.  SOLOMON turns around from talking with the 
SHERIFF and sees NIKKO.  NIKKO walks over to him.)  

(SOLOMON puts his hand on NIKKO'S shoulder and makes the introductions.)

SOLOMON:  Hey.  My son, Nikko.  Selectman Fallon, Sheriff Coyne ...

GLEN FALLON:  Hi.

(SOLOMON pauses when he sees the DEPUTY, unsure of her name.  She introduces 
herself.)

DEPUTY KEIRAN:  Deputy Keiran.

SHERIFF COYNE:  (to NIKKO)  Good to meet you.

(SOLOMON remembers something else.  He reaches into his jacket pocket and takes 
out another photo.)

SOLOMON:  And also, I was wondering if anyone of you could tell me about this 
Celtic Star.

(SOLOMON holds out the photo so that the men near him can see it.  DEPUTY KEIRAN 
stretches her neck and peers over at the photo.  She recognizes it.)

DEPUTY KEIRAN:  Not just Celtic, Druid.  It's the Priest's symbol.  The Star of 
Dennan.

SOLOMON:  The Star of Dennan.  How did you know that?

DEPUTY KEIRAN:  (laughs and shakes her head)  I just do.  I'm Irish.

SHERIFF COYNE:  Mind if we hold on to those?  Might help us figure this thing 
out.

SOLOMON:  Sure.  Yeah.

(SOLOMON hands the photo over to the SHERIFF.)

DEPUTY KEIRAN:  I'll call you if I find anything in our files.

SOLOMON:  Okay.  We're staying at the motel.  

(SOLOMON and NIKKO turn and take a step back.  GLEN FALLON stops them.)

SHERIFF COYNE:  Whatever happened here, we'll get to the bottom of it.

SOLOMON:  Thanks.

(SOLOMON and NIKKO turn to leave.)

CUT TO:



[EXT. KEIRAN RESIDENCE -- NIGHT]  



[INT. KEIRAN RESIDENCE - KITCHEN - NIGHT]

(DEPUTY KEIRAN is at home.  Her daughter FIONA KEIRAN puts her books in her bag 
and slings the bag on her shoulder as if she's going somewhere.)  

(DEPUTY KEIRAN is leafing through a thin booklet.)

DEPUTY KEIRAN:  You know, Tynus called before.

FIONA KEIRAN:  Ty.  (exhales)  He's such a loser.

DEPUTY KEIRAN:  What's wrong?  What's going on with you two?

(DEPUTY KEIRAN puts the booklet aside and follows her daughter who is headed for 
the front door.)

FIONA KEIRAN:  He thinks he owns me.  

DEPUTY KEIRAN:  Well, you should set him straight.  The two of you could be 
spending a lot of time together starting tomorrow night.

(Cut to:  Outside, a car drives up the drive toward the house.)

(Cut back to:  DEPUTY KEIRAN looks at her daughter and is overcome by emotion.)

DEPUTY KEIRAN:  (motherly)  I can't believe it's that time already.

(FIONA grabs her heavy jacket and starts to put it on.)

FIONA KEIRAN: Please don't get all goofy on me.  And don't start crying again.

DEPUTY KEIRAN:  (tries to control her emotion)  I'm not.

(FIONA knows better.  She looks at her mother and walks over toward her on her 
way to the door.)

FIONA KEIRAN:  Okay fine.  I'm going out to the barn.  If Ty calls, tell him ... 
you know, I don't even care what you tell him ... just tell him I'm not here.

(FIONA pulls the door open and finds SOLOMON standing out on the front porch.  
He looks a bit surprised.)

(FIONA takes one look at him and turns to her mother.)

SOLOMON:  Hi. I'm ...

FIONA:  Mom, someone's here for you.

(Immediately, she pushes past SOLOMON and heads out the front door in that speed 
that all teenagers take when they've got somewhere really important to go.)

(SOLOMON stands on the porch and watches FIONA walk away.  DEPUTY KEIRAN steps 
up to the door.)

DEPUTY KEIRAN:  Did you have any problem finding the place?

SOLOMON:  No, but I didn't think you'd call so soon.

DEPUTY KEIRAN:  I didn't think I'd get through those files so soon.  There's not 
much.  Come on in.

(She motions him inside.  SOLOMON steps into the house.  DEPUTY KEIRAN closes 
the door behind him.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. CAR (PARKED) -- NIGHT]  

(NIKKO sits in the parked car waiting for SOLOMON to finish up inside the house.  
He has his earphones on and is playing air drums along with the music he's 
listening to.)

(FIONA KEIRAN walks outside the house, past the parked car and toward the barn.  
NIKKO sees her walking and is suddenly less interested in the music and much 
more interested in the woman walking by.)

(He turns the music off, takes off his earphones and gets out of the car.)

(Cut to:  NIKKO walks through the snow in the same direction that FIONA went.  
He looks around the area as he walks toward the lit barn.)

CUT TO:



[INT. BARN - NIGHT -- CONTINUOUS]  

(Inside the barn, FIONA has music on.  There's a light knock on the barn door.)  

(She has a thin paint brush in her hand and looks up at the door with 
irritation.)

FIONA KEIRAN:  (exasperated)  Ty, I told you not to come here.  Leave me alone!

(The door opens and NIKKO walks into the barn.  He peers around the wall 
blocking the door from the rest of the room and sees FIONA sitting in a chair, 
her left leg raised, bent and resting on a knee-high cushion.  With the paint 
brush in her hand she's painting on her left thigh.)

NIKKO:  (interrupts)  I'm sorry.  I just heard music and thought I'd come in.  
Bye.

FIONA KEIRAN:  Wait.  (she smiles at him)  What are you doing here?  Who are 
you?

(NIKKO steps into the barn.)

NIKKO:  I'm Nikko ... and uh, my dad is actually talking to your mom right now.  
Police business.

(She dips the tip of the brush in a bottle on the table next to her and resumes 
her intricate artwork on her thigh.)

FIONA KEIRAN:  Didn't I see you in town today?

(NIKKO leans casually against the wall and smiles.)

NIKKO:  Yeah, you did.  I saw you getting in the car with some guy.  Guess that 
would be Ty, right?

FIONA KEIRAN:  (smiles)  Yeah.  Well, Ty is not here right now.

(She turns and dips the tip of her brush into the bottle and resumes her 
artwork.  NIKKO glances about the barn.)

NIKKO:  No, no, Ty is not here right now.

(When he grows quiet, she looks at him, then at the chair.)

FIONA KEIRAN:  Do you want to sit down?

NIKKO:  Yeah.

(NIKKO walks in closer to her and takes the seat on the chair in front of her.  
She resumes painting.  NIKKO pulls the chair forward a bit, suddenly interested 
in the artwork on her leg.)

NIKKO:  What is that?  It's not permanent, is it?

FIONA KEIRAN:  (smiles)  No.  It's henna.  It lasts three or four weeks, tops.

NIKKO:  It's cool.  

(NIKKO looks around the barn and notices some symbols drawn on paper posted on 
the wall.)

NIKKO:  These symbols on the wall.  What do they mean?

(She points to a particular symbol on the wall.)

FIONA KEIRAN:  That one there?

(NIKKO sees the picture on the wall.)

NIKKO:  Yeah.

(FIONA points to the symbol painted on her thigh ... just one of many symbols 
intricately woven together to comprise the artwork on her leg.)

FIONA KEIRAN:  It's right here.  Belar.  The Sun God.  Giver of Life.  

(NIKKO nods and looks at the artwork on her leg.  He looks back up at her.  She 
hasn't taken her eyes off of him.)

(She looks at her leg, then back at NIKKO.)

FIONA KEIRAN:  (smiles)  You want to help me with this?

NIKKO:  uh, yeah.  Sure.

FIONA KEIRAN:  Here.

(She hands him her paintbrush.  He takes it.  He points to the symbol on her 
leg.)

FIONA:  Yeah.

(With the brush, NIKKO starts to trace the symbol on her leg.  It's a strangely 
intimate scene considering they're both strangers.)

CUT TO:



[INT. KEIRAN RESIDENCE - NIGHT -- CONTINUOUS]  

(DEPUTY KEIRAN walks into the room carrying two mugs of coffee.  SOLOMON is 
sitting at the table going through the information.  She puts his mug on the 
table next to him.  He looks at it.)  

SOLOMON:  Oh, thank you.  You didn't have to do that.

DEPUTY KEIRAN:  No trouble.  Well, like I said, there's not much.  All I could 
come up with was one missing person's report.

SOLOMON:  Yeah.  1871.  I don't think so.  They're too old to be our body.  

(He looks up and around the room.)

SOLOMON:  Is that it?

(She takes the seat at the table.  SOLOMON continues to look around the room 
from his seat.)

DEPUTY KEIRAN:  Yeah.  Thank goodness that's it.  We're, uh, pretty quiet 
community and happier for it.

(Something has caught his eye.  SOLOMON gets up form the table and picks the 
item on the side counter up to look at it.)

SOLOMON:  This is interesting.

(It appears to be some kind of mace with a wooden handle.  He examines the 
piece.)

DEPUTY KEIRAN:  Oh, that?  It's been in the family for who knows how long?

(SOLOMON looks at the tip of the handle.)

SOLOMON:  I'd say ... maybe over two thousand years?  It's Celtic.  

(He turns to look at her.  She nods.)

SOLOMON:  You know, I'm intrigued.  

(He puts the item back on the counter.)

SOLOMON:  Earlier in the town hall - about your familiarity with druid culture -
- and now you have this piece here.  

(He looks back at the piece.)

SOLOMON:  Maybe you could help me with something.  

(SOLOMON turns and heads back to the table and takes his seat.)

SOLOMON:  There's an inscription on the sarcophagus that my team in New York 
translated.  It said, "Our future, by Order of Dennan."  Do you have any idea 
about what that means?

DEPUTY KEIRAN:  (hesitates, then) I'm not comfortable talking about my religion.

(She looks down at her mug ... then glances at SOLOMON.  SOLOMON looks at her a 
little puzzled by her unwillingness to share.)

SOLOMON:  Why?  There's nothing wrong with it.

DEPUTY KEIRAN:  I didn't say that there was.  It's just that it's not exactly 
the most accepted religion.  Most people don't understand paganism.

(SOLOMON sighs and shakes his head.)

SOLOMON:  That's not me.  I'm just looking for information.  That's all.

(DEPUTY KEIRAN looks at SOLOMON.)

CUT TO:



[INT. BARN - NIGHT -- CONTINUOUS]

(Camera opens on the finished artwork on FIONA'S thigh.)  

NIKKO:  What about this?

(NIKKO is staring intently at the artwork, seriously trying to match the art on 
her thigh to the pictures on the wall.  He looks from her thigh ... to the wall 
... to her thigh ... to the wall ...)

FIONA KEIRAN:  That's Dennan's Star.  

(FIONA contents herself to look at NIKKO.)

FIONA KEIRAN:  The most Holy Icon.

NIKKO:  Well, is it like some sort of God or something?

FIONA KEIRAN:  (amused)  No.  He's the High Priest who commuted us to serve the 
greater good.  

(She stops using the brush and puts her other hand on NIKKO'S arm.)

FIONA KEIRAN:  (quietly)  To be one with nature. 

(NIKKO turns his head and finds FIONA right there ... inches away from him.)

FIONA KEIRAN:  Where our hearts lead us ... wherever ... 

(He raises his heads, their lips only a breath apart.)

NIKKO:  (whispers)  You're not going to turn me into a frog, or anything, right?

(FIONA shakes her head and moves in to kiss NIKKO.  But before their lips 
actually touch, they're interrupted.)

TYNUS:  (o.s.)  That'd be the least of your problems.  

(NIKKO and FIONA turn to look at the door.)

TYNUS:  (hard)  Get up.

FIONA KEIRAN:  Ty, will you just get out of here?  Just leave.

(NIKKO gets to his feet and turns around.  He steps forward toward TY, unafraid 
of this YOUNG MAN.)

NIKKO:  What's up, man?  What's your problem?

TYNUS:  My problem is with YOU messing with MY girl.

FIONA KEIRAN:  I am not "Your girl"  That is so over.

NIKKO:  Look, buddy.  You heard her, it's over.  What part of "leave" don't you 
understand?

(TY looks at NIKKO.)

TYNUS:  Why don't we take this outside?

(FIONA stands up.)

FIONA KEIRAN:  Ty, stop it.  You're being a jerk.

SOLOMON:  (o.s.)  (outside)  Nikko!  Nikko!  It's time to go!

(TY glances out toward the door.)

TYNUS:  (mocking)  "Nikko"?  (he laughs)  Daddy's calling.

(NIKKO doesn't say anything.  With his eyes on TY, he takes a couple of steps 
back to get his jacket.  He picks it up, then moves toward the door.)

(NIKKO leaves the barn.)

CUT TO:



[EXT. OUTSIDE - NIGHT -- CONTINUOUS]  

(NIKKO heads for the car.  He tucks his hands into his jacket pocket.)  

FIONA KEIRAN:  Nikko, wait!

(FIONA walks out of the barn and rushes to catch up to NIKKO.  He turns around 
and she reaches him.  SOLOMON stands over by the car, the car lights are on.)

(He turns and watches NIKKO and FIONA.  TY also steps out of the barn and heads 
for them.)

FIONA KEIRAN:  I'm probably not going to see you again.

NIKKO:  What?  Because of this guy?

(NIKKO motions to TY who is now standing behind FIONA.)

FIONA KEIRAN:  No.  (She swallows and smiles with suppressed anticipation of 
something she's looking forward to.)  Tomorrow night, I'm leaving on my mission.  
I've been Chosen.

NIKKO:  What do you mean, "Chosen"?

FIONA KEIRAN:  It's part of my religion.  It's a great honour.

(TY leans toward them and can't help but put in his own comment.)

TYNUS:  We're going together.

(FIONAL turns around.)

FIONA KEIRAN:  (irritated)  That hasn't been decided yet, you're just a 
candidate.  (to NIKKO)  You know, maybe I will find time to see you before I 
leave.

(NIKKO smiles.)

NIKKO:  Okay.  Cool.

(He smiles at TY, then turns around and heads back to the car.)

(FIONA stands there and watches him.  TY takes a couple of steps forward to 
stand next to FIONA.)

(NIKKO gets into the car and shuts the door.)

CUT TO:



[EXT. THE TOR MOTEL -- NIGHT]  

(Establish.)



[INT. THE TOR MOTEL - NIGHT]

NIKKO: ... All right and get this.  She said that she was going away, that she's 
been "Chosen" for some mission.

(NIKKO is sitting at the table in front of the laptop.  With a pencil, he's 
drawn one of the Symbols he saw on the barn wall.)

(SOLOMON is sitting on the couch reading a book, "Secrets of the Druids".)

[Note:  The book is:  "Secrets of the Druids: Wizards, Powers & Spells, Scrolls 
& Scripts, Bardic Traditions, Celtic Lore, and Merlin's Magic", Completed and 
Edited by John Matthews, Black Dog & Leventhal Pub, Hardcover, November 2002.]

SOLOMON:  Mission?  What kind of mission?

NIKKO:  I don't know.  Like some sort of religious thing.  And the weird thing 
about it is the word:  Chosen.  All right?  It was on every photo in that room I 
told you about in town hall.

(SOLOMON closes the book and thinks about it.)

SOLOMON:  (sighs)  I need to get into that room and look at those photos.  

(SOLOMON grabs his cell phone off of the table and starts to dial.)

SOLOMON:  Do you think you could get closer to that girl?  Maybe get some 
information out of her?

NIKKO:  (laughs)  Dad.  Come on.  

SOLOMON:  Just be careful.  

NIKKO:  All right.

(SOLOMON turns to the phone.  NIKKO turns back to his doodling.)

SOLOMON:  (to phone)  Vincent.  It's me.  Listen, I want you and Calvin to fly 
out here.  Yeah, we're staying at the Tor Motel in Avalon.  And call me as soon 
as you land.  All right.

(SOLOMON hangs up.)

(There's a swhoosh and a thud on the front motel room door.  SOLOMON turns to 
look in that direction.)

(The screeching tires of a vehicle driving off is heard.)

(NIKKO looks at SOLOMON.  SOLOMON'S eyes haven't left the door.  They both stand 
up at the same time to check it out.)

(NIKKO heads for the window and pushes the curtain aside to look out into the 
parking lot.  SOLOMON reaches the door.  NIKKO motions to SOLOMON that he 
doesn't see anyone outside.)

(SOLOMON cautiously opens the door.)

(Stuck in the center of the door is a long red-feathered arrow, very threatening 
looking.)

(SOLOMON looks at the arrow up and down, then ducks under it to check out the 
parking lot.  NIKKO stares at the arrow.)

SOLOMON:  Friendly little town.

(SOLOMON turns around and looks at the arrow.  He takes the arrow out of the 
door and checks it out.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. THE TOR MOTEL - ROOM -- DAY]  

(NIKKO sits at the table in front of the laptop in his tank shirt and shorts.)  

(There's a light knock on the motel room door.)

(NIKKO cautiously gets up and checks to see who it is by glancing out the 
window.  He recognizes her from the night before and smiles a bit, a little 
surprised that she's there.)

(NIKKO answers the door.)

(It's FIONA KEIRAN.)

FIONA KEIRAN:  Are you alone?

NIKKO:  Yeah.

(She steps into the room and reaches for him.  Her bag slips off her shoulders 
and she kisses him.  He puts his hands on her waist, still she continues to kiss 
him.  She flings her bag into the room and kicks the door shut behind her while 
moving him toward the bed.)

(Or maybe NIKKO falls backwards willingly onto the bed.)

(She climbs on top of him, straddling him.  Still, they continue to kiss.)

(They break apart.)

FIONA KEIRAN:  Come with me.

NIKKO:  What?  Well, where?

FIONA KEIRAN:  (smiling down at him)  It's Fire Fest.  It's our most Holy Day.  
It's this huge celebration.  There's music and dancing and games.  I have to go.  
I have to determine the winner of the competition.

NIKKO:  What competition?

FIONA KEIRAN:  The Blind Man's Race.  I gather you're really good at it.

NIKKO:  (joking)  hmmm?  Does the winner get you?

FIONA KEIRAN:  In a manner of speaking.  The winner does.  But, I mean, you'd 
never win. The local guys practice all the time.

NIKKO:  Well, okay.  Let's just say I did win.  You know, what would happen 
there exactly.  Because ...

(She leans down and kisses him.  Just before he can really get into it, she gets 
up off of him and walks toward her bag.)

NIKKO:  Wh--?

(She picks up her bag, the one she dumped by the window.  She opens it and takes 
out a kilt and holds it out for him to see.)

FIONA KEIRAN:  You have to wear this.

(NIKKO takes one look at it and starts balking.)

NIKKO:  Oh. No, no, no, no, no.  No way.  No.

(He sits up on the edge of the bed, his feet on the floor.)

FIONA KEIRAN:  (shrugs)  It's a Celtic fair.  All the guys wear them.  

(She tosses it to him.)

FIONA KEIRAN:  C'mon.

NIKKO:  Are you serious?

FIONA KEIRAN:  Yeah.

(NIKO sighs and gives in.  He stands up.)

NIKKO:  All right.  All right.

(NIKKO picks up the kilt and opens it up to put it on.  He just gets his foot 
inside when she casually informs him on the proper way to wear the kilt.)

FIONA KEIRAN:  And the boxers?  You're going to have to leave them.

(NIKKO freezes and looks up at FIONA.)

NIKKO:  What?

(FIONA mischievously looks back at NIKKO.)

CUT TO:



[INT. TOWN HALL - SECOND FLOOR - MUSEUM -- DAY]  

(SOLOMON opens the door and peeks cautiously into the room.  Seeing that it's 
clear, he steps inside and pushes the door closed, but not shut.  SOLOMON looks 
around the room.)  

(He turns and looks at the individual portraits hanging on the wall.  Under the 
portraits is the inscription:  YOU SHALL BE REWARDED.  SOLOMON looks from 
portrait to portrait.  He reaches into his pocket for his digital camera when 
the back room door opens.  DEPUTY KEIRAN looks inside.)

DEPUTY KEIRAN:  Can I help you?

(SOLOMON tucks the digital camera back into his jacket pocket.)

SOLOMON:  Yeah.  

(SOLOMON turns to look at the wall of portraits.)

SOLOMON:  Great looking group of kids here.

(DEPUTY KEIRAN steps into the room and walks over toward SOLOMON.)

DEPUTY KEIRAN:  Our best and brightest.

SOLOMON:  I hear your daughter was chosen this year.

DEPUTY KEIRAN:  I'm very proud of her.  That's my brother Sean.  

(DEPUTY KEIRAN steps forward to indicate the portrait of a smiling YOUNG MAN.  
The name plate under the photo reads:  SEAN KEIRAN / CHOSEN 1985.)

DEPUTY KEIRAN:  He's been on the mission for eighteen years, now.

SOLOMON:  Eighteen years?  What kind of mission keeps you away for eighteen 
years?

DEPUTY KEIRAN:  Every nine years, two of best youths are chosen to devote their 
lives to nature.  And to study our faith.  And to be in service to people in 
need.

(SOLOMON nods and walks round the room looking at the display case and other 
items inside the room.)

SOLOMON:  Where did your brother go?

(SOLOMON sees a postal envelope on the table.)

DEPUTY KEIRAN:  His mission?  New Guinea.

SOLOMON:  When was the last time you saw him?

(SOLOMON reaches the bookshelf against the far wall and looks at the items 
there.)

DEPUTY KEIRAN:  No, he sends us cards and letters.

SOLOMON:  Never come home?

(DEPUTY KEIRAN shakes her head.  SOLOMON scoffs disbelievingly at her.  He puts 
what he's looking at down and walks back toward her.  He looks at the wall of 
pictures behind her.)

SOLOMON:  Well, what about these other kids?

DEPUTY KEIRAN:  Most found the work so rewarding that they don't want to come 
back.  

(SOLOMON stares at her and doesn't say anything.)

DEPUTY KEIRAN:  (insistent)  Read the letters.  Read what they say.

(Camera holds on SOLOMON, thinking.)

CUT TO:



[EXT. TOWN HALL - PARKING LOT -- DAY]  

(SOLOMON walks out of the town hall building only to find SHERIFF COYNE standing 
next to his parked car writing out a ticket.)  

SOLOMON:  Whoa. Whoa!  What's going on?  I parked here yesterday.

SHERIFF COYNE:  Sorry.  Today's a holiday.  It's no parking.

SOLOMON:  Well, can't you cut me some slack?  I mean, we're working together and 
there's no sign posted.

SHERIFF COYNE:  Well, we don't really need any signs.  Everyone knows that it's 
Fire Fest.

SOLOMON:  Ah.  Fire Fest.  Is that were everyone is?

SHERIFF COYNE:  That's right.  We're all celebrating. I guess my Deputy informed 
you that we haven't been able to solve this little mystery of yours.

SOLOMON:  She did, yes.

SHERIFF COYNE:  Well, maybe you ought to drive up the river to Gordonville and 
have them check it out for you.  I mean, we just hit a dead end here.

SOLOMON:  Well, thanks for the advice Sheriff, but just the same, I think we're 
going to stick around here a little longer and see if anything turns up.

SHERIFF COYNE:  Well, in that case ...

(The SHERIFF resumes writing out the ticket.  SOLOMON watches him.)

SOLOMON:  What are you doing?  Oh, you've got time to write me parking tickets 
while somebody is shooting arrows through my door?

SHERIFF COYNE:  That's been dealt with.

SOLOMON:  It has?

SHERIFF COYNE:  Yeah.  You see it's a prank.  You want some real advice?  

(The SHERIFF tears off the ticket.)

SHERIFF COYNE:  You take your son and get out of Avalon.

(Now that was a veiled threat.  He gives the ticket to SOLOMON.  SOLOMON takes 
the ticket.)

CUT TO:



[EXT. FIRE FEST -- DAY]  

(Out in the area in the woods, FIONA helps NIKKO adjust the kilt.  She stands up 
and praises the way how he looks.)

FIONA KEIRAN:  Here you go.  You look great.  Like a Celtic god.

NIKKO:  Well, there's definitely something to be said about naked legs.  
(laughs)  So, what's up with this race?

FIONA KEIRAN:  Well ...

(FIONA moves behind NIKKO and stands over his shoulder as she points out the 
race course to him.)

FIONA KEIRAN:  Each runner runs from this side of the meadow, through those 
trees, to the other side to the circle of stone.  The first one inside the 
circle wins.

NIKKO:  All right.  

(FIONA pats him on the shoulder and moves aside to pick something up.  NIKKO 
doesn't see her as he's looking at the course out in front of him.)

NIKKO:  All right.  Just like any old race, right?

(NIKKO bounces from one foot to the other as he fights the cold.  He's gearing 
up and getting excited about the challenge.)

FIONA KEIRAN:  Except.  

(FIONA stands up carrying a large animal skin-type hat resembling an animal head 
and puts it over NIKKO.  It's large enough for his head to fit inside.  The fur 
covers the eyes just above the nose and mouth allowing the wearer to breathe 
comfortably.)

FIONA KEIRAN:  The runners wear blindfolds.  This is perfect because you're not 
even supposed to be here.

(NIKKO tries to take the fur skin hat off.  FIONA stops him.)

NIKKO:  Well ... wait.

FIONA KEIRAN:  Leave it on.  Trust me.  You're going to be great.

NIKKO:  Oh.  All right.

(She puts her arm around his waist, NIKKO hooks his arm around her shoulders and 
lets her lead him to the starting line.)

FIONA KEIRAN:  (smiling)  It'll be fun.

(Together, they head off camera frame.)

CUT TO:



[INT. MEETING ROOM -- DAY]

(Camera close up of FIRST SELECTMAN GLEN FALLON.)  

GLEN FALLON:  Elders of the Council of Denath:  On this day of Fire Fest, we 
consecrate the Chosen ones to their calling.

(The camera pulls back and shows GLEN FALLON sitting at the head of a wooden 
table with five other men.  They've about to have a meeting.  One of the men is 
SHERIFF COYNE.)

GLEN FALLON:  Likewise, we must consecrate ourselves.  And rededicate our sworn 
allegiance to our faith.  Swear it now.  Or forsake it.

MEN:  We swear.
MEN:  (nods)  We swear.

GLEN FALLON:  Good.  Then I call this meeting to order.

SHERIFF COYNE:  We have to get our nominations to the new selections to the 
Council.

GLEN FALLON:  Well, we should talk about the archaeologist.

(Cut to:  Back in the museum, the back door opens and SOLOMON quietly walks into 
the room.)

MEN:  (v.o.)  I agree.

(He glances down the hallway, then closes the door behind him, this time making 
sure the door closes shut.)  

(SOLOMON checks the curtained-covered window of the next room where the MEN 
gather.  SOLOMON quietly walks over to the wall of portraits.  He takes out his 
digital camera from his pocket and snaps several photos of the portraits hanging 
on the wall.)

(He hears the hallway floor boards creak.)  

(SOLOMON glances at the closed door and steps away to hide.  The door opens and 
a silver-haired man walks in.  He brushes the snow off of his jacket while 
glancing into the room.  He's late.  He heads for the meeting room walking past 
SOLOMON who is crouched low behind the display case.)

(The silver-haired man opens the meeting room door and walks inside.)

SHERIFF COYNE:  Oh.  How nice of you to make it, Doc.

DOC:  What'd I miss?

GLEN FALLON:  Well, we were just talking about our archaeologist friend.  

(He takes his seat at the table.)

DOC:  Go ahead.

GLEN FALLON:  Coyne.  I need your assurance he won't interfere with Fire Fest.  
But the slightest hint that he's onto something, you've got to deal with him.  
Harshly.

(In the next room, SOLOMON continues to take digital photos of the portraits.  
He steps back to get the picture and bumps into the display case making a 
sound.)

GLEN FALLON:  Th--.

(He stops and looks up at the next room.  Everyone stops and turns to look at 
the door.)

SHERIFF COYNE:  Hold on a second, Glen.

(SHERIFF COYNE stands up and heads for the door.)  

(In the next room, SOLOMON backs away.  As he passes the table with the various 
postal envelopes, he grabs as many of them as he possibly can.)  

(SHERIFF COYNE heads for the door and opens it.  He steps into the museum and 
looks around.)

(Cut to:  [EXT. - DAY]  SOLOMON walks out of the building and heads for his 
car.)

(Sitting in the car parked on the roadway is VERNE.  He watches SOLOMON.)

(Cut to:  [SECOND FLOOR VIEW] GLEN FALLON pushes aside the curtain from the 
window and looks down on the street below.  He sees SOLOMON walk up to his car.)

(SHERIFF COYNE returns to the meeting room and closes the door behind him.  He 
looks at GLEN FALLON and shakes his head.)

SHERIFF COYNE:  I didn't see anybody in there.

(GLEN FALLON stands near the window and continues to look outside where down 
below, he sees SOLOMON drive away.)

GLEN FALLON:  It was the archaeologist.

(Everyone in the table turns to look at GLEN FALLON quietly.)

CUT TO:



[EXT. FIRE FEST -- DAY]  

(FIONA leads NIKKO across the snow-covered ground toward the start of the race.  
She passes a number of people.  And places NIKKO where he should be to 
participate in the race.)  

(There are dozens of young men, each wearing a kilt and a different colored 
solid colored shirt all of the same design.  NIKKO wears a red shirt with his 
kilt.  They also have on their fur animal head hat.  The camera moves along the 
line of YOUNG MEN and rests on NIKKO.)

MAN:  (o.s.)  Here we go.

(NIKKO pulls the fur hat up a bit so that he can see what's in front of him.  
Standing one off to the side in a blue shirt is TY.  TY watches NIKKO push his 
fur hat up over his eyes.  He recognizes NIKKO and walks over toward him.  At 
this point, he's more amused than angry.)

TYNUS:  Hey, Nikko, old boy.

NIKKO:  Huh?

(NIKKO turns to look at TY, not really paying any attention to him.)

TYNUS:  She put you up to this?

(NIKKO doesn't say anything. TY puts his fur hat down on his head over his 
eyes.)

TYNUS:  Aw, it doesn't matter.  'Cuz I'm going to kick your ass.

(The runners prepare for the race.)

STARTER:  Runner!  Check the blindfolds!  Get ready!  a-a-a-and ...

(There's a pregnant pause.)

(Then the starting gun fires.)

(The line of YOUNG MEN surge forward.  The race has begun!)

(The crowd watching cheers.  Right from the start, NIKKO and TY are neck-and-
neck.)  

(They run forward while other racers behind them clumsily crash into one 
another.  The Blue Shirt and Orange Shirt go down.  The rest of the runners 
continue.)  

(NIKKO and TY continue to be the leaders of the pack.  Behind them, other racers 
falter, then they reach the top of the hill.)  

(NIKKO surges ahead in front of TY, then trips and falls on his face.  He 
quickly gets up and continues the race all without giving up his place as 
leader.  TY continues to run right at NIKKO'S heels.)

(The runners near the end of the race.  The crowd cheers them on.  NIKKO and TY 
are once again neck and neck.  One by one, the other runners behind them falter 
and fall.)  

(The crowd in front of them cheers.)

(As they near the end, TY trips and falls on his face.  NIKKO passes by him and 
reaches the circle of stone first.  NIKKO falls to the ground inside the circle.  
The race is over.)

(The crowd cheers the victor.  Someone helps NIKKO up while the crowd continues 
to cheer wildly.  GLEN FALLON watching from the outskirts of the circle, watches 
the winner with a smile on his face.)

(Exhausted and breathing heavily, NIKKO takes off his fur hat.)

(The crowd gasps when they realize that it's the stranger who won the race.  
With a grim look on his face, SHERIFF COYNE recognizes NIKKO.)

(TY peels off his fur mask.  He's still on his hands and knees outside the 
circle.)

(FIONA is ecstatic.  She rushes forward and hugs NIKKO.)

FIONA KEIRAN:  Nikko!  Nikko!  Oh my god, you've won!  You've won!  You were 
fantastic!  I knew you could do it!  

(Disgruntled, TY throws his fur hat to the ground, gets to his feet and heads 
for FIONA and NIKKO.  He angrily pulls FIONA off of NIKKO.)

TYNUS:  (to NIKKO)  What the hell do you think you're doing?  You don't belong 
here!

(Enough's enough.  NIKKO pushes TY back, away from him.)

NIKKO:  You've lost the race.  Now, go cry about it at home!

(FIONA looks around at the crowd.)

FIONA KEIRAN:  Shan-nah-vee-nah.

(A woman from the crowd steps forward and looks at FIONA.)

WOMAN IN CROWD:  He's not one of us.  He can't be the winner.

FIONA KEIRAN:  He won the race fair and square.  Shan-nah-vee-nah!

(GLEN FALLON and SHERIFF COYNE both step forward.)

(NIKKO remains silent and watches the crowd with puzzlement.)

WOMAN FROM CROWD:  It's not our ways.  He's an outsider.

GLEN FALLON:  The law is the law.  

(FIONA smiles that it's going to go her way.)

GLEN FALLON:  (to the crowd)  He won the race!

(GLEN FALLON grabs NIKKO'S arm and raises it high above his head.)

GLEN FALLON:  (shouts)  Shan-nah-vee-nah!

(The crowd cheers.)

(Not knowing exactly what's going on, NIKKO cheers also.)

SHERIFF COYNE: Shan-nah-vee-nah!

(The crowd cheers.  NIKKO runs to FIONA and grabs her in a big hug.)

CUT TO:



[EXT. ROADWAY -- DAY]  

(SOLOMON is driving the car.  He turns the corner and continues down the road.  
As he drives, he spots VERNE in his truck also take the same turn behind him.)

(SOLOMON adjusts the rear view mirror.  Not liking what he's seeing, SOLOMON 
picks up his cell phone and dials.)

INTERCUT WITH:

[INT. CAR (MOVING) - DAY]

(VINCENT'S phone rings.  He answers it.)

VINCENT:  Hey.

SOLOMON:  Vincent.  Where are you?

VINCENT:  Just coming into Avalon.

(SOLOMON looks at his rear view mirror at the truck tailing him.)

SOLOMON:  Good.  I think I have a problem here.

(To his right, SOLOMON doesn't see the red truck that suddenly comes out into 
his path.  He crashes into it.  The red truck pushes SOLOMON'S SUV off of the 
roadway and into the snow-covered embankment.)

(SOLOMON'S SUV falls down the side of the hill, his car turned over to its side.  
The SUV continues to slide down the hill where it comes crashing to a stop at 
the bottom.)

FADE OUT

(COMMERCIAL SET)



FADE IN.

[EXT. BOTTOM OF THE HILL -- DAY]  

(Still inside the car and conscious, SOLOMON gingerly tries to get himself out 
of the SUV.  He tries tugging at the door handle, but it doesn't budge.)

(From above, he hears a grunt and a hand swings out and breaks the glass above 
him showering him with shards of safety glass.  SOLOMON ducks.)

(VINCENT peers down into the SUV.)

VINCENT:  How you doing man?

(Surprised, SOLOMON starts, then turns to look up at VINCENT.)

(VINCENT smiles and moves away from the window.  SOLOMON climbs out of the SUV.)

VINCENT:  Easy, now.  

(SOLOMON grunts and gets his head and shoulder out of the car door.  He pauses a 
moment for a breather.)

VINCENT:  You all right?

SOLOMON:  Yeah, I'm okay.

(SOLOMON easily climbs out of the SUV.  He jumps down from the SUV to the ground 
in front of VINCENT.)  

VINCENT:  What happened?

SOLOMON:  (shakes his head)  I don't know.

(SOLOMON looks beyond VINCENT and back to the roadtop where they both see VERNE 
climb back into his truck, close the door and drive off.)

CUT TO:



[INT. VERITAS FOUNDATION -- DAY]

(MAGGIE fills SOLOMON in on the latest findings.  She talks to the laptop 
camera.)  

MAGGIE:  I was able to identify seventeen names of the photographs you sent.  
Juliet checked on them.

(JULIET walks up behind MAGGIE and leans forward toward the monitor.)

JULIET:  They've all been born according to the County Registry, but apparently, 
none of them have died.  

INTERCUT WITH:

[INT. THE TOR MOTEL]

JULIET:  (over monitor)  None of them ever paid taxes, no employment records, no 
marriages.  For all intents and purposes, it's as if they just stepped off the 
face of the earth.  I mean, they list kids who have been born over a hundred 
years ago.

(Spread out on the bedsheet in front of him, VINCENT picks up an envelope while 
he holds a letter in his other hand.)

VINCENT:  What about all these cards and letters, then?  They must have come 
from somewhere.

(VINCENT looks at the envelope, then holds it out in front of him.)

VINCENT:  The official postmarks from these countries are forgeries.  They're 
fake.

SOLOMON:  Then the missions are a big lie?  (over laptop)  So what are they 
doing with all these kids?

JULIET:  This is where it really gets scary.

MAGGIE:  I still haven't been able to open the thing, but I did run an 
ultrasound analysis on the corpse.  

(As they speak, the laptop shows the ultrasound results, then refocuses the 
image to show a woman.)

MAGGIE:  It's remarkably well preserved.  

JULIET:  It's a woman.  

MAGGIE:  No less than sixteen, no more than twenty.

SOLOMON:  That's the age that they're chosen for The Mission.

CALVIN:  Okay.  Check this out.  This is what I've found on Selectman Fallon.  
His great-great-grandfather founded a druid community called the Disciples of 
Dennan in Iowa.

(Over the laptop, JULIET and MAGGIE also listen to CALVIN'S information.)

CALVIN:  It's some sort of Druid Adam and Eve thing.  Listen to this:  (reading)  
"The Chosen Ones will awaken and repopulate the planet after the Great End."  
Whatever that is.

(SOLOMON recognizes it.)

SOLOMON:  It's a Resurrection Myth.

CALVIN:  It's a damn cult is what it is.

(CALVIN reclines back on the bed while reading the rest of the information.)

SOLOMON:  Nikko's with Fiona.  She's been "Chosen".  

(SOLOMON doesn't like where this thought is going.  CALVIN puts the paper down 
and is already reaching for the cell phone.  VINCENT sits quietly and listens.)

SOLOMON:  Call him on his cell.

(CALVIN dials.)

(A cell phone beeps.  VINCENT reaches around the bed ... on the floor ... and 
finds NIKKO'S cell phone.  He picks it up and holds it up for them to see.)

SOLOMON:  He left without his phone?

VINCENT:  Not like him.

(The door opens and NIKKO walks into the room.)

NIKKO:  Hey.

(He exhales and closes the door.  CALVIN takes one look at NIKKO in the plaid 
and starts laughing.  VINCENT tosses his cell phone to NIKKO, who catches it.)

NIKKO:  What?  

(Even SOLOMON finds NIKKO'S garb comical.)

SOLOMON:  (smiling)  What?  What?

NIKKO:  All right.  Look, it's not what you're thinking.  Okay.  I was on a 
case.  It was research.  I just wanted to find out a little bit more about this 
druid stuff.

(CALVIN motions at NIKKO'S clothes.)

CALVIN:  (with a straight face)  This has been a lot of things, Nicky, but never 
"research".

(SOLOMON listens, amused.  CALVIN shakes his head and scratches his chin 
absently.)

CUT TO:



[EXT. KEIRAN RESIDENCE -- NIGHT]



[INT. KEIRAN RESIDENCE - NIGHT]

(Inside the house, DEPUTY KEIRAN zips FIONA'S luggage close.  From the other 
room, FIONA walks out, dressed for travel and pulling a smaller luggage behind 
her.  She stops and stands in front of her mother.)

(DEPUTY KEIRAN puts her hands on FIONA'S arms, wanting to hug her but instead 
rubbing her hands up and down her arms as she gives some last words of advice.)

DEPUTY KEIRAN:  I love you.  Remember.  You'll never see me; this is your home.  
The sacrifice you're making is for the greater good.  I believe that.

(FIONA doesn't say anything.  Finally, they hug each other.  There are tears in 
FIONA'S eyes.)

FIONA:  (whispers)  Mom.

(SELECTMAN FALLON walks up to them.)

GLEN FALLON:  Time to go, Fiona.

FIONA:  I love you, mom.

(GLEN FALLON leads FIONA away.  Behind DEPUTY KEIRAN, SHERIFF COYNE puts on his 
hat.)

(GLEN FALLON opens the door and they all leave ... even DOC.  SHERIFF COYNE puts 
a hand on DEPUTY KEIRAN'S shoulder, then heads for the door carrying FIONA'S 
luggage.)

(He leaves the room and the door closes behind him.)

(Camera holds on DEPUTY KEIRAN standing alone in the middle of her living room, 
her hands dug deep into her pants pocket, her face strained with emotion.)

CUT TO:



[EXT. THE TOR MOTEL -- NIGHT]  



[INT. THE TOR MOTEL -- NIGHT

(NIKKO fills every one in on the Fire Fest.  He's lying down and leaning back on 
the bed.)  

NIKKO:  ... Then Fiona came in and started shouting some Gaelic stuff and 
everybody backed off.  And then, everybody started shouting it.

VINCENT:  What were they shouting?

NIKKO:  Well, it sounded like ... Shah-nah-vee-lah?

CALVIN:  What does that mean?

NIKKO:  I don't know, but it sure changed everybody's mind about me.

SOLOMON:  All right.  That's it.  Stay away from these local kids.

NIKKO:  Dad, Look.  Fiona's not a part of this.  Okay?  She's nice and I like 
her.

SOLOMON:  Fiona's in danger, Nikko.  And somebody tried to kill me today.  I'm 
not taking any chances.  Calvin.  You stay here with Nikko.

(SOLOMON grabs his jacket.)

NIKKO:  Dad ...

(He whirls around and levels NIKKO with an "I'm not kidding" look.)

SOLOMON:  Stay put!

(He looks at VINCENT.)

SOLOMON:  We're going over to Fiona's house.

(He opens the door.  VINCENT stands up.  SOLOMON turns again to look at CALVIN 
and NIKKO.)

SOLOMON:  Guys, don't leave this room.

CUT TO:



[EXT. KEIRAN RESIDENCE -- NIGHT]

(The SUV drives up the roadway in front of the house.  It stops and parks.  
VINCENT and SOLOMON get out of the car.  They rush up to the front door.)



[INT. KEIRAN RESIDENCE - NIGHT]

(Without knocking, SOLOMON opens the door and walks into the house.)  

SOLOMON:  Fiona gone?  

(DEPUTY KEIRAN nods her head.  She's sitting at the dining room table, her 
forehead resting wearily against her hand.  SOLOMON heads for her.)

SOLMON:  Where'd they take her?

(SOLOMON turns and looks in the other rooms.  DEPUTY KEIRAN doesn't try to stop 
him.  She's feeling too miserable.)

DEPUTY KEIRAN:  Don't try to interfere.  It's her Destiny.  An archaeologist 
should understand Destiny.

SOLOMON:  Oh, I understand it.  It's written in every language. In every burial 
tomb that I've explored.

DEPUTY KEIRAN:  What are you talking about?

(SOLOMON takes out a picture of the ultrasound of the body inside the 
sarcophagus.  He unfolds it and puts it on the table in front of DEPUTY KEIRAN.)

SOLOMON:  You remember Anne Wynne?  We've identified her from a picture on your 
wall of fame.

(DEPUTY KEIRAN looks at the ultrasound and her face betrays her shock.)

DEPUTY KEIRAN:  (recites)  She went to school with my Aunt Carol and ... was 
Chosen for mission ...

SOLOMON:  (shouts firmly)  There are no missions!  Anne Wynne was buried inside 
the sarcophagus we found.  They're killing these kids because of some future 
resurrection, if you can believe that.  I mean, how can you and this whole town 
believe this stuff about the Mission.

(DEPUTY KEIRAN slowly pushes her chair back and stands up, her mind rapidly 
thinking about all the kids ... and her daughter.)

DEPUTY KEIRAN:  (under her breath)  Shee-nah-vee-nee.

(She raises a hand to her mouth.)

(SOLOMON catches the word.)

SOLOMON:  What?  What did you say?

DEPUTY KEIRAN:  Shee-nah-vee-nee.  She is the Chosen One.

(DEPUTY KEIRAN turns to look at VINCENT.)

VINCENT:  Then Shar-nah-vee-NAH, is the masculine form?

CUT TO:



[INT. THE TOR MOTEL - BATHROOM -- NIGHT]  

(Inside the bathroom, NIKKO brushes his teeth.  He leans over the sink, spits 
and grabs a towel off the nearby rack.  He wipes his mouth and returns the towel 
to the rack.)

(Suddenly, someone shoves a cloth over his mouth and nose from behind, grabbing 
him around his shoulders to stop him from struggling or from crying out till the 
drug takes affect.)

(NIKKO struggles against his kidnapper.)

CUT TO:



[INT. KEIRAN RESIDENCE -- NIGHT]

(SOLOMON looks disbelieving at DEPUTY KEIRAN, his mouth opening and closing as 
he struggles to find the words to say something.  It's as if he can't believe 
what he's just heard.)

SOLOMON:  Nikko?

(DEPUTY KEIRAN doesn't say anything.  She's in too much grief as it is.)

(VINCENT is already moving toward the front door.  SOLOMON turns and they both 
leave the house to head back to the motel.)

(Camera holds on DEPUTY KEIRAN'S face as she watches them leave.  Suddenly, she 
turns and looks back down at the ultrasound of ANNE WYNNE, the girl in the 
sarcophagus.)

(Camera zooms in to the picture.)

CUT TO:



[INT. THE TOR MOTEL - MOTEL ROOM #201-- NIGHT]  

(The motel room door opens and CALVIN walks in carrying a soft drink can and a 
package of chips.)  

CALVIN:  Hey, all they had was ... 

(CALVIN stops at the door and looks inside.  Something's wrong.  He doesn't see 
NIKKO.)

CALVIN:  Nikko!

(CALVIN glances out the door, then closes it behind him.  He's alarmed.  He 
drops the snacks on the bed and rushes to the darkened bathroom.)

CALVIN:  Nikko?

(He reaches the bathroom doorway and flicks on the light switch.)

CALVIN:  Hey!

(There's no one there.  He moves back to the middle of the room, panicking a 
bit, trying to calm himself down enough to think.)  

(The motel room door opens.  SOLOMON and VINCENT walk into the room.  VINCENT 
closes the door behind him.  SOLOMON takes a look at CALVIN'S worried face.)

SOLOMON:  What's wrong?

CALVIN:  He's not here.

SOLOMON:  What do you mean, he's not here?  Where is he?

CALVIN:  He went into the bathroom, I went to get him something to drink.  He's 
not here.  He's gone.

(Outside, a siren turns on and off.  VINCENT turns and looks toward the window.)

VINCENT:  We've got company.

(The siren flicks on and off again.  VINCENT walks over to the window and pulls 
the heavy curtain back and peers through the thin curtain lining.  We see the 
red flashing lights of the approaching vehicle.)

VINCENT:  Deputy Kieran.

(The car pulls up into the parking lot just outside the motel room.)

(SOLOMON turns to the front door and opens it.  DEPUTY KEIRAN slams her car door 
shut, the lights still flashing.  She heads for the motel room.)

SOLOMON:  (angry)  My son is gone.

DEPUTY KEIRAN:  I know how to find him.

(She turns and heads back to her car.  SOLOMON turns to CALVIN.)

SOLOMON:  Calvin, stay here.  Nikko might come back.

(CALVIN doesn't say anything.  SOLOMON walks out of the room, VINCENT follows 
him.)

VINCENT:  (to CALVIN)  Call the FBI.  Tell them everything.

(VINCENT shuts the room door behind him.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT./INT. POLICE CAR (MOVING) -- NIGHT]

(DEPUTY KEIRAN drives them to the location, her car lights flashing.)  

(In the old copper mines, a group of believers hold hands around the two open 
caskets.)

CHANTING:  Sha-nah-vee-nah.

(Cut to:  Close up of NIKKO'S open eyes silently shifting from left to right.)

(The BELIEVERS continue to chant.)

(NIKKO looks up and sees at the head of the BELIEVERS is SELECTMAN GLEN FALLON.)

(NIKKO'S vision gets blurry.)

CUT TO:



[EXT. - NIGHT -- CONTINUOUS]  

(The DEPUTY'S vehicle rushes through the trees on the road as fast as she can 
possibly go to the location.  Inside the car, she informs SOLOMON and VINCENT of 
her theory to find them.)  

DEPUTY KEIRAN:  Our patrol cars all have GPS.  We can track Coyne.

(SOLOMON looks at the GPS map in the car.  He points to the red dot.)

SOLOMON:  Is that him right there?

DEPUTY KEIRAN:  Yeah.  He's parked up at the old mines.

(She hits the gas and the car surges forward.)

CUT TO:



[INT. OLD MINES - NIGHT -- CONTINUOUS]  

(The camera moves from one member of the council to another ... from SHERIFF 
COYNE ... to DOC ... to GLEN FALLON.  They continue chanting.  Inside the other 
sarcophagus, FIONA KEIRAN is wrapped up tightly inside, her eyes open and 
blinking as she tries to focus, but it appears that they've already drugged her.

(In the second sarcophagus, NIKKO also looks around.  He, too, is wrapped up 
tightly.)

(SELECTMAN GLEN FALLON holds up his hand to halt the chanting.)

GLEN FALLON:  Fiona.  You were Chosen because you're the best of the best.  
You'll be carrying our culture all we believe into the future.  

[SOUND LOW AND SLOW]

(NIKKO looks at GLEN FALLON who is blurry.  His hearing is being affected and he 
starts hearing as if the sound is being played slower than it should.)

GLEN FALLON:  Everything depends on you.

[RESUME NORMAL SOUND]

(With what little control he has left before succumbing to the drugged-induced 
stupor, NIKKO looks at GLEN FALLON and mutters to him loud enough so he can 
hear.)

NIKKO:  (mumbles)  You're nuts.

(He looks around at the various council members surrounding them.)

NIKKO:  (mutters)  You hear me? You're all nuts.  

(He looks to the side and sees SHERIFF COYNE.)

NIKKO:  You're not going to preserve anything, You're going to kill us.

(NIKKO quiets down.)

CUT TO:



[EXT. ROADWAY - NIGHT -- CONTINUOUS]  

(The SUV speeds down the roadway to the mines.  DEPUTY KEIRAN goes as fast as 
she dares to go.  Finally, the car screeches to a halt next to another parked 
vehicle.)

(Everyone gets out of the car and heads toward the house.)

(In the distance there's loud cheering.  SOLOMON looks up toward the woods a 
good distance away and sees a large group of people continuing the day's 
festivities around a large bon-fire.)

SOLOMON:  (points)  All the action's over there.  

VINCENT:  Then why'd they want to bring the kids here?

(They all look around, then head into the mine.)  

CUT TO:



[INT. OLD MINE - NIGHT -- CONTINUOUS]  

(NIKKO'S eyes roll.  FIONA is in the next sarcophagus and glances next to her.)  

FIONA KEIRAN:  (to NIKKO)  I'm so sorry.  I didn't know.

(NIKKO continues to look around ... and his eyes get blurry as they fix on 
SELECTMAN FALLON.)

(SOLOMON, VINCENT and DEPUTY KEIRAN walk into the mine.)

(The BELIEVERS put the cover of the sarcophagus over NIKKO, sealing him inside.  
They put the second cover over FIONA.)

(SELECTMAN FALLON opens a small chest in front of him and takes out a Star of 
Dennan.  He holds it high in front of him.)

(Cut to:  SOLOMON, VINCENT and DEPUTY KEIRAN follow the tunnels deeper into the 
mine.)

(Outside, the sun breaks just above the line of clouds on the horizon.)

(Inside the mine, the first rays of dawn filter in through a hole in the roof of 
the mine.  As SELECTMAN FALLON holds up the Star of Dennan above his head, it's 
apparent that something is supposed to happen.)

(The beam of sunlight gradually adjusts and falls on the heart of the Star in 
his hands.  It glows brightly.)

(Cut to:  SOLOMON and VINCENT continue to head deep into the mine.)

(Cut back to:  SELECTMAN FALLON, in a show of ritualism, puts the Star of Dennan 
down on the center of dirt covered altar.  He steps aside.)

(When the sunlight hits the right rock in the mine, it sends a powerful beam of 
light down on the Star of Dennan on the altar.  When the lightbeam hits the Star 
of Dennan, the beam of light splits into two.  One for each casket.  The beam of 
light is strong and it sends some kind of energy into the sarcophagus.)

(The council members surrounding the two caskets take a step backward.)

(Cut to:  SOLOMON and VINCENT continue down the passageway.)

(Cut back to:  Camera focuses on the seams of the caskets.  The beam of light 
produces enough energy to seal the casket shut.  The cover and bottom meld into 
one.)

(SOLOMON and VINCENT round the cover and step into the room.)

(SELECTMAN FALLON turns around and sees them, as does the other council 
members.)

(DEPUTY KEIRAN rushes forward toward the sarcophagus, her only intent to get to 
her daughter.)

SOLOMON:  Where's my son!

(The council members grab DEPUTY KEIRAN and drag her to the side.)

GLEN FALLON:  Watch out!  Keep away from there!

(SOLOMON flips over the council member in front of him.  GLEN FALLON rushes 
forward.  VINCENT grabs him and flips him over.)

(SOLOMON punches the council member.)

(A gun is fired in the small cavern.)

(Everyone stops and turns to look at VERNE holding the rifle.)

VERNE:  Back off!  

(SOLOMON looks cautiously at VERNE, wondering what's going to happen.  VINCENT 
has FALLON on his knees with his arm twisted behind his back in a firm hold.  
DEPUTY KEIRAN jerks herself out of the DOC'S hold.)

VERNE:  It's time for the truth, Fallon.

(Now that they're free, SOLOMON and DEPUTY KEIRAN rush to uncover the two sealed 
caskets.  They can't find the seams.  SOLOMON looks at the caskets.)  

SOLOMON:  We've got to get them out of here.

(In the center of the sarcophagus, he sees the familiar graphic symbol.)

SOLOMON:  Star of Dennan.

(Back at the dirt-covered altar, a hand picks up the Star of Dennan.  VERNE 
holds the Star of Dennan out to SOLOMON.)

VERNA:  (to SOLOMON)  Here.  The love of my life went on her mission twenty-
seven years ago.  I just have to know what really happened to her.

(SOLOMON takes the Star of Dennan and places it in the center of the symbol.  
The Star of Dennan starts to slowly turn as if unlocking something.  He lets go 
of it and it continues to rotate fully.)

(Finally, when it's through, the seams appear on the sarcophagus.)

(SOLOMON sees the seams.  He removes the Star of Dennan and gives it to VERNE.  
He looks across at VINCENT who lets go of his hold on GLEN FALLON to help remove 
the cover.  In the back, DEPUTY KEIRAN and VERNE move to lift the cover of the 
second sarcophagus.)

(SOLOMON and VINCENT remove the cover.  Inside, NIKKO is still, his eyes closed.  
SOLOMON leans in close and tries to wake him up, afraid that he won't be able 
to.)

SOLOMON:  Nikko?  

(He puts his hands around NIKKO'S head and tries to shake him awake.)

SOLOMON:  Hey, Nikko?  Nikko?  

(DEPUTY KEIRAN and VERNE remove the second cover.  NIKKO doesn't move.)

SOLOMON:  Hey.  Hey.

(Fearing the worst, SOLOMON keeps trying.)

SOLOMON:  Nikko?  

(NIKKO appears to move.  SOLOMON continues to shake NIKKO.  He lifts his eye 
lids, trying to get him to open his eyes.)

SOLOMON:  Hey.  Nikko?  Hey.

(NIKKO shifts his head and groggily opens his eyes.  He sees his dad.)

NIKKO:  Is everything cool?

(Relieved, SOLOMON smiles and laughs.  He glances up at VINCENT, who stood there 
silent all the time.)

(VINCENT cracks a smile.  SOLOMON turns back to NIKKO.)

SOLOMON:  Yeah.  Everything's cool.  Everything's cool.

(SOLOMON glances over at DEPUTY KEIRAN.)

SOLOMON:  How is she?

DEPUTY KEIRAN:  (nods)  She's okay.

(NIKKO raises his head to get a glimpse of FIONA just waking up.  He slumps 
back, tired.)

(SOLOMON reaches out and brushes the hair away from NIKKO'S forehead.)

SOLOMON:  Okay.  All right.  Okay.

(NIKKO nods.)

CUT TO:



[EXT. OLD MINES -- DAY]  

(The FBI agents lead the line of Council Members out of the mines.  They're all 
in handcuffs.)

(CALVIN watches them pass by him and he shakes his head.)

(He heads for SOLOMON and DEPUTY KEIRAN who stand in front of her car.)

CALVIN:  FBI is doing forensics.

SOLOMON:  Thanks again.

(CALVIN steps away.  DEPUTY KEIRAN shakes her head.)

DEPUTY KEIRAN:  All those kids.  It's terrible.  All those years of lies.  They 
lied to everybody.

SOLOMON:  At least it's over now.  We've stopped them.  Don't let this destroy 
your faith.  There's a lot of beauty in what you believe.

DEPUTY KEIRAN:  Thank you.  For everything.

(SOLOMON looks down for a moment, then they both turn and look at the entrance 
to the mines.)

(NIKKO and FIONA slowly walk out of the mines, FIONA'S arm tucked in the crook 
of NIKKO'S arm, his hand covers hers.  They slowly walk toward the cars.)

(When they reach the car, NIKKO breaks away from FIONA and leans heavily against 
the car hood.  FIONA looks nervously at NIKKO.)

FIONA:  So, you gonna call me?

(NIKKO stares at FIONA.)

NIKKO:  Call you?  Hell, no.  

(FIONA'S face falls.)

NIKKO:  No, I'm going to come visit.  

(FIONA stares at NIKKO, his words sinking in.  Her face lights up in a smile, 
then she looks down for a moment.)

NIKKO:  I mean, after all, I did win the race.  Right?  

(She shyly looks back up at him.)

NIKKO:  And in a way, I get you.

(beat)

FIONA:  Right.

(She leans in and they kiss.)  

(They break apart, then NIKKO wraps his arm around her shoulders and she leans 
into him.  Quietly, they hold each other close.)

(From the side, SOLOMON watches.)

(Cut to:  Far view of the scene in front of the mine:  NIKKO and FIONA together 
in front of the police vehicle and the various agents in front of the entrance 
to the mine.  The camera slowly moves upward toward the sky.)

DISSOLVE TO:



[EXT. VERITAS FOUNDATION -- DAY]  

NIKKO:  (v.o.)  Now, I'm telling you, Maggie.  It's freaky.  Okay?  These guys 
were wearing robes and chanting.  



[INT. VERITAS FOUNDATION - DAY]

(SOLOMON, NIKKO and MAGGIE sit at the kitchen table.  They appear to be eating 
breakfast and talking about the experience.)

NIKKO:  I mean, they just threw us in there and closed the lid.

MAGGIE:  People are capable of all kinds of things in the name of faith. 

SOLOMON:  Oh, yeah.  I've seen people run around in kilts with ... animal heads 
on.  Oh, yeah.  Just all kinds of things.

(NIKKO looks back at SOLOMON.)

NIKKO:  (sarcastically)  Oh, ha.  ha.  Very funny.

(Then suddenly and quickly.)

SOLOMON:  Maggie, Nikko has a girl friend.

NIKKO:  (surprised and tries to shut him up)  Dad, shut up!

(The two bicker.)

SOLOMON:  What?

NIKKO:  What do you mean, what?  I-

(JULIET rounds the corner and walks into the room.  The conversation stops and 
they look at her.  She stops at the foot of the table.)

JULIET:  Guys.  Guys.  I've got the translation on the Star.  (reading)  "On the 
twelfth solstice of the eleventh House Sun, you will be risen, The Chosen, now 
and forever."

MAGGIE:  The Eleventh House Sun.  That's astrology.

JULIET:  Well, Aquarius is the eleventh house of the zodiac.

SOLOMON:  Aquarian Age began in 2001.  The twelfth solstice would be December 
21, 2012.

NIKKO:  Well, isn't that the same as the end of the Mayan Calendar?

JULIET:  And the end date on the Sphere of Archimedes.

MAGGIE:  And that's a little more coincidence then I'm comfortable with.

NIKKO:  So what do you think, dad?  Huh?  2012.  Is that the end?

SOLOMON:  (shakes his head)  I don't know.  

(He turns and looks up at JULIET.)

SOLOMON:  We've got nine years to figure it out.

(Everyone is silent with their own thoughts.  Camera cuts from one to the other.  
On JULIET.  On SOLOMON.  On MAGGIE.  Finally, on NIKKO.)

[HALLWAY -- CONTINUOUS]

(The camera holds on the scene through the opening in the front door and moves 
slowly backward down the hallway.)

FADE TO BLACK.

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

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
1X10:  AVALON
[UNAIRED IN U.S.]
AIR DATE IN SOUTH AFRICA:  07/04/2003
TRANSCRIBED FROM SABC-1

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
LINDY BOOTH
KIRSTEN BISHOPRIC

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 I.C. RAPOPORT
Directed by DWIGHT LITTLE

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

Massett/Zinman Productions
Storyline Entertainment
Touchstone Television

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

Co-Starring
DIEGO KLATTENHOFF as Tynus
JOHN BOURGEOIS as Glen Fallon
GEORGE BUZA as Myrth
MATT COONE as Sheriff Coyne
ROD CAMPBELL as Mortician

JOHN HDZAK as Doctor
FIONNUALA JAMISON as Woman Citizen
KENDALL KNIGHTS as Sergeant
DARREN MARSNAN as Corporal

(c) 2003 Touchstone Television.  All Rights Reserved.

Dated:09/10/03~lky
http://www.webphilia.com/~anthology/wnp.html