VERITAS: THE QUEST
1X11: THE LOST CODEX
[UNAIRED IN U.S.]
AIR DATE IN SOUTH AFRICA: 07/11/2003
TRANSCRIBED FROM SABC-1
Written by GABRIELLE STANTON & HARRY WERKSMAN, JR.
Directed by TOM WRIGHT
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: Solomon is called to find Leonardo da Vinci's diary before Dorna does.
==========================
VERITAS: THE QUEST
1X11: THE LOST CODEX [UNAIRED IN US]
==========================
COLD OPEN:
[INT. LEONARDO DA VINCI'S SECRET WORKSHOP - NIGHT]
[CUE SOUND: MONKS SINGING]
(Camera opens on a small fire in a stone upraised pit. A small tri pod is set
above it with a hanging pot and mixing spoon inside. The camera pulls back
slowly to show the old room, dark and lit with many torches and hanging lanterns
on the wall.)
(The camera continues to pull back and now we see the many contraptions, devices
and inventions leaning up against the room wall.)
LEONARDO DA VINCI: (v.o.) Dearest Francesco. We live in violent times and I
cannot deny that my inventions have contributed to my patron's ability to wage
war.
(The camera moves around the room and we see various LEONARDO DA VINCI
contraptions and inventions hanging from the ceiling. In the far corner of the
room, a lone man writes a letter to his friend with a quill pen.)
LEONARDO DA VINCI: (v.o.) But politics cannot justify the use of an engine
such as this.
(Camera cuts to show the pages of an open book. There's small writing and many
hand-drawn pictures.)
LEONARDO DA VINCI: (v.o.) It's power is too great. We are not ready.
(Camera cuts to: Leonardo da Vinci signing his name to the bottom of the
parchment. On the top, we see the following: "la sicurezza ..." and "siempre
il tuo amico feu ...".)
(Finished, LEONARDO DA VINCI closes the book shut. He takes the piece of paper
and stands up. He walks over to the wall and picks up a single lit candle. He
turns around.)
(From the front of the room, a MAN walks in, his voice shouting ahead of him.)
MAN: Leonardo where's the pla ... ?
(LEONARDO DA VINCE runs out of his workshop and pulls the candle out of its
holder. The door closes shut behind him.)
CUT TO:
[EXT. NEW YORK SKYLINE (STOCK) - DAY]
[INT. VERITAS FOUNDATION -- DAY]
(SOLOMON walks across the main room carrying a duffle bag in his hand. He's
packed and ready to go.)
SOLOMON: Nikko! Get a move on or we'll miss our flight!
(NIKKO leisurely makes his way down the stairs carrying his own gear.)
NIKKO: Hey, relax, if we don't catch the plane, we'll take the jet.
SOLOMON: (looking at NIKKO) Wrong. This is a vacation. You fly commercial.
(NIKKO reaches the ground floor and puts his yellow duffle and flippers down on
the floor in front of the two yellow air tanks.
(VINCENT walks into the room carrying the oxygen gages on straps. He hands them
to NIKKO. NIKKO takes them and slings them over his shoulder.)
VINCENT: Made the adjustments you asked for.
SOLOMON: Don't encourage him.
(NIKKO looks innocently at SOLOMON.)
NIKKO: Well, we're going all the way to Belize and you're telling me I can't
dive the Blue Hole?
SOLOMON: (dad thing) Yes. Look, people disappear in the Blue Hole every year.
You have to drop over a hundred feet.
VINCENT: (deadpans) Nikko can handle it. It's YOU I'd worry about.
(VINCENT turns to look at SOLOMON. NIKKO snickers.)
SOLOMON: No, too risky.
(SOLOMON reaches for his cell phone and opens it.)
NIKKO: So, that's a "maybe"?
SOLOMON: (dad look again) How is "no" a "maybe"? (to phone) Hello?
(NIKKO smiles at VINCENT as he also turns and smiles back at NIKKO, the two
sharing a laugh.)
SOLOMON: (pause) Yes.
(SOLOMON nods as he listens, then glances at NIKKO as he answers.)
SOLOMON: (pause) I'm on my way.
(NIKKO'S face falls.)
NIKKO: Dad.
SOLOMON: (shakes his head) I'm sorry son. Belize will have to wait.
(SOLOMON turns and heads into the elevator.)
NIKKO: But what about ...
VINCENT: Who was it?
(Inside the elevator, he turns and looks at VINCENT.)
SOLOMON: Our Benefactor.
(He presses the button.)
NIKKO: You know, this never fails. We try to spend some time together, make
some plans and boom, the money pops up.
(The elevator doors close. After a beat, VINCENT turns around to look at
NIKKO.)
VINCENT: Your father had no choice.
NIKKO: Look, who is this Benefactor guy anyway?
VINCENT: He finances Veritas. Solving ancient mysteries isn't exactly a money-
making enterprise.
NIKKO: Yeah, but who is he?
VINCENT: Only your father knows. No one else on this team has ever met him or
even knows his name.
CUT TO:
[EXT. SWITZERLAND CASTLE -- DAY]
LEGEND: SWITZERLAND
(Establish.)
CUT TO:
[INT. CASTLE - DAY]
(THE BENEFACTOR stands up and greets SOLOMON at the office door.)
THE BENEFACTOR: Ah, Solomon. I do hope I didn't pull you away from anything
too important.
SOLOMON: No, no. Of course not.
(THE BENEFACTOR levels SOLOMON with a look.)
SOLOMON: (pause) Well, I had been promising Nikko a diving trip.
THE BENEFACTOR: Ah. Nikko. How is he?
SOLOMON: Well, right now, probably ready to kill me.
THE BENEFACTOR: I hope some day to take the opportunity to apologize to him
personally.
(He motions for SOLOMON to take a seat. He moves to sit in his chair behind the
desk.)
THE BENEFACTOR: That depends a great deal in about what I'm about to tell you.
(He sits down. Then SOLOMON sits down.)
THE BENEFACTOR: I just learned that a number of letters written by Leonardo da
Vinci to his pupil Francesco Medici, has surfaced on the black market. The
seller claims that the letters reveal the secret hiding place of a long lost da
Vinci diary.
SOLOMON: A lost diary. That would be an incredible find.
THE BENEFACTOR: And a dangerous one. That's why I'm sending you to Florence.
The da Vinci letters would be sold by secret auction. The potential bidders
must contact the seller's representatives at a party at the Uffizi Museum.
SOLOMON: You want me to bid on the da Vinci letters?
THE BENEFACTOR: I want you to do whatever you have to do in order to get those
letters. And find the diary. Before Dorna does.
SOLOMON: Dorna knows about the diary?
THE BENEFACTOR: They want it almost as badly as I do.
SOLOMON: You want to tell me why?
THE BENEFACTOR: It's complicated. But if Dorna gets ahold of that diary, I'm
afraid Veritas will cease to exist.
SOLOMON: What are you talking about?
THE BENEFACTOR: I will no longer be able to finance your work.
(SOLOMON slowly stands up.)
SOLOMON: You can't shut us down. What we do is too important.
(THE BENEFACTOR also stands up.)
THE BENEFACTOR: Dorna gets that diary, I will have no choice. I want you to
get that da Vinci diary and bring it directly to me.
(The BENEFACTOR holds out the invitation card. SOLOMON takes it.)
THE BENEFACTOR: The party is in less than 48 hours.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[INT. VERITAS FOUNDATION - OFFICE -- DAY]
(SOLOMON has the open metal briefcase on his desk as he packs things in it.
NIKKO sits in the seat across the desk. He's still trying to wrap his mind
around the financial setup for Veritas.)
NIKKO: So how can this benefactor guy even shut us down? Doesn't he have a
contract or something?
SOLOMON: It wasn't in our arrangement.
(NIKKO points over to where VINCENT is.)
NIKKO: Vincent says that he doesn't even know this guy's name. Do you?
SOLOMON: Yeah.
NIKKO: And?
SOLOMON: Part of the arrangement is that he remains anonymous.
NIKKO: I get it. He says, "jump," and you say, "how high?".
(SOLOMON puts the diaries in the brief case.)
SOLOMON: Hey, it's not like that. His generosity will keep Veritas going.
He's made everything we've done possible. It enables me to continue your
mother's work and in all this time, he's never asked me for anything in return.
NIKKO: Well, now he wants da Vinci's diary. So, how are we going to get it?
SOLOMON: I'm glad you asked.
CUT TO:
[EXT. JET (MOVING) - SKY - DAY]
[INT. JET (MOVING) -- DAY]
(SOLOMON stands in the head of the cabin at the front of the group. All the
other members sit in their seats looking at him.)
SOLOMON: Our benefactor has arranged for us to be on the guest list of
tonight's gala opening of the new da Vinci exhibition in the Uffizi Museum in
Florence.
INTERCUT WITH BLOCKS OF FLASH FORWARDS:
[INT. (FLORENCE) UFFIZI MUSEUM - NIGHT - FLASH FORWARD]
(As SOLOMON continues to give out instructions in narrative form, we see the
party is underway.)
SOLOMON: (v.o.) And since the letters obviously aren't being sold legally, we
can't let the seller know that we're legitimate archaeologists. So, we will be
going undercover ...
(The Veritas group dressed up for the night walk into the room and look around.)
SOLOMON: (v.o.) ... posing as private collectors to get the da Vinci letters.
(They stand there and look around the room. Each of them is wearing a yellow
rose in their lapel, except JULIET, of course.)
SOLOMON: (v.o.) Now this party will be our only chance to make contact with
our seller's representative. All bidders have been told to wear a yellow rose.
CUT BACK TO:
[INT. JET (MOVING ) - DAY]
(Back at the jet, JULIET sits in her seat and comments.)
JULIET: (mumbles) Those letters are going to go for a fortune.
SOLOMON: I'm hoping that we can negotiate with the seller.
VINCENT: But if Dorna finds him first ...
CALVIN: (nods) ... You know, their way of negotiating is a lot less friendly.
(SOLOMON looks at them, then continues his narrative as he gives them
instructions.)
SOLOMON: Calvin ...
CUT TO:
[INT. (FLORENCE) UFFIZI MUSEUM - NIGHT - FLASH FORWARD]
(CALVIN casually walks through the museum, past a group of four single, young
women. They notice him as he walks past them, though CALVIN doesn't acknowledge
them. He's in black suit looking very good. It's all in the attitude.)
SOLOMON: (v.o.) ... you'll be posing as a wealthy playboy in the European
party circuit. See what you can stir up.
(He pasts the group of women, stops and looks directly at the camera.)
CALVIN: (to the camera) Nice.
CUT TO:
(VINCENT stands in the middle of the room, his back to the camera. As SOLOMON
narrates, he slowly turns around toward the camera.)
SOLOMON: (v.o.) Vincent, you'll be a wealthy industrialist hoping to add the
Da Vinci letters to your private collection.
[PREVIOUS CAMERA SHOT REWIND]
(The camera shot of VINCENT rewinds till VINCENT has his back to the camera
again.)
[SHOT RESUMES]
(VINCENT stands in the middle of the room, his back to the camera. As SOLOMON
narrates, he slowly turns around and we now see JULIET, who is standing close
and in front of him, dressed beautifully in red.)
SOLOMON: (v.o.) Juliet, you'll be Vincent's wife ...
HARD CUT BACK TO:
[INT. JET (MOVING) - DAY]
[ON JULIET'S WIDE-EYED LOOK]
JULIET: (surprised) Me and Vincent?
(SOLOMON sits down.)
SOLOMON: (innocently) Problem?
(JULIET stares at SOLOMON. VINCENT sits on JULIET'S left, just behind her.)
JULIET: (a bit flustered and trying to hide it) No, uh, I just ... uh ...
(VINCENT slowly glances down at JULIET and leans in close to her ear.)
VINCENT: (deadpans) Can you cook?
(JULIET slowly turns her head and looks at VINCENT. VINCENT cracks a smile at
her.)
(JULIET laughs and looks down.)
(CALVIN sits across the aisle from them, watches them and chuckles.)
NIKKO: (getting excited) An undercover mission? This is so Bond.
CUT TO:
[INT. (FLORENCE) UFFIZI MUSEUM - NIGHT - FLASH FORWARD]
[NIKKO'S VISION OF HIMSELF IN SLOW MOTION]
(As SOLOMON narrates: NIKKO is dressed in a black suit ... a cluster of
beautiful women gather around him, he has each arm draped around a different
woman's shoulder ... they smile beguiling at him ... he smiles suavely back at
them ... )
SOLOMON: (v.o.) Well, Nikko, you and I are going as father and son ...
[DREAM VISION -- FREEZE FRAME]
(No, really. It pauses.)
(beat)
CUT BACK TO:
[INT. JET (MOVING) - DAY]
(NIKKO shakes his head.)
NIKKO: (jokingly complains) Dad, that isn't fair. Everybody else gets a cool
cover and I have to go as the "dutiful son"?
SOLOMON: (counters) Well, for you, that is a cover.
(NIKKO shuts up and nods.)
SOLOMON: (seriously) Look, guys, we don't have the option. Someone at the
party will know who I am. Whatever is in the da Vinci diary, is important
enough to bring Cosimo Medici himself ...
CUT TO:
[INT. (FLORENCE) UFFIZI MUSEUM - NIGHT]
(Camera opens on an older man possibly in his 50's, distinguished looking
sporting a long-haired "Lionel Luthor" look. He's wearing a black suit and a
yellow rose in his lapel.)
(He turns and looks around the room. His eyes rest on something across the
way.)
SOLOMON: (v.o.) ... out from South Africa.
JULIET: (v.o.) Medici. Like the Medici's of the Renaissance.
SOLOMON: (v.o.) Correct.
VINCENT: (v.o.) ... and one of the Nine leaders of Dorna.
[RESUMES -- CONTINUOUS]
(NIKKO and SOLOMON stand near each other on the side of the room.)
NIKKO: So, how'd you know he'd be here?
SOLOMON: Well, I was warned.
(SOLOMON watches as COSIMO MEDICI walks across the room toward them.)
NIKKO: Did you meet him?
SOLOMON: No, I haven't ... yet.
(COSIMO MEDICI stops in front of them.)
COSIMO MEDICI: Dr. Solomon Zond. I knew this day would finally come.
(They shake hands.)
COSIMO MEDICI: And this must be Nikko. I've heard a lot about you from my
people. What an impressive young man.
(They shake hands. SOLOMON'S hard eyes rest on COSIMO MEDICI.)
SOLOMON: Nikko, take a walk.
NIKKO: (protesting) Dad. Wha -- ?
COSIMO MEDICI: (to NIKKO) It's all right. There'll still be opportunities for
us to chat.
(NIKKO nods at COSIMO MEDICI, then walks away.)
(SOLOMON watches NIKKO leave, then turns to look at COSIMO MEDICI.)
SOLOMON: You have nothing to say to my son. You understand? This is between
you and me.
COSIMO MEDICI: For now. (smiles and pauses a beat) But tell me Solomon, what
brings you to Florence?
CUT TO:
[ANOTHER PART OF THE PARTY - DISPLAY CASES -- CONTINUOUS]
(VINCENT and JULIET stand off to the side near the various display cases
exhibiting da Vinci's work. They are the dutiful couple.)
VINCENT: Beautiful. Imagine what it would be like to actually possess such a
small piece of such genius, to own something da Vinci worked on with his own
hands.
(The woman looking at the display case stands and turns around to look at
VINCENT. She nods her head in agreement with what he just said. He smiles at
her and they move on.)
(When they're a discrete distance away, JULIET mumbles to VINCENT.)
JULIET: Nice try, but this is getting us nowhere.
VINCENT: (looking casually around the room) Be patient. The seller's
representative is here. He'll find us.
(Together, they continue to walk along the row of display cases. VINCENT
reaches out and picks a champagne flute off of a nearby tray. He offers it to
JULIET.)
VINCENT: Champagne?
JULIET: You sure know how to treat a girl.
VINCENT: That's what they say.
(JULIET smiles at the remark. They stop in front of one display case. JULIET
sips from her glass. VINCENT leans in to really look at the display.)
(A MAN in a tux and a long white scarf around his neck leans toward JULIET.)
GRAYSON WINTHROP-KNOX: Four hundred years before the first helicopter. Truly a
man ahead of his time. Grayson Winthrop-Knox, at your service.
(He introduces himself. VINCENT shakes his hand.)
VINCENT: Vincent Siminou and my wife, Juliet.
(JULIET holds out her hand, palm down. GRAYSON WINTHROP-KNOX takes it and leans
forward.)
GRAYSON WINTHROP-KNOX: Enjoying the exhibition?
(He kisses the back of her hand.)
VINCENT: Yes. I have a passion for beautiful things.
(JULIET glances sideways at VINCENT. KNOX keeps his eyes on JULIET.)
GRAYSON WINTHROP-KNOX: Oh, that is most obvious, Mr. Siminou.
JULIET: (to KNOX) Yes, but you can't take any of this home.
(JULIET turns to VINCENT and leans in forward toward him.)
JULIET: (to VINCENT, pouting) Darling, you promised me something special for
my birthday. (She turns to KNOX.) Something from this exhibition.
GRAYSON WINTHROP-KNOX: A woman who chooses da Vinci over diamonds. I am
impressed.
(Looking at KNOX, VINCENT can't help it.)
VINCENT: Yes, Juliet is full of surprises.
(KNOX smiles and chuckles a bit.)
GRAYSON WINTHROP-KNOX: But there might be something you can take home from your
visit.
VINCENT: That's why we're here.
GRAYSON WINTHROP-KNOX: (fills in) For the auction.
VINCENT: The da Vinci letters would make a nice addition to our private
collection.
GRAYSON WINTHROP-KNOX: And a costly one. There are many interested collectors
here tonight.
VINCENT: I am willing to pay whatever it takes to acquire those letters.
(KNOX stares at them, his mouth open as if he were going to bait them, a look of
anticipation on his face.)
GRAYSON WINTHROP-KNOX: I might be able to get you into the auction if you are
prepared to make a serious bid.
(JULIET gives KNOX a look and interjects.)
JULIET: Oh, Vinny's always serious.
(She smiles. VINCENT also smiles at the remark. VINCENT holds out his business
card. KNOX takes it.)
GRAYSON WINTHROP-KNOX: I'll be in touch.
(With a final look at them both, KNOX backs away and leaves. They watch him
go.)
(VINCENT looks at JULIET. She turns to meet his gaze.)
VINCENT: (amused) Did you just call me "Vinny"?
JULIET: Yes.
(VINCENT chuckles, turns and starts to move along.)
JULIET: (perplexed) What?
(He pulls JULIET along with him.)
CUT TO:
[ANOTHER PART OF THE PARTY -- CONTINUOUS]
(CALVIN walks casually along following the wall. He passes by some double doors
and takes a look at the type of security lock on the wall next to it.)
CALVIN: ... and the security system ...
(NIKKO walks up to him.)
NIKKO: (joking) You, uh, casing the joint?
(Unfortunately, it's very true. CALVIN turns around and sees NIKKO. He glances
about to see if anyone heard him.)
CALVIN: (casually loud enough for people to hear him) No, just curious.
(He takes a couple steps closer to NIKKO and leans in to whisper to him.)
CALVIN: Thank you for pointing that out to everyone. You know, the next time
I'll bring a sign.
(CALVIN walks past NIKKO, toward a display case.)
NIKKO: (realizing his goof) Oh, sorry.
CALVIN: I thought you were going to stick close to "daddy".
(NIKKO also walks toward the display case.)
NIKKO: Yeah. "Daddy" and Cosimo sent me packing. So, here I am.
CALVIN: Good. That Cosimo guy is seriously wrong. Your dad has been dodging
Dorna for years.
(CALVIN looks down into the display case. Something behind CALVIN catches
NIKKO'S eye and he slowly straightens, obviously taken with what he's looking
at.)
CALVIN: Da Vinci's Parabolic bridge.
NIKKO: Oh, no, no, no. Forget the bridge, buddy. Who is that?
(NIKKO turns CALVIN around and points to a YOUNG WOMAN standing a distance away
with a glass of champagne in her hand. She looks at CALVIN and smiles in
recognition.)
(He also stares back at her in recognition.)
CALVIN: (under his breath) Sophie.
(SOPHIE walks toward him.)
SOPHIE ST. JOHNS: Calvin. Wow. It's been a long time.
CALVIN: Yeah. A really long time. You look great.
(Not one to be left out, NIKKO interrupts. CALVIN turns around. NIKKO holds
out his hand.)
NIKKO: Excuse me, I'm Nikko.
SOPHIE ST. JOHNS: Sophie St. Johns.
(They shake hands.)
NIKKO: Nice to meet you.
SOPHIE ST. JOHNS: (to NIKKO) You, too. (to CALVIN) I'm the curator of his
exhibition.
CALVIN: That's amazing.
SOPHIE ST. JOHNS: Why do you sound so surprised.
CALVIN: No, I'm not. I'm not. I'm not surprised. (flustered a bit) Really?
Congratulations. I'm happy for you.
(She smiles.)
SOPHIE ST. JOHNS: Well, uh, I've got to get back to work.
(SOPHIE turns to leave. CALVIN stops her. He steps forward to catch up with
her.)
CALVIN: Sophie.
(She stops and turns around. He glances nervously to NIKKO, then takes the
dive.)
CALVIN: Uh, Do you think we could get together and have dinner and catch up?
(She smiles at him.)
SOPHIE ST. JOHNS: Maybe later.
(SOPHIE turns and leaves. NIKKO watches CALVIN and grins.)
NIKKO: This is going to be a good story, Cal. It is.
(NIKKO motions for CALVIN to come closer to tell that story to him.)
NIKKO: Come on. Tell me. Spill.
CALVIN: There's no story. We just went to school together.
(CALVIN looks back at SOPHIE who finishes her talk with the group, glances at
CALVIN, then walks away.)
(NIKKO'S not buying it.)
NIKKO: Right. So were you guys study buddies together or, you know? Or
Together, together.
(CALVIN turns around slowly and looks at NIKKO.)
NIKKO: (interpreting said look) Yeah.
CUT TO:
[INT. (FLORENCE) UFFIZI MUSEUM - NIGHT]
(SOLOMON continues to talk with COSIMO MEDICI.)
SOLOMON: You know exactly why I'm here.
COSIMO MEDICI: And you know why I'm here. Less pressure. We don't have to
waste time on games.
SOLOMON: Since when don't you like to play games?
COSIMO MEDICI: Solomon. I have too much respect for you, your team, and your
achievements, you know?
SOLOMON: Oh, gee ... thanks.
COSIMO MEDICI: You've been a worthy opponent all these years, but you spend all
your energy on a battle that you can't win. A battle you don't even understand.
SOLOMON: So, enlighten me.
(COSIMO smiles coldly at SOLOMON.)
COSIMO MEDICI: Sorry. Right now, I have a diary to find.
SOLOMON: Not if I find it first.
COSIMO MEDICI: You can't fight history. Solomon. Look, look around you.
(COSIMO takes his glasses off and indicates all of da Vinci's inventions at the
exhibition.)
COSIMO MEDICI: The Medici's always gotten what they wanted.
SOLOMON: Times change Cosimo.
COSIMO MEDICI: That they do. But you are not going to change.
SOLOMON: (cold) You sure about that?
(beat)
COSIMO MEDICI: (colder) I'll make sure.
(Camera holds on SOLOMON.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. FLORENCE ITALY -- NIGHT]
[INT. HOTEL ROOM -- NIGHT
(VINCENT is sitting down. SOLOMON hands VINCENT a drink in a tumbler.)
SOLOMON: Cheers.
(VINCENT takes a sip as SOLOMON sits down. His tie is undone.)
VINCENT: We've made contact with the seller's representative. A man named
Grayson Winthrop-Knox.
SOLOMON: Big name.
VINCENT: A bit poncey. He claims he has access to the letters. He's setting
up the meeting tomorrow.
SOLOMON: You think he's for real?
VINCENT: It's unclear. Maybe he's trying to hit on my wife?
(SOLOMON laughs. VINCENT also chuckles.)
(Then things get a bit serious as the smile dies from VINCENT'S face.)
VINCENT: Cosimo's presence complicates things.
SOLOMON: You are the Master of Understatement.
VINCENT: He's ruthless. Even by Dorna's standards. Remember Istanbul?
SOLOMON: (grimly) That won't happen again.
(SOLOMON takes a sip of his drink.)
(Camera holds on the two men sitting on the sofa.)
CUT TO:
[INT. HOTEL ROOM -- NIGHT]
(CALVIN walks into the bedroom buttoning up his long-sleeved shirt. He sees
NIKKO lounging on the bed looking through his CD case.)
CALVIN: (sighs, irritated) Yeah, that's fine. Look through my CD's. Okay.
No problem.
(CALVIN sits down with a plop on the edge of his own bed.)
NIKKO: Yeah. Hot tuna. Beck. Zinger and Cream. I gotta tell ya, Cal, this
is very morning becomes ecclectic.
CALVIN: (sarcastic) I'm sorry, if I had known that you were going to borrow my
CD's, I would have brought the Backstreet Boys.
NIKKO: (scoffs) Oh. That's funny. (Like he cares.)
CALVIN: Huh. Really?
(CALVIN sits back against the headboard. CALVIN grabs the television remote and
tosses it to NIKKO.)
CALVIN: Here, why don't you watch tv?
NIKKO: (been there, done that) There's nothing on.
(There's a knock on the front hotel room door. Both CALVIN and NIKKO look
toward the front door.)
SOPHIE ST. JOHNS: (o.s.) (through the door) Calvin? It's me, Sophie.
CUT TO:
[FRONT HOTEL ROOM DOOR]
[SOPHIE'S POV]
(The door opens and CALVIN appears.)
CALVIN: Hey.
SOPHIE ST. JOHNS: I thought we could talk.
CALVIN: Uhm.
(SOPHIE'S eyes shift to NIKKO on the bed, his back to them.)
CALVIN: Yeah.
(CALVIN sees her gaze and turns around to look at NIKKO. He's now watching
them. He lifts a hand up and wiggles his fingers in a wave to them.)
SOPHIE ST. JOHNS: (smiling) Meet me later?
CALVIN: That would probably be better.
(She nods. CALVIN holds up a finger for her to wait. He closes the door and
heads inside. He climbs up over his bed to the other side and starts putting on
his shoes.)
(NIKKO watches him.)
NIKKO: Where are you going?
CALVIN: None of your business.
(He flips through the CD pack.)
NIKKO: You know, Cal, uh, I don't think we should be going off in the middle of
the night.
CALVIN: Do you?
NIKKO: Yeah.
CALVIN: I appreciate the advice.
(CALVIN puts his shoes on and heads around the bed toward the door.)
CALVIN: I have some for you, too. Butt out.
NIKKO: Cal, I'm serious, man. We're supposed to stay put. This is not a good
idea.
CALVIN: Don't touch my CD's okay?
(CALVIN ignores NIKKO and heads out the front door.)
(NIKKO tosses the CD pack aside.)
CUT TO:
[EXT. FLORENCE - NIGHT]
[INT. MUSEUM - OFFICE -- NIGHT]
(SOPHIE opens the double doors wide and walks inside. CALVIN follows her.)
CALVIN: So, this is your office?
(She takes off her wrap and puts it on the chair.)
CALVIN: (impressed) Your own office at the Uffizi.
(He looks around the large office. She laughs. Thrilled.)
CALVIN: Not bad.
SOPHIE ST. JOHNS: One of the perks of the Curatorship.
CALVIN: mm-hmm.
SOPHIE ST. JOHNS: (impressed) ... And you really came all the way to Florence
just to see the exhibition?
CALVIN: (nods) Yeah. Yeah. (stops) Sort of ... well ... ah ...
SOPHIE ST. JOHNS: You were never a good liar.
CALVIN: (shakes his head) No, not particularly.
(They both laugh.)
CALVIN: Um, someone's holding an auction.
SOPHIE ST. JOHNS: You're here about the da Vinci letters.
CALVIN: (surprised) You know about them.
(She stands up and moves around her desk. CALVIN joins her.)
SOPHIE ST. JOHNS: These people at the party were talking. Rumours are about
the da Vinci diary.
CALVIN: Could you imagine bringing them in?
SOPHIE ST. JOHNS: In my dreams. No, but you probably could. hmm? That's why
you work for somebody like Dr. Zond, and I could be assisting you to do your
homework.
(She sits down in her chair.)
CALVIN: What are you talking about? You are a great archaeologist.
SOPHIE ST. JOHNS: I never had what it took. We both knew it. That is why I
left.
CALVIN: You left to attend Oxford. The opportunity of a lifetime.
SOPHIE ST. JOHNS: Maybe, but I was also running away.
CALVIN: Running away from what?
SOPHIE ST. JOHNS: From you. From myself. From mediocrity. But it didn't work
and I lost you in the process.
CALVIN: Well, maybe it doesn't have to be that way. Maybe you could help us.
Maybe you could help me find the diary. Really, have you heard anything else
about the letters?
SOPHIE ST. JOHNS: No. (she looks at him slyly) But, how about I show you
something secret that I do know about.
CUT TO:
[INT. CATACOMBS UNDER THE MUSEUM]
(SOPHIE leads CALVIN by the hand down the stairway. She narrates as she leads
him through the catacombs.)
SOPHIE ST. JOHNS: When Geocosimo Medici the first commissioned the building in
1560's, his workers uncovered these catacombs.
CALVIN: Then there must have been a church here recently?
SOPHIE ST. JOHNS: Yes. The St. Pierre de Savangio. The Duke had his
architects build most of the Uffizi right over it and I discovered a way in
without crashing the exhibition.
(Suddenly interested in this information.)
CALVIN: Really?
(They continue down the darkened tunnels. Fascinated, CALVIN follows and looks
around.)
CALVIN: Does anybody map these tunnels?
(They walk through an archway.)
SOPHIE ST. JOHNS: Isn't it more romantic to think that after centuries, the
stories these walls have witnessed, secret rendezvous between star-crossed
lovers? The trysts of danger to unfold?
(She stops and looks at CALVIN.)
CALVIN: Yes, I can't help but be transported.
(He leans in and they kiss. A taste. They break apart.)
SOPHIE ST. JOHNS: (softly) ... Sharing stolen kisses ...
(They kiss. This time, passionately.)
CUT TO:
[EXT. FLORENCE - MORNING]
[INT. HOTEL ROOM -- DAY]
(CALVIN walks away from the rest of the group in the living room. He's angry
with them as we just come into their discussion.)
CALVIN: I can't believe you guys are trying to drag Sophie into this. This is
ridiculous.
JULIET: Calvin. It's not like that.
NIKKO: Look, you're taking this way too personally. Okay?
CALVIN: (to NIKKO) Shut up.
SOLOMON: I had Juliet do background checks on everyone we met at the party.
JULIET: I can't help what I found, okay? This party curator lists as this
exhibition to complete a year long internship at the ancient manuscripts
department of the Vatican Library.
(CALVIN shakes his head, but keeps quiet.)
VINCENT: She could have discovered the letters doing her research there.
CALVIN: Yeah? Well, I am telling you. Okay. This is just coincidence.
That's it.
VINCENT: I don't believe in coincidences.
JULIET: I checked out Knox, too. He is their collector he pretends to be, but
he did attend Oxford. The same time Sophie did her post Doctoral work.
CALVIN: Yeah, with ten thousand other people. This is stupid.
VINCENT: Calvin, European customs also place Knox in Rome at the same time
Sophie was working at the Vatican.
CALVIN: Look. I understand that this is found on paper. But that's it. Look,
okay, no, listen to me. They're both into art. Their paths cross, but that's
it. I already asked Sophie about the letters ...
SOLOMON: (jumps on the slip) You TOLD her we were after the letters without
checking with me first?
(He turns to look at VINCENT.)
VINCENT: Well. If Sophie's the seller and she thinks we've made her, she'll
run. We'll lose the letters.
(Not liking the scenario one bit, SOLOMON stands up and heads for CALVIN.)
SOLOMON: (hard and very angry) What exactly about our jobs is confusing you.
But don't you know what's at stake here?
CALVIN: Yes. Of course, I do. I would never do anything to jeopardize ...
SOLOMON: (backs away from CALVIN) You just did. You just did.
(CALVIN shakes his head in frustration.)
CALVIN: Forget it.
(CALVIN turns and leaves the room.)
(NIKKO watches CALVIN leave and looks imploringly at his dad.)
NIKKO: Dad.
(SOLOMON turns around to look at NIKKO, he's still very angry.)
SOLOMON: What.
(NIKKO doesn't look at SOLOMON; neither does VINCENT.)
SOLOMON: Go find him. Bring him back.
(NIKKO stands up just as SOLOMON sits down at the table next to JULIET.)
JULIET: Dr. Zond, there's more. Somebody deposited ten million dollars into a
private Swiss account Knox opened yesterday.
VINCENT: If that money came from Dorna, Knox is going to turn those letters
over to Cosimo.
SOLOMON: We need to find Knox and stop that exchange.
VINCENT: We'll start at his hotel.
(VINCENT leaves the room. SOLOMON remains behind and sighs heavily.)
CUT TO:
[INT. MUSEUM - HALLWAY]
(CALVIN walks down the hallway toward a large dark-colored double door. He
stops and hears footsteps behind him. He rushes forward toward the doors.)
(He opens the door, walks through it, closes the door partially, and stands just
off to the side to wait for the person to catch up to him.)
(The footsteps get louder. The door opens. CALVIN presses himself up against
the wall.)
(NIKKO walks through the door and CALVIN tackles him, pushing him up against the
wall and raising a fist at his face in the process.)
CALVIN: What the hell are you doing?
NIKKO: What are you doing here?
CALVIN: I'm trying to get some answers. You're spying on me.
NIKKO: (louder) I'm not spying on you, okay? (softly) I'm not spying on you.
I'm here to help you.
(The office door opens and SOPHIE sees both of them.)
SOPHIE ST. JOHNS: What's going on out here?
(Neither one says anything.)
CUT TO:
[INT. SOPHIE'S OFFICE - DAY - CONTINUOUS]
(SOPHIE paces the floor in front of them waiting patiently for someone to
speak.)
SOPHIE ST. JOHNS: Someone want to tell me why you were beating each other up
outside my office?
CALVIN: We weren't beating each other up.
NIKKO: Well, if we were, obviously I would have won.
(SOPHIE closes her eyes and shakes her head. CALVIN turns to look at NIKKO.)
CALVIN: Please stop talking.
(Suddenly the office doors burst open. KNOX and COSIMO MEDICI walk into the
office.)
SOPHIE ST. JOHNS: Knox, what are you doing?
GRAYSON WINTHROP-KNOX: My apologies Sophie. Cosimo made me a much better
offer.
SOPHIE ST. JOHNS: You sold me out.
(CALVIN turns to look at SOPHIE.)
GRAYSON WINTHROP-KNOX: But for a lot of money.
NIKKO: So, dad was right. You are the seller.
SOPHIE: I found the letters in the Vatican Library. Da Vinci was trying to
tell Medici where to look for the diary, but I couldn't figure out where.
GRAYSON WINTHROP-KNOX: So, for the right price, why not give someone else a
crack at it.
CALVIN: (shocked) I don't believe you sold the letters.
(SOPHIE turns to look at CALVIN apologetically.)
SOPHIE ST. JOHNS: Last night I wanted to tell you.
COSIMO MEDICI: (interrupts) If I weren't the guy with the gun, I'd burst into
tears.
GRAYSON WINTHROP-KNOX: So, could you just give Cosimo the letters, and this
ends right now and you could just walk away.
SOPHIE ST. JOHNS: And if I don't?
(COSIMO puts a bullet in the chamber and raises the gun at them.)
COSIMO MEDICI: (coldly) I'll kill your friends.
(SOPHIE turns to look at CALVIN who has his eyes glued on COSIMO. NIKKO also
watches COSIMO.)
(Camera cuts back to COSIMO holding the gun. It refocuses on the barrel of the
gun.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. SOPHIE'S OFFICE -- DAY]
(We continue where we left off. COSIMO MEDICI has the gun pointed at SOPHIE,
CALVIN and NIKKO.)
CALVIN: You're going to just shoot us in cold blood?
COSIMO MEDICI: How considerate. Sophie, give me the letters.
NIKKO: No, Sophie. Don't do it.
COSIMO MEDICI: (swings the gun at NIKKO) You are very expendable; I suggest
you shut up.
(SOPHIE turns around and opens her briefcase on her desk. Behind her, KNOX
nervously looks at COSIMO.)
GRAYSON WINTHROP-KNOX: Cosimo.
(SOPHIE grabs the letters from inside the briefcase. CALVIN grabs her hands to
stop her from giving them to COSIMO.)
CALVIN: (to COSIMO) Wait. Okay. Look. Listen. Let Sophie and Nikko go and
I will help you with the letters, okay?
COSIMO MEDICI: Little boys shouldn't play grown up games
(He motions for KNOX to take the letters. KNOX steps forward and SOPHIE lets go
of her hold on the letters to attack KNOX.)
SOPHIE ST. JOHNS: You liar!
(NIKKO and CALVIN try to hold SOPHIE back, but she manages to push KNOX into
COSIMO knocking him to the floor.
(COSIMO aims and fires at SOPHIE. The bullet hits her in the stomach.)
(She falls backward into CALVIN who puts her gently on the ground.)
(NIKKO punches KNOX several times till he's down on the ground and also manages
to hit COSIMO hard, too.)
CALVIN: Sophie.
(CALVIN holds her as she starts to hyperventilate. He looks down at the bullet
wound and continues to hold her.)
CALVIN: Sophie. Look at me. Look at me. Look at me.
(CALVIN looks at her.)
SOPHIE: Go.
(Her eyes go blank and stares straight into nothing. Her body goes slack and
she slumps back down to the floor. CALVIN puts her down on the floor, her head
rolls back.)
CALVIN: (shakes his head) I can't ... Sophie. Oh, god.
(CALVIN looks at her wound, not wanting to believe she's dead.)
CALVIN: (crying) Sophie.
(NIKKO grabs the letters on the floor and grabs CALVIN.)
NIKKO: Come on. Let's go. Come on!
(NIKKO successfully gets CALVIN to his feet and the two men head out the office
door. COSIMO regains consciousness and reaches for his gun.)
COSIMO: Knox!
(CALVIN and NIKKO run out of the office, down the hallway just as COSIMO fires a
couple of shots at them. The shots miss them and hit the statues in the
hallway.)
(NIKKO round the corner; CALVIN just behind him. COSIMO aims and fires. The
bullet hits CALVIN in the leg. He trips to the ground, grunting and groaning in
pain.)
(KNOX grabs COSIMO'S arm and tugs.)
GRAYSON WINTHROP-KNOX: You can't keep shooting that thing. The guards will
hear us.
(COSIMO pushes KNOX aside and stares at CALVIN in front of him.)
(NIKKO turns around and grabs CALVIN. He pulls him up and drags him away.)
NIKKO: C'mon! Let's go!
(With the letters gone, COSIMO turns around to deal with KNOX.)
(On the floor inside the office, SOPHIE is on the floor, dead. KNOX kneels down
next to her, crying and upset.)
GRAYSON WINTHROP-KNOX: (looking at SOPHIE'S body) Oh, god. oh, god. Are you
insane. This is insane.
(KNOX stands and looks at COSIMO who is standing in the doorway with the gun in
his hand, relaxed and pointed down at the ground.)
GRAYSON WINTHROP-KNOX: This is NOT part of the deal. Killing Sophie was not
part of the deal. And they got away with the letters. What are we going to do
now?
(Without a word, COSIMO raises the gun at KNOX and fires.)
CUT TO:
[EXT. FLORENCE -- DAY]
[INT. HOTEL ROOM -- DAY
(SOLOMON finishes wrapping CALVIN'S leg.)
SOLOMON: Calvin, you're very lucky. The bullet only grazed you.
CALVIN: (angrily) They are not going to get away with this. Not this time.
NIKKO: That Cosimo guy's a psycho, dad.
(SOLOMON shakes his head.)
SOLOMON: You know, you guys could have been killed. I can't believe that you
would do something so stupid.
NIKKO: Well, what were we supposed to do? Just hand over the letters?
SOLOMON: Yes.
NIKKO: Oh, and Veritas might get shut down.
SOLOMON: You really believe that Veritas is more important to me than you?
Than either of you?
(CALVIN doesn't say anything. He stares angrily in front of him.)
SOLOMON: Calvin. Calvin!
(CALVIN shifts his eyes and looks at SOLOMON.)
SOLOMON: Cosimo will pay for this. I promise.
(With a final glance at them both, SOLOMON stands up and leaves the bedroom.)
(Camera holds on CALVIN.)
CUT TO:
[INT. HOTEL ROOM - LIVING ROOM -- DAY]
(SOLOMON looks through the letters. The camera opens on a particular page with
the image of the Vitruvian Man in the center.)
SOLOMON: The Vitruvian Man. Da Vinci's most famous study of anatomy. I wonder
why he was sending a copy of it to Medici.
(SOLOMON is sitting on the couch next to NIKKO, the two of them looking at the
letters. Behind them, JULIET walks past them to the table. She puts the book
she's carrying on the table and looks at SOLOMON through the mirror on the
wall.)
JULIET: Well, I don't know yet. But building upon Sophie's translation of the
letters, I did find mention of a single commission Da Vinci was working on for
his Patron, Lorenzo Medici.
NIKKO: What was the commission?
JULIET: Some kind of device. This means that Da Vinci built it, then he
destroyed it.
SOLOMON: Why? Does it say what it did?
JULIET: No. Only that it was powerful.
(JULIET turns around and looks at them.)
JULIET: He was afraid that it would fall into the hands of an ancient order
known as Dorna.
NIKKO: Wait, are you telling me that Dorna has been around this long?
JULIET: Yep. And the Medici's were members.
SOLOMON: Da Vinci hid the diary containing the blueprints for the device and
five hundred years later, Dorna's still willing to kill for it.
NIKKO: Wow, it must be some device.
(Upset and thinking, SOLOMON gets to his feet.)
SOLOMON: The Benefactor should have told me.
NIKKO: Maybe he didn't know, dad.
SOLOMON: Of course he knew, that's why he send us after the diary.
(CALVIN quietly walks into the room.)
SOLOMON: (still upset) He should have told me.
(SOLOMON turns around and stops when he sees CALVIN.)
CALVIN: Where are we at?
JULIET: (concerned) Calvin, you okay?
(CALVIN nods.)
CALVIN: Sophie is gone. I'm not going to lose Veritas, too. I'm not going to
let Cosimo get that diary.
SOLOMON: He won't.
(CALVIN and SOLOMON share a look. CALVIN nods.)
(That settled, JULIET resumes her report. CALVIN moves into the room and
remains standing in front of the chair. Everyone gets back to work.)
JULIET: Da Vinci wrote that he hid the diary in his secret workshop somewhere
here in Florence, but none of the letters say where.
SOLOMON: Da Vinci used all kinds of tricks to hide information in his writing.
CALVIN: Yeah, he would write backwards, upside-down, in codes. (pauses) Do
all the letters talk about the diary?
JULIET: No. Only these four here.
(JULIET moves to show CALVIN the four letters. He groans and takes a seat.)
(He looks at the four letters and notices something strange.)
CALVIN: Well, what are these markings here in the corner?
NIKKO: They look like doodles. And they're just pictures.
CALVIN: No, these lines are too straight to be ink tests. They mean something.
(pauses)
(SOLOMON turns his attention to CALVIN.)
(CALVIN shifts and moves the letters about on the table. SOLOMON takes a seat
to assist.)
(CALVIN finally arranges the letters with the doodles in the same corner. When
they're put together, they form a single picture.)
SOLOMON: Leonardo Da Vinci's Parabolic Bridge.
JULIET: (thinking) Was it ever built?
SOLOMON: No, but Da Vinci's model should be at the exhibition. I saw it at the
party.
(VINCENT walks into the room.)
VINCENT: Hey. I went into the museum. Knox is dead, too.
NIKKO: (quietly) Cosimo.
(VINCENT looks over at CALVIN.)
VINCENT: (pauses) Sorry, about Sophie.
(Without looking at VINCENT, CALVIN nods.)
NIKKO: Cosimo knows we have these letters. He's going to come after us next.
SOLOMON: We don't have much time. Juliet, we'll take you and the letters back
to the jet. That's the safest place.
JULIET: Well, what are you going to do?
(NIKKO gets up and walks toward the windows in the back. CALVIN stands up.)
CALVIN: (points to the letters) daVinci drew that bridge as a clue. (sighs)
SOLOMON: (to CALVIN) Listen, we're going to have to get our hands on that
model.
(SOLOMON looks at NIKKO when he interrupts.)
NIKKO: But, the museum's already closed.
(SOLOMON turns from NIKKO over to look at VINCENT.)
SOLOMON: Is that going to be a problem?
(Camera holds on VINCENT.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. MUSEUM -- NIGHT]
(Camera opens on a security lock. Someone swipes a card through the lock. The
lights on the lock changes to green.)
(The door opens.)
(SOLOMON, VINCENT, CALVIN and NIKKO step in through the doorway.)
(VINCENT looks around and immediately assesses the situation.)
VINCENT: Problems.
SOLOMON: All ready?
(From the other side of the room with the security panel, a pulse of blue-white
light emanates from a single point, outward like a ring, covering the entire
room.)
(The pulse reaches just far enough to the door, then dissipates. SOLOMON steps
back to avoid getting hit by the light.)
CALVIN: The model is on the other side of this gallery.
NIKKO: Well, what the hell was that light?
CALVIN: Random post-motion detector. It'll be a tight squeeze. Somebody's got
to make it to the control panel in between pulses.
(VINCENT estimates the height of the pulse.)
VINCENT: Looks like a sixteen inch clear.
(SOLOMON turns to NIKKO.)
SOLOMON: You're up, kid.
NIKKO: What? Oh, so I can't dive the Blue Hole, but I can try to out-maneuver
some high-tech motion sensor so that we can steal something from the museum?
(SOLOMON puts a hand on his shoulder.)
SOLOMON: You're catching on.
NIKKO: Okay, I guess it's all about priorities, huh?
(VINCENT hands NIKKO his gadget.)
VINCENT: This will bypass the control panel.
(CALVIN hands NIKKO, his gadget, too.)
CALVIN: All right. Look. Attach this to the USB port. I programmed it to
electronically tumble the lock.
NIKKO: (impressed) um-hmm?
CALVIN: Yeah.
(Everyone stares at the pulses, trying to find its rhythm.)
SOLOMON: Ready?
NIKKO: Yes.
(NIKKO takes a deep breath and exhales it, preparing himself for the exertion.)
SOLOMON: Be quick. Be careful.
(NIKKO takes a couple more breaths.)
NIKKO: All right.
(VINCENT stares at the security lock anticipating the pulse.)
VINCENT: Three. ... Two. ...
(The blue-white pulse starts through the room.)
VINCENT: ... One. ...
VINCENT: ... GO!
SOLOMON: GO!
(SOLOMON pushes NIKKO forward. NIKKO runs as fast as he can. As the pulse gets
nearer to him, he slides on his back, his feet forward, head slightly up,
letting the pulse pass right above him.)
(As soon as he's in the clear, NIKKO gets to his feet and continues through the
museum floor. The second pulse has already started down the room toward him.)
(NIKKO dives, on his stomach, head first, under the pulse as it passes over
him.)
(He's nearly there.)
(As soon as that pulse clears over him, NIKKO gets to his feet and bolts it to
the security panel. He opens it and dismantles the security system.)
SOLOMON: (watching from the doorway) C'mon, c'mon, c'mon, Nikko! C'mon!
(He gets everything hooked up and punches in the correct code. The panel beeps
and the red lights in the panel turn green.)
(NIKKO motions for them to come.)
NIKKO: Come on! Come on!
(CALVIN, SOLOMON and VINCENT dash across the museum floor toward NIKKO.)
(NIKKO turns around and looks at the bridge inside the display cabinet. SOLOMON
takes out a glass cutter and cuts a circular opening inside the display case.
He hands the glass cutter to VINCENT and takes out a suction to remove the
glass.)
NIKKO: (smiles) This is always my favorite part in the movies.
(CALVIN hears him, but doesn't crack a smile.)
(They remove the glass. SOLOMON reaches into the display case and takes the
Parabolic Bridge out. He puts it out on top of the cabinet.)
(They all start looking at the bridge for a hidden clue.)
SOLOMON: Where would have Da Vinci hidden the message?
CALVIN: Da Vinci used dye and gallic in his letters. It's Tannic acid with an
iron salt. It's clear until ephemin is added.
(CALVIN takes out a small spray can.)
NIKKO: Maybe he used invisible ink to hide a clue?
CALVIN: Let's find out.
(CALVIN sprays the entire bridge. At the base of the bridge a symbol appears.)
CALVIN: Is that it?
SOLOMON: Give me a minute.
(VINCENT hands SOLOMON a pocket knife.)
(SOLOMON takes a knife and pries the base of the bridge open. Hidden high up
under the bridge cover is a folded piece of paper.)
(SOLOMON opens it and looks at it. It appears to be a drawing with written
words under it.)
SOLOMON: It's backwards. Need a mirror.
(SOLOMON looks around and heads to the wall mirrors. He holds it up and reads
it.)
SOLOMON: (reading) Catacombus san pierre serragio (?). (pauses) Catacombs
under the Uffizi.
CALVIN: I know how to get in.
(Camera holds on CALVIN.)
CUT TO:
[INT. CATACOMBS -- NIGHT]
(The group slowly makes their way through the catacombs, CALVIN'S leading the
group.)
CALVIN: Sophie stumbled upon this entrance to the catacombs of the Thames of
the Exhibition.
SOLOMON: Da Vinci must have found it before the Medici's build the Uffizi.
VINCENT: His workshop was right underneath their noses.
(The group continues to walk through the tunnels while using the diagram as a
map.)
SOLOMON: Da Vinci laid this diagram out on a grid. If my count is right, the
workshop should be here.
(SOLOMON turns and faces a wall. NIKKO is not surprised.)
NIKKO: ... And of course, it's not.
(SOLOMON looks at NIKKO and scoffs.)
SOLOMON: So young. So cynical.
(He shines his flashlight into NIKKO'S eyes. NIKKO squints.)
VINCENT: (agrees) Yeah.
(Everyone starts looking around the area, along the walls, the floors, the
ceiling. SOLOMON concentrates on the wall where da Vinci indicated that the
workshop would be. He finds a circular outline of a door and a couple of
pressure points to open the door.)
SOLOMON: Here's something.
(Everyone turns to look at the wall that SOLOMON'S examining intently.)
CALVIN: What?
SOLOMON: Not sure. The geology reminds me of ...
(SOLOMON faces outward, his back to the door with his arms outstretched.)
NIKKO: Hey, the Vitruvian Man. Just like the sketch Da Vinci sent to Medici.
SOLOMON: And the clue to finding the workshop.
(SOLOMON looks to the side and sees the light-holding indention in the wall
covered with wax. He holds out his hand.)
SOLOMON: Give me the knife.
(VINCENT hands SOLOMON a pocket knife. SOLOMON takes the knife and digs under
the thick layer of wax to see what's underneath.)
SOLOMON: The mechanism.
(CALVIN looks around to study the wall. Meanwhile, SOLOMON manages to clear the
mechanism underneath.)
CALVIN: Designed to seal off the entrance to the workshop.
(There's a sound. SOLOMON moves to the other side of the "door" to check that
light indention. He finds it.)
SOLOMON: There's another one over here.
(He clears that mechanism.)
(He then goes back into the Vitruvian Man position his back up flat against the
door, arms outstretched.
SOLOMON: Maybe the Vitruvian Man has the answer.
(And he pushes the two mechanisms down at the same time.)
(The mechanism behind the door is released and the door opens.)
[INT. DA VINCI'S WORKSHOP - NIGHT -- CONTINUOUS]
(The place inside is cold, dark and very dirty. The group walks inside.)
SOLOMON: Da Vinci's workshop.
(They pause near the doorway and light a lamp. NIKKO takes the lamp.)
SOLOMON: We don't have much time. Start looking for the diary.
(VINCENT lights a lamp and uses that as his light. The group starts to search
for the diary.)
(The place is cluttered with inventions still hanging from the ceiling.)
(SOLOMON walks up to da Vinci's desk and opens the thick book on it. He looks
inside, his face alight with the discovery.)
SOLOMON: Da Vinci's Diary.
(NIKKO moves to stand next to SOLOMON.)
SOLOMON: We found it.
COSIMO MEDICI: (o.s.) As I knew you would.
(Everyone turns around to see COSIMO MEDICI and two of his goons walk into the
workshop.)
(CALVIN turns around, his face hard. His eyes cold on COSIMO MEDICI and without
thinking, he takes a step forward. VINCENT grabs CALVIN and pulls him back.)
(COSIMO continues deeper into the workshop.)
COSIMO MEDICI: I want to thank you Solomon.
SOLOMON: For what?
COSIMO MEDICI: For helping me find the diary. You must realize that I let
Nikko and Calvin get away with the letters?
NIKKO: LET us get away?
COSIMO MEDICI: Believe me, Nikko. If I wanted you dead, you'd be dead.
CALVIN: You knew we'd figure out the clues in the letters.
SOLOMON: And we'd lead you right to the diary.
COSIMO MEDICI: I'll admit, Solomon. You are the better archaeologist, but I am
the better strategist.
(He holds out a gloved hand, palm forward, expecting.)
COSIMO MEDICI: And now, the diaries.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. DA VINCI'S WORKSHOP -- NIGHT]
(Once again, the two men face each other. SOLOMON turns around and picks up the
book. CALVIN stares at him, eyes wide, unbelieving what he's seeing.)
(SOLOMON turns around back to COSIMO. COSIMO takes the diary and sighs. He
holds it close to his chest.)
COSIMO MEDICI: We have both been searching so hard for this diary. And you
don't ... you don't even know why. Do you?
(COSIMO MEDICI opens the book to a particular page. He turns the open book
around and shows the page to SOLOMON. In it are instructions to a device.)
COSIMO MEDICI: Hmm?
(He shuts the book after SOLOMON gets a glimpse.)
FLASHBACK TO:
[INT. DA VINCI'S WORKSHOP - NIGHT -- PAST]
(Back to the teaser, Da Vinci sits in his workshop behind his desk busy writing
in his diary.)
COSIMO MEDICI: (v.o.) Da Vinci was a genius. It took him a year to decipher
ancient texts, ...
(The camera pulls back a bit and we see that in front of Da Vinci on the table
is the device all ready built. He's looking at a device on the table and
drawing/writing about it in his diary. He glances back and forth from the device
to his diary.)
COSIMO MEDICI: (v.o.) ... that Dorna had been working at for a millennium.
(Dissolve to: A close up of a page of the diary with the instructions and
pictures of the device.)
(Dissolve to: [EXT. - DAY] High camera shot of the Aztec Pyramids.)
COSIMO MEDICI: (v.o.) He used them to recreate a device of enormous power -
(Dissolve to: Another view of the Aztec Pyramids.)
COSIMO MEDICI: (v.o.) ... the Power at the heart of the mysteries of
antiquities.
(Dissolve to: The Egyptian Pyramids.)
COSIMO MEDICI: (v.o.) Power that enabled the pyramids to be built.
(End of flashback sequence. Resume on CALVIN.)
CALVIN: Like Dorna will ever share that technology.
COSIMO MEDICI: The right people will profit as they always have.
SOLOMON: That's why you need to be stopped.
COSIMO MEDICI: No. That's why you are a fool, my friend. This kind of power
is more than the world is ready for.
VINCENT: And Dorna's ready?
(COSIMO turns to look at VINCENT.)
COSIMO MEDICI: Yes, we are. We always have been.
(COSIMO turns around to look back at SOLOMON. Considering ... Thinking ... )
COSIMO MEDICI: And perhaps ... and perhaps you are ready, too, Solomon.
(CALVIN looks surprised. SOLOMON doesn't move, his eyes glued to COSIMO.)
COSIMO MEDICI: Join us.
NIKKO: (alarmed) What?
SOLOMON: Are you serious?
(COSIMO takes his glasses off.)
COSIMO MEDICI: I'm completely serious. Aren't you tired of constantly
fighting. Of constantly losing.
SOLOMON: (amused) I don't think the scorecard is that lop-sided.
COSIMO MEDICI: That's why I'm making you this offer. A one time only offer.
Join Dorna, Solomon. We will give you all the answers you are looking for that
will help re-shape the future.
(SOLOMON closes his eyes. NIKKO looks very alarmed.)
NIKKO: Dad. Dad! Come on, this is stupid. Tell him to "shove it". Dad!
VINCENT: (o.s.) It's your father's decision, Nikko.
(SOLOMON turns to look over at VINCENT. They share a look, VINCENT doesn't
waiver. SOLOMON turns back to COSIMO.)
SOLOMON: What about my team? What about Vincent?
COSIMO MEDICI: We would be delighted to welcome Vincent back into the family.
(COSIMO turns and looks over at VINCENT, whose piercing eyes gaze coldly back at
COSIMO. He remains silent. COSIMO turns back to SOLOMON.)
COSIMO MEDICI: (urgently) By joining Dorna, you keep your colleagues safe.
Keeps Nikko safe.
(At the mention of NIKKO, SOLOMON turns to look at him. COSIMO pushes forward.)
COSIMO MEDICI: Don't you think Haley would have wanted that?
(SOLOMON looks at COSIMO and knows the answer.)
SOLOMON: No. No, Haley would have thought the price was too high.
(And with that, NIKKO lowers his chin down, then head butts the MAN WITH THE GUN
standing behind him. He turns and punches him in the neck.)
(VINCENT turns and moves into action. He spots the SECOND MAN WITH THE GUN
before he can even move, grabs the MAN'S gun hand and kicks him in the stomach.)
(SOLOMON moves also. He grabs the diary in COSIMO'S grip and tugs at it. The
two men fight for possession of the book.)
(NIKKO gets out of the MAN'S grip and pushes him back into the old pile of rock,
rubble and wooden shelving on the floor behind him.)
(VINCENT continues to fight the SECOND MAN WITH THE GUN. He turns and hits
him.)
(NIKKO grabs a large, heavy looking item off of the dusty desk and swings at
COSIMO, connecting with his chin. COSIMO goes down and lets go of the diary in
the process.)
(VINCENT swings the man with the gun and throws him against the old brick wall,
knocking him out.)
(CALVIN jumps on COSIMO and wraps his hands around COSIMO'S neck. He begins to
squeeze.)
SOLOMON: Calvin!
(CALVIN doesn't let go. SOLOMON grabs CALVIN from around his neck and pulls him
off of COSIMO.)
(COSIMO is on his back on the dirty floor, coughing and gasping for air.
SOLOMON looks at CALVIN.)
SOLOMON: It's not worth it.
(CALVIN doesn't fight SOLOMON. SOLOMON loosens his hold on CALVIN. CALVIN
reaches down and picks up the diary. NIKKO and VINCENT also stand around COSIMO
looking down at him while CALVIN holds out the diary in front of COSIMO just out
of his reach.)
CALVIN: Today, we win.
(COSIMO doesn't say anything as he continues to gasp for air.)
CUT TO:
[INT. SWITZERLAND CASTLE -- DAY]
(SOLOMON walks into the BENEFACTOR'S office. He's holding out DA VINCI'S LOST
DIARY. THE BENFACTOR turns around and puts away what he's working on. He
reaches for the diary.)
THE BENEFACTOR: Excellent work.
(SOLOMON puts it on the desk in front of THE BENEFACTOR. He immediately opens
it and starts flipping through the pages.)
SOLOMON: Thank you.
THE BENEFACTOR: Uh.
(THE BENEFACTOR stops on a page. It's not the correct page. SOLOMON reaches
out and flips the page over to the instructions for creating the device of
power.)
SOLOMON: I'd like the chance to recreate this device. It would answer so many
questions and imagine its applications ...
THE BENEFACTOR: (brushes the request aside) Of course not. This device
doesn't work.
(THE BENEFACTOR closes the book.)
THE BENFACTOR: It's one of Da Vinci's many theoretical machines.
SOLOMON: Well, how can you be so sure? Just a few days in the lab ...
THE BENEFACTOR: No, it would be a waste of time.
(THE BENEFACTOR stands up and picks up the diary off of the desk. He turns
around, his back to SOLOMON and carries the diary off. It's a definite "no".)
(THE BENEFACTOR tucks the diary under his arm and walks away from the desk and
from SOLOMON, clearly avoiding the issue. SOLOMON follows him a bit, then stops
him.)
SOLOMON: If you weren't worried about Dorna getting those blueprints, then what
the hell was this all about?
(THE BENEFACTOR turns around.)
THE BENEFACTOR: I can't say.
SOLOMON: You know, I'm beginning to wonder who's worse, you ... or Dorna. At
least with Dorna, I know where I stand.
(SOLOMON turns and walks out of the room. The camera lingers on THE
BENEFACTOR.)
CUT TO:
[EXT. VERITAS FOUNDATION - EVENING]
[INT. VERITAS FOUNDATION -- EVENING]
(SOLOMON is sitting behind his desk working on a computer. NIKKO walks into the
room. SOLOMON turns around to talk with NIKKO.)
NIKKO: Hey.
(NIKKO straddles the chair and looks at his dad.)
NIKKO: So, talk to him?
SOLOMON: I did and The Benefactor said, "Excellent work."
NIKKO: What about Dorna and the device?
SOLOMON: I don't think the device was what the benefactor was after.
NIKKO: Then what?
SOLOMON: I don't know. I think I'll have to reconsider our arrangement. How's
Calvin doing?
NIKKO: He's good. Juliet's with him, but he's still a little bit depressed.
Actually, I think that kicking Cosimo's butt actually made him feel a little
better.
(NIKKO chuckles a bit.)
SOLOMON: Hmm. Probably.
NIKKO: Listen, dad. You weren't really thinking about going off into the Dark
Side, were you?
SOLOMON: I'll have to admit. Cosimo's offer was tempting. If I could join
them long enough to get some answers.
NIKKO: Yeah. Yeah, right. And then what? Resign? Just turn in your
membership card? (laughs a bit) I don't think Dorna works that way.
SOLOMON: No. It's a lifetime gig. Once you're in, you're in.
(And with those words, the camera moves from NIKKO to SOLOMON.)
CUT TO:
[INT. SWITZERLAND CASTLE -- NIGHT]
(THE BENEFACTOR sits in his chair behind his desk and leafs through the diary.)
DISSOLVE TO:
[INT. DA VINCI'S SECRET WORKSHOP - NIGHT - FLASHBACK]
(Inside the workshop, da Vinci writes in his diary.)
LEONARDO DA VINCI: (v.o.) I am forever grateful to my friend and protector,
Jacques de Molay. [pronounced Mo-LAY] Although, he is also a member of the
evil society, Dorna, he betrayed them to warn me of their plan for the device.
(End of flashback.)
DISSOLVE TO:
[INT. SWITZERLAND CASTLE -- NIGHT]
(THE BENEFACTOR continues to read the diary. VINCENT appears in the doorway.)
VINCENT: Good evening, de Molay.
DE MOLAY: (looks at the book) Da Vinci was a true Renaissance Man. But, he
just couldn't keep a secret.
(He looks up amusedly at VINCENT.)
(VINCENT walks into the room.)
VINCENT: Solomon risked his life to get you the diary. You owe him some
answers.
DE MOLAY: That would only risk his life further.
(VINCENT pulls out the chair in front of and across from THE BENEFACTOR.)
VINCENT: Cosimo offered Solomon the chance to join Dorna.
(VINCENT sits down.)
DE MOLAY: Really? Ah, now that would have made things very interesting.
(VINCENT nods humourously.)
VINCENT: Solomon calls me the Master of Understatement.
DE MOLAY: I knew you two would get along.
VINCENT: When you first recruited me from Dorna to send me to work with him, I
wasn't so sure.
DE MOLAY: But you're sure. You're very alike.
VINCENT: That's why you can tell him the truth as well.
DE MOLAY: That I'm not only The Veritas Benefactor, but also a high-ranking
member of Dorna? Is that the truth you're talking about? Do you know what
would happen if Dorna ever discovered my deception?
(beat)
DE MOLAY: No, its safer for us both this way.
(DE MOLAY stands up and walks past VINCENT with the diary tucked under his arm.)
VINCENT: You shared your secret with me?
(DE MOLAY stops and turns to look at VINCENT.)
DE MOLAY: That's because you have more to lose than I do if the truth get out.
(DE MOLAY turns and walks to the back of the room, through a door into another
room.)
VINCENT: You're playing a dangerous game, de Molay.
(VINCENT stands up and follows him at a respectable distance. DE MOLAY puts the
diary inside the room, then turns around and walks out to talk with VINCENT.)
DE MOLAY: Ah, it's a game I've been playing for many, many years.
(beat)
DE MOLAY: (changes subject) How's Nikko?
VINCENT: His potential is enormous.
DE MOLAY: I want you to step up your pace of the reports on the boy.
VINCENT: Don't you think this family has given enough?
DE MOLAY: We all have to make sacrifices. Haley understood this.
(VINCENT doesn't comment on the reference to HALEY. He stands there a moment
staring at DE MOLAY, then he steps toward the door, ready to leave. DE MOLAY
stops him.)
DE MOLAY: Vincent? You never told me Solomon's response to Cosimo's offer.
(VINCENT takes a step back and leans forward into DE MOLAY's ear.)
VINCENT: You should ask Solomon.
(VINCENT turns and leaves the room. Camera holds on DE MOLAY who turns around
and watches VINCENT leave.
CUT TO:
[INT. INNER ROOM -- CONTINUOUS]
(The thick heavy vault-like door squeaks open. DE MOLAY pushes it open and slips
into the small room with many, many other acquired treasures hidden inside.)
(He steps into the room and turns to look over at his left. On the counter,
tucked away in the dark corner is the very LEONARDO DA VINCI device that
everyone was looking for ... was killing for. It's the same device written
about in the diary sitting there on the counter.)
(DE MOLAY pauses and looks at it for a moment, then he walks into the small room
and places the diary flat on the counter in front of him.)
(He turns to leave and pauses in front of a very large portrait of a man dressed
in Renaissance garb, the very image of himself. The resemblance is
unmistakable. It is most probably da Vinci's friend and benefactor, Jacques de
Molay.)
(DE MOLAY turns around and leaves the small room.)
CUE SOUND: MONKS SINGING
(The camera moves in close to the portrait, then zooms downward to the signature
of the artist who painted it:
LEONARDO
(hold)
FADE OUT
========================
THE END
========================
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Please do not archive this transcript without permission from the
Transcriptionist.
========================
BEGINNING/TITLE CREDITS
========================
VERITAS: THE QUEST
1X11: THE LOST CODEX
[UNAIRED IN U.S.]
AIR DATE IN SOUTH AFRICA: 07/11/2003
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
ROGER REES
RICHARD COX
SARAH MANNINEN
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 GABRIELLE STANTON & HARRY WERKSMAN, JR.
Directed by TOM WRIGHT
========================
END CREDITS
========================
Massett/Zinman Productions
Storyline Entertainment
Touchstone Television
Consulting Producer: BRYAN SPICER
Co-Producers: GABRIELLE STANTON
Co-Producers: HARRY WERKSMAN, JR.
Co-Starring
TRENT McMULLEN as Kwon
MICHAEL COPEMAN as Leonardo da Vinci
Directory of Photograph: DAVID MOHNESS, C.S.C.
Production Designer: MICHAEL NOVOTNY
(c) 2003 Touchstone Television. All Rights Reserved.
Dated:09/23/2003,09/12/2003~lky
http://www.webphilia.com/~anthology/wnp.html