Faux Paws Productions: FPP-525 -- Pacific Spirit (Full Episode)

Pacific Spirit
by
Ryf Van Rij and Lois Balzer

A Brief Note from the Authors:

Thanks for 'tuning in' to our episode!
Toward the middle of filming season four, in the fall of 1998, we (Ryf and Lois) talked about what we'd like to do if we could put together a script for season five. After much discussion, we decided to go ahead and write the script and submit it to Pet Fly, and let the Powers That Be do whatever they wanted with it.
Together, we hammered out this plot line and Lois put the story in script form, with additional input, suggestions, rewriting and proofing from Ryf. The script was submitted in early December 1998.
Since the show is no longer being produced, we'd like to pass this script on to the fans of the show -- our version of a season five script. We hope you enjoy reading it as much as we enjoyed writing it.
We'd like to add the standard disclaimers to this script. As with all fiction produced based on the Sentinel, all rights, etc., are owned by Pet Fly and Paramount, and no money was made from this sharing of the script. The story itself is copywritten, and may not be altered in anyway or reproduced by anyone without written permission from the authors.
Thanks to all.

Act I

FADE IN:

1. EXT. CESSNA PLANE -- AIRBORNE -- AFTERNOON - ESTABLISHING
Thunder and lightning. A brief glimpse of the Cessna plane against a backdrop of
dark clouds. The dialogue is over the sound of the engine and the background
rumble of the storm.

RAFE (V.O.)
(speaking into microphone)
Cascade Flight Following. This is Cessna 172,
N81072. Experiencing severe turbulence. Will
be making an emergency landing at Pacific
Spirit Reserve.

2. INT. CESSNA PLANE -- AIRBORNE -- AFTERNOON

We see Detective RAFE piloting the Cessna, with ELLISON sitting in the co-pilot's seat.
SANDBURG is in the rear, one hand resting on Ellison's right shoulder, out of view of
Rafe.

Another flash of lightning has Ellison wincing and looking away out the side passenger
window.
Rafe has headphones on and is looking at his instruments.

RAFE
(into mic)
Reserve Radio. This is N81072. Coming
in for an emergency landing. Conflicting
traffic, please advise.

Rafe continues speaking but we can only hear him in the background.
Sandburg leans forward and speaks into Ellison's right ear. He speaks just loud enough for
Ellison to hear.

SANDBURG

You okay, Jim?

Ellison winces again as THUNDER rolls.

SANDBURG (CONT'D)

Dial your hearing back. Can you do that?

ELLISON
(irritated)

Why did I let you talk me into this?

SANDBURG

I didn't know we'd be flying in a storm, but
think of this as good practice, okay?

(he glances to the instrument panel)
So how high are we now?

ELLISON
(putting his hands over his ears)
Enough already.

SANDBURG

Come on, Jim. There's a break in the clouds and
I can see the ground.

Sandburg looks out the window and swallows, looking queasy as plane goes through
turbulence. It's clear he isn't enjoying this, but is determined to continue with the testing.

SANDBURG (CONT'D)
(whispering)
Just open your eyes for a second and tell me how
high we are. That's the whole purpose of us coming
up here -- to test how much you can see from the air.

Rafe's voice can be heard again.

RAFE
(still talking into his mic)
Thanks, John. I'll speak to you on the ground.
N81072 out.

Rafe doesn't seem too concerned by the storm, rather seems energized by it. He glances over
to Ellison and can see he's in some discomfort.

RAFE (CONT'D)

It's pretty rock'n'roll in this weather. Listen, guys,
sorry for the rough ride, but it seems Mother
Nature had other plans for today. Cascade is
pretty well shut down by the storm. No one is
landing or taking off.
(to Sandburg)
You picked quite the day to call in your marker.

3. EXT. CESSNA PLANE -- AIRBORNE -- AFTERNOON

Plane can be seen banking to the right and descending. Lighting flashes across the sky. Ominous thunder.

RAFE (V.O.)
(loudly over the engine sounds)
I'm heading over to the Pacific Spirit Indian
Reservation. The pilot who maintains the
Reserve airstrip is an old aviator friend of mine.
I don't want to take a chance on the weather
at Cascade.

4. INT. CESSNA PLANE -- AIRBORNE -- AFTERNOON

Ellison opens his eyes briefly, but a flash of light has him shut them again quickly. The plane
is buffeted by wind for a moment.

ELLISON

Sure, whatever. Just get us down. I've got a
killer headache.

RAFE

I'm three miles out. We'll be on the ground in five
minutes.

While Rafe is occupied with flying, Sandburg punches Ellison again.

SANDBURG

Well?

Ellison sighs, but opens his eyes and peers down out the side window.

ELLISON

I don't know. Twenty-two hundred feet.

Close-up of instrument panel showing altitude, dials indicating the 2,200 mark.

SANDBURG
(excited)
That's excellent. I told you, man, you're a
natural at this.

5. EXT. CESSNA PLANE -- AIRBORNE -- AFTERNOON

Ellison is still staring out the window, frowning at something he sees.

6. EXT. SHORELINE AND TREES -- MOVING POV FROM AIR - AFTERNOON
There is a break in the trees, and in the clearing a group of trucks can be seen. Two
men can be seen unloading supplies from a fishing boat into the trucks.
HIS SENTINEL POV

ZOOMS in on the boxes they are loading into the trucks. ZOOMS in further on one man's
red and black plaid hunter's jacket and glimpse of handgun. Man is speaking on cellphone
and walking toward a dark-colored, late model 4X4 vehicle.. The view is suddenly gone
as clouds block it.

7. INT. CESSNA PLANE -- AIRBORNE -- AFTERNOON

Sandburg notices Ellison's frown.

SANDBURG

What is it? Do you see something?

Ellison is concentrating on his sight and isn't listening. Sandburg taps his shoulder and
speaks a little louder.

SANDBURG (CONT'D)

Jim? Did you see something?

Ellison blinks and his attention is back.

ELLISON

Fishing boat down below -- It didn't look like
fish that they were unloading.

SANDBURG

What was it?

ELLISON
(shaking his head)
I'm not sure. Boxes.

RAFE
(glances out his window)
How can you tell for sure? We're way too
high to see any details.

ELLISON
(shrugs)
Like you said, it's too high to tell.

Sandburg starts to say something, then takes the hint and keeps his mouth shut. He closes
his eyes as the plane goes through more turbulence, grasping hold of the back of
Ellison's seat.

Ellison looks down again at the ground, trying to memorize the location.

8. EXT. RUNWAY AT PACIFIC SPIRIT INDIAN RESERVATION - EARLY EVENING

Plane lands on gravel runway. It's growing dark and the storm is right behind them. Two
AMERICAN INDIAN MEN are standing at the edge of the runway, watching, faces devoid
of emotion.

GEORGE BLACKSTONE is 30ish, American Indian, tall and handsome, confident.
Clothing is casual, modern and stylish. He walks forward toward the plane once it lands.
The second man steps forward a few paces, then halts, off a look from Blackstone. JOHN
WILLIAMS is also 30ish, but is dressed in jeans and heavy jacket.

BLACKSTONE
(looking at the plane)
I'll handle this.

WILLIAMS
(also looking at plane)
He's an old friend -- I told you. We took
flight training together.

As the plane taxis toward them, it is obvious there is more than one person in it.

BLACKSTONE
(harshly)
Who's with him?

WILLIAMS

He said some friends he works with.
(quickly)
They're just here because of the storm, nothing
else. They'll be leaving in the morning.

A dark 4x4 vehicle pulls up and BRUCE FOLEY gets out. He is the man Ellison saw
before, wearing a red and black plaid jacket. Gun is still visible, but he pulls his jacket
closed. He's a tough redneck and the man in charge.

FOLEY
(approaching Blackstone)
What's happening? I thought we couldn't get
a plane here.

Blackstone shakes his head, without taking his gaze from the plane.

BLACKSTONE

Williams says the pilot radioed him for permission
to land because of the storm in Cascade. This
might work out to our advantage.
(to Williams)
Go meet them. Do I need to remind you to be
careful?

WILLIAMS

No.

Williams approaches the plane as it comes to a stop. Ellison gets out of the Cessna first,
followed closely by Sandburg, both relieved to be on solid ground. Ellison looks beyond
Williams to Blackstone and Foley.

SENTINEL POV
ZOOMS IN on Foley's jacket. Ellison can see he's concealing a gun.
A movement beyond them, toward buildings of the village.
Again SENTINEL POV
ZOOMS IN on TWO AMERICAN INDIAN MEN standing far away on the edge of a rise.
One is in his late 50's, other appears in his 70's. The two are looking directly at Ellison.

Ellison's attention returns to his immediate area. Williams comes up, hand extended, and
shakes hands with Ellison.

WILLIAMS (CONT'D)
(slightly forced smile)
Hi. John Williams. You friends of Rafe?

ELLISON

Yes, we work together. I'm Jim Ellison
and this is Blair Sandburg.

SANDBURG
(shaking hands with Williams)
Hi.

Rafe comes around the corner of the plane and sees Williams. He smiles and the two
exchange a congenial handshake and slap on the back.

RAFE
(stepping back)
Good to see you, John. It's been awhile,
hasn't it? Still flying?

Williams glances quickly to Blackstone and Foley, then looks back to Rafe.

WILLIAMS

I, uh, don't have access to a plane these days,
so I let my licence expire. Glad to see you're
still putting in your hours.
(to Ellison and Sandburg)
I don't know if he told you, but we took our
training at the same flying school three summers
ago. I guess you are both insurance salesmen
like Rafe?

Williams looks Ellison straight in the eye, as though daring the man to say otherwise.
Ellison nods.

Williams then turns to Rafe, also holding eye contact as though conveying something
is wrong.

BLACKSTONE
(to Rafe)
Where were you headed?

RAFE

We were just returning to Cascade but got
boxed in by the storm. Weather's unpredictable
this time of year.

BLACKSTONE
(still to Rafe)
Are you down this way often?

RAFE

Not lately. Are you from around here? I
don't remember seeing you before.

WILLIAMS
(reluctantly introducing them)
George Blackstone. Bruce Foley.

FOLEY

I run one of the band's fishing boats.

Rafe glances toward Ellison, then puts a smile on his face and shakes hands with Foley.

RAFE

Glad to meet you.
(glances up at the clouds)
John, let's get inside before this downpour
hits.

The men agree and head off as Foley makes one more backwards glance to the plane,
then he follows them, thoughtfully eyeing the three visitors.

9. EXT. BLACKSTONE'S HOME - NIGHT - ESTABLISHING

The house, while not huge, is modern westcoast, cedar beams and glass windows,
looking over the ocean. The storm is raging. Dark clouds, wind-swept trees. Camera
moves from waves crashing on rocks up to the deck, where we can see Ellison,
Sandburg, Rafe, Blackburn, Foley, and Williams inside sitting around the table finishing
dinner. Fireplace is blazing in the background.

10. INT. BLACKSTONE'S HOME, MAIN ROOM - NIGHT

The main room compactly incorporates living, dining, and kitchen area. While not lavish,
the furniture is solid and well-crafted. Blackstone apparently lives alone.
There is considerable tension around the table. Ellison and Sandburg exchange glances,
then Sandburg looks around, spies some native art, and gestures toward it.

SANDBURG

Those look rare. Are you a collector?

Blackstone looks over at the artwork and nods.

BLACKSTONE

I used to deal in native art. It's just a hobby
now.

SANDBURG

Mind if I take a closer look?

BLACKSTONE

Be my guest.

Sandburg moves across the room to study the art, nodding with appreciation at a series
of masks. We see him in the background during the scene, glancing at more than just the
artwork, glancing into the other rooms off-camera and generally snooping.
Ellison meanwhile draws the attention back to the table. He sets down his beer mug and
addresses their host.

ELLISON

I appreciate you putting us up for the
night.

BLACKSTONE

No problem. We don't get many visitors, but
I do have a few spare rooms. I'm renting the
place from a local teacher who's on sabbatical
for a year.
(to Ellison)
So you sell insurance?

Ellison's head comes up at that. With a sideways glance at Rafe, he goes along with it.

ELLISON

Yeah. Life. Fire. Home. The usual.
(baiting them)
We've just been in business a short time. It's
been slow, but I guess that's normal for the
first year, right?
(to Blackstone)
So, you need any house insurance?

BLACKSTONE
(smiling)
No. We're fine here.

Closeup of Sandburg picking up an artifact and looking at it closely, frowning, then setting it down.

ELLISON

What do you do?

BLACKSTONE

I was a teacher for a while, but lately I've been
more interested in documenting native culture.

Sandburg hears this and comes over.

SANDBURG

I took a few anthropology courses when I was
in college and I'm quite intrigued by some of your
art pieces. They aren't all from around here, are
they?

BLACKSTONE

I've collected them from all over North America
while doing research for other projects.

Blackstone and Sandburg move into the background, the conversation unheard as they
discuss the art. Ellison, Rafe, Williams, and Foley are still at the table.

ELLISON
(to Foley)
What about you? What do you do? Need any
life insurance?

Foley shakes his head, his attention more focused on Rafe. Ellison persists.

ELLISON (CONT'D)

You said you're a fisherman. I noticed a fishing
boat docked just north of here. Is that yours?

Foley's attention is back on Ellison at the mention of the boat. Williams stiffens at the
question, and Foley shoots a look at Williams, before answering.

FOLEY

Yeah, it's mine.

ELLISON

What's the catch this time of year?

FOLEY
(off-handed)
Mainly salmon. Some cod.

ELLISON
(nods)
Any money in that?

Blackstone re-enters the room.

BLACKSTONE

John, you best see to your father. You
wouldn't want anything to happen to him
in his condition.

Williams stands quickly, then brushes past Blackstone angrily, not looking back at the
others as he goes past Sandburg and out the door.

BLACKSTONE (CONT'D)
(in explanation)
His father is getting on in years and needs
to be monitored.
(he sits down)
So what were we discussing?

ELLISON

I was asking if there was much money in fishing
this time of year.

FOLEY

Depends on the catch.
(turns to Rafe)
I have a question for you. Do you do any
flying for hire?

Rafe nods, as though not sure where this is going.

FOLEY (CONT'D)

We could use a pilot to fly into Cascade a few
times this month. Are you interested? The pay's
good.

Rafe glances to Ellison for input, considering the idea.

RAFE

What do you think? We could use the cash
right now.

ELLISON
(nods, offhanded)
Sounds good. Why not? I'd jump at it if I
had my license.

FOLEY
(to Rafe)
Then let's talk.

ELLISON
(interrupts)
What's your cargo?

FOLEY

Just private deliveries. We're on a tight schedule
and my regular pilot called today that his plane is
out of commission until tomorrow afternoon. Bad
timing. I have a parcel I need to get in by ten o'clock.

RAFE

What kind of money are we talking about? Is it
worth us taking a day off work?

FOLEY

One thousand for a delivery from here to Cascade,
providing it arrives at the airport on time.

RAFE
(surprised)
One thousand? That's serious money. What's the
risk?

FOLEY
(looking from one to the other)
For you? Not much if it arrives safely. If you're
interested, I really need that delivery made by ten
o'clock tomorrow. And I'll pay you an additional
thousand if you can do another trip for me tomorrow
afternoon.

RAFE
(off Ellison's look)
I'd like to sleep on it. Can we let you know in the
morning?

FOLEY
(his voice growing harsher)
I need to know now. I've got to make some calls.
Are you in or not?

He looks from Rafe to Ellison, his attention focused on Ellison as if he knows that Ellison
is calling the shots. The two men size each other up. Ellison's face is stony, giving away
nothing.

ELLISON
(solidly)
We're in.

FADE OUT:

Act II

FADE IN:

11. INT. BLACKSTONE'S HOME -- BACK BEDROOM - LATER THAT NIGHT

Room has two twin beds with a small nightstand between them. A CLOCK on the
nightstand shows the time as 1:45 a.m. There is enough light to see that the furniture
is simple; this is obviously a spare room. Ellison is sleeping on his side, his back to
Sandburg on the other bed, who is listening to the storm.

Sandburg thinks he hears something outside and leans over to poke Ellison.

SANDBURG

Hey, Jim? You awake?

ELLISON
(groans)
No. Go to sleep.

SANDBURG

Can you hear that sound?

ELLISON

What sound?

SANDBURG

There's a funny noise outside.

Ellison lifts his head to listen and THUNDER roars.

ELLISON
(wincing)
Go to sleep.

It's a few minutes later. Ellison is sleeping, same position. Sandburg is still listening.
Every little noise sets him off. There's enough light to see a CARVING on the wall
of a Haida wolf and this holds his attention for a moment, before he thinks he hears
something else. He's straining to listen to something, just beyond his hearing.

SANDBURG
(leans over to poke Ellison again)
Jim?

ELLISON

Go to sleep!

SANDBURG

You sure you can't hear anything?

ELLISON
(becoming irritated)
Go. To. Sleep.

Some time later. Sandburg is peacefully sleeping. Now it's Ellison who can't get to
sleep and he glares at Sandburg. He turns over and punches his pillow, then tries
to sleep again.
Ellison's eyes open suddenly.
ZOOM IN on Ellison's ear as he hears the following:

MALE VOICE (V.O.)

We'll have a courier at the airport hangar at
9:45. A trial run. If everything goes smoothly,
I say we make a proper drop the same afternoon
before they have second thoughts. Over.

SECOND MALE VOICE (V.O.)
(over radio)
So, you trust these guys? My plane will be ready
by tomorrow afternoon. Over.

MALE VOICE (V.O.)

We'll give them a try. We're pulling out after this,
so I need you anyway. Just arrange for the courier
to be at the airport instead of the harbor --

THUNDER roars and Ellison loses his concentration. He gets out of bed and goes to
the door of the bedroom.

12. INT. BLACKSTONE'S HOME, MAIN ROOM - CONTINUOUS

Pan across living area. The lights are out. Rafe is asleep on the couch.

13. INT. BLACKSTONE'S HOME -- BACK BEDROOM - CONTINUOUS

Ellison closes the door and goes over to the window.

14. EXT. OCEAN VIEW FROM BLACKSTONE'S HOME - CONTINUOUS

Vista of ocean, waves crashing on the rocks. No one in sight. Storm still there.

15. INT. BLACKSTONE'S HOME -- BACK BEDROOM - CONTINUOUS

Ellison scratches his head but doesn't really have any options, so he goes back to bed.
Can't sleep though, and stares at the ceiling, thinking about what he's heard.

He stares at the Wolf mask. Then closes his eyes.

THIRD MALE VOICE (V.O.)
(barely heard over the wind)
Sentinel...

Ellison opens his eyes and looks around. The voice is that of an old man calling him.
He listens, shakes his head, then settles back down to sleep. Thunder crashes.

THIRD MALE VOICE (CONT'D)
(still barely heard)
Sentinel!

Wolf mask is lit up by the lightning.
Ellison sits up and listens again but hears nothing.

CUT TO:

16. EXT. TRANSFORMER ROCK - MORNING

Ellison and Sandburg are climbing up the side of a short hill toward a large rock. It's
very early in the morning, probably just after dawn. The rain has stopped. Sandburg
looks over his shoulder, down the hill, as though checking to make sure they won't be
overheard. The conversation, in progress, continues.

SANDBURG

So that's it? That's all you heard? Who
do you think it was?

ELLISON

Foley and another man on the telephone,
probably the other pilot he mentioned.

They arrive at the rock and Sandburg circles it, excited by something or other.

ELLISON (CONT'D)

Rafe said Foley was waiting by the Cessna
when he got up and had already loaded two
boxes in the plane for him to deliver to someone
at Cascade airport. Paid him cash.

SANDBURG
(stops again)
So what's in the boxes?

ELLISON

Not drugs. Not unless they were wrapped so
well that I couldn't smell them.

SANDBURG

Weapons? Computer chips? Artifacts?

ELLISON
(shrugs)
No idea. Maybe they're just empty boxes.
They said it was a trial run.

SANDBURG

Empty boxes? Why would they pay us a grand
to transport nothing?

ELLISON

Maybe they just want to check us out.

Ellison turns finally to stare at the rock in front of him.

ELLISON (CONT'D)

So why did you drag me up here?

SANDBURG
(excited again)
Now, I know we don't have much time,
but put your hands on this rock.

ELLISON

Why?

SANDBURG

Jim, this is what is called a 'transformer rock'.
There's quite a few of them up and down the coast.
This rock in particular has been studied. Local
legend says that two tribal chiefs were turned into
stone for refusing to help another tribe. I've read
that people who have heightened senses feel vibes,
feel energy, from these rocks, so I figured you should
try it and see if you sense anything. Put your hands
on it.

ELLISON
(reluctantly puts his hands on the rock)
So what am I supposed to feel?

SANDBURG
(staring at him expectantly)
Anything?

Ellison shrugs, then moves a foot or two and closes his eyes.

SANDBURG (CONT'D)
(anxiously)
Anything?

Ellison suddenly opens his eyes as he's aware of someone else there. TWO AMERICAN
INDIAN MEN step out from behind the rock. Thomas Williams, a solemn man in his late
50's, addresses Ellison.

T. WILLIAMS

You have come.

The other man, Daniel Peters, is older yet, in his 70's or 80's. The shaman is leaning on
Thomas Williams arm, yet stands proudly. He inclines his head to Ellison.

PETERS

Sentinel.

Pan from Ellison's cold look to Sandburg's open-mouthed stunned surprise. They say nothing.

T. WILLIAMS

We need your help.

They are interrupted by Bruce Foley appearing over the edge of the hill.

FOLEY

The plane's ready to leave. I need those
boxes delivered.

ELLISON

We'll be right there. Give us five minutes--

SANDBURG
(interrupting)
Uh, Jim...

Ellison turns and looks. The two native men have disappeared. Sandburg meets his
eyes and shrugs, not willing to speak in front of Foley.

DISSOLVE TO:

17. EXT. CASCADE AIRPORT - HANGAR - MORNING

As the plane approaches the front of the hangar, there is a courier car waiting with a young driver in uniform leaning up against it.

18. INT. CESSNA PLANE - MORNING

Plane is taxiing toward hangar area.

ELLISON

Looks like the delivery boy is here.

RAFE

So how do we play this?

ELLISON

Just give him the boxes.

Rafe glances over to Ellison, then to Sandburg.

RAFE

Without checking them?

ELLISON

I suspect these boxes are empty. And we
need time to set up a sting to get the entire
operation.

SANDBURG

Besides, that's an ordinary courier waiting for
it. If this was an important delivery, you'd think
they'd have more muscle around.

Rafe obviously doesn't like the idea of not checking the boxes, but goes along with Ellison.

19. EXT. CASCADE P.D. - MORNING -- ESTABLISHING SHOT

20. INT. BANK'S OFFICE - MORNING

BANKS is at his desk, Ellison is sitting on edge of conference table, cradling a mug of
coffee.

BANKS
(hanging up the phone)
That was Rafe. The sting is set up. He's
arranged covers for you both as insurance
salesmen at a new local firm. He's with
Brown at the airport.
(a beat)
Where's Sandburg?

ELLISON

He'll be here in a minute. He's just checking
on something.

Ellison looks distracted. Banks studies him for a moment, guessing what has the
other man's attention.

BANKS

You haven't said much about the two older
men you encountered. Any I.D. on them?

ELLISON
(nods)
Thomas Williams is the hereditary chief of the
village. John Williams, the guy that Rafe knew,
is his son. The other man is Daniel Peters.

BANKS

And he's what? A medicine man?

ELLISON

Sandburg said he was a shaman or something
like that.

BANKS

And someone is intimidating them?

ELLISON

That's just it. I don't know. We had no time to talk.
They were standing in front of me one minute, then
I turned, they were gone. But there was something
else, too -- They referred to me as 'sentinel'.

BANKS
(surprised)
How did they know about that?

ELLISON

I have no idea. It's got Sandburg all excited though.

Ellison doesn't want to talk about it any more so changes the subject. He hands Banks
the file he's carrying.

ELLISON (CONT'D)

As for the others, Bruce Foley is a redneck from
Alabama who's a known arms dealer servicing
mostly militia groups. We pulled part of his file from
the FBI and I spoke with a friend in the Bureau of
Alcohol, Tobacco and Firearms who said they have
been after this guy for a while.

BANKS

What's he doing on the reserve? He's not Native
Indian.

ELLISON

That brings me to George Blackstone.
(puts a second file in Bank's hands)
Blackstone is from one of the New Mexico Indian
Bands, and has a degree in History and a teaching
certificate from the University of Southern California.
He taught at a reserve school in California until he
was accused of murdering one of the townspeople.
Charges were dropped for lack of evidence and he
moved to Northern California where the same thing
happened again.

BANKS
(going through file)
Charges dropped once more for lack of evidence.
(looks up at Ellison)
So what's he doing at the Pacific Spirit Reserve?
He's not a member of the local band.

Ellison starts to answer, but Sandburg breezes into the office and scoops up Ellison's
mug of coffee resting on the long conference table.

ELLISON

Did you find out about Blackstone?

SANDBURG
(takes a sip then talks quickly)
Yeah. Remember all those artifacts? A few were
genuine, but I'm pretty sure some were fakes --
good fakes, but fakes -- and if Blackstone had
them on display, I bet he didn't know. He was
probably just in it for the money. Anyway, I spoke
with a few people who had heard of him and they
said he exported native artifacts to collectors overseas.
No record of anything in the last year and a half, so
their speculation was that he had found a new interest.

ELLISON

That would be when he hooked up with Foley.

BANKS
(closing file and looking at Ellison)
So what do you think they're doing at the reserve?

ELLISON

Smuggling goods in from Canada on the reserve
fishing boats, bypassing the authorities.

BANKS

How?

SANDBURG

Many native people on reserves along the border
are granted dual citizenship, based on their ancestral
history. There are recognized traditional fishing
waters for the different tribes, and while the fishing
boats are monitored, there is a certain amount of
freedom given these particular fishermen to pass from
one country's waters to the other. It's conceivable
that a few illegal shipments could slip by unnoticed.

BANKS

So... Foley is bringing the goods into the U.S., taking
them to the reserve, then flying them into Cascade,
and from there shipping them to his buyers.

ELLISON

That's what we're working with right now. The initial
delivery was a dummy run just to see if we would go
through with it. I say we set it up to get whoever is
buying this stuff here in Cascade.

BANKS
(nods, considering)
How many men will you need?

ELLISON

Brown's at the airport already. Say two or three to
tail the transport vehicle once the goods have been
picked up.

BANKS

What time is this set for?

ELLISON
(glances to watch)
We got the call to return to Pacific Spirit Reserve
by 1:00 p.m. That gives us at least an hour and a
half before we need to leave Cascade airport.

SANDBURG

Jim, any chance I'll have time to talk to Daniel
Peters? Even a few minutes?

ELLISON

We'll go back another time, Chief. Not in the
middle of an assignment.

SANDBURG
(excited)
The man's a real shaman, Jim. Maybe there's
something he can tell me. This kind of opportunity
doesn't present itself often. I mean, there's hundreds
of wannabe shamans out there, new age gurus into
crystals and mumble-jumble, but that old man is the
real thing. And he knew you were a sentinel, too.
(before he can be turned down)
What's a few minutes when we get there? Just to set
something up for later? I already told them I had taken
some anthropology classes.

ELLISON

I don't know, Chief. I suspect we're going to be on a
tight schedule. Go there, pick up the cargo and come
back.

SANDBURG

Come on, Jim. Just for five or ten minutes. -- Besides,
he seemed to want to say something to you before,
didn't he? What if there's a problem and he needs your
help?

ELLISON
(shrugs)
We'll play it by ear. Don't count on it, though.

SANDBURG
(as though he's won his case)
Great! I'll go put some notes together.

Sandburtg leaves, muttering to himself.

BANKS

I'd suggest you leave him here, but I suppose
that's out of the question.

ELLISON
(shrugs)
He knows a lot about the local customs and
American Indian traditions. I might need his
help on this one. I'm not sure what the chief
and the old man wanted, but they left as soon
as Foley showed up. I'll just make sure he stays
close by. How much trouble could he get into
just interviewing an old man?
(starts to get up, then pauses)
Don't answer that.

FADE OUT:

Act III

FADE IN:
21. EXT. CASCADE AIRPORT - HANGAR - DAY

Rafe and Brown are standing near the Cessna. Brown is in coveralls, undercover as a
maintenance worker or mechanic. The cowling is open, and as Brown reaches in to
touch something, Rafe slaps his hand back.

RAFE

Don't touch.

BROWN

I'm supposed to be a mechanic.

Rafe waves a warning finger under Brown's nose, closes the cowling, then moves
around out of sight.

Ellison's truck pulls up and parks by the hangar. They wave at Brown as he passes
them, then jog to the plane and get in.

22. INT. CESSNA PLANE - AIRBORNE - DAY

Establishing shots of the flight. Sandburg is in the back, scribbling notes. Ellison is
looking carefully through the window.

RAFE

We're almost there. Five minutes.

Ellison nods that he's heard, and continues watching out the window.

23. EXT. SHORELINE AND TREES -- MOVING POV FROM AIR - DAY

View from the air of the shoreline, ending with the fishing boat now at the dock. As
they fly over an outbuilding, Ellison can see two figures.

Sentinel POV
Zeros in on Blackstone and John Williams. Blackstone is pushing Williams around
and Ellison spots a gun in his hand.

24. INT. CESSNA PLANE - AIRBORNE - DAY

ELLISON

Cancel that interview, Chief. In fact,
stay in the plane when we land.

Sandburg tries to see what Ellison was looking at.

SANDBURG

Why? What's up?

ELLISON
(quietly)
Trouble.

25. EXT. RUNWAY AT PACIFIC SPIRIT INDIAN RESERVATION - DAY

Foley is there to meet the plane as it taxis toward him. As the plane comes to a stop,
Blackstone and Williams show up. There's little sign of animosity between them, but
Ellison knows better.

Ellison steps down from the plane. He looks from one to the other.

ELLISON

Is there a problem?

FOLEY
(handing Ellison a box)
No. You're right on schedule.

Ellison reaches out to take the box from Foley. It's heavy. He loads three more to
Sandburg in the plane, then turns to Williams.

ELLISON

How's your father?

WILLIAMS
(answers quickly)
He's okay.

ELLISON
(stalling)
Sandburg was wondering how Daniel Peters
was doing. He'd like visit with him sometime.

WILLIAMS
(appearing uneasy)
He's fine.

ELLISON

Are you sure? He didn't look that well when
we saw him this morning.

Williams says nothing. He's obviously uncomfortable. Foley is watching the interaction,
his face hardened.

ELLISON (CONT'D)
(looks back to Foley)
So what are your instructions? Who do we
deliver this to?

FOLEY
(indicating Rafe and Sandburg)
They make the delivery to Cascade. You're
going to stay here and keep Williams company.
It'll give you a chance to check on the oldtimers
you're so concerned about.

Blackstone steps forward to stand beside Foley.

BLACKSTONE
(to Williams)
Why don't you take Ellison to your father?

ELLISON
(acting confused)
What's going on here? I'm not going to stay
-- I've got to get back to Cascade.

FOLEY

You're staying. Once your friends have delivered
the package, they can come back and get you.

BLACKSTONE

Just consider it our own sort of insurance
coverage.

Sandburg has been watching everything carefully and now jumps down from the plane.

SANDBURG

Wait. Why don't I stay here, Jim? It'll give me a
chance to speak to Daniel Peters. I wanted to
talk to him about the tribal culture anyway.

ELLISON
(turns around to face him)
Get back in the plane.

SANDBURG
(insisting)
Listen, Jim, I'd feel much better if you handled
all this and left me here. I'll be fine.

Sandburg holds Ellison's look for a beat.

FOLEY
(loudly, angry)
Look, I don't care which of you stays. Right
now I need this shipment delivered and if that
plane isn't taxiing down the runway in two
minutes, there's going to be trouble.

BLACKSTONE
(smiling)
If you leave now, you'll be back here long
before dark.

Blackstone has his gun out now, casually waving it toward them.

BLACKSTONE (CONT'D)

Nothing will go wrong, if you follow the plan.
We're just safeguarding our merchandise --
nothing personal.

Ellison turns back to Sandburg as he takes his backpack out of the plane. Foley takes
the pack from Sandburg, glances through it, then tosses it to Sandburg. Ellison doesn't
like leaving Sandburg behind, but there is little choice. Sandburg brushes past him,
moving beside Williams.

SANDBURG
(looking over his shoulder
at Ellison)
I'll be fine. Hurry back.

ELLISON

Stay out of trouble.

Ellison swings up into the plane as Sandburg and Williams go with Blackstone down
the path to the village. Foley stands and watches until the plane takes off.

26. INT. BLACKSTONE'S HOME, MAIN ROOM - DAY

Blackstone shoves Daniel Peters ahead of him and Sandburg jumps to steady the older
man, helping him to the couch. Williams is with his father, who is nursing a black eye.
There has obviously been a scuffle earlier.

Blackstone has his gun aimed at them, then gestures to a few boxes sitting on the floor.

BLACKSTONE

You -- anthropologist -- I trust you can pack up
this artwork carefully. Despite your opinion of me,
I'm sure you respect their value.

Sandburg moves to take a pottery piece from the mantel.

SANDBURG

How can you have such high regard for the past,
and so little regard for the people of the present?

BLACKSTONE

Let's just say that the people of the past haven't
pissed me off as much as the people of the present
have.

Foley comes in, puts his cellphone away, and collects his suitcase, flipping it open to check it.

FOLEY

The trip to Cascade is only 30 minutes, so
we'll wait until we've confirmed the package
has been delivered. I told our contacts to
expect them at 1:45.

BLACKSTONE

When will Maynard be here?

FOLEY

I just spoke with him. He'll have the floatplane
here in twenty minutes. He's just passed the
Cessna.

BLACKSTONE
(to Sandburg)
You better move quickly, then. I'm not leaving
this stuff behind.

FOLEY

Why bring it? You'll have enough money to buy
whatever you want. You can collect more of this
junk anywhere. Leave it here. There's no time to
get it boxed up.

An idea occurs to Sandburg as he looks at one artifact that he examined the previous day.

SANDBURG
(to Blackstone)
He's right. I don't have time to wrap all of these
properly. You wouldn't want them to get damaged,
would you?

BLACKSTONE

I went to a lot of effort to get these--

SANDBURG
(interrupting)
I can pack a few of these for you. Better than nothing, right?

Sandburg chooses a few pieces, hiding his smile from Blackstone as he chooses the fakes
and brings them to the coffee table.

SANDBURG (CONT'D)

These will do.

He starts rolling the pottery in newspaper and Blackstone watches him carefully.

27. INT. CESSNA PLANE - AIRBORNE - DAY

Ellison's on the cellphone to Banks.

ELLISON
(into mic)
So that's how things stand. They're holding
Sandburg hostage, along with the others.

28. INT. BANKS' CAR - MOVING - DAY

BANKS

I knew somehow Sandburg would get into
trouble. How do you want to play it then,
Jim?

ELLISON (V.O.)

Is everything set?

BANKS

Brown is waiting at the hangar and I'll arrange
for two cars to follow whoever picks up the
delivery.

29. INT. CESSNA PLANE - AIRBORNE - DAY

ELLISON

That should buy us some extra time. We need
at least thirty minutes to get back here.

BANKS (V.O.)

We'll put up some detours to keep them moving
for a while.

30. INT. BANKS' CAR - MOVING - DAY

BANKS (CONT'D)

I can buy you thirty minutes at best.

ELLISON (V.O.)

Stall them for as long as you can. We'll be landing
in Cascade in about fifteen minutes.

BANKS

I'll let Brown know.

31. INT. CESSNA PLANE - DAY

Ellison reaches back and picks up one of the smaller boxes, listening to it, then sniffing it.
Rafe glances at him, frowning slightly.

RAFE

Any idea what it is?

ELLISON

Not yet.

32. INT. BLACKSTONE'S HOME, MAIN ROOM - DAY

Sandburg wraps up the last of the pieces of art he had chosen and he closes the box.
Blackstone tosses him the tape to seal it. Sandburg glances at the time.

Closeup of clock on wall. 1:35 pm

33. EXT. FLOATPLANE DOCK BELOW VILLAGE - DAY

Floatplane is landing.

34. EXT. CASCADE AIRPORT - HANGAR - DAY

Brown is puttering, rearranging tools in a toolbox, waiting for the Cessna to arrive. He
glances over to where a ghost car is ready to follow the delivery vehicle. A private
security company van pulls up. A security guard gets out of the passenger side and
waits, speaking into a cellphone when he sees the Cessna approaching.

Brown nods as Banks' voice can be heard through his earphone.

BANKS (V.O.)

-- so just follow them. Do not apprehend -- is
that clear? Not until I give you the signal. They'll
be landing in a few minutes.

35. EXT. CESSNA PLANE - DAY

Plane lands. Brown goes out to help guide it in. As soon as the plane comes to a stop,
Ellison gets out. The security guard opens the back of the armored van and then takes
the smaller package from Ellison. He puts it in the back of the truck, then carefully
opens the package while Ellison is unloading the three heavier boxes.

Sentinel POV

Ellison zooms in on the contents of the package. Canadian emblem. C-4 warning decals.
The security guard is satisfied and re-bundles the package, stores the other three boxes,
then gets back into the passenger side of the van and it moves off.

36. INT. CESSNA PLANE - DAY

ELLISON
(strapping in)
Let's get out of here. They've got enough explosives
there to do some serious damage.

RAFE
(doing an accelerated pre-flight)
What is it?

ELLISON

I'll tell you once we're up and flying.

37. INT. BLACKSTONE'S HOME, MAIN ROOM - DAY

Foley snaps his cellphone shut.

FOLEY
(to Blackstone)
They've made the pickup and the Cessna was
taking off as they left. Let's get out of here.

BLACKSTONE

I'm ready. What about them?

FOLEY

Lock them up. We might as well put some of
our explosives to good use. I think we have
enough left to ensure we leave no survivors here.

BLACKSTONE

What about Rafe and Ellison?

Foley takes out a very large rifle and loads some shells into it.

FOLEY

I'll deal with the plane when we're airborne.
You take care of our other witnesses.

End with hostages looking at each other, then Blackstone pointing his gun at them,
gesturing for them to leave.

FADE OUT:

Act IV

FADE IN:
38. EXT. CASCADE AIRPORT - AFTERNOON

As the security van drives off, Brown looks up from what he's doing, following the
progress as it turns the corner.

BROWN
(into his mic)
Left on Marsh Road.

BANKS (V.O.)

Got it. They're in our sights.

39. INT. BLACKSTONE'S HOME, MAIN ROOM - AFTERNOON

Blackstone motions the four hostages out of the house, but they all stop as theVHF radio crackles:

RAFE (V.O.)

Pacific Spirit Reserve Radio. This is Cessna
172, N81072. Over.

Foley motions for Williams to answer it.

WILLIAMS

This is Pacific Spirit Reserve Radio. I read
you, N81072. Over.

RAFE (V.O.)

John, we'll be there in thirty minutes. How is
everything there? Over.

Williams glances to Foley, uncertain of what to say. Before Foley can answer, Ellison's
voice comes on.

ELLISON (V.O.)

This is Ellison. We delivered your packages,
Foley. Confirm that Sandburg will be waiting
for us at the runway.

Foley takes the mic from Williams and answers Ellison, while at the same time Sandburg
speaks softly from exactly where he is. The sound levels shift so that Foley's voice fades
and it's Sandburg's voice we hear.

FOLEY
(into mic)
Ellison, as soon as we confirm that our delivery
has been made successfully, we'll release him,
and not a moment before. You deliver the goods
and you get the hippy back.

SANDBURG
(at the same time -- softly,
trying to stay calm)
Jim, I hope you're listening to me, man. They're
going to kill us. They have all kinds of explosives.
There's a float plane that's just landed that's going
to take them out of here--

40. INT. CESSNA PLANE - AIRBORNE - DAY

Close-up of headphones on Rafe who is listening to Foley.
Pan over to close-up of headphones on Ellison. The Sentinel is hearing Sandburg's tense
words. Ellison's jaw clenches.

FOLEY (V.O.)

Pacific Spirit, out.

Rafe looks over at Ellison, seeing he's angry.

RAFE

You don't believe he'll let Sandburg go?

ELLISON

Not for a moment. Can you speed this
thing up at all?

41. EXT. FLOATPLANE DOCK BELOW VILLAGE - AFTERNOON

Foley and Blackstone lead the four hostages down to the water. John Williams and his
father are carrying suitcases and duffel bags, and Sandburg is carrying the box he packed.
MAYNARD, the float plane pilot, is at the dock by the plane. Maynard is non-native,
dressed similarly to Foley. There are several boxes by the plane already, and Maynard
is loading them.

Foley looks through the boxes and chooses one, then walks a short way along the dock
to a small commercial fishing boat.

Blackstone and Maynard move the hostages toward the boat, then Blackstone holds his
gun on them as Maynard ties up John and Thomas Williams.

Foley boards the boat and lifts open a door which leads to the hold.

FOLEY

Hurry up! Get them over here.

At Foley's urging, Blackstone gives Peters a shove toward the boat.

BLACKSTONE

Get moving, Old Man. We don't have all day.

Sandburg reacts, jumping to steady the shaman.

SANDBURG

Hey, man. Watch it. Treat him with a
little respect!

Blackstone laughs. While Blackstone covers John and Thomas Williams, Maynard
pulls out his gun and gives Sandburg a push as he comes up behind him on the narrow
ramp leading up to the boat.

MAYNARD

Why should he? Everyone knows that Peters
is a crazy old coot.

SANDBURG
(turning to Maynard)
(indignant)
He's the shaman of this village.

MAYNARD
(sarcastic)
So let the medicine man use his hocus-pocus to
get himself out of this and I'll be his dedicated
follower forever. Now move it, shrimp.

Sandburg is pushed up the ramp, falling against Peters. Maynard keeps them moving.
Sandburg tries to help Peters negotiate the narrow ramp and step onto the boat,
Maynard's gun jabbing against his back to speed him up.

Behind them, John and Thomas Williams, hands tied behind their backs, are herded
up the ramp with Blackstone bringing up the rear. John Williams reacts as they are
pushed along by Blackstone, kicking back, trying to knock Blackstone off the ramp
into the water. He almost succeeds. Maynard turns to fire at Williams, just missing him,
but giving Blackstone time to get back on his feet. Blackstone responds by roughly
striking Williams with his gun, knocking him to his knees.

Since Maynard's back is now to Sandburg, and all eyes are on Williams, Sandburg
starts to move forward to attack Maynard, but he is stopped as Foley appears on
deck behind him, his gun suddenly pressed into the side of Sandburg's neck.

FOLEY
(to Sandburg)
I'm just as happy to kill you now, but if
you want to live a few more minutes, I
suggest you not try anything like that again.

Close scene on Sandburg's face.

42. EXT. CASCADE STREET - AFTERNOON

Simon Bank's car is stopped at a side road. We see Banks in the car watching the
traffic on the main road. The security van drives by, followed a moment later by
Det. ADAMS in the ghost car, and a moment later by a dark sedan.

43. INT. BANK'S CAR - AFTERNOON

Banks pulls out binoculars and takes a good look at the dark sedan.

Cut to Banks' view of two men in sedan, with their own binoculars and headsets.

Back to Banks, still looking through binoculars.

BANKS
(into mic)
Adams, you've picked up some company.
I'm going to go around the block and try to
cut them off.

44. INT. BAD GUYS' CAR - MOVING - AFTERNOON

Bad guys are following the detective. Binoculars are enabling them to see that the
security van is being tailed.

BAD GUY #1
(into headset)
Foley? We've got a car following the
delivery. This may well be a setup. I
thought you checked these guys out!

FOLEY (V.O.)
(through mic)
I did. And I have hostages here. They
won't try anything.

BAD GUY #1

Well, whoever they are, they're a little too
close for comfort. I don't like it.

FOLEY (V.O.)
(through mic)
Just one car? Can you take it out?

BAD GUY #1

We'll try. This wasn't part of the deal, though.

Bad Guy #2 in the passenger seat, takes out his gun as he eyes the police car.

45. EXT. CASCADE STREET - DAY

Banks' car suddenly cuts in from the side street, forcing the Bad Guys' car to slam
on the brakes to avoid hitting him. They back up and take off down a side street.

46. INT. BAD GUYS' CAR - MOVING - DAY

BAD GUY #1
(into headset)
We're abandoning the delivery, Foley.
The deal is off.

FOLEY (V.O.)
(through headset)
Wait--

Bad Guy #1 takes off his headset and tosses it into the backseat as he makes
another sharp right.

47. EXT. FISHING BOAT - AFTERNOON

Foley is furious. He paces back and forth on the deck trying to come up with a plan.

Maynard has his gun on Thomas and John Williams. John Williams has blood
streaming down the side of his head and is supporting himself against his father.

Peters' wrists are tied together in front of him. Blackstone is working on Sandburg's.
It's obviously tight as Sandburg grimaces. Sandburg is watching Foley, realizing that
the setup has been blown and the hostages are no longer needed.

Foley stops suddenly and dials his cellphone.

FOLEY
(into cellphone)
It's Foley... Yeah, I know. I'm still willing
to make a deal, if you're interested... I can't
offer the same volume; I've got a six by four
foot roll of Detasheet explosive and ten kilos of C-4...
Yeah, I'll make you a deal for everything I've
got left... I'll deliver it personally wherever
you want it... No, this is a one-time offer.
This is the last of our haul and we're relocating...
Fine, I'll call back in an hour.

Foley closes his phone and puts it away. He glares at the hostages, then orders them into
the open doorway of the hold. Maynard and Blackstone are silent, feeling the tension as
their plan is falling apart.
Foley then hands Blackstone several 'bricks' of C-4, more than enough to destroy the boat.

FOLEY (CONT'D)

It's two o'clock. Set the timer for thirty minutes.
That should give us time to be well clear.
(to Maynard)
Get the plane ready.

Maynard nods and heads off the boat.

48. INT. FISHING BOAT HOLD - AFTERNOON

Dimly lit, obviously smells. The four men are forced down into the boat's hold.
Sandburg tries to stop the older men from being pushed and Blackstone gives him
a rough shove sending him stumbling down the stairs. Sandburg's head impacts
against the railing and he collapses to the ground, stunned.
The hold is shut tight, and the hostages can hear something being dragged across
the access. Sandburg struggles to his feet, trying to clear the cobwebs from his
brain. He touches the side of his head, then pulls his hands back to see a small
amount of blood.

49. EXT. FISHING BOAT - AFTERNOON

Blackstone pushes something across the hold door, making it impossible for the
hostages to get out.

50. INT. CESSNA PLANE - AIRBORNE - AFTERNOON

Ellison looks at watch.

RAFE

We're still ten minutes out.

Ellison nods, his eyes sweeping the coastline for the floatplane.

51. EXT. FLOATPLANE DOCK BELOW VILLAGE - AFTERNOON

Floatplane is tied up to the floating dock. Boxes are loaded into the cargo area.
Close-up of packages of explosives.

Blackstone and Foley get into plane. Maynard unties, pushes off, climbs in, and
starts the plane. It begins to taxi across the water, picking up speed.

52. INT. FISHING BOAT HOLD - AFTERNOON

Sandburg gives up trying to open the hatchway. He makes his way back down
the stairs to join the others, his bound hands pressed briefly against the side of
his head, to ease the pain of his head wound.

SANDBURG

They've got it barred shut or something.
It's not giving.

Sandburg crouches down in front of Williams, concerned, trying to see how he's
doing.

SANDBURG (CONT'D)

Hang in there. My friends should be here in a
few minutes. They'll get us out in time.

WILLIAMS
(tired, resigned)
They have no idea where we are. Besides,
Foley said he was going to destroy their plane.

Alarmed, Sandburg stands up, then wobbles unsteadily, still dizzy from his fall and
head wound.

SANDBURG

Maybe there's another way out of here.

It's hard to see in the dim light. Sandburg carefully steps over Williams' legs and tries to
see if there are any other exits. The chief and shaman speak quietly to each other, then
the chief turns his attention to Sandburg.

T. WILLIAMS

Blair Sandburg, come over here.

SANDBURG
(turning to look at them)
Is something wrong?

T. WILLIAMS

Sit down.

SANDBURG
(distracted)
Thanks, but I should keep looking for a
way out. I'll rest when this is over.
(adds, half to himself)
One way or the other.

PETERS

Come here, young shaman.

This grabs Sandburg's attention. It's practically the first thing Peters has said.
Sandburg turns and stares at him, torn between continuing to find a way out
and finding out what the shaman wants.

SANDBURG
(tentative)
Can it wait until we're out of here?

Peters shakes his head and Sandburg goes over to him. Like Sandburg, Peters
hands are tied in front of him. He motions for Sandburg to sit down, and with
a last look around him, Sandburg complies, dropping heavily.

PETERS

Listen to me, young shaman.

He starts to chant softly, the chief echoing and joining in. Sandburg is captivated,
but not sure what is happening. His eyes grow heavy.

SANDBURG
(sleepily)
I only packed the fake artifacts, you know.

Peters grasps his shoulders and moves him to lie down. The chanting continues until
Sandburg quickly falls into a "trance sleep". Sandburg's tongue slightly shows between
his teeth in the traditional sign of a shaman in a trance state.
53. INT. CESSNA PLANE - AIRBORNE - AFTERNOON

RAFE
(to Ellison)
We're almost there.

A call comes in from Banks.

BANKS (V.O.)
(through mic)
Jim? We've got the delivery. We had to move
in earlier than planned. From what we've heard
from the security van driver and guard, they were
supposed to rendezvous with another vehicle, but
it didn't make contact.

54. EXT. CASCADE STREET - AFTERNOON

Banks is standing by his car watching the proceedings around the surrounded
security van. Several men walk by wearing jackets that say 'ATF' on them.

BANKS
(speaking into handset)
The ATF are here. They claim the explosives
are part of a stash stolen from a Canadian naval
base in British Columbia. They have an extensive
inventory here that they're checking off, but I've
already been told that there is a large amount of
the explosives still unaccounted for. We can
assume either Foley still has a stockpile, or he's
already sold them.

55. INT. CESSNA PLANE - AIRBORNE - AFTERNOON

ELLISON
(into mic)
Sandburg said they still have some explosives.

Rafe looks sharply at Ellison, frowning at the news. He didn't hear it.

ELLISON (CONT'D)
(into mic, as he looks out the window)
Sandburg also said their lives were in danger.
If Foley knows the delivery went sour-- Wait!

56. EXT. FLOATPLANE - AIRBORNE - AFTERNOON

Ellison's POV of the floatplane taking off.

ELLISON (V.O.)
(through mic)
Simon, Sandburg mentioned they were waiting
for a float plane and one is just leaving the village.

57. INT. CESSNA PLANE - AIRBORNE - AFTERNOON

Ellison motions for Rafe to follow the float plane.

ELLISON
(into mic)
Captain, we're going to follow the plane. I'll see
if we can force them down.

58. EXT. CESSNA PLANE - AIRBORNE - AFTERNOON

The Cessna turns and heads after the float plane.

59. INT. FLOATPLANE - AIRBORNE - AFTERNOON

Blackstone is in the co-pilot's seat. He points to the Cessna.

BLACKSTONE

We've got company.

Foley, sitting behind Blackstone, takes out the large rifle we saw earlier and opens
his side window.

60. INT. CESSNA PLANE - AIRBORNE - AFTERNOON

Ellison responds by getting out his own gun. Unfortunately, the floatplane is now on
their left, which gives him little room to fire.

ELLISON
(into mic)
Captain, we are in pursuit. We have a visual
on Foley and Blackstone in the plane.
(to Rafe)
Rafe, I can't get at them from here.

RAFE
(nods)
I'll draw back, let them fly ahead of us and--

While he is still talking, two bullets tear through the side window of the Cessna, one
striking Rafe in the upper left arm, and the other hitting the electrical panel. Sparks fly.

61. INT. BANKS' CAR - MOVING - AFTERNOON

Banks listens in horror at the sound of gunfire, then the radio goes to static.

62. EXT. CESSNA PLANE - AIRBORNE - AFTERNOON

The plane banks violently to the left and begins to descend.

FADE OUT:

Act V

FADE IN:
63. INT. CESSNA PLANE - AIRBORNE - AFTERNOON

Ellison is at the controls of the plane, fighting to regain level flight. A close-up
of the instrument panel shows sparks and equipment non-functioning. He darts
a quick look to Rafe, then lets go of the control yoke long enough to give Rafe's
right arm a shake.

ELLISON
(urgently)
Rafe! Wake up!

Rafe stirs, then comes to with a start as he realizes what's happening. He sits
up and grasps his left shoulder as he stares at the instrument panel.

RAFE

The electrical system is out!

ELLISON

Can you keep it in the air?

Tense moment as Rafe takes over from Ellison, regains flight control of the Cessna,
and quickly levels it out.

RAFE
(tersely)
Flight functions are fine.

Ellison has his eyes on the other plane.

ELLISON

What about the radio?

RAFE
(shakes his head)
No electrics, Jim. No radio!

Rafe looks out the window.

RAFE (CONT'D)

Where are they? Are they still with us?

ELLISON

They're at our two o'clock.

64. EXT. FLOATPLANE - AIRBORNE - AFTERNOON

Closeup of floatplane, then draw back to see both planes.

65. INT. CESSNA PLANE - AIRBORNE - AFTERNOON

Ellison staring out window.

ELLISON

Can we get any closer?

He takes his gun again and checks it.

Rafe nods, shaking his head at their situation and the condition of the plane.
He maneuvers the plane closer.

66. EXT. BOTH PLANES - AIRBORNE - AFTERNOON

Cessna is drawing closer to the floatplane.

67. INT. CESSNA PLANE - AIRBORNE - AFTERNOON

Ellison prepares to fire, leaving the plane controls entirely to Rafe.

Ellison fires.

68. EXT. FLOATPLANE - AIRBORNE - AFTERNOON

Close-up of gas spilling from hole in tank.

69. INT. CESSNA PLANE - AIRBORNE - AFTERNOON

SENTINEL POV

Closeup of ear listening in to floatplane.

MAYNARD (V.O.)
(distorted slightly)
We've been hit. The gas tank!

70. INT. FLOATPLANE - AIRBORNE - AFTERNOON

Conversation all heard through Sentinel's hearing:

FOLEY
(trying to look back)
You filled up in Cascade, right? There's
almost a full tank of gas. How long will it last?

MAYNARD

I can't tell how fast it's emptying. I need to land
this plane. I'm going to head back down to the island.

FOLEY

Damn it! You can't. We've set the explosives to go
off in fifteen minutes. Find somewhere else to land.

MAYNARD

There's no time. We're losing gas fast -- we could
ignite at any moment. I have to take her down. You
take care of the Cessna!

Foley reaches for his rifle.

71. INT. CESSNA PLANE - AIRBORNE - AFTERNOON

ELLISON

We've got a problem!

SENTINEL POV - sight
Ellison zeros in on Foley with rifle in his hand again.

Ellison reacts quickly, taking his gun and aiming at Foley. The plane hits a wind
shear and bounces roughly.

Sentinel POV on barrel of Foley's gun.

Ellison fires, his aim compromised by the turbulance.

72. EXT. FLOATPLANE - AIRBORNE - AFTERNOON

Bullet tears through the plane, just behind Foley. It hits the explosives and the plane
erupts into a massive ball of flame and spewing debris.

73. INT. FISHING BOAT HOLD - AFTERNOON

The four men (Sandburg, Williams, Chief, and Shaman) are still where we last saw
them. The chanting continues. John Williams sits and watches, uncertain of what is
going to happen.

Suddenly Sandburg arches upward and the spirit wolf lurches from his torso. It
howls, then disappears up the stairs and melts through the hold door.

74. INT. CESSNA PLANE - AIRBORNE - AFTERNOON

ELLISON

Turn this plane around. We've got to get
back to the village.

RAFE

Landing is going to be a real challenge with
one arm. I'll need your help--

ELLISON
(grimly)
Might as well start my flying lessons today
then...

Rafe rubs his shoulder, blinking back sweat as he concentrates on flying the Cessna.
As the plane approaches the gravel strip runway, Ellison sees something running below.

75. EXT. SHORELINE AND TREES -- MOVING POV FROM AIR - AFTERNOON

Sentinel POV

Wolf is seen sitting on a cliff howling. ZERO IN on the wolf looking directly at Ellison.
Then it turns and begins to run along the shoreline.

76. EXT. RUNWAY AT PACIFIC SPIRIT INDIAN RESERVATION - AFTERNOON

Ellison lands the plane, somewhat shakily. The door opens and Ellison emerges, jumping to
the ground. He starts to run, then stops and turns back to the plane. He leans in as though to
say something to Rafe, and Rafe waves him off.

RAFE

I'm okay. Go!

Ellison turns again and sees the wolf at the edge of the runway. It takes off at a run toward
the water and Ellison runs after it.

77. EXT. FISHING BOAT - AFTERNOON

Close-Up of timer. Only a few minutes left.

78. EXT. BLUFF BELOW VILLAGE - AFTERNOON

Ellison runs to edge of cliff and looks down to see the wolf, working its way down the hill,
through the trees. Ellison runs after it.
Close-ups and wide-angle shots of wolf and Ellison running through the woods, then
along the beach toward the fishing boat.

The wolf stops, turns, and howls on the wharf by the boat, then disappears, shimmering
through the bulkhead.

79. INT. FISHING BOAT HOLD - AFTERNOON

Brief shot of wolf leaping back into Sandburg, who stirs restlessly but doesn't awaken.

A sound shifts their attention upward. Someone is up above. Peters nods his head,
closes his eyes, and begins a soft chant that quiets Sandburg.

80. EXT. FISHING BOAT - AFTERNOON

Ellison finds the explosive, disarms it with the usual few seconds to go, then pushes
aside the bar blocking the hold door and goes inside.

81. INT. FISHING BOAT HOLD - AFTERNOON

Ellison comes down the stairs into the hold. In the shadows, he can see the captives.
John Williams awkwardly stands up as Ellison enters.

Ellison talks to him as he tries to cut through the cords binding his wrists behind him.

ELLISON

Can you walk okay?

Williams nods.

ELLISON (CONT'D)

Good, then go call Simon Banks at Cascade City
PD and tell him we need medical assistance. He
also has to alert the Forest Rangers that a plane
exploded over the north Spirit Mountain ridge
and there's a risk of fire. Did you get all that?

Williams nods again, touches his father's shoulder briefly, then leaves.

Ellison looks over to the chief and shaman, then down to Sandburg, who appears to
be asleep or unconscious (although tongue does not have to be showing at this point.)

T. WILLIAMS

He's fine. He's only asleep.

Ellison cuts through the ties on Thomas Williams' wrists.

ELLISON
(glancing to Sandburg)
Is he injured? What happened to him?

PETERS

He is resting.

Ellison turns and cuts through the old man's binding at his wrists. Then he crouches
by Sandburg, shaking him, gently at first, then rougher.

ELLISON

What's wrong with him? Why isn't he
waking up?

PETERS

Your friend has a strong spirit, but he does
not yet have the ability to connect with his
animal spirit without assistance.

ELLISON
(glances from shaman to chief)
What did you do to him?

T. WILLIAMS

He has not been harmed. He will wake up
when he is ready. Daniel put your friend in a
"trance sleep" and called forth his animal spirit
to summon his sentinel.

ELLISON

The wolf I saw?
(at Peters' nod)
I've seen it before.

PETERS

In your dreams.

ELLISON

Yes. And the wolf is Sandburg.

PETERS

You are his Sentinel. That is why you connect with
him on the spirit level.

Ellison turns to Sandburg and calls him, but Sandburg doesn't wake up. Ellison cuts
through the cords binding Sandburg's wrists, but there is still no response. Ellison
touches the side of Sandburg's head and realizes there is a head injury.

ELLISON

He was injured. I can feel the swelling here.
Was he hit?

T. WILLIAMS

He fell during the struggle.

ELLISON

I need to get him medical help.

PETERS
(firmly)
Sentinel, he sleeps now because he is exhausted
from his spirit journey. He will awaken when his
spirit recovers. When he is ready.

Ellison considers it, and finally nods, but says nothing.

82. INT. BLACKSTONE'S HOME - EVENING

John Williams (his head bandaged) is sitting at the table with Banks and Ellison,
drinking coffee. In the background, we see Rafe sitting in an easy chair resting, his
arm in a sling. Sandburg is lying on the couch, still sleeping.
Brown enters through the main door.

BROWN

The helicopter's ready to take us back. The
pilot says it should be a smooth flight.

RAFE

Yeah, that's what I told Sandburg and Ellison
when we started our flight yesterday.

Brown brushes him off with a comical wave, then looks back to Banks.

BANKS

Tell him we'll be up there in ten minutes.

Brown leaves. Banks and Ellison get up from the table and walk to the living room.
They stare down at Sandburg.

BANKS (CONT'D)

Well, Jim, we could dump a pail of ice water
on him. That might work.

ELLISON
(with a grin)
Or I could do what I do every other morning.

Ellison clears his throat, then raps firmly on the coffee table as though knocking on a door.

ELLISON (CONT'D)
(loudly)
Sandburg! Get up! If you want a ride, I'm
leaving in ten minutes!

Sandburg reacts with a startled jump, his feet swinging off the couch to touch the floor.
His eyes aren't open yet.

SANDBURG

All right, all right. I'm up already! Give me
a break, man. Jeez.

He stretches and opens his eyes, pushing backwards when he sees everyone staring at him.

SANDBURG (CONT'D)

What?? What's going on?
(a beat)
Wait... what am I doing here? I was on the boat...

ELLISON
(shrugs)
Come on. Get your coat on. We're going.

SANDBURG
(not quite awake yet)
How did Simon get here? Rafe, what happened
to your arm? Jim, where's Daniel Peters? Is he
okay?
(a beat as memory hits)
The bomb -- Jim, the bomb! What happened?

ELLISON

It's okay, Chief. Don't worry, everything was
taken care of.

SANDBURG
(confused)
What happened to me, Jim? How did I get here?

ELLISON

You received a blow to your head -- I assume
you were knocked unconscious.
(beat)
Unless, of course, you were just catching up on
some sleep.

BANKS
(putting on his coat)
Sleeping on the job, Sandburg? Where's it all
going to end?

Banks exits, shaking his head humorously. Rafe and John Williams exit, laughing.

SANDBURG

Wait a sec... Jim, there's something strange here.
Why do I feel like I've run a marathon if I was
sleeping?

ELLISON

Perhaps some things are better left unexplained.
(smiles)
At least until we get back to Cascade.
(hands him his coat)
Come on, Chief. The helicopter's waiting.

FADE OUT:

~ Finis ~

Note from Lois:
We chose to pass on this script 'as is' rather than adapt it to fit into the current Virtual Season Five. My thanks to Linda and the others for agreeing to this.
It would be impossible to try to fit this script in with everyone's personal idea of what season five would have been like. This was written to be aired on television, not as a fan written story, so the way the story unravels should be understood in that light. Sandburg's role was deliberately left vague at the time we wrote it, to be altered in one direction or the other, depending on what the producers decided to do with the character. What didn't change was that Sandburg was to be at Ellison's side as his partner and sidekick (in whatever job role he was to find himself in, be it cop or observer or doctor or shaman/guide) and we understood that for all intents and purposes, his function in the Cascade PD was to continue as it had previously.
My thanks to Ryf for agreeing to pass this on to the Virtual Season Five group. It was a project we had great fun working on, considering the few months we had to work on it -- in between filming, conventions, putting together the "Senti-Mental Christmas CD" and other commitments and stresses at the end of season four. We were both pleased with what we managed to produce. Ryf has a wonderful natural ability as a storyteller. He's an intelligent, gifted man who I have great love and respect for and I know you'll be seeing more of him in the future.
Thanks to Mike for his help with such useful information as the best way to shoot down a plane, and on explosives, and special thanks to Yvonne for her valuable information on First Nations/American Indian border treaties and fishing regulations, and also for her information on Pacific Northwest Indian Shamen, and their mentoring of younger shamen.
I have a personal challenge to all readers:
If this had been an aired episode, there would be missing scenes appearing on the net in the next few days. I don't know about you, but I miss reading those 'outtakes' and I had been looking forward to reading some... Anyone up to the challenge of writing a missing scene for this (or any of the other) Virtual Season Five episodes?
We'd love to hear from you! Ryf and I can be reached at: pacificspirit@post.com.

~ Finis ~

E-mail the authors of this story, Ryf Van Rij and Lois Balzer, at pacificspirit@post.com
(Ryf's home page is located at Ryf Van Rij's Home Page)
Read Lois' other fan fiction for The Sentinel at Lois' Fan Fiction and Tour Site
Please visit our Virtual Season 5 Staff Page to learn more about the hard-working behind-the-scenes crew responsible for bringing you this episode
E-mail Faux Paws Productions at fauxpawsproductions@yahoo.com
NEXT WEEK on THE SENTINEL: Crossed Out (12/8/99, FPP-511) by CarolROI
Blair stumbles onto a crime and winds up in the perfect position to be undercover to trap one of Cascade's most vicious crime lords. Unfortunately, the DEA agents don't believe his involvement was accidental.

Return to the VIRTUAL SEASON 5 EPISODE ARCHIVE
Return to the FAUX PAWS PRODUCTIONS' HOME PAGE

If you experience any problems with this page, please contact The Pagemaster.
This page last updated 2/2/01.