WITNESS
Screenplay by
EARL W. WALLACE
WILLIAM KELLEY
from a
story by
WILLIAM KELLEY
REVISED DRAFT
APRIL 23, 1984
1 EXT. LANCASTER COUNTY, PA. COUNTRYSIDE - DAY
(TITLE SEQUENCE)
The faces of several young children are presented in
CLOSEUP, as they walk TOWARD US across a ploughed
field. On the SOUND TRACK, the haunting SOUNDS OF A
GREGORIAN FUNERAL CHANT. The CAMERA PANS UP to the
faces of older brothers and sisters, then to parents
and grandparents. These are not familiar faces, but
faces from another age, strong and open. All are
dressed in the distinctive clothing of the Amish.
2 EXT. COUNTRY LANE - DAY
Through the last traces of early morning mist another
group of black-clad figures make their way down a lane.
3 EXT. COUNTRY LANE - DAY
An Amish buggy, black and highwheeled, stark against
the landscape, appears, a spirited chestnut in the
traces.
Framed in the glass window of the narrow buggy is the
stern figure of an Amish man in black topcoat and
flatbrimmed hat, his bonneted wife in muted colors,
the face of a boy, attired like his father, peering
out.
The horse's breath smokes on the frosty air, the buggy
CREAKS on its springs, and there's the rhythmic CLIP-
CLOP OF HOOVES on the pavement.
4 ANOTHER LANE
Two Amish buggies reach a crossroads, join a procession
of three others. They disappear as the lane wends
through a leafless thicket of hickory.
5 VALLEY
A BIG SHOT... now the procession numbers almost a dozen
buggies... it is headed toward a distant farmhouse.
6 BARNYARD
Where literally dozens of carriages are parked. The
horses have been taken from the traces, removed to the
shelter of the barn.
7 EXT. LAPP FARMHOUSE - FRONT PORCH
As the black clad mourners begin to move into
the
house (women and children presumably first).
8 INT. LAPP FARMHOUSE
the coffins the upper half open. We see that
the worse
has been dressed in white linen, a piece of
white linen
partially covering the bearded face.
END TITLE SEQUENCE.
9 INT. LAPP FARMHOUSE
Partitions have been removed, making the
central rooms of the farmhouse a spacious hall. The place is
packed, a hundred-fifty or more Amish, all sitting in
absolute silence on rows of wooden benches.
A wooden coffin rests on a bench in the f.g.,
and near it the close relatives of the deceased occupy a
special Place.
RACHEL LAPP
A young woman of perhaps twenty-seven. Her
face is pale and drawn. In happier circumstances,
although there haven't been too many of late in Rachel's
life, we would see a robust, sensual woman of full
figure, spirit and intelligence.
Eight-year-old SAMUEL LAPP flits next to his
mother; he
would appear stunned, possibly not entirely
comprehend-
ing events.
And the patriarch, ELI LAPP; his stubborn,
weathered -
yet not unkind - features grief-stricken.
THE MOURNERS
Their faces...
CLOCK
as it begins to CHIME nine a.m.
FAVORING PREACHER
as he removes his hat. As one, the men in the
congre-
gation remove their hats also.
9 CONTINUED:
Then the preacher begins to speak in a formal
German
dialect:
(SUBTITLES OVER)
PREACHER
... a brother has been called home.
God has spoken through the death of
our neighbor, Jacob Lapp...
THE FAMILY
where Rachel, Samuel and Eli are sitting- SOUNDS
of emo-
tion and grief not quite suppressed are heard
throughout as:
PREACHER
... husband of Rachel, father to
Samuel, son of Eli.
(and)
His chair is empty, his bed is
empty, his voice will be heard no
more. He was needed in our
presence, but God needs such men,
too. That one should be taken so
suddenly. Treat sorrow. Still, we
would not wish him back. Rather we
should prepare ourselves to follow him.
TIGHTENING to the Lapps, and...
10 EXT. CEMETERY
The mourners have gathered about the grave,
standing in
silence as four pallbearers are lowering the
coffin
into the pit. The many buggies are aligned in the
b.g.
As the pallbearers begin to shovel soil and gravel
into
the grave, the Preacher begins to read a hymn in
German
... a slow atonal litany which seems to hang
forever on
the frosty air.
RACHEL
TIGHTENING to her as the hymn continues...
CUT TO:
11 INT. LAPP FARMHOUSE 11
where the Amish have gathered for the traditional
post
funeral, midday meals.
11 CONTINUED: 11
Long tables are laden with customary Amish fare
... crocks of soup, hams, fowl, fried boiled eggs
and pickled beets, preserves
and an infinite variety of pies and pastries.
RACHEL
Where she sits among women, accepting their
condolences.
DANIEL HOCHSTETLER
A brawny-armed, ruggedly-handsome, raffish looking
Amishman.
There is something atypical about his face a slightly
sardonic set of
mouth, a bold eye, a prominent set of jaw. Not exactly
what old Jacob
Ammann had in mind, maybe, but a well set-up man
nonetheless, and at
ease among men. He's among a group of men including old
STOLTZFUS,
the local healer, FISHER, BIEILER and Bieiler's stout
young son, Tom.
STOLTZFUS
Lapp was a good farmer.
None better.
BEILER
But not the man to buy a horse
for you.
(and)
Hochstetler, wasn't it your
father
sold him that horse with a
ruptured testicle?
TOM
(grins)
Told him it was a bee sting
made
him limp that way.
HOCHSTETLER
(amused)
That horse had one good ball.
That's all it takes.
The others chuckle. But Hochstetler's
attention is still on Rachel.
RACHEL
as Hochstetler looms on the horizon, plants
himself like a tree in front of her.
11 CONTINUED: (2) 11
At ease as he was with the men, he's a bit awkward at this.
All the women, very much aware of Hochstetler's availability, tune in as
Rachel looks up.
HOCHSTETLER
I was sorry to hear about Jacob.
Let us hope he walks close with
God.
RACHEL
I'm sure he does, Daniel.
12 FIELDS, LAPP FARM - DAY 12
It is some time after the funeral and the Lapp family is hard at work
breaking ground for the spring ploughing. The death of Jacob has
increased the work load on; all three - Samuel maneuvers a four-mule
team while Rachel and old Eli work nearby, further breaking up the
earth. Rachel looks up from the back-breaking labor as several figures
approach - it's Daniel Hochstetler and two of his brothers. Without a word
they fall in beside Eli and Rachel and take up various tasks associated with
the work in hand. Daniel works close beside Rachel.
12A EXT. COUNTRY ROADS, LANCASTER COUNTY - DAY 12B
A few BRIEF SHOTS of a lone buggy containing the Lapp family take
us from the 18th century into the 20th century the reassuring RATTLE
OF THE CARRIAGE WHEELS on quiet backroad, to the ROAR OF
TRAFFIC as the buggy waits patiently for a chance to cross a busy
interstate highway.
12B EXT. HIGHWAY, LANCASTER COUNTY - DAY 12B
A huge tractor trailer rig hovers over the frail buggy as it trots down
the interstate. The camera cranes up to reveal a procession of vehicles
behind the truck for a chance to overtake it.
13 OMITTED 13
14 EXT. PLATFORM, LANCASTER STATION - DAY 14
Daniel Hochstetler moves through the crowd on the plat-form, Rachel
turns surprised, as he approaches, a faint color coming to her cheek.
RACHEL
Daniel?
14 CONTINUED: 14
HOCHSTETLER
I...I was at the feed store.
And I saw your horse, so...
There is an embarrassment between them broken by the
arrival of the train.
HOCHSTETLER
(continuing)
You will come back soon?
Samuel can barely contain his excitement as he drags at
his mother's hand.
SAMUEL
Quickly, Mothers Quickly!
Rachel embraces Eli.
ELI
You be careful out among them
English.
She turns to Hochstetler.
RACHEL
I need time, Daniel.
14A EXT. CARPARK, LANCASTER STATION - DAY 14A
Daniel Hochstetler leaps into the driving seat of his open
wagon and with a flick of the reins and a whoop
sets his horse off at a fast trot.
14B EXT. TRAIN - DAY 14B
The ENGINE gives a WARNING BLAST before creeping slowly
forward.
15 OMITTED 15
16 INT. TRAIN (MOVING)
16
as Samuel spots something out of the window that causes
him to light up.
SAMUEL
Look, Mama...l
17 HIS POV THROUGH WINDOW 17
A road runs parallel to the train track, and Hoch-
stetler in his wagon urges his horse almost to the
gallop as he attempts to keep pace with the train.
18 BACK TO SCENE 18
as Rachel smiles.
RACHEL
I see, darling.
And Samuel cranes to look back, waving, for as long as
he can.
18A EXT. LANCASTER COUNTRYSIDE - DAY 18A
The train moves across a broad panorama of fields,
dotted with dolls'-house-sized farms and the tiny
figures of Amish farmers working their horse-drawn
equipment.
19 SERIES OF CUTS 19
as the train continues its eastward journey... Samuel
stares raptly out of the window at the changing pat-
terns of the countryside. He points in wonder at a
brightly colored hot air balloon as it drifts slowly
over timbered hills... he looks unsure as the pattern
of field and wood gives way to suburbs, bustling shop-
ping centers, restaurants, car lots and fast food
outlets.
20 EXT. PHILADELPHIA SLUMS 20
as the train travels past dilapidated row houses,
streets choked with cars and the gutters with filth.
21 INT. TRAIN (MOVING) 21
Now Samuel is staring out the window with some confu-
sion, almost apprehension:
SAMUEL
Is this where we're going?
RACHEL
Of course not. We're going to
Baltimore. It's much nicer in
Baltimore.
21 CONTINUED: 21
And Rachel draws her son closer, turning her back on
the window.
22 OMITTED 22
23 INT. 30 ST. STATION, PHILADELPHIA - DAY 23
Rachel is in a line at one of the counters. The plain
dress of the two Amish - particularly Samuel's black
coat and hat - are drawing curious stares.
SAMUEL
He's uncomfortably aware of the shy looks and giggles
of a little girl about his own age, standing in line
with her parents at the next counter.
He edges away from his mother...
ANGLE
as Samuel comes upon a figure garbed in a long black
frock coat and flat-brimmed hat... the man's back is turned,
could, from appearances, be an Amishman.
Samuel stares... A beat, the man turns to face Samuel
and we discover that he is a Hasidic Jew.
SAMUEL
as he reacts.
BACK TO TICKET COUNTER
as Rachel's turn arrives. The TICKET SELLER glances up
and she shows him her ticket.
RACHEL
We have a ticket to Baltimore.
Where is that train, please?
TICKET SELLER
Delayed three hours. You'll hear
an announcement when it's time to
board.
24 CONTINUED 24
He starts to go without his hat, but Rachel collars him
and puts it on his head.
25 ANGLE IN MEN'S ROOM 25
as Samuel enters.
It's a long row of sinks, urinals, and stalls...Samuel
stops before one of the urinals - a long, trough-like
affair with water drizzling down the rear porcelain
panel.
It's set a little high for Samuel, and it is making
GLUGGING-FLUSHING NOISES that are, at least,
intimidating. Samuel stares for a moment, then turns,
looks toward the stalls, stoops to see which are empty.
HIS POV - TOILETS
beneath the row of doors we can see no feet visible.
Samuel is alone in the restroom.
BACK TO SCENE
as Samuel proceeds along the row of door, finally
selects a stall near the end. He enters.
As he does so, a heavily bearded youth in a dirty
sweatshirt enters.
With some urgency, he removes small notebook from his
pocket and places it behind a paper towel dispenser.
Suddenly he glances up.
Two other men have entered the men's room; one is a
large BLACK MAN in a three-piece suit under an ex-
pensive, overcoat. His PARTNER is a Caucasian in
designer jeans, half boots and a short leather jacket.
They advance on the young man with unmistakable menace.
The young man whirls in terror; his two assailants
lunge for him... a savage, wordless struggle ensues in
the close confines of the lavatory.
ANGLE IN SAMUEL'S STALL
as the struggling men bounce off the door of his
stall... he can see their feet under the edge of the
door.
BACK TO FIGHT
as the struggle builds to a climax... ends with the
young man stiffening with a grunt, his face draining of
color.
The two attackers step away, the blade in the black
man's hand bloodstained. His partner stares at what
they've accomplished with a stunned expression:
PARTNER
Jesus...
The young man's hand comes away from his belly covered
with blood. He stares at it, staggers toward the
sinks. Finally his bloodied hand reaches to smear at
his face in the mirror. Then he collapses to the
floor.
The black man motions for his partner to watch the
door, then quickly reaches up and removes the notebook
from behind the dispenser.
ANGLE IN SAMUEL'S STALL
as he edges open the stall door a crack. Over his
shoulder we can see the black man, his BACK TO US,
rifling the backpack. But beyond him, in the mirror on the
far wall, we catch sight of the black man's face.
SAMUEL
as he stares out the narrow crack. A beat, then he
closes the stall door.
ANGLE IN STALL
Samuel tries to make the latch work, but it's warped
and won't fall closed.
BLACK MAN
as he checks the notebook before placing it in his
pocket. His partner is covering the door, an automatic
in his hand.
The black man makes for the exit, then on second
thought, glances at the row of stalls.
HIS POV - STALLS
All quiet, but...
BACK TO SCENE
The black man whips out a SR caliber revolver, and,
starting at the near end, starts pushing open the stall
doors.
25 CONTINUED: (3) 25
ANGLE IN SAM'S STALLS
as the black man approaches, Samuel working desperately
on the latch. At the last minute he finally wedges it in.
BLACK MAN
He elbows Samuel's stall...the door won't open.
ANGLE IN SAM'S STALL
Fighting back panic, Samuel has retreated as far as he
can.
BLACK MAN
as he gives the door a kick. It holds. He swears
under his breath.
ANGLE IN SAM'S STALL
In desperation, Samuel does the only thing he can think
of... he slips under the partition into the neighboring
stall the black man just checked out. But he loses his
hat in the process. His hand snakes back INTO FRAME to
snatch it just as the black man gives the door a fero-
cious kick that splinters the lock and nearly takes it
off its hinges. He's framed there, the big muzzle of
the .38 revolver looking down our throats.
ANGLE
as his partner snaps from the doorway:
PARTNER
Will you come on, for Christ's
sakes!
A beat, then the black man holsters his weapon, turns
to follow the partner out.
BACK TO SAMUEL
as we hear the SOUND OF THE TWO MEN EXITING the
lavatory. A long beat, then Samuel opens the stall door a crack.
25 CONTINUED: (4) 25
HIS POW THROUGH DOOR
Samuel's own face reflected in the blood-smeared mirror
... then PANNING DOWN to the still figure of the young
man lying in the crimson pool of his own blood on the
floor.
26 OMITTED 26
thru thru
29 29
30 BENCH WAITING ROOM - LOW ANGLE - NIGHT 30
Samuel sits close to his mother, his face pale, his
eyes staring. Rachel holds his hand tightly in hers as
the torsos of various police and officials pass through
foreground, occasionally obscuring the lonely couple.
There is considerable ECHOING NOISE as commands and
requests mingle with the CRACKLE OF TWO-WAY RADIOS.
CUT TO:
DOOR - MEN'S' ROOM
The diffused shape of faces behind the frosted glass of
the Men's room door, which is pushed open to reveal,
JOHN BOOK, who comes striding through to be momentarily
lost in the crowd of police, reporters and others. He
is about 40, with a rangy, athletic body. Behind him
comes CARTER, Book's black partner - about five years
younger than Book. Book is wearing a suit, Carter is
much more casually - almost disreputably - dressed.
CUT TO:
BENCH
Little Samuel watching Book, back to crowd of police,
as Book questions an old black CUSTODIAN.
BOOK
You found the body?
CUSTODIAN
Uh uh. Not me, daddy,
I just reported it. It was
the kid.
BOOK
What kid?
30 CONTINUED: 30
CUSTODIAN
How'n hell do I know what kid?
The kid in the funny black
threads.
TIGHT SHOT - SAMUEL
Worry-eyed, still staring straight ahead. Then his
eyes move suddenly to his left.
BOOK'S LEGS - SAMUEL'S POV
coming in at full stride, then stopping.
SAMUEL
He doesn't raise his eyes...just looks at the legs.
And, slowly, the legs begin to bend at the knees. We
see Book ' s belt buckle, then his big pistol in its
holster, then his face. He stares at Samuel for a
moment, then...
ANGLE - BOOK
as his face breaks into a big grin, and...
BOOK
Hi, kid.
RACHEL
immediately alarmed, intervening.
RACHEL
What do you
want of my son?
THE SCENE
as Book takes out his wallet, displays his shield.
BOOK
I'm a police officer. I'm going
to have to talk to the boy.
What's his name?
RACHEL
Samuel. Samuel Lapp.
30 CONTINUED 30
RACHEL
then, quickly)
But what happened here is none of
his affair. My sister is expect-
ing me . . . our train is leaving
soon.
BOOK
There'll be another train.
(turns to Samuel)
The man who was killed tonight was a policeman,
Sam. It's my job to find out who did it.
I want you to tell me everything you
saw when you went in there.
SAMUEL
(stammers)
I saw him.
BOOK
Who'd you see?
Sam looks at his mother.
BOOK (CONT'D)
Who'd you see, Sam? The man on
the floor?
SAMUEL
No . . . I saw the man who killed
him.
Book stares at him in surprise, speaks over his shoulder
to Carter.
BOOK
Anybody know about this?
CARTER
I didn't even know about it.
BOOK
(back to Sam)
Okay, Sam. Can you tell me what
he looked like?
SAMUEL
(groping, touching his
clothes and pointing at Carter)
He was . . . like him.
BOOK
(nods)
Black . . . I understand. What
else, Sam?
A beat, then Sam crosses quickly to Carter, Book's rather slightly built
partner:
SAMUEL
Not Zwartich, like him -
Book frowns, puzzled:
BOOK
Try that one again, Sam -
Samuel gives his mother a helpless look; exasperated,
Rachel intervenes with Book. She glances at Carter:
RACHEL
May I talk to you?
ANGLE
As Rachel takes Book aside, and in a low voice:
RACHEL (CONT'D)
Zwartich . . It's the way we say
. . . dwarf.
(glances at Carter)
Not like him . . . very big.
Book nods, starts to turn back to Sam. Just then a
commotion o.s. catches his attention.
31 OMITTED 31
31A BOOK'S P0V - ONCOMING COPS 31A
It's Capt. TERRY DONAHUE, Chief of Homicide, striding
past the crowd of journalists and TV crews . .. brushing
off reporters' questions and snapping orders to the
aides he's got in tow:
BACK To SCENE
As Donahue comes on Book:
DONAHUE
(to aides)
Close it all down . . . I want a man
on every exit . . . I want the lab in here
now !
(to Book)
And I want to talk to you, Captain.
ANGLE
As Book steps aside with Donahue . . . In the b.g.
Rachel moves protectively to Samuel's side.
BOOK
All right, talk.
DONOHUE
This is homicide - not Internal
Affairs! So why are you behaving like
you own this case?
BOOK
We were running Zenovitch . . .
That's all I can tell you. But
I want it, Terry.
(then)
I've got a call into Schaeffer.
RACHEL/SAMUEL
They can't help but watch the confrontation between
Donahue and Book . . . although they're keeping the
volume down, it's obviously intense and angry:
SAMUEL
(alarmed)
Momma . . . are they angry with
us .
RACHEL
(reassuring, but
hardly in her own mind)
No . . . No. It is just the English
way.
31A (CONTINUED) 31A
Donahue has lost the confrontation; he gives Book a
smile:
DONAHUE
You ought to think about coming back
to Homicide, Johnny. . . Stick with
Internal Affairs and you're not
gonna have any friends left.
BOOK
(smiles right back)
I'll buy a dog.
32 EXT. 30th STATION - NIGHT 32
Book emerges from the terminal, looks about Him,
then crosses to a big Mercury Sedan which is parked
nearby. Two men sit in the front seat. Book crosses
to the driver's side and opens the door.
BOOK
Go get a cup of coffee, Stan.
The driver, a uniformed policeman, glances at the
man beside him who nods in agreement. He gets out
and Book gets in behind the wheel.
33 OMITTED 33
34 INT. SEDAN 34
Book sits next-to SCHAEFFER, a surprisingly kindly
looking man of about fifty. Schaeffer is a Deputy
Chief.
SCHAEFFER
How reliable is this kid?
BOOK
Oh, he's good.
SCHAEFFER
Amish.
BOOK
Yeah.
34 (CONTINUED) 34
SCHAEFFER
What have you got?
BOOK
Zenovitch was about to deliver a list
of names ton ight -- street
chemists...the guys processing this
P2P into speed.
SCHAEFFER
So one of them got to him.
BOOK
Maybe.
SCHAEFFER
You know who?
BOOK
Maybe.
SCHAEFFER
You're still convinced there's a link
to the department?
BOOK
If there isn't I've just wasted the
last six months.
SCHAEFFER
That's the problem. We need
results. The press is driving
us crazy over this P2P thing.
Calling us the speed capitol of the
country'. You know the sort of
thing . It's getting political.
The Commissioner's getting very
uneasy.
BOOK
The Amish boy saw him, Paul. I'll make it,
but Set Donahue and the Homicide
Department off
my back or they'll blow the whole thing.
SCHAEFFER
When word gets out that Zenovitch
was a cop, all hell will break
lose. You've got 24 hours. That's
all I can give you. 24 hours on your
own. After that the case and the
witness go back to the Homicide Department.
34 CONTINUED: 34
SCHAEFFER
(shakes his head)
Tell you what... why don't you and
that blonde - what's-her-name -
come over for dinner Sunday. How
'bout that.
BOOK
What's-her-name moved to Buffalo.
SCHAEFFER
(Sighs)
Well, anyway, don't get crazy.
(dismisses him)
I'll do something for Zenovich's
wife.
35 OMITTED 35
36 INT. BOOK'S CAR (MOVING) PHILADELPHIA - NIGHT 36
Book drives around 13th Street, a ravaged corridor between neon-lit
restaurants, bars, porno shops and darkened storefronts.
Carter sits beside him, Rachel and her son in the back seat looking out
at the
assorted array of desperate characters huddled in doorways or
wandering aimlessly about. On the POLICE RADIO a description of the
cop killing is BROADCAST EVERY FEW MINUTES.
CARTER
I got there late, John.
BOOK
Let's just find Coalmine.
(beat)
Listen, Zenovich made a mistake.
You didn't let anybody down. It
happens --
CARTER
(grimly)
It won't happen again.
RACHEL
Where are you taking us?
BOOK
We're looking for a suspect.
We've reason to believe he's still
in the area.
RACHEL
You have no right to keep us here.
BOOK
Yes I do. Your son is a material
witness to a homicide.
RACHEL
You don't understand, we have
nothing to do with your laws!
BOOK
Doesn't surprise me. I meet a lot
of people like that.
RACHEL
It's not a joke.
Book decides to try contrition:
BOOK
You're right. It's not a joke.
Listen, I know a little about the
Amish. I know this has to be an ordeal for you;
and I'm really sorry you an Samuel got involved.
Samuel shoots a look at Book. then mutters something to his mother in German.
She responds in the same language. Book frowns.
BOOK
What was that?
RACHEL
He wants to know who you are.
Your name. I told him we don't
need to know anything about you.
Book eyes Samuel:
BOOK
Book. John Book
36A EXT. 13TH STATION - NIGHT 36A
Book's car stops ,and from out of the shadows darts a
wizened little MAN. He looks about before crossing to
the driver's side window.
36B INT. BOOK'S CAR - NIGHT 36B
Book lowers the window.
BOOK
Sammy, where's Coalmine?
The little man stares at the weird-looking couple in the back seat.
36B CONTINUED: 36B
SAMMY
What you got there, the Salvation
Army?
BOOK
Coalmine.
SAMMY
Try "Happy Valley".
36C EXT. HAPPY VALLEY BAR, SOUTH STREET - NIGHT 36C
Book's car pulls up outside the bar and he and Carter get out,
and move swiftly inside.
36D INT. HAPPY VALLEY - NIGHT 36D
Sixty Black faces stare as the police enter. A hush
falls on the group. Book and Carter spot their man at
the bar and move up either side of him.
They've moved carefully to this point . . . no mistakes.
From the back, the black man they've approached certainly
looks like he could be the man who did the killing of
Zenovitch. And, as Book and Carter make their move . .
36E EXT. HAPPY VALLEY - NIGHT 36E
As Book and Carter explode through the door of the bar,
violently propelling Coalmine along with them. Now we
see Coalmine is not the killer.
As Book and Carter escort Coalmine out of the bar a
police squad car pulls up, its headlights shining into
Book's car.
An alarmed Rachel holds Samuel close as Book forces
Coalmine's face down next to the car window.
BOOK
Put some light on him.
A cop pulls out a flashlight, begins to play the beam
over Coalmine's face.
36E CONTINUED:
BOOK
(continuing; to Samuel)
Look at him.
Crazy as Rasputin on speed and booze, Coalmine glares
at Samuel inside the car:
Samuel, white-faced, finally shakes his head in the
negative.
Coalmine tries to twist free of Book's grip. Book
snaps, and slams Coalmine's skull into the window edge,
finally crushing his face up against the front win-
dow. His face takes on a grotesque shape against the
glass. Carter restrains his partner and Book cools
down. Coalmine is led stumbling away by the uniformed
police. This sudden show of violence has horrified and
angered Rachel, and she glares at Book as he gets back
in the car.
RACHEL
John Book, you listen to me!
will have no further part in this,
nor will my son! As God stands
between us!
Book sighs, starts the engine and moves off.
36F EXT. HOTEL - PHILADELPHIA - NIGHT
36F
Book pulls up outside a hotel entrance as a uniformed
DOORMAN moves to open the rear door.
36G INT. CAR - NIGHT
36G
Rachel and Sam recoil as the Doorman opens the door.
He is puzzled by the sight of the reluctant guests.
DOORMAN
Ma'am?
RACHEL
No! We do not stay in hotels.
Book and Carter exchange a glance.
37 OMITTED 37
thru thru
42 42
43 EXT./INT. FRONT DOOR, SUBURBAN HOUSE - 43
PHILADELPHIA - NIGHT
An attractive woman in her early thirties in robe and
slippers stares in disbelief as Rachel and Sam file into
the house. This is ELAINE, BOOK'S sister. She
stops Book as he tries to follow Rachel inside.
ELAINE
How could you do this to me
tonight? I told you I had
company
BOOK
Sorry. It's important.
BACK TO RACHEL
as she glances in a doorway.
HER POV - ELAINE'S KITCHEN
It's a shambles, with dirty supper dishes piled
sink, the table littered with empty beer cans.
BACK TO RACHEL
as she hustles Samuel along.
BOOK/ELAINE
Book frowns:
43 CONTINUED:
BOOK
Where's Timmy and Buck?
ELAINE
Upstairs, asleep. Where'd you
think?
BOOK
You've got a man here and the kids
are upstairs?
ELAINE
That's none of your goddamn
business! So keep your goddamn
holier-than-thou mouth shut!
(and)
Anyway, they like Fred.
BOOK
Oh sure, Fred.
Elaine looks like she's going to blow again, then
decides it's pointless.
ELAINE
Who are these orphans, anyway?
BOOK
They're Amish.
44 ANGLE IN GUEST ROOM
Samuel is asleep in one twin bed in a tiny, cluttered
room. Rachel, in a plain nightgown, is preparing to
climb into the other one.
O.S. we hear a DOOR CLOSE, presumably Book leaving. A
beat, then Elaine opens the door and looks in.
ELAINE
Everything okay?
RACHEL
Yes, thank you very much.
ELAINE
(a beat)
John said you're Amish.
RACHEL
Yes.
44 CONTINUED:
ELAINE
(blankly)
Oh.
She nods and goes.
Rachel crosses to Samuel, sits on the bed. Samuel
looks up at her bleakly.
SAMUEL
I don't want to stay here.
RACHEL
They are English. They don't
understand.
SAMUEL
I wish dawdie was with us.
RACHEL
(swallows)
I Know. Sleep now, Liebchien.
She puts her hand on his forehead, closes his eyes. she
frowns, and...
44a EXT. DRIVE-IN FAST-FOOD JOINT - PHILADELPHIA - DAWN 44A
Carter exits the cafe carrying burgers, donuts and a
couple of beers. Book wakes from a brief nap as Carter
gets into the car.
44B Book chews into his burger while Carter takes a dough- 44B
nut. Its clear they've worked through the night.
45 EXT. ELAINE'S HOUSE - DAY 45
Elaine's house is situated on the corner of a row of
terraces, which stretch into the distance on both sides
of the street.
46 INT. ELAINE'S HOUSE 46
as Samuel comes out of the guest room in his night-
shirt, turns up the hall and opens the door to the
bathroom.
46 CONTINUED:
ANGLE
But it's not the bathroom; it's Elaine's bedroom. She
and FRED are tangled in the sheets, furiously making
love. Elaine gasps, Fred manages to grunt.
FRED
Wrong door, kid.
ANOTHER ANGLE
As Samuel quickly shuts the door. A straight-faced
beat; then, barely suppressing a giggle, he hurries
on...
47 ANGLE IN LIVING ROOM
as Rachel appears in the living room entry. Samuel is
sitting on the floor with two boys of about his own
age, watching television. They're eating cold cereal
out of a box.
RACHEL'S POV - TV SCREEN
Some artless Saturday morning cartoon.
BACK TO RACHEL
as she frowns, watching her son and the other two
staring hypnotically. And...
48 ANGLE IN LIVING ROOM 48
It's later in the morning now, as Elaine, a bit bleari-
ly, appears in the entryway, stares in groggy disbelief.
HER POV - KIDS
Her oldest boy and Samuel are busily washing the win-
dows while her youngest is pushing a carpet sweeper.
The TV is off.
BACK TO ELAINE
as she stares.
49 ANGLE IN KITCHEN
Rachel is standing in the middle of the now immaculate
kitchen finishing a brisk mop of the floor. The coffee
is perking. Elaine appears.
ELAINE
(mutters)
Jesus...
Rachel turns cheerily.
RACHEL
Good morning.
ELAINE
(helplessly)
You didn't have to...
RACHEL
I wanted to. you were kind to
take us in last night.
(and)
Anyway, I needed something to
do. I was so angry with your
brothers He's so...aaanisish I
ELAINE
Aganishish? Yeah, that sounds
like John.
She takes a seat at the table, still shaking her head.
RACHEL
Just a minute. I'll pour you some coffee.
ELAINE
You're not carrying a bullwhip...
how'd you manage to put my kids to
work?
RACHEL
(smiles)
I made it a contest... the one who
does best gets his cereal back
first.
(and)
Children like to help... they only
need to be kept after a little
bit.
Rachel means no harm by this, but Elaine's eyes begin to storm.
ELAINE
Oh, is that so?
(and)
No offense, lady, but I'm not so
sure I like the idea of your
coming in here and turning the
place upside down!
Rachel's smile fades at Elaine's trembling outburst:
RACHEL
Please, I didn't mean...
Abruptly Elaine rises and snatches the mop from
Rachel's hands. She mops furiously as she Continues:
ELAINE
I know exactly what you meant!
Listen, maybe I'm not a world-
class housefrau, but maybe I don't
have time to polish the goddamn
china and keep after the kids!
(and)
It's none of your business, but I
don't happen to have a man around
here full time. So I sell cosmetics
in a goddamn
drugstore and sometimes I can even
pay the rent on time! So maybe I'm
not Mary Poppins, but maybe I don't
need to have it jammed down my
throat like this.
She finishes the floor, hurls the mop aside with a CLATTER:
ELAINE
(continuing)
There is that clean enough for you?
Rachel is speechless, Elaine is on the point of bursting into tears.
At which point Fred appears at the entry in his undershirt, taking in the
sparkling
kitchen.
FRED
Jesus, Elaine... Somebody die and
leave you a broom?
Not a politic observation on Fred's part.
49 CONTINUED: (2)
ELAINE
(blurts)
Go to hell, Fred!
And, bursting into tears, she flees the kitchen. Fred
stares after her.
FRED
What's bugging her?
Unperturbed, he crosses to the counter and the coffee
pot, letting his eyes take in Rachel's full figure.
50 INT. ELAINE'S BEDROOM 50
as Rachel comes in with Elaine's coffee, closes the
door behind her. Elaine is lying across the bed,
sobbing.
RACHEL
I brought your coffee.
She takes a seat next to the bed.
RACHEL
(continuing)
I'm sorry. I didn't mean it that
way.
After a moment, Elaine starts to pull herself together:
ELAINE
It's okay.
(and)
Look, I shouldn't have blown my
top. It's like... somehow ...
I've let everything get away from
me. And you sort of made me face
it.
She takes the cup, sips the coffee. Rachel smiles at a private thought.
ELAINE
(continuing)
What's so funny?
RACHEL
Fred. The way he looked when you
screamed at him.
50 CONTINUED 50
ELAINE
(disparing}
God, Fred...
RACHEL
At home you'd never hear a woman
scream at a man that way.
ELAINE
No? Why not?
RACHEL
You just wouldn't. It's not the
Amish way.
(then)
But I think it would have done me
good if I could have screamed at
your brother last night.
ELAINE
Listen, I don't know what's going
on or how you got mixed up with
him, but don't you let that self-
righteous sonofabitch push you
around, okay?
Rachel smiles.
RACHEL
Okay.
51 INT. BOOK'S CAR (MOVING) - DAY 51
Book glances irritably at Rachel:
BOOK
Now what's the problem?
RACHEL
The problem is I don't happen to
think my son should be spending
all his time with a man who
carried a gun under his coat and
goes around whacking people.
Book gives her a look:
BOOK
Whacking?
CUT TO:
51 CONTINUED:
RACHEL
(firmly)
Yes. And I also want to leave this
city.
BOOK
Believe me, I'm trying to get this
over with as fast as I can. But
Samuel will probably have to come
back and testify.
RACHEL
We do not go into your courts.
BOOK
People who don't go into our courts
when they're told to sometimes go
directly into our jail.
Rachel glares at him and the ride continues on that
chilly note for a beat.
BOOK (CONT'D)
Look, I'm genuinely sorry. . .
RACHEL
(snaps)
No you' re not -
(off his look)
You're glad, because now you've
got a witness.
(and)
I heard the other police talking
last night.
(and)
They don't seem to like you very
much.
BOOK
They kid a lot.
RACHEL
(glances at him)
I would not be too sure.
51 CONTINUED: 51
Samuel has been glancing at Book; finally he says
something to his mother in German. Book gives her
an inquiring look.
RACHEL
He says you look very tired.
I thought the same thing.
Book says nothing.
RACHEL (CONT'D)
But not a good tired.
BOOK
What's a 'good' tired. Tired is tired.
She doesn't bother to explain; 800k settles even
deeper
into his funk as Samuel glares at him with hostility.
51A INT. IDENTIFICATION ROOM - POLICE H.Q. - DAY 51A
Samuel sits with Book at a desk, Rachel just behind.
They are looking at a police line-up of known black
drug-dealers. Samuel shakes his head - another
negative.
Book winks, slyly reaches into a pocket, produces a
yellow gumball. He surreptitiously shows it to Samuel,
gives him an inquiring look. It's a peace offering.
Samuel grins, nods imperceptibly.
ANOTHER ANGLE
as Book rolls the gumball down the table to Samuel.
But just as Samuel is about to cover it with his hand,
Rachel reaches over and plucks it off the table. She
shakes her head at Samuel.
BOOK
(to Rachel)
Just wanted to see if you were on
your toes.
52 OMITTED 52
52B EXT. CITY PARK - DAY 52B
Book, Sam and Rachel sit on a park bench eating a lunch
of hot dogs heaped with kraut.
Book watches with amusement as Samuel wolfs down his
lunch. Rachel eyes him a beat. then:
RACHEL
Your sister said you don't have a
family?
BOOK
No.
RACHEL
She thinks you should get married
and have children of your own.
Instead of trying to be a father
to hers. Except she thinks you're
afraid of the responsibility.
Book gives her a look:
BOOK
Oh? Anything else?
52B CONTINUED: 52B
RACHEL
Oh yes. she thinks you like
policing because you think you're
right about everything. And
you're the only one who can do
anything. And that when you drink
a lot of beer you say things like
none of the other police would
know a crook from a... um... bag
of elbows.
Book is staring at her. Rachel nods.
RACHEL
(continuing)
I think that's what she said.
Just then Samuel belches with huge satisfaction,
drawing looks from Book and a couple of passersby.
Rachel smiles proudly.
RACHEL
(continuing)
Good appetite.
CUT TO:
52C INT. OUTER OFFICE/WAITING ROOM, NARCOTICS DIVISION- 52C
DAY
Rachel sits uneasily in the outer office, one or two
police clerks eyeing her curiously. A sign on the desk
reads "Narcotics Division."
Rachel cranes forward trying to peer through a par-
tially open door.
52D INT. DETECTIVES ROOM, NARCOTICS DIVISION, POLICE H.Q. 52D
DAY
A group of Narcotics Detectives are interrupted in mid-
conversation by the opening of the main office door.
They stare in considerable surprise.
CUT TO:
John Book standing in the doorway, holding little
Samuel by the hand.
BOOK
Afternoon, gentlemen. I'd like
you to meet Samuel Lapp. We'd
like a little help.
52E INT. SMALL OFFICE, NARCOTICS DIVISION - DAY 52E
A Narcotics Detective enters the room laden with sev-
eral volumes of mug shots. He puts them on the desk
beside a similar book which Samuel is intently study-
ing. Sam sits on the chair cushions in a big swivel
rocker.
The Detective, Sgt. KAMAN, eyes Book a little suspi-
ciously - internal affairs officers are not greeted
warmly by the working policemen in any department.
KAMAN
There's a Sgt. Carter on the phone
for you.
Book gets up and moves to the door.
KAMAN
(continuing)
And, Captain, don't want to rush
you, but I'm gonna need these
files back in a half hour. We got
a lot of work to do round here.
The two men leave. Samuel looks about before hopping
off his perch and following the direction taken by
Book.
53 OMITTED 53
thru thru
56 56
57 INT. DETECTIVES ROOM, NARCOTICS DIVISION - DAY 57
Through glass partitions we can see Book on the tele-
phone in a cubicle of an office.
Samuel has drifted out of the office and is idling amid
the bustle of the squadroom.
He crosses to a glass case which holds a collection of
plaques and framed newspaper accounts which denote
instances of outstanding duty and achievement.
ANGLE THOUGH GLASS CASE
as Samuel moves along, only half interested in what his
eyes are taking in, not really old enough to comprehend
anyway.
Until suddenly he freezes.
SAMUEL'S POV - NEWSPAPER ACCOUNT
Enlarged, prominently displayed. The headline reads:
Division Chief McElroy Honored For Youth Project.
Accompanying the item is a large sidebar mug-shot of
McElroy - clearly the black man who murdered the young
cop in the train station men's room.
BACK TO SAMUEL
He stares, transfixed.
A long beat, then Book, lowering himself to one knee
next to Samuel, ENTERS FRAME.
He's watching Samuel, knowing from the boy's expression
that they've found their man. Samuel slowly raises his
hand to point at the photograph. Book gently takes the
boy's small hand in his, concealing the accusation from
watchful eyes. He smiles gently at the boy.
58 INT. BOOK'S CAR (MOVING) - PHILADELPHIA - DUSK 58
Rachel is curled tight in her corner of the front seat
holding Samuel close. Book glances at her:
RACHEL
Why don't you arrest that man?
Are you protecting him because
policeman?
BOOK
(snaps)
Listen, I'm the cop that polices
the police. I'm not in the
business of protecting crooked
cops .
(eases up)
I'll make an arrest when I know
everybody involved.
Rachel shakes her head.
RACHEL
But why would they murders..
58 CONTINUED
BOOK
Because - somehow - they knew
I was getting close.
(and)
Look, it's narcotics . . . They
make dope out of chemicals . . . they
sell it on the street for millions
of dollars. They'll do anything.
(and)
And they can get away with it because
they're cops.
RACHEL
(beat, then)
I'm afraid. I'm afraid for
Samuel. I want to go home.
BOOK
You'll be safe. you don't have to
worry.
She says nothing.
Another beat, then:
BOOK
(continuing)
Look, they're thinking as long as
they keep the killer out of Samuel's
way, we can't make an I.D. There's
no way they can know Samuel saw that
photograph, so he's safe.
He glances at her, but she continues ahead.
BOOK
(continuing)
I mean it. you will be safe.
Suddenly Rachel explodes:
RACHEL
Oh yes! Of Courses Why shouldn't
we feel safe in a city where the
police are so busy killing each
other!
CUT TO:
59 EXT./INT. SCHAEFFER HOME, PHILADELPHIA SUBURBS - 59
NIGHT
The front door of Schaeffer's upper-middle class home
is opened by his wife MARILYN. She knows Book and is
surprised and delighted to see him. In the background
daughter KATHY is visible. Schaeffer himself
appears and Book is welcomed inside.
INT. SCHAEFFER'S STUDY - NIGHT
Schaeffer passes Book a drink.
59 CONTINUED 59
Book is excited, animated . . . the hunter, after a
long chase, closing on his quarry:
BOOK
It was McElroy, Paul.
Schaeffer gives him a sharp look:
BOOK
Last guys would have figured.
But he's part of it.
SCHAEFFER
I hope you don't have any doubts
about that.
BOOK
If I did, I'd have kept my
mouth shut . . .
(and)
It fits, Paul . . . Fifty-five
gallons of P-two-P confiscated
four years ago . .. Guess who
was in on the collar? Mac.
(excited, explain-
ing the thing eagerly)
He salts it away somewhere . . he
knows the stuff is potent, but
the street chemists haven't figured
out how to process it. But they
do now.
(and)
And now the stuff is worth five-
grand a pint and there are
a lot of pints in a fifty-five
gallon drum.
SCHAEFFER
(beat)
Who else knows?
BOOK
Just us.
SCHAEFFER
(shakes his head)
Okay, what are you going to need
to clean it up
BOOK
More people . . Gotta pick up
where Zenovich left off. People
from outside the department.
59 (CONTINUED) 59
SCHAEFFER
(nods)
Maybe the Bureau. Or those bastards
at Treasury. I'll take care of
it.
(then)
I hate this shit, Johnny. You
cut their balls off for me. I'm
counting on you .
Schaeffer pours himself another drink.
SCHAEFFER (CONT'D)
What's your first move?
BOOK
(expels a breath)
A hot shower . . . I haven't changed
clothes in two days.
60 EXT. PARKING LOT - PHILADELPHIA - NIGHT 60
Book slams the front door of his car, checks it for
being locked, glances at a roiled newspaper in his
hand (the sports section of the Inquirer), starts
across the parking lot toward his apartment, walking
as he keeps glancing down at the sports section. He
comes to a sort of crosswalk, stops, reads, starts
to take a step...and looks up.
WHAT HE SEES
McElroy, smiling nicely, starting across toward him
from the other side of the parking lot crosswalk
BACK To BOOK
Freezing, eyes widening. utterly surprised and caught.
McELROY
Still smiling, he brings up his right hand out of a
shopping bag (which he appeared to be carrying) -
letting the shopping bag fall away as he does so -
revealing a five-inch barrel Smith and Wesson .357
blue finish revolver with a silencer. Without hesi-
tating, coming right on, still smiling, he FIRES once.
60 CONTINUED 60
BOOK
Already starting to leap away to one side, he is hit,
driven into a half-turn. He clutches at the wound, as:
McELROY
Coming right on, FIRING again...the pistol's report
a WHOOSHING, like the opening of a bottle of cheap
champagne. And McElroy still smiling as:
BOOK
Hit...a grazing near-miss this time, but enough to
send Book down hard and grasping.
McELROY
Lowering the pistol alongside his leg, as two MEN, barely
taking notice of anything, cross with their backs to
Book toward McElroy. He smiles at them.
BOOK
Down, muttering CURSES.
THE SCENE
As McElroy walks past Book, drops the pistol to the
pavement, keeps on going ..and is gone.
BOOK
GROANING in pain, beginning to try to crawl crab-like.
And we HEAR - from the agonized recesses of Book's
Dream.
SCHAEFFER (V.O.)
Who else knows?
BOOK (V.O.)
Just us.
As the lights of an oncoming car - going very slowly,
on its way to a parking space - sweep over him and we
HEAR it come to a sudden, squealing stop. Book is
already trying to get to his feet...now succeeds,
lurching into a swaying stance, using an adjacent car
for support. O.S. we HEAR a car door slam, and foot-
steps hurrying in our direction, accompanied by excited
voices. Book HEARS, turns to face the oncomers,
60 CONTINUED 60
ANGLE
A fat, middle-aged MAN has approached to within some
feet of Book, looks on edgily:
MAN
Hey, buddy, what's the score?
Little too much to drink?
Book stares at him, then looks down at his belly.
BOOK'S WOUND
As Book removes his hand we can see one of the bullets
struck him low in the side, just below the ribcage...
the other just above it (but this one inflicting only
minor damage).
THE SCENE
As the man stares:
MAN
Goddamn, buddy. You better get
to a hospital!
(and)
Here; I'll give you a hand.
He starts to approach, but Book shoves him away.
BOOK
No! No hospital!
By now the man's WIFE is hovering at a safe distance:
WIFE
Let him alone, Henry! If he wants
to die in the street, that's his
business!
But the man is not content:
MAN
Shut up, Romona! Will ya look
at that blood?
Book has tried to lurch toward his car; the man
tries to intercept him:
MAN (CONT.)
Come on, buddy...you're gonna
bleed to death!
Book whirls on him, his service revolver in his hand
pointed squarely at the fat man's face:
MAN
Shit!
WIFE
(quavering)
I told you, Henry!
Book doesn't trust himself to speak, but the .38 is
sufficiently eloquent for the circumstances, He
stares at the fat man another beat, then hesitates,
turns, starts back toward his car.
EXT. STREET - PHILADELPHIA - NIGHT
As Book's car wheels somewhat erratically through
traffic.
INT. BOOK'S CAR (MOVING)
Book has a gym bag open on the seat next to him, is
stuffing a t-shirt under his belt to staunch the
blood. And...
61 OMITTED 61
thru thru
62 62
63 INT. CARTER'S APARTMENT - BEDROOM - NIGHT 63
as he's awakened by the RINGING bedside telephone. he
snaps on a lamp , . . He's instantly awake, not unused
to such rousing in the wee hours. A woman sleeps beside him.
CARTER
Yeah...
64 INTERCUT BOOK
He's at an n.d. pay phone.
BOOK
Listen carefully, I wrote the
Amish woman's name and address on my
desk calendar, I want you to lose
it for me, Now. Tonight.
CARTER
What the hell are you talking about?
What's happening,
64 CONTIUED 64
BOOK
Nothing. I'm not going to be
around for a while. I'll call
you when I can.
CARTER
(alarmed)
Johnny, what the fuck - ?
BOOK
(hard)
Listen to me - Schaeffer's
part of it. Maybe at the top of
it.
There's a stunned silence at the other end.
BOOK (CONT'D)
Yeah ... I can put it all to-
gether when I get back, 'Til then,
you know nothing, understand?
Business as usual...
CARTER
(beat)
I hear you.
BOOK
(nods)
Good. Take care of that woman's
name for me. And watch your
ass.
64 CONTINUED: 64
65 OMITTED 65
66 INT. GUEST ROOM, ELAINE'S HOUSE - NIGHT 66
as the door opens and Elaine switches on the light,
rousing Rachel. Elaine looks haggard.
ELAINE
It's John. He says you have to
leave now. He says it's urgent.
She leaves the room as Rachel instantly awake, moves
quickly to rouse Samuel.
66A EXT. BATHROOM DOOR 66A
Elaine is outside the bathroom listening to instruc-
tions from her brother. From inside we hear the SOUND
OF RUNNING WATER. Elaine is puzzled but also senses
the urgency.
BOOK (V.O.)
Put my car in the garage and close
the door.
ELAINE
John, I don't understand any of
this.
BOOK (V.O.)
(snaps)
You don't know anything
borrowed your car. Didn't say
why. And you never heard of that
woman and her boy.
66A CONTINUED: 66A
ELAINE
John, why?...
BOOK
(shouts)
Just do its
66B INT. BATHROOM 66B
Book looks at himself in the mirror, his face is pale
and drawn. He examines the wound, a cleanly drilled
hole through his right side, just under the rib cage.
The wound continues to bleed as he binds a towel
tightly about him, before putting his shirt back on.
He then carefully wipes away any traces of blood on
basin with tissues which he flushes down the toilet.
67 OMITTED 67
INT . BOOK'S CAR (MOVING)
as he drives across town. Samuel is curled up asleep,
his head on Rachel's lap.
RACHEL
Where are you taking us now?
BOOK
Home.
RACHEL
You couldn't wait until morning?
Book gives her a look.
RACHEL
(continuing; insistent)
What happened?
But Book, glancing in his rearview mirror, tenses.
HIS POV - MIRROR
In it we can see a police car coming on fast, with
lights and SIREN.
BACK TO SCENE
Rachel eyes Book warily.
68 CONTINUED:
A beat, then the police car WAILS past. Book expels a breath.
RACHEL
You said we would be safe in
Philadelphia.
BOOK
I was wrong.
Rachel looks away, speaks almost sarcastically,
MUTTERING,
RACHEL
Kinner un Narre...
["Kinner un Narre saage die Waahret" - -"Children
and fools say the truth." - Amish expressions]
69 INT. PHILADELPHIA POLICE HEADQUARTERS - BOOK'S 69
OFFICE - NIGHT
ANGLE PAST Book's desk calendar. Carter enters in the
b.g., crosses quickly to the desk. He snaps on a
light, thumbs a page of the calendar. frowns.
INSERT
Rachel's name and address scribbled on a page of the
calendar.
BACK TO SCENE
ANGLE
A couple of plainclothesmen have paused outside the
door to give him a look.
_ meets their eyes. They move on.
Carter shakes it off, goes. And...
CUT TO:
70 OMITTED 70
71 INT. CAR (MOVING) 71
As light colors the eastern horizon, Book is crossing
into Lancaster County.
Book glances at Rachel; she's asleep. He coughs wrack-
ingly, hurting . . . cinches the belt of his overcoat
even tighter. And . . .
72 EXT. LAPP FARM 72
HIS POV - BOOK'S CAR
coming up the long drive.
BACK TO SCENE
as the car pulls up in the barnyard and Eli crosses to it.
Suddenly the car door flies open and Samuel jumps out,
races across the barnyard to hurl himself into the old
ANGLE AT CAR
As Rachel steps out of the passenger's side, Book
remains seated. He lets his eyes travel around the
farm.
RACHEL
Stay for awhile. Rest. I'll make
coffee and breakfast.
BOOK
I can't.
RACHEL
What about Samuel? Will you come
back to take him to trial?
Book starts the engine:
72 CONTINUED: 72
BOOK
(grimly)
There isn't going to
Rachel stares at him, not sure what he means. Then
backs away, closing the door. Book begins to turn the
car around in the barnyard.
ANGLE
as Eli crosses to Rachel, his arm around Samuel.
ELI
Who was that man?
RACHEL
His name is John Book.
Eli is about to inquire further when Samuel cries:
SAMUEL
Momma - look.
They glance in the direction Samuel is looking.
THEIR POV - BOOK'S CAR
The car has failed to take a bend in the road and is
now bouncing across an adjoining ploughed field. It's
knocked over a tall birdhouse by the roadside. The car
finally comes to rest against a bank of earth.
BACK TO RACHEL
She stares...
CUT TO:
73 EXT. FIELD - DAY 73
as Samuel races for all he's worth across the field,
negotiates the creek via a fallen log - Rachel, now,
also running toward the car.
73A EXT. STABLES - DAY 73A
Eli works fast harnessing his mules to an open wagon.
He hops up to the front seat and urges them to trot.
73B ANGLE AT BOOK'S CAR 73B
We see that Rachel has made Book as comfortable as
possible in the front seat of the car and is packing
the wound under his trenchcoat with material ripped
from her apron. Momentarily he comes awake:
RACHEL
But John.....why didn't you go to
a hospital?
BOOK
No, no doctor...
RACHEL
(bewildered)
But why?
BOOK
Gunshot... they'll file reports...
they'll find me.
RACHEL
But -
Book reaches up to grip her arm fiercely:
BOOK
And when they find me, they'll
find your boy!
He slips under again. Rachel stares at him, realizing
the price he's paid in returning them to safety.
She reaches out, touches him gently.
But the moment is broken by...
ANOTHER ANGLE
as Eli reins up in the springwagon. He climbs down,
crosses to glance into the car.
ELI
Is the English dead?
RACHEL
No...
ELI
Looks dead...
And together they begin to lift Book from the car and
place him in the back of the springwagon. And...
74 INT. LAMP FARMHOUSE 74
Where Eli is looking out a window.
75 HIS POV - BUGGY 75
An Amish buggy coming up the drive, past Book' s car.
ANGLE IN BEDROOM
Where Book lies on a bed. Rachel is bathing his wound
with warm water from a pan.
Eli appears in the doorway.
ELI
Stoltzfus is coming.
Rachel looks at him, nods.
Eli frowns at Book's holstered pistol lying atop his
neatly folded clothes on a chair near the bed.
ELI
(continuing)
That has no place in this house.
RACHEL
I know.
She picks up the pile of clothes and the pistol and
places them in a chest.
RACHEL
(continuing)
It will go when he goes.
76 INT. LIVING ROOM 76
as Samuel comes in with old Stoltzfus and Stoltzfus's
teenage son, LEVI.
RACHEL
Thank you for coming, Stoltzfus.
Stoltzfus's eyes have gone to the bed:
STOLTZFUS
That's the English is it?
77 INT. SICKROOM - TIGHT 77
as Stoltzfus runs his fingers lightly over the vicinity
of Book's wound:
STOLTZFUS (O.S.)
I feel... burning.
WIDER
as Stoltzfus, in his shirtsleeves and concentrating
mightily, moistens his fingertips with saliva, contin-
ues the examination. Finally he steps back.
STOLTZFUS
This man should be treated in
town.
(indicates)
The bullet entered there... and
came out there. But there is the
danger of infection, and he has
lost a great deal of blood.
Rachel looks at Stoltzfus, then turns away, torn by her
dilemma. Her eyes fall on Samuel. Gently she ushers
him from the room:
RACHEL
Go help Levi with the car, Samuel.
She closes the door after him, then turns to face Eli
and Stoltzfus:
RACHEL
(continuing)
No, he must stay here.
Stoltzfus gives Eli a puzzled look. And:
ELI
Didn't you hear Stoltzfus? What
if he dies? Then the sheriff will
come. They'll say we broke their
laws -
RACHEL
We'll pray that he doesn't die!
But if he does, then we'll find a
way so no one knows!
ELI
Rachel, this is a man's life,
we hold it in our hands.
77 CONTINUED: (2) 77
RACHEL
I knows God help me, I know that,
Eli.
(then)
But I tell you that if he's found
here, the people who did this to
him will come for Samuel.
Rachel beseeches them helplessly:
RACHEL
(continuing)
What else can we do?
78 EXT. LAPP DRIVE 78
Levi has hitched Eli's mules to the rear of Book's car
and is towing it up the drive toward the barn, with
Samuel catching a ride on the bumper.
RACHEL
Where she's waiting with the big barn doors thrown
open. As the mules tow the car in, she closes the
doors.
79 INT. LAPP FARMHOUSE LIVING ROOM 79
As Stoltzfus and Levi are about to go: Stoltzfus turns
to Rachel:
STOLTZFUS
Make a poultice... three parts
milk, two parts linseed oil... for
the infection. I'll send Mary by
with some teas I will brew myself.
RACHEL
Thank you.
Stoltzfus turns to Eli:
STOLTZFUS
Lapp, I'll have to speak with the
diener on this matter.
ELI
(nods)
As you see fit, Stoltzfus.
CUT TO:
80 INT. SICKROOM - LAPS FARM - NIGHT 80
as Rachel enters, turns up a kerosene lamp which is
burning low at bedside. She's carrying the poultice
Stoltzfus ordered.
Book's brow is beaded with sweat.
Rachel seats herself next to the bed, strips away the
sweat-soaked sheet. Her eyes take in his bare torso,
and we should get the feeling that there's rather more
male animal on display here just now than she's quite
comfortable with.
She begins to apply the poultice.
ANGLE
As Book rouses to semi-consciousness, in his delirium
he recoils with alarm.
RACHEL
It's all right..! You have got to
lie still.
Book stares up at her without recognition, but some of
what she says seems to penetrate. He quiets.
RACHEL
(continuing; soothingly)
Yes, much better...
ANGLE
as Book lapses back into sleep. Rachel hasn't removed
her hand from his chest. Abruptly she does so.
She finds herself wondering about this man lying before
her, so suddenly a part of her life. she notices de-
tails; bruises, scars, the knuckles are hard, grazed, a
tattoo on one shoulder. While lost in this reverie,
the delirious Philadelphia policeman begins to mutter.
Incoherently at first, then the words take shape -
swear words; curses; fuck this and that; shit; etc.
Rachel rises abruptly, her cheeks coloring, as the bar-
rage of language pours from his mouth. She beats a
hasty
retreat closing the door swiftly behind her.
81 OMITTED 81
82 INT. SCHAEFFER'S OFFICE - DAY 82
He's on the phone:
SCHAEFFER
Looks like we're going to need
some help from you folks down
there.
83 INT. LANCASTER COUNTY SHERIFF'S OFFICE - DAY 83
Where an UNDERSHERIFF is on the phone:
UNDERSHERIFF
... want to help any way we can,
Chief, but you got to understand
we've got upwards of seven
thousand Amish over here. And
that's just Lancaster County.
84 INTERCUT SCHAEFFER
who is trying to control his impatience:
SCHAEFFER
I've got the woman's name, Sheriff.
Lapp. Rachel Lapp. That should
simplify your work.
The Undersheriff frowns. He doesn't like being talked
down to.
UNDERSHERIFF
How about an address?
SCHAEFFER
Ah... no.
UNDERSHERIFF
(frowns)
Maybe a road or route number?
SCHAEFFER
Sorry.
The Undersheriff is not impressed.
UNDERSHERIFF
Problem is, Chief, 'bout every
third Amishman around here is
named Lapp. That or Yoder. Or
Hochstetler.
84 CONTINUED: (2) 84
UNDERSHERIFF (CONT'D)
(and)
Chief, if the Amish have taken
your man in, I wouldn't want to
hang from a rope until you find
him.
ANGLE
Schaeffer is tight-lipped with contained fury:
SCHAEFFER
Thank you, Sheriff. It's been an
education.
He hangs up. A beat; the man is a study in
frustration. Then he glances up.
ANOTHER ANGLE
Standing in his doorway are the two plainclothesmen who
spotted Carter in Book's office in the earlier scene.
And...
CUT TO:
85 EXT. LAPP FARM - DAY 85
A bright, sunny afternoon.
SAMUEL
Where he's leading a team of horses to the barn. In
the b.g. three buggies are parked in the barnyard,
traces empty. Visitors.
86 ANGLE IN SICKROOM 86
Where Book lies in the bed. His fever seems to have
subsided. He's coming awake, tries to focus on the
room.
BOOK'S POV - CLERGY
PANNING the four men in Amish black who are standing
around the bed looking down at Book, muttering among
themselves in German.
86 CONTINUED: 86
These include TSCHANTZ, the district bishop, a hawk-
nosed, stern-eyed old fellow; Stoltzfus, a deacon as
well as a healer; and two preachers, ERB and
HERSHBERGER. Eli stands somewhat apart.
ANGLE
Another moment of silence, then Book opens his eyes.
Tschantz rumbles in German. (SUBTITLES OVER)
TSCHANTZ
Well, Stoltzfus, another Lazarus
to your credit.
STOLTZFUS
He was touched by God's hand.
Tschantz grunts, motions, for the other clergy aside
with him.
Rachel enters briskly with a steaming pot of tea and a
cup, smiles.
RACHEL
Hello.
Book stares at her, then at the old bearded gentlemen.
BOOK
(closing his eyes)
Who are they?
RACHEL
The leadership of our district...
the diener. Bishop Tschantz is
the one with no hair on top. They
decided to come and see you for
themselves. Except Stoltzfus, of
course. He came the first day. I
think he saved your life.
BOOK
Can I have something to drink?
Rachel brings him tea.
BOOK
(continuing)
Does anybody know I'm here?
86 CONTINUED (2) 86
RACHEL
Only the elders.
BOOK
How long?
RACHEL
What?
BOOK
How long have I been here?
RACHEL
Two days.
BOOK
(a beat)
Listen, thank you. Thanks for
everything. But I've got to go.
RACHEL
(frowns)
But you can't.
He tries to rise, falls back faint. Rachel rearranges
the sheet.
RACHEL
(continuing)
See. Anyway, you don't have any
clothes on. And besides that,
Bishop Tschantz wants to talk to
you when you feel better.
The elders appear to have concluded their conference,
and are filing out. Stoltzfus pauses at bedside.
STOLTZFUS
Rest, Mr. Book. That's the
ticket. And drink my
of my tea.
He goes. Book is still fending off the dizziness.
Rachel puts the teacup to his lips.
BOOK
Tell him his tea stinks.
RACHEL
(smiles)
You tell him. When you're able.
He looks like he's about to drop off again. Rachel
rises.
RACHEL
(from the door)
We're all very happy that you're
going to live, John Book. We
didn't quite know what we were
going to do with you if you died.
That penetrates for a moment just before Book slips
into sleep again.
87 INT. LAPP LIVING ROOM - DAY
87
as the rather worrisome Hershberger frowns:
HERSHBERGER
...but a gunshot wound. Very
serious.
TSCHANTZ
It is not the first time we
have done this. In the Englischer
war of the revolution, old Elmer
Miller's grandfather took in
gunshot English soldiers.
(a tad of pride)
Saved them, too.
They all nod. What Tschantz says is well known. Then:
ERB
Still, he should be among his own
people.
Rachel enters on this last.
RACHEL
He'll leave as soon as he is able.
He already wants to go.
Hershberger gives her a gloomy look, turns to
Stoltzfus:
HERSHBERGER
How long will that be, Stoltzfus?
STOLTZFUS
(shrugs)
A month. Maybe less. With God's
healing love.
88 EXT. BOOK'S SISTER'S HOUSE - PHILADELPHIA - DAY
Schaeffer is knocking at the front doors
A beat, then Elaine opens it cautiously, peers out.
ELAINE
(half fearfully)
Did you find him?
SCHAEFFER
Not yet.
Suddenly her eyes blaze, she starts to close the door:
ELAINE
Then go away, you bastard.
Schaeffer quickly - but gently - prevents her from
shutting it.
SCHAEFFER
Elaine, I've come to apologize for
Lt. McElroy. He overstated the
department's position.
ELAINE
(bitterly)
He accused John of taking
kickbacks And you know -
anybody who knows John - knows
that's a goddamn lie!
SCHAEFFER
(smoothly)
Of course, Elaine. But as long as
there's any question, better
Johnny should come back and clear
his name.
ELAINE
(cuts in)
Better you should get off my front
porch before I get my mace --!
SCHAEFFER
Elaine, I don't want to have to
take you in for questioning.
You've got his car, you were the
last to see him --
ELAINE
(clipped)
I don't know where he is.
SCHAEFFER
But... if you had to guess?
89 ANOTHER ANGLE - SCHAEFFER'S CAR
89
McElroy watching.
THEIR POV - FRONT DOOR
We see a final exchange between Elaine and Schaeffer.
Elaine forces the door shut. Schaeffer turns, walks
slowly to his car.
INT. SCHAEFFER'S CAR
as Schaeffer opens the door, climbs in, sinks wearily
into the seat, beside McElroy.
McELROY
She say where he is?
SCHAEFFER
I don't think she knows.
Schaeffer is staring grimly ahead.
SCHAEFFER
What about Carter?
McELROY
Tight. But I'm working on him.
SCHAEFFER
Lean on him.
90 OMITTED
90
91 EXT. LAPP FARM - LANCASTER COUNTY - NIGHT
91
REESTABLISHING, and TIGHTENING to the upstairs sickroom
window where a lamp dimly burns.
92 INT. SICKROOM 92
as Samuel comes in with a fresh bedpan. Book is lying
asleep on the bed.
Samuel puts the bedpan down, checks to make sure Book
is indeed asleep, then quietly crosses to the foot of
the bed and opens the clothes chest.
ANGLE
Book's big .38 revolver lies holstered atop his folded
clothes. Fascinated, Samuel picks it up, admiring the
heavy burled pistol grips. Unable to resist, he starts
to remove the weapon from the holster, then pauses to
steal a look. O.S...
BOOK
His eyes are open and watching Samuel icily, which
gives the boy something of a jolt.
BOOK
Give me that.
Mutely, Samuel hands Book the pistol from arm's length.
He looks on as Book takes the pistol out of the hol-
ster, shoots the boy another look, then snaps open the
cylinder and shakes out the heavy, copper-jacketed
bullets into his palm. He snaps the cylinder closed
again, then nods to Samuel.
BOOK
(continuing)
Come here.
The boy edges closer.
BOOK
(continuing)
You ever handle a pistol like
this, Samuel?
SAMUEL
(swallows)
No pistol. Ever.
BOOK
Tell you what - I'm going to let
you handle this one. But only if
you promise not to say anything to
your momma. I've got a feeling
she wouldn't understand.
92 CONTINUED:
92
SAMUEL
(grins)
Okay, Mr. Book.
Book smiles. Then he gives the boy a playful, John
Wayne-tough guy wink as he cocks and uncorks the
pistol, demonstrating the action. He finally hands it
over to Samuel, butt first.
BOOK
Call me John.
The boy tries to imitate Book's one-handed expertise,
but his hands are too small. Book smiles.
Samuel finally manages to get the thing cocked, using
two hands, and Book reaches over to guide the muzzle
away so that it's not pointed at him.
BOOK
(continuing)
You don't want to point that at
people you just started calling by
their first name.
Samuel levels the pistol at the door and, just as he
snaps the trigger, Rachel enters, pulls up short in
some dismay to find her son has a gun pointed at her.
Samuel blanches and Book winces, knowing there's heavy
weather ahead.
RACHEL.
(snaps)
Samuel -- !
Samuel quickly hands the pistol back to Book, who
holsters it:
RACHEL
(continuing)
Wait for me downstairs.
Samuel quickly exits, and Rachel angrily advances on
Book.
RACHEL
(continuing)
John Book, I would appreciate it
if, during the time you are with
us, you would have as little to do
with Samuel as possible.
92 CONTINUED: (2)
92
BOOK
Nobody meant any harm. The boy was
Curious. I unloaded the gun -
RACHEL
It's not the gun. Don't you
understand... It's you. What you
stand for.
(and)
That is not for Samuel.
Book looks at her thoughtfully.
Rachel softens a bit:
RACHEL
Please, it has nothing to do with
you personally.
He hands her the holstered gun and the loose bullets.
BOOK
Put it up someplace Samuel can't
get it.
A beat, then Rachel, takes the pistol and starts to go.
Book stops her:
BOOK
(continuing)
Friends?
Rachel glances back at him, smiles and nods. And...
CUT TO:
93 INT. KITCHEN - LAPP FARMHOUSE - NIGHT
93
Book's holstered gun and bullets at center table. Eli
sits on one side, a chastened Samuel on the other.
Rachel looks on from the b.g.
Eli knows that this is as important a dialogue as he
will ever have with his grandson: at issue is one of
the central pillars of the Amish way.
ELI
The gun - that gun of the hand -
is for the taking of human life.
Would you kill another man? Eh?
Samuel stares at it, not meeting his grandfather's
eyes. Eli leans
forward, extends his hands ceremonially.
ELI (CONT.)
What you take into your hands, you
take into your heart.
A beat, then Samuel musters some defiance.
SAMUEL
I would only kill a bad man.
ELI
Only a bad man. I see. And you
know these bad men on sight? You
are able to look into their hearts
and see this badness?
SAMUEL
I can see what they do.
Now he meets Eli's eyes:
SAMUEL (CONT.)
I have seen it.
Eli expels a deep sigh; then:
ELI
And having seen, you would become
one of them?
(intent...gesturing)
Don't you see...? The hand leads
the arm leads the shoulder leads
the head...leads the heart. The
one goes into the other into the
other into the other....And you
have changed, and gone amongst them ...
He breaks off, bows his head for a moment. Then he
fixes the boy with a stern eye and, driving he heel of
his palm firmly into the tabletop with enormous
intensity:
ELI (CONT.)
"Wherefore come out from among
them and be ye separate, saith
the Lord!"
93 CONTINUED (2) 93
ELI (CONT.)
(indicating pistol;
continuing from
Corinthians 6:17)
"And touch not the unclean thing!"
His intensity tinged with righteous anger, he is hugely
impressive.
93A WASHHOUSE - NEAR KITCHEN - NIGHT
93A
Book stands near the door to the kitchen, and has heard
most or all of Eli's words. He turns, and painfully
makes his way into the washhouse, moving quietly,
hoping no one will come out from the kitchen.
93B EXT. BARN - LAPP FARM - DAY
93B
Samuel harnesses up the family mare, and backs her into
the traces of the buggy.
93C INT. BOOK'S BEDROOM - DAY
93C
Book stands at the window in a worn robe. Below,
through the window, we can see Samuel and Eli in
the barnyard
A beat, then Book crosses impatiently back to his bed,
sits down, picks up a dog-earred copy of The American
Dairyman. There's a stack of well-thumbed farm
magazines and copies of The Budget (the Amish
newspaper)
on the bedside table.
There's a knock. Rachel enters carrying aspire of
clothing. She smiles.
RACHEL
Enjoying your reading?
BOOK
Very interesting. I'm learn-
ing a lot about manure.
(eyes the clothing)
What's that?
RACHEL
Your shirt and jacket are still
stained with blooded I have
them soaking You can wear these.
She passes the clothes to Book
93C CONTINUED
93C
BOOK
Your husband's?
RACHEL
Yes. It's good that someone
can have the use of them.
Besides, in your clothes you'd
stand out to strangers.
She continues, cheerfully.
RACHEL (CONT.)
I should tell you these do
not have buttons.
(shows him)
See? Hooks and eyes.
BOOK
Something wrong with buttons?
RACHEL
Buttons are hochmut.
BOOK
Hochmut?
RACHEL
Vain. Proud. Such a per-
son is hochmutsnarr. He is
not plain.
BOOK
(nodding)
Anything against zippers?
RACHEL
(almost blushing)
You make fun of me. Like
the tourists. Driving by
all the time. Some even
come into the yard. Very rude.
They seem to think we are
quaint.
BOOK
Quaint? Can't imagine why.
She smiles.
BOOK (CONT.)
Where's the nearest telephone?
RACHEL
Telephone? The Gunthers across
the valley. They're Mennonite.
They have cars and refrigerators
and telephones in the houses even.
BOOK
No. I'd want a public phone.
Rachel's face clouds.
RACHEL
Well...the store at Saltzburg....
(then briskly)
But you won't be going to
Saltzburg for a while.
BOOK
I'm going this morning.
RACHEL
But Stoltzfus said...
BOOK
(cutting in)
I know what he said.
RACHEL
You can go with Eli He's
taking Samuel to school. But
you'll have to hurry.
Rachel turns to leave when Book calls her back.
93C CONTINUED: (3)
93C
BOOK
Rachel.
She turns to look at him. It's the first time he's
used her name.
BOOK
(continuing)
Thanks.
She smiles and leaves.
93D EXT. FARMHOUSE - DAY
93D
Eli calls impatiently from the buggy. Samuel sits
beside him.
ELI
Hurry up now, John Book!
INT. KITCHEN - DAY
Rachel washing dishes turns on hearing Book enter. She
laughs out loud at the sight of him in his Amish gear,
and rightly so - the pants are highwater, the hat low-
rise, the jacket ill-fitting. Book looks self-
conscious, even a little sheepish.
Outside another SHOUT from Eli.
RACHEL
You'd better go.
Book looks embarrassed.
BOOK
My... eh... gun?
The smile fades from Rachel's face as she reaches up
into a cupboard. She passes the gun in its holster to
Book. He fastens it about him. The contradiction of
an "Armed Amishman" increases the awkwardness between
them. Book turns his back to her and checks the
weapon. He turns back to her smiling in an odd way.
BOOK
The... bullets?
RACHEL
Oh. The bullets.
She takes them out of a disused coffee jar, passes them
to Book.
BOOK
(attempting a joke)
Not much good without them.
93F INT. BUGGY - COUNTRY ROAD - DAY
93F
Samuel sits between Eli and Book. Both men stare
straight ahead. Eli looks particularly stern. It's
pretty clear he doesn't like this Englishman wearing
the clothes of his faith.
93G EXT. AMISH ONE-TEACHER-SCHOOL - DAY
93G
With a wave Samuel runs into the schoolyard to join
his friends. A teacher begins ringing a bell.
93H INT. STORE, - SALTZBURG
93H
Book on the telephone waiting for his call to be
answered. He looks about him - several Amish and
Dithers mingle in the shop. Book-has gotten a coke
from a machine, seems a bit self-conscious shout it
sips at it surreptitiously.... A voice comes on the
line; it's that of Book's partner.
CARTER
Yeah?
A silence.
BOOK
It's me.
CARTER
Johnny! Where the hell have you been?
BOOK
Never mind. I'm coming in to take
care of business. How hot am I?
CARTER
(low, urgent)
Too hot. Don't do it. Don't come in.
BOOK
I'm coming.
93H CONTINUED:
93H
CARTER
Listen, Johnny, don't do anything
stupid. You couldn't get within a
mile of Schaeffer right now. So
stay put... Stay in touch - I'll
let you know when maybe it makes
sense.
A beat as Book considers that.
CARTER
(continuing; edgily)
You hear me?
BOOK
(finally)
I hear you. I'll stay in touch.
CARTER
That's more like it.
(and)
Where are you at, anyway?
Book allows himself a small smile, regarding his Amish
image reflected in the window of the store.
BOOK
Where I'm at is maybe 1890.
CARTER
(uncomprehending)
Say again?
BOOK
Make that 1790
He hangs up. A beat, then he stares toward the door Q
the store.
93-I INT. BARN - DAY
93-I
Book works on his car. The battery has gone flat and
he's trying to charge it up by running wires to a
battery mounted under the front seat of the Lapp buggy.
Eli stands at the barn door staring at him, again the
disapproving look.
ELI
If you are well enough to do that
thing, you can do work for me.
93-I CONTINUED:
93-I
Book is genuinely apologetic.
BOOK
Sure, I'm sorry. Hope you don't
mind me plugging in to your battery
Mine's
dead.... How can I help? What can
I do?
ELI
Maybe milking.
BOOK
(eyes Eli)
Milking?
ELI
Cows. You know, cows?
BOOK
I've seen pictures.
ELI
Good, you start tomorrow.
93J INT. BOOK'S ROOM - LAPP FARM - NIGHT
93J
Where Book lies asleep. A beat, then Eli comes in
carrying a lamp. He pauses a moment to peer at the
sleeping figure with undisguised anticipation. Then he
gives him a jarring thump:
ELI
(briskly)
Veck oufl Time for milking.
Book comes groggily awake as Eli exits. He gropes for
his watch.
INSERT WATCHFACE
It reads 4:30 a.m.
BACK TO BOOK
as he stares at it in disbelief.
93K INT. BARN
93K
as the milk herd of half dozen or so cows ambles in
with Samuel prodding them along, headed for the milking
stalls. Book looks on in the lamplight, nonplused.
SAMUEL
Where he's pitching hay into the
cow's feed-troughs.
BOOK, ELI
Where the old man is showing Book how to milk a cow by
hand. We see Rachel watching from the milkhouse door
(steam from scalding milk cans rising behind her).
ELI
Good, firm twist and pull, eh?
(and)
Right. Now you try it.
Book gives him a look, takes over the milking stool.
The cow shoots him a rather skeptical look over her
shoulder. Book bends to his task.
ELI
{continuing)
Didn't you hear me, Book? Pull!
You never had your hands on a teat
before?
BOOK
(grimly)
Not one this big.
Eli unexpectedly finds this hilarious, cackles, gives
Book a comradely, man-of-the-world thump on the
shoulder that jars him. Then he moves off. Book bends
to his task, and...
ANGLE - RACHEL
Grinning,, giggling, covering her mouth with one hand.
as he pours a pail full of milk into a large, stainless
steel milk can.
EXT. BARN
as the milk herd is released back into the pasture.
Book crosses
into the f.g., stares O.S.
BOOK'S POV - HORIZON
And dawnfire etching the hilltops- The BELLHOUSE
behind the house, the sun reflecting from the heavy
bell beneath its small roof.
93K CONTINUED 93K
BACK TO BOOK
Something in him can't help but respond to the beauty.
A beat, then he blows on his hands, rubs them briskly
together against the morning chill, and turns back to
the barn.
93L EXT. LAPP FARMHOUSE - DAY
93L
It is later in the morning. Rachel comes out onto the
porch, tosses a pan of dirty dishwater off onto the
grass, looks toward the barn.
ANGLE - THE BARN
Eli and Book standing in one of the open doorways, look-
ing in.
INT. THE BARN
ANGLE FAVORING Luke, one of Eli's team of fine mules
as Samuel opens the stall gate. The beast is skittish,
obviously afflicted with something of a behavioral
problem.
But he allows Samuel to lead him out.
BOOK, ELI
As Samuel brings Luke out. Eli is now harnessing the
other mule of the team to a large manure-spreader.
But as
Luke nears Book, his eyes widen and he shies, almost
hauling
Samuel off his feet.
BOOK
(alarmed)
Careful, son -
Book moves to Samuel's aid; a gesture which proves
a serious mistake. Luke erupts into a SCREAMING,
bucking cyclone. Samuel - who no doubt has been
here before - dives nimbly for cover as a flying hoof
nearly takes Book's head off.
Then Eli hustles into the fray, pushing Book
aside as he BELLOWS belligerently in German at the
rearing animal. Finally he gives Luke a swat upside
the head that seems, somehow, to have the effect of
quieting the beast instantly.
ANGLE
Samuel gives the shaken Book a look:
SAMUEL
That's Luke. He doesn't like
strangers.
BOOK
(still shaken)
You don't say.
Eli leads the pacified mule back to the traces,
grunting at Book.
ELI
Have to teach you mules, too,
I guess.
CUT TO:
93L EXT. FIELD NEAR FARMHOUSE - DAY
93L
Book collects the pieces of the birdhouse which his car
knocked down the day of his attempted departure. He
pauses as a figure approaches. We recognize Daniel
Hochstetler, Rachel's would-be suitor. He heads for
Book with an outgoing smile and outstretched hand.
Here's a likable man who likes people.
HOCHSTETLER
Good morning. Book, is it? You
are the Yankee they talk about?
BOOK
I thought I was the English.
HOCHSTETLER
English, Yankee. It's the same.
My name is Daniel. Daniel
Hochstetler.
(sizes up his clothes)
You look plain, Book.
(grinning)
Very plain.
Book is not particularly amused.
HOCHSTETLER
(continuing)
I came to see Rachel Lapp.
BOOK
Try the house.
Hochstetler gives Book a powerful clap on the shoulder.
HOCHSTETLER
(genially)
You bet. you take care of
yourself.
Hochstetler heads for the house. Book stares after him
with some interest.
93L CONTINUED
93L
ANGLE
As Rachel emerges from the house to greet him. she
also catches sight of Book and she pauses, a shadow
of confusion crossing her expression for an instant.
And Hochstetler doesn't miss it either.
Then she gives her suitor a genuine smile of welcome.
93M HOG PENS 93M
Book, having gathered up the pieces of the bird house,
is headed toward the outbuildings, passing by hogpens.
He glances toward the house:
93N HIS POV - THE BACK PORCH
93N
Where Rachel and Hochstetler are sitting in a porch
swing, sharing a pitcher of lemonade.
930 BACK TO BOOK
93O
Thoughtful . . . He glances at the hog pen as a huge
sow
SQUEALS and angrily noses her young ones away from the
trough so she can feed.
BOOK
Pigs
94 OMITTED
94
thru thru
98 98
99 INT. CARPENTRY SHOP, LAPP FARM - DAY
99
Book works on repairing the broken birdhouse when
Rachel enters.
BOOK
He uses a drawknife on a piece of 2x4, with some
obvious expertise.
RACHEL
Eli is a fine carpenter. Best in
the district. He and his father
built the big house themselves
forty years ago.
BOOK
Oh?
(and)
What happened to Hochstetler?
RACHEL
We had some lemonade and he left.
BOOK
A real fireball.
Rachel smiles. Book crosses to a workbench and selects
another tool.
RACHEL
You know carpentry?
BOOK
I did some carpentry summers when
I was going to school.
RACHEL
What else can you do?
BOOK
(really annoyed)
I can whack people.
I'm hell at whacking.
RACHEL
Whacking is not of much use on a
farm.
BOOK
Now hold on. There's a lot of
people who think being a cop is a
legitimate job.
RACHEL
I'm sorry. I'm sure it is.
She turns, starts to go. Then turns back, eyeing his
makeshift garb:
RACHEL
(continuing)
Tonight I'll let out those
trousers for you.
Stifling a smile, she goes. HOLD on Book a beat,
then...
CUT TO:
100 INT. LAPP FARMHOUSE - DINING ROOM
100
Eli is seated at the head of the table, Book opposite
Samuel and Rachel. The table is piled high with an
incredible amount of food. Eli eyes Book cagily, waves
his fork at him:
ELI
Eat up, Book. What's the matter
with your appetite?
BOOK
Guess I'm not used to so much.
ELI
(snorts)
Not used to hard work. That's
what makes an appetite.
Book swallows that one. With difficulty. Rachel
intervenes:
RACHEL
Eli, John is a carpenter.
(conciliatory after-
thought)
As well as being a fine policeman.
ELI
Eh? Well then, maybe he can go to
Zook's barn-raising, eh? See
how good a carpenter.
Book can't refuse the challenge.
BOOK
Sure.
RACHEL
But . . . You may not be well enough.
BOOK
I'll drink some more of Stoltzfus'
tea.
100A EXT./INT BARN - NIGHT
101A
As Rachel, lamp in hand, walks up to the barn She
looks in to find Book tinkering with the battery hookup
to the Lapp buggy.
He glances up as she enters:
BOOK
Hi . . .
As she sets her lamp down near the one he's using.
RACHEL
(beat)
When will you be going?
BOOK
Not long . . . A few days.
Another beat as Rachel watches him . . . Book,
checking
out the battery power, hits the radio - and suddenly
from the Twentieth Century comes the sound of one of
its major inventions - rock and roll.
It fills the barn, but Book turns up the volume a
click more even and, eyeing Rachel, starts moving
with
the beat. It's his culture, coming through loud and
clear, as incongruous as it all might seem with the
tough Philly cop decked out in Amish.
Rachel can't help but laugh . . . Sensing her response,
Book sweeps her up and they boogie in the lamplight,
Rachel alternately protesting and laughing.
BOOK (CONT'D)
You like it . . . Don't you?
Rachel, confused, protests:
RACHEL
No . . . You just stop -
But she doesn't really want too Book grins:
BOOK
(mock alarm)
Next thing you know you'll be off
drinking beer and racing motor-
cycles.
And it goes on . . . Rachel alternately protesting and
laughing.
ANGLE - THE BARN DOOR
As Eli suddenly appears. He glowers for an instant,
thunderstruck, then BELLOWS:
ELI
Rachel -- !
THE SCENE
As Book and Rachel's dancing comes to a sudden halt.
Both turn, look at Eli. Rachel regards him level-
eyed, without discernible alarm. Book, looking a
bit sheepish, goes over, turns off the radio, as:
ELI (CONT.)
(in the dialect)
What is this? This Myusick?
Book hesitates, then starts to say something:
BOOK
It's not her fault. I --
But he gets such a look from Eli that he turns, goes
out.
ELI
(in the dialect)
How can this be? How can you do
such a thing? Is this plain?
Is this the ordnung?
RACHEL
I have done nothing against
the ordnung.
ELI
(in the dialect)
Eh? Nothing? Rachel, you
bring this man to our house.
With his gun of the hand. you
bring fear to this house. Fear
of English with guns coming
after. You bring blood and
whispers of more blood. Now
English music...and you are
dancing to English music! And
you call this nothing?
RACHEL
I have committed no sin.
ELI
(in English)
No sin? Maybe. Not yet.
But, Rachel, it does not look.
(tone softening...
in the
dialect)
Don't you know there has been
talk? Talk about you, not him.
Talk about going to the Bishop.
About having you...shunned!
RACHEL
That is idle talk.
ELI
(in English, pleading)
Do not make light of it, Rachel.
They can do it...quick! Like that!
And then...then I can not sit at
table with you. I can not take
a thing from your hand. I...I
can not go with you to meeting!
(the old man almost
breaks down as, in
the dialect)
Rachel, good Rachel, you must
not go too far! Dear child!
Rachel is annoyed - also touched, no doubt, by the old
man's plea - but irked by his condescending tone.
RACHEL
I am not a child.
ELI
(suddenly stern again)
You are acting like one!
RACHEL
I will be the judge of that.
ELI
(fierce as a prophet)
No! They will be the judge of
that! And so will I...if you
shame me!
RACHEL
(blinking a tear now,
but meeting his gaze)
You shame yourself.
And shaken - but proud and erect - she turns and
walks out.
101 OMMITTED 101
thru thru
104 104
105 INT. SCHAEFFER'S OFFICE - - NIGHT
105
Carter sits, Schaeffer prowls...slowly, letting
silences grow before he strikes again with another
softly-snarled question or statement.
SCHAEFFER
You know where he is.
CARTER
Wrong.
SCHAEFFER
You'd lie to protect him.
CARTER
(cool)
Probably.
Schaeffer snaps around, glares at him.
SCHAEFFER
You admit you're lying?
CARTER
(shakes head)