W I T N E S S
EARL W. WALLACE
from a story by
APRIL 23, 1984
1 EXT. LANCASTER COUNTY, PA. COUNTRYSIDE - DAY
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
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
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.
A BIG SHOT... now the procession numbers almost a dozen
buggies... it is headed toward a distant farmhouse.
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
house (women and children presumably first).
8 INT. LAPP FARMHOUSE
the coffins the upper half open. We see that
has been dressed in white linen, a piece of
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
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
would appear stunned, possibly not entirely
And the patriarch, ELI LAPP; his stubborn,
yet not unkind - features grief-stricken.
as it begins to CHIME nine a.m.
as he removes his hat. As one, the men in the
gation remove their hats also.
Then the preacher begins to speak in a formal
... a brother has been called home.
God has spoken through the death of
our neighbor, Jacob Lapp...
where Rachel, Samuel and Eli are sitting- SOUNDS
tion and grief not quite suppressed are heard
... husband of Rachel, father to
Samuel, son of Eli.
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,
silence as four pallbearers are lowering the
into the pit. The many buggies are aligned in the
As the pallbearers begin to shovel soil and gravel
the grave, the Preacher begins to read a hymn in
... a slow atonal litany which seems to hang
the frosty air.
TIGHTENING to her as the hymn continues...
11 INT. LAPP FARMHOUSE 11
where the Amish have gathered for the traditional
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.
Where she sits among women, accepting their
A brawny-armed, ruggedly-handsome, raffish looking
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
the local healer, FISHER, BIEILER and Bieiler's stout
young son, Tom.
Lapp was a good farmer.
But not the man to buy a horse
Hochstetler, wasn't it your
sold him that horse with a
Told him it was a bee sting
him limp that way.
That horse had one good ball.
That's all it takes.
The others chuckle. But Hochstetler's
attention is still on 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.
I was sorry to hear about Jacob.
Let us hope he walks close with
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
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.
14 CONTINUED: 14
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.
You will come back soon?
Samuel can barely contain his excitement as he drags at
his mother's hand.
Quickly, Mothers Quickly!
Rachel embraces Eli.
You be careful out among them
She turns to Hochstetler.
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
15 OMITTED 15
16 INT. TRAIN (MOVING)
as Samuel spots something out of the window that causes
him to light up.
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.
I see, darling.
And Samuel cranes to look back, waving, for as long as
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
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
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:
Is this where we're going?
Of course not. We're going to
Baltimore. It's much nicer in
21 CONTINUED: 21
And Rachel draws her son closer, turning her back on
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.
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...
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.
as he reacts.
BACK TO TICKET COUNTER
as Rachel's turn arrives. The TICKET SELLER glances up
and she shows him her ticket.
We have a ticket to Baltimore.
Where is that train, please?
Delayed three hours. You'll hear
an announcement when it's time to
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
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
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
BACK TO FIGHT
as the struggle builds to a climax... ends with the
young man stiffening with a grunt, his face draining of
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:
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
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.
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.
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
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.
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
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.
as his partner snaps from the doorway:
Will you come on, for Christ's
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
26 OMITTED 26
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.
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.
Little Samuel watching Book, back to crowd of police,
as Book questions an old black CUSTODIAN.
You found the body?
Uh uh. Not me, daddy,
I just reported it. It was
30 CONTINUED: 30
How'n hell do I know what kid?
The kid in the funny black
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.
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
ANGLE - BOOK
as his face breaks into a big grin, and...
immediately alarmed, intervening.
What do you
want of my son?
as Book takes out his wallet, displays his shield.
I'm a police officer. I'm going
to have to talk to the boy.
What's his name?
Samuel. Samuel Lapp.
30 CONTINUED 30
But what happened here is none of
his affair. My sister is expect-
ing me . . . our train is leaving
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.
I saw him.
Who'd you see?
Sam looks at his mother.
Who'd you see, Sam? The man on
No . . . I saw the man who killed
Book stares at him in surprise, speaks over his shoulder
Anybody know about this?
I didn't even know about it.
(back to Sam)
Okay, Sam. Can you tell me what
he looked like?
(groping, touching his
clothes and pointing at Carter)
He was . . . like him.
Black . . . I understand. What
A beat, then Sam crosses quickly to Carter, Book's rather slightly built partner:
Not Zwartich, like him -
Book frowns, puzzled:
Try that one again, Sam -
Samuel gives his mother a helpless look; exasperated,
Rachel intervenes with Book. She glances at Carter:
May I talk to you?
As Rachel takes Book aside, and in a low voice:
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:
Close it all down . . . I want a man
on every exit . . . I want the lab in here
And I want to talk to you, Captain.
As Book steps aside with Donahue . . . In the b.g.
Rachel moves protectively to Samuel's side.
All right, talk.
This is homicide - not Internal
Affairs! So why are you behaving like
you own this case?
We were running Zenovitch . . .
That's all I can tell you. But
I want it, Terry.
I've got a call into Schaeffer.
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:
Momma . . . are they angry with
hardly in her own mind)
No . . . No. It is just the English
31A (CONTINUED) 31A
Donahue has lost the confrontation; he gives Book a
You ought to think about coming back
to Homicide, Johnny. . . Stick with
Internal Affairs and you're not
gonna have any friends left.
(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.
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
How reliable is this kid?
Oh, he's good.
34 (CONTINUED) 34
What have you got?
Zenovitch was about to deliver a list
of names ton ight -- street
chemists...the guys processing this
P2P into speed.
So one of them got to him.
You know who?
You're still convinced there's a link
to the department?
If there isn't I've just wasted the
last six months.
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
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.
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
(shakes his head)
Tell you what... why don't you and
that blonde - what's-her-name -
come over for dinner Sunday. How
What's-her-name moved to Buffalo.
Well, anyway, don't get crazy.
I'll do something for Zenovich's
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.
I got there late, John.
Let's just find Coalmine.
Listen, Zenovich made a mistake.
You didn't let anybody down. It
It won't happen again.
Where are you taking us?
We're looking for a suspect.
We've reason to believe he's still
in the area.
You have no right to keep us here.
Yes I do. Your son is a material
witness to a homicide.
You don't understand, we have
nothing to do with your laws!
Doesn't surprise me. I meet a lot
of people like that.
It's not a joke.
Book decides to try contrition:
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.
What was that?
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. 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.
Sammy, where's Coalmine?
The little man stares at the weird-looking couple in the back seat.
36B CONTINUED: 36B
What you got there, the Salvation
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
An alarmed Rachel holds Samuel close as Book forces
Coalmine's face down next to the car window.
Put some light on him.
A cop pulls out a flashlight, begins to play the beam
over Coalmine's face.
(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
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.
John Book, you listen to me!
will have no further part in this,
nor will my son! As God stands
Book sighs, starts the engine and moves off.
36F EXT. HOTEL - PHILADELPHIA - NIGHT
Book pulls up outside a hotel entrance as a uniformed
DOORMAN moves to open the rear door.
36G INT. CAR - NIGHT
Rachel and Sam recoil as the Doorman opens the door.
He is puzzled by the sight of the reluctant guests.
No! We do not stay in hotels.
Book and Carter exchange a glance.
37 OMITTED 37
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.
How could you do this to me
tonight? I told you I had
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.
Where's Timmy and Buck?
Upstairs, asleep. Where'd you
You've got a man here and the kids
That's none of your goddamn
business! So keep your goddamn
holier-than-thou mouth shut!
Anyway, they like Fred.
Oh sure, Fred.
Elaine looks like she's going to blow again, then
decides it's pointless.
Who are these orphans, anyway?
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.
Yes, thank you very much.
John said you're Amish.
She nods and goes.
Rachel crosses to Samuel, sits on the bed. Samuel
looks up at her bleakly.
I don't want to stay here.
They are English. They don't
I wish dawdie was with us.
I Know. Sleep now, Liebchien.
She puts her hand on his forehead, closes his eyes. she
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
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.
Wrong door, kid.
As Samuel quickly shuts the door. A straight-faced
beat; then, barely suppressing a giggle, he hurries
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.
Rachel turns cheerily.
You didn't have to...
I wanted to. you were kind to
take us in last night.
Anyway, I needed something to
do. I was so angry with your
brothers He's so...aaanisish I
Aganishish? Yeah, that sounds
She takes a seat at the table, still shaking her head.
Just a minute. I'll pour you some coffee.
You're not carrying a bullwhip...
how'd you manage to put my kids to
I made it a contest... the one who
does best gets his cereal back
Children like to help... they only
need to be kept after a little
Rachel means no harm by this, but Elaine's eyes begin to storm.
Oh, is that so?
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:
Please, I didn't mean...
Abruptly Elaine rises and snatches the mop from
Rachel's hands. She mops furiously as she Continues:
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!
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:
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
Jesus, Elaine... Somebody die and
leave you a broom?
Not a politic observation on Fred's part.
49 CONTINUED: (2)
Go to hell, Fred!
And, bursting into tears, she flees the kitchen. Fred
stares after her.
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,
I brought your coffee.
She takes a seat next to the bed.
I'm sorry. I didn't mean it that
After a moment, Elaine starts to pull herself together:
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
She takes the cup, sips the coffee. Rachel smiles at a private thought.
What's so funny?
Fred. The way he looked when you
screamed at him.
50 CONTINUED 50
At home you'd never hear a woman
scream at a man that way.
No? Why not?
You just wouldn't. It's not the
But I think it would have done me
good if I could have screamed at
your brother last night.
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
51 INT. BOOK'S CAR (MOVING) - DAY 51
Book glances irritably at Rachel:
Now what's the problem?
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:
Yes. And I also want to leave this
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.
We do not go into your courts.
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.
Look, I'm genuinely sorry. . .
No you' re not -
(off his look)
You're glad, because now you've
got a witness.
I heard the other police talking
They don't seem to like you very
They kid a lot.
(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.
He says you look very tired.
I thought the same thing.
Book says nothing.
But not a good tired.
What's a 'good' tired. Tired is tired.
She doesn't bother to explain; 800k settles even
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
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.
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.
Just wanted to see if you were on
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:
Your sister said you don't have a
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:
Oh? Anything else?
52B CONTINUED: 52B
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
Book is staring at her. Rachel nods.
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.
52C INT. OUTER OFFICE/WAITING ROOM, NARCOTICS DIVISION- 52C
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
A group of Narcotics Detectives are interrupted in mid-
conversation by the opening of the main office door.
They stare in considerable surprise.
John Book standing in the doorway, holding little
Samuel by the hand.
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
The Detective, Sgt. KAMAN, eyes Book a little suspi-
ciously - internal affairs officers are not greeted
warmly by the working policemen in any department.
There's a Sgt. Carter on the phone
Book gets up and moves to the door.
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
53 OMITTED 53
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
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:
Why don't you arrest that man?
Are you protecting him because
Listen, I'm the cop that polices
the police. I'm not in the
business of protecting crooked
I'll make an arrest when I know
Rachel shakes her head.
But why would they murders..
Because - somehow - they knew
I was getting close.
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 they can get away with it because
I'm afraid. I'm afraid for
Samuel. I want to go home.
You'll be safe. you don't have to
She says nothing.
Another beat, then:
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.
I mean it. you will be safe.
Suddenly Rachel explodes:
Oh yes! Of Courses Why shouldn't
we feel safe in a city where the
police are so busy killing each
59 EXT./INT. SCHAEFFER HOME, PHILADELPHIA SUBURBS - 59
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:
It was McElroy, Paul.
Schaeffer gives him a sharp look:
Last guys would have figured.
But he's part of it.
I hope you don't have any doubts
If I did, I'd have kept my
mouth shut . . .
It fits, Paul . . . Fifty-five
gallons of P-two-P confiscated
four years ago . .. Guess who
was in on the collar? Mac.
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
And now the stuff is worth five-
grand a pint and there are
a lot of pints in a fifty-five
Who else knows?
(shakes his head)
Okay, what are you going to need
to clean it up
More people . . Gotta pick up
where Zenovich left off. People
from outside the department.
59 (CONTINUED) 59
Maybe the Bureau. Or those bastards
at Treasury. I'll take care of
I hate this shit, Johnny. You
cut their balls off for me. I'm
counting on you .
Schaeffer pours himself another drink.
What's your first move?
(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.
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
Already starting to leap away to one side, he is hit,
driven into a half-turn. He clutches at the wound, as:
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:
Hit...a grazing near-miss this time, but enough to
send Book down hard and grasping.
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.
Down, muttering CURSES.
As McElroy walks past Book, drops the pistol to the
pavement, keeps on going ..and is gone.
GROANING in pain, beginning to try to crawl crab-like.
And we HEAR - from the agonized recesses of Book's
Who else knows?
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
A fat, middle-aged MAN has approached to within some
feet of Book, looks on edgily:
Hey, buddy, what's the score?
Little too much to drink?
Book stares at him, then looks down at his belly.
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
As the man stares:
Goddamn, buddy. You better get
to a hospital!
Here; I'll give you a hand.
He starts to approach, but Book shoves him away.
No! No hospital!
By now the man's WIFE is hovering at a safe distance:
Let him alone, Henry! If he wants
to die in the street, that's his
But the man is not content:
Shut up, Romona! Will ya look
at that blood?
Book has tried to lurch toward his car; the man
tries to intercept him:
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:
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
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
61 OMITTED 61
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.
64 INTERCUT BOOK
He's at an n.d. pay phone.
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.
What the hell are you talking about?
64 CONTIUED 64
Nothing. I'm not going to be
around for a while. I'll call
you when I can.
Johnny, what the fuck - ?
Listen to me - Schaeffer's
part of it. Maybe at the top of
There's a stunned silence at the other end.
Yeah ... I can put it all to-
gether when I get back, 'Til then,
you know nothing, understand?
Business as usual...
I hear you.
Good. Take care of that woman's
name for me. And watch your
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.
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
Put my car in the garage and close
John, I don't understand any of
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
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.
Where are you taking us now?
You couldn't wait until morning?
Book gives her a look.
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.
A beat, then the police car WAILS past. Book expels a breath.
You said we would be safe in
I was wrong.
Rachel looks away, speaks almost sarcastically,
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.
Rachel's name and address scribbled on a page of the
BACK TO SCENE
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...
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
Stay for awhile. Rest. I'll make
coffee and breakfast.
What about Samuel? Will you come
back to take him to trial?
Book starts the engine:
72 CONTINUED: 72
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.
as Eli crosses to Rachel, his arm around Samuel.
Who was that man?
His name is John Book.
Eli is about to inquire further when Samuel cries:
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
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:
But John.....why didn't you go to
No, no doctor...
Gunshot... they'll file reports...
they'll find me.
Book reaches up to grip her arm fiercely:
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...
as Eli reins up in the springwagon. He climbs down,
crosses to glance into the car.
Is the English 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.
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.
That has no place in this house.
She picks up the pile of clothes and the pistol and
places them in a chest.
It will go when he goes.
76 INT. LIVING ROOM 76
as Samuel comes in with old Stoltzfus and Stoltzfus's
teenage son, LEVI.
Thank you for coming, Stoltzfus.
Stoltzfus's eyes have gone to the bed:
That's the English is it?
77 INT. SICKROOM - TIGHT 77
as Stoltzfus runs his fingers lightly over the vicinity
of Book's wound:
I feel... burning.
as Stoltzfus, in his shirtsleeves and concentrating
mightily, moistens his fingertips with saliva, contin-
ues the examination. Finally he steps back.
This man should be treated in
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:
Go help Levi with the car, Samuel.
She closes the door after him, then turns to face Eli
No, he must stay here.
Stoltzfus gives Eli a puzzled look. And:
Didn't you hear Stoltzfus? What
if he dies? Then the sheriff will
come. They'll say we broke their
We'll pray that he doesn't die!
But if he does, then we'll find a
way so no one knows!
Rachel, this is a man's life,
we hold it in our hands.
77 CONTINUED: (2) 77
I knows God help me, I know that,
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:
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.
Where she's waiting with the big barn doors thrown
open. As the mules tow the car in, she closes the
79 INT. LAPP FARMHOUSE LIVING ROOM 79
As Stoltzfus and Levi are about to go: Stoltzfus turns
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.
Stoltzfus turns to Eli:
Lapp, I'll have to speak with the
diener on this matter.
As you see fit, Stoltzfus.
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
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
She begins to apply the poultice.
As Book rouses to semi-consciousness, in his delirium
he recoils with alarm.
It's all right..! You have got to
Book stares up at her without recognition, but some of
what she says seems to penetrate. He quiets.
Yes, much better...
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
retreat closing the door swiftly behind her.
81 OMITTED 81
82 INT. SCHAEFFER'S OFFICE - DAY 82
He's on the phone:
Looks like we're going to need
some help from you folks down
83 INT. LANCASTER COUNTY SHERIFF'S OFFICE - DAY 83
Where an UNDERSHERIFF is on the phone:
... 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:
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
How about an address?
Maybe a road or route number?
The Undersheriff is not impressed.
Problem is, Chief, 'bout every
third Amishman around here is
named Lapp. That or Yoder. Or
84 CONTINUED: (2) 84
Chief, if the Amish have taken
your man in, I wouldn't want to
hang from a rope until you find
Schaeffer is tight-lipped with contained fury:
Thank you, Sheriff. It's been an
He hangs up. A beat; the man is a study in
frustration. Then he glances up.
Standing in his doorway are the two plainclothesmen who
spotted Carter in Book's office in the earlier scene.
85 EXT. LAPP FARM - DAY 85
A bright, sunny afternoon.
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
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.
Another moment of silence, then Book opens his eyes.
Tschantz rumbles in German. (SUBTITLES OVER)
Well, Stoltzfus, another Lazarus
to your credit.
He was touched by God's hand.
Tschantz grunts, motions, for the other clergy aside
Rachel enters briskly with a steaming pot of tea and a
Book stares at her, then at the old bearded gentlemen.
(closing his eyes)
Who are they?
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.
Can I have something to drink?
Rachel brings him tea.
Does anybody know I'm here?
86 CONTINUED (2) 86
Only the elders.
How long have I been here?
Listen, thank you. Thanks for
everything. But I've got to go.
But you can't.
He tries to rise, falls back faint. Rachel rearranges
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.
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.
Tell him his tea stinks.
You tell him. When you're able.
He looks like he's about to drop off again. 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
as the rather worrisome Hershberger frowns:
...but a gunshot wound. Very
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:
Still, he should be among his own
Rachel enters on this last.
He'll leave as soon as he is able.
He already wants to go.
Hershberger gives her a gloomy look, turns to
How long will that be, Stoltzfus?
A month. Maybe less. With God's
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.
Did you find him?
Suddenly her eyes blaze, she starts to close the door:
Then go away, you bastard.
Schaeffer quickly - but gently - prevents her from
Elaine, I've come to apologize for
Lt. McElroy. He overstated the
He accused John of taking
kickbacks And you know -
anybody who knows John - knows
that's a goddamn lie!
Of course, Elaine. But as long as
there's any question, better
Johnny should come back and clear
Better you should get off my front
porch before I get my mace --!
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 --
I don't know where he is.
But... if you had to guess?
89 ANOTHER ANGLE - SCHAEFFER'S CAR
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.
She say where he is?
I don't think she knows.
Schaeffer is staring grimly ahead.
What about Carter?
Tight. But I'm working on him.
Lean on him.
91 EXT. LAPP FARM - LANCASTER COUNTY - NIGHT
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.
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...
His eyes are open and watching Samuel icily, which
gives the boy something of a jolt.
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.
The boy edges closer.
You ever handle a pistol like
No pistol. Ever.
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.
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.
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.
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
Samuel -- !
Samuel quickly hands the pistol back to Book, who
Wait for me downstairs.
Samuel quickly exits, and Rachel angrily advances on
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)
Nobody meant any harm. The boy was
Curious. I unloaded the gun -
It's not the gun. Don't you
understand... It's you. What you
That is not for Samuel.
Book looks at her thoughtfully.
Rachel softens a bit:
Please, it has nothing to do with
He hands her the holstered gun and the loose bullets.
Put it up someplace Samuel can't
A beat, then Rachel, takes the pistol and starts to go.
Book stops her:
Rachel glances back at him, smiles and nods. And...
93 INT. KITCHEN - LAPP FARMHOUSE - NIGHT
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.
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.
What you take into your hands, you
take into your heart.
A beat, then Samuel musters some defiance.
I would only kill a bad man.
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?
I can see what they do.
Now he meets Eli's eyes:
I have seen it.
Eli expels a deep sigh; then:
And having seen, you would become
one of them?
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
"Wherefore come out from among
them and be ye separate, saith
93 CONTINUED (2) 93
"And touch not the unclean thing!"
His intensity tinged with righteous anger, he is hugely
93A WASHHOUSE - NEAR KITCHEN - NIGHT
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
Samuel harnesses up the family mare, and backs her into
the traces of the buggy.
93C INT. BOOK'S BEDROOM - DAY
Book stands at the window in a worn robe. Below,
through the window, we can see Samuel and Eli in
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
on the bedside table.
There's a knock. Rachel enters carrying aspire of
clothing. She smiles.
Enjoying your reading?
Very interesting. I'm learn-
ing a lot about manure.
(eyes the clothing)
Your shirt and jacket are still
stained with blooded I have
them soaking You can wear these.
She passes the clothes to Book
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.
I should tell you these do
not have buttons.
See? Hooks and eyes.
Something wrong with buttons?
Buttons are hochmut.
Vain. Proud. Such a per-
son is hochmutsnarr. He is
Anything against zippers?
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? Can't imagine why.
Where's the nearest telephone?
Telephone? The Gunthers across
the valley. They're Mennonite.
They have cars and refrigerators
and telephones in the houses even.
No. I'd want a public phone.
Rachel's face clouds.
Well...the store at Saltzburg....
But you won't be going to
Saltzburg for a while.
I'm going this morning.
But Stoltzfus said...
I know what he said.
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)
She turns to look at him. It's the first time he's
used her name.
She smiles and leaves.
93D EXT. FARMHOUSE - DAY
Eli calls impatiently from the buggy. Samuel sits
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.
You'd better go.
Book looks embarrassed.
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.
Oh. The bullets.
She takes them out of a disused coffee jar, passes them
(attempting a joke)
Not much good without them.
93F INT. BUGGY - COUNTRY ROAD - DAY
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
With a wave Samuel runs into the schoolyard to join
his friends. A teacher begins ringing a bell.
93H INT. STORE, - SALTZBURG
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.
Johnny! Where the hell have you been?
Never mind. I'm coming in to take
care of business. How hot am I?
Too hot. Don't do it. Don't come in.
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
A beat as Book considers that.
You hear me?
I hear you. I'll stay in touch.
That's more like it.
Where are you at, anyway?
Book allows himself a small smile, regarding his Amish
image reflected in the window of the store.
Where I'm at is maybe 1890.
Make that 1790
He hangs up. A beat, then he stares toward the door Q
93-I INT. BARN - DAY
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
If you are well enough to do that
thing, you can do work for me.
Book is genuinely apologetic.
Sure, I'm sorry. Hope you don't
mind me plugging in to your battery
dead.... How can I help? What can
Cows. You know, cows?
I've seen pictures.
Good, you start tomorrow.
93J INT. BOOK'S ROOM - LAPP FARM - NIGHT
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:
Veck oufl Time for milking.
Book comes groggily awake as Eli exits. He gropes for
It reads 4:30 a.m.
BACK TO BOOK
as he stares at it in disbelief.
93K INT. BARN
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.
Where he's pitching hay into the
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).
Good, firm twist and pull, eh?
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.
Didn't you hear me, Book? Pull!
You never had your hands on a teat
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.
as the milk herd is released back into the pasture.
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
93L EXT. LAPP FARMHOUSE - DAY
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-
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
But he allows Samuel to lead him out.
As Samuel brings Luke out. Eli is now harnessing the
other mule of the team to a large manure-spreader.
Luke nears Book, his eyes widen and he shies, almost
Samuel off his feet.
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.
Samuel gives the shaken Book a look:
That's Luke. He doesn't like
You don't say.
Eli leads the pacified mule back to the traces,
grunting at Book.
Have to teach you mules, too,
93L EXT. FIELD NEAR FARMHOUSE - DAY
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.
Good morning. Book, is it? You
are the Yankee they talk about?
I thought I was the English.
English, Yankee. It's the same.
My name is Daniel. Daniel
(sizes up his clothes)
You look plain, Book.
Book is not particularly amused.
I came to see Rachel Lapp.
Try the house.
Hochstetler gives Book a powerful clap on the shoulder.
You bet. you take care of
Hochstetler heads for the house. Book stares after him
with some interest.
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
Where Rachel and Hochstetler are sitting in a porch
swing, sharing a pitcher of lemonade.
930 BACK TO BOOK
Thoughtful . . . He glances at the hog pen as a huge
SQUEALS and angrily noses her young ones away from the
trough so she can feed.
99 INT. CARPENTRY SHOP, LAPP FARM - DAY
Book works on repairing the broken birdhouse when
He uses a drawknife on a piece of 2x4, with some
Eli is a fine carpenter. Best in
the district. He and his father
built the big house themselves
forty years ago.
What happened to Hochstetler?
We had some lemonade and he left.
A real fireball.
Rachel smiles. Book crosses to a workbench and selects
You know carpentry?
I did some carpentry summers when
I was going to school.
What else can you do?
I can whack people.
I'm hell at whacking.
Whacking is not of much use on a
Now hold on. There's a lot of
people who think being a cop is a
I'm sorry. I'm sure it is.
She turns, starts to go. Then turns back, eyeing his
Tonight I'll let out those
trousers for you.
Stifling a smile, she goes. HOLD on Book a beat,
100 INT. LAPP FARMHOUSE - DINING ROOM
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:
Eat up, Book. What's the matter
with your appetite?
Guess I'm not used to so much.
Not used to hard work. That's
what makes an appetite.
Book swallows that one. With difficulty. Rachel
Eli, John is a carpenter.
As well as being a fine policeman.
Eh? Well then, maybe he can go to
Zook's barn-raising, eh? See
how good a carpenter.
Book can't refuse the challenge.
But . . . You may not be well enough.
I'll drink some more of Stoltzfus'
100A EXT./INT BARN - NIGHT
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:
Hi . . .
As she sets her lamp down near the one he's using.
When will you be going?
Not long . . . A few days.
Another beat as Rachel watches him . . . Book,
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
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.
You like it . . . Don't you?
Rachel, confused, protests:
No . . . You just stop -
But she doesn't really want too Book grins:
Next thing you know you'll be off
drinking beer and racing motor-
And it goes on . . . Rachel alternately protesting and
ANGLE - THE BARN DOOR
As Eli suddenly appears. He glowers for an instant,
thunderstruck, then BELLOWS:
Rachel -- !
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:
(in the dialect)
What is this? This Myusick?
Book hesitates, then starts to say something:
It's not her fault. I --
But he gets such a look from Eli that he turns, goes
(in the dialect)
How can this be? How can you do
such a thing? Is this plain?
Is this the ordnung?
I have done nothing against
(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?
I have committed no sin.
No sin? Maybe. Not yet.
But, Rachel, it does not look.
Don't you know there has been
talk? Talk about you, not him.
Talk about going to the Bishop.
About having you...shunned!
That is idle talk.
(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
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.
I am not a child.
(suddenly stern again)
You are acting like one!
I will be the judge of that.
(fierce as a prophet)
No! They will be the judge of
that! And so will I...if you
(blinking a tear now,
but meeting his gaze)
You shame yourself.
And shaken - but proud and erect - she turns and
101 OMMITTED 101
105 INT. SCHAEFFER'S OFFICE - - NIGHT
Carter sits, Schaeffer prowls...slowly, letting
silences grow before he strikes again with another
softly-snarled question or statement.
You know where he is.
You'd lie to protect him.
Schaeffer snaps around, glares at him.
You admit you're lying?
I admit I don't know where
You're the first one he'll
He's got my number.
Schaeffer stops, stands in front of Carter, takes
a deep breath...suddenly smiles. And is abruptly
(as he is capable of being) the man of charm and
gentlemanly reason. He even CHUCKLES as he begins:
It's funny. I know he's hiding
somewhere with the Amish, I know
(a quick glance at Carter)
Can you imagine John Book at a
prayer meeting? Our John Book?
Schaeffer CHUCKLES again, looks hopefully again at
Carter looks back, stony-eyed. Schaeffer makes another
abrupt shift in form...but still speaks softly.
Either you're a member of the
club or you aren't, Elton.
(he nods his head, as)
Tell me what you know....
What I know, Paul, is...
(nodding his head)
He's going to take you out....
105A EXT. LAPP FARM - LANCASTER COUNTY - DAY
As Book pauses by the barn door, glances over his
105B HIS POV - BUGGY
With trace horse harnessed...Samuel and Eli loading
provisions into the buggy, standing down by the house.
105C BACK TO BOOK - - INT./EXT. BARN
As he goes into the barn.
Book approaches Luke's stall warily.... and as he does
the temperamental mule, reacting to form, starts to
skitter, his hooves CRACKING against the walls of the
stall. Book flinches.
Book starts to talk gently to the animal:
All right, you nasty sonofabitch,
we're going to be friends whether
you like it or not.
Then, summoning his resolve, he carefully opens the
As Luke eyes him balefully, Book reaches into his
pocket, brings out some lumps of sugar.
See . . . Sugar. You like
sugar, don't you for Christ's
Finally, keeping a mistrustful eye on Book, Luke con-
descends to eat. Book nods with satisfaction.
Rachel has entered the barn, is watching Book with a
Book turns, grins with some pride of accomplishment!
Won him over just like that.
But I hope you have a lot of
Eli is ready to go to Zook's.
Just then Luke skitters impatiently . . . Book gives
a nervous look; one last tentative pat as Luke eyes him
skeptically, then closes the stall gate and turns to
And we . . .
106 EXT. ZOOK FARM - LANCASTER COUNTY - DAY
BIG SHOT . . . it's early morning as the Amish buggies
are arriving at the Zook farm for a barn-raising.
In the b,g. we can see big stacks of lumber all around
construction site where a couple of dozen men have
raising the main supports on the already laid
Elsewhere, long tables have been set up and women are
spreading them with cloths, setting out big tanks of
hot coffee and cold lemonade for the men,
As Eli, Book, Rachel and Samuel step down, Book eyes
the construction site.
Wait here 'til I find a gang you
can work with.
He goes. Book glances around as even more buggies
arrive and more workmen and their families climb out.
Eli appears with Hochstetler in tow. Hochstetler's
broad face breaks into a grin:
Book! Good to see you!
He pumps Book's hand with his usual vigor, smiling a
greeting and pleasantry to Rachel. She looks on,
Hochstetler gives Rachel a look, and we realize that
his showing up just now to appropriate Book was no
And Book realizes it as well.
Eli says you're a carpenter, Book.
It's been a while.
No matter. Come with me. We can
always use a good carpenter.
With that he throws a huge arm around Book's shoulder
and ushers him away. Rachel calls after them:
as they move off.
Your hole is healed, then?
106 CONTINUED: (2)
(gives him a look)
Hochstetler nods with satisfaction:
Good. Then you can go home.
107 CUTS 107
As the morning progresses:
... Book and Hochstetler sawing and auguring out heavy
timbers on big sawhorses. There's an unmistakable
atmosphere of competition between the two men, which
doesn't go entirely unnoticed by the half-dozen or so
other young men on the gang.
... or, indeed, by Rachel; in fact, she seems - with-
out leaning on it too heavily - to be measuring the
two men as the morning progresses, and she occasionally
passes within proximity of them.
... Eli and a couple of other elders prowling the job
with sheaves of hand-drawn sketches under their arms,
supervising the construction. All around them the
structure is rising with remarkable rapidity.
... Rachel, where she's helping the women set out the
huge noon meal. Other women are sitting on benches in
the b.g., knitting or doing quiltwork.
... Samuel, where he's banging away with a hammer, with
a group of boys his own age. Elsewhere we see little
girls "botching" (a hand-clapping game played to German
... The very elderly; sitting on the grass or in
wheelchairs in the sunlight, looking on - the old men
kibitzing in German, the women gossiping.
of the barn-raising with the noon sun high overhead...
at least a hundred and fifty men are swarming over and
about the barn framework...
... some aid the rafters, some hauling lumber to the
job, others sawing, hammering, drilling, joining,
planing and what-all... so many that the barn seems
almost to be rearing up before our very eyes. And
there isn't a power tool in sight.
As Rachel crosses near the benches... we can see other
women eyeing her, whispering among themselves, some
tittering. Rachel ignores them.
She joins the stoutly amiable Mrs. Yoder from the
funeral sequence earlier. The older woman is emptying
a big pan of fried chicken into serving platters.
She smiles, obviously liking Rachel.
Everyone has an idea about you and
All of them charitable, I'm sure.
Hardly any of them.
ANGLE - THE ROOFBEAM
Book and Hochstetler astride the roofbeam studs, hold-
ing them together prior to nailing them to the roof-
beam. They are, therefore, crotch to the mast and
facing one another, way out at the far end of the roof.
Suddenly, as Hochstetler raises his hammer, the studs
start to part, threatening to de-ball the both of them.
Hochstetler drops his hammer, grabs both sides of the
roof with incredible brute strength, and, literally,
pulls it back together.
Book stares at Hochstetler with nothing short of awe.
Hochstetler, straining and grinning, looks to Book:
Nail it - !
107 CONTINUED: (2)
And he does nail it while Hochstetler, grinning and
holding, looks on.
108 BIG SHOT 108
The barn is done, the workmen climbing down from the
rafters. It's late afternoon.
ANGLE ON BOOK
He hesitates. His face is pale and covered with sweat.
The exertion of the day has taken its toll. He's in
danger of fainting and is some forty feet above the
ground. But he's determined it won't happen, deter-
mined that he won't fall, nor will he humiliate him-
self by calling for help. Hochstetler guesses the
situation. He moves beside Book, claps an arm about
says nothing, doesn't even look at Book. From below,
someone TELLS them to hurry up. Hochstetler SHOUTS:
We admire our work!
The moment passes for Book, and he's okay. Hochstetler
removes his supporting arm. Book looks him in the eye,
nods his appreciation almost imperceptibly. Hoch-
stetler wants no thanks, and Book knows it. Hoch-
stetler gives him a resounding SLAP on the back, and
starts climbing down. Book follows.
110 EXT. ZOOK FARM - LANCASTER COUNTY - EVENING
The gathering has congregated to hear Bishop Tschantz
offer up a blessing on the new barn.
PANNING the faces as they listen to the heavy German
words rolling out over the still evening air.
Book stands a little to one side of the Amish. The
prayers he cannot share with them. Rachel is aware of
this, feels something of his emotion. She looks toward
him, then she too closes her eyes and drifts away from
him, into the soothing prayer.
112 EXT. LAPP FARM - NIGHT
Book stands outside, listening to the NIGHT
turns, walks up toward the porch.
113 EXT. PORCH - TARP FARMHOUSE - NIGHT
Book takes a seat in a chair, SIGHS, looks toward the
night sky. There is a SOUND, but it's a moment before
his eyes toward the door.
ANGLE - THE DOOR
Samuel standing there in his nightshirt.
BACK TO SCENE
as Book leans forward in his chair.
... I want to say a thing.
What's that, Sam?
The boy hesitates, holds for a time, then suddenly
darts across to Book wraps his arms around him,
hugs him tightly... then breaks away, turns and runs
hack into the house, leaving the door open behind him.
ANGLE - BOOK
looking after the boy, genuinely moved. After a
moment, he speaks softly:
Same to you, Sam.
After another moment, he gets up, moves to close the
door that Samuel has left open behind him.
ANOTHER ANGLE - BOOK
From the lighted/shadowed area outside the door.
He comes to the door, starts to close it, then hesi-
tates, looks in to see where the light is coming from.
He looks down the corridor. The light is obviously
coming from the kitchen. He speaks softly:
No answer. Book steps inside, pulls the door shut
behind him, moves down-the corridor toward the
114 INT. LAPP WASHHOUSE - NIGHT
Where Rachel, dressed only in a plain cotton camisole,
is pouring a pail of steaming water into a tub.
She replaces the pail on the stove, turns and slips out
of her camisole. Naked, she folds the garment across
the back of a chair. Then she pauses, containing a
startled intake of breath.
RACHEL'S POV - FRYING PAN
The gleaming bottom of a large copper skillet hanging
over the stove with other cookware, we can see Book's
image reflected there, framed in the kitchen doorway.
BACK TO SCENE
Rachel hesitates for a moment - and in that moment she
makes a choice.
Slowly she turns, to face him, without shame, meeting
his eyes. And for a moment she attempts something: a
look, a flash of eve... a lovely, heartbreakingly
effort to become, for an instant, a woman of Book's
as he stands in the doorway, willing himself to leave,
unable to make it happen.
And suddenly the moment has passed. Rachel lowers her
eyes, picks up the camisole, covers herself with it
without putting it on, looks away.
TIGHTENING to him, and...
115 EXT. LAPP FARM - DAWN
116 ANGLE - HEN YARD
where Rachel is scattering feed to the chickens.
A beat, then Book approaches from behind her. A
moment, as she senses his presence.
Book watches as Rachel begins to gather the eggs,
placing them in the fold of her apron.
When he speaks, he speaks softly, and she pauses in her
She goes very still, but keeps her back to him.
If... we'd made love, then, I
She lowers her head slightly, but remains turned away
from him. Book continues to stare at her.
117 EXT. RURAL ROAD - LANCASTER COUNTY - DAY
The Lapp carriage on a wending lane.
INT. BUGGY (MOVING)
Rachel is driving, Book sitting next to her. Samuel is
in the back, looking out the rear window and not paying
any attention to the adults.
A beat, then a large produce truck roars past them.
It's all Book can do to keep from flinching.
Rachel stares straight ahead. Book glances at her.
Maybe I ought to learn to drive
Rachel says nothing.
Pick myself up another useful
Now Rachel can't help but smile. She looks at him.
We can see the Lapp buggy approaching a rural intersec-
tion, another buggy approaching at right angles.
INT. LAPP BUGGY
as Rachel eyes the other buggy through the windshield.
Samuel, who is that?
Samuel checks out the buggy.
It looks like Hochstetler's mare.
as the Lapp buggy passes the intersection and the
Hochstetler buggy swings in behind them. Then the
Hochstetler buggy, coming on at a faster clip, starts
to pass the Lapp buggy.
INT. LAPP BUGGY
as Rachel waves at the occupants of the other buggy;
Daniel returns her greeting:
Uh oh, they're leaving us behind.
Rachel gives him a look, and... gives the reins a flick
- the race is on.
Hochstetler has a couple of older folk on board, to-
gether with his young sister - at first they're not
aware of the race, until Daniel can contain his excite-
ment no longer and gives his horse a couple of whoops.
The buggies are neck and neck, and the older people are
not protesting loudly.
It's all Book can do to refrain from grabbing the reins
off Rachel, but she's something of a horsewoman and
finally she gains the edge and pulls ahead of Hoch-
stetler, to the cheers of Samuel and Book.
118 EXT. SALZBURG STORE - DAY
It's a Saturday afternoon in the tourist season, and
they're everywhere - taking shots of anything Amish.
There's a ROWDY YOUNG ELEMENT amongst them who are
making their presence fast, and generally making a
nuisance of themselves.
Book and Rachel get out of the buggy. Samuel stays
inside; the crowds make him nervous. A huge tourist
bus billowing smoke pulls up nearby.
Rachel enters the store, but before Book can follow
he's stopped by a TOURIST LADY with an instamatic
camera... She waggles the camera at him...
Could I ... ah, you know - ?
Lady, if you take my picture, I'll
rip your brassiere off and strangle
you with it.
The Tourist Lady stares at him in stunned disbelief,
her grin frozen on her face. Then she begins to
scuttle back from whence she came.
119 INT. STORE
Rachel is browsing among the stocked shelves in the
company of a young Amish woman, Ellie Beiler. Rachel
is carrying Ellie's tiny baby, and the infant is get-
ting as much attention as the shopping.
Book is standing at a wall pay phone in the b.g. We
TIGHTEN to him, and...
Lieutenant Elton Carter, please.
A beat, then we hear the FILTERED VOICE of the
Philadelphia Police Department switchboard:
Are you a member of the family?
What? I'm a friend of his.
I'm sorry. Last night
Sergeant Carter was killed
in the line of duty...
Book hangs up. His breathing is thrown out by the
shock of the news and he takes a couple of deep breaths
to regain control. He hesitates, unsure of his next
move. He makes to move away, then he turns back, finds
more coins and dials a second number.
119A INT. HALLWAY, SCHAEFFER'S HOME - DAY
Schaeffer's wife answers the phone; she is momentarily
shocked. She calls for her husband, then makes polite
How are you, John?
Paul Schaeffer appears, slightly irritated at being
called away from the Saturday afternoon game.
I'll take it in the study.
119B. INT. STUDY/STORE - DAY
Schaeffer takes the phone.
You can hang up, dear.
We HEAR the click of the other phone,
You made a mistake, Paul.
You shouldn't have taken Elton
How bad did Mac get you? We
figured pretty bad.
I'm fine. I'm going to live
a long time. That's what I
called to tell you.
You might want to pass it along
Listen to me, Johnny. Come in!
You're out there all alone . . .
We're getting close . . . real
close . . . Maybe if you listen
to me for a minute we can work
something out so you can come in -
I've already got something worked
Be seeing you.
Book hangs up the phone and the dead CLICK registers
Book has gripped the phone so tightly that it takes
a second to unclench his fist. Then it takes something
else to resist his first impulse, which is to smash
at something . . . Training. Get it under control.
rationally with the situation.
He straightens his jacket, wipes the sweat/tears
from his eyes, turns and walks stiffly out of the
Saltzburg General Store.
120 OMITTED 120
122 INT. BUGGY - MAIN STREET - SALTZBURG - DAY
Book, as Rachel eyes him. she has noticed his changed
mood, but doesn't ask about it. He stares straight
ahead, oblivious to the surroundings of the street,
now crawling with tourists and traffic.
122A EXT. NARROW SIDE STREET - SALTZBURG - DAY
The buggy turns into the side street. Some hundred
yards ahead another buggy is stopped in the middle
of the road - several youths gathered about it.
A pickup truck is stopped, facing the buggy.
122B INT. LAPP BUGGY - DAY
as Rachel approaches the scene, slowing down and
finally stopping. Rachel is at first puzzled, then
makes a small face, looks at Book.
Rachel puts a restraining hand on Book's arm.
Do nothing. This happens
from time to time.
She senses him about to get out, grips his arm tightly.
It's not our way, John. We'll
have nothing to do with violence!
Book shakes free, gets out and slowly walks toward the
122C EXT. HOCHSTETLER'S BUGGY - DAY
Hochstetler and his family sit, impassive, ignoring
various jeers and taunts from the English lads -
various jokes about them being dirty etc. one jabs an
ice cream cone into Hochstetler's forehead, which
leaves a curious white circle on his forehead. Another
fools about with the horse causing it to shy. A third
notices the slow, sure, approach of John Book.
Here comes another one!
Book stops, his path blocked by the third youth. The
youth flicks off Book's hat.
You're making a mistake.
Hochstetler calls from his buggy.
Everything is all right, John.
(to the youth)
Pick up the hat.
The youth momentarily unsure - something about Book's
tone of voice. The youth does pick up the hat, crum-
ples it, stamps on it, and puts it back at a crazy
angle on Book's head. A pause, then Book explodes.
The kid never knew what hit him or where it came from,
hits the road surface already unconscious. A second
youth grabs Book from behind. A mistake. Book is
smashing into him, spatters of blood from his nose fly-
ing in all directions. He's hitting too hard, too
often. It's Schaeffer he's hitting. Hochstetler is
pulling him away, Rachel is there too. A crowd is
gathering, but as suddenly as it began it's over. Book
shakes Hochstetler off him, straightens his hat, and in
a kind of daze, begins walking past the scene in the
direction of the Lapp farm.
The youths are picking up their wounded, helping them
back to their truck, aided by none other than Hoch-
stetler. An OLD LOCAL addresses Rachel.
Never seen anything like that in all
He's from...Ohio... My cousin.
We'll, them Ohio Amish sure must
(addresses a gath-
ering crow )
Our Lancaster brethren, they just don't
have that kind of fight in them.
John, lost control of himself.
He... will be repentant.
You're Rachel Lapp, aren't you?
Yes. Samuel! We're going.
A second man calls from the pickup.
Kid's nose is broken!
We'll take him up the hospital.
Good-day to you, Mrs. Lapp.
122C CONTINUED 122C
LOCAL MAN (CONT.)
(he shouts after her)
This ain't good for the tourist
trade, you know! You tell that
to your Ohio cousin!
But Rachel is already steering past the scene and
following the by now distant figure of John Book.
124 EXT. BARN/CARPENTER'S SHOP - DUSK
Book comes out of the carpenter's shop carrying the
repaired birdhouse on its pole in one hand, a shovel
in the other.
Rachel is shepherding the milking cows toward the barn.
You should not bother with that
If you're leaving tomorrow.
I'm leaving tonight.
I'm going to need my
clothes. And my gun.
She nods, looks away...looks back at him twice in
glances. There is a moment when it appears she might
either bark at him or begin to weep. He waits. When
she does turn to him, she speaks softly:
There was a time when I thought
you might have stayed.
There was a time when I would
have welcomed it.
(after a beat)
I was being foolish?
I was being unrealistic. Even
thinking about living this life.
You're so sure of that?
Aren't you? After today?
(almost conceding it,
but...her voice ris-
ing a bit, annoyed)
I'm not so sure of anything as
you are, John Book. You could
live this life if you wanted to
Just as I could live yours!
Oh, come on, Rachel. No way.
There is always a way! But you
are such a...a Glotzkopp you
cannot see! You'd rather go
back to that city! To nothing!
No woman! No children! No land!
(now getting annoyed)
Land! Are you crazy? I'm no
Amishman and I'm no farmer! I'm
a cop. That's what I know and
that's what I do!
What you do is take vengeance!
Which is a sin against heaven!
That's your way, not mine.
124 CONTINUED (2)
That's God's way!
Well in the City of Phila-
delphia, God needs a little
He has offended her, immediately knows it, but can't
bring himself to make an instant apology. But he's
chewing on it when she takes the moment unto herself.
She pulls herself up, speaks with great dignity:
I could never love a man
who was so...little.
He looks at her, sad-eyed, his anger ebbing and gone,
realizing that he'll never meet a finer woman... never
even get close to such an one. He appears to start to
speak, but then does not.
She turns, moves away a few steps, stops, looks back
at him. she holds for a moment, blinking tears, then
speaks with some difficulty, emotion welling in her
The other night...when you saw
me after my bath... I... I tried
to look as I thought you would
want a woman to look.
(sadly...but with a
slight, proud lift
I am sorry...that I did not.
She holds for an instant, then turns and walks off.
Looking after her. A face full of loss.
125 INT. KITCHEN - DUSK
Eli is lighting the lamps. Samuel reads a book at the
kitchen table. Rachel moves slowly to the sink and
begins washing a few dishes. She looks out the
window. CLOSE on her face, a strange expression.
126 INT./EXT RACHEL'S POV - DUSK
The distant figure of Book working on the birdhouse.
127 INT. KITCHEN
CLOSE on Rachel's hands, lifting items slowly up and of
the water to the draining board, where she places them
carefully down. she shakes the water off her hands.
CLOSE on her face, still staring fixedly out the
window. She speaks without turning around.
Eli, would you see Samuel to bed?
The old man glances at her; this is not their routine.
128 EXT. DRIVEWAY - DUSK
In the rapidly fading light, Rachel walks slowly toward
Book. CLOSE on her face, staring straight ahead toward
Book. ANGLE on Book, CLOSE. He turns and watches
BIG WIDE ANGLE
The light now nearly gone, the NIGHT SOUNDS beginning,
as Rachel reaches Book and they embrace.
129 EXT. FIELD BY ROAD - NIGHT
Book and Rachel in a passionate embrace, sink to the
still warm earth and make love.
130 EXT. SOUDERSBURG CAFE - LANCASTER COUNTY - NIGHT
ESTABLISHING an all-night cafe in the early hours of
TIGHTENING to the bleakly lighted windows.
131 INT. CARE
A booth, where Schaeffer and McElroy and Fergie, a
County Undersheriff and his SHERIFF - an expansive
politician type - are seated.
The Undersheriff eyes Schaeffer narrowly. The Sheriff
has a county map spread out on the table, amid break-
fast dishes, pointing directions to Schaeffer:
There... White Oak Road a couple
of miles before it ties into two-
twenty-two. Got it?
Got it. We owe you one, Sheriff.
My man Holmes here put it
together. Fine officer, Chief.
He spoke to the doctor at the
Undersheriff Holmes and I have
talked on the phone.
(nods at Holmes)
Sure you don't want us to post
some back-up units?
If we need any help, we'll give
you a shout. I'd like to slip in
there quiet, then get out before
we attract any attention.
132. EXT. CAFE PORCH - DAY
As Schaeffer and his men are climbing into their car.
Holmes and the Sheriff watch after them.
Maybe I'll take a drive over
Let 'em be. It's their dirty
But Holmes pauses to watch Schaeffer's car pull out.
133 EXT. RURAL LANE - LANCASTER COUNTY - DAWN
With the first light of dawn on the eastern horizon,
Schaeffer's car approaches along the lane, pulls into
the Lapp driveway and comes to a halt.
In the b.g. we can make out the farmhouse and
HOLD as Schaeffer, McElroy and Fergie step out of the
They break out short-barreled twelve-gauge pumps,
start TOWARD CAMERA, spreading out as they turn up the
long driveway . . . figures of ominous intent striding
through the misty dawn.
GOING WITH the trio of gunmen . . . McElroy, breath
smoking in the chill, eyes the terrain:
Weird, man. No fuckin' electricity.
What do you figure they plug all
their shit into?
They don't have any shit.
134 INT. KITCHEN - DAWN
Where Eli is getting into a heavy coat, preparing to
go out . . . the remains of the hearty morning break-
fast are on the table. Rachel is beginning the
135 INT. BARN - DAWN
Book and Samuel are starting the morning milking . . .
136 INT. KITCHEN - DAWN
Eli is preparing to extinguish the lamp when suddenly
the kitchen door is kicked open and McElroy and Fergie
weapons leveled, burst in. Eli reacts with angry
as Schaeffer enters: Rachel is, for a moment,
Check out the rest of the house.
He turns to Eli, who is standing in the middle of
the room. Schaeffer flashes his badge:
136 CONTINUED 136
We're police officers. We're
looking for a fugitive, John
Book. He's living here?
I have nothing to say to you.
Get out of my house!
You speak English. Good.
Now listen --
No, you listen. Get out!
Lady, I'm here to help you.
This man is very dangerous.
An armed criminal.
He's got a gun, hasn't he?
You have no right here!
He's not in this building.
All right, where is he?
Suddenly Eli SHOUTS: it's deafening. Probably the
loudest noise Eli has ever made:
McElroy whips around, smashes Eli on the temple with
the butt of his shotgun. Eli crumples to the floor.
Rachel SCREAMS, rungs to Eli.
137 INT. BARN - DAY
Book and Samuel in the milkhouse. They've heard
Eli's outcry. Book moves to the window, looks out.
137A BOOK'S POV - FERGIE
About halfway between the barn and the house. He
turns from glancing back toward the house (having
heard Eli's shout) and starts again toward the barn.
gun at the ready.
137B INT. BARN - DAY
As Book REACTS.
138 INT. KITCHEN - DAY
Rachel kneeling next to Eli, wiping at his bruise with
a damp cloth. Schaeffer looks on.
You might have killed him!
Find Fergie, check the barns.
I'll watch these two.
McElroy nods, moves outside, turns toward the barns.
139 INT. BARN - DAY
Book still at the window, Samuel now beside him,
trying to get a look.
Is it them?
(turning, mind racing)
It's them, Sam.
(he bends to the boy,
takes him by the shoulders)
Now, Sam, listen to me and
listen to me carefully. Listen
to me as you never listened before.
Are they going to kill you?
Listen to me, Sam! I want
you to go across the new corn
to Stoltzfus'. Run as fast as
you can. And stay there!
139 CONTINUED 139
What are you going to do?
I'll be all right. You just
do as I say.
He takes Samuel by the hand, leads him to the side
He bends, holds the boy close.
Don't let them hurt you.
Samuel toward door)
I won't. Now run.
(as Sam looks back)
Fast as you can!
Sam turns, takes off.
140 EXT. REAR DOOR - DAY
141 EXT. BARN - DAY
Fergie almost to the upper barn, McElroy - well back
and moving slowly, circumspectly - headed toward the
141A. INT. BARN - DAY
Book, at another window in the lower barn, sees
McElroy heading for the milkhouse door. He can't
see Fergie. He turns, crosses the cowpen area,
climbs an inner ladder leading to the upper barn.
141B. EXT. BARN - DAY
Fergie at the door to the upper barn, moving very
cautiously, gun up. He eases around the doorpost,
141C. INT. BARN - ANGLE PAST BOOK
Beyond Book, now at the top of the ladder, we see
Fergie easing into the barn. Book pulls himself
up, crawls behind the wall of the mule stalls, opens
eases in beside Luke, urgently whispering and patting
the animal to calm him. He gets to the animal's
head, crouches, strokes Luke's nose. The mule's
huge flanks quiver, his nostril's and eyes widen,
but he makes no untoward sound. Book closes the gate.
BACK TO FERGIE
He comes on warily, muzzle first, eyes darting.
DOLLYING WITH him as he reaches the first mule's
stall, opens the gate. An edgy mule turns, eyes him,
shuffles nervously. Fergie backs off, moves on.
As he listens, tenses, hearing Fergie's feet in the
fresh straw. Book eases back alongside Luke, waits.
BACK TO FERGIE
As he approaches Luke's stall, reaches for the gate-
BOOK - - FLASH CUT
As the gate swings open, Book shouts and gives Luke a
whack on the barrel. The mule's pent-up nerves and
feral energy explode in an horrendous SCREAM.
Bowled backwards by the rearing animal as the gate
flies open, involuntarily FIRING, suddenly finding
himself under the lethal hooves of a twelve-hundred
pound beast. Staggering backwards, he SCREAMS, FIRES
again, the load striking the mule in its heaving
chest as a flailing hoof smashes into Fergie's head
and the other hoof snaps his shotgun in half like a
As he slips out of the stall, ducks toward the rear
of the barn.
Fallen, skull smashed...and now the dying Luke's legs
buckle and he collapses atop Fergie.
141D. EXT. BARN - DAY
McElroy standing still, shock-eyed, looking toward the
sound of the shots. Then starting slowly forward.
On the porch of the house, looking toward the barn.
141E. EXT. FIELD - DAY
Some distance from the barn, Samuel's hearing the
stops dead in his tracks.... the sound of the shots
still REVERBERATING across the quiet fields.
He hesitates, then turns, starts trotting back toward
141F.EXT/INT. KITCHEN PORCH - DAY
Rachel has moved into the open kitchen door, glances
anxiously toward the barns. starts out. Schaeffer
pushes her back.
Get back in there
My son is out there!
Nobody's going to hurt your son....
141F. EXT. BARN - DAY
As McElroy, checking the safety on his twelve-gauge,
steps into the barn.
141G. INT. BARN - DAY
McElroy flattens himself against the wall, looks
141H. EXT. FRONT PORCH - DAY
Schaeffer staring toward the barn, SHOUTS:
What the hell happened?
He listens, hears nothing, snorts, starts toward the
barn checking his gun, not hurrying.
141I. INT. KITCHEN - DAY
Eli now seated at the table, holding a cloth to his
Rachel at a window, peering out. Schaeffer on the porch
141J. EXT. FIELD - DAY
Samuel running as fast as he can trips as he crosses
a small muddy stream, falls full length, scrambles
up, runs on.
141K. INT. BARN - DAY
McElroy, moving very cautiously, comes around the mule
stalls, stops short, stares o.s.
HIS POV - FERGIE
Where he lies half buried beneath the huge bulk of the
mule, his head crushed like an eggshell,
BACK TO McELROY
As he moves on around Fergie and the dead mule,
planting each foot as if he were walking in a mine
Standing in shadow at the back of the barn next to a
HIS POV - McELROY
Moving toward the center of the barn.
As he starts to move even further back, he nudges into
a rope fastened to the wall behind him, He looks at
HIS POV - THE ROPE
It runs from where it is fastened to the wall straight
up to the center roofbeam of the barn to a trolley
to a track that runs the length of the roofbeam.
Attached to this trolley is a big hayfork (Paul Krantz
has one), U-shaped, sharply-pointed at each end of the
U. the points hanging toward the floor. The thing
weighs about eighty pounds, and is suspended in place
by the rope anchored at the wall next to Book.
BACK TO BOOK
Keeping one eye on McElroy, he carefully begins to un-
tie the trip rope.
Moving out toward the center of the barn, almost under
the suspended hay fork. He stops short, listens.
either spotting a moving shadow or hearing a SOUND, he
FIRES. His shot rattles off the side of a manure
spreader. He SHOUTS:
Book, you sneaky bastard, I
know you're hot! Come out
141L EXT. BARNYARD - DAY
Samuel, at the top of the barnyard, stops at the SOUND
OF THE SHOT, wide-eyed. He listens for an-instant,
starts a step toward the barn, then stops again, looks
to a large bell suspended in a cupola by one of the
outbuildings. He moves quickly to the bell, seizes
the rope, pulls. The bell CLANGS loudly, Sonorously
On the front porch, looking around for the location of
the sounding bell. He takes a step toward the barn,
the stops, looks back toward the house...frustrated.
141M. INT. BARN - DAY
Book watches as McElroy starts to move again look-
ing back toward the SOUNDING of the bell
HIGH ANGLE - HAY FORK
Looking down we can see McElroy almost directly beneath
the hay fork. The bell SOUNDING throughout
Waiting...trip rope in hand. Then:
And he lets go the trip rope.
As he turns toward the SOUND of Book's voice.
As it plummets down, causing a RATCHETING SOUND that
fills the barn, even drowns out the SOUND of the bell.
Eyes darting wildly, looking up.
HIS POV - HAY FORK
Plunging straight for him.
Diving to one side.
ANGLE - HAY FORK
THUDDING into the barn floor like a great trident fork.
Quivering there, not a foot from McElroy's head.
Staring at the fork pop-eyed.
Sprinting toward a ladder thrust up through an opening
in the barn floor just in front of his parked car.
Spotting Book, coming up to one knee, quick-aiming,
FIRING. The shot smashes the windshield of the car.
Diving, rolling, slamming into the top of the ladder,
flailing down out of sight.
FIRING AGAIN, then again. Emptying the gun, cursing
as he begins to reload, gets to his feet, starts toward
the ladder. The BELL still SOUNDING outside. The
hood of the car SLOWLY POPS UP.
As McElroy wheels at the movement of the car's hood,
McELROY'S POV - LAPP BUGGY
The buckshot virtually blows the dashboard Off
141N EXT. BARNYARD - DAY 141N
Samuel RINGING the bell. The bell rope is short, and
so is Samuel and his feet go off the ground with every
swing of the rockerarm. He hangs on grimly, his black
hat clinging to the back of his head, his face set
against the tears that move down his cheeks.
Comes hesitantly down the path toward the barn, looking
toward the sound of the bell, but also looking back
in glances toward the house to make sure Rachel and E1
stay where they are. He still can't see Samuel.
HIS POV - THE PORCH
As Rachel starts off the porch, takes a few steps.
You stay put!
She stops. She is also unable to see Samuel.
Moving out toward the barn, rounding a corner...and
there is Samuel at the bellrope. He starts toward him.
141O EXT. FIELDS - DAY
Beyond Samuel, well out in the fields of the Stoltzfus
farm, Stotlzfus and others - including Hochstetler and
his brothers - are baling the first cutting of June
But the operation has come to a halt. All are looking
in toward the Lapp farm. hearing the RINGING OF THE
BELL (the Amish cry for help), wondering, hesitating.
But now, as we watch, led by Hochstetler, they start
in toward Samuel.
141P EXT. BARNYARD - DAY
As Schaeffer reaches Samuel, SHOUTS:
Cut that out!
Samuel looks at him, keeps on pulling. Schaeffer
crosses to him, grabs him by the back of the neck,
pull him off the bell rope. Samuel hangs on grimly.
Schaeffer yanks hard, succeeds in yanking Samuel free,
Shoves him roughly aside. Then Schaeffer turns, FIRES
a shotgun blast into the top of the bellrope. It still
hangs by several threads, so he FIRES again. The rope
drops to the ground. Schaeffer reloads, turns to look
at Samuel, just getting to his feet. A moment...when
Schaeffer, recognizing Samuel as the Amish kid who saw
McElroy kill Zenovich, perhaps thinks of disposing of
the witness right then and there. But a glance toward
the oncoming Amish gives him pause. He SNARLS at Sam:
Get down to the house and stay
Samuel gets to his feet, turns, trots off.
Already halfway out to the barn, running to gather
Sam in her arms...then to lead him back toward the
Turning, starting very slowly toward the barn.
141Q INT. BARN - DAY
McElroy at the top of the ladder, looking down.
Then easing over, placing his feet on the rungs.
He stands below in a cowpen, using the cows for cover.
The cows stare balefully at him. A large goat nuzzles
him, hooks at him with its horns Book waits, watches.
HIS POV - McELROY
Visible to his knees as he eases down the ladder. He
stops at every rung to scrape his shoes free of the
cowshit covering the rungs.
BACK TO BOOK
He turns now to a door at the back of the pen. He un-
hooks it, pulls it open, moves inside.
ANOTHER ANGLE - BOOK
He is now in a small passageway giving on to the en-
trance to a nearly-empty silo. Above the entrance,
a ladder (interior) rises to the top of the structure.
Book looks in, and up. We should get the impression
that Book's been here before, expects what he sees.
WHAT HE SEES
Forty feet up, a patch of blue sky through an open
BACK TO BOOK
He steps through to the base of the ladder, then ducks
beyond it into the silo. There is about two feet of
old silage covering the floor. He turns, looks up
the white walls.
HIS POV - INSIDE SILO
An inside ladder runs to the top.
HIS POV - KICKBOARD
Standing against the wall next to the entrance.... ob-
viously to be inserted as the silo is filled.
Now, quickly, he ducks back out through the entrance,
crosses to the door to the cowpen, very cautiously
WHAT HE SEES
McElroy at the bottom of the ladder, looking in the
other direction (toward the milkhouse).
BACK TO BOOK
Very carefully he shoves the cowpen door (which opens
outward into the cowpen). It begins to swing very
slowly open. Book immediately turns, darts back into
Turning slowly toward the cowpen...then FIRES twice as
eye catches the motion of the swinging door. His
blow half a row of Eli's precious tools off an adjacent
wall. McElroy reloads, starts across toward the door.
141R INT. KITCHEN
Old Eli, at the sight of Samuel, rises from the table.
Rachel stands aside as the old man embraces Samuel long
and hard. she watches as he turns to the cupboard,
takes down the big family Bible. He crosses to the
table, sets the book down, places his hand on its
pulls Samuel to the table beside him. Rachel holds
Another beat as she stares at the old man helplessly,
then she rushes to where she hid Book's gun, takes
it down . . . her trembling hands take the bullets
out of the coffee jar. she drops several as she
tries to figure out how to open the chamber to load
In the b.g., Eli glances up, sees what she is about
. . . he rises and crosses to her. Samuel watches from
No, Rachel. . .
I have to help him!
Rachel somehow manages to open the chamber and begins
to load the bullets. Eli's callused hand closes over
hers, halting the action:
It is not our way!
Bullets are already CLATTERING to the floor from her
trembling fingers as she raises her eyes to Eli's.
A long beat as Rachel looks at him . . . Finally
her fingers release the pistol and it CLATTERS to the
floor. She closes her eyes. Samuel, who has gotten
moved to a window, watches Eli and Rachel silently.
Eli leads her to the table, places her hands on the
Bible beneath his. They stand there and they pray.
141S. INT. SILO - DAY
Book finishes putting the kickboard into the entrance.
Moving among the cows, stepping cautiously between the
cowflops. The goat nudges him once, then butts him
rather firmly. McElroy swats at him with the gun
butt, moves to the door. As he arrives, he HEARS
a noise - very slight - from the direction of the
silo. He enters the passage way, looks in toward
the silo entrance, He hesitates. Another slight
noise. He steps in to the base of the inner ladder,
HIS POV - THE HATCH
The patch of blue sky, forty feet up.
BACK TO McELROY
He frowns, reaches out, grabs a rung.
141T. INT. BARN - DAY
Schaeffer, easing toward the mule stalls, MUTTERS,
CURSES under his breath. Then he rounds the corner
of the first stall...and there is Fergie with Luke
the mule on top of him. Schaeffer stares, blinks...
moves on spotting a spent shotgun shell near the
141U. INT. SILO - DAY
Book listening at the kickboard. SOUNDS of feet,
shotgun rattling against metal rungs, Book moves
to the ladder on his side, starts silently up.
Climbing with difficulty, shotgun clutched in one hand
He climbs up to the second kickboard, pauses, checks
the distance to the floor, starts upward again,
141V. BARNYARD DAY
The Amish beginning to arrive. Sam comes running, pulls
Stoltzfus toward the door of the milkhouse as the
other Amish look at the shot-shattered bellrope.
and Eli come rapidly up the path toward the group.
141W. INT. BARN - DAY
Schaeffer finds another spent shotgun shell, crosses
to the ladder, looks down. He sets his shotgun down,
takes out his service revolver, starts down.
141X. INT. SILO - DAY
Book has reaches the third kickboard, about thirty
feet from the ground. He checks it, turns the thumb-
screws that hold it in place, places his hand on the
handle, moves to one side as best he can...hangs
Rattling up the other ladder, approaching the third
Listening tensely, hearing McElroy arrive on the other
side of the kickboard. Then, deliberately, Book makes
a fist, raps on the board smartly once.
Startled, REACTING. He sets his feet, leans back
against the back wall of the ladder well, brings the
shotgun up, puts the muzzle against the kickboard,
clicks off the safety.
We HEAR with him the thump of the muzzle, the CLICK...
and, with marvelous speed, Book pulls the kickboard
and drops it to the floor.
McELROY - FLASH CUT
Staring in, stun-eyed, already falling forward (having
leaned his weight on the shotgun).,.as Book seizes the
shotgun by the barrel, pulls inward.
As McElroy pitches forward through the opening, SCREAMS
and GRABS as he plunges past Book. The shotgun FIRES
as McElroy manages to hold onto Book, and both men
plunge thirty feet to the bottom of the silo.
He falls almost straight down, lands on his back, lies
His forward motion has carried him across the silo.
head bounds off the white brick wall about five feet
and he falls in a heap, blood gushing from his head,
TIGHT ON BOOK
Blinking, groaning, just beginning to stir...and,
into the frame comes a hand with a pistol in it. The
muzzle is placed firmly against Book's temple.
Schaeffer holding the pistol. He cocks the pistol,
tenses as if to FIRE (and he is actually about to)...
when there is a SOUND behind him. He snaps around
WHAT HE SEES
Old Stoltzfus and Samuel standing in the kickboard
opening (Schaeffer having kicked the kickboard in
when he heard the shot from within the silo). They
stand solemnly, looking on as:
He eases the hammer down on this pistol, speaks softly:
Okay, Johnny. On your feet.
As Book struggles to his feet - Schaeffer holding the
pistol tight to Book's head. Book turns, sees Samuel
and Stoltzfus, blinks. Schaeffer shoves Book toward
the opening. As Book moves toward Samuel, he speaks
It's okay, Sam.
As Book and McElroy move out of the silo, down the
passageway toward the milkhouse, Stoltzfus and Sam
(after a glance in at the inert McElroy) follow And
141Y EXT. BARN - DAY
As first Stoltzfus and Samuel, then Book and Schaeffer
emerge into the barnyard. Schaeffer has the muzzle of
his pistol pressed firmly against Book's throat, just
below his jaw.
Schaeffer pulls up, frowning:
WHAT HE SEES
The Amishmen gathered - the Stoltzfus family, the
Hochstetler brothers, et alia. All staring hard at
Schaeffer and Book.
156 EXT. BARN/DRIVE - DAY
From a high wide angle the final scene is played out.
Schaeffer and Book, now moving again slowly up the
drive, the Amish following along closely on both sides.
157 CLOSE ON BOOK 157
as Schaeffer prods Book forward, warily eyeing the
Get back, you people!
Keep moving, Johnny....
Book takes a couple of steps further, then abruptly
stops. The Amish stand about close, staring, no one
moving. Book now slowly turns his head, looks at
You're going to have to do it
right here, Schaeffer.
Don't try me, Johnny!
Eli steps forward, bloody cloth held to his head.
So...will you kill us all,
As Schaeffer's eyes waver between Book and Eli, Book
slowly turns until he is facing Schaeffer... the gun
now leveled - and almost pressing against - Book's
chest. Book locks eyes with Schaeffer. Quietly:
It's all over, Paul.
Move! Or you die right here!
Book's right hand snakes out, grabs Schaeffer by the
gunhand wrist, twists viciously, Schaeffer SCREAMS
in pain, the gun falls out of his hand, he starts to
his knees under the force of Book's grip.
As Book bends, picks up the pistol, releases Schaeffer,
pushes him away. Schaeffer staggers against
who - partly to keep him from falling, and partly (it
appears) to congratulate him on his surrender - wraps
one brawny arm around Schaeffer's shoulders, gives him
a short approving nod...holds Schaeffer as:
Turning, looking into the crowd, finding Rachel. Their
gazes meet, hold for a long MOMENT. In the eyes of
we read resignation...whatever there was between them
has been terribly damaged. It is almost certainly over
for them, too.
159 EXT. BARN - DAY
HIGH SHOT holding the moment.
160 EXT. LAPP FARM - LATE AFTERNOON
The door opens and Book steps out, looking somehow
strange in his working suit. He looks about him, sees
Samuel down by the pond.
161 EXT. POND 161
He eases down beside Samuel. They both stare into the
Are you really ever coming back?
Got to, Sam. You and I are
going to a courthouse together,
put some people behind bars.
Have you got your gun on now?
Sure have, Sam.
Sam grins. Book takes him in his arms, holds him.
162 EXT. HOUSE - DAY
Book opens the door of the car, turns to find Rachel
standing there with his Amish hat in hand.
I want you to take this...to
Where's my baggy pants?
Here. Whenever you want them.
He wants to kiss her, but does not. Their eyes say it
all. Eli has a final word, SHOUTING from the porch.
You be careful, John Book! Out
among them English!
Book gets quickly into the car.
163 INT./EXT. DRIVEWAY - LAPP FARM - DAY
As Book drives, he sees an open buggy coming down the
hill toward the farm, He slows as he passes, It's
Daniel Hochstetler. A long beat, and as they pass,
Hochstetler gives Book an expansive tip of his hat.
164 INT. BOOK'S CAR
Book turns to look back at his rival, a doubt in his
eyes. FREEZE FRAME.