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Witness (1985) screenplay

by Earl W. Wallace and William Kelley

 
1         EXT. LANCASTER COUNTY, PA. COUNTRYSIDE - DAY

          (TITLE SEQUENCE)

     The faces of several young children are presented in
     CLOSEUP, as they walk TOWARD US across a ploughed
     field.  On the SOUND TRACK, the haunting SOUNDS OF A
     GREGORIAN FUNERAL CHANT. The CAMERA PANS UP to the
     faces of older brothers and sisters, then to parents
     and grandparents.  These are not familiar faces, but
     faces from another age, strong and open.  All are
     dressed in the distinctive clothing of the Amish.


2    EXT. COUNTRY LANE - DAY                           

     Through the last traces of early morning mist another
     group of black-clad figures make their way down a lane.


3         EXT. COUNTRY LANE - DAY


     An Amish buggy, black and highwheeled, stark against
     the landscape, appears, a spirited chestnut in the
     traces.
     Framed in the glass window of the narrow buggy is the
     stern figure of an Amish man in black topcoat and
     flatbrimmed hat, his bonneted wife in muted colors,
     the face of a boy, attired like his father, peering
     out.
     The horse's breath smokes on the frosty air, the buggy
     CREAKS on its springs, and there's the rhythmic CLIP-
     CLOP OF HOOVES on the pavement.

4         ANOTHER LANE


     Two Amish buggies reach a crossroads, join a procession
     of three others.  They disappear as the lane wends
     through a leafless thicket of hickory.

5         VALLEY


     A BIG SHOT... now the procession numbers almost a dozen
     buggies... it is headed toward a distant farmhouse.

6         BARNYARD

     Where literally dozens of carriages are parked.  The
     horses have been taken from the traces, removed to the
     shelter of the barn.

7         EXT. LAPP FARMHOUSE - FRONT PORCH


            As the black clad mourners begin to move into
	the
            house (women and children presumably first).

8    INT. LAPP FARMHOUSE


             the coffins the upper half open.  We see that
	the worse
             has been dressed in white linen, a piece of
	white linen
             partially covering the bearded face.
             END TITLE SEQUENCE.

9     INT. LAPP FARMHOUSE

             Partitions have been removed, making the
	central rooms of the farmhouse a spacious hall.  The place is
	packed, a hundred-fifty or more Amish, all sitting in
	absolute silence on rows of wooden benches.
             A wooden coffin rests on a bench in the f.g.,
	and near it the close relatives of the deceased occupy a
	special Place.

             RACHEL LAPP

             A young woman of perhaps twenty-seven.  Her
	face is pale and drawn.  In happier circumstances,
	although there haven't been too many of late in Rachel's
	life,  we would see a robust, sensual woman of full
	figure,  spirit and intelligence.

             Eight-year-old SAMUEL LAPP flits next to his
	mother; he
             would appear stunned, possibly not entirely
	comprehend-
             ing events.

             And the patriarch, ELI LAPP; his stubborn,
	weathered -
             yet not unkind - features grief-stricken.

             THE MOURNERS
             Their faces...

             CLOCK
             as it begins to CHIME nine a.m.

             FAVORING PREACHER

             as he removes his hat.  As one, the men in the
	congre-
             gation remove their hats also.

9         CONTINUED:

          Then the preacher begins to speak in a formal
	German
          dialect:
          (SUBTITLES OVER)

                                        PREACHER
                         ... a brother has been called home.
                         God has spoken through the death of
                         our neighbor, Jacob Lapp...

          THE FAMILY
          where Rachel, Samuel and Eli are sitting-  SOUNDS
	of emo-
          tion and grief not quite suppressed are heard
	throughout as:

                         PREACHER
                    ... husband of Rachel, father to
                     Samuel, son of Eli.
                         (and)
                    His chair is empty, his bed is
                    empty, his voice will be heard no
                    more.  He was needed in our
                    presence, but God needs such men,
                    too.  That one should be taken so
                    suddenly.   Treat sorrow.  Still, we
                    would not wish him back.  Rather we
                    should prepare ourselves to follow him.

          TIGHTENING to the Lapps, and...

10        EXT. CEMETERY


          The mourners have gathered about the grave,
	standing in
          silence as four pallbearers are lowering the
	coffin
          into the pit.  The many buggies are aligned in the
	b.g.
          As the pallbearers begin to shovel soil and gravel
	into
          the grave, the Preacher begins to read a hymn in
	German
          ... a slow atonal litany which seems to hang
	forever on
          the frosty air.

          RACHEL

          TIGHTENING to her as the hymn continues...

									CUT TO:

11        INT. LAPP FARMHOUSE						11
          where the Amish have gathered for the traditional
	post
          funeral, midday meals.

11   CONTINUED:								11

	Long tables are laden with customary Amish  fare
          	... crocks of soup, hams, fowl, fried boiled eggs
	and pickled beets, preserves
          	and an infinite variety of pies and pastries.

          RACHEL

	Where she sits among women, accepting their
	condolences.

          DANIEL HOCHSTETLER

          	A brawny-armed, ruggedly-handsome, raffish looking
	Amishman.
	There is  something atypical about his face  a slightly
	sardonic set of
	mouth, a bold  eye, a prominent set of jaw. Not exactly
	what old Jacob
	Ammann had in mind, maybe,  but a well set-up man
	nonetheless, and at
	ease among men. He's among a group of men including old
	STOLTZFUS,
	the local healer, FISHER, BIEILER and Bieiler's stout
	young son, Tom.

		                             STOLTZFUS
                                   	Lapp was a good farmer.
			None better.

                                                  BEILER
                              	But not the man to buy a horse
               	      	for you.
                                         (and)
                             	Hochstetler, wasn't it your
			father
                              	sold him that horse with a
			ruptured  testicle?

                                                  TOM
                                              (grins)
                              	Told him it was a bee sting
			made
                              	him limp that way.

                                               HOCHSTETLER
                                                  (amused)
                              That horse had one good ball.
                              That's all it takes.

               The others chuckle.  But Hochstetler's
	attention is  still on Rachel.

               RACHEL

               as Hochstetler looms on the horizon, plants
	himself  like a tree in front of her.

11        CONTINUED: (2) 							11

            At ease as he was with the men, he's a bit awkward at this.
     All the women, very much aware of Hochstetler's availability, tune in as
     Rachel looks up.

                                              HOCHSTETLER
                                   I was sorry to hear about Jacob.
                                   Let us hope he walks close with
                                   God.

                                             RACHEL
                                   I'm sure he does, Daniel.

12        FIELDS, LAPP FARM - DAY						12

     It is some time after the funeral and the Lapp family is hard at work
     breaking ground for the spring ploughing. The death of Jacob has
     increased the work load on; all three - Samuel maneuvers a four-mule
     team while Rachel and old Eli work nearby, further breaking up the
     earth. Rachel looks up from the back-breaking labor as several figures
     approach - it's Daniel Hochstetler and two of his brothers. Without a word
     they fall in beside Eli and Rachel and take  up various tasks associated with
     the work in hand. Daniel works close beside Rachel.

12A  EXT. COUNTRY ROADS, LANCASTER COUNTY - DAY			12B

               A few BRIEF SHOTS of a lone buggy containing the Lapp family take
      us from the 18th century into the 20th century  the reassuring RATTLE
     OF THE CARRIAGE WHEELS on  quiet backroad, to the ROAR OF
      TRAFFIC as the buggy waits patiently for a chance to cross a busy
     interstate highway.

12B  EXT. HIGHWAY, LANCASTER COUNTY - DAY				12B

     A huge tractor trailer rig hovers over the frail buggy as it trots down
      the interstate.  The camera cranes up to reveal a procession of vehicles
      behind the truck for a chance to overtake it.

13   OMITTED                                           					13

14   EXT. PLATFORM, LANCASTER STATION - DAY				14

               Daniel Hochstetler moves through the crowd on the plat-form, Rachel
     turns surprised, as he approaches, a faint color coming to her cheek.

                                        RACHEL
                                Daniel?


14        CONTINUED:								14

                                        HOCHSTETLER
                          I...I was at the feed store.
                          And I saw your horse, so...

          There is an embarrassment between them broken by the
          arrival of the train.

                                        HOCHSTETLER
                                   (continuing)
                          You will come back soon?

          Samuel can barely contain his excitement as he drags at
          his mother's hand.

                                        SAMUEL
                          Quickly, Mothers  Quickly!

          Rachel embraces Eli.

                                        ELI
                          You be careful out among them
                          English.

          She turns to Hochstetler.

                                        RACHEL
                          I need time, Daniel.


14A   EXT. CARPARK, LANCASTER STATION - DAY				14A

	Daniel Hochstetler leaps into the driving seat of his open
	 wagon and with a flick of the reins and a whoop
          sets his horse off at a fast trot.


14B  EXT. TRAIN - DAY								14B

          The ENGINE gives a WARNING BLAST before creeping slowly
          forward.


15        OMITTED								15


16        INT. TRAIN (MOVING)
16

          as Samuel spots something out of the window that causes
          him to light up.

                              SAMUEL
                          Look, Mama...l


17   HIS POV THROUGH WINDOW						17

             A road runs parallel to the train track, and Hoch-
               stetler in his wagon urges his horse almost to the
            gallop as he attempts to keep pace with the train.


18   BACK TO SCENE								18

             as Rachel smiles.

                                               RACHEL
                         I see, darling.

             And Samuel cranes to look back, waving, for as long as
             he can.

18A   EXT. LANCASTER COUNTRYSIDE - DAY					18A

             The train moves across a broad panorama of fields,
             dotted with dolls'-house-sized farms and the tiny
             figures of Amish farmers working their horse-drawn
             equipment.


19   SERIES OF CUTS								19

             as the train continues its eastward journey... Samuel
             stares raptly out of the window at the changing pat-
             terns of the countryside.  He points in wonder at a
             brightly colored hot air balloon as it drifts slowly
             over timbered hills... he looks unsure as the pattern
             of field and wood gives way to suburbs, bustling shop-
             ping centers, restaurants, car lots and fast food
             outlets.


20   EXT. PHILADELPHIA SLUMS						20

             as the train travels past dilapidated row houses,
             streets choked with cars and the gutters with filth.


21   INT. TRAIN (MOVING)							21

             Now Samuel is staring out the window with some confu-
             sion, almost apprehension:

                                               SAMUEL
                                 Is this where we're going?

                                               RACHEL
                                 Of course not.  We're going to
                                 Baltimore.  It's much nicer in
                                 Baltimore.

21           CONTINUED:								21

               And Rachel draws her son closer, turning her back on
               the window.

22           OMITTED								22

23           INT. 30 ST. STATION, PHILADELPHIA - DAY				23

               Rachel is in a line at one of the counters. The plain
               dress of the two Amish - particularly Samuel's black
               coat and hat - are drawing curious stares.

               SAMUEL

               He's uncomfortably aware of the shy looks and giggles
               of a little girl about his own age, standing in line
               with her parents at the next counter.
               He edges away from his mother...

               ANGLE

               as Samuel comes upon a figure garbed in a long black
               frock coat and flat-brimmed hat... the man's back is turned, 
	   could, from appearances, be an Amishman.

               Samuel stares... A beat, the man turns to face Samuel
               and we discover that he is a Hasidic Jew.

               SAMUEL

               as he reacts.

               BACK TO TICKET COUNTER

               as Rachel's turn arrives.  The TICKET SELLER glances up
               and she shows him her ticket.

                                                   RACHEL
                                   We have a ticket to Baltimore.
                                   Where is that train, please?

                                                 TICKET SELLER
                                   Delayed three hours. You'll hear
                                   an announcement when it's time to
                                   board.


24   CONTINUED								24


                  He starts to go without his hat, but Rachel collars him
                  and puts it on his head.

25   ANGLE IN MEN'S ROOM							25

              as Samuel enters.

              It's a long row of sinks, urinals, and stalls...Samuel
              stops before one of the urinals - a long, trough-like
              affair with water drizzling down the rear porcelain
              panel.

              It's set a little high for Samuel, and it is making
             GLUGGING-FLUSHING NOISES that are, at least,
               intimidating.  Samuel stares for a moment, then turns,
               looks toward the stalls, stoops to see which are empty.

               HIS POV - TOILETS

               beneath the row of doors we can see no feet visible.
               Samuel is alone in the restroom.

               BACK TO SCENE

               as Samuel proceeds along the row of door, finally
               selects a stall near the end.  He enters.
               As he does so, a heavily bearded youth in a dirty
               sweatshirt enters.
               With some urgency, he removes small notebook from his
               pocket and places it behind a paper towel dispenser.
               Suddenly he glances up.

               Two other men have entered the men's room; one is a
               large BLACK MAN in a three-piece suit under an ex-
               pensive, overcoat.  His PARTNER is a Caucasian in
               designer jeans, half boots and a short leather jacket.

               They advance on the young man with unmistakable menace.

               The young man whirls in terror; his two assailants
               lunge for him... a savage, wordless struggle ensues in
               the close confines of the lavatory.

               ANGLE IN SAMUEL'S STALL

               as the struggling men bounce off the door of his
               stall... he can see their feet under the edge of the
               door.

               BACK TO FIGHT

               as the struggle builds to a climax... ends with the
               young man stiffening with a grunt, his face draining of
               color. 
               The two attackers step away, the blade in the black
               man's hand bloodstained.  His partner stares at what
                 they've accomplished with a stunned expression:

                                                 PARTNER
                                   Jesus...

               The young man's hand comes away from his belly covered
               with blood.  He stares at it, staggers toward the
               sinks.  Finally his bloodied hand reaches to smear at
               his face in the mirror.  Then he collapses to the
               floor.
               The black man motions for his partner to watch the
               door, then quickly reaches up and removes the notebook
               from behind the dispenser.

               ANGLE IN SAMUEL'S STALL

               as he edges open the stall door a crack. Over his
               shoulder we can see the black man, his BACK TO US,
               rifling the backpack.  But beyond him, in the mirror on the
               far wall, we catch sight of the black man's face.

               SAMUEL

               as he stares out the narrow crack.  A beat, then he
               closes the stall door.

               ANGLE IN STALL

               Samuel tries to make the latch work, but it's warped
               and won't fall closed.

               BLACK MAN
               as he checks the notebook before placing it in his
               pocket.  His partner is covering the door, an automatic
               in his hand.

               The black man makes for the exit, then on second
               thought, glances at the row of stalls.

               HIS POV - STALLS

               All quiet, but...

               BACK TO SCENE

               The black man whips out a SR caliber revolver, and,
               starting at the near end, starts pushing open the stall
               doors.

25   CONTINUED:  (3)								25

     ANGLE IN SAM'S STALLS

              as the black man approaches, Samuel working desperately
              on the latch.  At the last minute he finally wedges it in.

              BLACK MAN

              He elbows Samuel's stall...the door won't open.

              ANGLE IN SAM'S STALL

              Fighting back panic, Samuel has retreated as far as he
              can.

              BLACK MAN

              as he gives the door a kick.  It holds.  He swears
              under his breath.

            ANGLE IN SAM'S STALL

              In desperation, Samuel does the only thing he can think
              of... he slips under the partition into the neighboring
             stall the black man just checked out. But he loses his
             hat in the process. His hand snakes back INTO FRAME to
             snatch it just as the black man gives the door a fero-
             cious kick that splinters the lock and nearly takes it
             off its hinges. He's framed there, the big muzzle of
             the .38 revolver looking down our throats.

              ANGLE

              as his partner snaps from the doorway:

                                               PARTNER
                                 Will you come on, for Christ's
                                 sakes!


              A beat, then the black man holsters his weapon, turns
              to follow the partner out.


              BACK TO SAMUEL

              as we hear the SOUND OF THE TWO MEN EXITING the
              lavatory. A long beat, then Samuel opens the stall door a crack.

25   CONTINUED:  (4)								25

              HIS POW THROUGH DOOR

              Samuel's own face reflected in the blood-smeared mirror
              ... then PANNING DOWN to the still figure of the young
              man lying in the crimson pool of his own blood on the
              floor.

26          OMITTED								26
thru										thru
29										29


30           BENCH WAITING ROOM - LOW ANGLE - NIGHT			30

              Samuel sits close to his mother, his face pale, his
              eyes staring.  Rachel holds his hand tightly in hers as
              the torsos of various police and officials pass through
              foreground, occasionally obscuring the lonely couple.
              There is considerable ECHOING NOISE as commands and
              requests mingle with the CRACKLE OF TWO-WAY RADIOS.

									CUT TO:

              DOOR - MEN'S' ROOM

              The diffused shape of faces behind the frosted glass of
              the Men's  room door, which is pushed open to reveal,
              JOHN BOOK, who comes striding through to be momentarily
              lost in the crowd of police, reporters and others.  He
              is about 40, with a rangy, athletic body. Behind him
              comes CARTER, Book's black partner - about five years
              younger than Book.  Book is wearing a suit, Carter is
              much more casually - almost disreputably - dressed.

									CUT TO:

              BENCH

              Little Samuel watching Book, back to crowd of police,
              as Book questions an old black CUSTODIAN.

                         				BOOK
                                      		You found the body?


					CUSTODIAN
                                      		Uh uh. Not me, daddy,
				I just reported it. It was
				the kid.

                                                       BOOK
	                                     What kid?

30      CONTINUED:								30

                                                CUSTODIAN
                                 How'n hell do I know what kid?
                                  The kid in the funny black
                                  threads.

             TIGHT SHOT - SAMUEL

             Worry-eyed, still staring straight ahead.  Then his
             eyes move suddenly to his left.

             BOOK'S LEGS - SAMUEL'S POV

             coming in at full stride, then stopping.

             SAMUEL

             He doesn't raise his eyes...just looks at the legs.
             And, slowly, the legs begin to bend at the knees.  We
             see Book ' s belt buckle, then his big pistol in its
             holster, then his face.  He stares at Samuel for a
             moment, then...

             ANGLE - BOOK

             as his face breaks into a big grin, and...

                                                  BOOK
			       Hi, kid.

	RACHEL

             immediately alarmed, intervening.

                                               RACHEL
                                             What do you
			         want of my son?

             THE SCENE
             as Book takes out his wallet, displays his shield.

                                               BOOK
       		            I'm a police officer.  I'm going
			to have to talk to the boy. 
	                        What's his name?

                                               RACHEL
                                 Samuel.  Samuel Lapp.

30   CONTINUED                                         					30


		                         RACHEL
		               then,  quickly)
		     But what happened here is none of
                             his affair.  My sister is expect-
                                ing me . . .  our train is leaving
                             soon.

                                        BOOK
                         There'll be another train.
                                (turns to Samuel)
                         The man who was killed tonight was a policeman, 
                         Sam.  It's my job to find out who did it.
	             I want you to tell me everything you
		 saw when you went in there.

                                           SAMUEL
                                (stammers)
                         I saw him.

                                       BOOK
                         Who'd you see?

      Sam looks at his mother.

                                      BOOK (CONT'D)
                         Who'd you see,  Sam?  The man on
                         the floor?

                                        SAMUEL
                         No . . . I saw the man who killed
                         him.

      Book stares at him in surprise,  speaks over his shoulder
      to Carter.

                                        BOOK
                         Anybody know about this?

                                               CARTER
                         I didn't even know about it.

                                       BOOK
                                (back to Sam)
                         Okay,  Sam.  Can you tell me what
                         he looked like?


                                       SAMUEL
                                       (groping, touching his
                             clothes and pointing at Carter)
                                 He was . . . like him.

                         BOOK
                                 (nods)
                         Black . . . I understand. What
                         else,  Sam?

     A beat,  then Sam crosses quickly to Carter,  Book's rather slightly built partner:

                                          SAMUEL
                         Not Zwartich,  like him -

     Book frowns,  puzzled:

                                            BOOK
                         Try that one again,  Sam -

     Samuel gives his mother a helpless look; exasperated,
     Rachel intervenes with Book.  She glances at Carter:

                                               RACHEL
               May I talk to you?

     ANGLE

     As Rachel takes Book aside,  and in a low voice:

                                        RACHEL (CONT'D)
                       Zwartich   . . It's the way we say
                      . . . dwarf.
                                 (glances at Carter)
                      Not like him . . . very big.

     Book nods,  starts to turn back to Sam.  Just then a
     commotion o.s. catches his attention.


31   OMITTED                                           					31

31A  BOOK'S P0V - ONCOMING COPS						31A

             It's Capt. TERRY DONAHUE,  Chief of Homicide, striding
             past  the crowd of journalists and TV crews . .. brushing
             off  reporters' questions and snapping orders to the
             aides he's got in tow:

             BACK To SCENE

             As Donahue comes on Book:


				DONAHUE
                                       (to aides)
                             Close it all down . . . I want a man
                             on every exit . . . I want the lab in here
                             now !
                                       (to Book)
                             And I want to talk to you, Captain.

             ANGLE

             As Book steps aside with Donahue . . . In the b.g.
             Rachel moves protectively to Samuel's side.

                                            BOOK
                                   All right,  talk.

                                    DONOHUE
                           This is homicide - not Internal
                           Affairs!  So why are you behaving like
                           you own this case?

                                            BOOK
                             We were running Zenovitch . . .
                             That's all I can tell you. But
                             I want it,  Terry.
                                  (then)
                             I've got a call into Schaeffer.

             RACHEL/SAMUEL

             They can't help but watch the confrontation between
             Donahue and Book . . . although they're keeping the
             volume down,  it's obviously intense and angry:


				SAMUEL
                                  (alarmed)
                          Momma . . . are they angry with
                             us .


				RACHEL
                               (reassuring,  but
                                   hardly in her own mind)
                             No . . . No.  It is just the English
                             way.


31A  (CONTINUED)								31A

              Donahue has lost the confrontation; he gives Book a
              smile:

                                             DONAHUE
                             You ought to think about coming back
                             to Homicide, Johnny. . . Stick with
                             Internal Affairs and you're not
                             gonna have any friends left.

                                                 BOOK
                                     (smiles right back)
                             I'll buy a dog.

32   EXT. 30th STATION - NIGHT						32

              Book emerges from the terminal, looks about Him,
              then crosses to a big Mercury Sedan which is parked
              nearby.  Two men sit in the front seat.  Book crosses
              to the driver's side and opens the door.

                                               BOOK
                             Go get a cup of coffee, Stan.

              The driver, a uniformed policeman, glances at the
              man beside him who nods in agreement.  He gets out
              and Book gets in behind the wheel.

33   OMITTED									33

34   INT. SEDAN 								34

              Book sits next-to SCHAEFFER, a surprisingly kindly
              looking man of about fifty.  Schaeffer is a Deputy
              Chief.

                                         SCHAEFFER
                            How reliable is this kid?

                                                 BOOK
                            Oh,  he's good.

                                                 SCHAEFFER
                            Amish.

                                                 BOOK
                            Yeah.


34   (CONTINUED)								34
                                                SCHAEFFER
                            What have you got?

		                         BOOK
		     Zenovitch was about to deliver a list
		     of names ton	ight -- street
		     chemists...the guys processing this
		     P2P into speed.

			               SCHAEFFER
		     So one of them got to him.

			               BOOK
		     Maybe.

			               SCHAEFFER
		     You know who?

			               BOOK
		     Maybe.

			               SCHAEFFER
		     You're still convinced there's a link
		     to the department?

			               BOOK
		     If there isn't I've just wasted the
		     last six months.


				SCHAEFFER
                                        That's  the problem. We need
                                        results. The press is driving
                                        us crazy over this P2P thing.
	                            Calling us the speed capitol of the  
                                        country'. You know the sort of
                                        thing . It's getting political.
                                        The Commissioner's getting very
                                        uneasy.

			                         BOOK
	                                The Amish boy saw him, Paul. I'll make it,
                                         but Set Donahue and the Homicide Department off
                                         my back or they'll blow the whole thing.


					SCHAEFFER
                                    When word gets out that Zenovitch
                                    was a cop, all hell will break
                                    lose. You've got 24 hours. That's
                                    all I can give you. 24 hours on your
                                    own. After that the case and the
                                    witness go back to the Homicide Department.

34        CONTINUED:							          34             

					SCHAEFFER
            		                    (shakes his head)
	            	             Tell you what... why don't you and
	                         that blonde - what's-her-name -
	                         come over for dinner Sunday.  How
                                         'bout that.

				          BOOK
			What's-her-name moved to Buffalo.
	
            		                            SCHAEFFER
	                                   (Sighs)
	                         Well, anyway, don't get crazy.
	                                   (dismisses him)
	                         I'll do something for Zenovich's
	                         wife.

35        OMITTED 								35

36        INT. BOOK'S CAR (MOVING) PHILADELPHIA - NIGHT			36

	Book drives around 13th Street, a ravaged corridor between neon-lit
            restaurants, bars, porno shops and darkened storefronts.
            Carter sits beside him, Rachel and her son in the back seat looking out at the
     	assorted array of desperate characters huddled in doorways or
            wandering aimlessly about.  On the POLICE RADIO a description of the
            cop killing is BROADCAST EVERY FEW MINUTES.

                                        CARTER
                         I got there late, John.

                                        BOOK
                         Let's just find Coalmine.
                                (beat)
                         Listen,  Zenovich made a mistake.
                         You didn't let anybody down.  It
                         happens --

                                        CARTER
                                (grimly)
                         It won't happen again.

                                        RACHEL
                         Where are you taking us?

                                        BOOK
                         We're looking for a suspect.
                           We've reason to believe he's still
                         in the area.

                                             RACHEL
                              You have no right to keep us here.

                                                 BOOK
                              Yes I do.  Your son is a material
                              witness to a homicide.

                                                 RACHEL
                              You don't understand, we have
                              nothing to do with your laws!

                                                 BOOK
                              Doesn't surprise me.  I meet a lot
                              of people like that.


				RACHEL
	               It's not a joke.

     Book decides to try contrition:

		                         BOOK
	               You're right.  It's not a joke.
	               Listen, I know a little about the
	               Amish.  I know this has to be an ordeal for you;
	               and I'm really sorry you an Samuel got involved.

     Samuel shoots a look at Book. then mutters something to his mother in German.
     She responds in the same language.  Book frowns.

			                         BOOK
		               What was that?

			                         RACHEL
		               He wants to know who you are.
		               Your name.  I told him we don't
		               need to know anything about you.

     Book eyes Samuel:

			                         BOOK
		               Book.  John Book

36A  EXT. 13TH STATION - NIGHT 						36A

     Book's car stops ,and from out of the shadows darts a
     wizened little MAN.  He looks about before crossing to
     the driver's side window.



36B  INT. BOOK'S CAR - NIGHT						36B

     Book lowers the window.

                         BOOK
               Sammy, where's Coalmine?

     The little man stares at the weird-looking couple in the back seat.


36B       CONTINUED:								36B

                                  SAMMY

               What you got there, the Salvation
               Army?

                                  BOOK

               Coalmine.

                              SAMMY

               Try "Happy Valley".


36C       EXT. HAPPY VALLEY BAR, SOUTH STREET - NIGHT			36C

     Book's car pulls up outside the bar and he and Carter get out, 
     and move swiftly inside.


36D       INT. HAPPY VALLEY - NIGHT						36D

     Sixty Black faces stare as the police enter.  A hush
     falls on the group.  Book and Carter spot their man at
     the bar and move up either side of him.
     They've moved carefully to this point . . . no mistakes.
     From the back, the black man they've approached certainly
     looks like he could be the man who did the killing of
     Zenovitch.  And, as Book and Carter make their move . .


36E  EXT. HAPPY VALLEY - NIGHT						36E

     As Book and Carter explode through the door of the bar,
     violently propelling Coalmine along with them.  Now we
     see Coalmine is not the killer.

     As Book and Carter escort Coalmine out of the bar a
     police squad car pulls up, its headlights shining into
     Book's car.
     An alarmed Rachel holds Samuel close as Book forces
     Coalmine's face down next to the car window.

                                        BOOK
               Put some light on him.

     A cop pulls out a flashlight, begins to play the beam
     over Coalmine's face.

36E       CONTINUED:

                                        BOOK
                      (continuing; to Samuel)
               Look at him.

     Crazy as Rasputin on speed and booze, Coalmine glares
     at Samuel inside the car:

     Samuel, white-faced, finally shakes his head in the
     negative.

     Coalmine tries to twist free of Book's grip.  Book
     snaps, and slams Coalmine's skull into the window edge,
     finally crushing his face up against the front win-
     dow.  His face takes on a grotesque shape against the
     glass.  Carter restrains his partner and Book cools
     down.  Coalmine is led stumbling away by the uniformed
     police.  This sudden show of violence has horrified and
     angered Rachel, and she glares at Book as he gets back
     in the car.

                               RACHEL
               John Book, you listen to me!
               will have no further part in this,
               nor will my son!  As God stands
               between us!

     Book sighs, starts the engine and moves off.


36F  EXT. HOTEL - PHILADELPHIA - NIGHT
36F

     Book pulls up outside a hotel entrance as a uniformed
     DOORMAN moves to open the rear door.


36G       INT. CAR - NIGHT
36G

     Rachel and Sam recoil as the Doorman opens the door.
     He is puzzled by the sight of the reluctant guests.

                                    DOORMAN
               Ma'am?

                                     RACHEL
                    No!  We do not stay in hotels.

     Book and Carter exchange a glance.


37        OMITTED								37
thru                                                   						thru
42                                                     						42

43        EXT./INT. FRONT DOOR, SUBURBAN HOUSE -			43
	PHILADELPHIA -  NIGHT

     An attractive woman in her early thirties in robe and
     slippers stares in disbelief as Rachel and Sam file into
     the house.  This is ELAINE, BOOK'S sister.  She
     stops Book as he tries to follow Rachel inside.


                         ELAINE
               How could you do this to me
               tonight?  I told you I had
               company

                                  BOOK
               Sorry.  It's important.

     BACK TO RACHEL

     as she glances in a doorway.

     HER POV - ELAINE'S KITCHEN

     It's a shambles, with dirty supper dishes piled
     sink, the table littered with empty beer cans.

     BACK TO RACHEL

     as she hustles Samuel along.

     BOOK/ELAINE

     Book frowns:

43        CONTINUED:

                                  BOOK
               Where's Timmy and Buck?

                                  ELAINE
               Upstairs, asleep.  Where'd you
               think?

                                  BOOK
               You've got a man here and the kids
               are upstairs?

                                  ELAINE
               That's none of your goddamn
               business!  So keep your goddamn
               holier-than-thou mouth shut!
                    (and)
               Anyway, they like Fred.

                                        BOOK

               Oh sure, Fred.

     Elaine looks like she's going to blow again, then
     decides it's pointless.

                                  ELAINE
               Who are these orphans, anyway?

                         BOOK
               They're Amish.

44        ANGLE IN GUEST ROOM

     Samuel is asleep in one twin bed in a tiny, cluttered
     room.  Rachel, in a plain nightgown, is preparing to
     climb into the other one.

     O.S. we hear a DOOR CLOSE, presumably Book leaving.  A
     beat, then Elaine opens the door and looks in.

                                  ELAINE
               Everything okay?

                                  RACHEL
               Yes, thank you very much.

                                  ELAINE
                           (a beat)
               John said you're Amish.

                         RACHEL
               Yes.

44        CONTINUED:

                         ELAINE
                    (blankly)
               Oh.

     She nods and goes.

     Rachel crosses to Samuel, sits on the bed.  Samuel
     looks up at her bleakly.

                                  SAMUEL
               I don't want to stay here.

                                  RACHEL
               They are English.  They don't
               understand.

                                  SAMUEL
               I wish dawdie was with us.

                         RACHEL
                    (swallows)
               I Know.  Sleep now,  Liebchien.

     She puts her hand on his forehead, closes his eyes. she
     frowns, and...


44a     EXT. DRIVE-IN FAST-FOOD JOINT - PHILADELPHIA - DAWN		44A

     Carter exits the cafe carrying burgers, donuts and a
     couple of beers.  Book wakes from a brief nap as Carter
     gets into the car.

44B  Book chews into his burger while Carter takes a dough-			44B
     nut.  Its clear they've worked through the night.

45        EXT. ELAINE'S HOUSE - DAY						45

     Elaine's house is situated on the corner of a row of
     terraces, which stretch into the distance on both sides
     of the street.

46        INT. ELAINE'S HOUSE							46

     as Samuel comes out of the guest room in his night-
     shirt, turns up the hall and opens the door to the
     bathroom.

46        CONTINUED:

     ANGLE

     But it's not the bathroom;  it's Elaine's bedroom. She
     and FRED are tangled in the sheets, furiously making
     love.  Elaine gasps, Fred manages to grunt.

                         FRED
               Wrong door, kid.

     ANOTHER ANGLE

     As Samuel quickly shuts the door.  A straight-faced
     beat; then, barely suppressing a giggle, he hurries
     on...

47        ANGLE IN LIVING ROOM

     as Rachel appears in the living room entry.  Samuel is
     sitting on the floor with two boys of about his own
     age, watching television.  They're eating cold cereal
     out of a box.

     RACHEL'S POV - TV SCREEN

     Some artless Saturday morning cartoon.

     BACK TO RACHEL

     as she frowns, watching her son and the other two
     staring hypnotically.  And...

48        ANGLE IN LIVING ROOM						48

     It's later in the morning now, as Elaine, a bit bleari-
     ly, appears in the entryway, stares in groggy disbelief.

     HER POV - KIDS

     Her oldest boy and Samuel are busily washing the win-
     dows while her youngest is pushing a carpet sweeper.
     The TV is off.

     BACK TO ELAINE

     as she stares.

49        ANGLE IN KITCHEN

     Rachel is standing in the middle of the now immaculate
     kitchen finishing a brisk mop of the floor.  The coffee
     is perking.  Elaine appears.

                         ELAINE
                           (mutters)
               Jesus...

     Rachel turns cheerily.

                         RACHEL
               Good morning.

                                  ELAINE
                           (helplessly)
               You didn't have to...


                                  RACHEL
               I wanted to.  you were kind to
               take us in last night.
                      (and)
               Anyway, I needed something to
               do.  I was so angry with your
               brothers  He's so...aaanisish I

                                  ELAINE
               Aganishish?  Yeah, that sounds
               like John.

     She takes a seat at the table, still shaking her head.

                              RACHEL
               Just a minute.  I'll pour you some coffee.

                                  ELAINE
               You're not carrying a bullwhip...
               how'd you manage to put my kids to
               work?

                                       RACHEL
                           (smiles)
               I made it a contest... the one who
               does best gets his cereal back
               first.
                           (and)
               Children like to help... they only
               need to be kept after a little
               bit.

     Rachel means no harm by this, but Elaine's eyes begin to storm.

                                  ELAINE
               Oh, is that so?
                    (and)
               No offense, lady, but I'm not so
               sure I like the idea of your
               coming in here and turning the
               place upside down!

     Rachel's smile fades at Elaine's trembling outburst:

                                      RACHEL
                       Please, I didn't mean...

     Abruptly Elaine rises and snatches the mop from
     Rachel's hands. She mops furiously as she Continues:

                                      ELAINE
                    I know exactly what you meant!
                    Listen, maybe I'm not a world-
                    class housefrau, but maybe I don't
                    have time to polish the goddamn
                    china and  keep after the kids!
                           (and)
                    It's none of your business, but I
                    don't happen to have a man around
                    here full time. So I sell cosmetics
                           in a goddamn
                    drugstore and sometimes I can even
                    pay the rent on time! So maybe I'm
                    not Mary Poppins, but maybe I don't
                    need to have it jammed down my
                    throat like this.

     She finishes the floor, hurls the mop aside with a CLATTER:

                                      ELAINE
                                (continuing)
                    There is that clean enough for you?

     Rachel is speechless, Elaine is on the point of bursting into tears.
     At which point Fred appears at the entry in his undershirt, taking in the sparkling
     kitchen.

                                      FRED
                    Jesus, Elaine... Somebody die and
                    leave you a broom?

     Not a politic observation on Fred's part.

  49    CONTINUED:  (2)

                         ELAINE
                           (blurts)
               Go to hell, Fred!

     And, bursting into tears, she flees the kitchen. Fred
stares after her.

                                  FRED
               What's bugging her?

     Unperturbed, he crosses to the counter and the coffee
     pot, letting his eyes take in Rachel's full figure.

50        INT. ELAINE'S BEDROOM 						50

     as Rachel comes in with Elaine's coffee, closes the
     door behind her.  Elaine is lying across the bed,
     sobbing.

                                  RACHEL
               I brought your coffee.

     She takes a seat next to the bed.

                         RACHEL
                      (continuing)
               I'm sorry.  I didn't mean it that
               way.

     After a moment, Elaine starts to pull herself together:

                                  ELAINE
               It's okay.
                      (and)
               Look, I shouldn't have blown my
               top.  It's like... somehow ...
               I've let everything get away from
               me.  And you sort of made me face
               it.

     She takes the cup, sips the coffee.  Rachel smiles at a private thought.

                         ELAINE
                    (continuing)
               What's so funny?

                                  RACHEL
               Fred.  The way he looked when you
               screamed at him.

50   CONTINUED 								50

                                  ELAINE
                    (disparing}
               God, Fred...

                                  RACHEL
               At home you'd never hear a woman
               scream at a man that way.

                                      ELAINE

               No?  Why not?

                         RACHEL
                    You just wouldn't. It's not the
                   Amish way.
                                (then)
                   But I think it would have done me
                    good if I could have screamed at
                    your brother last night.

                         ELAINE
                   Listen, I don't know what's going
                    on or how you got mixed up with
                    him, but don't you let that self-
                    righteous sonofabitch push you
                    around, okay?

     Rachel smiles.
                         RACHEL
               Okay.

51        INT. BOOK'S CAR (MOVING) - DAY					51

     Book glances irritably at Rachel:

                         BOOK
               Now what's the problem?

                         RACHEL
               The problem is I don't happen to
               think my son should be spending
               all his time with a man who
               carried a gun under his coat and
               goes around whacking people.

     Book gives her a look:

                         BOOK
               Whacking?
                                             						CUT TO:

51        CONTINUED:

                         RACHEL
                             (firmly)
               Yes.  And I also want to leave this
               city.

                         BOOK
               Believe me, I'm trying to get this
               over with as fast as I can.  But
               Samuel will probably have to come
               back and testify.

                                  RACHEL
               We do not go into your courts.

                         BOOK
               People who don't go into our courts
               when they're told to sometimes go
               directly into our jail.

     Rachel glares at him and the ride continues on that
     chilly note for a beat.

                                  BOOK (CONT'D)
               Look, I'm genuinely sorry. . .

                                  RACHEL
                           (snaps)
               No you' re not -
                           (off his look)
               You're glad, because now you've
               got a witness.
                           (and)
               I heard the other police talking
               last night.
                           (and)
               They don't seem to like you very
               much.

                                  BOOK
               They kid a lot.

                                  RACHEL
                        (glances at him)
               I would not be too sure.


51        CONTINUED:								51

     Samuel has been glancing at Book; finally he says
     something to his mother in German.  Book gives her
     an inquiring look.

                                  RACHEL
               He says you look very tired.
               I thought the same thing.

     Book says nothing.

                                  RACHEL (CONT'D)
               But not a good tired.

                                          BOOK
               What's a 'good' tired.  Tired is tired.

     She doesn't bother to explain;  800k settles even
deeper
     into his funk as Samuel glares at him with hostility.

51A  INT. IDENTIFICATION ROOM - POLICE H.Q. - DAY			51A

     Samuel sits with Book at a desk, Rachel just behind.
     They are looking at a police line-up of known black
     drug-dealers.  Samuel shakes his head - another
     negative.

     Book winks, slyly reaches into a pocket, produces a
     yellow gumball.  He surreptitiously shows it to Samuel,
     gives him an inquiring look.  It's a peace offering.

     Samuel grins, nods imperceptibly.

     ANOTHER ANGLE

     as Book rolls the gumball down the table to Samuel.
     But just as Samuel is about to cover it with his hand,
     Rachel reaches over and plucks it off the table.  She
     shakes her head at Samuel.

                              BOOK
                    (to Rachel)
               Just wanted to see if you were on
               your toes.

52        OMITTED								52

52B       EXT. CITY PARK - DAY						52B

     Book, Sam and Rachel sit on a park bench eating a lunch
     of hot dogs heaped with kraut.

     Book watches with amusement as Samuel wolfs down his
     lunch.  Rachel eyes him a beat. then:

                                  RACHEL
               Your sister said you don't have a
               family?

                                  BOOK
               No.

                                  RACHEL
               She thinks you should get married
               and have children of your own.
               Instead of trying to be a father
               to hers.  Except she thinks you're
               afraid of the responsibility.

     Book gives her a look:

                                  BOOK
               Oh?  Anything else?

52B       CONTINUED:								52B

                                  RACHEL
               Oh yes.  she thinks you like
               policing because you think you're
               right about everything.  And
               you're the only one who can do
               anything.  And that when you drink
               a lot of beer you say things like
               none of the other police would
               know a crook from a... um... bag
               of elbows.

     Book is staring at her.  Rachel nods.

                         RACHEL
                    (continuing)
               I think that's what she said.

     Just then Samuel belches with huge satisfaction,
     drawing looks from Book and a couple of passersby.
     Rachel smiles proudly.

                         RACHEL
                    (continuing)
               Good appetite.

					                                           CUT TO:


52C       INT. OUTER OFFICE/WAITING ROOM, NARCOTICS DIVISION-	52C
	 DAY

     Rachel sits uneasily in the outer office, one or two
     police clerks eyeing her  curiously.  A sign on the desk
     reads "Narcotics Division."

     Rachel cranes forward trying to peer through a par-
     tially open door.


52D       INT. DETECTIVES ROOM, NARCOTICS DIVISION, POLICE H.Q.           52D
	DAY

     A group of Narcotics Detectives are interrupted in mid-
     conversation by the opening of the main office door.
     They stare in considerable surprise.

									CUT TO:

     John Book standing in the doorway, holding little
     Samuel by the hand.

                                       BOOK
               Afternoon, gentlemen. I'd like
               you to meet Samuel Lapp. We'd
               like a little help.

52E       INT. SMALL OFFICE, NARCOTICS DIVISION - DAY			52E

     A Narcotics Detective enters the room laden with sev-
     eral volumes of mug shots.  He puts them on the desk
     beside a similar book which Samuel is intently study-
     ing.  Sam sits on the chair cushions in a big swivel
     rocker.

     The Detective, Sgt. KAMAN, eyes Book a little suspi-
     ciously - internal affairs officers are not greeted
     warmly by the working policemen in any department.

                         KAMAN
               There's a Sgt. Carter on the phone
               for you.

     Book gets up and moves to the door.

                         KAMAN
                    (continuing)
               And, Captain, don't want to rush
               you, but I'm gonna need these
               files back in a half hour.  We got
               a lot of work to do round here.

     The two men leave.  Samuel looks about before hopping
     off his perch and following the direction taken by
Book.

53        OMITTED								53
thru                                                   						thru
56                                                     						56

57        INT. DETECTIVES ROOM, NARCOTICS DIVISION - DAY		57

     Through glass partitions we can see Book on the tele-
     phone in a cubicle of an office.

     Samuel has drifted out of the office and is idling amid
     the bustle of the squadroom.

     He crosses to a glass case which holds a collection of
     plaques and framed newspaper accounts which denote
     instances of outstanding duty and achievement.


     ANGLE THOUGH GLASS CASE

     as Samuel moves along, only half interested in what his
     eyes are taking in, not really old enough to comprehend
     anyway.

     Until suddenly he freezes.

     SAMUEL'S POV - NEWSPAPER ACCOUNT

     Enlarged, prominently displayed.  The headline reads:
     Division Chief McElroy Honored For Youth Project.
     Accompanying the item is a large sidebar mug-shot of
     McElroy - clearly the black man who murdered the young
     cop in the train station men's room.


     BACK TO SAMUEL

     He stares, transfixed.

     A long beat, then Book, lowering himself to one knee
     next to Samuel, ENTERS FRAME.

     He's watching Samuel, knowing from the boy's expression
     that they've found their man.  Samuel slowly raises his
     hand to point at the photograph.  Book gently takes the
     boy's small hand in his, concealing the accusation from
     watchful eyes.  He smiles gently at the boy.

58        INT. BOOK'S CAR (MOVING) - PHILADELPHIA - DUSK			58

     Rachel is curled tight in her corner of the front seat
     holding Samuel close.  Book glances at her:

                         RACHEL
               Why don't you arrest that man?
               Are you protecting him because
               policeman?

                         BOOK
                    (snaps)
               Listen, I'm the cop that polices
               the police.  I'm not in the
               business of protecting crooked
               cops .
                    (eases up)
               I'll make an arrest when I know
               everybody involved.

     Rachel shakes her head.

                         RACHEL
                But why would they murders..

58        CONTINUED

                                  BOOK
               Because - somehow - they knew
               I was getting close.
                    (and)
               Look,  it's narcotics . . . They
               make dope out of chemicals . . . they
               sell it on the street for millions
               of dollars.  They'll do anything.
                    (and)
               And they can get away with it because
               they're cops.

                         RACHEL
                    (beat,  then)
               I'm afraid.  I'm afraid for
               Samuel.  I want to go home.

                         BOOK
               You'll be safe.  you don't have to
               worry.

     She says nothing.

     Another beat, then:

                         BOOK
                      (continuing)
               Look, they're thinking as long as
               they keep the killer out of Samuel's
               way,  we can't make an I.D.  There's
               no way they can know Samuel saw that
               photograph,  so he's safe.

     He glances at her, but she continues ahead.

                         BOOK
                      (continuing)
               I mean it.  you will be safe.

     Suddenly Rachel explodes:

                         RACHEL
               Oh yes!  Of Courses  Why shouldn't
               we feel safe in a city where the
               police are so busy killing  each
               other!

					                                                  CUT TO:

59   EXT./INT. SCHAEFFER HOME, PHILADELPHIA SUBURBS -		59
      NIGHT

     The front door of Schaeffer's upper-middle class home
     is opened by his wife MARILYN. She knows Book and is
     surprised and delighted to see him. In the background
     daughter KATHY is visible. Schaeffer himself
     appears and Book is welcomed inside.

     INT. SCHAEFFER'S STUDY - NIGHT

     Schaeffer passes Book a drink.

59        CONTINUED								59

     Book is excited,  animated . . . the hunter,  after a
     long chase,   closing on his quarry:

                         BOOK
               It was McElroy,  Paul.

     Schaeffer gives him a sharp look:

                         BOOK
               Last guys would have figured.
               But he's part of it.

                         SCHAEFFER
               I hope you don't have any doubts
               about that.

                                  BOOK
               If I did,  I'd have kept my
               mouth shut . . .
                         (and)
               It fits,  Paul . . . Fifty-five
               gallons of P-two-P confiscated
               four years ago . .. Guess  who
               was in on the collar?  Mac.
                    (excited, explain-
                     ing the thing eagerly)
               He salts it away somewhere .   . he
               knows the stuff is potent,  but
               the street chemists haven't figured
               out how to process it.  But they
               do now.
                               (and)
               And now the stuff is worth five-
               grand a pint and there are
               a lot of pints in a fifty-five
               gallon drum.

                         SCHAEFFER
                           (beat)
               Who else knows?

                         BOOK
               Just us.

                                  SCHAEFFER
                      (shakes his head)
               Okay,  what are you going to need
               to clean it up


                                  BOOK
               More people   . . Gotta pick up
               where Zenovich left off.  People
               from outside the department.

59        (CONTINUED)								59

                         SCHAEFFER
                           (nods)
               Maybe the Bureau.  Or those bastards
               at Treasury.  I'll take care of
               it.
                           (then)
               I hate this shit,  Johnny.  You
               cut their balls off for me.  I'm
               counting on you .

     Schaeffer pours himself another drink.

                         SCHAEFFER (CONT'D)
               What's your first move?

                                        BOOK
                      (expels a breath)
               A hot shower . . . I haven't changed
               clothes in two days.

60        EXT. PARKING LOT - PHILADELPHIA - NIGHT				60

     Book slams the front door of his car, checks it for
     being locked, glances at a roiled newspaper in his
     hand (the sports section of the Inquirer), starts
     across the parking lot toward his apartment, walking
     as he keeps glancing down at the sports section.  He
     comes to a sort of crosswalk, stops, reads, starts
     to take a step...and looks up.

     WHAT HE SEES

     McElroy, smiling nicely, starting across toward him
     from the other side of the parking lot crosswalk

     BACK To BOOK

     Freezing, eyes widening. utterly surprised and caught.

     McELROY

     Still smiling, he brings up his right hand out of a
     shopping bag (which he appeared to be carrying) -
     letting the shopping bag fall away as he does so -
     revealing a five-inch barrel Smith and Wesson .357
     blue finish revolver with a silencer.  Without hesi-
     tating, coming right on, still smiling, he FIRES once.

60        CONTINUED								60

     BOOK

     Already starting to leap away to one side, he is hit,
     driven into a half-turn.  He clutches at the wound, as:

     McELROY

     Coming right on, FIRING again...the pistol's report
     a WHOOSHING, like the opening of a bottle of cheap
     champagne.  And McElroy still smiling as:

     BOOK

     Hit...a grazing near-miss this time, but enough to
     send Book down hard and grasping.

     McELROY

     Lowering the pistol alongside his leg, as two MEN, barely
     taking notice of anything, cross with their backs to
     Book toward McElroy.  He smiles at them.

     BOOK

     Down, muttering CURSES.

     THE SCENE

     As McElroy walks past Book, drops the pistol to the
     pavement, keeps on going ..and is gone.

     BOOK

     GROANING in pain, beginning to try to crawl crab-like.
     And we HEAR - from the agonized recesses of Book's
     Dream.

                         SCHAEFFER (V.O.)
                    Who else knows?

                         BOOK (V.O.)
                    Just us.

     As the lights of an oncoming car - going very slowly,
     on its way to a parking space - sweep over him and we
     HEAR it come to a sudden, squealing stop.  Book is
     already trying to get to his feet...now succeeds,
     lurching into a swaying stance, using an adjacent car
     for support.  O.S. we HEAR a car door slam, and foot-
     steps hurrying in our direction, accompanied by excited
     voices.  Book HEARS, turns to face the oncomers,

60        CONTINUED								60

     ANGLE

     A fat, middle-aged MAN has approached to within some
     feet of Book, looks on edgily:

                                  MAN
                    Hey, buddy, what's the score?
                    Little too much to drink?

     Book stares at him, then looks down at his belly.

      BOOK'S WOUND

     As Book removes his hand we can see one of the bullets
     struck him low in the side, just below the ribcage...
     the other just above it (but this one inflicting only
     minor damage).

     THE SCENE

     As the man stares:

                         MAN
               Goddamn, buddy.  You better get
               to a hospital!
                    (and)
               Here; I'll give you a hand.

     He starts to approach, but Book shoves him away.

                         BOOK
               No!  No hospital!

     By now the man's WIFE is hovering at a safe distance:

                                  WIFE
               Let him alone, Henry!  If he wants
               to die in the street, that's his
               business!

     But the man is not content:

                                  MAN
               Shut up, Romona!  Will ya look
               at that blood?

     Book has tried to lurch toward his car;  the man
     tries to intercept him:

                                  MAN (CONT.)
               Come on, buddy...you're gonna
               bleed to death!

     Book whirls on him, his service revolver in his hand
     pointed squarely at the fat man's face:

                         MAN
               Shit!

                         WIFE
                    (quavering)
               I told you, Henry!

     Book doesn't trust himself to speak, but the .38 is
     sufficiently eloquent for the circumstances,  He
     stares at the fat man another beat, then hesitates,
     turns, starts back toward his car.

     EXT. STREET - PHILADELPHIA - NIGHT

     As Book's car wheels somewhat erratically through
     traffic.

     INT. BOOK'S CAR (MOVING)

     Book has a gym bag open on the seat next to him, is
     stuffing a t-shirt under his belt to staunch the
     blood.  And...

61        OMITTED								61
thru                                                   						thru
62                                                     						62

63   INT. CARTER'S APARTMENT - BEDROOM - NIGHT 			63

     as he's awakened by the RINGING bedside telephone.  he
     snaps on a lamp , . . He's instantly awake,  not unused
     to such  rousing in the wee hours. A woman sleeps beside him.

                         CARTER
               Yeah...

64   INTERCUT BOOK

     He's at an n.d. pay phone.

                              BOOK
               Listen carefully,  I wrote the
               Amish woman's name and address on my
               desk calendar,  I want you to lose
               it for me,  Now.  Tonight.

                         CARTER
               What the hell are you talking about?
               What's happening,

64   CONTIUED                                          					64

                                  BOOK
               Nothing.  I'm not going to be
               around for a while.  I'll call
               you when I can.

                         CARTER
                    (alarmed)
               Johnny,  what the fuck - ?

                         BOOK
                    (hard)
               Listen to me - Schaeffer's
               part of it.  Maybe at the top of
               it.

     There's a stunned silence at the other end.

                         BOOK (CONT'D)
               Yeah ... I can put it all to-
               gether when I get back,  'Til then,
               you know nothing,  understand?
               Business as usual...

                         CARTER
                    (beat)
               I hear you.

                         BOOK
                    (nods)
               Good.  Take care of that woman's
               name for me.  And watch your
               ass.

64    CONTINUED:								64

65    OMITTED									65

66    INT. GUEST ROOM, ELAINE'S HOUSE - NIGHT				66

     as the door opens and Elaine switches on the light,
     rousing Rachel.  Elaine looks haggard.

                         ELAINE
               It's John.  He says you have to
               leave now.  He says it's urgent.

     She leaves the room as Rachel instantly awake, moves
     quickly to rouse Samuel.


66A       EXT. BATHROOM DOOR						66A

     Elaine is outside the bathroom listening to instruc-
     tions from her brother.  From inside we hear the SOUND
     OF RUNNING WATER.  Elaine is puzzled but also senses
     the urgency.

                               BOOK (V.O.)
               Put my car in the garage and close
               the door.

                         ELAINE
               John, I don't understand any of
               this.

                         BOOK (V.O.)
                    (snaps)
               You don't know anything
               borrowed your car.  Didn't say
               why.  And you never heard of that
               woman and her boy.

66A       CONTINUED:								66A

                         ELAINE
               John, why?...

                         BOOK
                      (shouts)
               Just do its


66B       INT. BATHROOM							66B

     Book looks at himself in the mirror, his face is pale
     and drawn.  He examines the wound, a cleanly drilled
     hole through his right side, just under the rib cage.
     The wound continues to bleed as he binds a towel
     tightly about him, before putting his shirt back on.
     He then carefully wipes away any traces of blood on
     basin with tissues which he flushes down the toilet.

67        OMITTED								67

     INT . BOOK'S CAR (MOVING)

     as he drives across town.  Samuel is curled up asleep,
     his head on Rachel's lap.

                         RACHEL
               Where are you taking us now?

                         BOOK
               Home.

                                      RACHEL
               You couldn't wait until morning?

     Book gives her a look.

                         RACHEL
                             (continuing; insistent)
               What happened?

     But Book, glancing in his rearview mirror, tenses.

     HIS POV - MIRROR

     In it we can see a police car coming on fast, with
lights and SIREN.

     BACK TO SCENE

     Rachel eyes Book warily.

68        CONTINUED:

     A beat, then the police car WAILS past.  Book expels a breath.

                         RACHEL
                    You said we would be safe in
                    Philadelphia.

                         BOOK
                    I was wrong.

     Rachel looks away, speaks almost sarcastically,
MUTTERING,

                         RACHEL
                         Kinner un Narre...
                    ["Kinner un Narre saage die Waahret" - -"Children
                     and fools say the truth." - Amish expressions]

69        INT. PHILADELPHIA POLICE HEADQUARTERS - BOOK'S		69
	OFFICE - NIGHT

     ANGLE PAST Book's desk calendar.  Carter enters in the
     b.g., crosses quickly to the desk.  He snaps on a
     light, thumbs a page of the calendar. frowns.

     INSERT

     Rachel's name and address scribbled on a page of the
     calendar.

     BACK TO SCENE

     ANGLE

     A couple of plainclothesmen have paused outside the
     door to give him a look.

     _ meets their eyes.  They move on.

     Carter shakes it off, goes.  And...

					                                                  CUT TO:

70        OMITTED								70

71        INT. CAR (MOVING)							71

     As light colors the eastern horizon,  Book is crossing
     into Lancaster County.

     Book glances at Rachel;  she's asleep.  He coughs wrack-
     ingly,  hurting . . . cinches the belt of his overcoat
     even tighter.  And . . .

72        EXT. LAPP FARM							72

     HIS POV - BOOK'S CAR
     coming up the long drive.

     BACK TO SCENE

     as the car pulls up in the barnyard and Eli crosses to it.

     Suddenly the car door flies open and Samuel jumps out,
     races across the barnyard to hurl himself into the old

     ANGLE AT CAR

     As Rachel steps out of the passenger's side, Book
     remains seated.  He lets his eyes travel around the
     farm.

                                  RACHEL
                    Stay for awhile.  Rest.  I'll make
                    coffee and breakfast.

                                  BOOK
                    I can't.

                                  RACHEL
                    What about Samuel?  Will you come
                    back to take him to trial?

     Book starts the engine:


72    CONTINUED:								72

                         BOOK
                                (grimly)
                         There isn't going to

     Rachel stares at him, not sure what he means.  Then
     backs away, closing the door.  Book begins to turn the
     car around in the barnyard.

     ANGLE

     as Eli crosses to Rachel, his arm around Samuel.

                                        ELI
                    Who was that man?

                                       RACHEL
                    His name is John Book.

     Eli is about to inquire further when Samuel cries:

                                       SAMUEL
                    Momma - look.

     They glance in the direction Samuel is looking.

     THEIR POV - BOOK'S CAR

     The car has failed to take a bend in the road and is
     now bouncing across an adjoining ploughed field.  It's
     knocked over a tall birdhouse by the roadside.  The car
     finally comes to rest against a bank of earth.

     BACK TO RACHEL

     She stares...

					                                                  CUT TO:

73   EXT. FIELD - DAY								73

     as Samuel races for all he's worth across the field,
     negotiates the creek via a fallen log - Rachel, now,
     also running toward the car.

73A  EXT. STABLES - DAY							73A

     Eli works fast harnessing his mules to an open wagon.
     He hops up to the front seat and urges them to trot.

73B  ANGLE AT BOOK'S CAR							73B

     We see that Rachel has made Book as comfortable as
     possible in the front seat of the car and is packing
     the wound under his trenchcoat with material ripped
     from her apron.  Momentarily he comes awake:

                                 RACHEL
                    But John.....why didn't you go to
                    a hospital?

                                 BOOK
                    No, no doctor...


                                RACHEL
                           (bewildered)
                    But why?
                         BOOK
                    Gunshot... they'll file reports...
                    they'll find me.

                         RACHEL
                    But -

     Book reaches up to grip her arm fiercely:

                         BOOK
                    And when they find me, they'll
                    find your boy!

     He slips under again.  Rachel stares at him, realizing
     the price he's paid in returning them to safety.

     She reaches out, touches him gently.

     But the moment is broken by...

     ANOTHER ANGLE

     as Eli reins up in the springwagon.  He climbs down,
     crosses to glance into the car.

                         ELI
                    Is the English dead?

                         RACHEL
                    No...

                         ELI
                    Looks dead...

     And together they begin to lift Book from the car and
     place him in the back of the springwagon.  And...

74   INT. LAMP FARMHOUSE                               				74

     Where Eli is looking out a window.

75   HIS POV - BUGGY								75

     An Amish buggy coming up the drive, past Book' s car.

      ANGLE IN BEDROOM

     Where Book lies on a bed.  Rachel is bathing his wound
     with warm water from a pan.

     Eli appears in the doorway.

                         ELI
                    Stoltzfus is coming.

     Rachel looks at him, nods.
     Eli frowns at Book's holstered pistol lying atop his
     neatly folded clothes on a chair near the bed.

                         ELI
                           (continuing)
                    That has no place in this house.

                                   RACHEL
                    I know.

     She picks up the pile of clothes and the pistol and
     places them in a chest.

                         RACHEL
                           (continuing)
                    It will go when he goes.

76   INT. LIVING ROOM							76

     as Samuel comes in with old Stoltzfus and Stoltzfus's
     teenage son, LEVI.

                                      RACHEL
                    Thank you for coming, Stoltzfus.

     Stoltzfus's eyes have gone to the bed:

                                       STOLTZFUS
                    That's the English is it?

77   INT. SICKROOM - TIGHT							77

     as Stoltzfus runs his fingers lightly over the vicinity
     of Book's wound:

                                  STOLTZFUS (O.S.)
                    I feel... burning.

     WIDER

     as Stoltzfus, in his shirtsleeves and concentrating
     mightily, moistens his fingertips with saliva, contin-
     ues the examination.  Finally he steps back.

                                  STOLTZFUS
                    This man should be treated in
                    town.
                           (indicates)
                    The bullet entered there... and
                    came out there.  But there is the
                    danger of infection, and he has
                    lost a great deal of blood.

     Rachel looks at Stoltzfus, then turns away, torn by her
     dilemma.  Her eyes fall on Samuel.  Gently she ushers
     him from the room:

                                       RACHEL
                         Go help Levi with the car, Samuel.

     She closes the door after him, then turns to face Eli
     and Stoltzfus:

                         RACHEL
                           (continuing)
                    No, he must stay here.

     Stoltzfus gives Eli a puzzled look.  And:

                                   ELI
                    Didn't you hear Stoltzfus?  What
                    if he dies?  Then the sheriff will
                    come.  They'll say we broke their
                    laws -

                               RACHEL
                    We'll pray that he doesn't die!
                    But if he does, then we'll find a
                    way so no one knows!

                                       ELI
                    Rachel, this is a man's life,
                     we hold it in our hands.

77    CONTINUED:  (2)								77

                         RACHEL
                    I knows  God help me, I know that,
                    Eli.
                           (then)
                    But I tell you that if he's found
                    here, the people who did this to
                    him will come for Samuel.

     Rachel beseeches them helplessly:

                         RACHEL
                                (continuing)
                    What else can we do?

78   EXT. LAPP DRIVE								78

     Levi has hitched Eli's mules to the rear of Book's car
     and is towing it up the drive toward the barn, with
     Samuel catching a ride on the bumper.

     RACHEL

     Where she's waiting with the big barn doors thrown
     open.  As the mules tow the car in, she closes the
     doors.

79   INT. LAPP FARMHOUSE LIVING ROOM					79

     As Stoltzfus and Levi are about to go:  Stoltzfus turns
     to Rachel:

                         STOLTZFUS
                    Make a poultice... three parts
                    milk, two parts linseed oil... for
                    the infection.  I'll send Mary by
                    with some teas I will brew myself.


                         RACHEL
                    Thank you.

     Stoltzfus turns to Eli:

                         STOLTZFUS
                    Lapp, I'll have to speak with the
                    diener on this matter.

                         ELI
                         (nods)
                    As you see fit, Stoltzfus.

					                                                  CUT TO:

80   INT. SICKROOM - LAPS FARM - NIGHT					80

     as Rachel enters, turns up a kerosene lamp which is
     burning low at bedside.  She's carrying the poultice
     Stoltzfus ordered.

     Book's brow is beaded with sweat.

     Rachel seats herself next to the bed, strips away the
     sweat-soaked sheet.  Her eyes take in his bare torso,
     and we should get the feeling that there's rather more
     male animal on display here just now than she's quite
     comfortable with.

     She begins to apply the poultice.

     ANGLE

     As Book rouses to semi-consciousness, in his delirium
     he recoils with alarm.

                         RACHEL
                    It's all right..! You have got to
                    lie still.

     Book stares up at her without recognition, but some of
     what she says seems to penetrate.  He quiets.

                                       RACHEL
                              (continuing; soothingly)
                    Yes, much better...

     ANGLE

     as Book lapses back into sleep.  Rachel hasn't removed
     her hand from his chest.  Abruptly she does so.

     She finds herself wondering about this man lying before
     her, so suddenly a part of her life.  she notices de-
     tails; bruises, scars, the knuckles are hard, grazed, a
     tattoo on one shoulder.  While lost in this reverie,
     the delirious Philadelphia policeman begins to mutter.
     Incoherently at first, then the words take shape -
     swear words; curses; fuck this and that; shit; etc.
     Rachel rises abruptly, her cheeks coloring, as the bar-
     rage of language pours from his mouth.  She beats a
hasty
      retreat closing the door swiftly behind her.

81   OMITTED                                           					81

82   INT. SCHAEFFER'S OFFICE - DAY						82

     He's on the phone:

                         SCHAEFFER
                    Looks like we're going to need
                    some help from you folks down
                    there.

83   INT. LANCASTER COUNTY SHERIFF'S OFFICE - DAY			83

     Where an UNDERSHERIFF is on the phone:

                         UNDERSHERIFF
                    ... want to help any way we can,
                    Chief, but you got to understand
                    we've got upwards of seven
                    thousand Amish over here.  And
                    that's just Lancaster County.

84   INTERCUT SCHAEFFER

     who is trying to control his impatience:

                         SCHAEFFER
                    I've got the woman's name, Sheriff.
                    Lapp.  Rachel Lapp.  That should
                    simplify your work.

     The Undersheriff frowns.  He doesn't like being talked
     down to.

                                  UNDERSHERIFF
                    How about an address?

                                  SCHAEFFER
                    Ah... no.

                                  UNDERSHERIFF
                           (frowns)
                    Maybe a road or route number?

                                SCHAEFFER
                    Sorry.

     The Undersheriff is not impressed.

                         UNDERSHERIFF
                    Problem is, Chief, 'bout every
                    third Amishman around here is
                    named Lapp.  That or Yoder.  Or
                    Hochstetler.

84   CONTINUED:  (2)								84

                         UNDERSHERIFF (CONT'D)
                         (and)
                    Chief, if the Amish have taken
                    your man in, I wouldn't want to
                    hang from a rope until you find
                    him.

     ANGLE

     Schaeffer is tight-lipped with contained fury:

                                  SCHAEFFER
                    Thank you, Sheriff.  It's been an
                    education.

     He hangs up.  A beat; the man is a study in
frustration.  Then he glances up.

      ANOTHER ANGLE

     Standing in his doorway are the two plainclothesmen who
     spotted Carter in Book's office in the earlier scene.
     And...

                                              						CUT TO:

85   EXT. LAPP FARM - DAY							85

     A bright, sunny afternoon.


     SAMUEL

     Where he's leading a team of horses to the barn.  In
     the b.g. three buggies are parked in the barnyard,
     traces empty.  Visitors.

86   ANGLE IN SICKROOM                                 					86

     Where Book lies in the bed.  His fever seems to have
     subsided.  He's coming awake, tries to focus on the
     room.

     BOOK'S POV - CLERGY

     PANNING the four men in Amish black who are standing
     around the bed looking down at Book, muttering among
     themselves in German.

86   CONTINUED:								86

     These include TSCHANTZ, the district bishop, a hawk-
     nosed, stern-eyed old fellow; Stoltzfus, a deacon as
     well as a healer; and two preachers, ERB and
     HERSHBERGER.  Eli stands somewhat apart.

     ANGLE

     Another moment of silence, then Book opens his eyes.

     Tschantz rumbles in German.  (SUBTITLES OVER)

                         TSCHANTZ
                    Well, Stoltzfus, another Lazarus
                    to your credit.

                                STOLTZFUS
                    He was touched by God's hand.

     Tschantz grunts, motions, for the other clergy aside
with him.

     Rachel enters briskly with a steaming pot of tea and a
cup, smiles.

                         RACHEL
                    Hello.

     Book stares at her, then at the old bearded gentlemen.

                                        BOOK
                           (closing his eyes)
                    Who are they?

                                  RACHEL
                    The leadership of our district...
                    the diener.  Bishop Tschantz is
                    the one with no hair on top.  They
                    decided to come and see you for
                    themselves.  Except Stoltzfus, of
                    course.  He came the first day.  I
                    think he saved your life.


                         BOOK
                    Can I have something to drink?

          Rachel brings him tea.

                         BOOK
                           (continuing)
                    Does anybody know I'm here?

86   CONTINUED (2)                                     86

                         RACHEL
                    Only the elders.

                         BOOK
                    How long?

                         RACHEL
                    What?

                         BOOK
                    How long have I been here?

                         RACHEL
                    Two days.

                         BOOK
                          (a beat)
                    Listen, thank you.  Thanks for
                    everything.  But I've got to go.

                                      RACHEL
                           (frowns)
                    But you can't.

     He tries to rise, falls back faint.  Rachel rearranges
the sheet.

                         RACHEL
                           (continuing)
                    See.  Anyway, you don't have any
                    clothes on.  And besides that,
                    Bishop Tschantz wants to talk to
                    you when you feel better.

     The elders appear to have concluded their conference,
     and are filing out.  Stoltzfus pauses at bedside.

                         STOLTZFUS
                    Rest, Mr. Book.  That's the
                    ticket.  And drink my
                    of my tea.

     He goes.  Book is still fending off the dizziness.
Rachel puts the teacup to his lips.

                         BOOK
                    Tell him his tea stinks.

                         RACHEL
                          (smiles)
                    You tell him.  When you're able.

     He looks like he's about to drop off again.  Rachel
rises.

                         RACHEL
                           (from the door)
                    We're all very happy that you're
                    going to live, John  Book.  We
                    didn't quite know what we were
                    going to do with you if you died.

     That penetrates for a moment just before Book slips
into sleep again.

87   INT. LAPP LIVING ROOM  - DAY
87

     as the rather worrisome Hershberger frowns:

                         HERSHBERGER
                    ...but a gunshot wound.  Very
                    serious.

                                  TSCHANTZ
                    It is not the first time we
                    have done this.  In the Englischer
                    war of the revolution, old Elmer
                    Miller's grandfather took in
                    gunshot English soldiers.
                         (a tad of pride)
                    Saved them, too.

     They all nod.  What Tschantz says is well known.  Then:

                         ERB
                    Still, he should be among his own
                    people.

     Rachel enters on this last.

                                  RACHEL
                    He'll leave as soon as he is able.
                    He already wants to go.

     Hershberger gives her a gloomy look, turns to
Stoltzfus:

                                HERSHBERGER
                    How long will that be, Stoltzfus?

                         STOLTZFUS
                           (shrugs)
                    A month.  Maybe less.  With God's
                    healing love.

88   EXT. BOOK'S SISTER'S HOUSE - PHILADELPHIA - DAY

     Schaeffer is knocking at the front doors

     A beat, then Elaine opens it cautiously, peers out.

                                       ELAINE
                                (half fearfully)
                    Did you find him?

                         SCHAEFFER
                    Not yet.

     Suddenly her eyes blaze, she starts to close the door:

                                       ELAINE
                    Then go away, you bastard.

     Schaeffer quickly - but gently - prevents her from
shutting it.

                         SCHAEFFER
                    Elaine, I've come to apologize for
                    Lt. McElroy.  He overstated the
                    department's position.

                         ELAINE
                          (bitterly)
                    He accused John of taking
                    kickbacks  And you know -
                    anybody who knows John - knows
                    that's a goddamn lie!

                         SCHAEFFER
                           (smoothly)
                    Of course, Elaine.  But as long as
                    there's any question, better
                    Johnny should come back and clear
                    his name.

                         ELAINE
                          (cuts in)
                    Better you should get off my front
                    porch before I get my mace --!

                         SCHAEFFER
                    Elaine, I don't want to have to
                    take you in for questioning.
                    You've got his car, you were the
                    last to see him --

                         ELAINE
                         (clipped)
                    I don't know where he is.

                         SCHAEFFER
                    But... if you had to guess?

89   ANOTHER ANGLE - SCHAEFFER'S CAR
89

     McElroy watching.


     THEIR POV - FRONT DOOR

     We see a final exchange between Elaine and Schaeffer.
     Elaine forces the door shut.  Schaeffer turns, walks
     slowly to his car.

     INT. SCHAEFFER'S CAR

     as Schaeffer opens the door, climbs in, sinks wearily
     into the seat, beside McElroy.

                         McELROY
                    She say where he is?

                         SCHAEFFER
                    I don't think she knows.

     Schaeffer is staring grimly ahead.

                         SCHAEFFER
                    What about Carter?

                         McELROY
                    Tight.  But I'm working on him.

                         SCHAEFFER
                    Lean on him.

90    OMITTED
90

91   EXT. LAPP FARM - LANCASTER COUNTY - NIGHT
91
     REESTABLISHING, and TIGHTENING to the upstairs sickroom
     window where a lamp dimly burns.

92   INT. SICKROOM                                     92

     as Samuel comes in with a fresh bedpan.  Book is lying
asleep on the bed.

     Samuel puts the bedpan down, checks to make sure Book
     is indeed asleep, then quietly crosses to the foot of
     the bed and opens the clothes chest.

     ANGLE

     Book's big .38 revolver lies holstered atop his folded
     clothes.  Fascinated, Samuel picks it up, admiring the
     heavy burled pistol grips.  Unable to resist, he starts
     to remove the weapon from the holster, then pauses to
     steal a look. O.S...

     BOOK

     His eyes are open and watching Samuel icily, which
     gives the boy something of a jolt.

                         BOOK
                         Give me that.

     Mutely, Samuel hands Book the pistol from arm's length.
     He looks on as Book takes the pistol out of the hol-
     ster, shoots the boy another look, then snaps open the
     cylinder and shakes out the heavy, copper-jacketed
     bullets into his palm.  He snaps the cylinder closed
     again, then nods to Samuel.

                         BOOK
                           (continuing)
                    Come here.

     The boy edges closer.

                         BOOK
                           (continuing)
                    You ever handle a pistol like
                    this, Samuel?

                         SAMUEL
                           (swallows)
                    No pistol.  Ever.

                                  BOOK
                    Tell you what - I'm going to let
                    you handle this one.  But only if
                    you promise not to say anything to
                    your momma.  I've got a feeling
                    she wouldn't understand.

92   CONTINUED:
92

                                       SAMUEL
                                (grins)
                    Okay, Mr. Book.

     Book smiles.  Then he gives the boy a playful, John
     Wayne-tough guy wink as he cocks and uncorks the
     pistol, demonstrating the action.  He finally hands it
     over to Samuel, butt first.

                         BOOK
                         Call me John.

     The boy tries to imitate Book's one-handed expertise,
     but his hands are too small.  Book smiles.

     Samuel finally manages to get the thing cocked, using
     two hands, and Book reaches over to guide the muzzle
     away so that it's not pointed at him.

                                        BOOK
                           (continuing)
                    You don't want to point that at
                    people you just started calling by
                    their first name.

     Samuel levels the pistol at the door and, just as he
     snaps the trigger, Rachel enters, pulls up short in
     some dismay to find her son has a gun pointed at her.
     Samuel blanches and Book winces, knowing there's heavy
     weather ahead.

                         RACHEL.
                               (snaps)
                    Samuel -- !

     Samuel quickly hands the pistol back to Book, who
holsters it:

                         RACHEL
                        (continuing)
                    Wait for me downstairs.

     Samuel quickly exits, and Rachel angrily advances on
Book.

                         RACHEL
                         (continuing)
                    John Book, I would appreciate it
                    if, during the time you are with
                    us, you would have as little to do
                    with Samuel as possible.

92   CONTINUED:  (2)
92

                         BOOK
                    Nobody meant any harm.  The boy was
                    Curious.  I unloaded the gun -

                                  RACHEL
                    It's not the gun.  Don't you
                    understand... It's  you.  What you
                    stand for.
                            (and)
                    That is not for Samuel.

     Book looks at her thoughtfully.

     Rachel softens a bit:

                                  RACHEL
                    Please, it has nothing to do with
                    you personally.

     He hands her the holstered gun and the loose bullets.

                                  BOOK
                    Put it up someplace Samuel can't
                    get it.

     A beat, then Rachel, takes the pistol and starts to go.
Book stops her:


                         BOOK
                          (continuing)
                         Friends?

     Rachel glances back at him, smiles and nods.  And...

                                                  CUT TO:

93   INT. KITCHEN - LAPP FARMHOUSE - NIGHT
93

     Book's holstered gun and bullets at center table.  Eli
     sits on one side, a chastened Samuel on the other.
     Rachel looks on from the b.g.

     Eli knows that this is as important a dialogue as he
     will ever have with his grandson:  at issue is one of
     the central pillars of the Amish way.

                         ELI
                    The gun - that gun of the hand -
                    is for the taking of human life.
                    Would you kill another man?  Eh?

     Samuel stares at it, not meeting his grandfather's
eyes.  Eli leans
     forward, extends his hands ceremonially.

                                  ELI (CONT.)
                    What you take into your hands, you
                    take into your heart.

     A beat, then Samuel musters some defiance.

                                  SAMUEL
                    I would only kill a bad man.

                                  ELI
                    Only a bad man.  I see.  And you
                    know these bad men on sight?  You
                    are able to look into their hearts
                    and see this badness?

                                  SAMUEL
                    I can see what they do.

     Now he meets Eli's eyes:

                                  SAMUEL (CONT.)
                    I have seen it.

     Eli expels a deep sigh;  then:

                                  ELI
                    And having seen, you would become
                    one of them?
                           (intent...gesturing)
                    Don't you see...?  The hand leads
                    the arm leads the shoulder leads
                    the head...leads the heart.  The
                    one goes into the other into the
                    other into the other....And you
                    have changed, and gone amongst them ...

     He breaks off, bows his head for a moment.  Then he
     fixes the boy with a stern eye and, driving he heel of
     his palm firmly into the tabletop with enormous
intensity:

                                  ELI (CONT.)
                    "Wherefore come out from among
                    them and be ye separate, saith
                    the Lord!"

93   CONTINUED (2)                                     93

                         ELI (CONT.)
                         (indicating pistol;
                          continuing from
                          Corinthians 6:17)
                     "And touch not the unclean thing!"

     His intensity tinged with righteous anger, he is hugely
impressive.

93A       WASHHOUSE - NEAR KITCHEN - NIGHT
93A

     Book stands near the door to the kitchen, and has heard
     most or all of Eli's words.  He turns, and painfully
     makes his way into the washhouse, moving quietly,
     hoping no one will come out from the kitchen.

93B       EXT. BARN - LAPP FARM - DAY
93B

     Samuel harnesses up the family mare, and backs her into
     the traces of the buggy.

93C  INT. BOOK'S BEDROOM - DAY
93C

     Book stands at the window in a worn robe.  Below,
     through the window, we can see Samuel and Eli in
     the barnyard

     A beat, then Book crosses impatiently back to his bed,
     sits down, picks up a dog-earred copy of The American
     Dairyman.  There's a stack of well-thumbed farm
     magazines and copies of The Budget (the Amish
newspaper)
     on the bedside table.

     There's a knock.  Rachel enters carrying aspire of
clothing.  She smiles.

                                  RACHEL
                    Enjoying your reading?

                                  BOOK
                    Very interesting.  I'm learn-
                    ing a lot about manure.
                           (eyes the clothing)
                    What's that?

                                  RACHEL
                    Your shirt and jacket are still
                    stained with blooded  I have
                    them soaking   You can wear these.

     She passes the clothes to Book

93C       CONTINUED
93C

                         BOOK
                    Your husband's?

                         RACHEL
                    Yes.  It's good that someone
                    can have the use of them.
                    Besides, in your clothes you'd
                    stand out to strangers.

     She continues, cheerfully.

                                  RACHEL (CONT.)
                    I should tell you these do
                    not have buttons.
                           (shows him)
                    See?  Hooks and eyes.

                         BOOK
                    Something wrong with buttons?

                         RACHEL
                    Buttons are hochmut.

                         BOOK
                    Hochmut?

                         RACHEL
                    Vain.  Proud.  Such a per-
                    son is hochmutsnarr.  He is
                    not plain.

                         BOOK
                            (nodding)
                    Anything against zippers?

                         RACHEL
                           (almost blushing)
                    You make fun of me.  Like
                    the tourists.  Driving by
                    all the time.  Some even
                    come into the yard.  Very rude.
                    They seem to think we are
                    quaint.

                                  BOOK
                    Quaint?  Can't imagine why.
     She smiles.

                                  BOOK (CONT.)
                    Where's the nearest telephone?


                         RACHEL
                          Telephone?  The Gunthers across
                    the valley.  They're Mennonite.
                          They have cars and refrigerators
                    and telephones in the houses even.

                         BOOK
                    No.  I'd want a public phone.

     Rachel's face clouds.

                         RACHEL
                          Well...the store at Saltzburg....
                                (then briskly)
                          But you won't be going to
                    Saltzburg for a while.

                         BOOK
                    I'm going this morning.

                         RACHEL
                          But Stoltzfus said...

                         BOOK
                                (cutting in)
                    I know what he said.

                         RACHEL
                          You can go with Eli   He's
                          taking Samuel to school.  But
                    you'll have to hurry.

     Rachel turns to leave when Book calls her back.

93C  CONTINUED:   (3)
93C

                         BOOK
                    Rachel.

     She turns to look at him.  It's the first time he's
used her name.

                         BOOK
                         (continuing)
                    Thanks.
     She smiles and leaves.

93D  EXT. FARMHOUSE - DAY
93D

     Eli calls impatiently from the buggy.  Samuel sits
beside him.

                                  ELI
                    Hurry up now, John Book!

     INT. KITCHEN - DAY

     Rachel washing dishes turns on hearing Book enter.  She
     laughs out loud at the sight of him in his Amish gear,
     and rightly so - the pants are highwater, the hat low-
     rise, the jacket ill-fitting.  Book looks self-
     conscious, even a little sheepish.

     Outside another SHOUT from Eli.

                                  RACHEL
                    You'd better go.

     Book looks embarrassed.

                                  BOOK
                    My... eh... gun?

     The smile fades from Rachel's face as she reaches up
     into a cupboard.  She passes the gun in its holster to
     Book.  He fastens it about him.  The contradiction of
     an "Armed Amishman" increases the awkwardness between
     them.  Book turns his back to her and checks the
     weapon.  He turns back to her smiling in an odd way.

                                  BOOK
                    The... bullets?

                         RACHEL
                    Oh.   The bullets.

     She takes them out of a disused coffee jar, passes them
to Book.

                         BOOK
                           (attempting a joke)
                    Not much good without them.

93F  INT. BUGGY - COUNTRY ROAD - DAY
93F

     Samuel sits between Eli and Book.  Both men stare
     straight ahead.  Eli looks particularly stern.  It's
     pretty clear he doesn't like this Englishman wearing
     the clothes of his faith.


93G  EXT. AMISH ONE-TEACHER-SCHOOL - DAY
93G

     With a  wave Samuel runs into the schoolyard to join
     his friends.  A teacher begins ringing a bell.

93H  INT. STORE, - SALTZBURG
93H

     Book on the telephone waiting for his call to be
     answered.  He looks about him - several Amish and
     Dithers mingle in the shop.  Book-has gotten a coke
     from a machine, seems a bit self-conscious shout it
     sips at it surreptitiously....   A voice comes on the
     line; it's that of Book's partner.

                         CARTER
                    Yeah?

     A silence.

                                BOOK
                    It's me.

                                CARTER

                    Johnny!  Where the hell have you been?

                                BOOK
                    Never mind.  I'm coming in to take
                    care of business.  How hot am I?

                         CARTER
                         (low, urgent)
                    Too hot.  Don't do it.  Don't come in.

                              BOOK
                    I'm coming.

93H  CONTINUED:
93H

                         CARTER
                    Listen, Johnny, don't do anything
                    stupid.  You couldn't get within a
                    mile of Schaeffer right now.  So
                    stay put... Stay in touch - I'll
                    let you know when maybe  it makes
                    sense.

     A beat as Book considers that.

                                       CARTER
                           (continuing; edgily)
                    You hear me?

                                        BOOK
                           (finally)
                    I hear you.  I'll stay in touch.

                                  CARTER
                    That's more like it.
                           (and)
                    Where are you at, anyway?

     Book allows himself a small smile, regarding his Amish
     image reflected in the window of the store.

                         BOOK
                    Where I'm at is maybe 1890.


                         CARTER
                                (uncomprehending)
                    Say again?

                          BOOK
                    Make that 1790

     He hangs up.  A beat, then he stares toward the door Q
     the store.

93-I INT. BARN - DAY
93-I

     Book works on his car.  The battery has gone flat and
     he's trying to charge it up by running wires to a
     battery mounted under the front seat of the Lapp buggy.

     Eli stands at the barn door staring at him, again the
     disapproving look.

                                  ELI
                    If you are well enough to do that
                    thing, you can do work for me.


93-I CONTINUED:
93-I

     Book is genuinely apologetic.

                                  BOOK
                    Sure, I'm sorry.  Hope you don't
                    mind me  plugging in to your battery
Mine's
                    dead.... How can I help?  What can
                    I do?

                         ELI
                    Maybe milking.


                         BOOK
                           (eyes Eli)
                    Milking?


                                  ELI
                    Cows.  You know, cows?

                                  BOOK
                    I've seen pictures.

                                  ELI
                    Good, you start tomorrow.

93J  INT. BOOK'S ROOM - LAPP FARM - NIGHT
93J

     Where Book lies asleep.  A beat, then Eli comes in
     carrying a lamp.  He pauses a moment to peer at the
     sleeping figure with undisguised anticipation.  Then he
     gives him a jarring thump:

                                         ELI
                                (briskly)
               Veck oufl  Time for milking.

     Book comes groggily awake as Eli exits.  He gropes for
     his watch.

     INSERT WATCHFACE

     It reads 4:30 a.m.

     BACK TO BOOK

     as he stares at it in disbelief.

93K  INT. BARN
93K

     as the milk herd of half dozen or so cows ambles in
     with Samuel prodding them along, headed for the milking
     stalls.  Book looks on in the lamplight, nonplused.

                         SAMUEL

                    Where he's pitching hay into the
                    cow's feed-troughs.

     BOOK, ELI

     Where the old man is showing Book how to milk a cow by
     hand.  We see Rachel watching from the milkhouse door
     (steam from scalding milk cans rising behind her).

                         ELI
                    Good, firm twist and pull, eh?
                           (and)
                    Right.  Now you try it.

     Book gives him a look, takes over the milking stool.
     The cow shoots him a rather skeptical look over her
     shoulder.  Book bends to his task.

                                        ELI
                        {continuing)
                    Didn't you hear me, Book?  Pull!
                    You never had your hands on a teat
                    before?

                                        BOOK
                         (grimly)
                    Not one this big.

     Eli unexpectedly finds this hilarious, cackles, gives
     Book a comradely, man-of-the-world thump on the
     shoulder that jars him.  Then he moves off.  Book bends
     to his task, and...

     ANGLE - RACHEL

     Grinning,, giggling, covering her mouth with one hand.


     as he pours a pail full of milk into a large, stainless
steel milk can.

     EXT. BARN

     as the milk herd is released back into the pasture.
Book crosses
     into the f.g., stares O.S.

     BOOK'S POV - HORIZON

     And dawnfire etching the hilltops- The BELLHOUSE
     behind the house, the sun reflecting from the heavy
     bell beneath its small roof.

93K  CONTINUED                                         93K

     BACK TO BOOK

     Something  in him can't help but respond to the beauty.

     A beat,  then he blows on his hands,  rubs them briskly
     together against the morning chill,  and turns back to
     the barn.

93L  EXT. LAPP FARMHOUSE - DAY
93L

     It is later in the morning.  Rachel comes out onto the
     porch,  tosses a pan of dirty dishwater off onto the
     grass,  looks toward the barn.

      ANGLE - THE BARN

     Eli and Book standing in one of the open doorways, look-
     ing in.

      INT. THE BARN

     ANGLE FAVORING Luke,  one of Eli's team of fine mules
     as Samuel opens the stall gate.  The beast is skittish,
     obviously afflicted with something of a behavioral
     problem.

     But he allows Samuel to lead him out.

      BOOK, ELI

     As Samuel brings Luke out.  Eli is now harnessing the
     other mule of the team to a large  manure-spreader.
But as
     Luke nears Book,  his eyes widen and he shies,  almost
hauling
     Samuel off his feet.

                                       BOOK
                                (alarmed)
                         Careful,  son -

     Book moves to Samuel's aid;  a gesture which proves
     a serious mistake.  Luke erupts into a SCREAMING,
     bucking cyclone.  Samuel - who no doubt has been
     here before - dives nimbly for cover as a flying hoof
     nearly takes Book's head off.

     Then Eli hustles into the fray,  pushing Book
     aside as he BELLOWS belligerently in German at the
     rearing animal.  Finally he gives Luke a swat upside
     the head that seems,  somehow,  to have the effect of
     quieting the beast instantly.

     ANGLE

     Samuel gives the shaken Book a look:

                              SAMUEL
                    That's Luke.  He doesn't like
                    strangers.

                                    BOOK
                         (still shaken)
                    You don't say.

     Eli leads the pacified mule back to the traces,
grunting at Book.

                                ELI
                    Have to teach you mules, too,
                     I guess.


CUT TO:
93L   EXT. FIELD NEAR FARMHOUSE - DAY
93L

     Book collects the pieces of the birdhouse which his car
     knocked down the day of his attempted departure.  He
     pauses as a figure approaches.  We recognize Daniel
     Hochstetler, Rachel's would-be suitor.  He heads for
     Book with an outgoing smile and outstretched hand.
     Here's a likable man who likes people.

                         HOCHSTETLER
                    Good morning.  Book, is it?  You
                    are the Yankee they talk about?

                                  BOOK
                    I thought I was the English.

                                  HOCHSTETLER
                    English, Yankee.  It's the same.
                    My name is Daniel.  Daniel
                    Hochstetler.
                            (sizes up his clothes)
                    You look plain, Book.
                            (grinning)
                    Very plain.

     Book is not particularly amused.

                                      HOCHSTETLER
                                (continuing)
                        I came to see Rachel Lapp.

                         BOOK
                    Try the house.

     Hochstetler gives Book a powerful clap on the shoulder.

                           HOCHSTETLER
                        (genially)
                    You bet.  you take care of
                    yourself.

     Hochstetler heads for the house.  Book stares after him
with some interest.

93L   CONTINUED
93L

     ANGLE

     As Rachel emerges from the house to greet him.  she
     also catches sight of Book and she pauses,  a shadow
     of confusion crossing her expression for an instant.

     And Hochstetler doesn't miss it either.

     Then she gives her suitor a genuine smile of welcome.

93M   HOG PENS                                         93M

     Book,  having gathered up the pieces of the bird house,
     is headed toward the outbuildings,  passing by hogpens.
     He glances toward the house:

93N   HIS POV - THE BACK PORCH
93N

     Where Rachel and Hochstetler are sitting in a porch
     swing,  sharing a pitcher of lemonade.

930   BACK TO BOOK
93O

     Thoughtful . . . He glances at the hog pen as a huge
sow
     SQUEALS and angrily noses her young  ones away from the
     trough so she can feed.

                         BOOK
                                   Pigs

94    OMITTED
94
thru                                                   thru
98                                                     98

99    INT. CARPENTRY SHOP, LAPP FARM - DAY
99

     Book works on repairing the broken birdhouse when
     Rachel enters.

            BOOK

     He uses a drawknife on a piece of 2x4, with some
obvious expertise.

                                  RACHEL
                    Eli is a fine carpenter.  Best in
                    the district.  He and his father
                    built the big house themselves
                    forty years ago.

                                  BOOK
                    Oh?
                           (and)
                    What happened to Hochstetler?

                                       RACHEL
                    We had some lemonade and he left.

                                  BOOK
                    A real fireball.


     Rachel smiles.  Book crosses to a workbench and selects
     another tool.

                                  RACHEL
                    You know carpentry?

                                  BOOK
                    I did some carpentry summers when
                    I was going to school.

                         RACHEL
                    What else can you do?

                                       BOOK
                         (really annoyed)
                    I can whack people.
                    I'm hell at whacking.

                                  RACHEL
                    Whacking is not of much use on a
                    farm.

                                  BOOK
                    Now hold on.  There's a lot of
                    people who think being a cop is a
                    legitimate job.

                                  RACHEL
                    I'm sorry.  I'm sure it is.

     She turns, starts to go.  Then turns back, eyeing his
makeshift garb:

                         RACHEL
                           (continuing)
                    Tonight     I'll let out those
                    trousers for you.

     Stifling  a smile, she goes.  HOLD on Book a beat,
then...

                                                  CUT TO:

100   INT. LAPP FARMHOUSE - DINING ROOM
100

     Eli is seated at the head of the table, Book opposite
     Samuel and Rachel.  The table is piled high with an
     incredible amount of food.  Eli eyes Book cagily, waves
     his fork at him:

                                  ELI
                    Eat up, Book.  What's the matter
                    with your appetite?

                                        BOOK
                           Guess I'm not used to so much.

                                       ELI
                           (snorts)
                    Not used to hard work.  That's
                    what makes an appetite.

     Book swallows that one. With difficulty.  Rachel
intervenes:

                         RACHEL
                    Eli,  John is a carpenter.
                        (conciliatory after-
                          thought)
                     As well as being a fine policeman.

                                  ELI
                    Eh?  Well then,  maybe he can go to
                    Zook's barn-raising,  eh?  See
                    how good a carpenter.

     Book can't refuse the challenge.

                         BOOK
                    Sure.

                                 RACHEL
                    But . . . You may not be well enough.

                                  BOOK
                    I'll drink some more of Stoltzfus'
                    tea.

100A  EXT./INT  BARN - NIGHT
101A

     As Rachel,  lamp in hand,  walks up to the barn  She
     looks in to find Book tinkering with the battery hookup
     to the Lapp buggy.

     He glances up as she enters:

                         BOOK
                    Hi . . .

     As she sets her lamp down near the one he's using.

                                       RACHEL
                           (beat)
                    When will you be going?

                                  BOOK
                    Not long . . . A few days.

     Another beat as Rachel watches him . . . Book,
checking
     out the battery power,  hits the radio - and suddenly
     from the Twentieth Century comes the sound of one of
     its major inventions - rock and roll.

     It fills the barn,  but Book turns up the volume a
     click more even and,  eyeing Rachel,  starts moving
with
     the beat.  It's his culture,  coming through loud and
     clear,  as incongruous as it all might seem with the
     tough Philly cop decked out in Amish.

     Rachel can't help but laugh . . . Sensing her response,
     Book sweeps her up and they boogie in the lamplight,
     Rachel alternately protesting and laughing.

                         BOOK  (CONT'D)
                    You like it . . . Don't you?

     Rachel,  confused,  protests:

                                       RACHEL
                    No . . . You just stop -

     But she doesn't really want too  Book grins:

                                        BOOK
                           (mock alarm)
                    Next thing you know you'll be off
                    drinking beer and racing motor-
                    cycles.

     And it goes on . . . Rachel alternately protesting and
laughing.

     ANGLE - THE BARN DOOR

     As Eli suddenly appears.  He glowers for an instant,
     thunderstruck,  then BELLOWS:


                         ELI
                    Rachel -- !

     THE SCENE

     As Book and Rachel's dancing comes to a sudden halt.
     Both turn, look at Eli.  Rachel regards him level-
     eyed, without discernible alarm.   Book, looking a
     bit sheepish, goes over, turns off the radio, as:

                         ELI (CONT.)
                           (in the dialect)
                    What is this?  This Myusick?

     Book hesitates, then starts to say something:

                                  BOOK
                    It's not her fault. I --

     But he gets such a look from Eli that he turns, goes
out.

                         ELI
                           (in the dialect)
                    How can this be?  How can you do
                    such a thing?  Is this plain?
                    Is this the ordnung?

                                  RACHEL
                    I have done nothing against
                    the ordnung.

                                  ELI
                           (in the dialect)
                    Eh?  Nothing?  Rachel, you
                    bring this man to our house.
                    With his gun of the hand.  you
                    bring fear to this house.  Fear
                    of English with guns coming
                    after.  You bring blood and
                    whispers of more blood.  Now
                    English music...and you are
                    dancing to English music!  And
                    you call this nothing?

                                  RACHEL
                    I have committed no sin.

                                  ELI
                           (in English)
                    No sin?  Maybe.  Not yet.
                    But, Rachel, it does not look.
                           (tone softening...
                                                  in the
dialect)
                     Don't you know there has been
                     talk?  Talk about you, not him.
                     Talk about going to the Bishop.
                     About having you...shunned!

                                  RACHEL
                    That is idle talk.

                                         ELI
                           (in English, pleading)
                    Do not make light of it, Rachel.
                    They can do it...quick!  Like that!
                    And then...then I can not sit at
                    table with you.  I can not take
                    a thing from your hand.  I...I
                    can not go with you to meeting!
                           (the old man almost
                            breaks down as, in
                            the dialect)
                     Rachel, good Rachel, you must
                     not go too far!  Dear child!

     Rachel is annoyed - also touched, no doubt, by the old
     man's plea - but irked by his condescending tone.

                                  RACHEL
                    I am not a child.

                                         ELI
                           (suddenly stern again)
                    You are acting like one!

                                  RACHEL
                    I will be the judge of that.

                                         ELI
                           (fierce as a prophet)
                    No!  They will be the judge of
                    that!  And so will I...if you
                    shame me!

                                       RACHEL
                         (blinking a tear now,
                           but meeting his gaze)
                     You shame yourself.

     And shaken - but proud and erect - she turns and
     walks out.

101   OMMITTED                                         101
thru                                                   thru
104                                                    104

105   INT. SCHAEFFER'S OFFICE - - NIGHT
105

     Carter sits, Schaeffer prowls...slowly, letting
     silences grow before he strikes again with another
     softly-snarled question or statement.

                              SCHAEFFER
                    You know where he is.

                         CARTER
                    Wrong.

                              SCHAEFFER
                    You'd lie to protect him.

                         CARTER
                         (cool)
                    Probably.

     Schaeffer snaps around, glares at him.

                              SCHAEFFER
                    You admit you're lying?

                                     CARTER
                         (shakes head)
                    I admit I don't know where
                    he is.

                              SCHAEFFER
                    You're the first one he'll
                    contact.

                                     CARTER
                              (sighing)
                    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:

                              SCHAEFFER
                    It's funny.  I know he's hiding
                    somewhere with the Amish,  I know
                    it.
                          (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.
     Carter looks back, stony-eyed.  Schaeffer makes another
     abrupt shift in form...but still speaks softly.

                                       SCHAEFFER
                    Either you're a member of the
                    club or you aren't, Elton.
                           (he nods his head, as)
                    Tell me what you know....

                                  CARTER
                    What I know, Paul, is...
                           (nodding his head)
                    He's going to take you out....

105A  EXT. LAPP FARM - LANCASTER COUNTY - DAY
105A

     As Book pauses by the barn door, glances over his
shoulder.

105B  HIS POV - BUGGY
105B

     With trace horse  harnessed...Samuel and Eli loading
     provisions into the buggy, standing down by the house.

105C  BACK TO BOOK - - INT./EXT. BARN
105C

     As he goes into the barn.

     Book approaches Luke's stall warily.... and as he does
so
     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:

                                  BOOK
                    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
     stall gate.

     ANGLE

     As Luke eyes him balefully, Book reaches into his
     pocket, brings out some lumps of sugar.


                              BOOK (CONT'D)
                    See . . .  Sugar.  You like
                    sugar,  don't you for Christ's
                    sake?

     Finally,  keeping a mistrustful eye on Book,  Luke con-
     descends to eat.  Book nods with satisfaction.


     ANOTHER ANGLE

     Rachel has entered the barn,  is watching Book with a
     puzzled expression.

                         RACHEL
                        (surprised)
                    Well....

     Book turns,  grins with some pride of accomplishment!

                                       BOOK
                    Won him over just like that.

                                    RACHEL
                    I see.
                         (and)
                    But I hope you have a lot of
                    sugar.
                        (then,  going)
                    Eli is ready to go to Zook's.

     Just then Luke skitters impatiently . . . Book gives
him
     a nervous look; one last tentative pat as Luke eyes him
     skeptically,  then closes the stall gate and turns to
     go:

                         BOOK
                    Later.

     And we . . .

106  EXT. ZOOK FARM - LANCASTER COUNTY - DAY
106

     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
the
     construction site where a couple of dozen men have
begun
     raising the main supports on the already laid
foundation.

     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,

      LAPP BUGGY

     As Eli, Book, Rachel and Samuel step down, Book eyes
     the construction site.

                                  ELI
                    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:

                                  HOCHSTETLER
                    Book!  Good to see you!

     He pumps Book's hand with his usual vigor, smiling a
     greeting and pleasantry to Rachel.  She looks on,
     amused.

     Hochstetler gives Rachel a look, and we realize that
     his showing up just now to appropriate Book was no
     happenstance.

     And Book realizes it as well.

                         HOCHSTETLER
                          (continuing)
                    Eli says you're a carpenter, Book.

                                  BOOK
                    It's been a while.

                                  HOCHSTETLER
                    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:

                         RACHEL
                    Good luck.


            BOOK/HOCHSTETLER

            as they move off.

                                    HOCHSTETLER
                    Your hole is healed, then?

106   CONTINUED:  (2)
106

                         BOOK
                            (gives him a look)
                    Pretty much.

     Hochstetler nods with satisfaction:

                                       HOCHSTETLER
                    Good.  Then you can go home.

                                             DISSOLVE TO:
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
     rhymes).

     ... The very elderly; sitting on the grass or in
     wheelchairs in the sunlight, looking on - the old men
     kibitzing in German, the women gossiping.

     Until...

     BIG SHOT

     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...

107   CONTINUED:
107

     ... 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.

     WOMEN'S AREA

     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.

                         MRS. YODER
                    Everyone has an idea about you and
                    the English.

                                     RACHEL
                    All of them charitable, I'm sure.

                         MRS. YODER
                    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:

                         HOCHSTETLER
                    Nail it - !

                         BOOK
                    Yes, sir.

107   CONTINUED:  (2)
107

     And he does nail it while Hochstetler, grinning and
     holding, looks on.

                                             DISSOLVE TO:
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
him,
     says nothing, doesn't even look at Book.  From below,
     someone TELLS them to hurry up.  Hochstetler SHOUTS:

                         HOCHSTETLER
                    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.

109  (OMITTED)
109

110   EXT. ZOOK FARM - LANCASTER COUNTY - EVENING
110

     The gathering has congregated to hear Bishop Tschantz
     offer up a blessing on the new barn.

      CONGREGATION

     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.

                                                  CUT TO:


112   EXT. LAPP FARM - NIGHT
112

          Book stands outside, listening to the NIGHT
SOUNDS.  He
     turns, walks up toward the porch.

113   EXT. PORCH - TARP FARMHOUSE - NIGHT
113

     Book takes a seat in a chair, SIGHS, looks toward the
     night sky.  There is a SOUND, but  it's a moment before
he turns
     his eyes toward the door.

     ANGLE - THE DOOR

     Samuel standing there in his nightshirt.

     BACK TO SCENE

     as Book leans forward in his chair.

                                  BOOK
                    Hey, Sam....

                                 SAMUEL
                    ... I want to say a thing.

113   CONTINUED:
113

                         BOOK
                           (sitting up)
                    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:

                                        BOOK
                    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:

                                  BOOK
                    Sam?

     No answer.   Book steps inside, pulls the door shut
     behind him, moves down-the corridor toward the
     kitchen.

114   INT. LAPP WASHHOUSE - NIGHT
114

     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.

114   CONTINUED:
114

     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
innocent
     effort to become, for an instant, a woman of Book's
world.

     BOOK

     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.

     BOOK

     TIGHTENING to him, and...

                                                  CUT TO:

115   EXT. LAPP FARM - DAWN
115

     REESTABLISHING...

116   ANGLE - HEN YARD
116

     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
work.

                                     BOOK
                    Last night.

     She goes very still, but keeps her back to him.

                         BOOK
                           (continuing)
                    If... we'd made love, then, I
                    couldn't leave.

     She lowers her head slightly, but remains turned away
     from him.  Book continues to stare at her.

117   EXT. RURAL ROAD - LANCASTER COUNTY - DAY
117

     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.

                                  BOOK
                    Maybe I ought to learn to drive
                    this thing.

     Rachel says nothing.

                                        BOOK
                           (continuing; beat)
                    Pick myself up another useful
                    skill.

     Now Rachel can't help but smile.  She looks at him.
     And...

     EXT. ANGLE

     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.

                                  RACHEL
                    Samuel, who is that?

     Samuel checks out the buggy.

                                       SAMUEL
                          It looks like Hochstetler's mare.

117   CONTINUED:
117

     EXT. ANGLE

     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:

                                        BOOK
                                (teasing her)
               Uh oh, they're leaving us behind.

     Rachel gives him a look, and... gives the reins a flick
     - the race is on.

     RACE MONTAGE

     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
118

     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...

                                   TOURIST LADY
                    Could I ... ah, you know - ?

118   CONTINUED:
118
                         BOOK
                        (smiling)
                    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
119

     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...

                                        BOOK
                         Lieutenant Elton Carter, please.

     A beat, then we hear the FILTERED VOICE of the
     Philadelphia Police Department switchboard:

                                       VOICE
                         Are you a member of the family?

                         BOOK
                    What?  I'm a friend of his.

                         VOICE
                    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
119A

     Schaeffer's wife answers the phone; she is momentarily
     shocked.  She calls for her husband, then makes polite
     conversation.

                         MRS. SCHAEFFER
                    How are you, John?

     Paul Schaeffer appears, slightly irritated at being
     called away from the Saturday afternoon game.

                                     MRS. SCHAEFFER
                                      (covering mouthpiece)
                    John Book!

                                     SCHAEFFER
                    I'll take it in the study.

119B. INT. STUDY/STORE - DAY
119B

     Schaeffer takes the phone.

                              SCHAEFFER
                    You can hang up, dear.

     We HEAR the click of the other phone,

                              BOOK
                    You made a mistake,  Paul.
                    You shouldn't have taken Elton
                    out.

                              SCHAEFFER
                         (beat)
                    How bad did Mac get you?  We
                    figured pretty bad.

                              BOOK
                    I'm fine.  I'm going to live
                    a long time.  That's what I
                    called to tell you.

                              SCHAEFFER
                         (quickly)
                    Johnny --

                              BOOK
                    You might want to pass it along
                    to Mac.

                              SCHAEFPER
                         (urgently)
                    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 -

                              BOOK
                    I've already got something worked
                    out.
                          (and)
                    Be seeing you.

     Book hangs up the phone and the dead CLICK registers
     on Schaeffer.

     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
out
     at something . . . Training.  Get it under  control.
Deal
     rationally with the situation.

119B  CONTINUED
119B

     He straightens his jacket, wipes the sweat/tears
     from his eyes, turns and walks stiffly out of the
     Saltzburg General Store.

120   OMITTED                                          120
thru                                                   thru
121                                                    121

122     INT. BUGGY - MAIN STREET - SALTZBURG - DAY
122

     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
122A

     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
122B

     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.

                         RACHEL
                    Do nothing.  This happens
                    from time to time.
     She senses him about to get out, grips his arm tightly.

                         RACHEL
                             (continuing)
                    It's not our way, John.  We'll
                    have nothing to do with violence!
                    John!

     Book shakes free, gets out and slowly walks toward the

122C  EXT. HOCHSTETLER'S BUGGY - DAY
122C

     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.

                                        YOUTH
                    Here comes another one!

     Book stops, his path blocked by the third youth.  The
     youth flicks off Book's hat.

                         BOOK
                        (quietly)
                    You're making a mistake.

     Hochstetler calls from his buggy.

                                     HOCHSTETLER
                    Everything is all right, John.

                         BOOK
                                (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.

122C  CONTINUED:
122C

     The kid never knew what hit him or where it came from,
he
     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.

                                  LOCAL MAN
                    Never seen anything like that in all
                    my years.

                         RACHEL
                        (covering)
                    He's from...Ohio... My cousin.

                                  LOCAL MAN
                    We'll, them Ohio Amish sure must
                    be different.
                        (addresses a gath-
                         ering crow )
                     Our Lancaster brethren, they just don't
                    have that kind of fight in them.

                                  RACHEL
                    John, lost control of himself.
                    He... will be repentant.

                                 LOCAL MAN
                           (to Rachel)
                    You're Rachel Lapp, aren't you?

                                  RACHEL
                    Yes.  Samuel!  We're going.

     A second man calls from the pickup.

                                SECOND MAN
                    Kid's nose is broken!

                                   LOCAL MAN
                    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.

123  OMITTED
123

124  EXT. BARN/CARPENTER'S SHOP - DUSK
124

     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.

                         RACHEL
                    You should not bother with that
                    birdhouse.
                           (a beat)
                    If you're leaving tomorrow.

                                  BOOK
                    I'm leaving tonight.
                           (and)
                    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:

                                  RACHEL
                    There was a time when I thought
                    you might have stayed.


                                  BOOK
                           (hesitating...then)
                    There was.

                                  RACHEL
                    There was a time when I would
                    have welcomed it.

                         BOOK
                        (after a beat)
                    I know.

124  CONTINUED

                                 RACHEL
                           (asking)
                    I was being foolish?

                                  BOOK
                    No.
                           (and)
                    I was being unrealistic.  Even
                    thinking about living this life.

                                  RACHEL
                    You're so sure of that?

                                  BOOK
                    Aren't you?  After today?

                                 RACHEL
                         (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
                     bad enough.
                           (a beat)
                    Just as I could live yours!

                                  BOOK
                           (almost groaning)
                    Oh, come on, Rachel.  No way.

                                  RACHEL
                    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!

                                  BOOK
                           (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!

                                  RACHEL
                    What you do is take vengeance!
                    Which is a sin against heaven!

                                  BOOK
                    That's your way, not mine.

124  CONTINUED (2)
124

                                  RACHEL
                    That's God's way!

                                  BOOK
                    Well in the City of Phila-
                    delphia, God needs a little
                    help!

     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:

                                  RACHEL
                    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
     words.

                                  RACHEL (CONT.)
                    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
                          of chin)
                     I am sorry...that I did not.

     She holds for an instant, then turns and walks off.

     BOOK

     Looking after her.  A face full of loss.

125   INT. KITCHEN - DUSK
125

     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
126

     The distant figure of Book working on the birdhouse.

127   INT. KITCHEN
127

     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.

                         RACHEL
                    Eli, would you see Samuel to bed?

     The old man glances at her; this is not their routine.

128   EXT. DRIVEWAY - DUSK
128

     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
     Rachel's approach.

     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
129

     Book and Rachel in a passionate embrace, sink to the
     still warm earth and make love.

130 EXT. SOUDERSBURG CAFE - LANCASTER COUNTY - NIGHT
130

     ESTABLISHING an all-night cafe in the early hours of
     the morning.

     TIGHTENING to the bleakly lighted windows.

131   INT. CARE
131

     A booth, where Schaeffer and McElroy and Fergie, a
Lancaster
     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:

                         SHERIFF
                    There... White Oak Road a couple
                    of miles before it ties into two-
                    twenty-two.  Got it?

                                  SCHAEFFER
                    Got it.  We owe you one, Sheriff.

                                  SHERIFF
                    My man Holmes here put it
                    together.  Fine officer, Chief.
                    He spoke to the doctor at the
                    hospital.

                                  SCHAEFFER
                    Undersheriff Holmes and I have
                    talked on the phone.
                           (nods at Holmes)
                    Good work.

                                  UNDERSHERIFF
                    Sure you don't want us to post
                    some back-up units?

                                  SCHAEFFER
                    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
132

     As Schaeffer and his men are climbing into their car.
     Holmes and the Sheriff watch after them.

                                  HOLMES
                    Maybe I'll take a drive over
                    that way.

                                  SHERIFF
                    Let 'em be.  It's their dirty
                    laundry.

     But Holmes pauses to watch Schaeffer's car pull out.

133 EXT. RURAL LANE - LANCASTER COUNTY - DAWN
133

     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
outbuildings.

     HOLD as Schaeffer,  McElroy and Fergie step out of the
car.
     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.

133A  ANGLE
133A

     GOING WITH the trio of gunmen . . . McElroy,  breath
     smoking in the chill,  eyes the terrain:

                              McELROY
                    Weird,  man.  No fuckin' electricity.
                    What do you figure they plug all
                    their shit into?

                              SCHAEFFER
                    They don't have any shit.

134   INT. KITCHEN - DAWN
134

     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
dishes.

135   INT. BARN - DAWN
135

     Book and Samuel are starting  the morning milking . . .

136   INT. KITCHEN - DAWN
136

     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
shock
     as Schaeffer enters:   Rachel is, for a moment,
terrified.

                         SCHAEFFER
                        (to Fergie)
                    Outside -
                         (to Mac)
                          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

                         SCHAEFFER (CONT.)
                           We're police officers.  We're
                           looking for a fugitive, John
                    Book.  He's living here?

                         ELI
                    I have nothing to say to you.
                    Get out of my house!

                         SCHAEFFER
                    You speak English.  Good.
                    Now listen --

                         RACHEL
                                   (recovering)
                    No, you listen.  Get out!

                         SCHAEFFER
                    Lady, I'm here to help you.
                    This man is very dangerous.
                    An armed criminal.
                                   (ingratiating)
                    He's got a gun, hasn't he?

                         RACHEL
                    You have no right here!

     McElroy re-enters.

                         McELROY
                    He's not in this building.

                         SCHAEFFER
                                   (to Eli)
                    All right, where is he?

     Suddenly Eli SHOUTS:  it's deafening.  Probably the
     loudest noise Eli has ever made:

                         ELI
                    John Book!

     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
137

     Book and Samuel in the milkhouse.  They've heard
     Eli's outcry.  Book moves to the window, looks out.

137A BOOK'S POV - FERGIE
137A

     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
137B

     As Book REACTS.

138  INT. KITCHEN - DAY
138

     Rachel kneeling next to Eli, wiping at his bruise with
     a damp cloth.  Schaeffer looks on.

                         SCHAEFFER
                    He'll live.

                         RACHEL
                    You might have killed him!

                         SCHAEFFER
                                (to McElroy)
                    Find Fergie, check the barns.
                    I'll watch these two.

     McElroy nods, moves outside, turns toward the barns.

139  INT. BARN - DAY
139

     Book still at the window, Samuel now beside him,
     trying to get a look.

                         SAMUEL
                         Is it them?

                         BOOK
                        (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.

                                  SAMUEL
                           (interrupting)
                    Are they going to kill you?

                                  BOOK
                    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

                                        SAMUEL
                    What are you going to do?

                                         BOOK
                    I'll be all right.  You just
                    do as I say.

     He takes Samuel by the hand, leads him to the side
door.
     He bends, holds the boy close.

                         SAMUEL
                    Don't let them hurt you.

                                BOOK
                           (rising, pushing
                            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
140

     Samuel running.

141  EXT. BARN - DAY
141

     Fergie almost to the upper barn, McElroy - well back
     and moving slowly, circumspectly - headed toward the
     lower barn.

141A. INT. BARN - DAY
141A

     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
141B

     Fergie at the door to the upper barn, moving very
     cautiously, gun up.  He eases around the doorpost,
     looks within.

141C. INT. BARN - ANGLE PAST BOOK
141C

     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
gate,
     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.

     BOOK

     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-
     latch.

     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.

     FERGIE

     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
matchstick.

     BOOK

     As he slips out of the stall, ducks toward the rear
     of the barn.

     FERGIE

     Fallen, skull smashed...and now the dying Luke's legs
     buckle and he collapses atop Fergie.

141D. EXT.  BARN - DAY
141D

     McElroy standing still, shock-eyed, looking toward the
     sound of the shots.  Then starting slowly forward.

     SCHAEFFER

     On the porch of the house, looking toward the barn.

141E. EXT. FIELD - DAY
141E

     Some distance from the barn, Samuel's hearing the
shots,
     stops dead in his tracks.... the sound of the shots
     still REVERBERATING across the quiet fields.

                         SAMUEL
                         (stricken)
                    Mr. Book?

     He hesitates, then turns, starts trotting back toward
     the barns.

141F.EXT/INT. KITCHEN PORCH - DAY
141F.

     Rachel has moved into the open kitchen door, glances
     anxiously toward the barns. starts out.  Schaeffer
     pushes her back.
                                   SCHAEFFER
                    Get back in there

                                       RACHEL
                    My son is out there!

                         SCHAEFFER
                    Nobody's going to hurt your son....

141F. EXT. BARN - DAY
141F

     As McElroy, checking the safety on his twelve-gauge,
     steps into the barn.

141G. INT. BARN - DAY
141G

     McElroy flattens himself against the wall, looks
     around fearfully.

                                         McELROY
                                     (softly)
                    Fergie?
     Only silence.

141H. EXT. FRONT PORCH - DAY
141H

     Schaeffer staring toward the barn, SHOUTS:

                                         SCHAEFFER
                    What the hell happened?

     He listens, hears nothing, snorts, starts toward the
     barn checking his gun, not hurrying.

141I. INT. KITCHEN - DAY
141I

     Eli now seated at the table, holding a cloth to his
head.
     Rachel at a window, peering out. Schaeffer on the porch
141J. EXT. FIELD - DAY
141J

     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
141K

     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
field;

     BOOK

     Standing in shadow at the back of the barn next to a
     hay mow.

     HIS POV - McELROY

     Moving toward the center of the barn.

     BOOK

     As he starts to move even further back, he nudges into
     a rope fastened to the wall behind him,  He looks at
it,
     looks up,

       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
fixed
     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.

       McELROY

     Moving out toward the center of the barn, almost under
     the suspended hay fork.  He stops short, listens.
Then,
     either spotting a moving shadow or hearing a SOUND, he
     FIRES.  His shot rattles off the side of a manure
     spreader.  He SHOUTS:

                              McELROY
                    Book, you sneaky bastard, I
                    know you're hot!  Come out
                    and fight!

141L  EXT. BARNYARD - DAY
141L

     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

     SCHAEFFER

     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
141M

     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

     BOOK

     Waiting...trip rope in hand.  Then:

                                    BOOK
                        (SHOUTING)
                    Hey, Mac!

     And he lets go the trip rope.

     McELROY

     As he turns toward the SOUND of Book's voice.

     HAY FORK

     As it plummets down, causing a RATCHETING SOUND that
     fills the barn, even drowns out the SOUND of the bell.

     McELROY

     Eyes darting wildly, looking up.

     HIS POV - HAY FORK

     Plunging straight for him.

     McELROY

     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.

     McELROY

     Staring at the fork pop-eyed.

     BOOK

     Sprinting toward a ladder thrust up through an opening
     in the barn floor just in front of his parked car.

     McELROY

     Spotting Book, coming up to one knee, quick-aiming,
     FIRING.  The shot smashes the windshield of the car.

     BOOK

     Diving, rolling, slamming into the top of the ladder,
     flailing down out of sight.

     McELROY

     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.

     ANGLE

     As McElroy wheels at the movement of the car's hood,
     FIRES twice.

     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.

     SCHAEFFER

     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.

     SCHAEFFER

     Turning, SHOUTING:

                                SCHAEFFER
                    You stay put!

     RACHEL

     She stops.  She is also unable to see Samuel.

     SCHAEFFER

     Moving out toward the barn, rounding a corner...and
     there is Samuel at the bellrope.  He starts toward him.

141O EXT. FIELDS - DAY
141O

     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
hay.
     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
141P

     As Schaeffer reaches Samuel, SHOUTS:

                         SCHAEFFER
                         Cut that out!


     Samuel looks at him, keeps on pulling.  Schaeffer
quickly
     crosses to him, grabs him by the back of the neck,
tries to
     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:

                                  SCHAEFFER
                    Get down to the house and stay
                    there!

     Samuel gets to his feet, turns, trots off.

     RACHEL

     Already halfway out to the barn, running to gather
     Sam in her arms...then to lead him back toward the
     house.

     SCHAEFFER

     Turning, starting very slowly toward the barn.

141Q INT. BARN - DAY
141Q

     McElroy at the top of the ladder, looking down.
     Then easing over, placing his feet on the rungs.

     BOOK

     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
     hatch.

     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.

     BOOK

     Now, quickly, he ducks back out through the entrance,
     crosses to the door to the cowpen, very cautiously
     peers out,

     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
     the silo.

     McELROY

     Turning slowly toward the cowpen...then FIRES twice as
his
     eye catches the motion of the swinging door.   His
shots
     blow half a row of Eli's precious tools off an adjacent
     wall.  McElroy reloads, starts across toward the door.

141R  INT. KITCHEN
141R

     Old Eli, at the sight of Samuel, rises from the table.

                                  ELI
                    Praise Gott!

     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
     it.

     In the b.g.,  Eli glances up,  sees what she is about
     . . . he rises and crosses to her.  Samuel watches from
     the table.

                                    ELI
                               (fiercely)
                    No,  Rachel. . .

                                    RACHEL
                    I have to help him!

     Rachel somehow manages to open the chamber and begins
to try
     to load the bullets.  Eli's callused hand closes over
     hers,  halting the action:

                                        ELI
                    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
up,
     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
141S

     Book finishes putting the kickboard into the entrance.

     McELROY

     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,
     looks up.

     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
141T

     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
     hayfork....

141U. INT. SILO - DAY
141U

     Book listening at the kickboard.  SOUNDS of feet,
     shotgun rattling against metal rungs,  Book moves
     to the ladder on his side, starts silently up.

     McELROY

     Climbing with difficulty, shotgun clutched in one hand

     BOOK

     He climbs up to the second kickboard, pauses, checks
     the distance to the floor, starts upward again,

141V. BARNYARD   DAY
141V

     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.
Rachel
     and Eli come rapidly up the path toward the group.

141W. INT. BARN - DAY
141W

     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
141X

     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
     there, listening.

     McELROY

     Rattling up the other ladder, approaching the third
     kickboard.

     BOOK

     Listening tensely, hearing McElroy arrive on the other
     side of the kickboard.  Then, deliberately, Book makes
     a fist, raps on the board smartly once.

     McELROY

     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.

     BOOK

     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.

     ANOTHER ANGLE

     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.

     BOOK

     He falls almost straight down, lands on his back, lies
     stunned.

     McELROY

     His forward motion has carried him across the silo.
His
     head bounds off the white brick wall about five feet
up...
     and he falls in a heap, blood gushing from his head,
as...

     TIGHT ON BOOK

     Blinking, groaning, just beginning to stir...and,
suddenly,
     into the frame comes a hand with a pistol in it.  The
     muzzle is placed firmly against Book's temple.

     WIDER

     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:

     SCHAEFFER

     He eases the hammer down on this pistol, speaks softly:

                                      SCHAEFFER
                         Okay, Johnny.  On your feet.

     THE SCENE

     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
     quietly:

                                    BOOK
                    It's okay, Sam.

     ANOTHER ANGLE

     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
141Y

     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:

                         SCHAEFFER
                    Hold it.

     WHAT HE SEES

     The Amishmen gathered - the Stoltzfus family, the
     Hochstetler brothers, et alia.  All staring hard at
     Schaeffer and Book.

142  OMITTED
142
thru                                                   thru
155
155

156  EXT. BARN/DRIVE - DAY
156

     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
     Amish.

                         SCHAEFFER
                    Get back, you people!
                           (prodding)
                    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
Schaeffer.

                                  BOOK
                    You're going to have to do it
                    right here, Schaeffer.

                                  SCHAEFFER
                    Don't try me, Johnny!

     Eli steps forward, bloody cloth held to his head.

                                           ELI
                             So...will you kill us all,
then?

     ANGLE

     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:

                                       BOOK
                    It's all over, Paul.

                         SCHAEFFER
                    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.

     ANOTHER ANGLE

     As Book bends, picks up the pistol, releases Schaeffer,
     pushes him away.  Schaeffer staggers against
Hochstetler,
     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:

     BOOK

     Turning, looking into the crowd, finding Rachel.  Their
     gazes meet, hold for a long MOMENT.  In the eyes of
both
     we read resignation...whatever there was between them
     has been terribly damaged.  It is almost certainly over
     for them, too.

158  OMITTED
158

159  EXT. BARN - DAY
159

     HIGH SHOT holding the moment.

160  EXT. LAPP FARM - LATE AFTERNOON
160

                                             DISSOLVE TO:

     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
pond.

                         SAMUEL
                    Are you really ever coming back?

                                  BOOK
                    Got to, Sam.  You and I are
                    going to a courthouse together,
                    put some people behind bars.

                                  SAMUEL
                    Have you got your gun on now?

                                  BOOK
                    Sure have, Sam.

     Sam grins.  Book takes him in his arms, holds him.

162  EXT. HOUSE - DAY
162

     Book opens the door of the car, turns to find Rachel
     standing there with his Amish hat in hand.

                                  RACHEL
                    I want you to take this...to
                    remember by.

                                  BOOK
                    Where's my baggy pants?

                                  RACHEL
                    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.

                                  ELI
                    You be careful, John Book!  Out
                    among them English!

     Book gets quickly into the car.

163 INT./EXT. DRIVEWAY - LAPP FARM - DAY
163

     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
164

     Book turns to look back at his rival, a doubt in his
     eyes.  FREEZE FRAME.

     FADE OUT:

                                      THE END

 
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