Screenplay by

EARL W. WALLACE

WILLIAM KELLEY

from a

story by

WILLIAM KELLEY

REVISED DRAFT

APRIL 23, 1984

1 EXT. LANCASTER COUNTY, PA. COUNTRYSIDE - DAY

(TITLE SEQUENCE)

The faces of several young children are presented in

CLOSEUP, as they walk TOWARD US across a ploughed

field. On the SOUND TRACK, the haunting SOUNDS OF A

GREGORIAN FUNERAL CHANT. The CAMERA PANS UP to the

faces of older brothers and sisters, then to parents

and grandparents. These are not familiar faces, but

faces from another age, strong and open. All are

dressed in the distinctive clothing of the Amish.

2 EXT. COUNTRY LANE - DAY

Through the last traces of early morning mist another

group of black-clad figures make their way down a lane.

3 EXT. COUNTRY LANE - DAY

An Amish buggy, black and highwheeled, stark against

the landscape, appears, a spirited chestnut in the

traces.

Framed in the glass window of the narrow buggy is the

stern figure of an Amish man in black topcoat and

flatbrimmed hat, his bonneted wife in muted colors,

the face of a boy, attired like his father, peering

out.

The horse's breath smokes on the frosty air, the buggy

CREAKS on its springs, and there's the rhythmic CLIP-

CLOP OF HOOVES on the pavement.

4 ANOTHER LANE

Two Amish buggies reach a crossroads, join a procession

of three others. They disappear as the lane wends

through a leafless thicket of hickory.

5 VALLEY

A BIG SHOT... now the procession numbers almost a dozen

buggies... it is headed toward a distant farmhouse.

6 BARNYARD

Where literally dozens of carriages are parked. The

horses have been taken from the traces, removed to the

shelter of the barn.

7 EXT. LAPP FARMHOUSE - FRONT PORCH

As the black clad mourners begin to move into

the

house (women and children presumably first).

8 INT. LAPP FARMHOUSE

the coffins the upper half open. We see that

the worse

has been dressed in white linen, a piece of

white linen

partially covering the bearded face.

END TITLE SEQUENCE.

9 INT. LAPP FARMHOUSE

Partitions have been removed, making the

central rooms of the farmhouse a spacious hall. The place is

packed, a hundred-fifty or more Amish, all sitting in

absolute silence on rows of wooden benches.

A wooden coffin rests on a bench in the f.g.,

and near it the close relatives of the deceased occupy a

special Place.

RACHEL LAPP

A young woman of perhaps twenty-seven. Her

face is pale and drawn. In happier circumstances,

although there haven't been too many of late in Rachel's

life, we would see a robust, sensual woman of full

figure, spirit and intelligence.

Eight-year-old SAMUEL LAPP flits next to his

mother; he

would appear stunned, possibly not entirely

comprehend-

ing events.

And the patriarch, ELI LAPP; his stubborn,

weathered -

yet not unkind - features grief-stricken.

THE MOURNERS

Their faces...

CLOCK

as it begins to CHIME nine a.m.

FAVORING PREACHER

as he removes his hat. As one, the men in the

congre-

gation remove their hats also.

9 CONTINUED:

Then the preacher begins to speak in a formal

German

dialect:

(SUBTITLES OVER)

PREACHER

... a brother has been called home.

God has spoken through the death of

our neighbor, Jacob Lapp...

THE FAMILY

where Rachel, Samuel and Eli are sitting- SOUNDS

of emo-

tion and grief not quite suppressed are heard

throughout as:

PREACHER

... husband of Rachel, father to

Samuel, son of Eli.

(and)

His chair is empty, his bed is

empty, his voice will be heard no

more. He was needed in our

presence, but God needs such men,

too. That one should be taken so

suddenly. Treat sorrow. Still, we

would not wish him back. Rather we

should prepare ourselves to follow him.

TIGHTENING to the Lapps, and...

10 EXT. CEMETERY

The mourners have gathered about the grave,

standing in

silence as four pallbearers are lowering the

coffin

into the pit. The many buggies are aligned in the

b.g.

As the pallbearers begin to shovel soil and gravel

into

the grave, the Preacher begins to read a hymn in

German

... a slow atonal litany which seems to hang

forever on

the frosty air.

RACHEL

TIGHTENING to her as the hymn continues...

CUT TO:

11 INT. LAPP FARMHOUSE 11

where the Amish have gathered for the traditional

post

funeral, midday meals.

11 CONTINUED: 11

Long tables are laden with customary Amish fare

... crocks of soup, hams, fowl, fried boiled eggs

and pickled beets, preserves

and an infinite variety of pies and pastries.

RACHEL

Where she sits among women, accepting their

condolences.

DANIEL HOCHSTETLER

A brawny-armed, ruggedly-handsome, raffish looking

Amishman.

There is something atypical about his face a slightly

sardonic set of

mouth, a bold eye, a prominent set of jaw. Not exactly

what old Jacob

Ammann had in mind, maybe, but a well set-up man

nonetheless, and at

ease among men. He's among a group of men including old

STOLTZFUS,

the local healer, FISHER, BIEILER and Bieiler's stout

young son, Tom.

STOLTZFUS

Lapp was a good farmer.

None better.

BEILER

But not the man to buy a horse

for you.

(and)

Hochstetler, wasn't it your

father

sold him that horse with a

ruptured testicle?

TOM

(grins)

Told him it was a bee sting

made

him limp that way.

HOCHSTETLER

(amused)

That horse had one good ball.

That's all it takes.

The others chuckle. But Hochstetler's

attention is still on Rachel.

RACHEL

as Hochstetler looms on the horizon, plants

himself like a tree in front of her.

11 CONTINUED: (2) 11

At ease as he was with the men, he's a bit awkward at this.

All the women, very much aware of Hochstetler's availability, tune in as

Rachel looks up.

HOCHSTETLER

I was sorry to hear about Jacob.

Let us hope he walks close with

God.

RACHEL

I'm sure he does, Daniel.

12 FIELDS, LAPP FARM - DAY 12

It is some time after the funeral and the Lapp family is hard at work

breaking ground for the spring ploughing. The death of Jacob has

increased the work load on; all three - Samuel maneuvers a four-mule

team while Rachel and old Eli work nearby, further breaking up the

earth. Rachel looks up from the back-breaking labor as several figures

approach - it's Daniel Hochstetler and two of his brothers. Without a word

they fall in beside Eli and Rachel and take up various tasks associated with

the work in hand. Daniel works close beside Rachel.

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

A few BRIEF SHOTS of a lone buggy containing the Lapp family take

us from the 18th century into the 20th century the reassuring RATTLE

OF THE CARRIAGE WHEELS on quiet backroad, to the ROAR OF

TRAFFIC as the buggy waits patiently for a chance to cross a busy

interstate highway.

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

A huge tractor trailer rig hovers over the frail buggy as it trots down

the interstate. The camera cranes up to reveal a procession of vehicles

behind the truck for a chance to overtake it.

13 OMITTED 13

14 EXT. PLATFORM, LANCASTER STATION - DAY 14

Daniel Hochstetler moves through the crowd on the plat-form, Rachel

turns surprised, as he approaches, a faint color coming to her cheek.

RACHEL

Daniel?

14 CONTINUED: 14

HOCHSTETLER

I...I was at the feed store.

And I saw your horse, so...

There is an embarrassment between them broken by the

arrival of the train.

HOCHSTETLER

(continuing)

You will come back soon?

Samuel can barely contain his excitement as he drags at

his mother's hand.

SAMUEL

Quickly, Mothers Quickly!

Rachel embraces Eli.

ELI

You be careful out among them

English.

She turns to Hochstetler.

RACHEL

I need time, Daniel.

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

Daniel Hochstetler leaps into the driving seat of his open

wagon and with a flick of the reins and a whoop

sets his horse off at a fast trot.

14B EXT. TRAIN - DAY 14B

The ENGINE gives a WARNING BLAST before creeping slowly

forward.

15 OMITTED 15

16 INT. TRAIN (MOVING)

16

as Samuel spots something out of the window that causes

him to light up.

SAMUEL

Look, Mama...l

17 HIS POV THROUGH WINDOW 17

A road runs parallel to the train track, and Hoch-

stetler in his wagon urges his horse almost to the

gallop as he attempts to keep pace with the train.

18 BACK TO SCENE 18

as Rachel smiles.

RACHEL

I see, darling.

And Samuel cranes to look back, waving, for as long as

he can.

18A EXT. LANCASTER COUNTRYSIDE - DAY 18A

The train moves across a broad panorama of fields,

dotted with dolls'-house-sized farms and the tiny

figures of Amish farmers working their horse-drawn

equipment.

19 SERIES OF CUTS 19

as the train continues its eastward journey... Samuel

stares raptly out of the window at the changing pat-

terns of the countryside. He points in wonder at a

brightly colored hot air balloon as it drifts slowly

over timbered hills... he looks unsure as the pattern

of field and wood gives way to suburbs, bustling shop-

ping centers, restaurants, car lots and fast food

outlets.

20 EXT. PHILADELPHIA SLUMS 20

as the train travels past dilapidated row houses,

streets choked with cars and the gutters with filth.

21 INT. TRAIN (MOVING) 21

Now Samuel is staring out the window with some confu-

sion, almost apprehension:

SAMUEL

Is this where we're going?

RACHEL

Of course not. We're going to

Baltimore. It's much nicer in

Baltimore.

21 CONTINUED: 21

And Rachel draws her son closer, turning her back on

the window.

22 OMITTED 22

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

Rachel is in a line at one of the counters. The plain

dress of the two Amish - particularly Samuel's black

coat and hat - are drawing curious stares.

SAMUEL

He's uncomfortably aware of the shy looks and giggles

of a little girl about his own age, standing in line

with her parents at the next counter.

He edges away from his mother...

ANGLE

as Samuel comes upon a figure garbed in a long black

frock coat and flat-brimmed hat... the man's back is turned,

could, from appearances, be an Amishman.

Samuel stares... A beat, the man turns to face Samuel

and we discover that he is a Hasidic Jew.

SAMUEL

as he reacts.

BACK TO TICKET COUNTER

as Rachel's turn arrives. The TICKET SELLER glances up

and she shows him her ticket.

RACHEL

We have a ticket to Baltimore.

Where is that train, please?

TICKET SELLER

Delayed three hours. You'll hear

an announcement when it's time to

board.

24 CONTINUED 24

He starts to go without his hat, but Rachel collars him

and puts it on his head.

25 ANGLE IN MEN'S ROOM 25

as Samuel enters.

It's a long row of sinks, urinals, and stalls...Samuel

stops before one of the urinals - a long, trough-like

affair with water drizzling down the rear porcelain

panel.

It's set a little high for Samuel, and it is making

GLUGGING-FLUSHING NOISES that are, at least,

intimidating. Samuel stares for a moment, then turns,

looks toward the stalls, stoops to see which are empty.

HIS POV - TOILETS

beneath the row of doors we can see no feet visible.

Samuel is alone in the restroom.

BACK TO SCENE

as Samuel proceeds along the row of door, finally

selects a stall near the end. He enters.

As he does so, a heavily bearded youth in a dirty

sweatshirt enters.

With some urgency, he removes small notebook from his

pocket and places it behind a paper towel dispenser.

Suddenly he glances up.

Two other men have entered the men's room; one is a

large BLACK MAN in a three-piece suit under an ex-

pensive, overcoat. His PARTNER is a Caucasian in

designer jeans, half boots and a short leather jacket.

They advance on the young man with unmistakable menace.

The young man whirls in terror; his two assailants

lunge for him... a savage, wordless struggle ensues in

the close confines of the lavatory.

ANGLE IN SAMUEL'S STALL

as the struggling men bounce off the door of his

stall... he can see their feet under the edge of the

door.

BACK TO FIGHT

as the struggle builds to a climax... ends with the

young man stiffening with a grunt, his face draining of

color.

The two attackers step away, the blade in the black

man's hand bloodstained. His partner stares at what

they've accomplished with a stunned expression:

PARTNER

Jesus...

The young man's hand comes away from his belly covered

with blood. He stares at it, staggers toward the

sinks. Finally his bloodied hand reaches to smear at

his face in the mirror. Then he collapses to the

floor.

The black man motions for his partner to watch the

door, then quickly reaches up and removes the notebook

from behind the dispenser.

ANGLE IN SAMUEL'S STALL

as he edges open the stall door a crack. Over his

shoulder we can see the black man, his BACK TO US,

rifling the backpack. But beyond him, in the mirror on the

far wall, we catch sight of the black man's face.

SAMUEL

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

closes the stall door.

ANGLE IN STALL

Samuel tries to make the latch work, but it's warped

and won't fall closed.

BLACK MAN

as he checks the notebook before placing it in his

pocket. His partner is covering the door, an automatic

in his hand.

The black man makes for the exit, then on second

thought, glances at the row of stalls.

HIS POV - STALLS

All quiet, but...

BACK TO SCENE

The black man whips out a SR caliber revolver, and,

starting at the near end, starts pushing open the stall

doors.

25 CONTINUED: (3) 25

ANGLE IN SAM'S STALLS

as the black man approaches, Samuel working desperately

on the latch. At the last minute he finally wedges it in.

BLACK MAN

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

ANGLE IN SAM'S STALL

Fighting back panic, Samuel has retreated as far as he

can.

BLACK MAN

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

under his breath.

ANGLE IN SAM'S STALL

In desperation, Samuel does the only thing he can think

of... he slips under the partition into the neighboring

stall the black man just checked out. But he loses his

hat in the process. His hand snakes back INTO FRAME to

snatch it just as the black man gives the door a fero-

cious kick that splinters the lock and nearly takes it

off its hinges. He's framed there, the big muzzle of

the .38 revolver looking down our throats.

ANGLE

as his partner snaps from the doorway:

PARTNER

Will you come on, for Christ's

sakes!

A beat, then the black man holsters his weapon, turns

to follow the partner out.

BACK TO SAMUEL

as we hear the SOUND OF THE TWO MEN EXITING the

lavatory. A long beat, then Samuel opens the stall door a crack.

25 CONTINUED: (4) 25

HIS POW THROUGH DOOR

Samuel's own face reflected in the blood-smeared mirror

... then PANNING DOWN to the still figure of the young

man lying in the crimson pool of his own blood on the

floor.

26 OMITTED 26

thru thru

29 29

30 BENCH WAITING ROOM - LOW ANGLE - NIGHT 30

Samuel sits close to his mother, his face pale, his

eyes staring. Rachel holds his hand tightly in hers as

the torsos of various police and officials pass through

foreground, occasionally obscuring the lonely couple.

There is considerable ECHOING NOISE as commands and

requests mingle with the CRACKLE OF TWO-WAY RADIOS.

CUT TO:

DOOR - MEN'S' ROOM

The diffused shape of faces behind the frosted glass of

the Men's room door, which is pushed open to reveal,

JOHN BOOK, who comes striding through to be momentarily

lost in the crowd of police, reporters and others. He

is about 40, with a rangy, athletic body. Behind him

comes CARTER, Book's black partner - about five years

younger than Book. Book is wearing a suit, Carter is

much more casually - almost disreputably - dressed.

CUT TO:

BENCH

Little Samuel watching Book, back to crowd of police,

as Book questions an old black CUSTODIAN.

BOOK

You found the body?

CUSTODIAN

Uh uh. Not me, daddy,

I just reported it. It was

the kid.

BOOK

What kid?

30 CONTINUED: 30

CUSTODIAN

How'n hell do I know what kid?

The kid in the funny black

threads.

TIGHT SHOT - SAMUEL

Worry-eyed, still staring straight ahead. Then his

eyes move suddenly to his left.

BOOK'S LEGS - SAMUEL'S POV

coming in at full stride, then stopping.

SAMUEL

He doesn't raise his eyes...just looks at the legs.

And, slowly, the legs begin to bend at the knees. We

see Book ' s belt buckle, then his big pistol in its

holster, then his face. He stares at Samuel for a

moment, then...

ANGLE - BOOK

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

BOOK

Hi, kid.

RACHEL

immediately alarmed, intervening.

RACHEL

What do you

want of my son?

THE SCENE

as Book takes out his wallet, displays his shield.

BOOK

I'm a police officer. I'm going

to have to talk to the boy.

What's his name?

RACHEL

Samuel. Samuel Lapp.

30 CONTINUED 30

RACHEL

then, quickly)

But what happened here is none of

his affair. My sister is expect-

ing me . . . our train is leaving

soon.

BOOK

There'll be another train.

(turns to Samuel)

The man who was killed tonight was a policeman,

Sam. It's my job to find out who did it.

I want you to tell me everything you

saw when you went in there.

SAMUEL

(stammers)

I saw him.

BOOK

Who'd you see?

Sam looks at his mother.

BOOK (CONT'D)

Who'd you see, Sam? The man on

the floor?

SAMUEL

No . . . I saw the man who killed

him.

Book stares at him in surprise, speaks over his shoulder

to Carter.

BOOK

Anybody know about this?

CARTER

I didn't even know about it.

BOOK

(back to Sam)

Okay, Sam. Can you tell me what

he looked like?

SAMUEL

(groping, touching his

clothes and pointing at Carter)

He was . . . like him.

BOOK

(nods)

Black . . . I understand. What

else, Sam?

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

SAMUEL

Not Zwartich, like him -

Book frowns, puzzled:

BOOK

Try that one again, Sam -

Samuel gives his mother a helpless look; exasperated,

Rachel intervenes with Book. She glances at Carter:

RACHEL

May I talk to you?

ANGLE

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

RACHEL (CONT'D)

Zwartich . . It's the way we say

. . . dwarf.

(glances at Carter)

Not like him . . . very big.

Book nods, starts to turn back to Sam. Just then a

commotion o.s. catches his attention.

31 OMITTED 31

31A BOOK'S P0V - ONCOMING COPS 31A

It's Capt. TERRY DONAHUE, Chief of Homicide, striding

past the crowd of journalists and TV crews . .. brushing

off reporters' questions and snapping orders to the

aides he's got in tow:

BACK To SCENE

As Donahue comes on Book:

DONAHUE

(to aides)

Close it all down . . . I want a man

on every exit . . . I want the lab in here

now !

(to Book)

And I want to talk to you, Captain.

ANGLE

As Book steps aside with Donahue . . . In the b.g.

Rachel moves protectively to Samuel's side.

BOOK

All right, talk.

DONOHUE

This is homicide - not Internal

Affairs! So why are you behaving like

you own this case?

BOOK

We were running Zenovitch . . .

That's all I can tell you. But

I want it, Terry.

(then)

I've got a call into Schaeffer.

RACHEL/SAMUEL

They can't help but watch the confrontation between

Donahue and Book . . . although they're keeping the

volume down, it's obviously intense and angry:

SAMUEL

(alarmed)

Momma . . . are they angry with

us .

RACHEL

(reassuring, but

hardly in her own mind)

No . . . No. It is just the English

way.

31A (CONTINUED) 31A

Donahue has lost the confrontation; he gives Book a

smile:

DONAHUE

You ought to think about coming back

to Homicide, Johnny. . . Stick with

Internal Affairs and you're not

gonna have any friends left.

BOOK

(smiles right back)

I'll buy a dog.

32 EXT. 30th STATION - NIGHT 32

Book emerges from the terminal, looks about Him,

then crosses to a big Mercury Sedan which is parked

nearby. Two men sit in the front seat. Book crosses

to the driver's side and opens the door.

BOOK

Go get a cup of coffee, Stan.

The driver, a uniformed policeman, glances at the

man beside him who nods in agreement. He gets out

and Book gets in behind the wheel.

33 OMITTED 33

34 INT. SEDAN 34

Book sits next-to SCHAEFFER, a surprisingly kindly

looking man of about fifty. Schaeffer is a Deputy

Chief.

SCHAEFFER

How reliable is this kid?

BOOK

Oh, he's good.

SCHAEFFER

Amish.

BOOK

Yeah.

34 (CONTINUED) 34

SCHAEFFER

What have you got?

BOOK

Zenovitch was about to deliver a list

of names ton ight -- street

chemists...the guys processing this

P2P into speed.

SCHAEFFER

So one of them got to him.

BOOK

Maybe.

SCHAEFFER

You know who?

BOOK

Maybe.

SCHAEFFER

You're still convinced there's a link

to the department?

BOOK

If there isn't I've just wasted the

last six months.

SCHAEFFER

That's the problem. We need

results. The press is driving

us crazy over this P2P thing.

Calling us the speed capitol of the

country'. You know the sort of

thing . It's getting political.

The Commissioner's getting very

uneasy.

BOOK

The Amish boy saw him, Paul. I'll make it,

but Set Donahue and the Homicide Department off

my back or they'll blow the whole thing.

SCHAEFFER

When word gets out that Zenovitch

was a cop, all hell will break

lose. You've got 24 hours. That's

all I can give you. 24 hours on your

own. After that the case and the

witness go back to the Homicide Department.

34 CONTINUED: 34

SCHAEFFER

(shakes his head)

Tell you what... why don't you and

that blonde - what's-her-name -

come over for dinner Sunday. How

'bout that.

BOOK

What's-her-name moved to Buffalo.

SCHAEFFER

(Sighs)

Well, anyway, don't get crazy.

(dismisses him)

I'll do something for Zenovich's

wife.

35 OMITTED 35

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

Book drives around 13th Street, a ravaged corridor between neon-lit

restaurants, bars, porno shops and darkened storefronts.

Carter sits beside him, Rachel and her son in the back seat looking out at the

assorted array of desperate characters huddled in doorways or

wandering aimlessly about. On the POLICE RADIO a description of the

cop killing is BROADCAST EVERY FEW MINUTES.

CARTER

I got there late, John.

BOOK

Let's just find Coalmine.

(beat)

Listen, Zenovich made a mistake.

You didn't let anybody down. It

happens --

CARTER

(grimly)

It won't happen again.

RACHEL

Where are you taking us?

BOOK

We're looking for a suspect.

We've reason to believe he's still

in the area.

RACHEL

You have no right to keep us here.

BOOK

Yes I do. Your son is a material

witness to a homicide.

RACHEL

You don't understand, we have

nothing to do with your laws!

BOOK

Doesn't surprise me. I meet a lot

of people like that.

RACHEL

It's not a joke.

Book decides to try contrition:

BOOK

You're right. It's not a joke.

Listen, I know a little about the

Amish. I know this has to be an ordeal for you;

and I'm really sorry you an Samuel got involved.

Samuel shoots a look at Book. then mutters something to his mother in German.

She responds in the same language. Book frowns.

BOOK

What was that?

RACHEL

He wants to know who you are.

Your name. I told him we don't

need to know anything about you.

Book eyes Samuel:

BOOK

Book. John Book

36A EXT. 13TH STATION - NIGHT 36A

Book's car stops ,and from out of the shadows darts a

wizened little MAN. He looks about before crossing to

the driver's side window.

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

Book lowers the window.

BOOK

Sammy, where's Coalmine?

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

36B CONTINUED: 36B

SAMMY

What you got there, the Salvation

Army?

BOOK

Coalmine.

SAMMY

Try "Happy Valley".

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

Book's car pulls up outside the bar and he and Carter get out,

and move swiftly inside.

36D INT. HAPPY VALLEY - NIGHT 36D

Sixty Black faces stare as the police enter. A hush

falls on the group. Book and Carter spot their man at

the bar and move up either side of him.

They've moved carefully to this point . . . no mistakes.

From the back, the black man they've approached certainly

looks like he could be the man who did the killing of

Zenovitch. And, as Book and Carter make their move . .

36E EXT. HAPPY VALLEY - NIGHT 36E

As Book and Carter explode through the door of the bar,

violently propelling Coalmine along with them. Now we

see Coalmine is not the killer.

As Book and Carter escort Coalmine out of the bar a

police squad car pulls up, its headlights shining into

Book's car.

An alarmed Rachel holds Samuel close as Book forces

Coalmine's face down next to the car window.

BOOK

Put some light on him.

A cop pulls out a flashlight, begins to play the beam

over Coalmine's face.

36E CONTINUED:

BOOK

(continuing; to Samuel)

Look at him.

Crazy as Rasputin on speed and booze, Coalmine glares

at Samuel inside the car:

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

negative.

Coalmine tries to twist free of Book's grip. Book

snaps, and slams Coalmine's skull into the window edge,

finally crushing his face up against the front win-

dow. His face takes on a grotesque shape against the

glass. Carter restrains his partner and Book cools

down. Coalmine is led stumbling away by the uniformed

police. This sudden show of violence has horrified and

angered Rachel, and she glares at Book as he gets back

in the car.

RACHEL

John Book, you listen to me!

will have no further part in this,

nor will my son! As God stands

between us!

Book sighs, starts the engine and moves off.

36F EXT. HOTEL - PHILADELPHIA - NIGHT

36F

Book pulls up outside a hotel entrance as a uniformed

DOORMAN moves to open the rear door.

36G INT. CAR - NIGHT

36G

Rachel and Sam recoil as the Doorman opens the door.

He is puzzled by the sight of the reluctant guests.

DOORMAN

Ma'am?

RACHEL

No! We do not stay in hotels.

Book and Carter exchange a glance.

37 OMITTED 37

thru thru

42 42

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

PHILADELPHIA - NIGHT

An attractive woman in her early thirties in robe and

slippers stares in disbelief as Rachel and Sam file into

the house. This is ELAINE, BOOK'S sister. She

stops Book as he tries to follow Rachel inside.

ELAINE

How could you do this to me

tonight? I told you I had

company

BOOK

Sorry. It's important.

BACK TO RACHEL

as she glances in a doorway.

HER POV - ELAINE'S KITCHEN

It's a shambles, with dirty supper dishes piled

sink, the table littered with empty beer cans.

BACK TO RACHEL

as she hustles Samuel along.

BOOK/ELAINE

Book frowns:

43 CONTINUED:

BOOK

Where's Timmy and Buck?

ELAINE

Upstairs, asleep. Where'd you

think?

BOOK

You've got a man here and the kids

are upstairs?

ELAINE

That's none of your goddamn

business! So keep your goddamn

holier-than-thou mouth shut!

(and)

Anyway, they like Fred.

BOOK

Oh sure, Fred.

Elaine looks like she's going to blow again, then

decides it's pointless.

ELAINE

Who are these orphans, anyway?

BOOK

They're Amish.

44 ANGLE IN GUEST ROOM

Samuel is asleep in one twin bed in a tiny, cluttered

room. Rachel, in a plain nightgown, is preparing to

climb into the other one.

O.S. we hear a DOOR CLOSE, presumably Book leaving. A

beat, then Elaine opens the door and looks in.

ELAINE

Everything okay?

RACHEL

Yes, thank you very much.

ELAINE

(a beat)

John said you're Amish.

RACHEL

Yes.

44 CONTINUED:

ELAINE

(blankly)

Oh.

She nods and goes.

Rachel crosses to Samuel, sits on the bed. Samuel

looks up at her bleakly.

SAMUEL

I don't want to stay here.

RACHEL

They are English. They don't

understand.

SAMUEL

I wish dawdie was with us.

RACHEL

(swallows)

I Know. Sleep now, Liebchien.

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

frowns, and...

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

Carter exits the cafe carrying burgers, donuts and a

couple of beers. Book wakes from a brief nap as Carter

gets into the car.

44B Book chews into his burger while Carter takes a dough- 44B

nut. Its clear they've worked through the night.

45 EXT. ELAINE'S HOUSE - DAY 45

Elaine's house is situated on the corner of a row of

terraces, which stretch into the distance on both sides

of the street.

46 INT. ELAINE'S HOUSE 46

as Samuel comes out of the guest room in his night-

shirt, turns up the hall and opens the door to the

bathroom.

46 CONTINUED:

ANGLE

But it's not the bathroom; it's Elaine's bedroom. She

and FRED are tangled in the sheets, furiously making

love. Elaine gasps, Fred manages to grunt.

FRED

Wrong door, kid.

ANOTHER ANGLE

As Samuel quickly shuts the door. A straight-faced

beat; then, barely suppressing a giggle, he hurries

on...

47 ANGLE IN LIVING ROOM

as Rachel appears in the living room entry. Samuel is

sitting on the floor with two boys of about his own

age, watching television. They're eating cold cereal

out of a box.

RACHEL'S POV - TV SCREEN

Some artless Saturday morning cartoon.

BACK TO RACHEL

as she frowns, watching her son and the other two

staring hypnotically. And...

48 ANGLE IN LIVING ROOM 48

It's later in the morning now, as Elaine, a bit bleari-

ly, appears in the entryway, stares in groggy disbelief.

HER POV - KIDS

Her oldest boy and Samuel are busily washing the win-

dows while her youngest is pushing a carpet sweeper.

The TV is off.

BACK TO ELAINE

as she stares.

49 ANGLE IN KITCHEN

Rachel is standing in the middle of the now immaculate

kitchen finishing a brisk mop of the floor. The coffee

is perking. Elaine appears.

ELAINE

(mutters)

Jesus...

Rachel turns cheerily.

RACHEL

Good morning.

ELAINE

(helplessly)

You didn't have to...

RACHEL

I wanted to. you were kind to

take us in last night.

(and)

Anyway, I needed something to

do. I was so angry with your

brothers He's so...aaanisish I

ELAINE

Aganishish? Yeah, that sounds

like John.

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

RACHEL

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

ELAINE

You're not carrying a bullwhip...

how'd you manage to put my kids to

work?

RACHEL

(smiles)

I made it a contest... the one who

does best gets his cereal back

first.

(and)

Children like to help... they only

need to be kept after a little

bit.

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

ELAINE

Oh, is that so?

(and)

No offense, lady, but I'm not so

sure I like the idea of your

coming in here and turning the

place upside down!

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

RACHEL

Please, I didn't mean...

Abruptly Elaine rises and snatches the mop from

Rachel's hands. She mops furiously as she Continues:

ELAINE

I know exactly what you meant!

Listen, maybe I'm not a world-

class housefrau, but maybe I don't

have time to polish the goddamn

china and keep after the kids!

(and)

It's none of your business, but I

don't happen to have a man around

here full time. So I sell cosmetics

in a goddamn

drugstore and sometimes I can even

pay the rent on time! So maybe I'm

not Mary Poppins, but maybe I don't

need to have it jammed down my

throat like this.

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

ELAINE

(continuing)

There is that clean enough for you?

Rachel is speechless, Elaine is on the point of bursting into tears.

At which point Fred appears at the entry in his undershirt, taking in the sparkling

kitchen.

FRED

Jesus, Elaine... Somebody die and

leave you a broom?

Not a politic observation on Fred's part.

49 CONTINUED: (2)

ELAINE

(blurts)

Go to hell, Fred!

And, bursting into tears, she flees the kitchen. Fred

stares after her.

FRED

What's bugging her?

Unperturbed, he crosses to the counter and the coffee

pot, letting his eyes take in Rachel's full figure.

50 INT. ELAINE'S BEDROOM 50

as Rachel comes in with Elaine's coffee, closes the

door behind her. Elaine is lying across the bed,

sobbing.

RACHEL

I brought your coffee.

She takes a seat next to the bed.

RACHEL

(continuing)

I'm sorry. I didn't mean it that

way.

After a moment, Elaine starts to pull herself together:

ELAINE

It's okay.

(and)

Look, I shouldn't have blown my

top. It's like... somehow ...

I've let everything get away from

me. And you sort of made me face

it.

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

ELAINE

(continuing)

What's so funny?

RACHEL

Fred. The way he looked when you

screamed at him.

50 CONTINUED 50

ELAINE

(disparing}

God, Fred...

RACHEL

At home you'd never hear a woman

scream at a man that way.

ELAINE

No? Why not?

RACHEL

You just wouldn't. It's not the

Amish way.

(then)

But I think it would have done me

good if I could have screamed at

your brother last night.

ELAINE

Listen, I don't know what's going

on or how you got mixed up with

him, but don't you let that self-

righteous sonofabitch push you

around, okay?

Rachel smiles.

RACHEL

Okay.

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

Book glances irritably at Rachel:

BOOK

Now what's the problem?

RACHEL

The problem is I don't happen to

think my son should be spending

all his time with a man who

carried a gun under his coat and

goes around whacking people.

Book gives her a look:

BOOK

Whacking?

CUT TO:

51 CONTINUED:

RACHEL

(firmly)

Yes. And I also want to leave this

city.

BOOK

Believe me, I'm trying to get this

over with as fast as I can. But

Samuel will probably have to come

back and testify.

RACHEL

We do not go into your courts.

BOOK

People who don't go into our courts