"WITNESS"

                                            by

                                     Earl W. Wallace

                                      William Kelley

                                      Pamela Wallace

                

               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.

               EXT. COUNTRY LANE  DAY

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

               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.

               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.

               VALLEY

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

               BARNYARD

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

               EXT. LAPP FARMHOUSE  FRONT PORCH

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

               INT. LAPP FARMHOUSE

               The coffin has the upper half open. We see that the corpse 
               has been dressed in white linen, a piece of white linen 
               partially covering the bearded face.

               END TITLE SEQUENCE

               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 comprehending 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 congregation 
               remove their hats also.

               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 emotion 
               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...

               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:

               INT. LAPP FARMHOUSE

               Where the Amish have gathered for the traditional post 
               funeral, midday meals.

               Long tables are laden with customary Amishfare... 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.

               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.

               FIELDS, LAPP FARM  DAY

               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.

               EXT. COUNTRY ROADS, LANCASTER COUNTY  DAY

               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.

               EXT. HIGHWAY, LANCASTER COUNTY  DAY

               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.

               EXT. PLATFORM, LANCASTER STATION  DAY

               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?

                                     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
                         You will come back soon?

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

                                     SAMUEL
                         Quickly, Mother Quickly!

               Rachel embraces Eli.

                                     ELI
                         You be careful out among them English.

               She turns to Hochstetler.

                                     RACHEL
                         I need time, Daniel.

               EXT. CARPARK, LANCASTER STATION  DAY

               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.

               EXT. TRAIN  DAY

               The ENGINE gives a WARNING BLAST before creeping slowly 
               forward.

               INT. TRAIN (MOVING)

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

                                     SAMUEL
                         Look, Mama...!

               HIS POV THROUGH WINDOW

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

               BACK TO SCENE

               As Rachel smiles.

                                     RACHEL
                         I see, darling.

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

               EXT. LANCASTER COUNTRYSIDE  DAY

               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.

               SERIES OF CUTS

               As the train continues its eastward journey... Samuel stares 
               raptly out of the window at the changing patterns 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 shopping centers, restaurants, car lots 
               and fast food outlets.

               EXT. PHILADELPHIA SLUMS

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

               INT. TRAIN (MOVING)

               Now Samuel is staring out the window with some confusion, 
               almost apprehension:

                                     SAMUEL
                         Is this where we're going?

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

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

               INT. 30TH ST. STATION, PHILADELPHIA  DAY

               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.

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

               ANGLE IN MEN'S ROOM

               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 expensive, 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 .38 caliber revolver, and, starting 
               at the near end, starts pushing open the stall doors.

               ANGLE IN SAM'S STALL

               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 ferocious 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.

               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.

               BENCH WAITING ROOM  LOW ANGLE  NIGHT

               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?

                                     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.
                              (then, quickly)
                         But what happened here is none of 
                         his affair. My sister is expecting 
                         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
                         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
                         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 
               off screen catches his attention.

               BOOK'S POV  ONCOMING COPS

               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. 

                                     DONAHUE
                         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.

               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.

               EXT. 30TH ST. STATION  NIGHT

               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.

               INT. SEDAN

               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.

                                     SCHAEFFER
                         What have you got?

                                     BOOK
                         Zenovitch was about to deliver a 
                         list of names tonight  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.

                                     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.

               INT. BOOK'S CAR (MOVING) PHILADELPHIA  NIGHT

               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

               EXT. 13TH ST. STATION  NIGHT

               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.

               INT. BOOK'S CAR  NIGHT

               Book lowers the window.

                                     BOOK
                         Sammy, where's Coalmine?

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

                                     SAMMY
                         What you got there, the Salvation 
                         Army?

                                     BOOK
                         Coalmine.

                                     SAMMY
                         Try "Happy Valley".

               EXT. HAPPY VALLEY BAR, SOUTH STREET  NIGHT

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

               INT. HAPPY VALLEY  NIGHT

               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...

               EXT. HAPPY VALLEY  NIGHT

               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.

                                     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 window. 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! I will 
                         have no further part in this, nor 
                         will my son! As God stands between 
                         us!

               Book sighs, starts the engine and moves off.

               EXT. HOTEL  PHILADELPHIA  NIGHT

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

               INT. CAR  NIGHT

               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.

               EXT. / INT. FRONT DOOR, SUBURBAN HOUSE  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:

                                     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.

               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.

               Off screen 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.

                                     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, Liebchen.

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

               EXT. DRIVE-IN FAST-FOOD JOINT  PHILADELPHIA  DAWN

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

               Book chews into his burger while Carter takes a doughnut. 
               Its clear they've worked through the night.

               EXT. ELAINE'S HOUSE  DAY

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

               INT. ELAINE'S HOUSE

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

               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...

               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...

               ANGLE IN LIVING ROOM

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

               HER POV  KIDS

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

               BACK TO ELAINE

               As she stares.

               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 brother. He's 
                         so... agaanisish!

                                     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
                         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.

                                     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.

               INT. ELAINE'S BEDROOM

               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
                         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
                         What's so funny?

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

                                     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 
                         son of a bitch push you around, okay?

               Rachel smiles.

                                     RACHEL
                         Okay.

               INT. BOOK'S CAR (MOVING)  DAY

               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?

                                     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
                         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.

               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
                         But not a good tired.

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

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

               INT. IDENTIFICATION ROOM  POLICE H.Q.  DAY

               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.

               EXT. CITY PARK  DAY

               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?

                                     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
                         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
                         Good appetite.

                                                                    CUT TO:

               INT. OUTER OFFICE/WAITING ROOM, NARCOTICS DIVISION  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 partially 
               open door.

               INT. DETECTIVES ROOM, NARCOTICS DIVISION, POLICE H.Q.  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.

               INT. SMALL OFFICE, NARCOTICS DIVISION  DAY

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

               The Detective, SGT. KAMAN, eyes Book a little suspiciously  
               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
                         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.

               INT. DETECTIVES ROOM, NARCOTICS DIVISION  DAY

               Through glass partitions we can see Book on the telephone 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.

               INT. BOOK'S CAR (MOVING)  PHILADELPHIA  DUSK

               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 murder...

                                     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
                         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
                         I mean it. You will be safe.

               Suddenly Rachel explodes:

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

                                                                    CUT TO:

               EXT. / INT. SCHAEFFER HOME, PHILADELPHIA SUBURBS  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.

               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 guy I 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 P2P confiscated four years ago... 
                         Guess who was in on the collar? Mac.
                              (excited, explaining 
                              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.

                                     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
                         What's your first move?

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

               EXT. PARKING LOT  PHILADELPHIA  NIGHT

               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 hesitating, coming right on, still smiling, he FIRES 
               once.

               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. OFF SCREEN we HEAR a car 
               door slam, and footsteps hurrying in our direction, 
               accompanied by excited voices. Book HEARS, turns to face the 
               oncomers,

               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
                         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 tshirt under his belt to staunch the blood. And...

               INT. CARTER'S APARTMENT  BEDROOM  NIGHT

               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...

               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.

                                     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
                         Yeah... I can put it all together 
                         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.

               INT. GUEST ROOM, ELAINE'S HOUSE  NIGHT

               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.

               EXT. BATHROOM DOOR

               Elaine is outside the bathroom listening to instructions 
               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.

                                     ELAINE
                         John, why?...

                                     BOOK
                              (shouts)
                         Just do it!

               INT. BATHROOM

               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.

               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
                              (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.

               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]

               INT. PHILADELPHIA POLICE HEADQUARTERS  BOOK'S 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:

               INT. CAR (MOVING)

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

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

               EXT. LAPP FARM

               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 man.

               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:

                                     BOOK
                              (grimly)
                         There isn't going to be one.

               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:

               EXT. FIELD  DAY

               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.

               EXT. STABLES  DAY

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

               ANGLE AT BOOK'S CAR

               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...

               INT. LAMP FARMHOUSE

               Where Eli is looking out a window.

               HIS POV  BUGGY

               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
                         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
                         It will go when he goes.

               INT. LIVING ROOM

               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?

               INT. SICKROOM  TIGHT

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

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

               WIDER

               As Stoltzfus, in his shirt sleeves and concentrating mightily, 
               moistens his fingertips with saliva, continues 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
                         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.

                                     RACHEL
                         I know 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
                         What else can we do?

               EXT. LAPP DRIVE

               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.

               INT. LAPP FARMHOUSE LIVING ROOM

               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:

               INT. SICKROOM  LAPS FARM  NIGHT

               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
                              (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 details; 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 barrage of language pours from his mouth. 
               She beats a hasty retreat closing the door swiftly behind 
               her.

               INT. SCHAEFFER'S OFFICE  DAY

               He's on the phone:

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

               INT. LANCASTER COUNTY SHERIFF'S OFFICE  DAY

               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.

               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.
                              (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:

               EXT. LAPP FARM  DAY

               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.

               ANGLE IN SICKROOM

               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.

               These include TSCHANTZ, the district bishop, a hawk-nosed, 
               sterneyed 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
                         Does anybody know I'm here?

                                     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
                         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.

               INT. LAPP LIVING ROOM  DAY

               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.

               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?

               ANOTHER ANGLE  SCHAEFFER'S CAR

               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.

               EXT. LAPP FARM  LANCASTER COUNTY  NIGHT

               REESTABLISHING, and TIGHTENING to the upstairs sickroom window 
               where a lamp dimly burns.

               INT. SICKROOM

               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. OFF SCREEN...

               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 holster, 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
                         Come here.

               The boy edges closer.

                                     BOOK
                         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.

                                     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
                         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
                         Wait for me downstairs.

               Samuel quickly exits, and Rachel angrily advances on Book.

                                     RACHEL
                         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.

                                     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
                         Friends?

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

                                                                    CUT TO:

               INT. KITCHEN  LAPP FARMHOUSE  NIGHT

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

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

                                     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
                         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
                         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
                         "Wherefore come out from among them 
                         and be ye separate, saith the Lord!"

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

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

               EXT. WASHHOUSE  NEAR KITCHEN  NIGHT 

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

               EXT. BARN  LAPP FARM  DAY

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

               INT. BOOK'S BEDROOM  DAY

               Book stands at the window in a worn robe. Below, through the 
               window, we can see Samuel and Eli in 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 a pile of clothing. 
               She smiles.

                                     RACHEL
                         Enjoying your reading?

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

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

               She passes the clothes to Book.

                                     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
                         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 person 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
                         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.

                                     BOOK
                         Rachel.

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

                                     BOOK
                         Thanks.

               She smiles and leaves.

               EXT. FARMHOUSE  DAY

               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.

               INT. BUGGY  COUNTRY ROAD  DAY

               Samuel sits between Eli and Book. Both men stare straight 
               ahead.

               Eli looks particularly stern. It's pretty clear he doesn't 
               like this Englishman wearing the clothes of his faith.

               EXT. AMISH ONE-TEACHER-SCHOOL  DAY

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

               INT. STORE  SALTZBURG

               Book on the telephone waiting for his call to be answered. 
               He looks about him  several Amish and Dithers mingle in the 
               shop.

               Book-has gotten a coke from a machine, seems a bit self-
               conscious shout it sips at it surreptitiously... A voice 
               comes on the line; it's that of Book's partner.

                                     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.

                                     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
                              (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 of the 
               store.

               INT. BARN  DAY

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

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

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

               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.

               INT. BOOK'S ROOM  LAPP FARM  NIGHT

               Where Book lies asleep. A beat, then Eli comes in carrying a 
               lamp.

               He pauses a moment to peer at the sleeping figure with 
               undisguised anticipation. Then he gives him a jarring thump:

                                     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.

               INT. BARN

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

               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
                         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 OFF SCREEN.

               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.

               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.

               EXT. LAPP FARMHOUSE  DAY

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

               ANGLE  THE BARN

               Eli and Book standing in one of the open doorways, looking 
               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:

               EXT. FIELD NEAR FARMHOUSE  DAY

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

                                     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
                         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.

               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.

               HOG PENS

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

               HIS POV  THE BACK PORCH

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

               BACK TO BOOK

               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.

               INT. CARPENTRY SHOP, LAPP FARM  DAY

               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
                         Tonight I'll let out those trousers 
                         for you.

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

                                                                    CUT TO:

               INT. LAPP FARMHOUSE  DINING ROOM

               Eli is seated at the head of the table, Book opposite Samuel 
               and Rachel. The table is piled high with an incredible amount 
               of food.

               Eli eyes Book cagily, waves his fork at him:

                                     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 
                              afterthought)
                         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.

               EXT. / INT. BARN  NIGHT

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

               He glances up as she enters:

                                     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
                         You like it... Don't you?

               Rachel, confused, protests:

                                     RACHEL
                         No... You just stop 

               But she doesn't really want to. Book grins:

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

               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
                              (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.

               INT. SCHAEFFER'S OFFICE  NIGHT

               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...

               EXT. LAPP FARM  LANCASTER COUNTY  DAY

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

               HIS POV  BUGGY

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

               BACK TO BOOK  INT. / EXT. BARN

               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 son of a bitch, 
                         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
                         See... Sugar. You like sugar, don't 
                         you for Christ's sake?

               Finally, keeping a mistrustful eye on Book, Luke condescends 
               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...

               EXT. ZOOK FARM  LANCASTER COUNTY  DAY

               BIG SHOT... it's early morning as the Amish buggies are 
               arriving at the Zook farm for a barn-raising.

               In the b.g. we can see big stacks of lumber all around 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
                         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?

                                     BOOK
                              (gives him a look)
                         Pretty much.

               Hochstetler nods with satisfaction:

                                     HOCHSTETLER
                         Good. Then you can go home.

                                                               DISSOLVE TO:

               CUTS

               As the morning progresses:

               ...Book and Hochstetler sawing and augering 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  without 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...

               ...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, holding 
               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.

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

                                                               DISSOLVE TO:

               BIG SHOT

               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, determined that he won't fall, 
               nor will he humiliate himself 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. Hochstetler wants no 
               thanks, and Book knows it. Hochstetler gives him a resounding 
               SLAP on the back, and starts climbing down. Book follows.

               EXT. ZOOK FARM  LANCASTER COUNTY  EVENING

               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:

               EXT. LAPP FARM  NIGHT

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

               EXT. PORCH  TARP FARMHOUSE  NIGHT

               Book takes a seat in a chair, SIGHS, looks toward the night 
               sky.

               There is a SOUND, but it's a moment before 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.

                                     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 hesitates, looks into 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.

               INT. LAPP WASHHOUSE  NIGHT

               Where Rachel, dressed only in a plain cotton camisole, is 
               pouring a pail of steaming water into a tub.

               She replaces the pail on the stove, turns and slips out of 
               her camisole. Naked, she folds the garment across the back 
               of a chair.

               Then she pauses, containing a startled intake of breath.

               RACHEL'S POV  FRYING PAN

               The gleaming bottom of a large copper skillet hanging over 
               the stove with other cookware, we can see Book's image 
               reflected there, framed in the kitchen doorway.

               BACK TO SCENE

               Rachel hesitates for a moment  and in that moment she makes 
               a choice.

               Slowly she turns, to face him, without shame, meeting his 
               eyes.

               And for a moment she attempts something: a look, a flash of 
               eve... a lovely, heartbreakingly 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:

               EXT. LAPP FARM  DAWN

               REESTABLISHING...

               ANGLE  HEN YARD

               Where Rachel is scattering feed to the chickens.

               A beat, then Book approaches from behind her. A moment, as 
               she senses his presence.

               Book watches as Rachel begins to gather the eggs, placing 
               them in the fold of her apron.

               When he speaks, he speaks softly, and she pauses in her work.

                                     BOOK
                         Last night.

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

                                     BOOK
                         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.

               EXT. RURAL ROAD  LANCASTER COUNTY  DAY

               The Lapp carriage on a winding 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
                              (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 intersection, 
               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.

               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, together 
               with his young sister  at first they're not aware of the 
               race, until Daniel can contain his excitement 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 Hochstetler, to the cheers 
               of Samuel and Book.

               EXT. SALZBURGSTORE  DAY

               It's a Saturday afternoon in the tourist season, and they're 
               everywhere  taking shots of anything Amish. There's a ROWDY 
               YOUNG ELEMENT amongst them who are making their presence 
               fast, and generally making a nuisance of themselves.

               Book and Rachel get out of the buggy. Samuel stays inside; 
               the crowds make him nervous. A huge tourist bus billowing 
               smoke pulls up nearby.

               Rachel enters the store, but before Book can follow he's 
               stopped by a TOURIST LADY with an instamatic camera... She 
               waggles the camera at him...

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

                                     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.

               INT. STORE

               Rachel is browsing among the stocked shelves in the company 
               of a young Amish woman, Ellie Beiler. Rachel is carrying 
               Ellie's tiny baby, and the infant is getting 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.

               INT. HALLWAY, SCHAEFFER'S HOME  DAY

               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.

               INT. STUDY / STORE  DAY

               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.

                                     SCHAEFFER
                              (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.

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

               INT. BUGGY  MAIN STREET  SALTZBURG  DAY

               Book, as Rachel eyes him. She has noticed his changed mood, 
               but doesn't ask about it. He stares straight ahead, oblivious 
               to the surroundings of the street, now crawling with tourists 
               and traffic.

               EXT. NARROW SIDE STREET  SALTZBURG  DAY

               The buggy turns into the side street. Some hundred yards 
               ahead another buggy is stopped in the middle of the road  
               several youths gathered about it. A pickup truck is stopped, 
               facing the buggy.

               INT. LAPP BUGGY  DAY

               As Rachel approaches the scene, slowing down and finally 
               stopping.

               Rachel is at first puzzled, then makes a small face, looks 
               at Book.

               Rachel puts a restraining hand on Book's arm.

                                     RACHEL
                         Do nothing. This happens from time 
                         to time.

               She senses him about to get out, grips his arm tightly.

                                     RACHEL
                         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...

               EXT. HOCHSTETLER'S BUGGY  DAY

               Hochstetler and his family sit, impassive, ignoring various 
               jeers and taunts from the English lads  various jokes about 
               them being dirty etc. One jabs an ice cream cone into 
               Hochstetler's forehead, which leaves a curious white circle 
               on his forehead. Another fools about with the horse causing 
               it to shy. A third notices the slow, sure, approach of John 
               Book.

                                     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, crumples it, stamps 
               on it, and puts it back at a crazy angle on Book's head. A 
               pause, then Book explodes.

               The kid never knew what hit him or where it came from, 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 flying 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 Hochstetler. 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 gathering 
                              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.
                              (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.

               EXT. BARN / CARPENTER'S SHOP  DUSK

               Book comes out of the carpenter's shop carrying the repaired 
               birdhouse on its pole in one hand, a shovel in the other.

               Rachel is shepherding the milking cows toward the barn.

                                     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.

                                     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 
                              rising 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.

                                     RACHEL
                         That's God's way!

                                     BOOK
                         Well in the City of Philadelphia, 
                         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 a 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
                         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.

               INT. KITCHEN  DUSK

               Eli is lighting the lamps. Samuel reads a book at the kitchen 
               table. Rachel moves slowly to the sink and begins washing a 
               few dishes. She looks out the window.

               CLOSE on her face, a strange expression.

               INT. / EXT RACHEL'S POV  DUSK

               The distant figure of Book working on the birdhouse.

               INT. KITCHEN

               CLOSE on Rachel's hands, lifting items slowly up and of the 
               water to the draining board, where she places them carefully 
               down. She shakes the water off her hands.

               CLOSE on her face, still staring fixedly out the window. She 
               speaks without turning around.

                                     RACHEL
                         Eli, would you see Samuel to bed?

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

               EXT. DRIVEWAY  DUSK

               In the rapidly fading light, Rachel walks slowly toward Book.

               CLOSE on her face, staring straight ahead toward Book.

               ANGLE on Book, CLOSE. He turns and watches Rachel's approach.

               BIG WIDE ANGLE

               The light now nearly gone, the NIGHT SOUNDS beginning, as 
               Rachel reaches Book and they embrace.

               EXT. FIELD BY ROAD  NIGHT

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

               EXT. SOUDERSBURG CAFE  LANCASTER COUNTY  NIGHT

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

               TIGHTENING to the bleakly lighted windows.

               INT. CARE

               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 breakfast 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 
                         backup 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.

               EXT. CAFE PORCH  DAY

               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.

               EXT. RURAL LANE  LANCASTER COUNTY  DAWN

               With the first light of dawn on the eastern horizon, 
               Schaeffer's car approaches along the lane, pulls into the 
               Lapp driveway and comes to a halt.

               In the b.g. we can make out the farmhouse and 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.

               ANGLE

               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.

               INT. KITCHEN  DAWN

               Where Eli is getting into a heavy coat, preparing to go out... 
               the remains of the hearty morning breakfast are on the table. 
               Rachel is beginning the dishes.

               INT. BARN  DAWN

               Book and Samuel are starting the morning milking...

               INT. KITCHEN  DAWN

               Eli is preparing to extinguish the lamp when suddenly the 
               kitchen door is kicked open and McElroy and Fergie weapons 
               leveled, burst in. Eli reacts with angry 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:

                                     SCHAEFFER
                         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, runs to Eli.

               INT. BARN  DAY

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

               BOOK'S POV  FERGIE

               About halfway between the barn and the house. He turns from 
               glancing back toward the house (having heard Eli's shout) 
               and starts again toward the barn. Gun at the ready.

               INT. BARN  DAY

               As Book REACTS.

               INT. KITCHEN  DAY

               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.

               INT. BARN  DAY

               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!

                                     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.

               EXT. REAR DOOR  DAY

               Samuel running.

               EXT. BARN  DAY

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

               INT. BARN  DAY

               Book, at another window in the lower barn, sees McElroy 
               heading for the milkhouse door. He can't see Fergie. He turns, 
               crosses the cowpen area, climbs an inner ladder leading to 
               the upper barn.

               EXT. BARN  DAY

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

               INT. BARN  ANGLE PAST BOOK

               Beyond Book, now at the top of the ladder, we see Fergie 
               easing into the barn. Book pulls himself up, crawls behind 
               the wall of the mule stalls, opens 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 back. 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.

               EXT. BARN  DAY

               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.

               EXT. FIELD  DAY

               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.

               EXT. / INT. KITCHEN PORCH  DAY

               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...

               EXT. BARN  DAY

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

               INT. BARN  DAY

               McElroy flattens himself against the wall, looks around 
               fearfully.

                                     MCELROY
                              (softly)
                         Fergie?

               Only silence.

               EXT. FRONT PORCH  DAY

               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.

               INT. KITCHEN  DAY

               Eli now seated at the table, holding a cloth to his head.

               Rachel at a window, peering out. Schaeffer on the porch

               EXT. FIELD  DAY

               Samuel running as fast as he can trips as he crosses a small 
               muddy stream, falls full length, scrambles up, runs on.

               INT. BARN  DAY

               McElroy, moving very cautiously, comes around the mule stalls, 
               stops short, stares off screen.

               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 here! Come out and fight!

               EXT. BARNYARD  DAY

               Samuel, at the top of the barnyard, stops at the SOUND OF 
               THE SHOT, wide-eyed. He listens for an-instant, starts a 
               step toward the barn, then stops again, looks to a large 
               bell suspended in a cupola by one of the outbuildings. He 
               moves quickly to the bell, seizes the rope, pulls. The bell 
               CLANGS loudly, Sonorously.

               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.

               INT. BARN  DAY

               Book watches as McElroy starts to move again looking 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.

               EXT. BARNYARD  DAY

               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 Eli 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.

               EXT. FIELDS  DAY

               Beyond Samuel, well out in the fields of the Stoltzfus farm, 
               Stotlzfus and others  including Hochstetler and his brothers 
                are baling the first cutting of June 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.

               EXT. BARNYARD  DAY

               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.

               INT. BARN  DAY

               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 entrance 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... . obviously 
               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.

               INT. KITCHEN

               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.

               INT. SILO  DAY

               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.

               INT. BARN  DAY

               Schaeffer, easing toward the mule stalls, MUTTERS, CURSES 
               under his breath. Then he rounds the corner of the first 
               stall... and there is Fergie with Luke the mule on top of 
               him. Schaeffer stares, blinks... moves on spotting a spent 
               shotgun shell near the hayfork...

               INT. SILO  DAY

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

               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.

               BARN YARD  DAY

               The Amish beginning to arrive. Sam comes running, pulls 
               Stoltzfus toward the door of the milkhouse as the other Amish 
               look at the shot-shattered bellrope. Rachel and Eli come 
               rapidly up the path toward the group.

               INT. BARN  DAY

               Schaeffer finds another spent shotgun shell, crosses to the 
               ladder, looks down. He sets his shotgun down, takes out his 
               service revolver, starts down.

               INT. SILO  DAY

               Book has reaches the third kickboard, about thirty feet from 
               the ground. He checks it, turns the thumb-screws that hold 
               it in place, places his hand on the handle, moves to one 
               side as best he can... hangs 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...

               EXT. BARN  DAY

               As first Stoltzfus and Samuel, then Book and Schaeffer emerge 
               into the barnyard. Schaeffer has the muzzle of his pistol 
               pressed firmly against Book's throat, just below his jaw.

               Schaeffer pulls up, frowning:

                                     SCHAEFFER
                         Hold it.

               WHAT HE SEES

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

               EXT. BARN / DRIVE  DAY

               From a high wide angle the final scene is played out. 
               Schaeffer and Book, now moving again slowly up the drive, 
               the Amish following along closely on both sides.

               CLOSE ON BOOK

               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.

               EXT. BARN  DAY

               HIGH SHOT holding the moment.

               EXT. LAPP FARM  LATE AFTERNOON

               The door opens and Book steps out, looking somehow strange 
               in his working suit. He looks about him, sees Samuel down by 
               the pond.

               EXT. POND

               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.

               EXT. HOUSE  DAY

               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.

               INT. /EXT. DRIVEWAY  LAPP FARM  DAY

               As Book drives, he sees an open buggy coming down the hill 
               toward the farm, He slows as he passes, It's Daniel 
               Hochstetler. A long beat, and as they pass, Hochstetler gives 
               Book an expansive tip of his hat.

               INT. BOOK'S CAR

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

               FREEZE FRAME.

                                                                   FADE OUT

                                         THE END