WITNESS
"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
MUTE WITNESS
(1994)
Screenplay by
Anthony Waller
CREDITS (First part)
White letters on black screen. We hear the sound of a radio with a
lot of statics. Apparently, someone is scanning the channels.
After we've heard different channels, the scanning stops on a
channel with jazz music.
With a loud sound, the credits stop, the black screen moves away
to the right and is replaced by :
FILM SET - BEDROOM - INTERIOR DAY
(it is actually day-time, but the scene in the film being shot is
supposed to take place during the night. So all the artificial
lights make us believe it is night-time)
We still hear the sound of the radio.
We are on a film set, even though we don't know it yet. The way it
is filmed makes us believe we are in a real bedroom.
A bedroom, seen through a window. Nice, clean, elegantly furnished
and very well lit. Large bed. On the other side of the room from
the window, a young woman is seated in front of desk facing the
wall. The young woman stands up, with a paper document in her
hand. She is wearing thick hoses, large slippers and a man's white
shirt, which hangs down to the middle of her thighs.
She walks out of the bedroom, to the next room. The window opens,
and the camera, which acts as the eyes of the intruder, looks
around the room.
VOICE ON THE RADIO
We interrupt this program to bring you a special news
bulletin.
The camera moves to the next room :
FILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film)
A dining-room with a large mantlepiece. In the center of the room,
a round dining table with four chairs around it. The table is set,
ready for dinner.
VOICE ON THE RADIO
Ernest Strohbecker and two accomplices escaped from a
maximum-security ward in Bellevue Hospital last night...
The camera (and consequently the eyes of the intruder) keeps on
looking around the room and then focus on the radio set sitting on
a small table.
Close shot on the radio. The volume of the radio goes up.
VOICE ON THE RADIO
... after brutally stabbing two nurses and a custodian to
death. Strohbecker is extremely dangerous, brutal and
unpredict...
The radio is suddenly switched off.
The camera moves upward to show us the corridor and the open door
of the bathroom in the corridor.
THE YOUNG WOMAN (Voice over)
Harry ?
FILM SET - BATHROOM - INTERIOR DAY (NIGHT in the film)
Close shot on the mirror, in front of which the young woman is
standing. She looks a bit surprised by the sudden silence of the
radio, but very soon goes back to her make-up.
FILM SET - CORRIDOR - INTERIOR DAY (NIGHT in the film)
The camera (and consequently the eyes of the intruder) moves along
the corridor, toward the door of the bathroom. It stops very
shortly to look at the young woman, still taking care of her make-
up, and moves away to look at the open door on the other side of
the corridor.
FILM SET - KITCHEN - INTERIOR DAY (NIGHT in the film)
A kitchen. There is no light and the room is very dark. Close shot
on the row of knives hanging on the wall. A man's hand takes one
of the knives.
FILM SET - BATHROOM - INTERIOR DAY (NIGHT in the film)
The young woman opens a small closet, temporarily hiding her face
to the camera. She takes a lipstick and start doing her lips.
Close-up shot on the woman's lips, with the lipstick moving around
them.
Back to the mirror, showing the reflection of the young woman. She
opens the small closet. In the mirror, which covers the door of
the closet, we see a man approaching slowly, with a knife in his
hand.
Close-up shot on the woman's lips.
FILM SET - CORRIDOR - INTERIOR DAY (NIGHT in the film)
High-angle shot of the corridor, seen from the ceiling.
The woman comes out of the bathroom. She sees something, stops and
walks slightly backward.
THE YOUNG WOMAN
Harry ?
She walks to an half-open door and closes the door.
THE YOUNG WOMAN
Harry ?
When she closes the door, a corpse, who was hidden by the half-
open door, falls, face down, on the floor. The woman screams.
The corpse on the floor. It is a man with blood on his face. The
woman bends down on the man and shakes him.
THE YOUNG WOMAN
Harry !
She turns him around to look at his face. We see the white shadow
of a man coming out of a room.
FILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film)
A white telephone in the foreground. The girl runs toward the
telephone. She dials on the phone. We see the mysterious man in
the background, slowly walking into the room, coming from the
corridor. The girl has the telephone handset on her ear, but
apparently, she gets no tone. She frenetically taps on the
telephone hook to make it work. Then she sees the cut wire on the
phone and picks it up. The man is coming closer to her. He has a
black mask on his face, and a white apron covered with blood.
The woman sees the man. She drops the phone and walks back until
she reaches the wall. She moves out of the room to :
FILM SET - BEDROOM - INTERIOR DAY (NIGHT in the film)
The woman walks back until she reaches the bed. The man, covered
with blood, has his knife raised above his head. The woman falls
backward on the bed. The man raises his knife above the woman's
body. The woman screams. The man stabs repeatedly the woman with
his knife, and then moves away from the bed.
FILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film)
The man enters the room and takes the mask away from his face.
FILM SET - BEDROOM - INTERIOR DAY (NIGHT in the film)
Apparently, the woman is not dead and she walks to the desk.
FILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film)
The man crosses the room.
The bedroom can be seen through the large open door between the
two rooms. The woman tries to steady herself by holding on the
desk, but she falls down on the floor, and the desk with her.
The man sits himself on a table, and searches the breast pocket of
his shirt for a cigarette.
The woman crawls on the floor toward the dining room. She is
holding her stabbed stomach.
The man rolls a cigarette.
The woman stands up, holding on bookshelves set on the wall
between the two rooms.
The man licks the paper of his cigarette.
The woman still holds on the bookshelves.
The man has put the cigarette in his mouth. A hand moves into the
shot, holding a lit match to his cigarette.
The woman falls on the floor, with the bookshelves falling on top
of her.
The two men, the one who stabbed the girl and Arkadi, the one who
lit the other man's cigarette, they both look at the woman and
laugh.
The woman crawls out from underneath the bookshelves. She stands
up, holding on the table.
Back to the two men. A hand comes into the shot, holding a metal
flask to Arkadi. He doesn't take it and the camera moves on the
right to a third man sitting near the two other ones. He drinks
from the flask.
The camera moves to the right of the shot, and the title of the
film appears in white letters on a dark screen. The camera keeps
on moving from one face to another, apparently the faces of the
members of the film crew. And on those faces, we see :
CREDITS (Part Two)
In the background, we hear the noises of the girl who keeps on
falling down and breaking the furniture.
Close up on a dial. A needle is moving on the dial, on which,
besides numbers, is written �Groove Depth� and �Batteries�.
The woman falls down. Since she was holding on the tablecloth, the
tablecloth comes away with her, and everything that was on the
table falls down on the floor.
Arkadi and the �murderer� are laughing.
Close shot on the face of the sound engineer, with the earphones
on his ears.
By now, we've started to understand that what we have seen up till
now is not real, but is part of the shooting of a film, a strange,
a bit gory film, but still a film.
The sound engineer shushes the two laughing man down, and looks
down at his tape recorder.
Close shot of the tape recorder.
The camera moves to the right, and shows a female hand writing on
a clipboard, then moves up and shows a large stopwatch hanging
from a cord around the neck of the writing girl. The camera keeps
on moving up to show the face of the writing girl. She is Karen
Hughes, the assistant director and girlfriend of the director. She
looks at what is going on around the set and squints her eyes,
apparently not liking it.
The camera moves to the right and shows the face of Billy Hughes,
Karen's sister and FX make-up artist.
Back to the actress playing the part of the stabbed woman. She
holds the corner of a chest of drawer, and makes everything on top
of that piece of furniture fall on the floor, including several
bottles of alcohol.
Back to Karen and Billy. Billy represses a laughter behind her
hand.
Close shot on Lyosha, a young assistant camera operator, looking
at Billy and smiling. Then close shot on Billy's face.
The actress holds the drapes of the nearest window. She falls down
on the floor tearing the drapes and breaking the curtain-rod off
the wall.
Karen and Billy are both laughing silently.
The actress gets slowly out from under the torn drapes.
Lyosha looks at the actress, and then at Billy.
Billy looks at the actress, and then at Lyosha.
Close up shot on Lyosha's face, smiling.
Billy walks behind Karen's back to the other side of Karen. Karen
looks at her, and then looks in the direction into which Billy is
looking.
Lyosha keeps on smiling.
Karen whispers in Billy's ear.
KAREN (whispering)
He has the hots for you.
Billy answers in sign language. We understand that Billy cannot
speak, but she isn't deaf.
BILLY (in sign language)
For me ? No.
The actress, half-covered with the drape, drags the curtain-rod
behind her.
Billy is smiling and Karen is looking at the scene with her mouth
half open.
Close shot on a smiling bearded film crew member. The camera then
moves to the right, to an open ring binder, with a hand following
whatever is written on the document. The camera keeps on panning
on the right, showing part of instruments and people's hands,
while we hear some whining noises coming from the actress.
END OF CREDITS
The camera stops on a close shot on Andy Clarke's face. Andy is
the film director.
The actress looks like a ghost with the drape covering her. She
slowly falls down on the floor, among the mess she has created by
breaking and dropping every prop in sight.
Andy looks thunderstruck by what he sees on the set.
Close up shot on the camera. A button just switched off, showing
that there is no more film inside the camera.
Andy looks at the camera and sighs.
ANDY
Cut. Brilliant.
He puts his hands on his eyes.
The actress, still lying on the floor under the drape, raises the
drape to look at Andy.
ANDY (yelling)
Natasha !
He stands up.
Both Andy and Natasha, the interpreter, walks toward the still
lying actress and squats around her.
ANDY
Okay, I think we have a little communication gap here.
Natasha translates in Russian what Andy just said.
ANDY
When I said �more�...
Natasha translates.
ANDY
...I didn't mean trash the fucking set.
Natasha translates.
ANDY
This is not Chekhov. You're not the star. You're just
another victim.
Natasha translates.
The actress tries to understand what Andy tells her through
Natasha.
ANDY
You get stabbed. You die.
Natasha translates
ANDY
I want to see the pain.
Natasha translates.
ANDY
I want to see the blood spurting.
Natasha translates. Andy turns around to Billy and Karen standing
among the film crew members.
ANDY (voice over)
Billy, where was the blood ? I want to see her bleed to
death.
Billy answers in sign language.
ANDY (to Billy)
Okay ?
(to the actress)
Okay ?
The actress, still lying on the floor under the drape, nods her
head.
ANDY (voice over)
Let's do it again, folks !
A man yells some orders in Russian. Billy walks to the actor
playing the murderer, sitting on a prop. She checks his blood
device. She takes the knife and plugs a tube coming from the man's
shirt on the knife's handle. She explains, by signs, how the knife
works, and he nods. Billy fixes something inside his shirt and he
reacts when Billy touches his stomach.
THE ACTOR
Oh !
He smiles. Billy squeezes a small bag full of fake blood. She has
just taken that bag from the inside of the man's shirt. The actor
keeps on smiling and Billy doesn't seem to like the man's smile.
She puts the bag back inside the actor's shirt. Then Billy signs
her sister for her to come. Karen joins Billy, who explains to the
actor what he has to do, and Karen translates Billy's sign
language.
KAREN
You make the blood flow by squeezing the bag with your
elbow. Okay ?
THE ACTOR
Sure.
KAREN
We're gonna be here till Christmas, right ?
(turning around and calling)
Natasha !
Natasha joins the group.
NATASHA
Yes.
KAREN
Tell him you make the blood flow by squeezing the bag with
your elbow.
She mimes the squeezing movement while speaking. Natasha
translates in Russian. Karen nods her head. The actor says a few
words in Russian, nodding his head.
KAREN
Okay.
Billy looks at Natasha.
NATASHA (voice over)
Tell her that he will get it right next time.
KAREN
Mmmm... She heard you. You all keep forgetting she can hear
you perfectly well.
Billy smiles.
NATASHA (voice over)
Oh, I'm sorry.
BILLY (in sign language)
It's okay.
The actor laughs.
Lyosha, who actually is the assistant operator, is behind the
camera, near the camera operator. Andy sits down on his chair.
ANDY
Okay, from the top.
His Russian assistant, standing near the camera, with an open ring
binder in his hands, says a few words in Russian. We hear an angry
voice in the background.
THE VOICE
Stop. Stop. Stop!
On the dining room part of the set, where the young Russian
actress broke everything in sight, two men are trying to fix the
broken furniture. Another one, a tall man with a beard, talks very
angrily in Russian.
Andy, still seated on his chair, looks at his Russian assistant.
ANDY
What's the holdup ?
The angry bearded man speaks angrily in Russian.
Andy looks and listens at him and then turns toward his Russian
assistant, trying to speak, but is cut off twice by the angry
voice of the man.
The bearded Russian man walks away. Then he comes back and shows
his wristwatch, saying a few more angry words in Russian.
Andy looks up at his Russian assistant.
ANDY
What is he saying ?
THE RUSSIAN ASSISTANT
He says he's awfully sorry, but he needs at least a day to
redress the set.
ANDY (yelling)
A day ?
THE RUSSIAN ASSISTANT
Yeah.
Andy stands up and slaps his thighs, looking very nervous.
ANDY
Okay, well, let's just do the close-up of the corpse now,
and that'll wrap it for today.
The Russian assistant says a few words in Russian. Andy makes a
sign to the camera operator for him to come closer to him. The
operator joins Andy.
ANDY
All right. Okay. So, what I want to do is zoom in, do a
slow zoom into the puddle of blood...
On another part of the set, behind the dining room, Billy kneels
down in front of a big ancient-looking wooden trunk.
On the lid of the trunk is written, in white large capital
letters : �KEEP OUT ! BILLY'S BOX�. Billy opens the trunk. Inside,
on the inside part of the lid, various props, and in the trunk
itself, a big square plastic bottle and, in a plastic box, plenty
of smaller bottles.
Behind Billy, who is still kneeling in front of the trunk, we see
Lyosha walking around. He looks at Billy, who feels she is being
looked at. She turns around and looks at Lyosha. Natasha walks
toward Billy.
NATASHA
Billy.
Natasha kneels down to be at Billy's level.
NATASHA
Madame Olga wants some sugar in her blood again.
Billy laughs.
BILLY (in sign language)
Thank you.
Billy stands up and starts pulling the big heavy square plastic
bottle out of the trunk. Lyosha comes to help Billy pull the
bottle out of the trunk. They both slowly put the bottle down on
the floor. Billy looks up at Lyosha, who is smiling to her. Then
he walks away. Billy, kneeling on the floor, opens the bottle.
Karen walks in from behind the trunk. She leans on the open lid of
the trunk.
KAREN
So, he's kind of cute.
Billy is pouring a bag of sugar in the bottle.
KAREN
Three months in Moscow, cold winter nights...
Billy smiles.
KAREN
Just a thought.
Billy makes several language signs.
KAREN
Billy, that's what Mom would say.
Billy looks at her sister.
Another part of the set, near the entrance of the set. The
building janitor, wearing a more or less official cap, just walked
in. Karen sees the janitor and waves at him. Billy looks in the
janitor's direction.
KAREN
Hi.
Billy waves at the janitor, who waves back at the girls. Then he
yells something in Russian. Billy and Karen look at each other.
They seem to understand what he says. Billy shows two finger to
him. The janitor says something in Russian and walks away.
The dining-room set. The young Russian actress is sitting on the
floor among the debris she has created and she is putting lipstick
on her lips, looking at her face in a small pocket mirror. Billy
walks in with a small plastic case in her hands. She sits on the
floor next to the actress and puts the box down beside her. She
takes the lipstick and the mirror away from the actress' hands,
and puts them down on the floor. Then she gives her a little piece
of white cotton to wipe the lipstick out of her lips. The actress
takes it and starts wiping her lips. Then Billy takes some make-up
to put it on the actress' face. A male hand puts a light meter
close to the actress' face.
A strong light starts playing on Billy's face, and we hear a
Russian voice who seems to come from a loudspeaker.
The upper part of the film set. Three big spotlights on a rack. An
electrician is playing with one of them.
Billy puts her hand above her eyes to try to locate who is sending
that strong light on her face.
The electrician says a few words in Russian.
The actress looks up to see who is talking.
Closer shot on the electrician sitting on the spotlight rack. He
is Arkadi, the man who was sitting next to the actor playing the
murderer, and who offered him a light for his cigarette. He speaks
in Russian with a queer smile on his face.
Natasha squats down near Billy and the actress, to speak to Billy.
NATASHA
He says use more white like a real dead body.
Billy covers her eyes and looks up at the spotlight rack.
Arkadi smiles and winks to Billy.
Billy closes her plastic case.
The actress eats a piece of cake. She lies down on the floor.
ANDY (voice over)
Okay, Boris, get everyone ready.
Billy, using a pair of tweezers, puts something, which looks like
a cherry, out of a small bottle and into the actress' mouth.
A VOICE OVER WITH A RUSSIAN ACCENT
Out of frame, Billy.
Billy stands up and walks away.
The camera, and the group of people around it. Andy is sitting on
his director's chair, and Karen is kneeling on the other side of
the camera, writing on a clipboard. A clapperboard girl walks in
front of the camera, says a few words in Russian, claps her
clapperboard and walks away. We hear a loud noise, and most of the
spotlights are suddenly switched off. Andy looks up at the
spotlight racks.
ANDY
What... what is going on now ?
Billy, standing in the half-dark set with her plastic case in
front of her, looks up around her as more spotlights are switched
off with loud noises.
Alex, who must be the assistant producer, walks toward Andy,
tapping his wristwatch.
ALEX
Andy. Sorry, it's six o'clock.
ANDY
One shot, one more shot !
ALEX
We have no time.
Billy opens her arms in a gesture of despair.
All the people around Andy start leaving the set.
ANDY
One shot ! I can't believe this.
CINEMA STUDIO - PARKING LOT - EXTERIOR EVENING
Night is coming. The sky is grey. In the background, a group of
people is coming out of a building.
Andy and Billy are crossing the parking lot. Cars are driving
around them : the film crew members are leaving the studio. Andy
waves his hand at one of them.
Andy and Billy come to a white car parked near a red car. Karen is
walking on the other side of the white car. She opens the driver's
door. Billy is standing near the red car, and looking for
something in her purse. She can't find it and looks disappointed.
She taps on the roof of her car.
Karen was ready to get inside her car, but, when she hears Billy's
tapping, she looks up. Billy explains something in sign language.
Andy doesn't understand and turns towards Karen
KAREN
She needs to go get Strohbecker's face.
Andy claps his hands.
ANDY
Ohh ! Right ! His dummy falls off the balcony on Monday.
KAREN
We'll wait for you here.
Billy starts walking away. Andy turns toward Karen.
ANDY
Karen, she's got her own car.
Billy explains something in sign language.
KAREN
Okay. Okay. Don't forget tonight.
She opens the door of her car. Andy turns around to face Billy.
ANDY
Yeah, yeah, yeah! Fiesta ! I'm making my famous chili con
Clarke.
Near Andy's car, Alex, the assistant producer we just saw on the
set, is opening the door of his car.
ANDY
Alex !... what do you say ? You coming ?
Alex has already opened the door of his car.
ALEX
Sorry. I have tickets for the Bolshoi Ballet tonight.
Andy sneers.
ANDY
Well, try and stay awake.
Andy opens the door, gets inside the car and closes the door.
CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR EVENING
Close up shot on a green hideous mask held with both hands by
Billy.
Around Biily, all the props used for the film she is working on,
or other films. Billy puts the green mask down. She looks around
for something. She throws away various masks she doesn't need.
Billy is kneeling near a large box used as a table. On the box
something is written in large capital Russian letters. Around
Billy, a lot of props are scattered around. Apparently, Billy
can't find what she is looking for, and sits back on her heels in
despair. She hears a loud noise. She sits up when she hears the
noise. She tries to figure out what that noise means. She stands
up and runs toward a window.
The sky is darker. The night is coming soon. Billy looks through
the window.
On the parking lot, seen trough the bars of the window, the
janitor is crossing the yard with his dog.
Billy opens the window and turns around, looking for something to
hit the metal bars of the window. She takes a spear from a suit of
armor. Then she bangs on the bars of the window with the long
handle of the spear.
On the parking lot, seen through the bars of the window, the
janitor keeps on walking around with his dog, apparently not
hearing the noise made by Billy. Then he closes the main door of
the studio parking lot.
Billy drops the spear on the floor and runs away from the window.
CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
A large corridor. A door opens and Billy rushes out. She opens a
door at the end of the corridor and runs out.
CINEMA STUDIO - FILM SET - INTERIOR NIGHT
The gallery around the top of the set. A door opens and Billy runs
along the gallery.
At ground level, we see Billy coming down the stairs leading to
the gallery. Billy runs across the film set, which seems not to
have been used recently.
Billy reaches a heavy metal door and tries to open it... without
any success. She kicks it.
CINEMA STUDIO - ANOTHER ROOM - INTERIOR NIGHT
The parking lot seen trough the heavy metal bars of a door. It is
darker than before and completely empty. Close-up shot on an big
padlock and a thick chain set across the bars of the door.
KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHT
We hear very loud rock music.
Close shot on the gas stove. Ground meat is cooking in a frying
pan. Chopped onions are being poured into another frying pan from
a wooden cutting board.
Andy is spraying some spices on the meat. He is wearing an apron
tied around his waist. He tastes his �cuisine� from a spoon. He is
bobbing up an down in rhythm with the music. Andy makes the round
spice rack spin around very fast and picks up a jar from the rack.
Then he pours spices from two different jars with both hands, in
rhythm with the music, miming a drummer beating his drums with his
sticks. Then he pours tomato sauce from a can into a saucepan. He
throws the empty can away.
ANDY
Yeah !
He takes another spice jar. But the lid of the jar comes off, and
all the spices fall down into the meat. He puts the empty jar
down.
ANDY
Damn !
He takes the lid off the meat. We hear the phone ringing. Andy
lowers the volume of the music from the radio set hanging on the
wall. The phone is still ringing.
ANDY
Honey ! Honey, can you get that ?
Andy takes the meat frying pan out of the stove to pour the meat
into the onions frying pan.
KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
The kitchen seen from the dark living room. There is no door
between kitchen and living room, just a wide open arch. The phone
is still ringing. Andy turns around.
ANDY
Honey !
KAREN (voice over)
I'm in the shower !
Andy puts the frying pan back on the stove and runs in the living-
room. He picks up the phone from a table.
ANDY
Hello ?... Hello ?
CINEMA STUDIO - A ROOM - INTERIOR NIGHT
Close dark shot of Billy with the telephone handset to her ear.
She taps on the microphone of the handset. The telephone set is on
a small shelf fixed on the wall.
KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
Even if the volume of the radio has been lowered, it is still loud
enough for Andy not to be able to hear Billy's tapping. A hissing
sound, coming from the kitchen, makes him turn around.
KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHT
On the stove, a big stew pot is hissing, and water is leaking
between the lid and the pot.
KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
Andy takes the telephone set and runs toward the kitchen. But the
cord is a bit too short and is stretched tight just when he
reaches the kitchen. He drops the telephone set on the floor.
ANDY
Hello ?
He tries to reach the stove control panel while still holding the
telephone handset to his ear.
KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHT
Andy's hand is trying to reach the control panel of the stove.
CINEMA STUDIO - A ROOM - INTERIOR NIGHT
Billy is still tapping on the microphone of the telephone.
ANDY (voice over from the telephone)
Hello ?
KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHT
Andy puts the telephone back on its hook on the set on the floor
of the kitchen.
CINEMA STUDIO - A ROOM - INTERIOR NIGHT
We hear the disconnection tone of the telephone. Billy puts is
back on its hook on the small shelf on the wall. She leans on the
shelf, feeling dispirited.
MOSCOW - AERIAL SHOT - EXTERIOR NIGHT
Aerial shot of Moscow, with all the cars driving on the main
highways. The camera pans to the right and reaches an high brick
building near the river.
Fade in to :
KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHT
Andy is setting some food on a plate on the small table. The music
is off. We hear the waiting tone of the telephone.
KAREN (voice over)
Didn't it even cross your mind ?
KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
Karen is seated at the table, holding the telephone handset to her
ear. We still hear the waiting tone. The telephone set is beside
her on the table, where three candles are burning in three
candlesticks.
KAREN
It could've been Billy.
ANDY (voice over from the kitchen)
I was thinking about dinner.
Full shot of the room, with Karen seated at the table, and Andy in
the kitchen in the background, still fixing dinner.
ANDY
I'm still thinking about dinner.
KAREN
She's not there either. Shit.
She shuts the telephone by pressing on the hook, still keeping the
handset to her ear. We ear the long tone of the telephone.
KAREN
Okay. Ohh !
She dials another number.
CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHT
There are no light, and the room is completely dark. We hardly see
a huge bear and a bat. The camera pans on the right, tilting
slightly down. The camera comes to Billy, seated behind a desk and
dialing on a telephone set. She puts the handset to her ear, but
only gets a busy tone. She puts the phone down on its hook.
Documents are scattered on the desk. A draught makes one of the
documents fly away. Billy looks surprised by what just happened.
Some more papers fly away. She looks on her right at a door with
frosted small window panes, which closes shut by itself.
On the top of the door, a small bell is ringing.
Billy looks at the door and stands up
CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
A long dark corridor. A door opens on the right, ringing the small
bell. It's the door of Billy's workshop. Billy walks out of the
room. In the dark, we only see the dark outline of her figure. She
stops, not sure about where she is going to go next. Eventually,
she starts walking slowly. She stops again when she hears voices
speaking in Russian. Then she starts walking again.
A metal door with a notice hanging from the handle. Zoom on the
notice, on which something is written in Russian. Actually, it is
an elevator door.
CINEMA STUDIO - ELEVATOR - INTERIOR NIGHT
Billy peeks from behind the elevator door to look at what is going
on down below.
High angle shot of the elevator shaft. We hear voices speaking in
Russian and we see some light at the bottom of the shaft, where
the cabin is.
Billy is still peeking into the elevator shaft. A draught is
waving her hair. She moves away.
CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
Billy closes the door of the elevator. She walks toward the
staircase, and starts walking downstairs. Through the open door of
the staircase, we see her stopping, because she just heard a faint
sound of a telephone ringing.
KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
Karen is still seated behind the table and listening to a
telephone which keeps on ringing without any answer. Andy walks
slowly toward the table, coming from the kitchen. Karen looks very
nervous. Suddenly we hear a clicking noise in the telephone.
KAREN
Hello, Billy !
Karen looks up at Andy.
KAREN
Thank God. She's there. Are you all right ?
ANDY
Ask her about the mask.
Karen shushes Andy with her hand.
KAREN
You want to tap something through ?
CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHT
Billy is holding the telephone next to her ear. She taps on the
microphone with her finger.
KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
Karen has the telephone handset squeezed between her head and her
shoulder.
KAREN
Wait. Wait. Wait.
Andy turns around because he just heard a hissing noise in the
kitchen. He runs toward the stove.
ANDY
Oh, man !
KAREN (voice over)
A...O...
ANDY
Oh, man !
In the kitchen, Andy tries to save his cooking.
KAREN
...L ?
Andy puts his frying pan down into a large white plastic can full
of water, where it starts hissing.
ANDY
Man ! Oh, man !
KAREN
Was it L ? The second letter, was it L ?
Karen shushes Andy with her hand.
ANDY
Shit !
Andy is getting his frying pan out of the plastic can.
KAREN
A-L-L ?
While Karen is trying to understand her sister's message, Andy is
banging the frying pan on the side of the can, to get rid of
everything that was inside it.
KAREN
O...kay !
She smiles.
In the kitchen, Andy looks at his empty frying pan.
ANDY
We're eating out tonight.
KAREN
Okay. So are you coming over now ?
CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHT
Billy keeps on tapping on the microphone.
KAREN (voice over on the telephone)
Do you have the mask ?
Billy taps again.
KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
KAREN
Well, don't worry. Just get over here.
ANDY
You hungry ?
KAREN
Bye.
Andy throws the frying pan in the can of water, where it hisses
again. Karen looks at Andy, puts the telephone down and makes a
face.
CINEMA STUDIO - STAIRCASE - INTERIOR NIGHT
Billy is running downstairs.
CINEMA STUDIO - A FILM SET - INTERIOR NIGHT
The entrance of a film set. We hear some giggles. The door opens,
Billy enters and closes the door behind her.
In the background, spotlights are switched on above a scenery :
apparently, someone is shooting a film. Billy walks noiselessly
across the empty part of the set. As Billy comes closer to the lit
part of the set, we hear strange noises that sound like a woman
having an orgasm.
With Billy in the background, we see a camera with an operator
behind it.
On a bed, two actors are having sex. The female, a blonde woman,
is naked, the male has his pants down to his ankles and is wearing
a T-shirt and a white mask.
Billy looks slightly embarrassed by what she sees.
Close shot on the face of the camera operator, looking into the
viewfinder of his camera. He is Lyosha, the young man who was
courting Billy.
The blonde naked woman is moaning. She is a slightly plump woman
with hair too blonde to be true. She could be in her forties.
Billy, still looking slightly embarrassed, is also smiling.
The woman is faking a very strong orgasm.
LYOSHA (voice over)
Stop ! Stop ! Stop !
The woman instantly stops faking her orgasm and gets up from the
bed. Lyosha talks in Russian to the woman, who is still lying on
the bed. Her �lover�, lying on the woman, is answering Lyosha in
Russian.
Lyosha looks back into his viewfinder.
We hear the woman, moaning again. Billy walks around the set.
Close shot on the face of the �lover�. He is wearing the mask
Billy has been looking for. In the background behind the man, we
see Billy, looking from behind an open window in the scenery.
Lyosha looks up from his viewfinder, then back again into it.
The woman's �lover� slaps her gently on the face, but keeps on
having sex with her. The man slaps her again but much harder this
time. She screams.
Billy looks surprised by what she sees.
The man holds the woman down on the bed with both hands. He slaps
her very hard several times and then hits her with his fist.
Billy closes her eyes, disgusted by what she sees. We hear the
woman being hit and screaming.
The woman seems very surprised by what is happening to her. The
man keeps on hitting her. She tries to cover her face from the
blows she is getting repeatedly.
Lyosha smiles, looking very happy with what is happening on the
set.
The woman tries to get the man away from her. She grabs his mask
and throws it away. Underneath the mask, the man has another black
very close-fitting fabric mask hiding his face, which could be a
black stocking. He grabs both her hands with one of his hands, and
holds them above her head. Then he takes a black strong ribbon
from under the bed and ties her hands with it. The woman is now
very frightened and tries to get free. The man slaps her very
hard.
Close shot on a pillow being lifted by the hand of the man. Under
the pillow, there is a long very sharp knife.
Billy can't believe what she sees.
The man takes the knife and slowly lifts the knife above his head.
Billy looks more and more frightened. She has tears in her eyes.
She is crying silently with her fist in her mouth.
The man start stabbing the woman. Her blood is splashing on the
wall and the man's T-shirt. The woman is covered with her own
blood.
Billy starts walking away from the window and across the set.
The woman doesn't seem to move anymore, but the man is still
stabbing her.
Billy walks backward across the set and she bumps into a hatstand
which falls down. Everything that was in the open purse hanging on
the hatstand - hairbrush, keys, lighter, make-up things, etc. -
falls on the floor. A plastic diskette-case skids on the floor and
slips under a big wooden wardrobe.
Lyosha, alerted by the noise, stands up from his camera.
Billy is kneeling on the floor near the fallen hatstand.
Lyosha goes back to his camera.
Billy, kneeling on the floor, puts everything back into the purse.
Then she stands up, puts the hatstand back on its legs and walks
away from it. She hides behind the large wooden wardrobe. Lyosha
walks slowly toward the place where Billy is hiding. Billy walks
away and Lyosha stops near the hatstand.
CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
The long dark corridor. In the foreground on the left, the
staircase, the only part of the set where there is light
(apparently coming from the windows and the street lights). Billy
is running upstairs. She enters the corridor, where she starts
running, just when Lyosha appears in the staircase, running after
Billy. When he reaches the landing, Lyosha switches on the lights
in the corridor. Just before Lyosha enters the corridor, in the
background, we see Billy hiding in a nook, a small partition, in
the corridor.
Lyosha looks for her. Billy seems suddenly interested by something
up on the wall across from her. It is a sign for an emergency
exit. Billy looks in the direction the sign is pointing at. It is
the emergency exit.
Lyosha is coming toward Billy's hiding. He stops to listen for a
meaningful noise. He opens a door to look into a room. Billy peeks
from behind her hiding nook. She runs toward the emergency exit,
which is located toward the end of the long corridor.
The open door, and just behind it, Lyosha looking into the room.
He switches the light off, just as Billy reaches the emergency
exit. He walks out of the room, and closes slowly the door behind
him. He looks at the far end of the corridor.
LYOSHA
Hey !
He walks a couple of steps and stops. He turns around and says a
few words in Russian.
Billy is hiding behind a big red vending machine at the far end of
the corridor. Lyosha looks around him and Billy looks at the
emergency exit.
Close shot on the handle of the emergency door. Then the camera
pans on the left and stops on the red emergency box, with the door
key inside. Near the key, is posted a long notice in Russian.
Lyosha walks slowly toward Billy. He tries to open a door, but it
is locked. We hear him talking in Russian.
Billy is still hidden behind the red vending machine.
LYOSHA
Hello ?
Lyosha keeps on walking slowly toward Billy.
LYOSHA
Is anyone there ?
Lyosha is looking at the far end of the corridor. He crosses
toward a door.
LYOSHA
I can explain.
He opens the door and walks inside the room.
Billy peeks cautiously from behind the machine, and sees the open
door. She runs toward the emergency exit. She breaks the glass
with her hand and grabs the key.
LYOSHA (voice over)
Ho ?
Billy runs back toward the vending machine, behind which she hides
again.
Lyosha walks out of the room, leaving the door open, and looks at
the far end of the corridor.
Billy is still hidden behind the vending machine. Lyosha is coming
toward her. Billy moves slowly along the wall, keeping her back as
close as possible of the wall. She opens a door and enters a dark
room. She closes the door behind her.
Lyosha reaches the vending machine, and starts running toward the
emergency exit. He stops near the emergency box with its broken
glass. He looks inside the emergency box. His finger comes out of
the box, with the tip covered with Billy's blood. He tries to open
the emergency door, which is locked.
CINEMA STUDIO - STORE ROOM - INTERIOR NIGHT
A dark store room, with large windows. The door opens and Lyosha
walks in. He runs to the window. He looks outside, but seeing
nothing significant, he turns around and walks a couple of steps
inside the room. He stops and looks around. He starts walking
again across the room. Suddenly something catches his eye.
Close shot on the bottom of a long drape. There is a thin space
between the bottom of the drape and the floor. And on this thin
space, the tip of a shoe is showing. Lyosha walks slowly toward
the drape. He pulls the drape open with a very quick movement.
Several racks of shoes were actually hidden by the drape.
CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHT
A door opens in the back of the room and Billy walks in the room.
There is some light coming from the door. Billy walks to the main
door of the room and opens it. She raises her arm and grabs the
bell at the top of the door to silence it. She walks out of the
room.
CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
The long corridor. The lights are still on. Billy walks out of her
workshop and closes the door. She starts running along the
corridor toward the emergency exit. She suddenly stops, when she
hears a door opening. She runs back toward the staircase and hides
near the entrance of the staircase. In the background, we see
Lyosha coming out of a room. The camera pans toward the staircase
and Billy. A door opens on the floor below, and the large shadow
of a man is projected on the wall of the staircase. Billy runs on
the other side of the landing, while the man starts climbing the
stairs. He is Arkadi, the electrician working on Andy's film, and
the one who was playing with a spotlight on Billy's face. He is
bare-chested, which makes us believe he was the poor actress'
murderer. He reaches the landing and stops.
Billy is still hiding in a dark corner. She sees Arkadi coming on
the landing.
ARKADI
Lyosha !
Lyosha is coming to meet Arkadi. They speak in Russian.
Billy looks at the two men, then she moves silently away from
them. She reaches the door of the elevator, which is supposed to
be out of order, and opens it. She puts the key of the emergency
exit door in her mouth, and start climbing down the elevator shaft
emergency ladder.
CINEMA STUDIO - ELEVATOR - INTERIOR NIGHT
Billy climbs down the emergency ladder, trying not to miss the
steps.
Her face is now on the level of the bottom of the door of the
elevator. There is a small gap between the bottom of the door and
the floor, which enables Billy to peek at what is going on in the
corridor.
A shoe appears in the gap between the door and the floor.
Close shot on the small window at the top of the elevator door.
Arkadi's face appears in the window. He looks around inside the
elevator shaft.
Billy is not in front of the gap anymore, but hiding in the dark.
She puts the key in front of the gap.
Arkadi tries to open the door of the elevator. But it is locked.
The blood on his hand proves that Arkadi was actually the poor
actress' murderer. Through the small window, he looks around in
the shaft.
Billy tries not to be seen through the gap.
Arkadi still looks around in the shaft. He turns his head to talk
in Russian to Lyosha.
Billy has got the key back between her teeth. We hear the two men
talking in Russian.
Arkadi's face moves away from the window. Some lights are switched
off, making the window slightly darker.
Billy moves away from the wall of the shaft and falls. She catches
the elevator cables.
Close shot on Billy's face. She is holding the cables. She makes a
face because of the pain. She doesn't have the key in her mouth
anymore.
Close shot on a concrete ledge somewhere along the shaft. The
emergency door key drops on it, then moves away from it.
Billy is trying to climb back up to the door.
We see the elevator cabin at the bottom the shaft, and Billy in
the foreground, trying to climb back up. There is some light in
the cabin. We hear some strange noise in the shaft. Billy looks
down at where the noise is coming from.
Close shot on the key, seen through the chicken wire roof of the
cabin, and resting on the floor of the cabin.
Billy, still holding the cables, starts going slowly down. She
misses a step but holds on the cables. She keeps on going down the
shaft. She eventually reaches the roof of the cabin. We hear
muffled voices talking in Russian.
Billy sits down on the roof of the cabin to rest a little. Through
the chicken wire that covers the roof of the cabin, she sees the
key on the floor of the cabin. She tries to open a panel in the
chicken wire. It is stuck but she eventually succeeds in opening
it. She moves the panel on its hinges and rests it against the
wall. We still hear the muffled voices talking in Russian. Billy
starts climbing down in the opening in the chicken wire.
Billy drops down on the floor of the cabin. The front door of the
cabin is wide open showing the well lit store room in front of the
cabin. But the cabin is not completely at the same level as the
room : it is slightly higher. We hear banging noises in the
background.
Billy looks at the room and is suddenly frightened by something.
She stands up and looks up at the roof of the cabin. She climbs
back toward the roof. We see Lyosha in the room, walking toward
the elevator.
Lyosha is coming closer, carrying a large plastic trash bag on his
shoulder. When he reaches the elevator, he takes the bag down from
his shoulder, and drops it in the gap between the bottom of the
cabin and the floor of the room. The plastic bag drops down to the
bottom of the shaft.
Billy, lying on the roof of the cabin, is looking through the
chicken wire.
Arkadi is walking toward the elevator, carrying a bag on his
shoulder, and pulling another one on the floor.
Close shot on the key, which was not actually on the floor of the
cabin, but on the floor of the room, just outside the cabin. The
plastic bag, pushed by Arkadi under the cabin, pushes the key in
the gap.
Lyosha and Arkadi are standing just outside the cabin. Lyosha is
pushing another bag in the gap. The two men then walk away from
the cabin.
Billy climbs down from the roof of he cabin and stands up on the
cabin floor. Seeing Lyosha, she squats down, but Lyosha walks
away.
Billy climbs out of the cabin. Then she enters the gap and starts
climbing down the shaft, using the emergency ladder.
The bottom of the shaft is full of plastic bags and various
debris. Billy reaches the bottom and steps on the bags. She kneels
down and starts searching for her key. Suddenly, we hear a very
loud noise. Billy, startled by the noise, stands up.
Lyosha is looking through the gap at the bottom of the shaft. He
turns around and talks in Russian to Arkadi.
LYOSHA
Arkadi !
Billy is hiding among the plastic bags.
Lyosha is still calling Arkadi.
LYOSHA
Arkadi !
He talks to him in Russian.
Arkadi comes near Lyosha with a powerful flashlight, and, with it,
he looks into the bottom of the shaft. The light from the
flashlight is playing on the bags.
Close shot of Billy's face, hidden among the bags. The light moves
near Billy's face, then moves to a transparent bag, near Billy,
with a head inside. Billy looks up at the bag. She screams
noiselessly. Suddenly she turns around, because she has seen
something else.
Close shot of the emergency door key, lying among the debris,
brightly lit by Arkadi's flashlight.
Arkadi walks away from the elevator, followed by Lyosha. Before
leaving, they close the outside door of the elevator. After the
door has been closed shut, the elevator shaft becomes completely
dark.
Billy slowly comes out of the bags. She takes the key. Then she
slowly stands up, puts the key in the pocket of her sleeveless
jacket and starts climbing the emergency ladder along the wall of
the shaft. She climbs just a few step to reach the first door, the
basement door.
Close shot of the small window on the door of the elevator, seen
from outside the shaft. Billy's face appears in the window. The
basement is completely dark.
Billy tries to open the door, but it is locked. She bangs on it
with her hand. Then she shakes it violently. She looks up, on the
verge of tears. She sighs. Then she hears some steps.
Arkadi is coming carrying a powerful lamp.
Billy looks very frightened. The light from the lamp plays on her
face.
Billy moves away from the door.
CINEMA STUDIO - BASEMENT - INTERIOR NIGHT
Arkadi stops near the locked door of the elevator, puts his lamp
down on the floor, and takes a key out of his pocket.
CINEMA STUDIO - ELEVATOR - INTERIOR NIGHT
Billy climbs on the emergency ladder in the shaft
CINEMA STUDIO - BASEMENT - INTERIOR NIGHT
Arkadi opens the door of the elevator.
CINEMA STUDIO - ELEVATOR - INTERIOR NIGHT
Billy looks very frightened.
CINEMA STUDIO - BASEMENT - INTERIOR NIGHT
Arkadi is kneeling down by the lamp. He starts to stand up. He is
carrying a plastic bag which he has taken away from inside the
elevator shaft. He walks away, leaving the door open.
CINEMA STUDIO - ELEVATOR - INTERIOR NIGHT
Billy climbs down the shaft.
CINEMA STUDIO - BASEMENT - INTERIOR NIGHT
Arkadi walks away in the basement. Billy slowly comes out of the
elevator door and runs away in the opposite direction from Arkadi.
She hides behind a pillar, because she sees Arkadi's lamp in the
background. Arkadi is coming back, and Billy moves around the
pillar to be hidden from Arkadi's eyes. Arkadi stops near the
elevator. He opens the elevator's door.
Billy runs away. She trips on something and makes a little noise.
She stops.
Arkadi, coming out of the elevator, looks in Billy's direction.
Billy opens a door and walks out.
Arkadi slowly walks away from the elevator door.
The door closes smoothly behind Billy.
CINEMA STUDIO - STAIRCASE - INTERIOR NIGHT
Billy is walking rapidly upstairs.
CINEMA STUDIO - FILM SET - INTERIOR NIGHT
The door of the set opens and Billy walks in. She walks slowly
through the set, looking around her. Suddenly, the big spotlights
are switched on one by one.
In the electricians' control cabin, we see Lyosha switching the
lights on. More spotlights are switched on.
Billy is running around on the set, trying to avoid the lights.
She reaches the scenery and jumps out of one of the scenery
windows.
A searchlight, controlled by Lyosha. The searchlight is following
Billy.
Billy tries to avoid the searchlight. She runs away toward the
exit of the set. She meets Arkadi coming back on the set, but she
keeps on running.
ARKADI
Billy !
Billy starts climbing a ladder, but before climbing, she pushes a
heavy piece of furniture to block the bottom of the ladder. The
piece of furniture falling down makes other props fall down.
Arkadi starts moving the props out of his way. He reaches the
bottom the ladder.
ARKADI
Wait. I explain.
He starts climbing the ladder, turning his head around to yell :
ARKADI
Lyosha !
In the electricians' control cabin, hearing his name, Lyosha looks
outside the cabin.
ARKADI (voice over)
Lyosha !
He says a few words in Russian.
A gallery near the ceiling of the set. Billy is running along the
gallery.
Lyosha runs out of the electricians' control cabin and on the
gallery.
Billy runs down a few steps and outside the room. From the other
side of the gallery, Lyosha comes running after her.
CINEMA STUDIO - STAIRCASE - INTERIOR NIGHT
Lyosha runs downstairs.
CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
The long dark corridor, with the staircase in the foreground.
Lyosha runs in the corridor from the staircase, but before
entering the corridor, he switches the lights on. With the lights
on, we can see Billy running away to the far end of the corridor.
Lyosha runs after her.
Zoom on the emergency door, coming closer to us.
Billy is running toward the door.
Billy puts the key in the keyhole. She opens the emergency door
and shuts it behind her.
Lyosha runs toward the door. He pushes it open.
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
The other side of the door, opening on a small gallery leading to
the emergency ladders set along the exterior wall of the building.
The door is been violently pushed open by Lyosha. With Lyosha's
violent push, Billy falls backward, above the balcony of the
gallery and down on the yard below.
Billy falls on her back on a huge pile of used film metal boxes.
Lyosha bends over the balcony and looks down at Billy.
Billy is lying among the boxes and moves her head.
A blurred dark picture with lights dancing around. It is what
Billy's eyes are seeing when she tries to focus after her fall.
She sees the blurred picture of Lyosha running down the emergency
ladder along the wall of the building.
KAREN (voice over)
Hello!
The corner of the building. A shadow is moving hidden by the
building.
KAREN (voice over)
Hello ?
Lyosha is bending over Billy. When he hears Karen's voice, he
looks up.
KAREN (voice over)
Is anybody there ?
Karen appears at the corner of the building, looking around.
LYOSHA
Come here, quickly !
Karen runs toward them.
KAREN
Oh, my God, Billy.
LYOSHA
Quickly !
Karen runs toward Billy, still lying on the film boxes in the
foreground. She bends over her.
KAREN
What did happen ?
LYOSHA
I don't know.
Lyosha looks up at the gallery where Billy fell from.
LYOSHA
She slipped and fall bad. Poor Billy.
Karen yells in Andy's direction.
KAREN
Andy, she's at the back !
LYOSHA
Get the doctor, quickly.
KAREN
You go. I'll stay here with her.
Billy is trying to say something to her sister.
KAREN
Let go of her.
LYOSHA
No, I must hold her. She must not move.
Lyosha's hand is restraining Billy's arm.
LYOSHA
Danger she'll never walk again if she move.
Billy is moving nervously, trying to get her arm free to talk to
her sister.
LYOSHA
Go !
KAREN
Yeah, okay.
Billy tries to move her hand away from Lyosha and bangs on a film
box.
KAREN (yelling in voice over)
Andy !
She bends over Billy.
KAREN
Billy !... Billy, you mustn't move... You may become
paralyzed. It's dangerous... Don't worry. I'll be right
back... I promise.
Karen starts moving away from Billy
KAREN
Andy !
Billy moves nervously, raises from the film boxes and looks
desperately at Karen.
Karen just saw Billy's last expression and seems worried.
Billy is trying to articulate some words.
Karen runs back toward Billy. She reaches the pile of film boxes
and bend over Billy. She looks at Lyosha.
Andy is walking toward them.
ANDY
What's going on ?
Karen turns toward Andy.
KAREN
Andy, go with the janitor...
Lyosha seems worried.
KAREN (voice over)
...and fetch an ambulance !
Andy joined the janitor with his dog.
KAREN (voice over)
Billy's had an accident.
ANDY
What ?
Lyosha says something in Russian to the janitor.
KAREN (voice over)
Don't just stand there !
Karen looks at Andy.
KAREN
Do it now !
The dog barks. Andy turns toward the janitor
ANDY
Ambulance !
The janitor answers in Russian. The dog keeps on barking. Andy
pushes the janitor toward his office.
ANDY
Come on !
They both walk away.
Karen bends over Billy.
KAREN
It's all right, sweetie.
Billy is still moving restlessly.
KAREN
I'm here now and an ambulance is on its way.
Karen pushes Lyosha's hand away.
KAREN
Let go of her. She's trying to say something.
Lyosha stands up. Billy talks to Karen with her hand.
KAREN
Police ?
Billy keeps on signing.
KAREN
Murder ?
She looks up at Lyosha.
Lyosha shrugs his shoulders and makes a face that means he doesn't
know what Billy is talking about.
KAREN
Andy ! Andy !
CINEMA STUDIO - FILM SET - INTERIOR NIGHT
This the set where the poor actress was brutally murdered.
Billy is seated between Karen and Andy. She has a disoriented look
on her face, and a blanket is wrapped around her shoulders. Karen
is tenderly stroking Billy's shoulder. We hear some laughing and
people talking in Russian.
Lyosha and Arkadi are talking to an uniformed Russian policeman,
who seems to be in charge of the inquiry. Consequently, he will
be, from now on, mentioned as �First Policeman�
The other policeman (who shall be mentioned as �Second Policeman�)
is kneeling down, looking at something on the floor, and the
janitor is standing in a corner with his dog on a leash.
Lyosha, Arkadi and the first policeman are still talking together.
They slowly walk toward the rest of the group. The second
policeman, who was still kneeling down, stands up.
Billy is listening to Lyosha, apparently trying to lip-read and
understand what he says. Lyosha turns toward her.
LYOSHA
Excuse me. It's true. We just fake murder. If we really
want to murder...
The two uniformed policemen are listening to Lyosha.
LYOSHA (voice over)
...why make film of it ?
Lyosha and Arkadi both laugh.
LYOSHA
We're not stupid, really.
The janitor is trying to follow the conversation. We hear a
policeman talking in Russian.
Arkadi answers in Russian.
Arkadi must have said something funny, because the policemen are
laughing.
Lyosha and Arkadi look at Billy.
ARKADI
No, no. Sorry.
Billy doesn't look at Arkadi, but Karen does.
ARKADI (voice over)
We understand how she feel. She think she see...
Back to Lyosha and Arkadi
ARKADI
...a real murder and panic.
Billy taps on Karen's arm. Karen looks up at Arkadi.
The first policeman looks at the paper he is holding in his hand.
FIRST POLICEMAN
Where did you see the murder from ?
Billy stands up and, pointing her finger, shows where she was
during the murder.
The two policemen both turn around to look at the place Billy is
showing. The second policeman moves away and the first one looks
at his paper.
FIRST POLICEMAN
And it was this man ?
He points at Arkadi.
Billy, seated again, points at Arkadi.
Lyosha looks at Arkadi.
The first policeman resumes the reading of his paper.
FIRST POLICEMAN
But you say here : �He wore a stocking pulled over his
head.�
Billy looks very angry and keeps on pointing at Arkadi.
FIRST POLICEMAN
�And then they chased me through the building and try to
kill me as well.�
Arkadi yells something in Russian. Lyosha also says something in
Russian, but with a quieter voice.
ANDY
Guys ! Guys ! English, please.
Arkadi stops yelling. Lyosha speaks to him. Arkadi pushes him
away.
ARKADI
We make test for you.
The first policeman looks at Arkadi, and then at Billy.
ARKADI
For your film. We try make blood much big.
Andy looks at Arkadi and then at Billy.
Close shot on Billy, enabling us to read her words on her lips.
BILLY (in sign language)
He's lying !
LYOSHA (voice over)
Sorry, Billy.
Billy looks at Lyosha
LYOSHA
We not tell you. Keep secret not to hurt your feelings.
ANDY
I would've let you done tests.
Karen slaps Andy.
KAREN (whispering)
Andy.
Karen tries to tell silently to Andy to shut up.
ANDY
What I mean is... What I mean is... Let's see their film.
I'll know if it's real.
Billy nods her head, approving what Andy just said.
FIRST POLICEMAN (voice over)
You're right.
The first policeman looks at the two men, and speaks in Russian to
them.
Arkadi and Lyosha both look slightly embarrassed. Lyosha starts
walking away.
Karen looks, with a worried eye, to the departing Lyosha.
KAREN
Wait. Stop !
Karen runs after Lyosha.
KAREN
He could expose the film.
The first policeman takes Lyosha's arm and talks to him in
Russian.
FIRST POLICEMAN
Let her do it. Please.
KAREN
Okay.
Karen starts working on the hermetic bag used as a portable dark
room. Karen puts her arms inside the bag.
KAREN
This lets you unload the film without needing a darkroom.
FIRST POLICEMAN
I see.
Close shot on Arkadi's face. He looks very menacing.
Andy starts taking his jacket off.
ANDY (whispering)
God, it's hot in here.
In the background, Arkadi is bending down on something we don't
see. He looks up at Karen.
KAREN (voice over)
If he had exposed the film to the light, he could have
destroyed all the evidence.
Billy looks at Arkadi, still busy doing something that we don't
see.
KAREN (voice over)
Actually, I haven't done this since film school.
Arkadi stands up from whatever he was doing.
KAREN (voice over)
Right. It's safe in the can now.
Arkadi walks around the group.
KAREN (voice over)
Here. Take it to the lab immediately...
Close shot on Arkadi walking away.
KAREN (voice over)
...for developing.
Billy, who understands something wrong is going on with Arkadi,
stamps her feet.
Karen gives the film to the first policeman.
KAREN
It's okay... It's okay.
Arkadi is walking slowly with something that looks like a knife in
his hand. We hear Billy clapping her hands. Andy turns around to
look at Billy.
Billy points to Arkadi and tries to explain something in sign
language.
Karen looks at Billy.
KAREN
Murder weapon ? Where ?
Arkadi grabs Andy and pushes him against the wall.
Karen screams.
Arkadi stabs Andy in the stomach with his knife. Andy screams. He
has blood on his cheek. Arkadi keeps on stabbing Andy.
The first policeman takes his gun out of his belt.
Both policemen grab Arkadi from behind. They pull him away from
Andy. They have both drown their guns.
Karen rushes toward Andy, whose shirt is covered with blood.
Karadi, still restrained by the two policemen, is yelling in
Russian.
LYOSHA (voice over)
Stop. Stop. Stop!
Arkadi drops his knife, and it remains attached to his wrist by a
plastic tube. Actually, it was a fake prop knife.
Andy stutters, trying to explain something to Karen.
ANDY
I'm...
KAREN
What ?
ANDY
I'm fine. I'm fine. I'm fine.
KAREN
You...
ANDY
Oh, my God!
Karadi shows the knife to the policemen. He makes the retractable
blade work, to prove it is harmless.
Billy walks to her trunk and notices that the padlock on the lid
has been broken. She opens the trunk. She takes the fake blood can
out of the trunk : it is almost empty.
The policemen taste the fake blood.
FIRST POLICEMAN
Tastes sweet.
ANDY
It's for the actors. They put the stuff in their mouths.
Billy stamps her foot. They all turn toward her. She explains
something in sign language.
FIRST POLICEMAN
What she say ?
KAREN
That it's her knife. They broke into her box and used all
the blood.
FIRST POLICEMAN
So now she say it was a trick.
Billy keeps on talking in sign language. Karen translates.
KAREN
It happened so fast she couldn't see the knife clearly.
FIRST POLICEMAN
But everything else she saw tonight was clear ? Huh ?
Billy keeps on talking in sign language. Karen translates.
KAREN
The body in the elevator shaft. She saw that.
Billy points to the elevator door.
CINEMA STUDIO - BASEMENT - INTERIOR NIGHT
They are all walking in the basements toward the elevator. Several
of them are carrying torches. Billy is still wrapped in the
blanket.
They reach the elevator and Arkadi opens the door. The first
policeman points his torch in the bottom of the elevator shaft.
The dog barks. The janitor tries to calm it down. There are many
plastic trash bags scattered in the bottom of the shaft. The first
policeman talks in Russian to the second one. Apparently, he asks
him to go down to the bottom of the shaft and look at the bags.
The second policeman doesn't look very happy to do it.
But he does go down in the shaft, and starts looking into the
bags. He even pours the content of the first one out of the bag.
But there are only trashes in the bag.
Arkadi and Lyosha look at each other.
The second policeman finds a bloody sheet in a bag.
Lyosha talks to him in Russian. And the first policeman apparently
tells him to do what Lyosha just asked
Reluctantly, he second policeman tastes the blood on the sheet. He
smiles and says a word in Russian.
The first policeman repeats that word to Lyosha
KAREN
What ?
ANDY
What ? What ?
FIRST POLICEMAN
Sweet. It is fake blood.
ANDY
It's fake blood.
KAREN
They could have soaked the sheets in fake blood afterwards.
FIRST POLICEMAN
But... where is the body ? Huh ?
The second policeman keeps looking through the trash bags.
The first policeman shows the paper, he is still holding, to
Billy.
FIRST POLICEMAN
Here you say, "A head cut off."
The second policeman has just emptied another bag. He makes a sign
meaning �Nothing significant� and talks in Russian.
Arkadi answers something that makes Lyosha and the two policemen
laugh.
Billy says something in sign language.
KAREN
Oh ! Wait. Wait. Ah ! She says... Well, there were more
bags in there before.
The first policeman seems a bit fed up with Billy.
ARKADI
No, she's right. I will show you.
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
They are all coming out of the basement on a ramp that reaches the
yard and the parking lot around the building. Arkadi is leading
them.
ARKADI
From lift shaft we take the rubbish here. Fast. Easy.
The janitor says something in Russian. They have reached the large
plastic trash containers where all the trashes from the studio are
dropped off, waiting for the garbage collectors to take them away.
The second policeman raises the lid of a container, while the
first policeman looks inside. Arkadi takes a bag out of another
container and drops it on the ground. The second policeman looks
inside the bag with his flashlight. There seems to be a head
inside the bag. The policeman pours the content of the bag on the
ground. Actually the head was just a mask !
ANDY
Hey, we need that.
He picks up the mask from the rubbish. He wipes it with his hand.
The first policeman gives his card to both Billy and Karen.
FIRST POLICEMAN
Sorry, I can do nothing for you now. But I will call you
after I see the film. Okay ? Sorry.
He walks away. The second policeman shakes hands with Arkadi and
Lyosha and goes away with his chief.
Billy rests her head on Karen's shoulder.
Lyosha looks at her, shrugs and smiles.
ANDY'S CAR - INTERIOR NIGHT
Close up shot on Billy's face, seated in the back of the car. She
looks very sad and disappointed.
Andy is driving, with Karen seated next to him.
ANDY
Well, I've never been more embarrassed in my entire life.
KAREN
I don't get it. I mean, Billy's a pro. She'd know the
difference between a real murder and a gag.
ANDY
Please, has she even seen a real murder ?
KAREN
That's my point. If what she saw tonight was real, then she
has seen the difference, right ?
ANDY
Oh, come on, honey. We all bought the guy cutting me up
tonight. Even I believed it.
KAREN
Because you're a wuss.
She laughs.
ANDY
I'm gonna let that slide.
Karen looks at Billy.
ANDY
No offense, Billy, but I'd like to re-shoot the stuff today
using that guy's knife.
KAREN
It was her knife. God !
A very short flash-back sequence of the murder of the actress.
ANDY
Whatever. It looked good.
Another very short flash-back. We understand those short flash-
backs come from Billy's mind reliving what she saw a couple of
hours before.
Karen, looking at Billy, seems to understand what's going on
inside her sister's head, because she says to Andy :
KAREN
Shut up.
More short flash-backs of the murder, and a close-up shot on
Billy's face. She seems very disturbed.
CINEMA STUDIO - BASEMENT - INTERIOR NIGHT
The janitor is patrolling the basement with his dog. He is
carrying an electric torch.
He checks a heavy metal door, which is closed.
While he is checking the door, the dog runs away.
The janitor looks around him.
JANITOR
Buka !
He is apparently calling his dog, but he gets no answer. He starts
looking around.
He reaches the door of the incinerator. We hear the noise of the
incinerator, and we see its light on the janitor's face. The
janitor seems surprises that the incinerator is working so late in
the night. We hear the dog whining.
JANITOR
Buka ?
The janitor enters the incinerator room. He walks slowly around
until he reaches the incinerator. The incinerator door is slightly
open. He looks inside.
Close shot of the inside of the incinerator. Among the flames, a
human skull is burning.
The janitor walks backward with a terrified look on his face. He
trips on something and falls down.
Close shot on the fallen flashlight rolling around. In the light,
we see a pair of boots, belonging to a still unknown man, standing
on the floor.
Still lying on the floor, the janitor discovers his dog lying next
to him, and starts patting it. The dog's fur is covered with
blood.
JANITOR
Buka.
Arkadi walks toward the janitor.
JANITOR
Buka. Buka.
Arkadi raises something we don't clearly see (a knife ?) above his
head and hit the janitor, still lying on the floor.
A RESTAURANT - INTERIOR NIGHT
Close up shot of a knife hitting a beefsteak. The directors's idea
was, of course, to give us the impression that it was Arkadi's
knife hitting the poor janitor !
Larger shot of the steak being cut into the plate. We hear some
soft music.
Karen and Andy are seated, side by side, at a table in a
restaurant, with Billy sitting on the other side of the table.
Andy, with his shirt still covered with fake blood, is eating with
an evident good appetite. Billy doesn't seem to be very hungry.
Andy gives his plate to Billy.
ANDY
Please, Billy, take some of mine. You'll feel better.
Billy explain silently that she is not hungry. Andy takes his
plate back.
ANDY
Okay.
Andy pours a lot of ketchup on his steak.
Billy says something in sign language. Karen looks at her, while
Andy drinks his wine. Billy keeps on �talking�.
ANDY
Could you pass me the salt, please ?
Karen gives the salt to Andy.
KAREN
You could at least make the effort.
Andy stops eating, looks at Billy drinking water and then at
Karen.
ANDY
Listen... I'm sorry. All I can think about now is the
movie, but as soon as we get back, I promise, I'll learn.
He starts eating his steak again.
KAREN
How often have I heard that ?
ANDY
Come on. I can understand some of what she's saying.
KAREN
What ?
Andy puts his fork and knife down.
ANDY
Okay, how about this ?
Andy makes a sign.
ANDY
Means �makeup�, right ?
Billy smiles and nods her head �No�.
KAREN
Wrong. It means somebody's look, the expression on their
face.
ANDY
That was close.
KAREN
What Billy said she'll never forget the look on the girl's
face tonight from the moment she knew she was gonna die.
She said the pain and the terror was real. You can't act
that.
Billy looks at Andy and Karen with a worried face. Andy seems
suddenly a bit worried too.
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
The chimney of the studio seen from the parking lot in a low-angle
shot. A lot of black smoke is coming out of it, certainly from the
incinerator.
Lyosha is smoking on the ramp leading to the basement, and he,
like the chimney, exhales a lot of smoke, but white one !
The door of the basement opens and Arkadi walks out. There seems
to be a lot of smoke in the basement too. He coughs. Lyosha throws
him a pack of cigarettes, which he catches. He spits, takes a
cigarette out of the pack and lights it.
Two cars are coming toward them. The fist one is a large black
limousine.
Lyosha picks up a small plastic bag.
The cars stop near the ramp. Arkadi and Lyosha walk toward them. A
man gets out of the front passenger door of the second car. He is
Wartschuk, the Big Boss' first assistant. He closes the door and
walks toward Lyosha and Arkadi. Lyosha gives him the plastic bag.
The man says a few words in Russian and nods toward the limousine.
He walks away, but Lyosha doesn't move.
A man is sitting in the back of the limousine, his face hidden in
the dark. He is called �The Reaper� and he is the famous �Big
Boss� of the whole criminal organization, and consequently of
Arkadi and Lyosha.
THE REAPER
Come closer, Mr. Hausmann. I won't bite.
Lyosha starts walking slowly toward the car.
THE REAPER (voice over)
Did it go smoothly ?
LYOSHA
About the money...
THE REAPER
Did it go smoothly ?
LYOSHA
Yes, of course. No problem.
The Reaper bends slightly, so his face appears in the light.
THE REAPER
Did it go smoothly, Mr. Hausmann ?
LYOSHA
We did our job. The condition was...
THE REAPER
The condition was that everything would go smoothly.
LYOSHA
Yes. Yes, and we have your diskette.
THE REAPER
And who informed the police ?
LYOSHA
American girl say something, but nobody believe her.
THE REAPER
As long as there are witnesses, there's no money.
LYOSHA
You mean ?...
THE REAPER
I think we understand each other, Mr. Hausmann.
The Reaper winds his car window up. Then he sits back in his seat.
Lyosha and Arkadi look at the two cars driving away.
Lyosha gives a folded paper to Arkadi, who unfolds it.
Close up shot on the paper. It shows Billy's address and telephone
number.
A STREET IN MOSCOW - EXTERIOR NIGHT
Low-angle shot on the buildings around the street. Then the camera
tilts down to street level. Andy's car drives toward us and stops.
Billy opens the back door and walks out of the car. Karen opens
the driver's door and walks out. Both sisters close their doors.
Billy starts walking toward her building and Karen follows her.
KAREN
No, honestly, you can come back to our place, and we'll set
up the couch if you want.
Andy has remained in the car.
Billy answers her sister in sign language.
KAREN
You're not on one of your �I'll show her how independent I
am� kicks, are you ?
Andy has got out of the car and is watching the two sister,
leaning on the roof of the car.
ANDY
Honey, you coming or what ?
Billy waves to Andy and enters her building. Karen looks at her
sister and then turns toward Andy.
KAREN
Andy, don't you care about her ?
Andy looks offended by Karen's words.
ANDY
I don't care ? I don't care ? Fine, fine. I'm calling the
American Embassy tonight, okay ?
Billy has stopped near her building door and is looking at Karen
and Andy's verbal fight.
KAREN
It's the weekend. They're closed.
ANDY
Not for us. My dad gave me the duty officer's direct number
before we left, just in case. So say goodbye.
He waves to Billy, who waves back to him. She blows a kiss to her
sister, who blows one back, and enters her building.
POLICE HEADQUARTERS - CORRIDOR - INTERIOR NIGHT
A long corridor. In the foreground, the two uniformed policemen,
who took care of Billy's case, are sitting on a wooden bench. The
second policeman is asleep. The first policeman stands up when he
sees a group of three people, a woman in white coat (like a nurse)
and two men in suit and tie, coming toward them. The first
policeman wakes up the second policeman, who stands up.
One of the men is Mr. Larsen, a high-rank police officer, the
other one is Mr Lovett, the US ambassador's secretary.
The woman in white shows the two policemen to Larsen, then walks
away. Larsen takes his hat off.
LARSEN
Mr. Lovett, these are the two officers who answered the
complaint.
He shakes hands with the two policemen.
LOVETT
Good evening, gentlemen.
Lovett shakes hands with the two policemen.
FIRST POLICEMAN
Good evening.
LARSEN
Please speak English to the ambassador's secretary. My
chief asked me to meet Mr. Lovett here. If this witness is
correct about what she saw tonight, she may help my own
investigation.
LOVETT
Your English is quite good, Mr. Larsen.
LARSEN
Thank you. My mother was a translator.
LOVETT
In the university ?
LARSEN
No. KGB.
After Larsen's answer, there is a slight embarrassed silence
between the two men. Fortunately for them, a door opens and a man
in white coat walks out of a room, carrying a film box under his
arm. He talks to Larsen in Russian, and shows him the room where
they have to go. Larsen shows the room to Lovett.
LARSEN
Please.
They all follow the technician.
POLICE HEADQUARTERS - PROJECTION ROOM - INTERIOR NIGHT
The door of the projection room opens and Lovett enters, followed
by Larsen.
LARSEN
We've been tracking gangsters in Moscow running an
international pornography and prostitution racket.
The two policemen enters behind them. Larsen shows a seat to
Lovett. The projection room looks like a small cinema theatre,
with rows of red seats.
LARSEN
Sit down, please. We have information they have made snuff
films here and sold them all over the world.
Lovett sits down. Larsen takes his coat off and sits down next to
Lovett. The two policemen sit on the row behind the two men.
LOVETT
Snuff film... Is that what I think it is ?
LARSEN
Victims believe they are making a sex film, but they are
murdered in front of the camera.
Larsen turn toward the two policemen.
LARSEN
What is the name of the witness ? What is it ?
He snaps his fingers.
FIRST POLICEMAN
Billy Hughes, sir.
LARSEN
Billy Hughes. Yes. She claims to have seen one being made.
POLICE HEADQUARTERS - PROJECTION CABIN - INTERIOR NIGHT
The technician is setting the film reel on the projector. We can
hear the voices from the room coming through the loudspeaker of
the cabin.
LARSEN (voice over from the loudspeaker)
The victims are illegal immigrants exploited as prostitutes
by a gang headed by one man.
The technician is feeding the film into the projector.
POLICE HEADQUARTERS - PROJECTION ROOM - INTERIOR NIGHT
LARSEN
He is brutal, ruthless. They call him The Reaper.
Larsen is making nervous movements with his hands.
LARSEN
I'm surprised his men gave up the film so easily. If it is
what I think it is, our witness, Billy Hughes, is in great
danger.
The sequence ends with a close shot on Larsen's worried face.
BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHT
Close up shot on the gas flames of the water heater.
Billy is getting ready to take a bath. She is just wearing a bath
towel wrapped around her body. With her hand, she tests the
temperature of the bath water. She pours some bubble-bath from a
big bottle into the water. We hear the telephone ringing. Billy
turns her head toward the living-room
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
The apartment is a bit ancient-looking. It doesn't �look like�
Billy. One can tell it is only a rented apartment for a short
period. Various clothes are scattered around the room.
Billy walks from the bathroom along the corridor to the living-
room. The telephone keeps on ringing.
The telephone and the special answering machine are set on a small
table. Billy picks up the telephone handset and puts it on the
machine. Then she sits down on a chair and puts a pair of earphone
on her ears. Finally, she presses a button on the machine.
Close up shot on the screen of the machine. It looks a bit like a
computer screen. The machine offers the choice between different
sentences :
�Hello�
�Hello this is Billy Hughes speaking�
�I am using a digital voice computer�
�Please have patience and I will answer�
�My address is apartment 923 - 126 Kievsky Prospekt�
�My telephone number is 9205910�
etc.
Billy chooses the second choice, using a ball-mat. Then she brings
the arrow on an icon to start the machine.
DIGITAL VOICE
Hello, this is Billy Hughes speaking.
Momentarily, the scene is seen through a binocular, which makes us
realize that Billy is been spied by someone.
Billy, apparently getting no answer but a deep breathing noise,
chooses the first choice.
DIGITAL VOICE
Hello.
A shot on the large bay window makes us guess where the spy is
hiding : somewhere across the street.
DIGITAL VOICE
Hello, this is Billy Hughes speaking.
Billy keeps on trying to get an answer.
DIGITAL VOICE
Hello.
But she gets only a disconnection tone. She takes the earphone out
of her ears, and puts them on the table. She looks at the window.
Shot on the window, with a zoom on another window across the
street. Behind that window, we see the figure of a man looking at
Billy with binoculars.
Billy seen through the �neighbor's� binoculars. She walks to the
window and pull the drapes to hide the window.
The �spy� sees the drapes being pulled through his binoculars.
POLICE HEADQUARTERS - PROJECTION ROOM - INTERIOR NIGHT
The same men are still in the projection room. The first policeman
has taken his cap off. And Larsen is now seated in a seat behind
Lovett.
FIRST POLICEMAN
Have you seen a... how do you say... snuff film before ?
LARSEN
I saw a woman tied to a tree kept alive while her arms and
legs were cut off. It's hard to talk about it, or even
think about it. And it makes you sick to watch it. You
never forget the look in the victim's eyes. The sheer panic
and horror when they realize they're about to die.
Lovett looks very disturbed by what Larsen just told him. The
technician knocks on the window between his cabin and the room.
Larsen and Lovett turn around, and Larsen makes a sign to tell the
technician to start the film. Then he takes a cigarette from the
pack he left on his former seat. The room becomes dark and the
projection starts. The four men watch the film which has no sound.
On the screen of the projection room, we see the sequence when the
young actress, pretending she is dying very slowly, breaks the
whole set.
Lovett and Larsen turn their head toward the cabin.
POLICE HEADQUARTERS - PROJECTION CABIN - INTERIOR NIGHT
The technician is also watching the film through the window
between the two rooms. When he sees Larsen looking at him, he
shrugs to tell him that he is not responsible for what is shown on
the screen.
POLICE HEADQUARTERS - PROJECTION ROOM - INTERIOR NIGHT
Larsen and Lovett turn back to watch the screen.
On the screen, the sequence when the young actress is pulling the
tablecloth away from the table, and also everything that was on
the table.
The two policemen are smiling because they find what they see on
the screen quite funny.
Lovett and Larsen do not smile, because they are disappointed.
Now, on the screen, the actress is pulling the drapes down from
the windows.
KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
Karen, wearing her night-gown, is seated on the edge of the bed.
We hear Andy talking into the telephone.
ANDY (voice over)
Yes, sir... No, sir.
Andy is walking up and down in the next room, carrying the
telephone set in his hand and with the handset on his ear.
ANDY
Right... Right... Right, sir. Right, sir. Thank you, Mr.
Ambassador. So, I really appreciate the call. I'll give Dad
your best. Right.
He puts the phone down back on its hook.
Karen has a worried look on her face.
KAREN
Well ?
ANDY
I told you. There's nothing to worry about. He says the
film's the biggest piece of shit he's ever seen.
Andy is smiling, but Karen still has a worried look on her face.
BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHT
High-angle shot of the room, seen from the ceiling. Billy is lying
in her bathtub, surrounded by foam and bubbles. Her eyes are
closed. She slowly puts her head underwater, and leaves just her
face above water.
One of the faucet is leaking and water is dropping from it.
One of the glass panes is broken and fixed with adhesive tape and
newspaper.
He eyes closed, Billy has her daydreams flashbacks again. She sees
the actress' blood spurting on the wall of the scenery. She sees
her being stabbed. She sees herself running away from Lyosha in
the long dark corridor.
Suddenly, she feels drops of blood on her face. And, opening her
eyes, she sees the bloody actress behind the broken glass pane.
She quickly sits up in her bath. She looks at the window, which is
empty. She hears the phone ringing. She stands up in her bath and
takes her bath towel to dry herself.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy opens the bathroom door and walks out and along the
corridor, while drying her hair. She has put a bathrobe on.
She puts the telephone handset on the answering machine. She puts
her earphones on and select an answer.
DIGITAL VOICE
Hello, this is Billy Hughes speaking.
KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
Karen is sitting on the bed, with the telephone handset to her
ear. Andy is lying next to her, asleep.
KAREN
Hi, Billy. It's Karen. I hope you weren't sleeping. I just
wanted to check and see if you're okay.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy smiles, hearing her sister's voice. She start typing on the
keyboard of the answering machine. The she sends the text to the
digital voice translating system.
DIGITAL VOICE
I am fine. No need to worry. Did you call earlier ?
KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
Karen is still seated on her bed.
KAREN
No, I got straight through. You sure you're okay ?
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy starts typing again.
Close up shot on the machine screen. We can read what she is
typing.
DIGITAL VOICE
Sure. Had bath. All fine. Now I go to bed. You too.
KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
KAREN
I just wanted to tell you : they saw the film, and it's not
the real thing.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy is listening to her sister.
KAREN (voice over from the telephone)
That's good. Right ?
The doorbell rings. Billy turns her head toward the door.
KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
KAREN
Did I hear something there ?
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy starts typing her answer.
DIGITAL VOICE
Doorbell. Wait. I'll see who.
She puts her earphones down, and stands up. We can still hear
faintly Karen's voice coming from the earphones.
KAREN (voice over from the telephone)
What ? Ah ! It's almost one o'clock. I wouldn't get that,
Billy...
(louder)
Billy ?
Billy is looking through the peephole on the door.
KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
Karen is looking worried.
KAREN
Billy ? You be careful, now. Check who it is first.
Karen's louder voice has awaken Andy, who sits up.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy is still looking through the peephole.
BILLY'S APARTMENT - LANDING OUTSIDE THE FRONT DOOR - INTERIOR
NIGHT
The landing, just outside Billy's apartment front door, is dark
and empty.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy, still looking in the peephole, moves her head from right to
left, trying to see further on the landing. She slowly moves away
from the door to a small table by the door.
Close up shot on the table, and a business card lying on it. It is
the first policeman's card. It says : �Police Inspector Vladimir
Pekar - Precinct 22� and underneath an address and a telephone
number.
Billy is still standing near the door. She puts the safety chain
on. And then she slowly opens the door. Arkadi appears behind the
door. Billy tries to shut the door, but he puts his foot between
the door and the wall.
ARKADI
Please. I want to talk.
Desperately, Billy tries to push the door shut.
Close up on the earphones on the machine keyboard.
KAREN (voice over from the telephone)
Billy ?
KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
Karen seems very excited.
KAREN
Billy, are you still there ?
ANDY
Would you leave her alone ?
He lies back in the bed.
KAREN
I heard a noise, Andy. Something's happened. I swear.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy is trying to push the door shut. Arkadi has a big wire-
cutter in his hand. He brings the cutter near the chain. Billy
takes an umbrella from the stand near the door, and, with it,
tries to prevent Arkadi from cutting the chain. Arkadi cuts the
tip of the umbrella off. With her slippered foot, Billy kicks
Arkadi's foot still jamming the door, but it doesn't move it off.
Then she takes the heavy metal umbrella stand and hits Arkadi's
foot with it. Arkadi removes his foot from the door. Billy can -
at last - slam the door shut. She leans on it, panting.
KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT
Karen is now very frightened. She yells in the phone.
KAREN
Billy !
She puts the phone down and stands up from the bed.
KAREN
Okay, that's it. I'm going there.
Andy sits up on the bed.
ANDY
What ?
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy is still leaning on the door, panting. We hear the noise of
an electric machine. Billy's eyes widen with horror. She rushes to
the telephone, and starts typing frenetically.
DIGITAL VOICE
Karen, help. Call police. Emergency.
Close up shot on the door lock. We can guess that Arkadi is trying
to open the door with a power tool.
Billy puts her earphone on. She hears the disconnection tone. She
presses the disconnection switch on her own telephone.
Close up shot on the door lock. One of the screws holding the lock
pops off and falls on the floor.
Billy is listening to a Russian-speaking female voice in her
earphones. She types on her keyboard.
THE VOICE ON THE PHONE
Hello ?... Hello ?
She sends her message.
DIGITAL VOICE
Police, emergency.
A few word in Russian and then, more distinctly :
THE VOICE ON THE PHONE
Police ?
Billy types �Yes�.
DIGITAL VOICE
Yes.
Getting a Russian answer, she types �Da�
DIGITAL VOICE
Da.
Billy chooses a pre-recorded message, and sends it.
DIGITAL VOICE
Hello, my name is Billy Hughes. My address is apartment
923...
Close up on the lock : another screw just pops off. The telephone
operator keeps on speaking in Russian, apparently not listening to
Billy's message. We hear the power tool working again on the lock.
DIGITAL VOICE
... 126 Kievsky prospekt...
Billy takes her earphones off and rushes out of the room.
DIGITAL VOICE
Telephone 9-2-0-9-5-9-1-0...
BILLY'S APARTMENT - KITCHEN - INTERIOR NIGHT
Billy enters her dark kitchen. She takes a big knife from the
table, and rushes out of the kitchen.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy rushes in the room, with the knife in her hand. The
answering machine keeps on speaking.
DIGITAL VOICE
Billy Hughes speaking.
Close up shot on the lower screws of the lock. They're vibrating
under Arkadi's tool.
DIGITAL VOICE
This is a digital voice computer.
Close up on the answering machine screen. Billy select another
message. She puts her earphones on.
DIGITAL VOICE
Please have patience and I will answer.
Apparently, the telephone company found an English-speaking
operator.
TELEPHONE OPERATOR
Hello ? You English ?
Billy works frenetically on her answering machine.
DIGITAL VOICE
My name is Billy Hughes.
TELEPHONE OPERATOR
Yes ? What do you want, please ?
Close up on the screen. Billy is typing a message.
TELEPHONE OPERATOR
Hello ?
DIGITAL VOICE
Help. Intruder.
But apparently, the operator doesn't speak such a good English
TELEPHONE OPERATOR
I no understand. Sorry.
The operator speaks in Russian, certainly to another operator.
Billy types another message.
DIGITAL VOICE
Bad man want to kill me.
TELEPHONE OPERATOR
Bad man ? I get man who speak English, yes ?
Close up on the lock : another screw pops off.
Billy takes her earphones off and rushes to the light switch. She
puts all the lights of the room at their maximum lighting
capacity.
BILLY'S APARTMENT - LIVING ROOM WINDOW - EXTERIOR NIGHT
We see Billy's living room window from the outside. Billy is
pulling the drapes wide open. Then she starts waving her arms to
attract the attention of the peeping-Tom and his binoculars.
Reverse angle shot on the window where the peeping-Tom was
standing when he was watching Billy. There is light coming through
the window and someone is moving in the room behind the curtains,
but the peeping-Tom doesn't seem interested by Billy at the
moment.
Back to Billy's window. She unties her bathrobe and shows her
breasts.
The peeping-Tom is still moving in the room behind the curtains,
but he doesn't come to the window.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy is standing in front of the window, with her bathrobe wide
open, revealing her naked body to whomever wants to watch it !
Close up on the lock. Another screw is vibrating and pops off. We
see the drill bit coming through the hole it just made.
Billy hears a male voice coming from her earphones.
MALE TELEPHONE OPERATOR
Hello ? Hello ?
Billy picks up the earphones and put them on her ears.
TELEPHONE OPERATOR
I speak English.
The door burst open and Arkadi walks into the room. Billy picks up
her big kitchen knife and points it to Arkadi.
MALE TELEPHONE OPERATOR
Are you okay ?
Arkadi presses the light switch to dim the lights in the room.
Close up shot on the earphones.
MALE TELEPHONE OPERATOR
If you just give your address, we send somebody
immediately.
Arkadi is walking slowly inside the room. Billy is walking
backward away from him, but still pointing her knife at him.
MALE TELEPHONE OPERATOR
Hello ?
Arkadi tears the telephone cord off the telephone handset. He
tries to get near Billy, but she is still pointing her knife at
him. He pulls the drapes back on the window.
Walking backward, Billy has reached the wall, in which she bumps.
She takes a white statuette on a chest of drawers and throws it at
Arkadi.
Arkadi bends down and avoid the statuette, which crashes on the
wall behind him. He takes his own knife out of his pocket, a
switchblade knife.
Billy pushes the chest of drawers toward Arkadi. It crashes on the
floor, but Arkadi avoids it. Billy is still pointing her knife at
Arkadi, when we hears some bumping noise.
APARTMENT BELOW BILLY'S - BEDROOM - INTERIOR NIGHT
In the bedroom just underneath Billy's apartment, a Russian couple
is trying to get some sleep, which, with all the noise in Billy's
apartment, is not very easy.
The woman is still in the bed, but the man is standing up on the
floor, holding a broom with both hands, and hitting the ceiling
with the handle of the broom. Both members of the couple swear in
Russian.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy, who has understood the situation very well, is hitting the
floor with a stick.
APARTMENT BELOW BILLY'S - BEDROOM - INTERIOR NIGHT
The man hears the noise made by Billy, and answer by hitting the
ceiling with his broom.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy is waving her knife around her, to prevent Arakadi from
coming closer to her. She throws the knife at him. Arkadi bends
his head and the knife hits the piano.
Close up of the piano keyboard, with the knife stuck between two
keys.
Billy rushes out of the room, closing the door behind her.
BILLY'S APARTMENT - KITCHEN - INTERIOR NIGHT
Billy rushes into the kitchen. She takes various knives hanging
from the wall and throws them at Arkadi, as he tries to enter the
kitchen. One knife gets stuck into a painting on the other side of
the corridor. Arkadi almost catches Billy, but she jumps through a
sort of window set between the kitchen and the living-room.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Billy stands up after her jump through the window, and she slams
the door of the corridor in Arkadi's face. This door being a sort
of French window, with plenty of small glass panes on it, Arkadi
crashes through the door, scattering pieces of glass all over the
floor. He falls on the floor. Billy slips on a piece of glass and
also falls on the floor. Arkadi tries to catch her by the ankles.
She kicks him in the face. He grabs her ankles back. Billy grabs a
big white vase from the floor, she sits up and crashes the vase on
Arkadi's head. Arkadi lets her go, and she rushes to the front
door, but, as she reaches the door, Lyosha comes in. She rushes to
the corridor. Arkadi, still a bit groggy, looks at Lyosha with
blinking eyes.
BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHT
Same high-angle shot, as before, of the bathroom seen from the
ceiling.
Billy enters the bathroom, and locks the door behind her.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Arkadi stands up slowly and walks into the corridor.
BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHT
Arkadi tries to crash the door open. Billy looks around for a
possible escape.
She opens the door of the small cabinet above the sink, and takes
everything out of it
BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHT
Close up shot on the bathroom door. Arkadi has put his knife
inside the lock of the bathroom door to open it.
BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHT
Close up shot on the door. We see the handle of the lock spinning
slowly.
Billy, still looking in the cabinet, sees the handle spinning. She
rushes to the door and spins the handle back into the lock
position. A knife blade comes through the door a few inches from
Billy's face. Billy goes back to the cabinet and starts searching
it again. Eventually she seems to have found what she was looking
for : a small disposable razor.
The door is shaking under Arkadi's blows. Eventually his hand
breaks through the door and tries to find the handle of the door.
Billy picks up the toilet brush (the handle of which is a Donald
Duck), and hits Arkadi's hand with it. But the door starts falling
down under Arkadi's blows. Billy looks through the hole Arkadi has
made in the door with his hand.
Through the hole, we can see Arkadi going to the end of the
corridor, and running back full speed to smash the door.
At the last moment, when Arkadi is going to hit the door, Billy
opens it. Arkadi can't stop himself, he crosses the bathroom and
falls into the full bathtub. Billy hits him on the head with the
Donald Duck toilet brush. Then Billy takes the hair-drier, switch
it on, and throws it in the bathtub. Arkadi is instantly covered
with blue sparks. Then he falls back into the bathtub where he
remains motionless. Billy grabs a bunch of clothes and rushes out
of the bathroom.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Lyosha is looking through Billy's documents scattered on the desk.
When Billy comes rushing through the room, he grabs her. She tries
to fight him but he locks both of her arms behind her back. He
brings her to the desk, and slams her face on the desk. He puts a
knife very close to her face.
LYOSHA
Where's the diskette ?
He puts a piece of paper and a pen in front of her face. He frees
her right hand for her to be able to write.
LYOSHA
Where is the diskette ?
Billy takes the pen and starts writing.
Close up shot on the paper. Billy writes : �What diskette ?�
LYOSHA
I know you have !
Lyosha raises Billy's bathrobe above her waist, revealing Billy
naked bottom underneath.
Billy looks very frightened, afraid of what Lyosha can do to a
defenseless naked girl. She takes the pen very firmly in her hand
and brings it violently to Lyosha's leg.
Close up shot of the pen hitting Lyosha's leg.
Lyosha screams. He raises his knife to bring it down on Billy.
Billy is waiting for the worse to happen. She hears the noise of
something - or someone - falling violently on the floor. And
suddenly, she realizes she is free. She raises from the table and
sees Larsen holding Arkadi's big wire-cutter in his hands. He just
hit Lyosha with it. Larsen throws the wire-cutter on the floor and
bends on Billy.
LARSEN
My name is Alexander Larsen. I'm a policeman. Take your
clothes. We must get out of here.
Larsen goes to the window and peeks through the drapes.
LARSEN
You must hurry.
Billy rushes to her clothes she had dropped on the floor when
Lyosha grabbed her. She sits down on the floor and starts putting
her socks on.
LARSEN
I explain everything in the car.
He is still peeking through the drapes.
LARSEN
In the car. No time now.
He gathers the rest of Billy's clothes, takes her hand to makes
her stand up, and drags her outside the apartment.
BILLY'S LANDING - INTERIOR NIGHT
They come out of the apartment and start running along the
corridor on Billy's landing. They reach the staircase. Billy drops
a piece of clothing and picks it up. Larsen opens the door of the
elevator, and pushes Billy inside. He closes the door.
BILLY'S BUILDING - ELEVATOR - INTERIOR NIGHT
Larsen is ready to press the number �1� on the control panel, but
the button number �1� lights up by itself before Larsen presses
it.
LARSEN
They are coming.
Billy starts putting her panties on.
LARSEN
We are in great danger.
He looks down at Billy, who is still putting her panties on. He
takes the rest of Billy's clothes in his hands, and presses the
button number �3�.
THIRD FLOOR LANDING - INTERIOR NIGHT
The elevator stops and Larsen opens the door. Billy walks out of
the elevator, and follows Larsen down the staircase.
SECOND FLOOR LANDING - INTERIOR NIGHT
Larsen and Billy are coming from the third floor and start going
downstairs toward the first landing. The elevator is going up with
two people inside. They look very much like Andy and Karen.
STREET IN FRONT OF BILLY'S BUILDING - EXTERIOR NIGHT
Larsen and Billy are coming out of the building.
LARSEN
Quick.
Larsen's car is parked just in front of the building. Larsen opens
the passenger's door for Billy, who climbs inside the car. Then he
walks around the car, open the driver's door and climbs inside. He
starts the engine.
A big black limousine, with two men inside, starts and follows
Larsen's car, which has just started. The driver is Wartschuk,
whom we have seen before with The Reaper, and who is The Reaper's
first assistant.
LARSEN'S CAR - INTERIOR NIGHT
Larsen gives a quick look in the rear-view mirror.
We see the headlights of the other car through the back window of
the car.
Billy resumes her dressing. When she puts her white sweater on,
without a bra, her breasts are showing. Larsen gives a quick
glance toward her, and then turns his head away. Billy looks back
at him, smiles and kisses him on the cheek.
LARSEN
It's not over yet.
Billy puts her jacket on. Larsen looks in the back-view mirror.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Karen and Andy enter the apartment and stop when they see the mess
around them. We realize that it was really them and not some
gangsters going up in the elevator.
KAREN
My...
ANDY
Oh, my God, it's trashed !
Karen rushes through the room. Andy remains on the doorstep.
KAREN
Billy, where are you ?
ANDY
I'll call the police !
BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHT
Karen is running through the corridor.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Andy picks up the telephone handset without noticing that the cord
has been cut.
BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHT
Karen is checking all the rooms to find her sister
KAREN
Billy ! Oh, Billy. Oh, my God !
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Andy is still trying to get a dialing tone
ANDY
How do you work this thing ? Oh, there it is.
Behind Andy, the front door is closing slowly, revealing Lyosha
standing behind it. He has the big wire-cutter in his hand, and is
ready to hit Andy with it. Andy looks at the cut cord, but doesn't
realize the telephone can't work with a cut cord.
BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHT
Karen enters the bathroom
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
We hear Karen screaming. Andy puts the telephone down on the table
and rushes across the room
BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHT
Karen is coming out of the bathroom, screaming.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Andy walks toward the corridor, but Karen meets him at the door.
KAREN
Someone's dead in the ba...
She doesn't finish her sentence, because she has just seen Lyosha
behind Andy. She grabs Andy and moves him out of the way of
Lyosha's wire-cutter. The wire-cutter smashes what is left of the
door of the corridor.
BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHT
Andy and Karen run and enter a room, presumably Billy's bedroom,
and slam the door behind them.
KAREN
God ! Oh, my God !
Lyosha looks at the door, and doesn't even bother to smash it. He
slowly walks back to the living room. We hear Karen and Andy's
voices in the room.
KAREN (voice over)
Get the door ! Get a chair ! Get the chair !
ANDY (voice over)
What chair ?
KAREN (voice over)
The chair ! Out of the way ! Move ! Put it over there!
ANDY (voice over)
Move! Get the wardrobe over !
Lyosha enters the living-room through what remains of the door.
KAREN (voice over)
Andy, quick ! Push it !
APARTMENT BELOW BILLY'S - BEDROOM - INTERIOR NIGHT
The man, seated on his bed, stares at the ceiling, through which
we can hear Andy and Karen yelling. His wife has put the sheet
over her head to try not to hear the noise. The man stands up and
throws one of his slippers to the ceiling. Then he sits back,
while his wife stares at him.
ANDY (voice over)
I'm pushing ! Get out of the way !
KAREN (voice over)
What are you doing ?
ANDY (voice over)
I can't. Oh, my God !
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Lyosha sits down in an armchair and takes a pack of cigarettes out
of his pocket. But he doesn't take a cigarette. He gives a quick
look at the front door, and closes his eyes, ready to fall asleep.
The front door bursts open, and two uniformed policemen enters the
room, guns in hand. Lyosha looks at them without moving from his
chair, with a sort of look of indifference in his eyes. He shows
them the corridor, where we can still hear Andy and Karen yelling
in the bedroom. From Lyosha's attitude, we can guess that those
policemen are not real ones, but fake ones.
KAREN (voice over)
I can't. I can't ! You hold the door !
ANDY (voice over)
Get out of the way !
The two fake policemen cross the room.
KAREN (voice over)
Come here! Andy! Come here!
ANDY (voice over)
Don't yell at me! I'm trying to get the goddamn wardrobe
near the fucking door!
KAREN (voice over)
Oh, my God!
Lyosha doesn't even look at them. He just smiles. Before going
through the smashed door into the corridor, one of the policeman
nods to his �colleague�, who takes his gun from his holster, aims,
and sends a bullet through Lyosha's head, whose blood splatters
the wall. The gun is equipped with a silencer, and doesn't make
much noise. Then the policeman goes through the smashed door to
join his colleague.
LARSEN'S CAR - INTERIOR NIGHT
While driving, Larsen talks to Billy.
LARSEN
The girl you saw murdered tonight...
Billy nods in approval.
LARSEN
...her boyfriend stole a diskette full of information.
Money, names, connections, everything. He blackmailed The
Reaper. Very dangerous. And now he thinks that you have the
diskette.
Billy mouth a word we can easily understand.
BILLY
Me ?
LARSEN
You have it ?... Huh ?
Billy is trying to think about the lost diskette.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Andy and Karen are kneeling on the floor, with their hands joined
behind their heads. One of the fake policeman is searching the
room, throwing everything off the shelves on the floor, while the
other one is aiming his gun at Andy and Karen. He is leaning on
the piano, and he throws all the objects, which are on top of the
piano, on the floor. He raises briefly the piano lid, and then
starts looking behind the picture hanging on the wall.
ANDY
We don't have any diskettes.
The policeman picks up a diskette he had thrown on the floor and
looks at it.
ANDY
Not that one. That's my script.
Karen hits Andy with her elbow. The policeman puts the diskette
into a small white plastic bag he is carrying around. He puts
another diskette in the bag. The other policeman is speaking in
Russian in a walkie-talkie.
THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
Wartschuk is answering the fake policeman on his own walkie-
talkie. Next to him, his passenger is screwing a silencer on his
gun.
A STREET IN MOSCOW - EXTERIOR NIGHT
The street is empty at this time of the night, but for the two
cars following each other.
LARSEN'S CAR - INTERIOR NIGHT
LARSEN
The girl had it when she went into the studio. Then she was
murdered, and it was gone. Where is it ? Think. You were
the only person there.
Close up shot on Billy's face trying to think about the mysterious
diskette. She has a short flashback of Arkadi taking the knife to
murder the actress. Then another one of the naked actress lying on
the bed. Then another one of the blood splattering the wall. Then
another one of Arkadi stabbing the girl.
LARSEN
Think.
Another short flashback of Billy going away from the set. Then
another one of Billy bumping into the hatstand. Then another one
of the girl's purse contents scattered on the floor. Then another
one of the diskette skidding on the floor and hiding under the
large wooden wardrobe.
Billy grabs Larsen's shoulder.
LARSEN
Write. Write it.
Billy takes a notepad and starts writing on it. But she is
interrupted by a Russian voice coming from somewhere in the car.
Larsen opens the glove compartment and takes a walkie-talkie out
of it. He talks in Russian in the talkie.
Billy looks at the pair of handcuffs in the glove compartment.
Larsen puts the talkie back in the compartment.
LARSEN
Write it.
They drive along a police station, but Larsen doesn't stop. Billy
looks a bit worried all of sudden.
LARSEN
Quick, write.
Billy shows the police station to Larsen. Then she writes �Police�
on the notepad.
LARSEN
Police ? Yes. Yes, but only with the diskette.
She writes �Why ?� on the notepad.
LARSEN
You know, I work undercover. The Reaper thinks I work for
him. Trust me. Trust me.
She grabs the steering-wheel to force Larsen to park the car.
THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
Through the car windshield, we see Larsen's car zigzagging on the
street. The two passenger talks in Russian
LARSEN'S CAR - INTERIOR NIGHT
Billy is trying to force Larsen to stop the car.
LARSEN
Crazy !
THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
Through the windshield, we see Larsen's car stopping near the
sidewalk. The two men talk nervously in Russian.
LARSEN'S CAR - INTERIOR NIGHT
Billy hits Larsen violently on his private parts. Larsen moans.
Billy takes the handcuffs out of the glove compartment and ties
Larsen's hand on the steering-wheel.
THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
The two men look at Larsen's parked car. They see the passenger
door being opened.
LARSEN'S CAR - INTERIOR NIGHT
Billy opens the door and gets out of the car.
LARSEN
They'll kill you !
Billy shows him the handcuffs key. Then she slams the door. Larsen
moves his hand nervously, but, of course, can't get it out of the
handcuff.
A STREET IN MOSCOW - EXTERIOR NIGHT
Billy is running away from Larsen's car toward the other car.
LARSEN'S CAR - INTERIOR NIGHT
Larsen looks into the glove compartment and takes the talkie out
of it. He speaks in Russian into the talkie.
THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
Wartschuk answers Larsen in Russian.
LARSEN'S CAR - INTERIOR NIGHT
Larsen is yelling in the talkie, very excited.
A STREET IN MOSCOW - EXTERIOR NIGHT
Billy is walking in the street and she suddenly stops. She sees a
ray of light on the sidewalk.
THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
Through the windshield, we see Billy who has stopped on the
sidewalk. She starts crossing the street, and the camera moves to
a nook between two building, near the car, and where a man is
hiding. Actually, he is Wartschuk's passenger.
LARSEN'S CAR - INTERIOR NIGHT
Larsen puts his gearshift into reverse and starts driving
backward.
A STREET IN MOSCOW - EXTERIOR NIGHT
Billy is walking in the middle of the street, and Larsen's car is
coming toward her. Billy starts running. Larsen's car turns around
to face Billy and starts again, driving forward.
The man, who was hiding between the two buildings, comes out of
his hiding nook and runs toward Larsen's car. Larsen stops and
starts driving backward again.
LARSEN'S CAR - INTERIOR NIGHT
Larsen is driving, looking in the rear windshield. He stops
suddenly.
A STREET IN MOSCOW - EXTERIOR NIGHT
The man walks in front of Larsen's car.
LARSEN'S CAR - INTERIOR NIGHT
Close up shot on Larsen's feet. He steps on the accelerator.
A STREET IN MOSCOW - EXTERIOR NIGHT
The man falls on the hood of Larsen's car, where he remains lying
on his stomach.
LARSEN'S CAR - INTERIOR NIGHT
The man lying on the hood seen through the windshield of the car.
He yells at Larsen.
Close up on Larsen's feet. He steps on the brake.
A STREET IN MOSCOW - EXTERIOR NIGHT
The man falls from the hood and rolls on the street.
LARSEN'S CAR - INTERIOR NIGHT
Close up on the gear shift. Larsen changes gear and looks through
the rear windshield.
A STREET IN MOSCOW - EXTERIOR NIGHT
The man stands up and starts running after Larsen's car, driving
backward again. The car reaches Billy, standing on the sidewalk.
The big black car, which was following Larsen, starts and turns
around.
LARSEN'S CAR - INTERIOR NIGHT
Larsen looks at Billy.
LARSEN
Get in !
A STREET IN MOSCOW - EXTERIOR NIGHT
The man is running toward Larsen's car.
Billy looks at him, and hesitates on her next move. But she
decides to climb in Larsen's car.
The big black car is coming toward them.
LARSEN
Get in!
LARSEN'S CAR - INTERIOR NIGHT
Billy climbs into the back of the car and closes the door.
A STREET IN MOSCOW - EXTERIOR NIGHT
The man reaches Larsen's car just as it drives away. The man
remains on the sidewalk with a mean look on his face. The black
limousine stops near him and he climbs inside.
LARSEN'S CAR - INTERIOR NIGHT
Billy looks through the rear windshield at the car following them.
Larsen has a hard time driving with his hand tied on the steering
wheel.
LARSEN
Please, give me the keys.
Billy nods her head �No�. Larsen gives her the notepad.
LARSEN
Write. Where is the diskette ?
Billy looks at the following car.
LARSEN
We cannot escape in this car. Write. Write.
Billy starts writing. Then she shows the note pad to Larsen, who
reads it.
LARSEN
Studio. Where in the studio ?
Billy makes a �No� with her finger.
A STREET IN MOSCOW - EXTERIOR NIGHT
Larsen's car makes a left turn into another street.
THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHT
Through the windshield, we see Larsen's car turning into the
adjacent street. Wartschuk speaks in his talkie.
WARTSCHUK
Delta three.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
One of the fake policeman picks up his talkie from the table
WARTSCHUK (voice over from the talkie)
Delta three.
The policeman answers �Da�, then listen to Wartschuk speaking in
Russian. He says �Da� again and a few more words. Karen and Andy
look at him, with a worried look on their face. Wartschuk answers
him. Apparently, Andy understood a few words, because he says :
ANDY
What ?
The policeman drops the talkie on the table and talks to his
colleague.
ANDY
What ?
The other policeman walks near Andy and Karen, raising his gun.
ANDY
This is all a big misunderstanding and... Excuse me, but
this is...
The first policeman takes Andy's hands and cuffs them behind his
back.
ANDY
You don't have to arrest us. Why is he arresting me ? This
is ridiculous. I'm an American citizen. Do you understand
what I'm saying ? Now, I'm a director.
Karen turns her head and looks at the dead Lyosha.
ANDY
You know, I'm directing a movie here in Moscow. I'm
bringing a lot of money in this place.
The policemen don't seem to take any notice of what Andy is
saying. One is still cuffing his hands while the other one is
holding his gun.
ANDY
And my father, okay, he knows a lot of big people, and...
Listen.
The policeman raises Andy to his feet and moves him away from
Karen.
ANDY
You want money ? Is that what you want ?
The policeman has seated Andy on an armchair. He bends him down
and puts the barrel of his gun on Andy's neck.
ANDY
I don't understand what is going on here. We don't have a
diskette !
FAKE POLICEMAN # 1
You have one more chance to tell me where is diskette.
Since the policemen are not looking at her, Karen moves slowly on
the floor.
ANDY
The diskette. You know, I mean, this is ridiculous. We
don't have a diskette. That's what I'm saying.
The policeman clicks his gun in a �ready to shoot� position.
Karen grabs the carpet with both hands and pulls it violently.
The small telephone table falls on the floor, but also the
policeman who was ready to kill Andy. In his fall, he pulls the
trigger of his gun, which shoot a bullet at the other policeman,
who falls dead on the floor.
Andy tries to get off the armchair, but just falls down with it.
Karen picks up the telephone handset, with its cut cord hanging
from it. She rushes to the first policeman, and starts hitting him
on the head with the handset. Andy stands up.
ANDY
Karen, get the key ! Get the key ! Unlock me !
APARTMENT BELOW BILLY'S - BEDROOM - INTERIOR NIGHT
The couple was eventually asleep, but with what is happening now
in Billy's apartment, they wake up. The man switches the light on.
We hear Andy yelling.
ANDY (voice over)
Find the key !
The man swears in Russian and puts his night robe on.
ANDY (voice over)
He's not gonna move, is he ? Okay, okay.
BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHT
Karen is unlocking Andy's handcuffs. When it's done, Andy massages
his hands and puts his jacket back on. Karen drops the handcuffs
on a table.
ANDY
Right. Let's get out of here.
Close shot on the talkie lying on the floor.
WARTSCHUK (voice over from the talkie)
Delta three. Delta three.
Andy and Karen look at the talkie.
KAREN
Answer it.
ANDY
Why ?
KAREN
They may say something about Billy.
WARTSCHUK (voice over from the talkie)
Delta three.
Karen picks up the talkie and gives it to Andy.
ANDY (with an exaggerated deep voice)
Da.
Of course, he gets an answer in Russian.
ANDY
Da.
He gets another Russian answer, but the word �studio� is clearly
understandable.
ANDY
Da.
Karen takes the talkie out of his hands and throws it.
KAREN
I got something about studio. Come on.
The policeman, who had been knocked out by Karen, is slowly waking
up. Karen sees him and yells.
KAREN
Look out !
Karen picks up a gun and points it at the policeman. Andy grabs a
wooden armchair and crashes it on the policeman's back. The
armchairs breaks apart. The policeman falls down, unconscious.
The door opens and the next floor neighbor walks in. He yells
something in Russian. Karen turns toward him, with the gun still
pointed in front of her. The man look at the mess, the dead
bodies... and the gun. He raises his arms above his head. Andy
throws away the pieces of armchair he still had in his hands.
Karen puts the gun behind her back.
ANDY
Mmm... It's not what you think. What do you say ?... How do
you ?... In Russian, what ?...
Karen says a couple of words in Russian. Andy turns toward her.
ANDY
What ? What does that mean ?
KAREN
Hel...
ANDY
Hello ? We need help !
The man starts talking rapidly in Russian.
ANDY
I'm a director, and I'm making a movie here. This is not a
movie.
The man hasn't stopped talking. Actually, he and Andy have been
talking together. Now he yells something in Russian. Andy turns
toward Karen.
ANDY
Put the gun away. You look like a hit man. He thinks we're
gonna kill him !
Andy took the gun from Karen and now he is waving it at the man.
KAREN
We're not gonna kill you !
ANDY
This is not even ours !
KAREN
The policemen wanted to kill us !
The man turns around and runs out of the apartment, yelling in
Russian.
KAREN
We gotta get out of here.
ANDY
Well, I think we should call the cops.
KAREN
Are you crazy ?
ANDY
Well, we can explain this.
KAREN
Explain ? You are crazy. Come on. Here.
She has a gun in her hand and she gives him another gun. She runs
out of the apartment. Andy takes the handcuffs from the table.
ANDY
I'll take these too.
He follows Karen out of the apartment.
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
Close shot on the entrance of the studio, where a plate says
something in Russian and underneath : �Central Film Studio�.
Larsen's car enters the studio. It stops near the building.
We see Billy and Larsen through the windshield. Larsen shows his
handcuff to Billy.
LARSEN
And now ?
Billy tries to get out of the car, but she can't open the back
door.
LARSEN
Child locks.
Billy gets the key out of her pocket and gives it to Larsen, who
unlocks the handcuff.
He gets out of the car and closes the door. He goes around the car
to open Billy's door. As he is doing it, he sees car headlights
coming his way.
LARSEN
Don't look now, but our friends are still here.
They both runs toward the building. He opens a big metal door and
they enter the building.
CINEMA STUDIO - FILM SET - INTERIOR NIGHT
This is the unused set, where Billy went, at the beginning of the
story, when she found herself locked in. It has metal doors
opening directly on the parking lot.
Billy pulls the big bolt that locks the door from the inside. Then
Larsen puts a padlock on the bolt.
LARSEN
I will block the other entrances.
They both walk away.
MOSCOW - A STREET NEAR RED SQUARE - EXTERIOR NIGHT
Karen's car is driving full speed toward The Red Square. When she
takes a turn, the tires are screeching on the macadam and the car
zigzags a little.
KAREN'S CAR - INTERIOR NIGHT.
Through the windshield, we see a small roadblock with lights on
it. It is not permitted to cross Red Square during the night.
ANDY
What... what are you doing ? That... that's Red Square.
MOSCOW - RED SQUARE - EXTERIOR NIGHT
The car rushes toward the roadblock.
KAREN'S CAR - INTERIOR NIGHT.
When he sees the roadblock coming toward him, Andy slides down
under the dashboard.
ANDY
Oh, perfect.
MOSCOW - RED SQUARE - EXTERIOR NIGHT
Without even slowing down, Karen's car smashes through the
roadblock. The debris are flying around. And the car keeps on
driving full speed toward Red Square.
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
Wartschuk and his passenger are walking on the empty yard, guns in
hand. Voices are coming from their walkie-talkie. Several cars are
entering the parking lot behind them. The cars stop in front of
the building. Men carrying machine guns are coming out of the
cars.
Wartschuk directs the whole operation with his walkie-talkie.
A man tries to open the big metal door, but it's locked. He yells
something in Russian to Wartschuk, who answers him and points at
something. Apparently, he tells him to go around the building,
because the man starts running away.
Just outside the parking lot, Karen's car is coming to a stop near
the entrance. We hear the Russian voices in the parking lot. Karen
and Andy get out of the car. Karen walks to the entrance of the
parking lot and peeks inside. Andy joins her, trying to make his
gun work.
ANDY
This damn gun, I can't work the safety.
Karen shushes him down. They both peek inside, and they are
surprised to see such a number of big black cars.
ANDY
Holy shit !
Wartschuk is giving orders through his walkie-talkie. A man with a
machine-gun walks away from him.
Back to Karen and Andy, still standing outside the entrance.
KAREN
Around the back.
They run across the entrance. The men, all looking toward the
building, don't see them.
Wartschuk is still giving orders. All the men with machine-guns
are scattering around the building. Someone is calling Wartschuk
through his talkie. Wartschuk smiles. He walks away from his men.
On the other side of the studio compound, Karen and Andy are
entering the place by climbing over the wall. Karen is already in
the place and she is helping Andy to join her. For the moment, he
is sitting on top of the wall and he throws the two guns to her.
Then he goes down himself. Karen holds his legs.
KAREN
Okay. Jump, Andy. I got you.
ANDY
What ?
KAREN
I got you. I got you.
Andy falls down heavily on the ground.
On a balcony on a near building, a man is watching the yard with a
flashlight. This is the balcony which Billy fell from.
Andy and Karen are crossing the yard, trying to be as discrete as
possible.
Wartschuk is climbing rapidly up an emergency ladder to meet the
man with the flashlight.
Karen and Andy, lying low, are coming slowly toward the building.
Wartschuk has reached the balcony where the man is watching the
yard. They whisper in Russian. Then Wartschuk goes inside,
actually through that same emergency door through which Billy
tried earlier to escape. The watcher closes the door behind him.
Andy and Karen are still crawling slowly toward the building.
On the balcony, the man is smoking a cigarette.
CINEMA STUDIO - FILM SET - INTERIOR NIGHT
This is the set where the poor actress was murdered.
Larsen is trying to use a telephone on the wall.
LARSEN
It's no use. All lines are cut.
Billy is watching Larsen. Behind her, we see Wartschuk peeking
through the half-open door.
LARSEN
Where is it ?
Billy shows him the ancient-looking wardrobe under which the
diskette is hidden. He bends down. Then he raises and takes a
piece of wood from a rack. He slides the piece of wood under the
wardrobe.
Wartschuk enters silently on the set.
Larsen gets the diskette out of its hiding place. Billy picks it
up. Behind her, Wartschuk has got his gun out. Billy stands up
with the diskette in her hand. She smiles. Wartschuk grabs her
from the back. She throws the diskette. Larsen catches it.
LARSEN
You helped us a lot, Billy. Thank you.
Larsen puts discreetly the diskette in Wartschuk's pocket.
WARTSCHUK
The Reaper wants to meet the woman who has kept him up all
night and witnessed a live snuff.
He gives his gun to Larsen.
WARTSCHUK
He wants you to do it.
LARSEN
You know why we call him The Reaper ? You see his face, you
die.
Billy spits in Larsen's face. Then she yells silently, because
Wartschuk is squeezing her a little tighter. Larsen wipes the spit
from his face. Larsen raises his gun, holding it by the barrel.
Billy looks very frightened, because she knows that Larsen is
going to knock her out. But the butt of the gun lands violently...
on Wartschuk's head, who screams and falls heavily on the floor.
Billy looks from Larsen to the falling man, not understanding
clearly what happened.
CINEMA STUDIO - PARKING LOT - EXTERIOR
Andy is hiding behind a trash can. He looks up at the watcher on
the balcony. He finally comes out of his hiding place, but bumps
into a beer can lying on the ground. The watcher says something in
Russian and points his flashlight toward Andy.
ANDY
Nice night, isn't it ?
Karen is slowly going around the pile of empty film boxes on which
Billy fell earlier.
ANDY
I'm just taking a piss. Right, you know, just...
The watcher walks slowly down the ladder. Karen reaches the
ladder, climbs on something we don't see, and catches the
watcher's foot through the steps of the ladder. The man falls and
rolls all the way down the ladder. He is unconscious and Andy ties
his wrist to the ladder with the handcuff. Karen joins him. Andy
seems very happy about the successful operation.
The Reaper's black limousine is entering the parking lot.
Karen, who has started to go up the steps of the ladder, looks at
the limousine.
KAREN
Who the hell is that ?
ANDY
Well, whoever it is, they're coming here.
They reach the balcony and enter the building.
The Reaper's car is driving toward the building, with all the men,
equipped with machine guns, watching his arrival.
CINEMA STUDIO - CORRIDOR - INTERIOR NIGHT
Karen and Andy are running along the long corridor. Andy is still
trying to work out the safety of his gun.
ANDY
I can't work the safety.
KAREN
Andy, come on.
ANDY
Yeah, yeah, I'm coming.
He falls down, dropping all the bullets on the floor.
KAREN
Hurry !
Andy picks up his bullets, stands up and runs after Karen.
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
The Reaper's car is still surrounded by all the guards in arms.
We see only the shadow of The Reaper inside his car.
THE REAPER
Where is she, Larsen ?
We guess he is talking into a walkie-talkie.
CINEMA STUDIO - FILM SET - INTERIOR NIGHT
This is the unused film set, with large metal doors opening on the
parking lot
Karen enters the gallery above the room, followed by Andy. She
bends down, and makes him bend down.
THE REAPER (voice over from the talkie)
Larsen, are you reading me ?
KAREN (whispering)
Somebody's coming.
ANDY (whispering)
I'm waiting.
Down below, on the set itself, Billy is walking, with Larsen
behind her, pointing a gun in her back.
LARSEN (answering The Reaper)
I'm bringing her out now.
On the gallery, Andy is still trying to work his gun.
KAREN
Shoot him. Shoot him, Andy.
ANDY
Okay.
Andy shoots, misses Larsen, and hits a statue.
Larsen and Billy try to hide from the shooter.
Andy shoots again and misses again.
KAREN
Be careful of Billy ! God.
Karen runs along the gallery, while Andy shoots and misses again.
And once again. Then he realizes that the gun is empty and he
drops it on the floor of the gallery. He runs after Karen.
Down below, Larsen brings Billy near the big metal door opening on
the outside. He unlocks the padlock that he had put earlier on the
bolt of the door.
Karen rushes toward them.
KAREN (yelling)
Billy !
Larsen pulls the bolt open. Billy is very surprised to see her
sister. Larsen points his gun at her and yells something in
Russian.
Karen stops running, but Billy makes large signs to her, signs she
doesn't seem to understand. Karen hides, and then comes out.
LARSEN
Stay where you are !
Karen throws a piece of metal at Larsen. The piece of metal hits
his hand and he drops his gun.
KAREN (yelling)
Run, Billy. Run ! Run !
Billy opens the big metal door. Andy runs in to join Karen. Larsen
picks up his gun, and points it at Billy.
LARSEN
Stand back !
But Billy is already out of the building.
KAREN (yelling)
Not out there !
Andy grabs Karen and pulls her out of Larsen's gun.
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
Billy runs out of the building. An army of men, armed with
machine-guns, is waiting for her. The cars' drivers all switched
their headlights on high beams. With all that light in front of
her, Billy doesn't see anymore where she is going and stops
running.
The Reaper, still in his car, bends down to look at her. He takes
his walkie-talkie.
THE REAPER
Kill her, Larsen.
Larsen walks out of the building, and we hear the end on The
Reaper's sentence coming from his own walkie-talkie.
CINEMA STUDIO - FILM SET - INTERIOR NIGHT
Karen and Andy rush to the window, to look at what is happening on
the parking lot.
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
Billy looks at the men in front of her with a frightened face. She
turns around to look at Larsen pointing his gun at her. Then she
turns back to the men in front of her, and especially The Reaper,
looking at her from his car. Behind her, Larsen aims his gun at
her.
CINEMA STUDIO - FILM SET - INTERIOR NIGHT
Karen and Andy are still looking through the window.
KAREN (yelling)
No !
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
Larsen closes one eye before shooting. He shoots seven times. We
see the bullets going through Billy's body from the back, and
coming out through the front, making red bloody spots on her white
sweater. Billy falls down on her stomach, and remains motionless
on the ground with her arms spread apart.
CINEMA STUDIO - FILM SET - INTERIOR NIGHT
Karen, still standing behind the window, can't believe what she
just saw.
Through the window, we see Billy's body lying on the ground, with
all the big black cars surrounding her.
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
Through the half-open door, Larsen shows The Reaper the diskette
he has found on the set.
The Reaper smiles. The big metal door closes as Larsen goes back
inside.
All the men go back inside their cars. The engines start. And the
cars start driving out, The Reaper's car being the first one to
go.
Billy is still lying motionless on the ground, her blood flowing
slowly on the tarmac.
CINEMA STUDIO - FILM SET - INTERIOR NIGHT
Karen is in Andy's arms, crying.
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
The last cars are leaving the parking lot.
CINEMA STUDIO - FILM SET - INTERIOR NIGHT
Andy, with Karen crying on his laps, looks at Larsen coming back
in and closing the door.
LARSEN
Now please, let me explain. Please ?
KAREN (yelling)
Explain ?
She rushes out of Andy's arms and bumps violently into Larsen.
ANDY
Karen !
They both fall on the floor, and Larsen's gun flies away from his
hand. Karen hits Larsen very hard with both her fists. Andy picks
up the gun and points it at Larsen. Larsen pushes Karen away from
him. Karen takes the legs of a statue and hits Larsen with it.
Then she grabs Larsen by the ears and throws him on the metal
door. She turns toward Andy.
KAREN
Kill him.
Karen opens the door and walks out.
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
Billy, still lying on the ground, opens one eye and smiles.
Karen runs out of the building and rushes toward her sister, who
stands up when she sees her. Karen stops and looks at her. Karen
sits up and raises her sweatshirt.
Underneath, she is equipped with the special effect system she
uses to pretend people are being shot. Little bags, full of fake
blood, explode one by one, tearing the piece of clothing in front
of them, and pouring the blood through the fabric. For the
spectator, it does looks like bullet going through a body and
blood spurting out.
Karen rushes to Billy and hugs her.
KAREN
You genius !
CINEMA STUDIO - FILM SET - INTERIOR NIGHT
Larsen is still kneeling on the floor. Andy is pointing the gun at
him, trying to look mean, which is a bit hard for him.
ANDY
You thought we were tourists, huh ? Guess again, pal.
Larsen is slowly getting up.
ANDY
Don't move. Don't move! I'm talking to you !
He shoots the gun to the ceiling.
ANDY
I'm warning you. Don't move or I'm gonna shoot you ! Okay !
He shoots at Larsen, who doesn't react and walks closer to him. He
shoots twice more, walking backward. He bumps into a prop and
falls down on his back... next to Wartschuk, all tied up and with
a large piece of tape across his mouth. Wartschuk moans, Andy
screams and gets quickly up. He rushes out of the building while
Larsen is trying to get over what just happened to him
CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHT
Andy rushes out of the building and sees Karen cleaning Billy's
face.
ANDY
Billy ! Billy ! Billy !
KAREN
She's okay. She's fine.
ANDY
She's fine ? She's okay ?
Billy mouth the words �I'm fine� and shows him the special effect
device on her stomach. Larsen comes behind her and takes her by
the shoulder, saying a few words in Russian. Billy says something
in sign language to Karen.
KAREN
A cop ?
ANDY
A cop ?
KAREN
Oh, my God, I'm sorry.
ANDY
Sorry.
LARSEN
Forget it. Your sister was brilliant.
Karen pats Larsen's shoulder.
KAREN
Next time, hit back.
Larsen throws a remote control into Andy's hands.
ANDY
Oh !... this is the remote. I get it.
They all laugh. Larsen pats Andy's shoulder.
LARSEN
Big cowboy.
Billy starts talking in sign language to Larsen. He turns toward
Karen.
LARSEN
What ?
KAREN
That was an invitation to dinner sometime.
LARSEN
How you say ?... It would be a pleasure.
Billy mouthes the word �Pleasure� and then makes the sign for it,
which is rubbing you stomach. Larsen makes the same sign. Then he
stops and seems to think about something.
LARSEN
I still don't understand.
KAREN
What ?
LARSEN
I don't understand why The Reaper didn't take the diskette
off me.
KAREN
Who ?
The sound of a shot, and a blood bag explodes under Billy's
sweater. Karen screams. Since she was just in front of Billy, her
face is covered with fake blood. Andy looks at them, the remote
control in his hand.
ANDY
Whoops !... Shit. I'm sorry.
They all look at him. Larsen smiles.
LARSEN
Big cowboy.
A little later.
Andy drives his car near the entrance of the building. Billy walks
toward the car, looking at Wartschuk, his mouth still gagged,
being forced by Larsen to go inside his car. He moans
incomprehensible words, and seems not to want to get inside the
car.
Andy waves to Larsen.
ANDY
Ciao !...
Andy opens the back door of his own car to let Billy inside. But
she doesn't climb in, still surprised by Wartschuk's attitude.
Finally, Larsen succeeds in putting his prisoner in the back of
his car, where another prisoner, also gagged, is already waiting
(certainly the man that Andy had handcuffed earlier on the
emergency ladder).
Before climbing into the driver's seat, Larsen waves to Billy.
LARSEN
Billy, tomorrow !
He makes the �pleasure� sign. Billy waves back to him.
LARSEN
Tomorrow !
Billy looks at Wartschuk inside the car. She seems worried.
ANDY
What's the matter ?
Billy makes several signs. Andy doesn't understand, but he looks
at Larsen. Larsen smiles back to him.
LARSEN
Big cowboy.
Karen is already seated in the car, and doesn't understand the
reason for the delay.
KAREN
Guys, could we get out of here, please ?
Close shot on Wartschuk's face, who is trying to tell them
something.
Andy eventually understand what Billy is trying to tell him. It is
the word he learned earlier in the restaurant.
ANDY
The expression ?
Billy nods �Yes�. Larsen smiles to her and starts his car. Billy
slams violently on the roof of Andy's car. She seems frightened by
something. She yells silently.
ANDY
The car ?
Billy keeps on yelling silently and moving her arms. Andy is
beginning to understand what she means.
ANDY
The car...
Wartschuk looks more and more frightened.
Andy want to rush to Larsen's car, but Billy holds him back.
ANDY (yelling)
Get out of the car ! Get out of the car !
Watching Billy and Andy, Larsen has suddenly a worried look on his
face. He is beginning to understand that something is wrong. He
gets out of his car, walks a few steps, and then his car explodes
and he falls on the ground.
Andy, Billy and Karen, who is now out of her car, they all look at
the car burning and at the motionless Larsen lying on the ground.
Billy looks very sad.
But, slowly, Larsen begins to move. He sits up and looks at Billy.
Billy is crying and smiling at the same time. We get to understand
she must be in love with Larsen.
CREDITS
White letters on a black screen.
