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Scene Map 42
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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3 EXT. COli"NTRY LANE - DAY 3 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
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11 INT. LAPP FARMHOCSE 11 Where the Amish have gathered for the traditional post- funeral, midday meal. (CONTINUED) 11 CONTINUED: 11
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12A EXT. COUNTRY ROADS, LANCASTER COUNTY - DAY 12A A few BRIEF SHOTS of a lone buggy containing the Lapp family take us from the 18th century into the 20th from the reassuring RATTLE OF THE CARRIAGE WHEELS on a quiet backroad, to the ROAR OF TRAFFIC as the buggy waits
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14A EXT. CARPARK, LANCASTER STATION - DAY 14A Daniel Hochstetler leaps into the driving seat of his open wagon and with a flick of the reins and a whoop sets his horse off at a fast trot. 14B EXT. TRAIN - DAY 148
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23 INT. 30 ST. STATION, PHILADELPHIA - DAY 23 Rachel is in a line at one of the counters. The plain dress of the two Amish -- particularly Samuel's black coat and hat - are drawing curious stares. SAMUEL
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31A INT. LOBBY-MAIN TERMINAL - NIGHT * 31A Captain TERRY DONAHUE, Chief of Homicide, strides past the crowd of journalists and TV crews, ignoring requests for interv.iews. He's just arrived on the sc&ne and is issuing instructions to a uniformed officer.
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32 EXT. 30ST STATION -- NIGHT 32 Book e:nerges 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 cresses to the driver's side and opens the door.
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,.... 36A EXT. 13TH STATION - NIGHT .36A Book's car stops, and from out of the shadows darts a wizened little MAN. He looks about before crossing to the driver's side window. 36B INT. BOOI<'S CAR - NIGHT 36B
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36F EXT. HOTEL - PHILADELPHIA - NIGHT 36F Book pulls up outside a hotel entrance as a uniformed DOORMA.~ moves to open the rear door. 36G INT. CAR - NIGHT 36G Rachel and Sam recoil as the Doorman opens the door.
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45 EXT. ELAINE'S HOUSE - DAY 45 Blaine's house is situated on the corner of a row of terraces, which stretch into the distance on bOth aides of the street. 46 INT. ELAINE'S BOUSE 46
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50 INT. ELAINE'S BEDROOM 50 as Rachel comes in with Elaine's coffee, closes the door behind her, Elaine is lying across the bed, sobbing. RACHEL
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S2C INT. OUTER OFFICE/WAITING ROOM, NARCOTICS DIVISION - 52C DAY Rachel sits uneasily in the outer office, one or two police clerks eying her curiously. A sign on the desk reads •Narcotics Division.•
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57 INT. DETECTIVES ROOM, NARCOTICS DIVISION - OAY 57 Through glass partitions we can see Book on the tele- phone in a cubicle of an office, Samuel has drifted out of the office and is idling amid the bustle of the 1quadroom.
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59 EXT./INT. SCHAEFFER HOME, PHILADELPHIA SUBURBS - 59 NIGHT The front door of Schaeffer's upper-middle class home ,-...I is opened by his wife MARILYN •. She knows Book and is surprised and delighted to see him. In the background
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EXT. PH::.ADE:.?HIA S':'REE':S * A60 Book's car passes by o~ the way home. 60 !N':'. L"!:DERGRCL"ND GARAGE - PH!LADELPHIA - NIGHT 60 As Book wheels in, parks in the f.g. INT. CAR
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66 INT. GUEST ROOM, ELAINE'S BOUSE - NIGHT 66 as the door opens and Elaine switches on the light, rousing Rachel. Elaine looks haggard. I ELAINE ! It's John. Be says you have to
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71 INT. CAR (MOVING) . As light colors the eastern horizon, Book is crossina into Lancaster County. Book &lances at Rachel; she's asleep. He couahs wrack• ingly, hurting ••• cinches the belt of his overcoat
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73 EXT. FIELD - DAY 73 as Samuel races for all he's worth across the field, negotiates the creek via a fallen log -- RacMl, now, also ruMing toward the car. 73A iXT. STABLES - DAY 73A
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78 EXT. LAPP DRIVE 78 Levi has hitched Eli'• mule• to the rear of Book'• car and is towing it up the drive toward the barn, with Samuel catching a ride on the bumper. Where she's waiting with the. big barn doors thrown
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85 EXT. LAPP FARM - DA? 85 A bright, sunny afternoon. SAMUEL Where he's leading a team of horaes to the barn. In the b.g. three buggies are parked in the barnyard,
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INT. SCHAEFFER'S CAR as Schaeffer opens the door, climbs in, sinks wearily into the seat, beside MeElroy. McELROY She say where he is?
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93 INT. KITCHEN - LAPP FARMHOUSE - NIGHT 93 Book's holstered gun and bullets at center table. Eli sits on one side, a chastened Samuel on the other. Rachel looks on from the b.g. Eli knows that this is as important a dialogue as he
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93B EXT. BARN - LAPP FARJII - DAY 93B Samuel harnesses up the family mare, and backs her into the traces of the buggy. 93C INT. BOOK'S BEDROOM - DAY 93C *
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930 EXT. FARMHOUSE - DAY 93D Eli calls impatiently from the buggy. Samuel sits beside h i.'TI. ELI Burry up now, John Book!
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93-I INT. BARN - DAY 93-I Book works on his car.· The battery baa gone flat and be'• trying to charge it up by running wire• to a .. battery 110unted under tbe front seat of tbe Lapp buggy. Eli stands at tbe barn door staring at him, again t~e
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,,,..._ 93K INT. BARN 931!: as the milk herd of half dozen or 10 cows amble• in with Samuel prodding them along, beaded for the ■ilking stalls. Book looks on in the lamplight, nonplu11ed. (CONTINUED)
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99 INT. CARPENTRY SHOP, LAPP FARM - DAY 99 Book works on repairing the broken birdhouse when Rachel enters. BOOK Eli said I could use his tools.
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lOOA EXT./INT. BARN -- NIGHT * lOOA 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 he enters:
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105 INT. SCHAEFFER'S OFFICE - NIGHT 105 Carter sits. Schaeffer prowls. Be's at his most charming and most sinister as he walks and talks during this interview. SCHAEFFER
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109 INT. ABANDONED WAREHOUSE - ?HILADELPHIA -DAY * 109 A damf evil place, fu!l of shadows. A hand places a cheap transistor radio on an old table, turns the volume up loud, the music filling the air. A bag is opened--inside a number of police night-
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lll. INT. PHILAOE~?HIA WAREHOUSE -- EVENING 111. * The sound of the Amish prayer drifts through the dim, dust-filtered light, and drifts over Carter's broken body lying face down on the warehouse floor. ·oead. . . . . · . · ··•· · ·. " ··' · ... -.. ·' ., ... ··. ..
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113 INT. BOOK'S ROOM - NIGHT • 113 He is lying in bed, awake, troubled, the ceiling pretty well memorized. He gets up and moves to the window-- ,IE
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119 EXT. STORE 119 * Book is standing at a wall pay phone on the veranda. We TIGHTEN to him, and~ .. • BOOK
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125 INT. KITCHEN - LATE AFTERNOON 125 Samuel plays with a wooden toy at the kitchen table. Rachel move~ .. alo~~y to _tlle •~~ an~ be_gi~s washing a few dishes. She looks out the winacw. CLOSE on he: face, a stra~ge expression.
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134 INT. KI':'CEEN - OA~l * 134 Schaeffer has spotted Eli. He turns to Rachel. SCHAEFFER Is he in the barn? 135 EXT. HOUSE - DAWN * 135
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140 INT. BARN, UPPER LEVEL - DAY * 140 Book atte~pts to start Elaine's ear but it refuses to come to life.· He swears under his breath as he tries again. 141 EXT. BARN, OCTSIDE UPPER LEVEL - DAY * 141
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153 INT. SILO * 153 Fergie enters, looks up. He sees a trap door in a wooden floor, far above him. He turns to leave. 154 INT. SHAFT ~ 154 Book.can also see Fergie over the inner edge of the
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169 EXT. KITCHEN - DAY * 169 Schaeffer glances back toward the kitch~n but apart from aeeing Rachel and Eli near the kitchen cupboard, realizes nothing of what is happening. He looks back toward the barn.
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174 INT. KITCHEN * 174 Samuel slowly walks toward the window, and stares at the swaying bell-rope. Then he sees the gun on the edge of the sink. He moves toward it. 175 INT. KITCHEN * 175
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184 EXT. KITCHEN - DAY * 184 . Sam tugs at the bell-rope with all his strength. 185 EXT. BELL-TOWER - DAY * 185 The bell aways rythmically back and forth. 186 INT. BARN, LOWER LEVEL - DAY * 186
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190A EXT./I~T. l<I':'CHEll WINDOW - LATER 190A * Sam appears at the window, stares out. Rachel's * VOICE OS calls him away. He takes a last look, then lea•;es. 1S0B SA.~UtL'S ?CV - FUL~ SHOT - WE SEE: 19011 *
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195 INT. /EXT. DlUV!:, LAPP FAR.lit - LATE AFTERNOON 195 As Book drives, he sees an open buggy coming down the hill toward the farm. He slows as he passes. It's Daniel Hcchleitner. A long beat, and as they pass, Hochleitner gives Book the briefest tip of his hat.

Witness

A Philadelphia police officer, forced to go into hiding with an Amish woman and her son after witnessing a murder, must confront his own biases and adapt to a completely foreign way of life to protect them from corrupt colleagues.

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Overview

Poster
Unique Selling Point

Set against the backdrop of a close-knit Amish community, this captivating screenplay unfolds a tale of love, justice, and the clash between tradition and modernity. Through the journey of Rachel Lapp, a grief-stricken widow, and John Book, a dedicated detective, the narrative explores profound themes of moral dilemmas, personal growth, and the enduring power of human connection. With its rich characterizations, evocative imagery, and authentic portrayal of Amish life, this screenplay offers a refreshing and deeply moving cinematic experience.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

Claude
 Consider
Gemini
 Recommend
GPT4
 Recommend
Story Facts

Genres: Drama, Thriller, Crime, Romance, Mystery, Action, Family

Setting: 1850s-1980s, Lancaster County, Pennsylvania and Philadelphia

Themes: The tension between tradition and modernity, The importance of family and community, The power of forgiveness

Conflict & Stakes: John's struggle to clear his name after being falsely accused of a crime, with his family's reputation at stake

Mood: The overall mood of the film is one of suspense and tension.

Standout Features:

  • Unique Hook: The clash between the Amish and English cultures provides a unique setting and source of conflict.
  • Plot Twist: The revelation that John Book is a fugitive police detective adds a layer of suspense and intrigue.
  • Cultural Exploration: The film explores the Amish way of life and the challenges of living in a close-knit community.

Comparable Scripts: Witness, The Amish Murder, Amish Grace, The Gift, The Village, The Kettering Incident, Signs, The Leftovers, Station Eleven

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

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Overall Score: 7.85
Story Critique
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Characters

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Goals and Philosophical Conflict
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Themes
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Scene Analysis

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Writer Exec

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Unique Voice
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Memorable Lines
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Correlations
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Loglines
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