ANALYSIS INFORMATION: 

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General Storytelling:	Complete
Act Order Storytelling:	Complete
Character List:	Complete
Build Characters:	Partial

 

 

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Author:		Screenplay by Earl W. Wallace & William Kelley, from a story by William Kelley & Pamela & Earl W. Wallace
Analysis sources:		Film. Paramount Pictures, 1985. (Video. Paramount, 1991.) Wallace, Earl W. & Kelley, William. Unpublished Revised Draft screenplay "Called Home", dated April 8, 1984. 102 pages. Videohound's Golden Retriever 1995. Visible Ink Press. Detroit, MI. Cinemania CD-ROM. Microsoft. 1995. Mehring, Margaret. The Screenplay: A Blend of Film. Form and Content. Focal Press. Stoneham, MA. 1990. Seger, Linda. Making a Good Script Great. Dodd, Mead & Company. New York, NY. 1987.
Genre:		Crime Drama
Setting:		Philadelphia; rural Lancaster County, PA
Period:		1985
Analysis by:		Kevin Hindley

Comments:

CHOICE OF MAIN CHARACTER:

While at first glance it may seem that the crime-solving detective John Book is the main character, note that he doesn't appear in the screenplay until page 13. The film starts on the Amish Farm with Rachel and family, stays mostly with Rachel throughout, and at story's end, remains on the farm with Rachel watching Book leave. A study of the story's development gives more of the authors' intent:

"In the original drafts of Witness, and in the novelization of the film, the story belongs to Rachel more than to John. In the early drafts, many of the emotional moments are Rachel's. Her backstory is brought out more clearly in Act One, as we learn that the Amish way is to marry within a year after the death of a spouse, but Rachel wants more time. She decides to go visit her sister in Baltimore in order to decide whether to marry Daniel, and to resolve some of her confusion about the Amish way of life.

In the early drafts, Rachel is the focus of the first subplot turning point. As she cares for John, she feels drawn to him. The script describes a woman struggling with an erotic attraction to John. She's confused by the physicality of the situation. As the story develops further, we see Rachel clearly falling in love with John. At the second turning point, Rachel actually confronts John, asking him to stay. Later, they make love in an explicit scene. This love scene, which was particularly strong in the early drafts, was the subject of much discussion. Earl [Wallace] wanted to show John and Rachel making love. Bill [Kelley] wanted to show just a passionate kiss. Peter [Weir, the director] agreed on the kiss but didn't want it to be passionate. The entire love scene was filmed, but only the kiss remained after editing.

During rewriting, the story focused more on John Book and became more his story. At the first turning point of the film, although we see some response from Rachel, the camera focuses more on John's reaction when he realizes that Rachel has stayed up all night to care for him. At the second turning point, there's only one line about staying or leaving and the issue is never really confronted.

Other changes in the point of view were made to soften the relationship between John and Rachel. In some of the early drafts, Rachel is much more feisty and more confrontive. Some of these interchanges were filmed, but they were not workable since they made Rachel irritating and bossy.

Some scenes were added to soften their relationship. The dance scene was added, as was the breakfast scene in Act Two. These balanced the cuts in Act One, while giving extra beats to the development of their relationship in Act Two.

These changes in the point of view refocused the film toward John Book. But they also served to create a stronger relational line between John and Rachel."

(Seger, p. 182-3)

Brief Synopsis:

"When a young Amish woman and her son get caught up in the murder of an undercover narcotics agent, their savior turns out to be hardened Philadelphia detective John Book [...], who runs head-on into the non-violent world of a Pennsylvania Amish community. The end result is an action packed struggle of life and death, interwoven with a sensitive undercurrent of caring and forbidden love."

(Video blurb, Paramount)

Objective Character Mini-Synopsis:

JOHN BOOK, an Internal Affairs detective who externalizes his emotions physically, has more time for "bags of elbows" than women, especially country girls like--

RACHEL LAPP, an Amish single mother who tries to keep him down on the farm. She's looking for a father and role model for her son--

SAMUEL, the inquisitive boy who gets an eyeful in a big city men's room, witnessing a murder by--

McFEE, a corrupt narcotics cop who takes orders from his boss--

SCHAEFFER, Deputy Police Chief and Book's friend and mentor, who's also "lost the meaning" of true police work and covers up his crimes by using thugs like--

FERGIE, another trigger-happy cop, who with McFee leans rather too heavily on--

CARTER, Book's partner, who remains faithful to the end of his too-short, schtumpig life.

ELAINE, Book's sister, is the opposite of Rachel, keeping a messy house and entertaining "uncle" Fred once the kids are in bed.

ELI, patriarch of the Lapp family, distrusts "the English" outsiders and their violent ways, preferring breeding stock like--

DANIEL, Rachel's lemonade-toting suitor, who's determined to hang in there and "nail it."

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THE OBJECTIVE CHARACTERS:

Name: Rachel Lapp

Gender: Female

Description:

"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."

(Wallace & Kelley, p. 2)

Role: Not-so-merry widow

Characteristics:

Motivation: Reconsider; Temptation; Feeling;

Methodology: Potentiality;

Evaluation: Non-Accurate; Trust;

Purpose: Change; Desire; Self Aware;

Name: John Book

Gender: Male

Description:

"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."

(Wallace & Kelley, p. 13)

Role: Internal Affairs detective

Characteristics:

Motivation: Consider; Disbelief; Avoidance; Logic;

Methodology: Deduction; Proaction; Protection;

Evaluation: Ending;

Purpose: Order; Actuality; Ability; Equity; Aware;

Name: Carter

Gender: Male

Description:

"CARTER, Book's black partner -- about five years younger than Book."

(Wallace & Kelley, p. 13)

RACHEL: Schtumpig... On the farm, a pig born small like that is a Schtumpig... a runt.

(Wallace & Kelley, p. 16)

Role: John Book's partner

Characteristics:

Motivation: Help;

Name: Daniel Hochstetler

Gender: Male

Description:

"DANIEL HOCHSTETLER. A brawny-armed, ruggedly-handsome, somewhat raffish looking Amish man. 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."

(Wallace & Kelley, p. 4)

Role: Rachel's suitor

Characteristics:

Motivation: Oppose;

Methodology: Probability; Inaction;

Purpose: Projection;

Name: Elaine

Gender: Female

Description:

"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."

(Wallace & Kelley, p. 24)

Role: Book's sister

Characteristics:

Purpose: Speculation;

Name: Eli Lapp

Gender: Male

Description:

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

(Wallace & Kelley, p. 2)

Role: Amish patriarch

Characteristics:

Motivation: Faith; Conscience; Control;

Methodology: Certainty; Reevaluation;

Evaluation: Accurate;

Purpose: Inertia;

Name: McFee

Gender: Male

Description:

"Two other men have entered the men's room; one is a large BLACK MAN in a three-piece suit under an expensive overcoat."

(Wallace & Kelley, p. 10)

Role: Corrupt Narcotics detective

Characteristics:

Motivation: Hinder;

Methodology: Reaction;

Name: Samuel Lapp

Gender: Male

Description:

"Eight-year-old SAMUEL LAPP sits next to his mother; he would appear stunned, possibly not entirely comprehending events."

(Wallace & Kelley, p. 2)

Role: Witness to murder

Characteristics:

Motivation: Support; Uncontrolled;

Evaluation: Test;

Name: Schaeffer

Gender: Male

Description:

"SCHAEFFER, a surprisingly kindly looking man of about fifty. Schaeffer is a Deputy Chief."

(Wallace & Kelley, p. 18)

Role: Corrupt Deputy Chief of Police

Characteristics:

Motivation: Pursuit;

Evaluation: Unending;

Purpose: Chaos; Inequity;

---

AUDIENCE AND STORY DYNAMICS APPRECIATIONS:

Nature as it relates to Actual Dilemma:

Rachel's change is evident in her attitude toward the outsider John Book and his method of using violence to solve problems. She's horrified by his rough-housing of Coalmine, the black murder suspect, and wants out of the situation. But later, it's she who argues for keeping Book down on the farm when the Amish elders want him to go -- now that Samuel's safety depends on him. In the original script, which portrayed Rachel as a much more assertive person conflicted about remaining Amish, she moved further toward Book's methodology when Schaeffer and his thugs arrive on the farm:

INT/EXT. KITCHEN - DAY

Schaeffer crosses the kitchen to the door, and steps outside. He moves several paces from the kitchen and shouts for McFee. Rachel watches him then moves from the table watched by Eli. She crosses to a kitchen cupboard, and with a glance in Schaeffer's direction opens the cupboard and takes out Book's revolver. Her trembling hands take the bullets from their hiding place. She drops several as she attempts to load it. Eli stares at her in horror. He moves rapidly to her side, his face pleading.

ELI

No, Rachel.

Rachel struggles with the gun trying to find a way to open and load it.

[...]

 

Rachel manages to unlock the chamber of the weapon and begins inserting the bullets. Eli places his hands gently on her shoulders.

 

 

ELI

(whispers)

We must find another way.

 

Rachel looks up at him.

 

RACHEL

What other way?

 

She looks down at the gun, then out toward Schaeffer, or rather his back which offers a tempting target.

 

(Wallace & Kelley, p. 97)

It's by the Book, by the gun and violence, that the two henchmen are defeated, meeting fire with fire. Only Schaeffer, the "English elder," is overpowered by the non-violent Amish "bearing witness."

 

 

 

Essence as it relates to Negative Feel:

The negative feel in Witness comes from John Book's hiding out, with witness Samuel, on the Lapp farm while he recovers from his shooting injury. While Book threatens to go after Schaeffer and McFee, it is they who pursue him.

Tendency as it relates to Unwilling:

Rachel is uncomfortable with exposing her son Samuel to the violence of the modern world, both when they're visiting Philadelphia and when the gun-toting Book must remain on the farm.

Reach as it relates to Female:

Women can empathize with Rachel as a widow who's lost her husband, a single mother who seeks a father for her son, and as a sensuous woman who's aware of her own sexuality yet is limited by the options available in the strict, religious society she's part of.

Resolve as it relates to Change:

Rachel is curious about life outside of her Amish world, and is determined to explore it with the possibility of starting a new life among the English. She is attracted to John Book, but comes to realize the violent and volatile world he inhabits is not one to make a life for her son and for herself. Rachel eventually reconciles to the Amish ways, and stays to settle down with Daniel.

Approach as it relates to Be-er:

Rachel adapts to the situations she finds herself in: she accepts being detained by Book and taken to his sister's house:

SAMUEL

But do we have to stay here?

 

RACHEL

No, we do not. Just for the night.

 

Rachel accommodates Book's presence on the farm; she remains in the Amish community, even though she has doubts about her faith; etc.

 

 

 

Direction as it relates to Start:

Rachel needs to fill the gap left by the death of her husband, Jacob. She needs someone to love -- who'll appreciate her sexuality -- and be a father for Samuel.

Mental Sex as it relates to Female:

When Amish elders object to harboring Book -- because if he dies, the policemen will come, investigate, disrupt, cause publicity, etc., -- Rachel looks at the bigger picture. She responds that they must make it so that they never find his body, without going into details of how they would accomplish that.

Outcome as it relates to Success:

At story's end, Samuel the Witness is safe. Fergie and McFee have been eliminated, and their mastermind Schaeffer is overpowered by force of numbers and taken into police custody. The Amish have their peaceful, isolated lifestyle intact.

Judgment as it relates to Bad:

By staying on the farm, Rachel doesn't get the man she obviously desires, John Book, and she's about to be saddled with Daniel -- the Lapp family may be buying a horse with only one good ball again.

Work as it relates to Action:

Jacob's death causes Rachel to visit her sister for advice, placing her and Samuel at the train station; Samuel's exploring puts him in a position to witness the murder; the killing of the undercover cop causes Book to investigate; Samuel's identifying McFee puts him in danger; Book's punching out the redneck exposes him as non-Amish; etc.

Limit as it relates to Optionlock:

Schaeffer and McFee eliminate all who know of their crimes -- the undercover cop and Carter -- with only Book and Samuel remaining as a threat to them; hunted by his boss Schaeffer, Book has no place to hide except the Amish community; after Book's fist fighting, Schaeffer narrows down the search to Lapp farms; Book kills off Fergie and McFee, with only Schaeffer left as a threat; surrounded by Amish witnesses, Schaeffer can't kill them all and has no option but to give himself up, ending the story.

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THE OBJECTIVE STORY THROUGHLINE:

Throughline Synopsis:

Witness is the story of John Book, an undercover big city detective; Rachel Lapp, an Amish widow; and Samuel, Rachel's eight-year-old son. In the men's room of the Philadelphia train station Samuel witnesses a murder and John becomes the investigating officer. John discovers that his boss is involved in the murder, is critically injured by the murderer, and manages to escape into Amish country to return the mother and son to their home. Rachel nurses John back to health and they fall in love. John is ultimately discovered by the criminals but, with the help of the Amish, he survives and returns to the city -- knowing that his and Rachel's worlds could never be joined.

(Mehring, p. 69-70)

Backstory:

The backstory, which was worked out in rewriting and then cut, was much more complex than this. In one draft of the script, we learn a great deal of additional information. We learn that John's job on the police force is to investigate police corruption, which makes him unpopular with other police officers. We learn that he's a crusader. We discover that John's partner, Carter, was supposed to meet Zenovich, but arrived late, thereby he feels as if his irresponsibility might have contributed to the murder.

There was also additional information about the PCP and how it contributed to the murder. In one of the discussions, who confiscated the PCP, when, and the ways that Paul and McFee and Fergie were involved were all sketched out. Most of this also was cut in editing.

(Seger, p. 184-5)

Domain as it relates to Universe:

The story plays out in the peace-loving Amish community, which is loath to bring in "English" such as John Book, especially when they live by the gun and fist -- but the men who shot Book will come after Samuel, so they must help him; As long as the witness Samuel remains alive, the careers and criminal activities of Schaeffer and his men are endangered.

Concern as it relates to The Future:

The Amish are concerned with getting Rachel another husband within one year of her husband's death; the Amish elders are worried about the resulting disruption if Book dies on them; Rachel fears for Samuel's safety if Book is tracked down; Schaeffer and his men know their lives are over if Samuel lives to testify against them; Daniel wants a future married to Rachel; Book's out to bring Schaeffer down.

Range as it relates to Delay:

The Amish elders suspend judgment on Book until he's well again; an uncertain Rachel procrastinates over remarrying into the Amish community; Book puts his libido on hold and misses his chance at fulfillment with Rachel; Book delays dealing with his pursuers by hiding out at the farm and dallying with Rachel; Daniel doesn't want Book to prolong his stay:

DANIEL

Your hole is healed, then?

 

BOOK

(gives him a look) Pretty much.

 

Daniel nods with satisfaction:

 

DANIEL

Good. Then you can go home.

 

(Wallace & Kelley, p. 76)

Counterpoint as it relates to Choice:

With Book's arrival on the scene, Rachel has to choose between him and Daniel as future lovers; Book enjoys the bucolic Amish lifestyle and Rachel's earthy charms, but feels drawn back to crime-fighting in the big city; Schaeffer and his men have chosen the rewards of crime over the job satisfaction of crime fighting.

Thematic Conflict as it relates to Delay vs. Choice:

Rachel delays choosing a new husband until Book recovers, when he makes his own decision: on the whole, he'd rather be in Philadelphia. Unwilling to follow him, Rachel's left with her second choice, Daniel.

Problem as it relates to Pursuit:

The corrupt Deputy Chief Schaeffer and his lethal weapons, McFee and Fergie, are hunting down the witness Samuel and his protector Book.

Solution as it relates to Avoidance:

Book avoids Samuel's pursuers by hiding out among the Amish community until he's well enough to do his duty as an investigator of corrupt policemen.

Focus as it relates to Oppose:

Rachel speaks out against Book's violent interrogation methods; Book's sister Elaine objects to being burdened with his "orphans"; the gunshot Book refuses to go to a doctor; the Amish elders are reluctant to shelter the "English" Book; Book badmouths the healer Stoltzfus' tea; etc.

Direction as it relates to Support:

Samuel supports Book's efforts to clean up the police force by identifying the murderer; the Amish community supports Book by sheltering him, healing, and bearing witness; the rural Undersheriff endorses Schaeffer's efforts to find Book but is unable to help; Eli compliments the departing Book:

ELI

You be careful out among them English!

 

 

 

Stipulation as it relates to Progress:

Book confides in Schaeffer that he's made progress by identifying the murderer, and discovers how far he's really advanced when McFee tries to shoot him; Book makes a call to Carter to see how things are going, and finds that he's been killed and Schaeffer's getting closer; Amish neighbors run across the fields and advance toward the Lapp farm to bear witness and prevent Schaeffer's moving forward with his plan to kill Book and Samuel.

Catalyst as it relates to Choice:

Book's choosing to confide in his "old friend and mentor" Schaeffer tips off the murderer as to the witness' identity; Book's choice of a violent response to the rednecks tips off Schaeffer to his location; Samuel's decision to stay and help Book by ringing the bell brings the Amish cavalry to the rescue; etc.

Inhibitor as it relates to Hope:

Book's expectation that Schaeffer will come after Rachel enables him to delay capture by "losing" the case file; Schaeffer's expectation that the Undersheriff can easily locate Rachel by doing "some telephoning" brings his search to a dead end when he's told the Amish don't have telephones.

Goal as it relates to The Future:

Everyone in Witness is concerned with getting things in the future back to the way they were before Samuel witnessed the murder: Book wants to protect Samuel from Schaeffer's men and to stop them from committing any more criminal activities in the future; Rachel, Samuel, and the other Amish want to be rid of the violent Book's influence and restore their peaceful way of life; Schaeffer and his men are trying to eliminate Samuel and Book so they won't testify against them at a future date.

Consequence as it relates to The Subconscious:

If Book failed to protect Samuel and he was killed, the newfound criminal motivations of Schaeffer and his men could continue unabated and unpunished. The basic drives of the Amish -- isolation, non-violence, goodness -- could be irreparably tainted by the murder of one of their own and increased contact with the "English." Book, too, might become jaded at the lack of justice and "lose the meaning" of police work forever.

Cost as it relates to Obtaining:

Book gets a hole in his side from McFee; Carter, McFee and Fergie achieve an early death; Schaeffer finds the meaning of police work again with his arrest; unable to take the initiative with Book, Rachel gets to settle for second banana Daniel; etc.

Dividend as it relates to Becoming:

Nurtured by Rachel, Book becomes more loving and giving; Eli changes his attitude toward Book, who in his eyes is no longer one of "them English"; Rachel celebrates her sexuality and playfulness, becoming more independent of Eli's influence.

Requirements as it relates to Progress:

Before confronting the killers who threaten Samuel and himself, Book must gradually heal from his gunshot wound and increase his physical strength -- and drink increasing amounts of Stoltzfus' tea. The sooner he's well enough to leave, the sooner the Amish will be left in peace. Schaeffer must step up his search for Book and Samuel if he's to find and kill them.

Prerequisites as it relates to The Preconscious:

In order to let Book stay in their community and recover from his wounds, the Amish elders must restrain their impulse to reject all outsiders; in order to gain their trust, Book has to wean himself off his built-in reliance on the gun; to keep the peace while amongst the Amish, Book has to keep his pugilistic reflexes in check; to find Book and Samuel, Schaeffer must put aside his first choice of tool -- modern conveniences such as the telephone, etc. -- and utilize older methods such as footwork and word of mouth.

Preconditions as it relates to Doing:

To build his strength and prove his worth to the Amish, Eli insists that Book does some hard work, such as milking, carpentry, etc.; to blend in while in hiding, Rachel makes Book wear her husband's plain clothes instead of a detective's.

Forewarnings as it relates to Being:

Book manages to act like one of the Amish as long as he stays on the farm. Once he strays into town, he's unable to maintain the pretense and meets the redneck's fire with his own by punching him out, which alerts locals and the police that he's only pretending to be Amish -- just the kind of odd man out Schaeffer's looking for.

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THE SUBJECTIVE STORY THROUGHLINE:

Throughline Synopsis:

Book acts as a surrogate husband to Rachel, protecting her and Samuel from the corrupt police. Recovering from his gunshot wound under Rachel's care, Book realizes the effect his violent lifestyle's having on Samuel. Rachel takes his gun into her care, giving him her husband's clothes in return. Book embraces the peaceful, hard-working Amish way of life -- and Rachel -- but whenever the outside world intrudes, he reverts to his violent nature. Recognizing their irreconcilable differences, Book puts on his city clothes and leaves Rachel forever.

Backstory:

Rachel's looking for someone to be a father to her son Samuel, while Book's sister Elaine has told Rachel:

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.

(Wallace & Kelley, p. 33-34)

Domain as it relates to Mind:

John Book believes in fighting fire with fire, using the gun and fist to defeat violent criminals; as an Amish, Rachel is a pacifist, preferring non-violent means to solving problems. Big city John prefers modern conveniences such as cars with radios over horse-buggies and milking a cow.

Concern as it relates to The Subconscious:

Rachel and Book have trouble reconciling their different natures. She's been raised in the rural, peaceful Amish community, while he's at home in the fast-paced, violent big city. Sexual and romantic attraction brings them together, but neither can commit to living in the other's world.

Range as it relates to Hope:

If things go as Book expects, he'll leave the Amish to pursue the corrupt city cops as soon as he's able -- which is why he refrains from encouraging hope in Rachel by making love with her.

Counterpoint as it relates to Dream:

Nursing Book back to health and caring for him like a husband, Rachel indulges her far-fetched desire for a powerful man like him to settle down to a peaceful life as Farmer John Book.

Thematic Conflict as it relates to Hope vs. Dream:

Rachel's dreams of a future with Book evaporate when she's unwilling to leave the farm; while Book dallies with Rachel, the city's violence comes looking for him in the form of Schaeffer's men -- once they're defeated, he heads back to the big city without Rachel.

Problem as it relates to Faith:

Rachel's firm belief that the Amish' peaceful way of problem-solving is right, and that the might of guns and violence is wrong, puts her in direct conflict with shoot-'em-up and punch-'em-out John Book.

Solution as it relates to Disbelief:

In the screenplay, when Book's outnumbered by Schaeffer's gunmen, Rachel distrusts pacifism as the answer for the current situation, and sides with violence instead: she tries to load the gun with the intent of using it on Schaeffer. But Eli's influence holds her back, leaving Book alone and Rachel not as changed as she'd like to be.

Focus as it relates to Oppose:

Rachel objects to Book's roughing up of the black murder suspect, Coalmine, in front of Samuel; she gets angry at Book allowing Samuel to handle the handgun, and takes custody of it; Book makes fun of Rachel's assigning characteristics such as "proud" to jacket buttons; he mocks Daniel's soft-drink approach to wooing Rachel.

Direction as it relates to Support:

Against the objections of the elders, Rachel supports the idea of Book staying on the farm while he recovers; Book endorses Rachel's handgun control policy by entrusting her with his revolver; Rachel stays up all night nursing Book while he's feverish.

Stipulation as it relates to The Preconscious:

Upon being introduced to Book's violent policing methods, Rachel's immediate reaction is one of horror:

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.

(Wallace & Kelley, p. 23)

On the farm, Rachel blows up in response to Book's showing Samuel his gun, further distancing them; Book's instinctive response to the Amish dislike of buttons is mockery:

BOOK

Anything against zippers?

Book's nostalgic response to an old song on the radio leads him to want to dance, and brings Rachel and him closer together; Rachel's immediate response to Eli's threat of shunning is proud defiance, allying her with Book; Book fails to act on his natural impulses when seeing Rachel naked, effectively ending their relationship.

Catalyst as it relates to Dream:

Over lunch, when Rachel tells Book what Elaine thinks he needs:

RACHEL

She thinks you should get married and have

children of your own. [...] Except she thinks

you're afraid of the responsibility.

 

(Wallace & Kelley, p. 33)

she's revealing her own dreams of the kind of good man she wants, and starts to take an interest in Book as a marriage prospect; bringing Book the carpenter a glass of lemonade, Rachel gazes at him dreamily as he lustily downs the drink in one, and is dancing with him soon after that; dreaming of him as a partner, Rachel dresses Book in her husband's clothes to better blend in with the other Amish; watching Book building the barn for the newlyweds, Rachel's coy look suggests her aspiration that they'll be able to return the favor.

Inhibitor as it relates to Delay:

Presented with the opportunity to make love to the naked Rachel, Book puts it off, not wanting to get that committed:

BOOK

If we'd made love last night, I'd have to stay.

Or you'd have to leave.

---

Rachel Lapp's THROUGHLINE:

Role:

Not-so-merry widow

Description:

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.

(Wallace & Kelley, p. 2)

Throughline Synopsis:

Questioning her Amish identity, newly-widowed Rachel leaves home to visit her sister in Baltimore for marriage advice. When her son witnesses a murder, she's pulled into the investigation and a romance with detective John Book. He brings out the playful schoolgirl in her, but she's disappointed when he stops short of sweeping her off her feet and to the big city. Not assertive enough to ask for what she wants, she's left behind to await the approaching Daniel.

Backstory:

Rachel's husband Jacob has died, and she is expected to soon remarry to someone in the Amish community. Is there anyone with enough fire in the belly for her, or will she settle for a "horse with one good ball," like Daniel, to whom she explains:

RACHEL

I need time, Daniel.

Domain as it relates to Psychology:

Rachel has grown up as one of the Amish, where questioning the prevailing cultural and moral values is frowned upon. Recently widowed, she's expected to continue in that tradition and remarry soon. Unsure if that's what she wants, Rachel visits her sister to get marriage advice, and the outside world presents her with alternative lifestyles and ways of thinking.

Concern as it relates to Becoming:

Rachel is having doubts about remarrying into the Amish and staying in the community, which is why she's traveling to Baltimore to get her sister's advice. Book's presence in her home shows her a facet of the "English" male that attracts her, and brings out a playfulness in her. She defies Eli's warnings, and takes off her Amish bonnet to kiss and hug Book. (In the screenplay, her transformation is more complete, as she and Book make love in a field at this point in the story.)

Range as it relates to Commitment:

As Book's committed to his city life and career, Rachel would have to give up her commitment to the Amish way of life in order to be with him.

Counterpoint as it relates to Responsibility:

Rachel feels a responsibility to provide a father and a stable family life for her son Samuel. She's not sure Daniel's the best man for the job, and considers the suitability of Book as a husband.

Thematic Conflict as it relates to Commitment vs. Responsibility:

The pull of her commitment to the peaceful Amish life and its positive value system wins over Rachel's mind, as she settles for the reliable Daniel as being a more suitable father figure for Samuel and abandons her heart's desire, Book

Problem as it relates to Pursuit:

Rachel feels compelled to find another husband; unhappy with the Amish choices, Rachel's driven to venture outside and visit her sister, seeking advice on marriage and on remaining in the Amish community; she attempts to emotionally entrap Book by presenting her nakedness to him.

Solution as it relates to Avoidance:

Rachel tries to avoid getting another Amish husband by escaping from the Amish community, but the murder interrupts her plans and she's brought right back; if she could evade the condemning judgment of Eli and the other Amish "shunners," she might be better able to adjust to the outside world; Book's decision to steer clear of sexual entanglement with her ends their relationship and gives her a solution -- marry Daniel.

Focus as it relates to Disbelief:

Rachel questions her continued belonging to the Amish religion; she refuses to accept Book's whacking of suspects; she distrusts guns and berates Book for showing his to Samuel; she's not persuaded by Eli's judgment of her behavior as being worthy of shunning; she finds it hard to believe other women have uncharitable thoughts about her and Book.

Direction as it relates to Faith:

Rachel's antipathy to violence comes from her religious faith rather than from any examination of the subject; in a scene not used in the film, Rachel expresses her lack of faith in Book's law:

BOOK

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

 

RACHEL

Oh yes! Of course! Why shouldn't we feel safe

in a city where the police are so busy killing

each other!

 

(Wallace & Kelley, p. 37)

Rachel loses faith in non-violence and goes for Book's gun; she sees the folly of violence when held hostage by Schaeffer, when peace (and her faith) is restored by the non-violent confrontation of the whole community.

Stipulation as it relates to Being:

Rachel and Samuel temporarily act like big city folk, traveling by modern train to Philadelphia; Rachel enjoys fulfilling the role of Book's dancing partner; she acts sexually bold, making a play at Book by presenting her nakedness to him; Rachel symbolically takes off her bonnet and acts un-Amish, kissing Book passionately; upon Book's departure, Rachel acts unconcerned.

Unique Ability as it relates to Responsibility:

Rachel believes she knows what's best for her son Samuel -- and that's John Book. Against the elders' wishes, she takes on the responsibility of caring for him until he's well enough to protect her son again -- which he does.

Critical Flaw as it relates to Self Interest:

Rachel's somewhat selfish choice to pursue romance and indulge her sexual needs with the outsider Book puts her at odds with her whole Amish community: the women threaten to shun her, which would bring shame on the Lapp family and deny Samuel a father. Ultimately she relents and remains the good mother and wife.

---

John Book's THROUGHLINE:

Role:

Internal Affairs detective

Description:

"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."

(Wallace & Kelley, p. 13)

Throughline Synopsis:

Unpopular Internal Affairs detective John Book takes the case when an undercover narcotics cop is murdered. Discovering his boss's involvement, the wounded Book hides out in the Amish community of his witness, Samuel. Nurtured by the boy's mother Rachel, he recovers and gains the respect of the Amish. Though the community rallies round him to help defeat his pursuers, he doesn't really belong, and relinquishes his love for Rachel to return to the big city.

Backstory:

In a scene from the screenplay not used in the film, Book's ex-boss tries to persuade him not to investigate the murder:

DONAHUE

It's still not your job. (pauses) Look John, why don't

you come back to Homicide where you belong?

 

BOOK

Let's just say it's a career move.

 

DONAHUE

Stick with Internal Affairs and you're not gonna

have--any--friends left.

 

BOOK

I'll buy a dog.

(Wallace & Kelley, p. 31A)

Domain as it relates to Physics:

John Book's a career Internal Affairs cop, policing the police. Once his witness' identity is exposed and he's at risk from the murderers, all Book's activities pertain to protecting Samuel.

Concern as it relates to Obtaining:

The righteous Book's job is to catch the bad guys, and to do that he employs whatever means works, violent or non-violent. Rachel and Samuel realize that his use of violence and weaponry is appropriate and the only way to stop Schaeffer's thugs and stay alive, which goes against the pacifist way they've been raised as Amish.

Range as it relates to Self Interest:

Elaine has told Rachel about her self-righteous brother Book:

RACHEL

[...] you like policing because you think you're

right about everything. And you're the only one

who can do anything.

 

(Wallace & Kelley, p. 34)

Book's eager to solve the murder case, which he sees as his case:

BOOK

Look, I'm genuinely sorry...

 

RACHEL

No you're not -- You're glad, because now you've

got a witness.

 

(Wallace & Kelley, p. 32)

 

Angered over Carter's death, Book petulantly takes out his frustration on an unsuspecting redneck by busting his nose.

Counterpoint as it relates to Morality:

Policing the police and being hated by his colleagues for it, Book protects society from policemen who've "lost the meaning"; Book protects Rachel's identity by having her case file destroyed by Carter, though that action destroys him, too; Book holds his hormones in check regarding Rachel so as to avoid disrupting the community; he sends Samuel away from the farm, staying to face Schaeffer's men alone; Book surrenders to Schaeffer in order to save Rachel.

Thematic Conflict as it relates to Self Interest vs. Morality:

Realizing that he and Rachel will never work as a couple, Book refrains from indulging himself sexually with her so it'll be easier for her to stay; in the name of justice, he never hesitates to place the safety of his witness Samuel and Rachel above his own.

Problem as it relates to Help:

Once shot, Book's first instinct is to help Rachel and Samuel by getting them home to safety; the ever-helpful Book instructs Samuel in the correct handling of a gun, to Rachel and Eli's distress; Book's going to his mentor Schaeffer for help capturing McFee informs the bad guys of Book's intentions.

Solution as it relates to Hinder:

If Book obstructed Samuel's fascination with the gun, he'd cause less friction with the Amish; if he was less eager to prove himself worthy by pitching in with the barn, Rachel's dreams of him as a husband wouldn't be falsely encouraged; his delaying tactics over possible lovemaking with Rachel makes it easier for him to leave her; Book's getting Carter to lose Rachel's case files hinders Schaeffer's pursuit of him.

Focus as it relates to Oppose:

Book is outspoken in his lack of respect for Rachel's Amish lifestyle:

RACHEL

Enjoying your reading?

 

BOOK

Very interesting. I'm learning a lot about manure.

--and:

RACHEL

Buttons are hochmut. [...] Vain. Proud.

 

BOOK

Anything against zippers?

 

RACHEL

You make fun of me. Like the tourists. [...] They seem to think we are quaint.

 

BOOK

Quaint? Can't imagine why.

(Wallace & Kelley, p. 63-64)

His inducing her to dance, against her religious beliefs, gets her in trouble with Eli.

Direction as it relates to Support:

Book tries to appease Rachel by supporting her gun-control policy:

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.

(Wallace & Kelley, p. 61)

By not getting involved with Rachel and leaving her, Book endorses her staying on the farm by default, and supports Daniel's efforts as her suitor.

Stipulation as it relates to Doing:

In Philadelphia, Book investigates the murder in standard fashion, exposing Samuel and Rachel to lineups, mugshots, and the whacking of the usual suspects; while recovering at the Lapp farm and distracted by Rachel's charms, Book ignores his goal while milking cows, doing carpentry, barn-raising, and eventually fixing the car; delaying too long, Book's goal comes to him in the form of Schaeffer's men: he leads them through the labyrinth of the barn, dodging cows, climbing ladders, killing the clueless Fergie with kernels in the silo, shooting McFee.

Unique Ability as it relates to Morality:

Rather than indulge his lust with Rachel, Book thinks of the consequences of his intended act, and does the right thing instead of the wild thing:

BOOK

If we'd made love last night, I'd have to stay.

Or you'd have to leave.

Critical Flaw as it relates to Commitment:

Book's sense of commitment to the Amish people he's bonded with, particularly Samuel and Rachel, make him hesitant about leaving them behind. In Book's final scene with Rachel, each looks longingly at each other, but neither can ask the other to commit to a change in lifestyle.

---

ACT PROGRESSIONS:

The Objective Throughline Act Order:

Objective Story Signpost #1 as it relates to The Past:

The Amish are introduced -- a people who seem to live in the past, a time of horses and buggies. At the funeral of Jacob, Rachel's husband, the Amish men reflect on what a good farmer he was.

Objective Story Journey #1 from The Past to The Future:

Leaving the quaint world of the Amish behind, Rachel and Samuel fearfully witness the violence of the "English" firsthand. Samuel sees a murder, and the killer McFee shoots Book in an attempt to prevent Samuel from testifying in the future.

Objective Story Signpost #2 as it relates to The Future:

Book drives Samuel and Rachel to their farm to hide them, as he knows Schaeffer will come looking for them soon. Eli and the Amish are worried about their future if Book stays:

ELI

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!

She's more concerned with Samuel's future:

RACHEL

But I tell you that if he's found here, the people who

did this to him will come for Samuel.

(Wallace & Kelley, p. 48-49)

Objective Story Journey #2 from The Future to Progress:

Concerned about Samuel's future, Rachel and the Amish nurture Book back to health. Making no progress with the rural sheriff, Schaeffer "leans on" Carter and kills him.

Objective Story Signpost #3 as it relates to Progress:

Book phones Carter to find out how things are going regarding Schaeffer -- whether it's safe yet to come into the city and confront him -- and finds Carter's dead. Angered, Book punches out a redneck, alerting the police to his location and advancing Schaeffer's pursuit.

Objective Story Journey #3 from Progress to The Present:

Furious at his partner's death, Book makes preparations to leave Rachel and the Amish, while Schaeffer tracks Book to the farm. Book outwits Fergie and McFee and with the Amish' help, Schaeffer, restoring the status quo.

Objective Story Signpost #4 as it relates to The Present:

After Schaeffer's capture, Book evaluates his situation -- and returns to the city as Eli and Rachel watch. As Book leaves, Daniel approaches. Having given her "time," he's coming to see how he stands with Rachel now.

The Subjective Throughline Act Order:

Subjective Story Signpost #1 as it relates to The Preconscious:

Seeing Book demonstrating the handling of a handgun to her son Samuel, the pacifist Rachel's gut response is to send Samuel out of the room and berate Book:

RACHEL

John Book, I would appreciate it if, during the

time you are here with us, you would have as little

to do with Samuel as possible. [...] It's not the gun.

Don't you understand... It's you. What you stand

for. That is not for Samuel.

(Wallace & Kelley, p. 91-92)

Subjective Story Journey #1 from The Preconscious to The Subconscious:

Realizing her snap judgment of Book was premature, Rachel appreciates the family values he demonstrates and thinks of him as a suitor.

Subjective Story Signpost #2 as it relates to The Subconscious:

When Book gets the car battery hooked up and hears a favorite song on the radio, his longings for the city and the 20th Century surface -- as does the joyous lust for life lurking beneath Rachel's prim exterior. They boogie to the English "Myusick" together.

Subjective Story Journey #2 from The Subconscious to The Conscious:

Defying the wrath of Eli, the lusty Rachel offers her body to Book for his consideration.

Subjective Story Signpost #3 as it relates to The Conscious:

When the naked Rachel observes John Book witnessing her sponge bath and turns to offer herself to him, he thinks too hard and too long about what he'd be getting into, and the moment passes.

Subjective Story Journey #3 from The Conscious to Memory:

Troubled by his decision to reject Rachel's forward move, Book wants to make his intentions clear for the record.

Subjective Story Signpost #4 as it relates to Memory:

Book reminds Rachel about last night, and suggests that it'll be their only intimate memory.

The Main Character Throughline Act Order:

Main Character Signpost #1 as it relates to Conceptualizing:

Unsure that she can see herself staying in the Amish community and being married to Daniel, Rachel carries out her plan to visit her sister in Baltimore.

Main Character Journey #1 from Conceptualizing to Being:

Rachel experiences more of the outside world than she envisioned. Though she's shocked by the violence Book represents, for her son's sake she acts as if comfortable in his sister Elaine's disorderly house.

Main Character Signpost #2 as it relates to Being:

Rachel takes the side of the violent English-man Book, arguing that he must be allowed to stay among them and act Amish in order to protect Samuel.

Main Character Journey #2 from Being to Becoming:

Rachel pretends to enjoy Daniel's staid dating ceremony on the porch, but it's Book's song and dance routine that brings out the playful girl in her.

Main Character Signpost #3 as it relates to Becoming:

Reacting to Eli's threat of shunning over her dancing with Book, Rachel becomes defiant of the Amish traditions:

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.

(Wallace & Kelley, p. 73C)

Main Character Journey #3 from Becoming to Conceiving:

Becoming aware of her womanhood and manifesting it more fully, Rachel conceives of Book as the right marriage partner for her.

Main Character Signpost #4 as it relates to Conceiving:

Realizing that Book's preparing to leave, Rachel comes up with one last plan to snag him -- she removes her traditional bonnet and apron with the idea that he'll see past her Amishness and respond to her as a woman. She succeeds, but only in getting a kiss.

The Obstacle Character Throughline Act Order:

Obstacle Character Signpost #1 as it relates to Understanding:

Book understands how much trouble he and Samuel are in when McFee beats him to the draw in the parking garage, and shoots him.

Obstacle Character Journey #1 from Understanding to Doing:

Wounded by betrayal as well as the gunshot wound, Book understands he must cover his tracks with Carter's help and get the Lapps safely home.

Obstacle Character Signpost #2 as it relates to Doing:

Book starts to endear himself to the Amish by engaging in their day-to-day activities -- milking cows, carpentry, etc.

Obstacle Character Journey #2 from Doing to Obtaining:

Book engages in hard work for the sake of it, and relaxes by slow-dancing with the object of his desire, Rachel.

Obstacle Character Signpost #3 as it relates to Obtaining:

Stripped of all signs of her Amish-ness by the fact that she's naked, Rachel is Book's for the taking -- but he doesn't go for it.

Obstacle Character Journey #3 from Obtaining to Learning:

Book gets a surprise when Schaeffer shows up to take his life, and learns he hasn't lost his own capacity for violence.

Obstacle Character Signpost #4 as it relates to Learning:

Book learns the power of non-violent confrontation from the Amish, whose bearing witness forces Schaeffer to give himself up.

---

Miscellaneous Other Storytelling Items:

All Concerns:

Rachel's unsure about her future in the peaceful Amish community. Going to visit her sister for advice, the violent English transform her life -- Schaeffer's out to kill her son Samuel and Book wants to protect him as a witness. Though she and Book lust after each other, Rachel can't change her nature enough to take what she wants.

Master Plot Synopsis:

Rachel (Kelly McGillis), a pretty but plainly dressed Amish widow, is traveling into the city with her young son, Samuel (Lukas Haas). While [Rachel and Samuel] await the arrival of their train in the noisy hustle of the crowded Philadelphia station, the youngster wanders into the men's room. Once inside the otherwise vacant bathroom, Samuel hears a commotion. He peeks through the door of his stall and witnesses a man getting his throat slit. Scurrying from one stall to the other to avoid the detection of the killers, Samuel finally emerges safely and reports the murder.

John Book (Harrison Ford), the investigator who questions the boy, manages to win the confidence of both Samuel and Rachel, who are out of their element in the big city. Like the others in their Amish community, Rachel and Samuel are unaccustomed to the conveniences that have enveloped the modern world, preferring instead to live simple, peaceful, religious lives in the isolation of their farm home. [Book] is quite the opposite-a tough, gun-toting city cop surrounded by hate and brutality.

Later, during questioning at the police station, Samuel identifies McFee (Danny Glover), a top narcotics officer, as the killer. Suspecting the worst and fearing for the safety of his young witness, Book takes Samuel and Rachel under his wing, giving them refuge in his house. Trouble follows, however, and Book tries to get Rachel and Samuel back to the safe obscurity of Lancaster County.

In the process, Book gets shot and is given shelter under Rachel's traditionally rustic roof. As she nurses his wound and they become increasingly interested in each other, the villagers and the Amish and Mennonite leaders debate whether or not it is proper to keep Book in their protection, especially since he has come armed with a gun. As Book begins his recovery, he grows closer to Samuel. At one point, when he allows the naturally curious youngster to hold his gun, Rachel becomes furious. Later, when Book innocently glimpses the topless Rachel taking a sponge bath and she shows no embarrassment in her nudity, their interest in each other grows.

Book becomes increasingly drawn into the passivity and calm of the Amish way of life. In order to better fit into the community and thereby escape detection as a cop, Book dons traditional Amish garb and becomes more involved with this new, mysterious culture. He even lends a hand during a barn-raising, working side by side with the rest of the village as they piece together the wood frame of a huge barn in a day's time....

As Book becomes more involved in Amish ways, Rachel becomes more curious about modern life. Their two interests and their blossoming love for one another become clear in another superb scene when they dance together one evening as Book's car radio plays Sam Cooke's "(What a) Wonderful World."...

Book's bliss is ultimately interrupted, however, when the Philadelphia connection makes its way to Lancaster County, bursting into the serene Rachel household, brandishing arms, and chasing Book. In a nail-biting, bang-up Hollywood finale, Book's pursuers are dragged through cow manure and into a feed silo and finally offed in an exchange of shotgun blasts [...]

(Cinebooks' Motion Picture Guide, in Cinemania.)

Master Theme Synopsis:

Witness is a film about sex and violence (a.k.a. love and death), in the form of two characters from different worlds who clash over approaches to expressing sexuality and solving problems. The Amish Rachel represents the old-fashioned approach of suppressing desire until marriage, and avoiding conflict by employing the power of inertia. The modern Book tackles his problems directly, wielding fists and bullets, and is willing to express his lust outside the confines of marriage. In the story's climactic confrontation, Book's violence proves the only way to defeat Fergie and McFee, but then is outmatched when Schaeffer threatens Rachel. The non-violent confrontation of the Amish community's bearing witness is what triumphs over Schaeffer, sending a somewhat muddled thematic message: both approaches have their value, though neither is superior nor successful without the other. The thematic issue of desire is resolved more cleanly, though no more optimistically: Rachel and Book are doomed to stay apart because neither of them (and by extension, all of us) can change their basic nature enough to accommodate another viewpoint. Let's hope this stems more from Hollywood's love of a doomed romance than from any immutability of human personality.

Subjective Character Synopsis:

Rachel Lapp and John Book are two righteous people, but they're not right for each other. Book's self-righteousness puts him above the corrupt cops he goes after, those who've "lost the meaning." He thrives on the individual role he plays in the big-city world of violent action and danger, with no time for a family. Rachel's righteousness also comes from her environment, learned from her Amish religion, which praises pacifism and communal belonging -- and family ties -- over individualism. Though she's more of a free spirit than the other Amish, sadly she's unable to break those bonds. As Eli comments:

ELI

He's going back to his world. It's where he belongs

-- he knows that... and you know it.

(Wallace & Kelley, p. 89A/B)

Master Character Synopsis:

Rachel's father Eli and her suitor Daniel belong firmly in the tradition of the conservative, peace-loving Amish, and Rachel and her son Samuel have been raised in that stifling atmosphere. Rachel is looking outside to other possibilities, but unfortunately Samuel's exposure to violent murder on their first venture out stunts her growth. She needs the strong Book to move in or sweep her off her feet and take her away, but he's not about to do either. Once he's recovered and defeated (with a little help from his society of friends) his corrupt mentor and boss Schaeffer and his thugs McFee and Fergie, it's back to the big city to fight fire with firepower again.