text / (U.S.) E. W.
Wallaceway Kelly Translated / Boyai
1. (Fade in) Opening subtitles
(Fade out)
2. (Fade in) Location. Wheat field.
Take a panoramic view from upside down during the day . The tall young wheat swayed in the wind. Overprint subtitles on this background.
A group of Amen dressed in black (Note 1) walked through the wheat field.
End of subtitles.
A carriage drove across the screen. Amen came from the wheat field.
Close up shot from up. The carriage drove through the screen one after another. The camera moves to one of the cars.
Outside the painting came the sound of a horse-drawn carriage. The Amen stopped and waited on the side of the road. The sound of the carriage faded away, and they continued to move forward.
Panoramic view. The Amen walked to a white house, which was Lampe's home.
Overprint subtitles: Pennsylvania, 1984
3. Interior. Lamp's house.
Medium shot during the day . The room was crowded with people, some sitting, some standing,
medium and close shots. The women in long black dresses and caps on their heads looked sad.
Close-up shot in the top view. An old woman was crying. She silently wiped her tears with a handkerchief.
Pan shot mid shot. A group of young girls.
Close shot. The heroine Rachel. She is a young woman in her twenties, healthy and beautiful.
Take a panoramic view from up. The bishop was giving a eulogy in Amen, his voice low and vague.
Medium shot. The Lampe family of three: Rachel’s father Eli sits on the right, Rachel on the left, and her son, Samuel, who is about six or seven years old, sits between the two. Eli was sobbing, and Samuel looked at him blankly.
Panoramic view. The bishop turned his back to the camera. In the center of the room is parked the Lingshu.
Several women gathered around a long wooden table and put soft biscuits on each plate. Several other women were busy in the kitchen. The men sat down at the long table.
Daniel Hocklettner, a tall young man, put down a plate of turkey in his hand and walked out of the kitchen. He patted Eli on the shoulder, took off his hat, and walked forward.
In the doorway, several men were talking about the dead Jacob - Rachel's husband.
Man A: Jacob is a good farmer, no one can match him.
Man second: He is not good at buying horses. (See Daniel coming over) Daniel, didn't your father once sold him a horse with only one testicle?
Man C (laughs): Your father said to him that it was a bee that stung it like this.
Daniel: That horse originally only had one testicle, so there was only one testicle in total.
He walked into another room. The men laughed behind him.
Medium shot. In the room, women comforted Rachel in a low voice. Daniel walked in and they held him. Daniel walked straight to Rachel.
Daniel (sincerely): Rachel... I'm sorry about Jacob. I know he will go to heaven.
Rachel: Thank you, Daniel.
4. Location. Lampe Farm.
Overlooking the distant view during the day . The endless waves of wheat are like a huge green silk satin under the breeze. In the distance are green trees, hills and farms, occasionally dotted with one or two white houses.
5. Location. Lampe Farm. The
sun sets in the evening . People set off to go home one after another.
Eli, Rachel and Samuel worked in the field. They loaded bales of hay into the wagon. The sunset reflected their silhouettes.
6. Location. carriage. During the day, the
middle shot was taken up from the back. Eli drove the carriage. Rachel sat beside him. Samuel leaned against the back seat of the carriage and looked out the window.
7. Location. The country where the Amen live.
Look up and take a long shot during the day . Lampe's carriage drove through the cultivated land.
panoramic. A medium towing trailer and a car followed the carriage.
8. Location. Lancaster County. daytime
panoramic. The carriage stopped at the crossroads.
9. Location. Lancaster Railway Station.
Panoramic view during the day . Daniel walked hurriedly through the crowd on the platform.
Daniel (to the two women who are talking): Please let me.
He walked up to Eli's family and patted Eli on the shoulder.
Eli: Daniel!
Daniel: Good morning.
Rachel: Good morning.
Medium and close shots. Daniel squatted down in front of Samuel.
Daniel (kindly): So, it's your first time to go to a big city. (Samuel smiles and nods) You will see a lot of new things. Close your eyes.
Samuel closed his eyes obediently. Daniel opened his hand with a wooden toy pony in his palm.
Daniel: Open your eyes.
Samuel happily took over the Trojan horse. Rachel smiled. Daniel winked at Samuel. Samuel looked at him kindly.
Panoramic view. The train comes into the station. Samuel followed the crowd to the train.
Rachel: Samuel, be careful!
Daniel (affectionately to Rachel): Come back early.
Rachel smiled and ran to Samuel.
Rachel: Samuel!
Mid shot from up shot. In front of the train. Rachel took the ticket and luggage from Eli. She kissed Eli on the cheek, then turned and boarded the train. She turned her head and looked at Eli and Daniel who were standing under the car.
Eli (outside the picture): Be careful among English speakers.
Close shot. Daniel touched the brim of his hat lightly, waved goodbye to Rachel, then turned and walked quickly.
Panoramic view. The train started slowly.
10. Interior view. train.
Close-up shots during the day . The camera pans back and forth between Samuel and Rachel.
panoramic. Samuel lay down in front of the window, looking enthusiastically at the passing countryside scene.
Medium and close shots. Move the lens. Samuel suddenly pointed out the window and cried out.
Samuel: Mom, look!
Mid shot from up shot. Moving the camera to shoot Rachel and Samuel through the window, looking at a galloping carriage on the road not far away, Daniel stood on it again with his legs open and waved at them frequently.
Rachel giggled. Samuel looked at the carriage without blinking.
11. Location. train track.
Panoramic view during the day . The train came from far and near.
12. Interior view. train.
Take a panoramic view from upside down during the day . Samuel waved vigorously at the hot air balloon in the sky outside the window.
13. Interior view. Train station waiting room.
Take a panoramic view from upside down during the day . The waiting room was bustling.
Medium and close shot. Rachel pulled Samuel forward. Samuel looked around. A little girl looked at him curiously.
Girl mother (outside the painting): Oh, he is a cute Amen boy. did you see it? I think it must be.
Mid shot from up shot. Rachel walked to the ticket booth. This is a small room separated by glass, and the conductor is an elderly man. Rachel handed the two tickets into the window.
Rachel: This is the ticket to Baltimore. Which entrance do I get on the bus?
Conductor (puts out the ticket): That train is three hours late. It will be broadcast before driving. Go over there and find a seat.
A black man enters the picture.
Rachel (to the conductor): But, but I...
conductor: Go find a seat over there, I have to greet these people. (To the black man) This gentleman...
Rachel (still don't understand):...Where?
Panoramic view. Rachel took Samuel towards the row of chairs. Passing a drinking sprinkler, a man is drinking from the sprinkler. Samuel pulled La Rachel's clothes and pointed them to her.
Samuel: Mom, look, what is that?
The man drank the water and left. Samuel ran over. Rachel walked towards a row of benches. Samuel played with the drinking sprinkler with his hands, and the water spurted out, and Samuel smiled happily.
Mid shot from up shot. Rachel sat down between a man and a woman. She looked up at Samuel.
Medium shot. Samuel looked around as he walked. He turned his head and nodded to Rachel who was off the screen.
Rachel (outside the picture): Don't go far, Samuel.
Pan shot mid shot. Samuel passed a statue and walked towards the crowd.
panoramic. A Jewish man in a black robe stood with his back to the camera, looking up at the train schedule on the wall. Samuel thought he was an Amen, and walked towards him.
Shot from Samuel's perspective. The Jewish man turned to look at Samuel. Samuel smiled at him, not seeing an Amen, stepped back and walked away.
Shot from Samuel's perspective. The Jewish man looked at his ticket.
The voice-over informs passengers to board the bus.
Close-up shot in the top view. Samuel walked forward.
Shot from Samuel's perspective: a statue.
Take a panoramic view from up. Rachel walked up to Samuel, took his hand and walked.
They came to the other corner of the waiting room and sat on the chairs. It was very quiet here, we only saw Rachel and Samuel.
Samuel: Mom.
Rachel: Huh?
Samuel said something to Rachel in Amen language.
Rachel (pointing not far away): Here, over there.
Samuel stood up and walked to the bathroom.
Rachel ran over to straighten Samuel's hat, then returned to his seat, pushing Samuel through the door.
14. Interior view. bathroom.
Medium shot during the day . A young man, Zanovic, was standing in front of the sink and looking in the mirror. He wiped the water from the corner of his eyes. Apparently, he had just washed his face and the water was still dripping. Hearing someone coming in, he immediately turned his head, his expression a little nervous. Seeing that it was a child, he breathed a sigh of relief and smiled. Samuel also smiled back.
On the back of the sink is a row of toilets divided into small compartments. Samuel walked towards the inner one.
panoramic. Zanovich was washing his face with water.
Medium and close shots. Samuel looked back through the slightly opened door as he urinated.
Zanovic washed his face, and another man, Fergie, walked in. We can't see his face, only his body and moving steps. He passed behind Zanovic and walked to the sink on his right.
Zanovic, who was washing his face, bent over and watched Fergie's every move.
There was also a man who came in at the same time as Fergie. He has a strong figure, a suit and leather shoes, and stands in front of the urinal with his back to the camera. Through the mirror, we can see his actions.
Medium and close shots. Samuel was still looking around.
Zanovic looked at Fergie and then at the man in front of the urinal, his expression becoming more tense.
Pan shot mid shot. The man with his back to us turned around. He is a black man named McPhee. He nodded to Fergie.
panoramic. With a coat in his hand, Fergie walked towards Zanovic, who was still washing his face.
Fergie (to Zanovic): Hello!
Before he could say anything, he slammed his clothes over Zanovic's head, and cut Zanovic's hands behind his back at the same time.
Medium and close shots. Fergie strangled Zanovic's head tightly with his coat. Zanovic let out a dull cry.
close up. McPhee quickly opened a sharp dagger.
Close-up shot in the top view. He lunged at Zanovic.
Samuel stared at everything outside the painting with horrified eyes.
Shot from Samuel's perspective. Zanovic struggled and yelled desperately, but to no avail. McPhee stabbed him several times in the face, chest and neck.
close up. McPhee cut Zanovic's throat.
Great close-up. Samuel's frightened eyes.
Pan shot mid shot. Shot from Samuel's perspective. Zanovic yelled "No! No..." "Ah!" and fell down. His body twitched violently a few times before he died.
Great close-up. Samuel closed the door with his hand.
Mid shot from up shot. Samuel panted loudly, not letting himself yell out of fear. He stepped back step by step.
Medium and close shots. Zanovic's naked chest was splattered with blood. Fergie reached into his pocket.
Pan shot mid shot. McPhee walked to the sink, tore the tissue from the tissue box, wiped the blood from the dagger, and then threw the paper into the wastebasket.
Close up shot from up. Fergie was flipping through a small notepad he took out of Zanovic's pocket. McPhee was washing his hands.
Fergie: What are you doing?
McPhee (unhurriedly): Wash your hands.
Fergie: What? ! I have to get out of here quickly!
McPhee (fixed his tie): Hold on.
Close shot. Samuel leaned against the wall. He was shocked by everything in front of him, but Jing let out a soft "ah".
McPhee immediately turned around, took a pistol from his pocket inside, and opened the door of a toilet.
Fergie (outside the painting): I checked it all!
Medium and close shots. Samuel looked nervous.
McPhee (outside the picture): Check again.
Close shot. Samuel reached out his hand and tried to plug in the door bolt.
Pan shot mid-range and long-range shots. McPhee held a gun in one hand and opened the door of the other toilet with the other.
Close shot. Samuel pushed the door hard.
McPhee opened a door.
Great close-up. Samuel put his hand in the door. He panted and retreated to the wall.
Close-up shot in the top view. McPhee's feet moved, walking from door to door. When he walked to Samuel's door, he pulled the door by hand. The door is locked. He held the door handle in one hand and a gun in the other.
Medium shot. Shot from Samuel's perspective. McPhee outside the painting pushed the door hard. The door shook violently and was about to be pushed open.
Samuel was so desperate that he squatted on the ground and climbed from under the partition to another toilet. His hat fell to the ground.
Close-up shot in the top view. McPhee outside the picture kicked the door open.
Medium shot. Samuel grabbed the hat. McPhee stood at the door and looked around, there was no one inside. He looked under the partition, but saw nothing.
Mid shot from up shot. It turned out that the clever Samuel was holding the partition with both hands and was standing on the pail next door.
Close-up shot in the top view. McPhee exited the toilet room suspiciously. The door closed automatically.
In the close-up shot, Samuel opened his mouth slightly, his eyes gleaming with horror. He still stood motionless on the poker. He heard footsteps. McPhee and Fergie walked out of the bathroom.
15. Interior view. Waiting room.
Mid- night scene. A policeman stood with his hands folded behind his back and his back to the camera. There was a surge of people, and the voices were full of people. The police walked away. We saw Rachel and Samuel sitting on the bench. Rachel hugged Samuel tightly, as if afraid that someone would take him away. She looked around anxiously.
Medium shot. The bathroom door was pushed open. The hero John Booker came out. He is tall and handsome, wearing a well-fitting suit. Behind him was another police officer and his assistant-Carter of the Black Police Palace.
John (to the police officer): Let these people get out of the way, don't get so close. (To Carter) Call Shafer and ask him to be here right away.
Carter: Yes.
John (to a policeman): Pretched, who found the body?
Prechide (pointing to the administrator): It's him, sir.
John: Hello, dad. Is it the body you found?
Administrator: Well, it's not me, I called the police. It was discovered by a child.
John: What kid?
Administrator: How do I know what child it is? It's a kid in ridiculous black clothes. (Referring to Samuel) There.
John looked in the direction he was pointing.
John: Thank you, dad.
He walked towards Rachel and Samuel. Samuel jumped into Rachel's arms in fright. Rachel comforted him softly in Amen.
John squatted down in front of Samuel.
John (to Rachel): How is he? I am a police officer, wife. I must talk to this kid. (To Samuel) What is your name?
Medium and close shots. Samuel was close to Rachel.
Rachel: Samuel. Samuel Lampe.
John: Is it your son?
Rachel nodded.
Close-up shot in the top view. Carter enters the screen.
Rachel: We are going to Baltimore. My sister girl is waiting for me there. The train will leave in a while.
John: We will arrange another train for you. (To Samuel) Sam (note 2), it was a policeman who was killed tonight, and my job is to investigate this clearly. I hope you tell me everything you see in the toilet.
Samuel: Well... there are two.
John: You mean there are two people?
Samuel: I only saw one.
John (to Carter): Does anyone else know about this?
Carter: No, no one had time to talk to him.
John (to Samuel): What does the one you see looks like?
Samuel (pointing to Carter): Like him.
In the middle and close shots, John looked at Carter, but he didn't understand what he meant, and then he came over.
John (referring to Carter): Is it a black man? dark skin?
Samuel (gesturing): Well, but he is not Schtumping. (Note 3)
John blinked puzzledly and looked back at Carter, who also shook his head.
John (to Rachel): What is Schtumping?
Rachel: On our farm, if a pig is born very young, it is Schtumping. The smallest pig in a litter.
John (to Samuel): So, (chuckles) he is not a pig. He is... (He stands up next to Carter)... He is a big man, just like me, right?
Samuel (laughs): Big guy.
16. Interior view. In John's car.
Mid- night scene. Move the lens. Rachel sat in the back, John drove, Carter sat on his right.
Carter (outside the picture): ...Zanovic made a mistake. This kind of thing is also common. This time killed him. I was too anxious, but my throat was cut.
John: Yes. Yes.
Rachel (to John): Where are you taking us?
John: Oh, sorry. Let's find the suspect. There is reason to believe that he is still nearby, so I want this little boy to have a look.
Rachel (leaning forward): You have no right to keep us here.
John: Ah...I have the right. Your son is a witness and witness to the murder.
Rachel (sit back to the original position): You don't understand at all. We have nothing to do with your laws!
John (laughs): I have heard a lot of these words. Many people say so.
Medium shot. Move the lens. Rachel and Samuel were talking in Armenian.
John (outside the painting, to Rachel): What did he say?
Rachel (a glance at him): He asked who you are and what your name is. I told him that we don't need to know anything about you.
John (to Samuel): Booker. John Booker.
Rachel gave him a dissatisfied look and turned his head out of the window.
17. Location. Street.
Taking a panoramic view at night , John's car stopped in front of the "Happy Valley" bar. This is a black bar. It is playing a very strong rhythm "Let's Go Crazy".
Panoramic view. John and Carter got out of the car and walked to the "Happy Valley" bar.
18. Interior view. bar. The
distant view at night . John and Carter walked into the dark bar with noisy sound. They are obviously familiar with this place.
Carter (to a young man): Hey, boy, where are you going?
Medium shot. Carter walked towards a big black man.
Carter: Looks good, buddy.
John: Hello, buddy. How about it?
As he spoke, he quickly twisted the big black man's hands behind his back.
Big black man: What the fuck?
19. Location. John's car. The
mid-to-distant view at night . John pushed the big black man to the front of the car.
20. Interior view. John's car. The
distant view at night . Shot from Samuel's perspective. The big black man struggled, and John pulled his head to the car window.
John: Is it this person, Sam?
Close shot. Zhaimuir shook his head in fear.
John (outside the picture): Is it him? (Samuel shakes his head) Are you sure?
Samuel nodded.
Mid shot from up shot. John let go of the big black man.
John: Go away.
Rachel (to John): You, listen to me, I never want to be involved in this matter anymore, and neither does my son.
John: Okay, okay, let's get in the car. Go back to the car.
Big black man (outside the picture): What is going on?
John (walking up): I made a mistake, right?
The big black man and the other black people laughed, waved their hands, and went back to the bar.
Carter (with Rachel's mother and son): John, what do they do?
John (didn't understand for a while): What?
Carter: Are you looking for a hotel or...
John: No, if you put them in a hotel, they will be gone early tomorrow morning, and you have to send someone to Baltimore to find them.
Carter: What should I do?
John (holding out a finger): I have a way.
21. Interior view. Yilan's house. night
Mid shot from up shot. Elaine answered the door. She looked like she was in her thirties, and she was thin. John walked in the door, and Rachel hugged Samuel and followed behind.
John (to Rachel): This is my sister Elaine. (To Elaine): This is Lampe and Samuel. Where do you think they live, is it the back bedroom or the blue room? (Note 4)
Elaine was baffled by all this suddenness, and she tried to stay calm.
Elaine: Oh, yes, of course I live in the blue room.
John stepped up to the second floor a few steps.
Elaine closed the door, turned and ran up the stairs, leading the way for Rachel and her mother.
Elaine: Would you like me to help?
Rachel: Oh no.
Elaine stopped and watched Rachel mother and son go upstairs. John appeared upstairs.
John: Just behind, Sam, behind.
He came downstairs.
Elaine: Why do you single-handedly do this tonight?
John (pats Elaine on the face): This is too important.
Elaine ran upstairs.
Eline (to Rachel): Oh, keep going, there is a folding bed where your son sleeps. (Outside the painting) Hey, he turned on the light, which is good. (She runs downstairs and walks into the kitchen)
Elan (angrily): I told you I have guests here!
John (opens the refrigerator): Where are Billy and Jason?
Elaine: Sleeping upstairs.
John: Do you still get a man with the kids at home?
He closed the refrigerator and walked out of the kitchen with a carton of milk in his hand. Elaine followed him.
Elaine: It's none of your business. Don't think that you are the only gentleman, and you don't need to talk too much! Besides, the children also like Fred.
John (stops): Fred? So that's another Fred?
Elaine: Who is the orphan and the widow?
John (hands the carton of milk to Elise): They are Amen.
panoramic. Elaine opened the door of the blue room and stood in the doorway. Samuel was lying on the cot under a blanket, and Rachel was kneeling by his bed in a white robe.
Elaine: Is everything in order?
Rachel: Yes, thank you.
Elaine: John said you are Amen.
Rachel (heads up): Yes.
Elaine: Oh. (She closes the door)
Close up shot from the back.
Samuel: Do we have to stay here?
Rachel: No, only one night. (Kissing Samuel) Pray. (Gets up and sits on another bed)
22. Interior view. Police station.
Take a panoramic view from upside down during the day . A long passage in the police station building. John put his coat on his shoulder with his left hand and a cup of coffee in his right hand, drinking while walking. Rachel pulled Samuel to follow. A police officer came to meet him.
Officer: Hello, Captain.
John: Hello, Bob.
Rachel: When can we leave here?
John: I try to finish as soon as possible, and then you can leave.
Rachel: That's good.
John: But maybe Samuel has to come back to testify, I'm sorry.
Rachel: No, no, you are very happy.
John: Happy?
Rachel: Because you have witnesses now.
John: Yes, I have a witness.
Rachel: I don't want my son to spend all his life with someone who is beating people with a gun.
John: Beat someone? (Talking to himself) Beat someone?
23. Interior view. Witness room.
Medium shot during the day . Rachel and Samuel. John walked up and picked Samuel and put it in front of the window.
John: Come here, boy. Oh, the big man. Do not be afraid. You can see them, they can't see you.
panoramic. Shot from Samuel's perspective. Through the double-sided mirror, a police officer and black suspects lined up against the wall can be seen.
Officer: Take off the hat and sunglasses. Stand up straight.
Close shot of Samuel.
John (outside the picture): I want you to tell me, is there anyone you have seen in the toilet?
24. Interior view. trial room. During the daytime
, it takes a mid-close shot. The camera shot the suspects horizontally, and paused for a while on the third person.
John (outside the picture): Don't worry, look carefully.
25. Interior view. Witness room.
Close shot of Samuel during the day . He recognized it carefully, then shook his head.
John (outside the picture): I saw it. Can you be sure?
Samuel nodded.
John: All right. (He knocks on the window to notify the police officer outside)
20. Interior view. a fast food shop.
John and Samuel stood at the counter during the day . The chef handed a plate of red sausage bread to the waiter.
Chef: Three portions of red sausage bread.
Waiter (outside the picture, to John): Here is what you want.
Samuel picked up the plate and walked towards a round table.
John (to the waiter): Thank you.
John sat down opposite Rachel. He grabbed a bread with sausage and ate it. Seeing Rachel and Samuel were paying attention to him, they couldn't help but stop chewing and put the food in their mouths.
Rachel took off Samuel's hat, they closed their eyes, bowed their heads, and began to pray before meals. Then Samuel began to eat bread. John couldn't help laughing when he saw that he was eating very fragrantly. He continued to chew the food in his mouth in relief.
Rachel: Your... Your sister said you haven't got a family yet.
John (answer while eating): Yes, not yet.
Rachel: Yes. She thinks you should get married and have your own children instead of being the father of her children.
John: Oh, is it?
Rachel (seriously): Besides, she thinks you are afraid of taking responsibility.
John (stops): Very interesting. What else?
Rachel: Well, yes, she also said that she thinks you like being a policeman. Because you think you are right in everything. Only you in the world can do everything. And, um...when you drink too much beer, you will say: "The other policemen are all shit." I believe that's what she said.
John smiled, as if he heard these words for the first time.
Samuel gulped and was not interested in their conversation.
Rachel: Look, he doesn't have a bad appetite.
She stroked Samuel's head fondly.
27. Interior view. Police station.
Close-up shots during the day . John sat at his desk with a hand on the shoulder of Hanmuir who was standing next to him, flipping through a copy of archived photographs of criminals. He turned page after page, paying attention to Samuel's reaction.
Close shot. Samuel shook his head.
Police (outside the picture): Captain, Captain.
John (looks up): What's the matter?
Officer (outside the picture): Sergeant Carter is looking for you.
John (pick up the microphone): Hello, how is it?
Close shot. Samuel looked around.
Medium and long-term view. A female police officer looked at Samuel's cuteness and nodded at him, but Samuel didn't move.
John (to the microphone): I don't know.
Female police officer (softly outside the picture): My child. (She beckons to Samuel, Samuel still doesn't move) Look, he's still shy.
Close shot. Samuel looked back at John, he was still on the phone. Samuel walked towards the female police officer.
Medium and long-term view. Samuel walked to the female police officer, and she smiled and handed him a biscuit.
Mid shot from up shot. Samuel shook his head. He turned and walked away.
Medium and close shots. A prisoner winked at Samuel and nodded to him. Samuel walked up to him.
Close up shot. A prisoner violently hit the handcuffs handcuffed to the iron chair, making a "clang-dang-dang-dang" sound. Samuel backed away in fear.
Police (to the prisoner): Hey! Why!
Close-up shot. People are very busy in the office. Samuel retreated to the other end. Someone smiled at him, and someone touched his head as they walked by him. Samuel stopped in front of a prize showcase.
Medium and close shots. Shot from Samuel's perspective: one prize after another can be seen through the glass of the showcase. A large newspaper clipping was pasted in the glass cabinet, and a large photograph on the newspaper clipping was particularly eye-catching. The camera gradually focused on the newspaper clippings.
A close-up of Samuel, his eyes widening and staring at the photo.
Close-up of newspaper clippings. Two lines of eye-catching characters: The
anti-drug group police officer McPhee
won the Youth Award. The
lens shifted to McPhee's photo.
Medium and close shot. Samuel looked at John.
COSCO storm. John is still on the phone and has no idea to reach Samuel.
close up. Samuel looked to the other side.
Pan shot mid shot. Shot from Samuel's perspective. A black police officer and another police officer were standing and talking. Samuel was about to open his mouth and shut his mouth again.
close up. Samuel stared at the photo.
Medium shot. John's gaze shifted to Samuel inadvertently, and he seemed to be showing signs of something, putting down the microphone in one hand and the cup just raised to his mouth with the other, and walked towards Samuel.
Close shot. John squatted down beside Samuel. Samuel stood up and slowly stretched out his right index finger to point to the photo. John followed his fingers and looked over.
Great close-up. Photos of McPhee.
Medium and close shots. John looked surprised. He hurriedly covered Samuel's fingers with his hands, and then nodded knowingly. Samuel smiled at him.
28. Interior view. Shafei's house. night
Panoramic view. The doorbell rang, and Cathy—Shafee's daughter ran down from the stairs.
Cathy (to parents): I'll open the door!
The door opened and John was standing at the door.
Cathy: Oh, hello.
John: Hello, Cathy.
Cathy (outside the picture): Dad!
panoramic. When John walked to the study, Shafer's wife Marilyn greeted him in the kitchen.
Marilyn: Hello, John.
John hurried into the study. Police Chief Paul Shafe followed with a smile. He is over half a hundred years old, his temples are stained with cream, he is moderately fat and thin, and he looks kind and shrewd.
John: McPhee did it, Paul.
Medium and close shot. Paul's smile disappeared, and he quickly closed the door.
John (outside the picture): Anyway, he is one of the prisoners. An Amen kid saw it with his own eyes.
Paul: McPhee? Captain of the anti-drug team?
John: Exactly.
Paul (outside the picture): I hope your evidence is accurate.
John poured a drink and then sat down opposite Paul.
John: That's all clear, Paul. Four years ago, the anti-drug team conducted a raid, which included the seizure of 550 gallons of PZP. These things are stored in the police station warehouse. Philadelphia supplies "Spider" medicines to major cities across the country, and PZP is needed for pharmaceuticals, and they are willing to buy them for five thousand yuan a pint. I called the warehouse and replied that there were no five hundred and fifty gallons at all. That's 22 million dollars, Paul. Guess, who did the task four years ago?
Paul (quietly): McPhee.
John: That's right.
Paul: Have you talked about it with him?
John: No, he went to Florida on vacation.
Paul: Okay, what help is needed?
John: People. People outside the police station. Some people have to be sent to stare at McPhee and wait for him to come with him.
Paul: Yes. The FBI or someone from the Treasury Department. I will arrange this myself. I hope this matter is kept secret, where is that boy?
John: In me...in my sister's house.
Paul: He has to change place. Who else knows about this?
John: Only you and me.
Paul (leaning forward): This is the best way.
20. Interior view. Apartment garage. Night
panorama. A car came and stopped. John got out of the car, opened the trunk at the rear of the car, took out the shirt with a plastic sleeve and a few books and walked to the elevator. He pressed the light button, and footsteps suddenly sounded behind him. He turned around.
Medium shot. McPhee walked towards him with a gun in his hand.
John quickly drew his pistol and fired at McPhee. McPhee's gun fired first. The two concealed themselves behind the car and shot each other.
The elevator door opened, and a pair of elderly widows inside were so frightened that they were so frightened. The old woman ran out abruptly.
Man (rushing out of the elevator and shouting loudly): Tweila, come back!
John shot and waved back at them.
John: Go back! I am the police!
Man: Come back!
He pulled the old woman in, and the elevator door closed.
Medium and close shots. McPhee was shooting.
The elevator door opened again, and the old woman ran out pointing at a car that had been hit.
Old woman: That is our car!
John (screaming): Go in the elevator!
The man went to pull the old woman again.
Man: I don't care about this car...
John: This idiot!
Before the voice was over, the elevator doors closed again.
John and McPhee continued to fire. McPhee suddenly got into a car, John continued shooting, and the car drove away like a whirlwind.
John (loudly): I know you, bastard!
Close-up shot. John bent down to pick up the shirt on the floor.
Blood dripped from his abdomen on the plastic sleeve over the shirt. He slowly sat on the ground and let go, the pistol fell on the blood-stained plastic sleeve.
John recalled his conversation with Paul.
Paul (outside the picture): Who else knows about this?
John (outside the picture): Only you and me.
30. Interior view. Yilan's house.
Close-up shot at night . Elaine hurriedly opened the door of the blue room, turned on the light, and squatted down beside Rachel's bed.
Elise: Here comes John. He said you have to leave here immediately. Looks very anxious.
Rachel (whispering): What?
Elise: I don't know, put on your clothes.
She hurriedly closed the door, then went to knock on the bathroom door.
Elaine: John! John!
John (outside the picture): Pull my car into the garage and close the door.
Elaine: John, what the hell is going on?
John (outside the picture): Just say you don't know anything, understand? Just say I borrowed your car, okay? I didn't explain why I borrowed it. You have never heard of a woman and a child.
He opened the door and walked out.
Elaine: John, please, tell me why.
Close-up of John. He was wearing a trench coat and his face was ugly.
John: Do as I say.
31. Location. Elaine's car.
Mid- night scene. Move the lens. John was in the driver's seat, Rachel behind him.
Rachel: You said that we are safe in Philadelphia.
John: I said it, but I was wrong.
32. Interior view. Carter's house.
Mid shot at night . The ringing of the phone awakened Carter in his sleep, he turned on the light sideways and picked up the microphone.
33. Location. Street.
Panoramic view at night . John drove to a stop in front of a public telephone booth on the corner.
Carter (voice on the phone): It's me.
John: Did you hand over the record of your child's conversation to Shafee?
Carter (voice on the phone): No.
John: I hope you will destroy all the files of this case, just tonight, understand?
He put the microphone between his shoulder and head, and he put bullets into the pistol as he talked. His hands were trembling and his head was sweating profusely.
34. Interior view. Carter's house. Ye
Carter (to the microphone, surprised): John, do you know what you want me to do?
35. Interior view. Telephone room. Ye
John (the bullet while on the phone): Do as I told you, buddy! I will be missing for a few days.
Carter (voice on the phone): John, what's the matter? What happened?
John: I will call you whenever I get the chance. Beware of the enemy, this matter also has Shafei's share.
36. Interior view. Police station.
Close up at night . Carter's hand searched nervously in the drawer. He took out the file he was looking for.
Carter close up.
close up. Carter's hand opened the portfolio.
Close-up shot. After checking the name on the portfolio, he hurriedly clamped the portfolio under his arm, turned off the light on the table, got up and hurried out. As soon as I went out, I ran into a colleague who was on the night shift.
Colleague: What are you doing?
Carter (brainly), nothing, added a class.
Colleague (looking at Carter's back incomprehensibly): What's the matter?
37. Interior view. Elaine's garage.
Close-up shots during the day . The garage door opened, and McPhee stood at the door, with Fergie and Paul behind him.
McPhee (pointing to John's car): This is it.
panoramic. McPhee pried the door of the car and Fergie opened the trunk at the rear of the car.
Medium and close shot. McPhee got into the car. Fergie was checking the contents of the suitcase.
38. Interior view. In the car. During the day,
McPhee picked up a blood-stained cloth.
McPhee: Hi, Fergie, I said he took me a shot.
30. Location. Elaine's house.
Take a close-up shot from the back during the day . Elaine was standing behind the half-covered door, and Paul was standing at the door.
Paul (smiling): He is in trouble. I want to help him, and I want you to help him. We just want to know where he is.
Elaine: What's the trouble?
Paul: It's our internal business, you don't have to worry about it. As long as we can talk to him, we can clarify the facts.
Elaine: Internal matter?
Paul: Yes.
Elise: Are you saying that he involved in any illegal activities?
Paul: I'm afraid it is.
Elaine (laughs): Anyone who knows John can tell this is a big lie at a glance.
Paul: Of course it is, Elaine. But until the suspicious point is not clear, it is better to let John come back to restore his reputation.
Elaine: You better leave me here.
She said, closing the door unceremoniously.
Paul (pushing open the door hard): I don't want to force you to go to trial. He walked with that Amen woman, right?
40. Location. McPhee's car.
Paul opened the car door during the day .
McPhee (turning back): Did she tell you where he was?
Paul: I don't think she necessarily knows. How is Carter?
McPhee: He is tight-lipped. I am working on him.
41. Location. Country road.
Panorama during the day . John drove towards the side road. Dust was raised from the passing cars. On both sides of the road are tall wheat seedlings. The car drove to the farm.
By the side of the road, the wheels of the mill were turning, and the white geese strolled leisurely on the grass.
42. Interior view. Chicken shed. daytime
Pan shot mid shot. Eli walked out of the chicken shed. In the distance, Samuel ran towards him.
Eli (opens arms): Samuel!
Samuel: Grandpa! (He plunges into Eli's arms)
43. Interior view. Car.
Rachel during the day (to John): You should rest. I'll get some coffee.
John: No, I can't stay here.
Rachel got out of the car with his bag and closed the door. The vibration of the body made John tremble with pain. He was pale and sweaty.
Rachel: Will you come back and take Samuel to testify?
John (smiles bitterly): There will be no testimony.
The car started. Rachel watched John drive away with some worry. Eli stood behind her holding Samuel.
Eli: What's wrong? Who is that man?
Rachel looked at the car without answering.
44. Location. Car.
Take a panoramic view from upside down during the day . John gritted his teeth, resisted the pain, and continued to drive. A burst of pain struck him, making him unable to grasp the steering wheel. The car rushed into the field, hit a pillar, knocked the bird box on the pillar to the ground, and smashed the windshield in front of the car.
Eli put Samuel down, and Samuel ran to the scene of the accident. Rachel followed him.
45. Interior view. Car.
Close-up shots during the day . Rachel opened the car door, and the blood from John's wound soaked the hem of his shirt. He closed his eyes tightly, sweating profusely.
Rachel: Oh, John! (Shouting) Eli, come on, carriage! (To John) Why didn't you go to the hospital?
John (grabbing Rachel by the neckline): No, don't go to the doctor... It's a gunshot wound. They have to report it. Once they report it, they will find me, and when they find me, they will find the child.
46. Location. Lampe Farm. During the day, the
mid-range shot was shot down. Eli drove up in a carriage and stopped by the car.
Eli (see John motionless): Is this English speaker dead?
Rachel: No.
Eli: It's like dead. (He leaned into the car and picked up John) Come, let's go. (Speaking Amen to Rachel) Lift here, lift here. one two Three.
Rachel lifted John's leg, and the two struggled to put him in the carriage. John almost fainted in pain.
47. Interior view. Lamp's house.
Take a panoramic view from upside down during the day . The door on the ground floor opened a gap, and Dr. Amen Stoltzfors stepped in.
Eli (outside the picture): He is upstairs.
Close up shot from the back. John's abdomen was covered with a piece of blood-soaked gauze. Stoltzvers lightly touched.
Stoltzvers: It's very hot. (He uncovers the gauze, revealing two bullet holes) The bullet goes in there, and then it comes out from here.
Samuel peered in from the door, Rachel looked up and found him and gestured to him to go away. Rachel, Stoltzvers and Eli walked to the door.
Stoltzvers: There is a risk of infection. He lost too much blood. I am not an official doctor. This person should go to the hospital for treatment.
Rachel (closing the door, lowering his voice): He must stay here.
Eli: What if he dies? The police will come here. They would say that we broke the vow.
Rachel: Then, we must pray not to let him die. If he is really dead, we will not let others know!
Eli: But Rachel, this is a matter of life.
Rachel (close shot): I know that. God help me. I know, Eli. But I can tell you that once they find him, those who shoot him will come and arrest Samuel.
Stoltzworth: So, um... Use three parts milk and two parts linseed oil to make a medicated paste and apply it to him to prevent infection. I will ask Mary to bring me the herbal tea that I made myself.
Rachel (gratefully): Thank you.
Stoltsvers and Eli walked to the bottom floor, and Eli opened the door.
Stoltzvers: Lamp, I have to talk to the elders about this.
Eli: You can figure it out.
48. Interior view. barn.
Panorama during the day . Rachel and Eli pulled John's car into the barn by horse. Rachel closed the door quickly.
49. Interior view. Lamp's house.
Close up shot at night . The dim light from an oil lamp shone on the face of John who was in a high fever. He was shivering and breathing heavily.
Medium and close shots. Rachel put the medicine-soaked towel on John's wound, and the unconscious John clutched her hand tightly, speaking nonsense in his mouth. Rachel wiped his sweat with a towel.
John: Bastard, don't do it! I fucking... I fucking killed you! You badass!
Medium and long-term view. Rachel walked into the room with the lamp.
Rachel (softly): John.
Rachel knelt by the bed and called out several times, but when he saw that he didn't respond, he was frightened. She hurriedly took the lamp and shone on John. John in his sleep turned over. Rachel breathed a sigh of relief.
50. Interior view. John's room. Early morning
panorama. Dawn spilled into the room through the window. John woke up. He found Rachel sitting at the table in his clothes and asleep.
51. Interior view. Paul's office.
Medium shot during the day . Paul was on the phone, and McPhee and Fergie were listening.
Paul: Are you saying that we can't find this woman? We are now living in the twentieth century. Sergeant, you can enforce law enforcement.
Sergeant (voice on the phone): That's your business, Chief. Amen do not live in the twentieth century, nor do they use twentieth-century thinking to look at problems, Director. If the Amen took away your people, I really can't do anything about it. If you can find her, I would rather hang her...
52. Interior. County Police Department.
Sergeant during the day (to the microphone): ...The problem is that about one-third of the Amen here have the surname Lamp, and there are more than 14,000 Amen in the vicinity alone, and that is just a Lancaster. What about special county. over there……
53. Interior view. Paul's office.
Paul continued to call during the day .
Paul (interrupting him): Very interesting, Sergeant. But this is a very important case, related to the killing of a police officer. There should be a personal roster or something.
Sergeant (voice on the phone): This... of course, there are tax books, voter books, but, I tell you, I don’t have enough manpower to send to every Lampe farm in Lancaster County at the moment. See if there is the Rachel you are looking for.
Paul: Sergeant, what you said may make sense. You can make a few calls.
Sergeant (voice on the phone): Yes, maybe you can call. But because Amen doesn't have a phone, I really don't know who to call.
Paul (grily): Thank you, Sergeant. It is considered that I paid the tuition.
54. Interior view. Lamp's house/John's room.
Take a close-up shot from the back during the day . John was lying on the bed. The surrounding voice awakened him. He opened his eyes laboriously.
At the end of the bed stood several elders with beards, and Stoltzvers stood at the forefront. Rachel sat on the edge of the bed.
John (to Rachel): Who are they?
Rachel: The leader of our region. They decided to see you in person. Except for Stoltzforth...he was here on the first day, I think, he saved your life.
Stoltsvers: No, it's not me,
John ( worriedly to Rachel): Does anyone else know that I am here?
Rachel: Nothing.
John: How long have I been here?
Rachel: Two days.
Stoltsforth (walking to the bed, leaning over, smiling to John): Take a good rest, Mr. Booker, this is best. Also, drink more of my tea, drink more.
He and the others walked out of the room.
Rachel brought a cup of tea to John's mouth.
John (takes a sip, frowning): Tell... him, his tea is terribly bitter. (He then finishes drinking, then lie down)
Rachel: You can tell him when you are done. We are all very happy that you survived, John Booker. We don't know what we should do if you die.
55. Location. Lamp's house.
Close-up shots during the day . The elders walked out of Lamp's house. It was drizzling outside. They put on straw hats, opened the black cloth umbrellas, and walked along a path. Eli saw them off.
An elder: We didn't ask how he got here, this is not our business.
Yi Cai: He will go away as soon as his injury heals.
The elders talked in Amen language. Eli stopped.
56. Interior view. John's room.
Take a close-up shot from the back during the day . The drawer of the dressing table was gently pulled open by a small hand. This is Samuel. He picked up the pistol in the drawer.
John struggling to walk out of the back room on the wall. His abdomen was wrapped in a bandage, and his body bent. When he saw Samuel holding a gun in his hand, he yelled.
John: Don't move! What are you doing?
Samuel was taken aback, and quickly put the gun back in the drawer. John picked up the gun, sat down by the bed, and took off his clothes.
John: Come here, come here, Samuel, sit down. This is a loaded gun. Very, very dangerous, remember, never run into a loaded gun! I took the bullet out and it's safe now. understand?
Samuel: Got it, Mr. Booker.
John: Call me John. I was afraid of hurting you, not yelling at you deliberately, I was afraid that you were hurting. Now, just watch it carefully, the bullet has been removed and it's safe. (He hands the gun to Samuel) You want to hold it, you can, as long as I'm here, but it's not the right way to do it that way.
At this moment, Rachel walked in with a tray smiling.
John quickly took the gun from Samuel, but it was still seen by Rachel. Her face changed suddenly.
Rachel: Samuel, go downstairs and wait for me.
Samuel left obediently.
Rachel (seriously): John Booker, when you stay in this house, I insist that you respect our rules!
John (handing over the pistol): That's right! Take this and put it in a safe place, where he can't find it.
Rachel pinched the gun with two fingertips, and walked out cautiously, as if avoiding some plague, far away from the body.
Medium and long-term view. The gun is on the table. Eli sat at the table with his arms around Samuel. He picked up the gun.
Eli: This gun in my hand is used to take a person's life. We believe that taking human lives is wrong. Only God has this power. There have been several wars, and people told us that you must go to war and kill people. That is the only way to protect the good. But Samuel, there can never be only one way. Remember well. Will you kill?
Samuel: I will only kill bad people.
Eli: It will only kill bad people, I understand. But can you tell with your naked eyes which people are bad? Can you see through their souls and see their sins?
Samuel: I can see what they do. I have seen it.
Eli: If you have seen it, you will become one of them. Do you understand?
Close shot. Guns and bullets on the table.
Eli: Whatever you put in your hands, you will put it in your heart. (Solemnly) "So you come out of them and become an independent group, God says." Don't touch unclean things. Now, go and finish your work.
Samuel: Yes, grandpa.
57. Interior view. John's room.
Medium shot during the day . John was sitting at the table, holding a book in his hand. Rachel came in to make up the bed.
Rachel: Does the book look good?
John: Oh, it looks good. Learned a lot about fertilizer. very interesting.
Rachel removed a set of clothes from the wall. She was standing in front of the bed, carrying some clothes.
John: What is that?
Rachel: There was blood on your clothes, I washed them. You can wear these clothes.
John: Is it your husband's clothes?
Rachel: Yes. Someone can wear it. This is good. (She puts the clothes on the bed) Besides, you look like an outsider in your own clothes. Oh, I have to tell you, this coat has no buttons. Look, there are hooks.
John: What's wrong with buttons?
Rachel: Buttons stand for prominence, um, pride, vanity, not plain at all.
John: So, what's wrong with the zipper?
Rachel: Are you making fun of me?
John: No.
Rachel (looks out the window): Like those tourists. Always staring at people endlessly. Sometimes they come into the yard. This is very rude. In their opinion, we seem to be weird.
John: I really don't know why they think so. By the way, is there a phone near here?
Rachel: It's in the Gunter family over the valley. (Laughs) They are from another group. They also have cars and refrigerators.
John: No, no, I'm talking about paid public phones.
Rachel: There are in Salisberg's shop, but you can't go there yet. (She walks towards the door)
John: I will go this morning.
Rachel: But Stoltzvers said you have to...
John (interrupting her): Yes, I know what he said.
Rachel: Okay. You can go with Eli. He wants to send Samuel to school. But you better hurry up.
John looked at Rachel gratefully. Rachel reached out and closed the door.
John: Rachel...
Rachel looked back.
John: ...nothing.
Rachel closed the door gently.
58. Location. Lampe Farm.
Panorama during the day . A carriage drove up. Eli and Samuel were sitting in the car. The carriage stopped in front of the door.
59. Interior view. Lamp's house. daytime
Medium and close shot. kitchen. John stood in front of a small mirror in Rachel's husband's clothes, which looked fat and short. Rachel, who was washing the dishes, looked at him and let out a laugh.
John: What's wrong?
Eli (outside the picture): Hurry up, John Booker!
Rachel: You can go now. (She can't help but laugh)
John (walks to Rachel): My gun. I need my gun.
Rachel immediately became serious. She got up and walked to the cupboard, took out the pistol, pinched it with her fingers and handed it to John.
John took the gun and was about to leave, and found no bullets.
John, where's the bullet? No bullet gun is useless.
Rachel (get it here): Of course.
She took the bullet from the jar in the other cupboard. John took the bullet and blew off the sticky flour.
John: Thank you. (He walks to the door and turns around) Uh, how do I look? I mean, am I like a...Amen?
Rachel (sincerely): You look very plain.
John: That's good. (He opens the door)
Middle shot. There was a thoughtful look on Rachel's face.
60. Location. town.
Panorama during the day . Eli's carriage stopped near the other carriages.
John got out of the car. A group of Amen looked at him carefully behind him. John walked into the public telephone booth on the side of the street. Eli walked to the pile of Amen.
Eli (to everyone): He is an English speaker.
Everyone: Really?
Eli talked with them in Amen.
61. Interior view. Police station.
Panorama during the day .
Carter: This is Carter. Yes. It's you?
He looked nervously at the person next door, and closed the door, with fine beads of sweat oozing from his forehead.
John (voice on the phone): I plan to go back to deal with that matter. How is your situation there?
Carter: Very tight. Don't do that, don't come back. They are looking for you everywhere.
62. Interior view. Town/telephone room. Day
John: Yes, there is that child. That's why I can't help but walk in front of them.
Carter (voice on the phone): Listen, John, don't do that. You don't even want to get close to Shafee. Did you hear that?
John: I heard it.
Carter (voice on the phone): What shall we do? The FBI or...?
John: Maybe.
Carter (voice on the phone): How about finding a reporter who specializes in investigations?
John: No, that would be too dangerous. They will offer to talk to the children.
63. Interior view. Police station. Daytime
Carter: Listen, I want to make a few calls and tell you when I can come back.
John (voice on the phone): I'm leaving now, take care, old man.
Carter: Okay, so are you.
He put down the phone and looked around warily.
64. Interior view. Lamp's house. Long-term view during the day
. kitchen. On the table is a bottle of ready-made jam. Rachel made a mark on the bottle cap.
John walked in whistling and put the pistol directly into the cupboard. Rachel looked at him. John sat down at the table. He took Rachel's hand, and Rachel smiled puzzledly. John spread her hand and put the bullet on it.
John: Here you are, don't put them in the jam.
Rachel smiled.
65. Location. Lampe Farm.
Panorama during the day . The huge water wheel was spinning. By the waterwheel, John was listening to Samuel's explanation.
Samuel (gesturing): Do you see this stream? The water flows into the wheel, and the wheel turns. It makes the steel wire drive the water pump, and the water pump sends the water to the well, and then the water in the well flows into the house.
67. Interior view. Cylindrical granary. daytime
Medium shot. The bottom of the cylindrical granary. Samuel pushed open the small door of the granary. John knelt beside him.
Samuel: The echo in this place is so loud. (Screaming at the top) Hello!
The echo echoed in the cylindrical granary.
Panoramic view. A black-hole cylindrical granary.
John (putting his body into the small door): What's on it?
Samuel: Corn.
The cry of the kitten. Samuel handed John a black kitten and picked up another same kitten.
Samuel: Do you want to hug my kitten? I teach you how to tickle it. You hold it like this, let it lie on its back, and then scratch his neck.
68. Interior view. barn.
Panoramic view during the day . John's car is in the empty barn. The tailgate and door are open. There was a burst of sound of power generators.
Eli poked his head from the movable wooden door on the ground.
Eli: Is that you, Booker? What are you doing there?
John (leaning out of the car): Oh, I just want to start the car.
Eli: Now that you can repair the car, you can also work for me.
John: Of course you can. What are you doing?
Yi Cai: Let's just milk the cow.
John: Milking?
Eli: Cow, do you understand? Cows.
John: I saw it in the movie.
Eli: Very good. Start tomorrow.
He went down the ladder and closed the movable wooden door.
69. Interior view. John's room. In the early hours of the morning
, the mid-to-distant view was shot down. Eli opened the door and went in, carrying the lamp in his hand. He walked to John's bed and asked John to get up in Amen language.
John opened his eyes when he heard the sound, but immediately closed them again.
Eli: It's half past four, it's time for milking.
John sighed helplessly.
70. Interior view. Bullpen. Early morning
Take a mid-range view from the back. Cows. Eli and John walked into the screen. Eli hung the lamp on the iron hook above his head, and John, who was confused, slammed into the lamp.
Eli (puts a cap on John): Milking cap. (Pointing to the floor) Milking stool. (He demonstrates on the bench) That's it.
John was sitting next to the cow, and Eli was standing next to him.
Yi Cai: Hurry up. Squeeze down the nipple. (Seeing John clutching the nipples hard) Can you hear me? squeeze!
John: I'm squeezing.
Eli: Have you never touched a nipple before?
John: Never touched such a big one.
Yi Cai stood up and laughed.
John (squeezing and shouting): I will! I will!
71. Location. Lamp's house.
Rachel walked out of the kitchen early in the morning , grabbed the bell rope hanging from the eaves and pulled it up. A crisp bell rang in the yard.
72. Interior view. Lamp's house. Early in the morning,
John and the Lampe family were sitting at the dining table. Eli sat in a swivel chair with wheels, gently pushed the edge of the table and slid towards the stove, took what he needed and quickly slid towards the dining table. John looked at him curiously.
Eli motioned to John to eat.
John (shaking his head repeatedly): No, no, no, no.
Eli: Eat, Booker, eat. What's wrong with your appetite?
John: I'm not used to eating in the middle of the night.
Eli: I'm not used to doing heavy work. Hard work will have a good appetite. (Put food on John's plate)
John took a cup of coffee, imitating the tone of the TV commercial and said to Rachel sitting across from him ---
John (pointing to the cup): Honey, this coffee is great !
Eli, Rachel, and Samuel looked at him inexplicably.
John (explains quickly): This is... a joke. This is an advertisement on TV.
73. Location. Lamp's house. daytime
Take a panoramic view from up. Daniel came from the semi-ripe wheat field. He is carrying a small bag of things on his left shoulder, holding a fruit in his right hand, and eating while walking. He saw John from a distance and walked straight towards him.
John: Good morning.
Daniel: You are Booker, right?
John: Not bad.
Daniel: You are the Yankee they are talking about.
John: I think I am an English speaker.
Daniel: The English-speaking Yankees are all the same. My name is Daniel and Daniel Hocklettner.
They shake hands.
John: Hello.
Daniel (looking at John): You are quite plain, Booker. Very plain. (Laughs at John) I came to see Rachel.
74. Location. Lamp's house.
Panorama during the day . A row of clothes hung in front of the house. Rachel and Daniel sat on the hanging chairs in the corridor. The chair swings back and forth. Daniel looked at Rachel with enthusiasm. Rachel looked up and met Daniel's gaze, and she quickly lowered her head.
John walked into the courtyard from a distance, saw them, bowed his head and paced on the spot.
Rachel lowered his head to think not to look at him, but he couldn't help but looked up. Daniel looked at Rachel.
John walked slowly with his hands in his pockets.
75. Interior view. Barn/woodworking room. Long-term view during the day
. John is repairing the bird box. Rachel came with a glass of water.
John was planing a piece of wood, and he looked up at Rachel.
John: Uh, Eli said I can use his tools, um...try to fix the bird box.
Rachel (hands him the cup with a smile): I will bring you some lemonade.
John: That's great.
He took the cup and drank it in one fell swoop. He wiped the sweat from his face and glanced at Rachel gratefully.
John: Thank you. (Continues to plan the wood) What happened to Hokletner?
Rachel: He went home. He is a friend of our family, just like Eli's biological son. (Pause) You can woodwork?
John: A little bit.
Rachel: What else do you have?
John: Hit people. I am best at beating people.
Rachel: It's useless to beat people on the farm. (She walks to the door and looks back) Tomorrow I will lengthen your pants.
John: Okay.
76. Interior view. barn.
Panoramic view at night . The lights illuminate John's car. He was repairing the car, and Rachel was carrying a light for him.
Rachel: I told Eli that you are a carpenter...
John: Raise the lamp a little higher, okay?
Rachel: ...he said you can help Zoke build the barn.
John: Ah, as long as I'm still here.
Suddenly, the radio in the car rang. John and Rachel looked back at the radio at the same time.
The sound of the radio: Winnie's barbecue, I don't know Winnie's barbecue at all. That's West Coast stuff. Let's read some letters about Winnie. We are WB40-40, broadcasting songs from the golden age of the old days. The best and oldest songs are broadcast below. The following song will take me back to the past. I like it very much and hope you do the same. (From music) Sam Cooke was the first to sing this song, but this one is also good.
John (overjoyed): Oh, this is great. this is the best. (Singing to the music) I don't know much about biology, nor do I know much about French...
He listened in a trance, emotional. He put the light on the roof of the car, sang softly to the music, and patted the roof rhythmically. Rachel was standing on the other side of the car. She was infected by John and became happy. She looked at John, and the two looked at each other for a long time.
John walked around the rear of the car towards Rachel. Rachel watched him approaching him nervously if he was expecting it. The light blushed her attractive face. John smiled and Rachel smiled, but the smile was far-fetched.
John (pulls up Rachel's hand and sings):...With you, the world is so beautiful...
He danced with Rachel. Rachel smiled freshly and happily.
Rachel (laughs): What are you doing?
John didn't answer, he just danced and sang with his arms around Rachel.
John (singing): ...I can feel your love for me. I don't know much about history, I don't know much about biology...
He stopped suddenly, stared at Rachel, and approached her. Immediate
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