Witness

A big city cop. A small country boy. They have nothing in common... but a murder.

Release Date 1985-02-08
Runtime 112 minutes
Status Released
Watch

Overview

While protecting an Amish boy - who is the sole witness to a brutal murder - and his mother, a detective is forced to seek refuge within their community when his own life is threatened.

Budget $12,000,000
Revenue $116,100,000
Vote Average 7.097/10
Vote Count 1769
Popularity 3.0354
Original Language en

Backdrop

Available Languages

English US
Title:
"A big city cop. A small country boy. They have nothing in common... but a murder."
Deutsch DE
Title: Der einzige Zeuge
"Ein Großstadtpolizist, der zuviel weiß. Sein einziger Zeuge: Ein kleiner Junge, der zuviel sah …"
suomi FI
Title: Todistaja
"Suurkaupungin poliisi. Pieni maalaispoika. Heillä ei ole mitään yhteistä... paitsi murha."
Italiano IT
Title: Witness - Il testimone
"Samuel ha otto anni, è l'unico testimone di un delitto. Tre killers devono farlo tacere ma un poliziotto è disposto a dare la sua vita per salvarlo"
Français FR
Title:
"Un flic de la ville. Un gosse de la campagne. Ils n'ont rien en commun… Sauf un meurtre."
svenska SE
Title: Vittne till mord
""

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Cast

Crew

Reviews

John Chard
9.0/10
As 80s thrillers go it's pretty smart to say the least. The formula of this thriller (Drama) is not (was) new or even flag bearing as regards action set pieces and hide behind your hands suspense, yet it is still one of a kind for the genre and the decade it came from. The plot is a sizzler as it involves the central theme of outsiders who are considered outside of the mainstream norm. To have a thriller involving the Amish community not only brings into focus how different folks' beliefs can be, but to also hit home at just how ignorant many are to the ways of minorities and what they stand for. So many great things about the movie stand out. Harrison Ford is perfect, yes it's a perfect performance, his John Book is gruff and rugged yet as the story moves on he nails the endearment and knowing traits that the character calls for. Kelly McGillis is an actress who I feel drags down nearly all the films she leads in, yet here I forgive her because she is marvellous as Rachael, an Amish woman fighting her inner feelings as much as she is the bad outside world that wants to hurt her son. Peter Weir IMHO is one of the most under praised modern day directors around (yes even now), and here his deft hands put the story together adroitly, whilst John Searle's cinematography is gorgeous and out of the top draw. It's an almost perfect movie as regards acting and the process of making a film, I do however fly in the face of popular opinion as regards the score, it doesn't work for me (I'm sad to say), Maurice Jarre's drawn out synth seems to me out of place for the setting we are watching, I personally would have liked a more subtle string arrangement - but that is me... For those looking for a first time viewing in the Drama/Thriller genre then they can do no worse than seek this one out. It delivers on a plot front, and the ending doesn't pander to studio yearnings either. 9/10 The S/E DVD has a wonderful making of feature that is crammed full of quality input, and for Ford worshippers such as I, it contains none aloof input from the legend himself, that alone was worth the 5 Euros it cost me for this cracking film.
GenerationofSwine
10.0/10
My Fiance is a Millennial and I've been trying to get her and her friends to watch some classic films. Some, Taxi Driver, Chinatown, The Godfather, Godfellas, The Princess Bride, Blazing Saddles were epic fails for a variety of reasons. Witness actually stood the Millennial taste test for some reason, and this is significant because it is really hard to get them to watch or listen to anything that is older than 4 years. That says something, I'm not sure what, but it was a film that they actually sat through. It is also one of the tightest scripts Hollywood has produced, which is saying something since it was released in 1985 following almost a decade of the best movies that Hollywood has ever produced. It's pure story, and that story is backed up with acting and directing making for a beautiful picture all around.
Filipe Manuel Neto
8.0/10
**An action film mixed with a guided tour of an Amish community.** Here in Portugal, there are few religions other than the Catholic Church and there are no Amish, Mennonite or similar communities. Therefore, this curious religious community is an object of fascination for me and also of renunciation: to explain further, I radically disagree with their religious conceptions, I would never be part of such a religious congregation and, however, I find it fascinating, in today's world, the idea of ​​trying to have a simpler life, without excessive technology and in greater harmony with the natural rhythm. It would be a lifestyle that I wouldn't mind trying, even though I knew I would have difficulty adapting and living without access to the technologies that I work and entertain myself with. In this film, we follow a police officer who, upon discovering a case of corruption in the ranks, finds himself on the verge of having to disappear to avoid being killed and to protect the only witness to a crime in which another police officer was murdered: an Amish boy who lives with his mother, a widow, and his maternal grandfather, in an isolated rural area that is not very receptive to visits from “the English” (as some of them call to the normal people in this film). In the midst of all this, the film shows us the habits, beliefs and customs of these strict religious communities who, out of appreciation for humility and simplicity, renounced everything that could be a luxury and live stoically from subsistence agriculture. I won't go into considerations about the verisimilitude of the plot, but I believe that the script made an effort to create a convincing and reasonable story that we can believe in. It won the Oscar for Best Original Screenplay, which means something. What I can say is that, although the film is engaging, there are aspects that could be improved: the identity of the killers and villains could be kept a mystery for longer and, on the other hand, their motivations don't seem clear enough for me. Another aspect that was not clear was the fate of the young Amish widow's husband. The tension created between her and the congregation's elders could have been better explored, as well as the community's acceptance/rejection of the police officer. Directed by Peter Weir, the film had serious difficulties in finding a studio willing to commit money to the project, and did not have great support from the Amish community, which not only rejects the capture of images but also fears being invaded by crowds of curious, eager of souvenirs and photographs. Technically, the film is exceptional: in addition to the good cinematography, excellent editing (another Oscar that won) and good action scenes, we have good sets and costumes, which perfectly recreate the environment in which the Amish live, and their simple ways of living. Negative note: Kelly McGillis's nude scene, in addition to being out of place in the film, doesn't fit into the story and seems gratuitous. After many fantastic and sci-fi films, Harrison Ford got a different work, in a style that he would invest heavily in over the following decades: the action hero, with a pistol in hand and willing to do anything to save the day. The actor seems to be completely at ease with the task and gives us excellent work, fully deserving the Oscar nomination for Best Actor. Kelly McGillis doesn't do so well, but she does what needs to be done and doesn't deserve a negative rating. Danny Glover is a convincing villain.
CinemaSerf
7.0/10
When a young Amish boy "Samuel" (Lukas Haas) and his mum "Rachel" (Kelly McGillis) take a trip from their rural, largely agrarian, community into the big city he gets a little more than he bargained for - he witnesses the brutal murder of an undercover cop. The police decide the best way to protect him is to send him home to his family, accompanied by "John Book" (Harrison Ford), whist they await the trial. The perpetrators are on the hunt for him though, and it soon becomes clear that there is someone from within the investigation working with the baddies to track down and eliminate the witness. As an introduction to the lifestyle of this community, Peter Weir offers us quite an insightful assessment of a pacifist, technology free, society trying to live cheek by jowl with the relentless march pf progress and the teasing intolerance of their occasionally provocative neighbours. That they are wholly underprepared for what is coming when the location of the young lad is discovered, is an understatement - and this adds a great deal to the edginess of this thriller, as does the cunning game of cat and mouse amongst the grain silos at the end. There's romance too - as "Book" gradually falls for "Rachel" much to the chagrin of "Daniel" (Alexander Gudunov) which keeps the narrative progressing, albeit slowly, on that front, too. The script doesn't give Ford too much latitude when it comes to charisma - indeed, his characterisation is really rather dull and coupled with the serious paucity of verbiage from McGillis does hold the pace back for quite long chunks of the film. The years have not been especially kind to this - it has become more of a curio than any sort of gripping crime drama, but is still worth watching - and the 9 year old Hass is really rather impressive.

Famous Conversations

ELI: Eat up, Book. What's the matter with your appetite?

BOOK: Guess I'm not used to so much.

ELI: Not used to hard work. That's what makes an appetite.

ELI: Didn't you hear me, Book? Pull! You never had your hands on a teat before?

BOOK: Not one this big.

BOOK: Sure, I'm sorry. Hope you don't mind me plugging in to your battery. Mine's dead... How can I help? What can I do?

ELI: Maybe milking.

BOOK: Milking?

ELI: Cows. You know, cows?

BOOK: I've seen pictures.

ELI: Good, you start tomorrow.

BOOK: Put my car in the garage and close the door.

ELAINE: John, I don't understand any of this.

BOOK: You don't know anything... borrowed your car. Didn't say why. And you never heard of that woman and her boy.

ELAINE: John, why?...

BOOK: Just do it!

ELAINE: Who are these orphans, anyway?

BOOK: They're Amish.

BOOK: Where's Timmy and Buck?

ELAINE: Upstairs, asleep. Where'd you think?

BOOK: You've got a man here and the kids are upstairs?

ELAINE: That's none of your goddamn business! So keep your goddamn holier-than- thou mouth shut! Anyway, they like Fred.

BOOK: Oh sure, Fred.

ELAINE: How could you do this to me tonight? I told you I had company

BOOK: Sorry. It's important.

HOCHSTETLER: Everything is all right, John.

BOOK: Pick up the hat.

HOCHSTETLER: Nail it!

BOOK: Yes, sir.

HOCHSTETLER: Your hole is healed, then?

BOOK: Pretty much.

HOCHSTETLER: Eli says you're a carpenter, Book.

BOOK: It's been a while.

HOCHSTETLER: No matter. Come with me. We can always use a good carpenter.

HOCHSTETLER: I came to see Rachel Lapp.

BOOK: Try the house.

HOCHSTETLER: Good morning. Book, is it? You are the Yankee they talk about?

BOOK: I thought I was the English.

HOCHSTETLER: English, Yankee. It's the same. My name is Daniel. Daniel Hochstetler. You look plain, Book. Very plain.

SAMUEL: Are you really ever coming back?

BOOK: Got to, Sam. You and I are going to a courthouse together, put some people behind bars.

SAMUEL: Have you got your gun on now?

BOOK: Sure have, Sam.

SAMUEL: Don't let them hurt you.

BOOK: I won't. Now run. Fast as you can!

SAMUEL: Is it them?

BOOK: It's them, Sam. Now, Sam, listen to me and listen to me carefully. Listen to me as you never listened before.

SAMUEL: Are they going to kill you?

BOOK: Listen to me, Sam! I want you to go across the new corn to Stoltzfus'. Run as fast as you can. And stay there!

SAMUEL: What are you going to do?

BOOK: I'll be all right. You just do as I say.

BOOK: Hey, Sam...

SAMUEL: ...I want to say a thing.

BOOK: What's that, Sam?

SAMUEL: That's Luke. He doesn't like strangers.

BOOK: You don't say.

BOOK: You ever handle a pistol like this, Samuel?

SAMUEL: No pistol. Ever.

BOOK: Tell you what I'm going to let you handle this one. But only if you promise not to say anything to your momma. I've got a feeling she wouldn't understand.

SAMUEL: Okay, Mr. Book.

SAMUEL: He was... like him.

BOOK: Black... I understand. What else,Sam?

BOOK: Who'd you see, Sam? The man on the floor?

SAMUEL: No... I saw the man who killed him.

SAMUEL: I saw him.

BOOK: Who'd you see?

BOOK: It's all over, Paul.

SCHAEFFER: Move! Or you die right here!

BOOK: You're going to have to do it right here, Schaeffer.

SCHAEFFER: Don't try me, Johnny!

BOOK: You made a mistake, Paul. You shouldn't have taken Elton out.

SCHAEFFER: How bad did Mac get you? We figured pretty bad.

BOOK: I'm fine. I'm going to live a long time. That's what I called to tell you.

SCHAEFFER: Johnny

BOOK: You might want to pass it along to Mac.

SCHAEFFER: Listen to me, Johnny. Come in! You're out there all alone... We're getting close... real close... Maybe if you listen to me for a minute we can work something out so you can come in

BOOK: I've already got something worked out. Be seeing you.

SCHAEFFER: Who else knows?

BOOK: Just us.

SCHAEFFER: What's your first move?

BOOK: A hot shower... I haven't changed clothes in two days.

BOOK: Last guy I would have figured. But he's part of it.

SCHAEFFER: I hope you don't have any doubts about that.

BOOK: If I did, I'd have kept my mouth shut... It fits, Paul... Fifty-five gallons of P2P confiscated four years ago... Guess who was in on the collar? Mac. He salts it away somewhere... he knows the stuff is potent, but the street chemists haven't figured out how to process it. But they do now. And now the stuff is worth five-grand a pint and there are a lot of pints in a fifty-five gallon drum.

SCHAEFFER: Who else knows?

BOOK: Just us.

SCHAEFFER: Okay, what are you going to need to clean it up

BOOK: More people... Gotta pick up where Zenovich left off. People from outside the department.

SCHAEFFER: Maybe the Bureau. Or those bastards at Treasury. I'll take care of it. I hate this shit, Johnny. You cut their balls off for me. I'm counting on you.

SCHAEFFER: How reliable is this kid?

BOOK: Oh, he's good.

SCHAEFFER: Amish.

BOOK: Yeah.

SCHAEFFER: What have you got?

BOOK: Zenovitch was about to deliver a list of names tonight street chemists... the guys processing this P2P into speed.

SCHAEFFER: So one of them got to him.

BOOK: Maybe.

SCHAEFFER: You know who?

BOOK: Maybe.

SCHAEFFER: You're still convinced there's a link to the department?

BOOK: If there isn't I've just wasted the last six months.

SCHAEFFER: That's the problem. We need results. The press is driving us crazy over this P2P thing. Calling us the 'speed capitol of the country'. You know the sort of thing. It's getting political. The Commissioner's getting very uneasy.

BOOK: The Amish boy saw him, Paul. I'll make it, but Set Donahue and the Homicide Department off my back or they'll blow the whole thing.

SCHAEFFER: When word gets out that Zenovitch was a cop, all hell will break lose. You've got 24 hours. That's all I can give you. 24 hours on your own. After that the case and the witness go back to the Homicide Department.

SCHAEFFER: Tell you what... why don't you and that blonde what's-her-name come over for dinner Sunday. How 'bout that.

BOOK: What's-her-name moved to Buffalo.

SCHAEFFER: Well, anyway, don't get crazy. I'll do something for Zenovich's wife.

RACHEL: I want you to take this... to remember by.

BOOK: Where's my baggy pants?

RACHEL: Here. Whenever you want them.

RACHEL: There was a time when I thought you might have stayed.

BOOK: There was.

RACHEL: There was a time when I would have welcomed it.

BOOK: I know.

RACHEL: I was being foolish?

BOOK: No. I was being unrealistic. Even thinking about living this life.

RACHEL: You're so sure of that?

BOOK: Aren't you? After today?

RACHEL: I'm not so sure of anything as you are, John Book. You could live this life if you wanted to bad enough. Just as I could live yours!

BOOK: Oh, come on, Rachel. No way.

RACHEL: There is always a way! But you are such a... a Glotzkopp you cannot see! You'd rather go back to that city! To nothing! No woman! No children! No land!

BOOK: Land! Are you crazy? I'm no Amishman and I'm no farmer! I'm a cop. That's what I know and that's what I do!

RACHEL: What you do is take vengeance! Which is a sin against heaven!

BOOK: That's your way, not mine.

RACHEL: That's God's way!

BOOK: Well in the City of Philadelphia, God needs a little help!

RACHEL: You should not bother with that birdhouse. If you're leaving tomorrow.

BOOK: I'm leaving tonight. I'm going to need my clothes. And my gun.

BOOK: Won him over just like that.

RACHEL: I see. But I hope you have a lot of sugar. Eli is ready to go to Zook's.

RACHEL: When will you be going?

BOOK: Not long... A few days.

BOOK: Sure.

RACHEL: But... You may not be well enough.

BOOK: I'll drink some more of Stoltzfus' tea.

RACHEL: You know carpentry?

BOOK: I did some carpentry summers when I was going to school.

RACHEL: What else can you do?

BOOK: I can whack people. I'm hell at whacking.

RACHEL: Whacking is not of much use on a farm.

BOOK: Now hold on. There's a lot of people who think being a cop is a legitimate job.

RACHEL: I'm sorry. I'm sure it is.

RACHEL: Eli is a fine carpenter. Best in the district. He and his father built the big house themselves forty years ago.

BOOK: Oh? What happened to Hochstetler?

RACHEL: We had some lemonade and he left.

BOOK: A real fireball.

BOOK: The... bullets?

RACHEL: Oh. The bullets.

RACHEL: Well... the store at Saltzburg... But you won't be going to Saltzburg for a while.

BOOK: I'm going this morning.

RACHEL: But Stoltzfus said...

BOOK: I know what he said.

RACHEL: You can go with Eli. He's taking Samuel to school. But you'll have to hurry.

BOOK: Where's the nearest telephone?

RACHEL: Telephone? The Gunthers across the valley. They're Mennonite. They have cars and refrigerators and telephones in the houses even.

BOOK: No. I'd want a public phone.

RACHEL: I should tell you these do not have buttons. See? Hooks and eyes.

BOOK: Something wrong with buttons?

RACHEL: Buttons are Hochmut.

BOOK: Hochmut?

RACHEL: Vain. Proud. Such a person is Hochmutsnarr. He is not plain.

BOOK: Anything against zippers?

RACHEL: You make fun of me. Like the tourists. Driving by all the time. Some even come into the yard. Very rude. They seem to think we are quaint.

BOOK: Quaint? Can't imagine why.

BOOK: Your husband's?

RACHEL: Yes. It's good that someone can have the use of them. Besides, in your clothes you'd stand out to strangers.

RACHEL: Enjoying your reading?

BOOK: Very interesting. I'm learning a lot about manure. What's that?

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

RACHEL: John Book, I would appreciate it if, during the time you are with us, you would have as little to do with Samuel as possible.

BOOK: Nobody meant any harm. The boy was curious. I unloaded the gun -

RACHEL: It's not the gun. Don't you understand... It's you. What you stand for. That is not for Samuel.

BOOK: Tell him his tea stinks.

RACHEL: You tell him. When you're able.

BOOK: Does anybody know I'm here?

RACHEL: Only the elders.

BOOK: How long?

RACHEL: What?

BOOK: How long have I been here?

RACHEL: Two days.

BOOK: Listen, thank you. Thanks for everything. But I've got to go.

RACHEL: But you can't.

BOOK: Who are they?

RACHEL: The leadership of our district... the diener. Bishop Tschantz is the one with no hair on top. They decided to come and see you for themselves. Except Stoltzfus, of course. He came the first day. I think he saved your life.

BOOK: Can I have something to drink?

RACHEL: But John... why didn't you go to a hospital?

BOOK: No, no doctor...

RACHEL: But why?

BOOK: Gunshot... they'll file reports... they'll find me.

RACHEL: But

RACHEL: Stay for awhile. Rest. I'll make coffee and breakfast.

BOOK: I can't.

RACHEL: What about Samuel? Will you come back to take him to trial?

RACHEL: You said we would be safe in Philadelphia.

BOOK: I was wrong.

RACHEL: Where are you taking us now?

BOOK: Home.

RACHEL: You couldn't wait until morning?

RACHEL: But why would they murder...

BOOK: Because somehow they knew I was getting close. Look, it's narcotics... They make dope out of chemicals... they sell it on the street for millions of dollars. They'll do anything. And they can get away with it because they're cops.

RACHEL: I'm afraid. I'm afraid for Samuel. I want to go home.

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

RACHEL: Why don't you arrest that man? Are you protecting him because policeman?

BOOK: Listen, I'm the cop that polices the police. I'm not in the business of protecting crooked cops. I'll make an arrest when I know everybody involved.

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.

RACHEL: Your sister said you don't have a family?

BOOK: No.

RACHEL: She thinks you should get married and have children of your own. Instead of trying to be a father to hers. Except she thinks you're afraid of the responsibility.

RACHEL: But not a good tired.

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

BOOK: Look, I'm genuinely sorry...

RACHEL: No you're not You're glad, because now you've got a witness. I heard the other police talking last night. They don't seem to like you very much.

BOOK: They kid a lot.

RACHEL: I would not be too sure.

BOOK: Whacking?

RACHEL: Yes. And I also want to leave this city.

BOOK: Believe me, I'm trying to get this over with as fast as I can. But Samuel will probably have to come back and testify.

RACHEL: We do not go into your courts.

BOOK: People who don't go into our courts when they're told to sometimes go directly into our jail.

BOOK: Now what's the problem?

RACHEL: The problem is I don't happen to think my son should be spending all his time with a man who carried a gun under his coat and goes around whacking people.

BOOK: What was that?

RACHEL: He wants to know who you are. Your name. I told him we don't need to know anything about you.

RACHEL: Where are you taking us?

BOOK: We're looking for a suspect. We've reason to believe he's still in the area.

RACHEL: You have no right to keep us here.

BOOK: Yes I do. Your son is a material witness to a homicide.

RACHEL: You don't understand, we have nothing to do with your laws!

BOOK: Doesn't surprise me. I meet a lot of people like that.

RACHEL: It's not a joke.

BOOK: I'm a police officer. I'm going to have to talk to the boy. What's his name?

RACHEL: Samuel. Samuel Lapp. But what happened here is none of his affair. My sister is expecting me... our train is leaving soon.

BOOK: There'll be another train. The man who was killed tonight was a policeman, Sam. It's my job to find out who did it. I want you to tell me everything you saw when you went in there.

BOOK: Where I'm at is maybe 1890.

CARTER: Say again?

BOOK: Make that 1790.

CARTER: You hear me?

BOOK: I hear you. I'll stay in touch.

CARTER: That's more like it. Where are you at, anyway?

BOOK: It's me.

CARTER: Johnny! Where the hell have you been?

BOOK: Never mind. I'm coming in to take care of business. How hot am I?

CARTER: Too hot. Don't do it. Don't come in.

BOOK: I'm coming.

CARTER: Listen, Johnny, don't do anything stupid. You couldn't get within a mile of Schaeffer right now. So stay put... Stay in touch I'll let you know when maybe it makes sense.

BOOK: Yeah... I can put it all together when I get back, 'Til then, you know nothing, understand? Business as usual...

CARTER: I hear you.

BOOK: Good. Take care of that woman's name for me. And watch your ass.

BOOK: Listen carefully, I wrote the Amish woman's name and address on my desk calendar, I want you to lose it for me, Now. Tonight.

CARTER: What the hell are you talking about? What's happening.

BOOK: Nothing. I'm not going to be around for a while. I'll call you when I can.

CARTER: Johnny, what the fuck?

BOOK: Listen to me Schaeffer's part of it. Maybe at the top of it.

CARTER: I got there late, John.

BOOK: Let's just find Coalmine. Listen, Zenovich made a mistake. You didn't let anybody down. It happens

CARTER: It won't happen again.

BOOK: Anybody know about this?

CARTER: I didn't even know about it.

BOOK: Okay, Sam. Can you tell me what he looked like?

SCHAEFFER: Either you're a member of the club or you aren't, Elton. Tell me what you know...

CARTER: What I know, Paul, is... He's going to take you out...

SCHAEFFER: You admit you're lying?

CARTER: I admit I don't know where he is.

SCHAEFFER: You're the first one he'll contact.

CARTER: He's got my number.

SCHAEFFER: You know where he is.

CARTER: Wrong.

SCHAEFFER: You'd lie to protect him.

CARTER: Probably.

SCHAEFFER: Elaine, I've come to apologize for Lt. McElroy. He overstated the department's position.

ELAINE: He accused John of taking kickbacks. And you know anybody who knows John knows that's a goddamn lie!

SCHAEFFER: Of course, Elaine. But as long as there's any question, better Johnny should come back and clear his name.

ELAINE: Better you should get off my front porch before I get my mace!

SCHAEFFER: Elaine, I don't want to have to take you in for questioning. You've got his car, you were the last to see him

ELAINE: I don't know where he is.

SCHAEFFER: But... if you had to guess?

ELAINE: Did you find him?

SCHAEFFER: Not yet.

ELAINE: What's so funny?

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

ELAINE: God, Fred...

RACHEL: At home you'd never hear a woman scream at a man that way.

ELAINE: No? Why not?

RACHEL: You just wouldn't. It's not the Amish way. But I think it would have done me good if I could have screamed at your brother last night.

ELAINE: Listen, I don't know what's going on or how you got mixed up with him, but don't you let that self-righteous son of a bitch push you around, okay?

RACHEL: Just a minute. I'll pour you some coffee.

ELAINE: You're not carrying a bullwhip... how'd you manage to put my kids to work?

RACHEL: I made it a contest... the one who does best gets his cereal back first. Children like to help... they only need to be kept after a little bit.

RACHEL: Good morning.

ELAINE: You didn't have to...

RACHEL: I wanted to. you were kind to take us in last night. Anyway, I needed something to do. I was so angry with your brother. He's so... agaanisish!

ELAINE: Aganishish? Yeah, that sounds like John.

ELAINE: Everything okay?

RACHEL: Yes, thank you very much.

ELAINE: John said you're Amish.

RACHEL: Yes.

ELAINE: Oh.

ELI: No, Rachel...

RACHEL: I have to help him!

RACHEL: I am not a child.

ELI: You are acting like one!

RACHEL: I will be the judge of that.

ELI: No! They will be the judge of that! And so will I... if you shame me!

RACHEL: You shame yourself.

ELI: How can this be? How can you do such a thing? Is this plain? Is this the ordnung?

RACHEL: I have done nothing against the ordnung.

ELI: Eh? Nothing? Rachel, you bring this man to our house. With his gun of the hand. You bring fear to this house. Fear of English with guns coming after. You bring blood and whispers of more blood. Now English music... and you are dancing to English music! And you call this nothing?

RACHEL: I have committed no sin.

ELI: No sin? Maybe. Not yet. But, Rachel, it does not look... Don't you know there has been talk? Talk about you, not him. Talk about going to the Bishop. About having you... shunned!

RACHEL: That is idle talk.

ELI: Do not make light of it, Rachel. They can do it... quick! Like that! And then... then I can not sit at table with you. I can not take a thing from your hand. I... I can not go with you to meeting! Rachel, good Rachel, you must not go too far! Dear child!

RACHEL: Eli, John is a carpenter. As well as being a fine policeman.

ELI: Eh? Well then, maybe he can go to Zook's barn-raising, eh? See how good a carpenter.

ELI: Didn't you hear Stoltzfus? What if he dies? Then the sheriff will come. They'll say we broke their laws

RACHEL: We'll pray that he doesn't die! But if he does, then we'll find a way so no one knows!

ELI: Rachel, this is a man's life, we hold it in our hands.

RACHEL: I know God help me, I know that, Eli. But I tell you that if he's found here, the people who did this to him will come for Samuel.

ELI: That has no place in this house.

RACHEL: I know.

ELI: Is the English dead?

RACHEL: No...

ELI: Looks dead...

ELI: Who was that man?

RACHEL: His name is John Book.

LOCAL MAN: Never seen anything like that in all my years.

RACHEL: He's from... Ohio... My cousin.

LOCAL MAN: We'll, them Ohio Amish sure must be different. Our Lancaster brethren, they just don't have that kind of fight in them.

RACHEL: John, lost control of himself. He... will be repentant.

LOCAL MAN: You're Rachel Lapp, aren't you?

RACHEL: Yes. Samuel! We're going.

MCELROY: He's not in this building.

SCHAEFFER: All right, where is he?

MCELROY: Weird, man. No fuckin' electricity. What do you figure they plug all their shit into?

SCHAEFFER: They don't have any shit.

SCHAEFFER: What about Carter?

MCELROY: Tight. But I'm working on him.

SCHAEFFER: Lean on him.

MCELROY: She say where he is?

SCHAEFFER: I don't think she knows.

SCHAEFFER: Get back in there.

RACHEL: My son is out there!

SCHAEFFER: Nobody's going to hurt your son...

SCHAEFFER: He'll live.

RACHEL: You might have killed him!

SCHAEFFER: Find Fergie, check the barns. I'll watch these two.

RACHEL: No, you listen. Get out!

SCHAEFFER: Lady, I'm here to help you. This man is very dangerous. An armed criminal. He's got a gun, hasn't he?

RACHEL: You have no right here!

SAMUEL: I don't want to stay here.

RACHEL: They are English. They don't understand.

SAMUEL: I wish dawdie was with us.

RACHEL: I know. Sleep now, Liebchen.

SAMUEL: Momma... are they angry with us.

RACHEL: No... No. It is just the English way.

SAMUEL: Is this where we're going?

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

Oscar Awards

Wins

FILM EDITING - 1985 Thom Noble
WRITING (Screenplay Written Directly for the Screen) - 1985 Earl W. Wallace, William Kelley, Pamela Wallace

Nominations

ACTOR IN A LEADING ROLE - 1985 Harrison Ford
ART DIRECTION - 1985 Stan Jolley, John Anderson
CINEMATOGRAPHY - 1985 John Seale
DIRECTING - 1985 Peter Weir
MUSIC (Original Score) - 1985 Maurice Jarre
BEST PICTURE - 1985 Edward S. Feldman

Media

Trailer
Original Trailer
Trailer
Witness - Trailer
Featurette
Witness Wins Film Editing: 1986 Oscars