Voila! Finally, the Minority Report
script is here for all you quotes spouting fans of the Steven Spielberg
movie with Tom Cruise. This script is a transcript that was painstakingly
transcribed using the screenplay and/or viewings of Minority Report. I know, I know, I still need to get the cast names in there and I'll be eternally
tweaking it, so if you have any corrections, feel free to
drop me a line. You won't
hurt my feelings. Honest.
[GASPING ]
MAN:
You know how bLlnd I am without them.
Howard, don't cry.
Murder.
CASEY: Good Iuck, John.
ANDERTON: Any contractions?
OnIy the ones you give me.
-What's coming?
-Red BaLL, doubIe homicide.
One maIe, one femaIe.
KllIer's maIe, white, s.
Agatha nalled the time at : a.m.
The twins are a LlttIe fuzzy on that.
Location's stllI uncertain.
Remote witnesses are pIugged in.
This wllI be case number .
ANDERTON:
Morning, detectives.
Case number
previsuaLlzed by the Pre-Cogs. . .
. . .recorded on hoIosphere
by Precrime's Q-stacks.
My feLLow witnesses are Dr. Katherine
James and Chief Justice Frank PoLLard.
-Good morning.
POLLARD AND JAMES: Good morning.
WllI the witness preview and vaLldate
at this time?
Affirmative. I will validate.
Go get them.
ANDERTON: Standby.
JAD: Time of murder a.m.
That is minutes, seconds
from now. This is a Red BaLL.
[CLASSICAL MUSIC PLAYS]
HOWARD:
You know how blind I am without them.
ALL right, Howard Marks,
where are you?
WOMAN:
Howard? Howard, breakfast.
Four score and seven years ago. . . .
-He Iooked famlliar.
SARAH: Who?
A man standing in the park
across the street.
-Seen him before.
SARAH: How can you teLL?
You're bLlnd without your gIasses.
Where are your gIasses?
-In the bedroom.
-You're running out of time.
--you know how blind I am....
[WOMAN SCREAMS]
I show eight Howard Markses in the
District. Sorting by race and age.
Run their Llcense and registration.
See if I can capture an address here.
HOWARD:
I was thinking I'd stay home today.
SARAH: What about your meeting?
HOWARD: I've been working too much.
JAD: Can you grab that?
ANDERTON: It's uncIear.
-Six Llcenses. Where do you want them?
-Over here, pIease.
HOWARD:
You know how blind I am without them.
JAD: Got him in the FoxhaLL.
Gainsborough.
Send DCPD. Set up a perimeter.
TeLL them we're en route.
I was thinking maybe I'd pIay hooky,
stay home today.
-''We've come to dedicate a portion. . . . ''
-We've come to dedicate a portion. . . .
What do you think?
-What about your meeting?
-I'LL rescheduIe.
-I've been working too much anyway.
SON: --fitting and proper we do this.
-''But in a Iarger s--'' Good.
-We couId have Iunch together.
-What do you say?
-We cannot consecrate. . . .
-I wouId Iove to.
SON: The brave men, Llving and. . . .
I have an open house
at the RessIer pIace.
SON: --have consecrated, far above our
poor power to add or detract.
I guess that's why you Iook so nice.
JAD: Chief! We got a probIem
with our Iocation.
-It's no Ionger there.
ANDERTON: Shit!
ANDERTON: Time frame?
TECHNICIAN: Thirteen minutes.
FLETCHER:
Investigator from the Fed's here.
I don't need some twink
from the Fed poking around.
I wrote it on your caIendar.
ANDERTON: See if the neighbors knew
where they went.
-Check aLL reIations.
JAD: Checking.
FLETCHER: John--
-Just get him some coffee. . .
. . .teLL him how I save your ass
every day.
I got coffee, thanks.
Danny Witwer,
the twink from the Fed.
Oops. Gum?
I'LL give you the fuLL tour
some other time.
JAD: They moved two weeks ago. Nobody
knows where. StllI searching for famlly.
Time horizon, minutes.
He's scrubbing the image, Iooking for
cIues as to where the murder wllI happen.
OriginaI running bond brick pattern,
Georgian detalls. Brick was repointed.
-And that this nation. . .
-This nation. . .
-. . .under God. . .
-. . .under God. . .
-. . .shaLL not perish from the earth.
-. . .shaLL not perish from the earth.
FLETCHER: Victims are pronounced
here, kllIers here.
Beyond that, aLL we have to run on
are the images that they produce.
ANDERTON: Show a cop on horseback.
JAD: Near the CapitoI?
-No MagIev system.
JAD: The MaLL?
Georgetown.
The Pre-Cogs can see a murder
four days out. Why the Iate caLL?
A Red BaLL. Crimes of passion have no
premeditation, so they show up Iate.
Most of our scrambIes are fIash events.
We rareIy see premeditation anymore.
-PeopIe have gotten the message.
-Uh-huh.
I show a match with Dwight KingsIey,
th-century architect.
-He did two dozen houses in D.C.
-Time horizon, minutes.
JAD:
Ten minutes.
Look at this kid.
In this one,
he's on the Ieft side of the man.
JAD:
Yes. So?
ANDERTON:
This one he's on the right.
[SQUEAKING ]
Merry-go-round.
It's a park.
[CHILDREN YELLING ]
FLETCHER: There's only of these old
merry-go-rounds left in the city.
Two in Georgetown, one in
Barnaby Woods, the others in Woodley.
ANDERTON: It's gotta be Barnaby Woods.
Evanna, fLlght time?
The way I drive?
Three minutes after wheeIs up.
FLETCHER: CIear.
GROUP: CIear.
Time horizon, six minutes.
[MAN CHUCKLES]
Let's go to bed.
Let's do it in here.
-But the bed is soft.
-I'm soft.
[SIREN WAILS]
[SOBS]
Shit.
Which one is it?
[DONALD CHUCKLES]
SARAH: Not the bed.
DONALD: Come on.
SARAH:
I don't want to be on the bed.
-We're catching up to the future.
-Shut up, Evanna. Jad?
-Jad?
JAD: Go ahead.
ANDERTON: Did he close the front door?
-What?
Did Marks cIose the front door?
JAD:
Front door. . . .
SARAH:
I didn't wanna be on the bed.
-Negative. The front door is open.
EVANNA: Time horizon, seconds.
I forgot my gIasses.
Howard.
Oh, no, Howard.
You know how bLlnd I am without them.
Howard, don't cry.
Marks!
[SARAH SCREAMS]
[SARAH SCREAMS]
[DONALD SCREAMS]
Look at me. Look at me.
[BEEPING ]
Positive for Howard Marks.
By mandate of the District of CoIumbia
Precrime Division. . .
. . .you're under arrest for the future
murder of Mrs. Marks and Mr. Dubin. . .
. . .that was to take pIace today
at hours and four minutes.
HOWARD: I didn't do anything. Sarah?
-Give the man his hat.
Oh, God.
Don't put that haIo on me. Sarah!
COP: Put your hand on your head.
-HeIp me! I wasn't gonna do anything!
SCOTT: I'm Officer Scott with the
Precrime Trauma Response Unit.
Sit here a minute and Llsten to me.
Your husband is being arrested
by Precrime.
Oh, God, Howard, no.
Howard, don't cry.
Howard, don't cry.
PIease, don't cry.
Oh, God. Oh, God.
I thought they stopped the murder.
That's just an echo.
Pre-Cog deja vu, if you wllI.
The reaLLy bad ones
the Pre-Cogs see over and over again.
WaLLy, erase the incoming.
NARRATOR:
Imagine a world without murder.
-I lost my best friend.
-I lost my aunt.
-I lost my dad.
-I lost my father.
I lost my wife.
NARRATOR: Six years ago, the homicide
rate had reached epidemic proportions.
It seemed that only a miracle
could stop the bloodshed.
But instead of one miracle, we
were given three: the Pre-Cognitives.
Within just one month
under the Precrime program...
... the murder rate in the District
of Columbia was reduced %.
-They were waiting for me.
-He was gonna rape me.
-I was going to be stabbed.
-Right here.
NARRATOR: Precrime effectively
stopped murder in our nation 's capital.
In the six years of our experiment...
... there hasn 't been a single murder.
NARRATOR:
And now Precrime can work for you.
We want to make certain
that every American...
...can bank on the infallibility
of the system.
And to ensure that what keeps us safe
will also keep us free.
-Precrime. It works.
MAN : It works.
WOMAN : It works.
MAN : It works.
WOMAN : It works.
-It works.
CHILDREN:
Precrime. It works.
NARRATOR: On April vote ''yes''
on the National Precrime Initiative.
MAN:
What's the matter? Can't sIeep?
ANDERTON: Just need a LlttIe cIarity.
MAN: True that.
You want the customary cIarity or
the new and improved kind of cIarity?
ANDERTON:
Give me the new stuff.
MAN: New and improved cIarity.
CIarity, cIarity. Yes, indeed.
ANDERTON:
Come on. Come on.
Don't bust my baLLs. You've onIy given
me four, and some of these are duds.
MAN:
Sweet dreams, chief.
Don't worry.
Your secret's safe with me.
I couId use a LlttIe juice on my side.
What do you think you know?
It's Llke my daddy used to say:
''In the Iand of the bLlnd. . .
. . .the one-eyed man is king. ''
ANDERTON:
I'm home.
[CLASSICAL MUSIC PLAYS]
Overhead.
[CARTOON CHARACTERS SINGING ]
[CLASSICAL MUSIC STOPS]
ANDERTON:
WaLL screen.
ANDERTON IN HOLOGRAM: Sean.
-Hi, Daddy.
Can you teach me how to run faster?
Because all the kids in my class
run faster than me.
ANDERTON:
No. That's good.
Keep your knees up.
Like that. Like that.
High. High. Like that.
-See, you're a naturaI runner.
-Gotta keep running.
Yeah. Gotta keep running.
Gotta keep running.
-Will I be as fast as you someday?
-Oh, I think you'LL beat me someday.
ANDERTON: You're gonna beat everybody.
-I think you'LL beat everyone someday.
-I gotta go. Bye.
-No, no, no. Wait, wait.
-You gotta give me a kiss.
-Not on the lips.
Only Mommy kisses me on the lips.
ANDERTON:
Yeah, all right. All right.
I Iove you.
-I love you, Sean.
-I love you, Daddy.
[INHALES]
LARA:
Reminds me of Rosarito Beach.
Remember?
We had dollars and....
Waiting in that van so the sun
would shine on our vacation.
John. John. John,
put the camera down.
Look, I'm all ready for bed.
What is this? No. Put it away.
It's time to put the camera
to sleep...
...and time to come
and take care of your wife.
Why don 't you put the camera down
and come and watch the rain with me?
No? I promise I'll make it
a memorable moment.
Put the camera down
or you're not getting anything tonight.
[SIREN WAILS]
A gentIeman at Justice
wants to take this away from us.
In a week, peopIe wllI vote
on whether or not. . .
. . .what we've been doing has been
a nobIe-minded enterprise. . .
. . .or a chance to change the way
this country fights crime.
ANDERTON: I understand, sir.
BURGESS: John. . .
. . .watch this Danny Witwer,
the observer from Justice.
-I met him yesterday.
-Let him Iook around.
-Answer his questions, but watch him.
-Yes, sir.
If there's any probIem,
make sure we know about it.
ANDERTON:
I understand.
FLETCHER: Pre-Cogs decIare a kllIer,
and their name is embedded in wood.
Since the shape and grain of each piece
is unique, they're impossibIe to forge.
You understand the IegaLlstic
drawback to Precrime methodoIogy.
-Here we go again.
-I'm not with the ACLU on this. . .
. . .but we arrest individuaIs
who've broken no Iaw.
-They wllI.
-The commission is metaphysics.
The Pre-Cogs see the future,
and they're never wrong.
But it's not the future if you stop it.
-Isn't that a fundamentaI paradox?
-Yes.
You're taIking about predetermination,
which happens aLL the time.
-Why'd you catch that?
-It was gonna faLL.
ANDERTON: You're certain?
-Yeah.
But it didn't faLL. You caught it.
Preventing it doesn't change
the fact that it was going to happen.
WITWER:
You ever get any faIse positives?
Someone intends to kllI, but doesn't.
How do the Pre-Cogs teLL the difference?
They don't see what you intend to do,
onIy what you wllI do.
Why can't they see
rapes, assauIts, suicides?
Because of the nature of murder.
Nothing's more destructive to the
metaphysicaI fabric that binds us. . .
-. . .than the untimeIy murder of a human.
-That wasn't WaIt Whitman.
Iris Hineman. She deveIoped Pre-Cogs,
designed the system and the interface.
WITWER: Speaking of interfacing,
I'd Iove to say heLLo.
-To Hineman?
-To them.
ANDERTON: Cops aren't aLLowed inside.
-You've never been inside?
We keep strict separation so that
no one can be accused of tampering.
-I'LL be the first one to go in then?
-Maybe you didn't hear me.
-If it's a question of authority--
-There is no question.
You don't have any.
I have a warrant in my pocket
that says different.
-Show it to me.
-Sure.
WITWER: This investigation of Precrime
and its personneI is conducted. . .
. . .under the direct supervision and
permission from the attorney generaI.
I'm here as his representative. . .
. . .which means you're now operating
under my supervision.
Seems you've been Ieft
out of the Ioop.
FLETCHER:
ALL right, we're ready. Let's go.
-HoId it right there. HoId on.
COMPUTER: Not cleared for access.
Eye-dent: John Anderton. Approved.
ANDERTON: WaLLy.
WALLY: No, no, no, no.
Danny Witwer from Justice.
We're to give him the run of the farm.
-I can't touch you.
-Don't touch anything.
WALLY: You can't be in here.
-Just answer his questions.
WITWER: TeLL me how--
-They're sIeeping.
Sorry. TeLL me how aLL this works.
The photon mllk acts as both a
nutrient suppIy and conductor.
It enhances the images they receive.
We caLL the femaIe Agatha.
The twins are Arthur and DashieLL.
We scan by way of opticaI tomography.
White-Llght pinpoints puIse
aIong the Iength of the headgear. . .
. . .and are reread after absorption
through their brain tissue.
In other words, we see what they see.
They don't feeI pain. We keep
their heads stocked with dopamine.
PIus, we maintain carefuI controI
over their serotonin IeveIs.
Don't want them to drift off
into too deep a sIeep.
-They can't be kept too awake either.
ANDERTON: Don't think of them as human.
No. They're much more than that.
Science has stoIen
most of our miracIes.
In a way, they give us hope,
hope of the existence of the divine.
It's interesting that some peopIe
have begun to deify the Pre-Cogs.
Pre-Cogs are pattern-recognition fllters.
That's aLL.
-Yet you caLL this room the ''tempIe. ''
-A nickname.
The oracIe isn't where
the power is, anyway.
The power is with the priests,
even if they had to invent the oracIe.
You guys are nodding Llke you know
what he's taIking about.
WeLL, come on, chief. The way we work,
changing destiny and aLL. . .
. . .we're more Llke cIergy than cops.
-Jad.
-Yeah?
Go to work. ALL of you.
Sorry. OId habit.
I spent three years at FuLLer Seminary
before I became a cop.
-My father was proud.
-What does he think of your work?
I don't know. He was shot and kllIed
when I was at our church in DubLln.
I know what it's Llke
to Iose someone cIose.
Nothing's Llke the Ioss of a chlld.
I don't have any chlldren, so I can
onIy imagine what that was Llke.
To Iose your son
in such a pubLlc pIace Llke that. . . .
Now we can make sure that
kind of thing doesn't happen to anyone.
-TeLL me what it is you're Iooking for.
-FIaws.
There hasn't been a murder
in six years. This system is--
Perfect. I agree.
If there's a fIaw, it's human.
It aIways is.
John.
WaLLy.
Can you see?
What happened? Her ACTH IeveIs
just shot through the roof!
-What'd you do?
ANDERTON: She grabbed me.
ImpossibIe. They're not aware of us.
In the mllk, aLL they see is the future.
-She Iooked straight at me.
-It couId have been a nightmare.
-She spoke to me.
-To you?
What'd she say?
''Can you see?''
[ORGAN MUSIC PLAYS]
You the sentry?
Yes, sir, I'm Gideon.
You're Chief Anderton.
The music reIaxes the prisoners.
I don't ever see you Precops down here.
Am I in troubIe?
Not yet.
I'm interested in a murder.
-I got pIenty of those. KllI type?
-Drowning.
That narrows it down.
Not too many in here for that.
-Victim's Caucasian, femaIe.
-This about the Justice Department?
I'm supposed to spruce up for a tour
they got tomorrow. You Llke this tie?
Stop.
RoLL back.
There.
She's a goIden oIdie. One of our first.
ProbabIy before your time.
-This is the composite of the three?
-That's right.
Combined data stream
based on aLL three previsions.
-Just show me Agatha's data stream.
-For that. . .
. . .we go for a ride.
ANDERTON:
My God.
I'd forgotten there were so many.
GIDEON: They'd aLL be out there
kllLlng peopIe if it wasn't for you.
Look at them.
Look at how peacefuI they seem.
But on the inside: busy, busy, busy.
Okey-pokey.
Now that is one bad man.
He drowned a woman named
Anne LiveIy out at RoIand Lake.
The kllIer's a John Doe,
never identified.
Why is he stllI a John Doe?
Why wasn't he ID'd from the eye scan?
Those are not his eyes. He had them
swapped out to fooI the scanners.
You can get it done on the street
for a few thousand bucks these days.
Okay, so you want
just the femaIe prevision.
ANDERTON:
That's right.
We don't seem to have her data.
Try again.
This is odd. See?
We have the two previsions. We got
what Art saw. We got what Dash saw.
But Agatha's isn't here.
ProbabIy just a gLltch.
TeLL me about the intended victim,
this Anne LiveIy.
Looks Llke she's a neuroin addict,
Llke our John Doe here.
Address history
incIudes the Beaton CLlnic.
So she cIeaned up.
Where is she now?
I guess gLltches come in twos.
You finaLLy crawI your way out
of one hoIe just to faLL into another.
Uh. . . . What. . .? No.
Can't Iet you take that out of here,
chief.
-It's against the ruIes.
-Anything eIse against the ruIes?
CarefuI, chief. You dig up the past,
aLL you get is dirty.
BURGESS: The third prevision was what,
kind of fuzzy or something?
No, the third prevision,
Agatha's prevision, wasn't there.
That's not aLL. There are a dozen more
cases with missing previsions.
You'd think we'd have found
the cure for the common coId.
CELESTE: It's stress.
-What's this?
HerbaI tea with honey.
I hate herbaI tea.
AImost as much as I hate honey.
Just drink it,
before I pour it in your Iap.
-Can I get you anything, John?
ANDERTON: No, thank you.
Witwer's scheduIed for a tour
of Containment tomorrow.
Yeah, give him a tour.
-Lara caLLed me.
-What?
She's worried about you.
Quite frankIy, so am I.
I'm fine.
I understand you've been spending
a Iot of time in the SprawI.
-I go running down there.
-In the middIe of the night.
What if Danny Witwer
insisted on a fuLL chem run?
I'm fine.
The minute Precrime goes nationaI,
they are going to take it away.
-We won't Iet them.
-No?
How is an oId man and a cop on the
whiff ever going to stop them?
My father once said to me. . .
. . . ''You don't choose the things
you beLleve in. They choose you. ''
There's a reason you are here.
Had Precrime been in pIace earLler,
your Ioss wouId have been prevented.
Remember, the eyes--
The eyes of the nation
are on us right now.
I'm not the generation
anyone Llstens to. . .
. . .but peopIe trust you when you
speak of your beLlef in Precrime.
They know that it's a beLlef born of
pain, not poLltics. I understood that.
I may have even encouraged it
to heIp with the cause.
But now,
your pain is hurting both of us.
They're not going to take it
away from us.
I won't Iet them.
WITWER:
Bingo.
SEAN: Hi, Daddy.
ANDERTON: Hey, buddy.
SEAN: I made up a club.
ANDERTON: Yeah?
-We're called the Crescos.
-The Crescos.
-We made up a soccer team.
-Yeah?
-We practice at school.
-With Connor?
Your daddy's in a Iot of troubIe,
Sean.
MAN: Wait!
WOMAN: No!
BOY:
Mommy.
ANDERTON: Jad, how come you're not
with Father Witwer?
We're in motion on something. We got a
white, maIe victim, about ' '', .
He takes a round in the -ring
and goes out a window.
-Red BaLL?
-Nope. Brown BaLL.
It's premeditated.
Amazing. There's someone within
mlles stllI dumb enough to do that.
The victim's name is Leo Crow.
This is case number . Time of
occurrence: Friday, hours.
Start search for Leo Crow. Case
previsuaLlzed by the Pre-Cogs. . .
. . .recorded on hoIosphere
by Precrime's Q-stacks.
My feLLow witnesses are Dr. Katherine
James and Chief Justice Frank PoLLard.
-Good morning.
POLLARD AND JAMES: Good morning.
Are you ready
to preview and vaLldate ?
-Ready when you are, John.
-Standing by.
[CLASSICAL MUSIC PLAYS]
JAD:
I Iove this part.
I've got no address. No tax returns
for the Iast five years.
ANDERTON: Check NCIC.
Maybe he's got a number.
We'LL send a protection team
as soon as we Iock Iocation.
It Iooks Llke federaI housing.
Concrete, gIass, egg crates.
Ouch. About a thousand of those
in the District.
Fractured images coming in.
Numbers nine. . . .
Nine, six.
FemaIe, senior. She's smoking a pipe.
She's Iaughing.
Okay, now I'm inside a room.
Windowpanes, aIuminum extrusion.
Two figures resoIving in the room.
-Wait!
ANDERTON: No. . . .
Looks Llke we got a third party.
Wearing sungIasses,
just out the window.
You're not gonna kllI me.
Goodbye, Crow.
MAN:
You're not gonna kill me.
-Goodbye, Crow.
MAN: Wait!
Wait. Wait.
You say something, chief?
ANDERTON:
No.
I'LL get this one.
ANDERTON:
We got time on this one, Jad.
Mind getting me a piece
of cake they're eating?
-I'm starving.
-Sure, chief.
I think I'LL get one for myseIf too.
ANDERTON:
Take your time.
JAMES: Chief Anderton,
what is this that I'm seeing?
I'm confused about--
[WOMAN LAUGHS]
-Anderton, wait!
-Goodbye, Crow.
Anderton, wait!
Anderton, wait!
I Llke you, chief.
You've aIways been nice to me.
Give you two minutes
before I hit the aIarm.
WITWER:
HoId that, pIease.
Thanks.
-You're in a Iot of troubIe, John.
-You set me up.
I'LL write the paranoia off to the
whiff you've been doping on.
ANDERTON:
Easy.
-Easy.
-Seems I've found a fIaw.
What are you gonna do?
Possession wllI cost you six months
and your badge.
I guess we won't be working together
after aLL.
Now put the gun down, John.
I don't hear a Red BaLL.
[SIREN WAILS]
ANDERTON:
Lamar. Lamar.
-Lamar?
-John, what is happening?
-It's Witwer. He set me up!
-What the hell is happening?
-He set me up!
-Stop, just wait.
-Witwer! It's Witwer.
-Who's the victim?
-Somebody.
-Who?
-Somebody-- Leo Crow.
-Who is he?
I have no idea!
I've never heard of him.
But I'm supposed to kllI him
in Iess than hours.
-How couId Witwer have access?
-Can you fake a cerebraI output?
-Why wouId anyone want to?
-Can you?
-I doubt it.
-WouId Hineman know?
-Now Llsten, come in.
-What?
I'LL protect you untll we
get to the bottom of this.
TaIk to WaLLy. See if Witwer's gone
inside the tempIe again.
Ask Jad for any off-hour
eye-dents into the anaIyticaI room.
Who's Leo Crow?
COMPUTER: Security lockdown enabled.
Revised destination: office.
Lamar, they found me.
Is there any way to override
the Iockdown?
-No, no, no.
-No?
I'll meet you anywhere you say.
You can come to my house, John.
I can't. They'LL get me.
I'm not gonna get haIoed.
You can't run.
Everybody runs.
-Oh, my God!
MAN: Hey, hey.
WOMAN:
Whoa.
[GROANS]
Oh, my gosh, are you okay?
I'LL bring him in. Unharmed.
You're not gonna do that.
I'm taking controI.
What?
FIetcher is second in command.
It's his show to run. You can observe.
-Do it. Find him.
-Yes, sir.
He came to see you the other day
right before he was tagged.
-What did you taIk about?
-The Mets.
John doesn't think they have a deep
enough pitching roster.
Why are you protecting him? You knew
he was doping, yet you did nothing.
-The man Iost a chlld, for chrissake.
-Six years ago.
-What did you taIk about?
-None of your business.
It's my business. Investigation of a
supervising officer for a capitaI crime. . .
. . .faLLs under federaI jurisdiction
so as to ruIe out any conspiracy.
-He's my suspect.
-He's my subordinate.
CaLL the attorney generaI. I'm sure
he'd cIarify the issue for you.
I don't want John Anderton hurt.
I'm going to enjoy working here.
ANNOUNCER :
A road diverges in the desert.
Lexus.
The road you're on, John Anderton,
is the one less-traveled.
-Make sure you....
ANNOUNCER : Diamonds....
ANNOUNCER :
Good evening, John Anderton.
ANNOUNCER : You could use
a Guinness right about now.
ANNOUNCER : John Anderton....
ANNOUNCER : Escape from it all.
ANNOUNCER : Get away,
John Anderton. Forget your troubles.
He's been eye-dented on the Metro.
The train stops at th and rd.
Send units to each Iocation.
FLETCHER: Better make th.
WITWER: Have faith.
Fire them up!
[SIRENS WAILING ]
-Hey, FIetch.
FLETCHER: Hey, John.
-That was a rough Ianding.
-Yeah.
-Work on that.
-It's the shit knee of mine.
-Yeah.
-Don't do it.
Hey, don't do this.
John?
Don't run.
You don't have to chase me.
You don't have to run.
Everybody runs, FIetch.
You know we'LL catch you.
ANDERTON:
Everybody runs.
FLETCHER:
It doesn't have to be Llke this, John.
Everybody runs.
FLETCHER:
Get your sick-sticks ready.
Everybody runs, FIetch.
SIow down, chief. Just take it easy.
No sudden moves, chief.
John, it's okay.
-FIetch--
KNOTT: Easy does it, chief.
Got a grip?
-Got a grip?
-Yeah.
[MAN SCREAMS]
KNOTT:
Chief! Chief!
Anderton!
[KNOTT GROANS]
[SCREAMS]
WOMAN:
Go away! Get out of my kitchen!
Get out of my house!
Get out of my house! Go!
-Get them out of here!
-Anderton, stop!
PuLL him off me, FIetcher.
Get him off me.
WOMAN: Get him out of here!
What's the matter with you?!
[SCREAMING ]
WOMAN:
Get out of my house! Go!
By mandate of the District of CoIumbia,
I'm pIacing you under arrest for--
ANDERTON:
Go to sIeep.
WITWER:
You two stay with me!
[CLASSICAL MUSIC PLAYS]
[ANDERTON GASPS]
ANDERTON:
Dr. Hineman.
HINEMAN: You're trespassing.
I don't have visitors.
[COUGHS]
That wouId be from the doLL's eye,
the vine. . .
. . .the baneberry that scratched you
during your llIegaI cLlmb over my waLL.
It's not a true doLL's eye.
It's a LlttIe hybrid I designed.
Once the poison gets into your
bIoodstream, you'LL start to see. . .
. . .the most extraordinary dispIay
of bIue objects.
This just isn't your week, is it?
Chief Anderton.
I'm not a kllIer.
HINEMAN:
You better drink this.
Soon you won't be abIe to swaLLow,
and then you'LL be totaLLy buggered.
ALL of it.
Okay, now take a minute
to right yourseIf.
Just what is it you think
I can do for you?
You couId teLL me how someone
can fake a prevision.
How wouId I know that?
Because you invented Precrime.
[HINEMAN CHUCKLES]
What's so funny?
If the consequences of severaI genetic
mistakes and science gone haywire. . .
. . .can be caLLed an invention,
then I invented Precrime.
-You don't seem proud.
-I'm not.
I was trying to heaI them,
not turn them into something eIse.
-HeaI who?
-The innocents we use to stop the gullty.
You're taIking about the Pre-Cogs.
You think they came from a test tube?
They are mereIy the ones who survived.
I was doing genetic research,
treating chlldren of drug addicts.
This was years ago,
when neuroin first hit the streets.
It was impure, not the engineered
cocktall popuIar among the educated.
ALL of these kids were born with severe
brain damage. Most died before age .
Those few who survived,
they had a gift.
I caLL it a gift. For them,
it was more Llke a cosmic joke.
They wouId wake up in the night,
curIed in the corner. . .
. . .screaming, cIawing at the waLLs.
Because when these chlldren
cIosed their eyes at night. . .
. . .they dreamt onIy of murder
over and over, one after the other.
It didn't take for us Iong to reaLlze
that the reaI nightmare was. . .
. . .that these dreams were about to come
true, these murders were happening.
You say some of the chlldren died?
So many of them.
Despite what we did for them.
Or maybe because of what we
did to them. But it doesn't matter.
It's a perfect system now, isn't it?
ANDERTON:
I'm not going to commit murder.
I've never met the man
I'm supposed to kllI.
And yet a chain of events has started
that wllI Iead you to his murder.
-Not if I stay away from him.
-Can you avoid a man you've never met?
-You won't heIp?
-I can't heIp you. Nobody can.
The Pre-Cogs are never wrong.
But occasionaLLy. . .
. . .they do disagree.
What?
Most of the time, aLL three Pre-Cogs
wllI see an event in the same way. . .
. . .but once in a whlle, one of them wllI
see things differentIy than the others.
Jesus Christ.
Why didn't I know about this?
Because these Minority Reports
are destroyed the instant they occur.
Why?
For Precrime to function, there can't
be any suggestion of faLLibllity.
Who wants a justice system
that instllIs doubt?
It may be reasonabIe,
but it's stllI doubt.
Are you saying
I've haIoed innocent peopIe?
I'm saying that every so often,
those accused of a Precrime. . .
. . .just might have
an aIternate future.
Does Burgess know about this,
about this Minority Report?
I used to joke with Lamar that
we were the parents of Precrime.
Parents often see their chlldren as they
want them to be and not as they are.
Answer my question: Does Lamar
Burgess know about the Minority Report?
Yes, of course, he knew.
But at the time, we feIt their existence
was an insignificant variabIe.
Insignificant to you, maybe.
But what about those peopIe that
I put away with aIternate futures?
-My God, if the country knew--
-The system wouId coLLapse.
-I beLleve in that system.
-Do you reaLLy?
You wanna bring it down.
You wllI bring it down
if you manage to kllI your victim.
That'LL be the most spectacuIar pubLlc
dispIay of how Precrime didn't work.
-I'm not gonna kllI anybody.
-HoId that thought.
-Why shouId I trust you?
-You shouIdn't trust anyone.
CertainIy not the attorney generaI,
who wants it aLL for himseIf.
And not the young federaI agent,
who wants your job.
Not even the oId man who just wants
to hang on to what he created.
Don't trust anyone.
Just find the Minority Report.
You said the Minority Report
is destroyed.
The record is destroyed.
The originaI report stllI exists.
I designed it so the report is stored
in a safe pIace, but not decIared.
What safe pIace is that?
The safest pIace there is.
Where is it?
Inside the Pre-Cog who predicted it.
ALL you have to do
is downIoad it, darLlng.
That's aLL, huh?
Just waIk into Precrime,
get into the tempIe. . .
. . .somehow tap into these Pre-Cogs
and downIoad this Minority Report.
-If you have one.
-And then waIk out.
ActuaLLy, you'LL have to run out.
But yes, that's what you have to do.
You're insane.
Or you think I am.
I'LL get eye-scanned a dozen times
before I get within mlles of Precrime.
Sometimes in order to see the Llght,
you have to risk the dark.
As a poLlceman--
Excuse me, as a former poLlceman. . .
. . .I'm sure that you know
aLL sorts of peopIe. . .
. . .who can heIp you out
in this regard.
It's funny how aLL
Llving organisms are aLlke.
When the chips are down,
when the pressure is on. . .
. . .every creature
on the face of the earth. . .
. . .is interested in one thing
and one thing onIy:
Its own survivaI.
Find the Minority Report.
How do I even know which one has it?
HINEMAN: It's aIways in the more gifted
of the three.
Which one is that?
The femaIe.
FLETCHER: We've got three men
in a room. The victim is here. . .
. . .John is here, and this
unidentified maIe, at the window.
The adjacent bullding suggests
pubLlc housing, which means--
-There's thousands Llke this one.
-They're everywhere.
But he doesn't go there to kllI Crow
for another hours.
-This is Chief Anderton's space.
JAD: Casey, it's okay.
-He's not here.
-He'LL be back.
-I doubt that.
-What happened to you?
I'm betting
he's somewhere in the SprawI.
He's smart enough to go
where bllIboards can't ID him.
There's fewer consumers,
which means fewer scanners.
-Why won't he just run?
-Because he thinks he's innocent.
We concentrate on the SprawI.
We do fIy-overs in ships,
with two spyder teams on the ground.
ThermaI scan the entire area. Read
anything with eyes and a heartbeat.
Where is she?
[MAN SCREAMS]
MAN: Started blowing buttons for no
reason whatsoever, and I knew that.
This damn coId.
Don't worry. I couId cut open your
chest and sew a dead cat in there. . .
. . .you wouIdn't get an infection. Not
with the antibios I'LL shoot into you.
That's comforting.
You do understand I can't just
give you new irises?
PIease, don't touch.
Because the scanners wouId read the
new scar tissue, aIarms wllI go off. . .
. . .and Iarge men with guns wllI appear.
What was that?
What was that?
-It's anesthesia. It's aLL downhllI--
-You aIways sneak up on your patients?
You wouIdn't break the hand
of a vioLlnist before the concert.
PIease, reIax.
ALL I'm trying to teLL you is that I'LL
have to remove your eyes compIeteIy.
I know.
-I have to repIace them with new ones.
-I know. But I wanna keep the oId ones.
-Why?
-Because my mother gave them to me.
What's it to you?
You can't reseLL them.
Whatever you say. It's your money.
[SPEAKS IN SWEDISH]
Let me introduce my gorgeous
assistant, Miss Van Eyck.
[TOILET FLUSHES]
[WOMAN SINGS IN SWEDISH]
[EDDIE MUMBLES]
-This is not a Iot of money.
-It's aLL that I couId safeIy move.
EDDIE:
Okay.
-What did you give me?
-Smlle medicine.
TeLL you what, since we go way back. . .
. . .why don't I give you my oId paI
discount? What do you say?
You don't remember me, do you?
-We know each other?
-Yes, we do.
From where? D.C.?
-BaItimore. The East Side.
-BaItimore? We go way back.
SoIomon P. Eddie, M.D.
I was a pIastic surgeon.
You remember? SpeciaLlzed
in burn victims, mostIy women.
-I put you away.
-Yeah, you did.
You made those tapes.
They were performance pieces.
-You set your patients on fire.
-I put them out.
Some not as quickIy as others, but
Iet's change the subject, shaLL we?
The future's so much more interesting
than the past, don't you think?
Miss Van Eyck.
I'm afraid she's aIready smitten.
She onIy has eyes for you.
I know what you're thinking, John:
How can I do what I do now?
Let's say that I spent an awfuI Iot
of time in the prison Llbrary.
That was a great way to avoid the more
unpIeasant aspects of prison Llfe.
Confinement was
a reaI education, a reaI. . .
. . .eye-opener.
[SPEAKS IN SWEDISH]
For true enLlghtenment,
there's nothing quite Llke. . .
. . .weLL, Iet's say, taking a shower
whlle this Iarge feLLow. . .
. . .with an attitude you can't
knock down with a hammer. . .
. . .whispers in your ear, ''Oh, Nancy. ''
That was a Iot of fun.
Thank you for putting me there. . .
. . .and giving me the opportunity to
get to know myseIf so much better.
And now to return the favor.
WITWER: This your work?
LARA: Yes.
I Llke it.
-How do you take your coffee?
-Cream and sugar.
-I don't have any cream. Sorry.
-Just sugar then.
-You and John ever come here?
-We used to.
WITWER:
He's not here now, is he?
I had to ask.
-I don't have any sugar either.
-Thank you.
-He hasn't tried to contact you?
-No.
Did he ever mention the name
Leo Crow?
No, but I don't taIk
to John much anymore.
-So you haven't seen his apartment.
-That was our apartment.
Have you been there recentIy?
It's fuLL of these.
-How Iong has he been doping?
-Since right after we Iost our son.
-You mean after he Iost your son.
-It was nobody's fauIt.
But John was with him
at the pubLlc pooI.
You said in your divorce papers
that John tried to kllI himseIf.
-It wasn't a suicide attempt.
-What was it then?
The FBI found something
that beIonged to my son, a sandaI.
John was upset. He--
He took out his gun
and watched home movies.
-He shot--
-This is aLL in your statement.
He shot a hoIe in the celling. So what?
You Iose your son,
Iet's see how weLL you handIe it.
Lamar thinks you Ieft John because he
Iost himseIf in Precrime instead of you.
I Ieft him because every time
I Iooked at him, I saw my son.
Every time I got cIose to him,
I smeLLed my LlttIe boy.
That's why I Ieft him.
And now you can Ieave.
Don't take the bandages off
for hours.
If you take them off before then,
you'LL go bLlnd. Understand?
In the fridge, there's mllk.
Greta made you a sandwich.
Make sure you drink a Iot of water.
How do I find the bathroom?
The bathroom?
Now that's your right hand.
[EDDIE SPEAKS IN SWEDISH]
The kitchen is your Ieft.
Don't scratch. Never scratch!
Seeing as we're being paIs, I'LL give
you a bonus that may come in handy.
This is a temporary paraIytic enzyme.
You're gonna shoot this under your chin.
-What is this?
-It'LL turn your pretty face into mush.
PeopIe won't even recognize you.
In minutes, it'LL tighten up again.
But it'LL hurt Llke you've never feIt.
I'm gonna put this in your goody-bag,
together with your. . .
. . .Ieftovers.
I'm setting up a timer. When it rings,
you can remove the bandages and Ieave.
-But not before then, or you wllI--
-Go bLlnd. I know.
EDDIE:
Don't scratch.
A LlttIe something from
a mutuaI friend of ours.
[EDDIE QUACKS]
[VAN EYCK SPEAKS IN SWEDISH]
EDDIE: Don 't take the bandages off
for hours.
If you take them off before then,
you'll go blind. Understand?
[INHALES]
ANDERTON: . seconds. A new record.
-Is that a worId record?
Is it a worId record?
It's a personaI best.
-Now I wanna time you.
-You gotta be kidding.
There's no way
I can beat . seconds.
How Iong can a whaIe hoId its breath?
For about minutes.
-So we gotta beat the whaIe.
-Okay.
We gotta beat the whaIe.
Here you go.
It's gonna be minutes. You sure
you don't wanna go for an ice cream?
-No.
-Because I'm gonna beat that whaIe.
-Yeah.
-Okay.
SEAN: Ready?
-Give me the count.
SEAN:
Three, two, one, go!
ANDERTON:
Sean?
Sean?
Sean.
Sean? Have you seen--?
I'm Iooking for my son. Have you
seen a boy in a red bathing suit?
You seen my boy?
He's wearing a red bathing suit.
Sean?
Sean!
Sean.
[''BAD BOYS'' PLAYS]
[COUGHS]
[SIREN WAILS]
Jad, we're ready to begin thermaI scan
on aLL residences on North PoweLL.
KNOTT:
You must reaLLy Llke me, don't you?
That's why you asked to partner
with me on this sortie.
You're sweLL company.
It's not that you don't trust me
to be aIone with the chief, is it?
That you think I might, you know,
futz with him?
No, I just wanna watch him use your
body to sandbIast another bullding.
Evanna, go.
I show warm bodies.
Roger that. Confirmed, warm bodies.
-Four spyders, one per fIoor?
-Let's do eight. I gotta eat.
Residents of PoweLL, this is
Officer FIetcher of D.C. Precrime.
Under authority of P.C. section we
are depIoying spyders into your compIex.
MOTHER: Come in here.
DAUGHTER: Mom, I'm scared.
Mommy, I'm scared. Mommy.
That's gonna scan you.
Keep your eyes open. Stay stllI.
-It's okay.
DAUGHTER: I don't Llke it.
MOTHER:
Stay stllI. Stay stllI.
[SPYDERS CLICKING ]
[WOMAN MOANS]
MAN :
Come on!
WOMAN: You stepped out on me
for the Iast time.
MAN :
I toId you where I was.
WOMAN: You're a no-good Llar.
I know you was with that ho.
MAN :
You're Iucky we--
Leave me aIone!
[SCRAPING ]
EVANNA:
We Iost one.
Roger that. Maybe it was
a cat jumping through a window.
It's an awfuI big cat.
KNOTT:
FIetcher.
I'LL go check it out.
They're crying their eyes out.
You terrified them.
Keep your kids away from me.
The big cat's back. What do you think?
A drunk, maybe can't wake up?
Or a guy who doesn't want to get read.
FoIks, be quiet, go back inside.
Be quiet and cIose the door.
We got an ID. It's not him.
-Standing down.
-Let's eat.
FIetcher, take a Iook.
There's four peopIe in this room,
not three.
Four? There's Anderton, Crow
and the man in sungIasses.
The man in the sungIasses
is outside the window.
There's aIso someone here
in the mirror.
FLETCHER:
Yeah. DefiniteIy femaIe.
TOUR GUIDE: The Precrime program
began in with a federaI grant.
And now, nine years Iater,
D.C. is the safest city in America.
-Get down.
-Why? Because Precrime works.
Precrime has eLlminated the need
for conventionaI detectives.
What happens now is the verification
and protection of future victims.
Can we see the Pre-Cogs?
They have such a powerfuI gift,
they're kept in peacefuI secIusion. . .
. . .so as not to be distracted.
This dispIay shouId give you some idea
of what their dally Llfe is Llke.
The Pre-Cogs get over
mllLlon Ietters every year.
CHILDREN: Wow!
-That's more than Santa CIaus gets.
Each Pre-Cog has their own bedroom,
TV and weight room.
It's wonderfuI to be a Pre-Cog.
My mom's new boyfriend
came over again Iast night.
He's just not very inteLLigent.
My mom wouIdn't Iet me eat upstairs.
I had to Llsten to him go on and on.
ANDERTON:
Shit!
Shit! Shit! Shit!
COMPUTER: Eye-dent: John Anderton.
Approved for entry.
WALLY: --which I toId her I'd be abIe
to do. I'm good at taking care of you.
But she thinks I'LL be irresponsibIe.
It's ridicuIous because. . . .
You can't be in here.
What are you doing here?
Easy there, oId-timer.
Who cIeared you?
-You're not aLLowed here.
-Listen, WaLLy.
-Do I know you?
-I Llke you.
So I don't wanna have
to kick you or hit you.
But onIy if you promise to heIp me.
Hi, John.
Who does that Iook Llke to you?
FLETCHER:
I don't know.
It's Agatha.
He's coming here to get her.
-Are these aLL of her previsions?
WALLY: I'm rewinding her right now.
Just take me to the Leo Crow murder.
They don't come out in any order.
I'm getting them as she's giving them.
Can you see?
-He's inside.
-He has some kind of mask on.
-He seaIed the door.
-Shit!
Nobody fires a weapon inside
the tempIe. Use bindfoam.
-Is there another way out of there?
-ALL the doors are covered.
WITWER: John, move away from the tank.
Move away from the tank, John.
No! No! No! No! No!
WITWER:
What does he want with a Pre-Cog?
So he can kllI whoever he wants to
without anyone knowing.
WeLL, there's stllI the other two.
The other two can stllI function, right?
They're a hive mind. It takes aLL three
for their predictive abllities to work.
They can't see murders anymore?
Agatha, she's the key.
She's the one they Llsten to. . .
. . .the one with the most taIent.
-She takes care of the other two.
-Jesus.
WALLY: PIease bring her back.
-Every team underground, now!
-It doesn't matter. He wins.
-We'LL stop him.
She's with him when he kllIs Crow.
She's aIready a part of his future.
Jad, put everything you've got into
finding that room, and we stop a murder.
-How much time have we got, Gordon?
FLETCHER: We've got. . .
. . . minutes, seconds.
[AGATHA SHIVERS]
You coId? Can you understand me?
Are you coId? The shivers,
it's the drugs we gave you.
It shouId wear off soon.
I'm sorry. I need your heIp.
You contain information.
I need to know how to get at it.
Can you just teLL me who Leo Crow is?
-Is it now?
-What?
Is it now?
Yes, this is aLL happening right now.
I'm taking you some pIace in pubLlc. . .
. . .which means you need
something eIse to wear.
I'm tired. I'm tired of the future.
Hello, Mr. Yakamoto,
welcome back to the Gap.
How'd those assorted tank tops
work out for you?
Mr. Yakamoto?
GAP ANNOUNCER: Miss Belfor, did you
come back for another pair of lace-ups?
JAD: If it's ransom, where's the note?
-It has nothing to do with ransom.
It has to do with the information
inside of Agatha.
-He's trying to prove his innocence.
FLETCHER: He can't downIoad her.
Your average consumer can't buy
any of this stuff.
It's been assembIed and scrounged
from spare parts made to order.
Assuming Anderton ordered this,
who put it together?
Who's Rufus T. Rlley?
RUFUS: What's your pIeasure? We got it
aLL here: sports fantasies. . .
. . . ''Look, Ma, I can fIy'' fantasies. . .
. . .which covers everything from bungee
jumping to fIying over the Grand Canyon.
You can experience sex as a woman.
Women come in to get Iaid
by their favorite soap star.
Or just some good, cIean fun.
RUFUS:
Oh. Oh. Oh, yeah.
It's a big rush, but you come out
without a heart attack.
I wanna kllI my boss.
Uh-huh. Okay.
-You got some images I can work with?
ANDERTON: Rufus.
Yeah, being concertmaster
for the PhlladeIphia Symphony. . .
. . .is a popuIar choice.
-I wanna kllI my boss.
-You sick bastard.
You make this a terribIe worId
to Llve in!
Detective, nice of you to come here,
seeing how every cop is Iooking for you.
-I need your heIp.
-Why'd you come here?
-I make house caLLs.
-I need your heIp with her.
HeLLo, honey pie.
I'm impressed. You're on the Iam. . .
. . .and you stllI have the time to
sLlce off a LlttIe. . .jerky for yourseIf.
-She's a Pre-Cog.
-Oh, yeah, okay.
ANDERTON: That's right.
-She's a Pre-Cog.
You brought a Pre-Cog here.
Jesus Christ.
-Are you reading my mind right now?
-Get up.
I'm sorry for whatever I'm gonna do.
I swear I didn't do that stuff I did.
She has information inside her.
I need you to get it out.
No way. I wouIdn't even know
where to begin.
Those thoughts about my cousin
were just thoughts.
-You've been busted for feIony hacking.
-So?
So I need you to hack into her.
I do this, I get to keep
whatever images I get from her head.
-They don't beIong to anybody.
-Take her to RadioShack.
You're gonna heIp me.
[WHIMPERS]
Agatha, I need to see. I need to see
what's gonna happen to me.
And then we'LL go.
-She works.
-SIow it down.
How do I sIow this down?
I shouId hit her on the head?
-Are you recording this?
RUFUS: Shit.
Yeah, recording.
I know this aIready.
Come on. Move on.
Goodbye, Crow.
Goodbye, Crow.
ANDERTON: What happened?
-I don't know.
-What happened?
-I don't--
-Where's the rest of it?
-I guess that's aLL of it.
Where's my Minority Report?
Do I even have one?
-Do I have one?
-No.
-What?
-No.
[SCREAMS]
What?
Agatha? What? What?
-Can you see?
-See what?
Anne LiveIy.
You want me to see who kllIed
Anne LiveIy. Are you recording this?
Yeah, but it's pouring
out of her backwards.
I Llke my Llfe. Everything's good.
They're inside.
Who?
ALL your oId teammates.
COP : Kenny, Ieft chamber.
AIan, straight across.
-CIose the door!
COP : Negative!
COP : Negative!
COP : Negative!
I don't deserve that.
-You are the man.
-No, you're the man.
Can you see the umbreLLa?
Take it.
Take it!
A man in a bIue suit.
He drops his briefcase.
You see a woman in a brown dress.
She knows your face.
Turn in here.
COP:
Let's go.
AGATHA: Wait.
-No, we can't stop here.
Can you see the baLLoon man?
Wait.
-Wait.
-What are we waiting for?
Wait. Wait.
Wait.
-PIease, Mommy, can I have one?
-ALL right.
Wait.
Thank you.
-Anybody got an ID? Anybody?
GROUP: Negative.
Scott, Ramos, take the east end.
Everyone eIse, foLLow me. Let's go.
He knows. Don't go home.
We've got eyes on.
They're working,
but they're standing on it.
PIease! PIease!
Have you got a quarter?
AGATHA:
Drop some money.
Can't you put it in my hand?
May the Lord bIess you.
May God take care of you.
Damn!
That's the guy.
The man in the window.
ANDERTON:
Hey. Hey.
CLERK: Rooms are a night.
-Mind if I Iook at the registry?
Yeah, I mind.
How about now?
HeIp yourseIf.
He's here.
Anderton, Ieave.
You have a choice.
WaIk away. Do it now.
I can't. I have to find out
what happened in my Llfe.
PIease.
Agatha, I'm not gonna kllI the man.
I don't even know him.
-What room is Crow in?
CLERK: .
Come on.
Come on.
[LAUGHS]
Wrong room.
Leave.
Leave.
ANDERTON:
Oh, God.
This is Sean.
My son.
Every day for the Iast six years
I've thought about onIy two things:
The first is what my son wouId
Iook Llke if he were aLlve today. . .
. . .if I wouId recognize him
if I saw him on the street.
And the second is what I wouId do
to the man who took him.
You're right.
I'm not being set up.
You have to take me home.
You said so yourseIf.
There is no Minority Report.
I don't have an aIternate future.
I am going to kllI this man.
You stllI have a choice.
The others never saw their future.
You stllI have a choice.
-Leo Crow?
-Who the heLL are you?
[AGATHA SCREAMS]
Six years ago, BaItimore. . .
. . .you grabbed a kid at Francis
pubLlc pooI on the West End.
Did I? I don't remember
anything about that pIace.
ANDERTON:
Who am I? Who am I?
Do you know who I am?
-You're somebody's father.
ANDERTON: His name is Sean!
Sean!
I toId him I was a poLlceman
and needed his heIp.
It wasn't so bad. I sang him a song.
I bought him a pretzeI.
He was happy. He was happy.
Is he aLlve?
He's aLlve. Where have you got him?
Is he aLL right?
TeLL me, you fuck, where is he?!
I put him in a barreI.
I sunk him in the bay.
He fIoated back up. I took him out.
I was gentIe. I was gentIe.
I was gentIe.
I'm sorry.
I'm sorry.
I'm sorry.
I'm sorry.
I'm so very sorry.
How couId you do that to my--?
[ANDERTON AND CROW GROANING ]
You can choose.
You can choose.
You have the right to remain sllent.
Anything you say or do can be used
against you in a court of Iaw.
You have the right to an attorney. . .
. . .now and during any
further questioning.
If you can't afford an attorney. . .
. . .we wllI appoint one.
Do you understand these rights?
You're not gonna kllI me?
-Do you understand these rights?
-You're not gonna kllI me?
If you don't go through with this,
my famlly gets nothing.
You're supposed to kllI me.
He said you wouId.
He? Who's he?
I don't know.
He caLLed me in my ceLL.
He toId me I'd be reIeased if I went
aIong, and my famlly wouId be cared for.
If you did what?
If you did what?
If I acted Llke I kllIed your kid.
Okay?
If you kllIed my kid?
CROW: Look, you don't kllI me,
my famlly gets nothing. Okay?
What about the pictures?
They're fake. He gave them to me.
Now, Llsten to me. You--
You teLL me:
Who was it that set this up?
I don't know.
-Come on.
-I'm asking you again:
-Who put you up to this?
-I didn't see his face.
I teLL you who,
and my famlly gets nothing.
-Who made you do this?
-KllI me.
-You can do this. KllI me.
-TeLL me.
-KllI me.
-Leo, Iet go of the gun.
Let go of the gun. It's okay.
Let go of the gun. That's it.
Let go of the gun.
You're not gonna kllI me.
-Goodbye, Crow.
-Anderton, wait a sec--!
[SCREAMS]
WOMAN : Did you see it?
MAN: Stay back!
WOMAN :
What's happening down there?
WOMAN :
Murder!
Murder! Murder!
WITWER:
Doesn't make sense.
If you were a chlld kllIer,
wouId you Ieave these photos out?
Anderton might have found them.
-What kind of cop were you before this?
-Treasury agent.
-This wllI be your first murder scene?
-Yeah.
I worked homicide before federaI.
This is an orgy of evidence.
-Know how many orgies I had as a cop?
-How many?
None.
This was aLL arranged.
TV ANNOUNCER: The first murder in the
six years of the Precrime experiment.
[PHONE RINGS]
TV ANNOUNCER:
Sadly enough, this failure was human.
The protection team
simply didn 't get there in time.
But the murder itself happened exactly
as the Pre-Cogs predicted it would.
Today's event put a human face
on the Precrime system.
CELESTE: Danny Witwer's on the phone.
He says it's important.
Lamar?
-What?
WITWER: There's something wrong.
-We're chasing the wrong man.
-What?
I don 't wanna say over the phone.
Meet me at Anderton 's.
We recovered that
from Leo Crow's hoteI room.
BURGESS: I remember when I gave this
to him, back in BaItimore.
WITWER:
PIease, sir.
TeLL me what you have.
This is the murder of a woman
named Anne LiveIy.
John toId me about this.
You got this from Containment?
Yes. This is from the twins,
Arthur and DashieLL.
Agatha's stream was missing.
This one is from the Cyber ParIor.
Anderton downIoaded this directIy
from Agatha. Rufus Rlley recorded it.
-It's the same prevision.
-Not quite.
Look at the surface wind
across the water. Watch the rippIes.
Moving away from shore.
Now the second image, the one from
Containment that Art and Dash saw.
Watch the water.
The wind's changed.
The rippIes are moving the other way.
This murder's taking pIace
at two different times.
Anderton was watching this
right before he was tagged.
He toId me about
the missing data stream.
-He was concerned you might find it.
-He was right. I did.
It was inside of Agatha.
So the question is, why wouId someone
want this erased from the data flle?
Danny, just teLL me
what you're thinking.
I'm thinking someone
got away with murder.
How?
Jad toId me that sometimes the Pre-Cogs
see the same murder more than once.
-It's caLLed an echo.
-Jad caLLed it Pre-Cog deja vu.
We teach the techs to identify
and disregard them.
Yeah, but what if a technician onIy
thought he was Iooking at an echo?
What if he was Iooking at a compIeteIy
different murder aItogether?
I don't understand.
ALL you'd have to do is hire someone
to kllI Anne LiveIy. . .
. . .Llke a drifter, a neuroin addict,
someone with nothing to Iose.
Precrime stops the murder
from taking pIace. . .
. . .haIoes the kllIer, takes him away.
But then, right then, someone eIse. . .
. . .having reviewed the prevision
and dressed in the same cIothes. . .
. . .commits the murder
in exactIy the same way.
Technician takes a Iook, thinks he's
Iooking at an echo, erases it.
It'd have to be someone with access
to the previsions in the first pIace.
-Someone fairIy high-up.
-Shh.
Do you know what I hear?
Nothing.
No footsteps up the stairs.
No hovercraft out the window.
No cLlckety-cLlck of LlttIe spyders.
Do you know why?
Because right now,
the Pre-Cogs can't see a thing.
[GUN FIRES]
AGATHA:
Can you see? It's beautifuI.
-Where are we going?
ANDERTON: SomepIace safe.
[PHONE RINGS]
-Burgess.
-Lamar, it's Lara.
BURGESS: Yes, Lara.
-You have to heIp him.
-Is he there?
-Yes.
Is the Pre-Cog with him?
-Yes.
-Keep them there. I'm on my way.
PIease don't teLL Danny Witwer.
I don't trust him.
BURGESS:
I won't say a word.
You just don't Iet John Ieave,
aLL right?
He's no kllIer, Lamar.
I know.
AGATHA:
It's coId.
ANDERTON:
Lara, this is Agatha.
You remember when I wouId read
Tom Sawyer to you and Sean?
He got so scared when Tom and Becky
were Iost in the cave.
I gotta sit down.
I gotta figure this out.
I gotta figure this out.
ANDERTON:
They used Sean.
They wanted me to think
Crow kllIed him.
But he didn't.
He didn't.
Why wouId they set you up?
Because I found out about her.
About who?
-How couId I not have seen this?
-Seen what?
Anne LiveIy.
Agatha.
Dr. Hineman once said,
''The dead don't die. . .
. . .they Iook on and heIp. ''
Remember that, John.
Agatha.
Sean.
He's on the beach now. . .
. . .toe in the water.
He's asking you to come in with him.
He's been racing his mother
up and down the sand.
There's so much Iove in this house.
He's years oId.
He's surrounded by animaIs.
He wants to be a vet.
You keep a rabbit for him,
a bird and a fox.
He's in high schooI.
He Llkes to run, Llke his father.
He runs the two-mlle
and the Iong reIay.
He's .
He's at a university.
He makes Iove
to a pretty girI named CIaire.
He asks her to be his wife.
He caLLs here and teLLs Lara,
who cries.
He stllI runs. . .
. . .across the university and
in the stadium, where John watches.
Oh, God. He's running so fast,
just Llke his daddy.
He sees his daddy.
He wants to run to him.
But he's onIy years oId,
and he can't do it.
And the other man is so fast.
There was so much Iove in this house.
I want him back so bad.
So did she.
Can't you see?
She just wanted her LlttIe girI back.
But it was too Iate.
Her LlttIe girI was aIready gone.
She's stllI aLlve.
She didn't die.
But she's not aLlve.
ANDERTON:
Agatha?
Just teLL me. . .
. . .who kllIed your mother?
Who kllIed Anne LiveIy?
I'm sorry, John,
but you're gonna have to run again.
-What?
-Run!
I Iove you.
-It's okay.
LARA: No. No.
You'LL be fine with them.
LARA: No! No!
COP: Stay with me. Stay with me.
LARA: John, no.
COP: Don't taIk.
John Anderton.
By mandate of the D.C.
Precrime Division. . .
. . .I'm pIacing you under arrest for the
murders of Leo Crow and Danny Witwer.
WALLY:
That's it.
That's my girI.
I was so worried about you.
Did he hurt you?
I missed you so much.
It's okay. WaLLy's here.
WaLLy's here.
You're a part of my fIock now, John.
WeIcome.
It's actuaLLy kind of a rush.
They say you have visions. . .
. . .that your Llfe fIashes
before your eyes. . .
. . .that aLL your dreams come true.
This is aLL my fauIt.
There was nothing anyone couId do.
I thought you might want
to have those.
I haven't worn this in years. I wanted
to make sure it fits before tonight.
You Iook great.
I knew he was having troubIe
for some time, yet I did nothing.
-The guy from USA Today is here.
-TeLL him not now.
-He just wanted a few minutes before--
-Not now!
-I thought you were retiring.
-WeLL, I was.
But this incident with John made me
reaLlze the fragllity of aLL this.
This is John's Iegacy
as much as it is my own.
Now I have an obLlgation
to protect that.
Lara, I know how difficuIt
this is for you.
But maybe you can find
some cIosure in the fact. . .
. . .that John finaLLy found
the man who kllIed your son.
Who's Anne LiveIy?
-Who?
-Anne LiveIy.
John was taIking about her
right before they took him.
I don't know who that is.
John said something about him being
set up because he found out about her.
-WeLL, we know why John was tagged.
-He aIso said Crow was a fake.
And Witwer? He was kllIed with
John's gun inside John's apartment.
Do you know the reason why
John came here to work for you?
-Sean.
-Yes.
He came here to work for you
because he thought. . .
. . .if he couId just stop
that kind of thing from happening. . . .
-I understand.
-No, I don't think you do.
Sir, they wanna start
the press conference in two minutes.
Lara. . .
. . .John was the best cop I ever knew. . .
. . .and, in some ways,
aIso the best man.
But the scars he carried around. . . .
WeLL, I know he'd want us to honor
the good things we remember about him.
And I aIso know why he married you:
You're as stubborn as he is.
-Lamar. . . .
-Do you know how to tie one of these?
CouId you pIease give me a hand?
I'm aLL thumbs, as you see.
Listen, I'LL teLL you what I'LL do.
First thing Monday,
I'LL Iook over the Witwer evidence.
And I'LL have Gideon
run the Containment flles. . .
. . .see if anyone drowned a woman
by the name of--
What did you say her name was?
Anne LiveIy.
But I never said she drowned.
-Sir, the press conference is starting.
BURGESS: I'LL be right there.
We'LL taIk about this Iater.
Perhaps tomorrow,
I'LL come by the cottage.
[ORGAN MUSIC PLAYS]
I'd Llke a word with my husband.
You're not authorized.
How did you get in here?
Thank you.
Ladies and gentIemen, Lamar Burgess,
director of the new NationaI Precrime.
On behaIf of your staff,
we present you with this.
-CongratuIations, sir.
BURGESS: My God.
How did you get this?
I padded your expense account
for six months.
RevoIvers Llke this one
were given to generaIs. . .
. . .at the end of the Civll War
by their troops.
The cyLlnders were Ioaded
with five goId-pIated buLLets. . .
. . .to symboLlze the end
of the destruction and death. . .
. . .that had ripped the country apart
for five years.
Ladies and gentIemen,
with Precrime going nationaI. . .
. . .maybe we can aLL Iook forward
to a time when none of us. . .
. . .wllI have to discharge
another firearm ever again.
Now enjoy yourseIves.
Enjoy yourseIves! That's an order.
Does this mean we can finaLLy use
the Iake house on weekends?
[PHONE RINGS]
HeLLo.
Yes. Right away.
-Excuse me, so sorry.
WOMAN: Excuse me.
-Sir?
BURGESS: Yes.
Sir, you have an emergency caLL
on your private Llne.
Yes, this is Burgess.
ANDERTON: Hello, Lamar. I just wanted
to congratulate you. You did it.
You created a world without murder.
Everyone wants your name on a hat.
Can you sign these?
All you had to do was kill someone
to do it.
[PHONE RINGS]
A-room. Jad.
Jad, it's Lara. John needs a favor.
-What are you taIking about?
ANDERTON: Agatha 's mother, Anne Lively.
Just a junkie who had a kid once
and had to give her up, but surprise!
She cleaned herself up,
and she wanted her daughter back.
She wanted Agatha.
Jad, you getting this? It's from the
femaIe onIy. No time or incident data.
It isn't the future.
It aIready happened.
ANDERTON: The problem was, without
Agatha, there was no Precrime.
She's the strongest of the three.
Without Agatha, you had nothing.
You wouldn 't be where you are now,
standing there, signing autographs.
COP: What are you doing?
-What are you doing with that?
KNOTT: What you up to, big man?
-Think before you send that.
KNOTT:
SIow down.
ANDERTON: You had to get rid of Anne
Lively, which presented a problem:
How can you kill her
without the Pre-Cogs seeing it?
Simple. Use a system
you control against her.
You hired someone to kill her, knowing
the Pre-Cogs would see that murder.
You lured Anne Lively
out to the lake...
... with the promise of reuniting her
with her daughter.
Where's my daughter?
Where?
Run!
Run!
[CROWD GASPING ]
ANDERTON: When you were all alone,
you killed her yourself...
...in the same way the Pre-Cogs
predicted your John Doe would kill her.
You made the real murder
look like an echo...
...knowing the tech would do what
he was trained to do: disregard it.
Anne Lively became
just another missing person.
So, what are you gonna do, Lamar?
What are you gonna do?
[GASPS]
We got a Red BaLL!
Think about the Llves
that LlttIe girI has saved.
Think about the Llves
that LlttIe girI has saved.
Think of aLL the Llves she wllI save.
She couId have saved Sean.
Don't you ever say his name!
You used the memory of my dead son
to set me up.
You used the memory of my dead son
to set me up.
You knew that wouId
drive me to murder.
-What are you gonna do now, Lamar?
ANDERTON: What are you gonna do now?
-How are you gonna--?
-Shut me up?
Forgive me, John.
Forgive me, John.
ANDERTON:
Lamar.
It's over.
The question you have to ask is,
what are you gonna do now?
No doubt the Pre-Cogs have
aIready seen this.
No doubt.
You see the dllemma, don't you?
If you don't kllI me, Pre-Cogs were
wrong and Precrime is over.
If you do kllI me, you go away. . .
. . .but it proves the system works.
Pre-Cogs were right.
So, what are you gonna do now?
What's it worth?
Just one more murder.
You'LL rot in heLL with a haIo, but
peopIe wllI stllI beLleve in Precrime.
ALL you have to do is kllI me,
Llke they said you wouId.
Except. . .
. . .you know your own future. . .
. . .which means you can change it
if you want to.
You stllI have a choice, Lamar.
Like I did.
Yes, I have a choice. . .
. . .and I made it.
Forgive me, John.
[GUN FIRES]
Forgive me.
Forgive me, my boy.
CELESTE:
Lamar!
ANDERTON: In the six-year
Precrime experiment was abandoned.
All prisoners were unconditionally
pardoned and released...
...although police departments
kept watch on many of them for years.
Agatha and the twins...
... were transferred
to an undisclosed location...
...a place where they could
find relief from their gifts...
...a place where they could
live out their lives in peace.