MINORITY REPORT (Continue)

ANDERTON
You the sentry?

GIDEON
Yes, sir. I'm Gideon.
(indicates the organ)
The music relaxes the prisoners.

Anderton looks around as Gideon quickly moves away from the
organ.

GIDEON
I don't ever see any of you precops
down here, I'm not in trouble am I?

ANDERTON
No, you're not in trouble. I'm
interested in a murder.

GIDEON
Kill type?

ANDERTON
Drowning.

Gideon turns to a computer screen on his wheelchair.

GIDEON
Well, that narrows it down. Not
many in here for that one.

Gideon starts going through the files, we see different FACES
flash by. Anderton looks over his shoulder.

ANDERTON
Victim's a white female.

GIDEON
This about the Justice Department?
(off Anderton's look)
They laid on a tour for tomorrow
a.m. Told me to wear a tie. You
like this one?

THE FACE OF THE DROWNING WOMAN Agatha showed Anderton flashes
on the screen.

ANDERTON
Stop! Roll back... There!

Gideon looks at the screen.

GIDEON
That's an old one. One of our
first.

ANDERTON
This is the official composite of
the three precogs?

GIDEON
That's right. It's a combined data
stream based on all three
previsions.

ANDERTON
Show me just Agatha's data stream.

GIDEON
For that, we have to go for a ride.

Gideon rolls ahead of Anderton, checking his manifest on a
small display. Anderton looks around.

ANDERTON
You the only sentry?

GIDEON
I work graveyard, swing and day all
by my lonesome.

Gideon hits a button on his wheelchair and we hear a RUMBLING
SOUND as the "prisoners" around the perimeter all BEGIN TO
RISE.

GIDEON
Hey, bet you don't know where the
term "graveyard shift" comes from?

Only half-listening, Anderton watches as now A SECOND TIER OF
MARKERS appear right below the first tier. The video screens
playing the murder previsions over and over...

GIDEON
Long time ago, in merry old
England, they discovered that some
coffins, after they reopened 'em --
now why they did that, I couldn't
tell you --

And now we see a third tier, also with the video screens
showing their own horrific images.

GIDEON
Anyway, they discovered that some
of the coffins had scratch marks on
the inside, indicating that the
person had not been dead when they
buried them.

And now Anderton watches as a fourth tier rises up.

GIDEON
So they tied a string to the wrist
of each person that lead to a bell
above ground.

Anderton has to tilt his neck to see the top of the tiers as
a fifth tier rises up from the ground...

GIDEON
Someone was assigned to sit at
night and listen for the bells.

... until the bodies and their markers are stacked nearly to
the roof of the facility and Gideon turns to Anderton and
smiles.

GIDEON
Hence the expression...

ANDERTON
(softly, staring at all
the prisoners)
... Graveyard shift.

GIDEON
Not to mention, "Saved by the
bell".

Gideon starts to roll off. Anderton stands there, looking at
all of them.

ANDERTON
I'd forgotten there were so many.

Gideon rolls onto a PLATFORM attached to a long arm and
wheels around to face Anderton.

GIDEON
And to think they'd all be out
there killing people if it wasn't
for you.

Anderton moves onto the platform they lift up and away.

INT. ANDERTON'S APARTMENT - DAY

Dark. We hear someone make the lock, then the door opens and
we see Danny Witwer standing there looking in. He closes the
door, turns on the light and takes in the total disarray.

He bends down, picks up a BLACK INHALER and examines it. He
puts it in his pocket and starts to look around.

He moves through the dark apartment to the table where
Anderton keeps his Holo-Computer equipment. He looks at it a
moment, then starts pressing buttons. And now we hear...

SEAN (O.S.)
Hey, Daddy!

He pulls his weapon, wheels around and points it at the holo
image of SEAN (age 4) ON THE BEACH as he wings a Frisbee.

SEAN
Catch!

Witwer ducks as it sails by. He looks around, notices the
LASER PROJECTORS all around the room. And now he sees THE
IMAGES OF SEAN... everywhere. He slowly puts away his gun.

WITWER
My God...

INT. DEPARTMENT OF CONTAINMENT - DAY

As Anderton rides the platform with Gideon looking at all of
the "prisoners".

GIDEON
They get to spend twenty years
asleep, somewhere between life and
death, all the while getting their
bodies pumped up with nutrients
they'd never get if they were out
on the street.
(stops the platform)
Okee pokee, here we go...

A video screen comes into view, we see it's showing THE
DROWNING WOMAN Anderton saw inside the temple.

GIDEON
John Doe drug addict was gonna put
down a woman named Anne Lively at
Roland Lake.

They move upward, once more gliding up to a video screen as
it comes into view, we see it's showing THE DROWNING WOMAN
Anderton saw inside the temple.

ANDERTON
That's her --

Anderton looks at the screen. The PREVISION PLAYS OUT:
Daytime. A lake. The redheaded woman is shoved under water
by two BLACK-GLOVED HANDS, her mouth open to scream.

Anderton looks at the MAN lying there -- tall, shaved head,
nearly skeletal.

ANDERTON
Why's he still a John Doe? Why
wasn't he ever ID's from an
EYEscan?

GIDEON
On account of those are not his
eyes. He had 'em swapped out to
fool the scanners.

Anderton sees the dark red scar-lines around his eyes.

GIDEON
You get it done on the street for a
few hundred bucks these days.

Anderton looks at the screen as the SCREAMING WOMAN appears
again, stares at her face.

GIDEON
Okay, so you want just the female's
prevision.

Gideon hits a button on his remote and the VIDEO SCREEN
DIVIDES INTO THREE SECTIONS. In the first section, we see
various angles of the woman being drowned by John Doe. A
similar series of shots on the second screen.

But the THIRD SCREEN IS BLANK.

GIDEON
Huh, we don't seem to have her
data.

ANDERTON
Try again.

GIDEON
(works the computer)
No... we have the two previsions
from the twins right here, but...
(indicates the blank
screen)
... I can't pull up any data from
the female. Probably just a
glitch.

Anderton stares thoughtfully at the first two images of Anne
Lively being drowned.

GIDEON
Hey, you wanna know where the word
came from, "glitch?"

ANDERTON
(looks at the face)
Just tell me about the intended
victim. This Anne Lively...

Gideon works the computer.

GIDEON
Looks like she was a neuroin addict
like John Doe here, but I show an
address history that includes the
Beaton Clinic.

ANDERTON
So she cleaned up. Where is she
now?

Gideon again works the computer, then sits back.

GIDEON
Huh. How ironic...

He spins the screen so that Anderton can see one word there:
"MISSING"

GIDEON
You finally crawl your way out of
one hole, only to fall into
another.

Anderton takes a small plastic CARD from his wallet and
slides it into A SLOT on the computer. Instantly the MOVING
IMAGE OF ANNE LIVELY downloads onto the card.

GIDEON
Careful, Chief...

Anderton looks at him.

GIDEON
You dig up the past, all you get is
dirty.

DISSOLVE TO:

THE WHITE LIQUID

THE FACE OF THE FEMALE PRECOG emerges from the milk, her blue
eyes suddenly blink open. Something has begun...

INT. BURGESS' LIVING ROOM - DAY

Burgess sits on the couch, a blanket covering his legs,
nursing a cold. He looks at THE MOVING IMAGE OF ANNE LIVELY
on the small card.

BURGESS
And you say the third prevision
was, what, a little fuzzy or
something?

ANDERTON
I'm saying the third prevision
wasn't there. And that's not all.
I spent a few hours down there and
it turns out there's a dozen more
cases with missing previsions.

Burgess sneezes, takes out his handkerchief.

BURGESS
You'd think we'd have found a cure
for the common cold by now.

WIFE (O.S.)
It's stress.

His WIFE walks in who hands him a steaming mug. He looks at
it.

BURGESS
What's this?

WIFE
Herbal tea with honey.

BURGESS
Yeah, well I hate herbal tea...
almost as much as I hate honey.

WIFE
Just drink it before I pour it in
your lap.

He reluctantly takes it. She smiles at Anderton on her way
out.

ANDERTON
Danny Witwer is scheduled for a
tour of Containment tomorrow --

BURGESS
So give him a tour. He doesn't
know enough to ask the right
questions.

ANDERTON
If he's looking for a flaw in the
system --

BURGESS
He's not. He's looking for a flaw
in us, John.

Anderton notices the change in Burgess' tone. Burgess tosses
the CARD onto the coffee table in front of him, and considers
Anderton a moment.

BURGESS
Lara called me.

ANDERTON
What?

BURGESS
She's worried about you. And,
quite frankly, so am I.

ANDERTON
I'm fine.

BURGESS
I hear you've been spending a lot
of time in the sprawl.

ANDERTON
(beat)
I go running down there.

BURGESS
In the middle of the night?

Anderton doesn't have an answer for that one.

BURGESS
What if Danny Witwer came to you
right now and insisted on a full
chem run?

ANDERTON
I'm fine, Lamar.

Burgess gets up and sits down next to Anderton, puts a hand
on his shoulder.

BURGESS
(beat)
You understand, John, that the
minute Precrime goes national,
they're going to take it away from
us.

ANDERTON
We won't let them.

BURGESS
No? How's an old man and a cop on
the whiff ever going to stop them?

This stings Anderton. Burgess softens.

BURGESS
My father once said to me that you
don't choose the things you believe
in, they choose you.
(then)
There's a reason you're here, John.
Had Precrime been in place just six
months earlier, the loss you and
Lara suffered would have been
prevented.

Anderton turns away.

BURGESS
Remember the eyes, John --

Burgess COUGHS, motions for a second while he gets his breath
back, then...

BURGESS
Remember, the eyes of the nation
are on us right now. We both know
I'm not the generation anyone
listens to.
(then)
People trust you, John. When you
speak of your absolute belief in
Precrime, they know it's a belief
born of pain and not politics.
I've always understood that. And
in some ways, I may have even
encouraged it, to help with the
cause. But now... your pain is
hurting both of us.

Anderton nods, finally gets up, puts his hand on Burgess'
shoulder, looks the old man in the eye.

ANDERTON
They're not going to take it away
from us, Lamar.
(beat)
I won't let them.

INT. TELEVISION SOUND STAGE - MORNING

A talkshow. A woman MODERATOR sits in front of a backdrop
that reads "DOUBLE EXPOSURE". Anderton now in a suit and tie
sits with the MODERATOR and a WOMAN in a dark suit.

MODERATOR
A week from today conventions will
meet in every state to vote on the
ratification of the precrime
amendment. With us to discuss this
historic decision are Chief John
Anderton of Precrime in Washington
D.C. and Ms. Dinola Margis,
Director of the American Freedom
Foundation. Both of you, thanks
for being here.

ANDERTON/MARGIS
Geraldine. Thanks for having me.

MODERATOR
Ms. Margis, let me start with you.
Last year, more people in this
country lost their lives to murder
than to natural causes. Doesn't
such unparalleled violence require
that we protect our citizens,
whatever it takes?

MARGIS
No, Geraldine, not at the price of
giving up our most fundamental
rights. For almost three centuries
now, every accused citizen has had
the right to be presumed innocent
until found guilty. But, here, we
have the beginnings of a system
that punishes people for crimes
that haven't even been committed.
I feel stuck in a nightmare.

And now we see Burgess standing in the wings, watching now as
Anderton smiles, revs up the charm.

ANDERTON
You forget, Dinola, that the
Supreme Court has ruled that the
Precogs predictions as foregone,
metaphysical conclusions. Meaning
what the Precogs say is going to
happen, happens.
(then)
Unless we stop it.

MARGIS
You know, the Eutruscans used to
read sheep livers to predict the
future. Maybe we should try that
one next.

ANDERTON
That's funny. But the truth is,
our Constitution has always
recognized that in times of great
danger we may have to take actions
that... offend certain principles
in order to preserve the nation
itself.

Burgess looks at Anderton and nods. That's my boy. Anderton
nods back, turns back to the table as we...

DISSOLVE TO:

INT. SOLARIUM - NIGHT

Anderton, barefoot and shirtless, still in his suitpants,
eats a bowl of cereal while the TALKSHOW he taped earlier in
the day before plays out on the TELEVISION.

ANDERTON (TV)
In the middle of the civil war, for
example, Abraham Lincoln suspended
the writ of habeas corpus observing
that a limb may be sacrificed to
save a life, but a life is never
wisely given to save a limb.

Anderton doesn't watch it. Instead, he stares stupidly at
the images of SNAP, CRACKLE and POP dancing around on the
cereal box that sits on the coffee table in front of him.

MARGIS (TV)
Let me ask you something, Chief?
You're a former police officer --
when was the last time you
Mirandized someone?

The ON TV ANDERTON just smiles at her.

MARGIS (TV)
You have the right to remain
silent? You have the right to an
attorney?

He turns, looks up at the set and now we go...

CLOSE ON MARGIS

MARGIS (TV)
When's the last time you actually
said those words?

ANDERTON

Mutes the set, stares back at her when we hear --

ANDERTON'S VOICE
What are you looking at?

Anderton turns and sees A HOLOGRAPHIC IMAGE OF LARA, his ex
wife, standing at the window, looking out at the rain.

LARA
Just the rain.

She turns and looks off to a spot in the room where Anderton
would have been standing all those years ago with the camera,

LARA
Why don't you put that camera down
and watch it with me?

Now Anderton puts down the bowl of cereal, gets up and walks
over to her, but THE IMAGE BLINKS OUT, then STARTS ALL OVER
AGAIN...

Anderton turns and walks across the room. We now see A DOZEN
HOLOGRAPHIC IMAGES from his old life playing around the room.
He sits down in an armchair and watches them play out.

He holds a black inhaler to his lips, sucks in the drug, then
looks about at the images as, gradually, the holographs begin
to fill in, become real. To him anyway.

Sean (age 6) walks up beside him dressed in A YELLOW RAIN
SLICKER. Anderton looks over at him, standing there silent.
He says something, but there's no audio, or at least we don't
hear it. The image jumps, then repeats, the boy walking up
in the slicker, his mouth moving silent. Then again...

Anderton reaches out for his son, but the boy DISAPPEARS. In
his place, floating green letters read:

END OF FILE

Anderton sits up and rubs his face. He starts to get up,
then pauses, looks down at the floor beside the chair.

A PUDDLE OF WATER has formed. He stares at it a moment, A
DROP OF WATER FALLS FROM ABOVE and Anderton slowly looks up
at...

THE GLASS CEILING OF THE SOLARIUM

A long CRACK in the glass up there. Rain pelts it. Water
drips down and forms a puddle on the floor.

Anderton looks around the room and we see a half dozen END OF
FILE's all over the room now.

INT. PRECRIME HEADQUATERS - ANDERTON'S OFFICE - DAY

As Anderton comes in, takes his coat off. Something drops on
the floor. He bends down and picks up the DATA CARD with the
image of ANNE LIVELY drowning. He looks at it when...

We hear LAUGHTER O.S. and he looks down through the glass,
sees a GROUP OF SECRETARIES having a baby shower for the
pregnant woman. He notices Fletcher, some of his guys down
there...

And then he sees Witwer. His hand on the pregnant
secretary's belly, cracking a joke they all laugh at.
Suddenly he's the most popular guy on campus. The guys see
Anderton who motions them to stay, it's okay. Witwer looks
up at him curiously. Anderton POCKETS THE DATA CARD, turns
away and goes into...

INT. PRECRIME ANALYTICAL ROOM - DAY

As Anderton comes in, Jad sits at the big screen, looking at
something.

ANDERTON
Jad. How come you're not out there
with Father Witwer?

JAD
We're in motion on something.

Anderton comes over now.

JAD
From what I can see, we got a white
male, about five-eight,
approximately one-forty, takes a
round in the ten ring, and goes out
a window.

Anderton starts to put on his eyepiece and finger gloves.

ANDERTON
Red Ball?

JAD
Nope. Somebody's thinking about
this one.

ANDERTON
Amazing there's someone within two
hundred miles actually dumb enough
to still do that.

Jad watches as Anderton sticks a disc into a slot and we hear
CLASSICAL MUSIC OVER.

JAD
I love this part.

Anderton starts "conducting" the prevision, organizing the
images, moving some up, others back...

FEMALE PRECOG
Wait! Don't --

Anderton looks at the PRECOG SCREEN, sees the three of them
writhing about.

ANDERTON
Here we go...

And now we see the screen, various images, all of them
grainy, visual non-sequiters like A FACE WEARING
SUNGLASSES... THE NUMBER 9 TURNING INTO THE NUMBER 6... THE
INSIDE OF A SMALL APARTMENT... A FIGURE BACKLIT BY A
WINDOW... A CRACKED MIRROR... A SMALL MAN... A PAIR OF DARK
EYES...

ANDERTON
Shunt all cycles to a full vis
correlation at my mark by the
windows.

And now the image starts to resolve, showing TWO MEN, one
with a gun, his image still blurred. The other clearer...

ON THE CHUTE: A BALL

Rolls down. Jad moves into read the name:

JAD
The victim's name is Leo Crow.

ANDERTON
(into the computer)
Start a location run and a contact
search for future victim Leo Crow.
(to Jad)
And, Jad, I'll need a Last Known
Sheet when you get it.

JAD
I've got no address -- last known
or otherwise -- no tax returns for
the last five years.

ANDERTON
Check NCIC, maybe he's got a
record. Then send a protection
team as soon as we lock the
location.

Anderton turns to another part of the screen...

ANDERTON
Case #1109, previsualized by the
Precogs and recorded on holosphere
by Precrime's q-stacks.
(to a screen)
My fellow witnesses for case #1109
are Dr. Katherine James and Chief
Justice Frank Pollard.

AND NOW THE SPLIT-IMAGE emerges of James and Pollard in the
respective offices.

ANDERTON
Are the witnesses ready to preview
and validate #1109?

POLLARD
(a mouthful of dinner)
Ready when you are, John.

JAMES
Standing by.

On the screen in front of Jad we see MUGSHOTS ROLLING BY.
DRIVERS LICENSE PHOTOS... A mass of photo ID data... Anderton
ZOOMS INTO A CLOCK IN THE ROOM. 3:06 p.m. Fri.

ANDERTON
I show time of occurrence, Friday
at fifteen-zero-six hours.

JAD
That was easy.

Anderton sets his timer for 28 HOURS, THIRTY-ONE MINUTES.

ANDERTON
Confirm with trig and image.

JAD
Any ID on the shooter yet?

ANDERTON
Still scrubbing... looks like
there's a third party, somebody
wearing shades just out the
window...

Anderton ZOOMS IN on the FACE WITH THE SUNGLASSES, then PANS
OVER and tries to get a clearer picture of the gunman.
His image starting to come into focus as he turns. It's
slow, jerky, so they don't immediately recognize the face
as...

ANDERTON
Jesus...

HIS OWN FACE. And now Anderton watches horrified as on the
screen he shoots the man we now know as Leo Crow...

ANDERTON
Okay, very funny.

Anderton looks at Jad, absorbed in his photo ID array. Jad
notices him, looks over.

JAD
You say something, Chief?

ON THE CHUTE: THE BALL

With the KILLER'S NAME ON IT: JOHN ANDERTON

Anderton stares at the ball. WE HEAR LAUGHTER O.S. He looks
through at the BABY SHOWER, Witwer looking his way.

ANDERTON
(panic rising)
Uh, yeah, you mind getting me a
piece of that cake they're eating
down there? I'm starving.

JAD
Sure, Chief. I think I'll grab one
for myself while I'm at it...

ANDERTON
Take your time.

Jad goes, passing behind Anderton, who quickly changes his
screen so Jad won't see his face as the killer.

Alone in the room now, Anderton begins zooming in on the odd
details of the vision once more. THE FACE WITH THE
SUNGLASSES just outside the window. The NUMBER 6 turning
into a NUMBER 9. A CRACKED MIRROR. Anderton shooting the
man...

He zooms back in on his face. There's an air of desperation
on the Anderton he sees on screen. It's like looking at a
stranger.

INT. TEMPLE - DAY

Peeling off his long scrubbing gloves, Wally sits down at
his worktable. In the tank, meanwhile...

MALE PRECOG 1
You're not gonna kill me.

MALE PRECOG 2
Good-bye, Crow.

MALE PRECOG 1
Anderton!

And now on the monitors, Wally sees Chief John Anderton blow
a man out a window with his .45 Wally almost laughs with
disbelief. It can't be, but...

WALLY
(clicking headset)
Jad, are you getting this?

INT. PRECRIME ANALYTICAL ROOM - DAY

Anderton looks over to the phone, hearing Wally's voice.

WALLY (O.S.)
Jad?

INT. JUSTICE POLLARD'S OFFICE - DAY

As the Justice sits frozen at his desk staring at the
monitor, a buttered roll poised near his mouth. Katherine
James hurries in now and he turns to her.

POLLARD
You saw that? You saw that, didn't
you?

JAMES
I saw it.

Pollard reaches for his phone.

INT. PRECRIME ANALYTICAL ROOM - DAY

As Anderton sees Wally on the screen now, looking anxious.

WALLY
Chief?

Anderton's too stunned to answer.

WALLY
I like you, Chief.

Anderton looks at Wally's face on the screen now.

WALLY
You've always been nice to me.
(then)
I'll give you two minutes before I
hit the siren.

Anderton looks at the caretaker a second, then slowly gets up
and walks out the door...

INT. PRECRIME HEADQUATERS - MAIN FLOOR - DAY

As a dazed Anderton moves away from the baby shower. Doesn't
dare look at Witwer. The LAUGHTER RECEDING BEHIND HIM.

INT. PRECRIME ANALYTICAL ROOM - DAY

As Jad comes in with a piece of cake on a paper plate...

JAD
Here you go, Chief...

... and stops dead when he sees the images playing over and
over on the screen.

JAD
Good Christ...

INT. PRECRIME HEADQUATERS - MAIN FLOOR - DAY

Fletcher tries to wave him over, but Anderton just keeps
walking, the whole thing some surreal nightmare.

VOICE
Say cheese!

He bumps into the floating videobot and bats it out of the
way with the back of his hand. Everybody looking at him now
as he gets on the elevator.

INT. ELEVATOR - DAY

As Anderton hits a button...

VOICE
Hold that, please!

Anderton bangs the CLOSE button and the doors start to shut,
keeps banging it, as the doors almost get there, when A FOOT
blocks them and they part, revealing Danny Witwer.

WITWER
Thanks.

The doors close once more and they start down. Witwer
smiling at Anderton.

WITWER
You're in a lot of trouble, John.

Anderton steps back, keeps his hand near his .45.

ANDERTON
You set me up...

WITWER
I'll write the paranoia off to the
whiff you been doping on all night.

Witwer reaches into his coat and Anderton grabs him and
shoves him against the wall. Anderton's pistol already out,
jammed up under Witwer's chin. Witwer keeps his eyes on
Anderton as he slowly pulls out A BLACK INHALER.

WITWER
It seems I've found a flaw, John
(then)
You.

ANDERTON
You gonna tell on me?

WITWER
Possession alone will cost you six
months, not to mention your badge.

Anderton doesn't say anything.

WITWER
I guess we won't be working
together after all.

Witwer shakes his head. DING. The elevator arrives and the
doors open.

WITWER
Now put the gun down, John. I
don't hear a Red Ball.

THE PRECRIME SIREN GOES OFF. Witwer looks at Anderton, all
of a sudden no longer so sure of himself. Anderton smiles,
then shoves him back into the elevator and jumps off as the
DOORS CLOSE on a stunned Witwer.

EXT. D.C. STREETS - DAY

Racing past other cars, Anderton merges into traffic. He's
driving his personal car, not a police-issue.

INT. ANDERTON'S CAR - DAY

Burgess appears on the windshield screen.

ANDERTON
Just so you know, I've overridden
the vehicle locator. I just wanted
to talk to you before Justice --

BURGESS
Justice already knows. Talk to me,
John. Tell me what's happening?

ANDERTON
This is all Witwer. He's setting
me up.

BURGESS
Stop. Just wait. Who's the
victim?

ANDERTON
Somebody named Leo Crow.

BURGESS
And who the hell is that?

ANDERTON
I have no idea. I've never heard
of him. But I'm supposed to kill
him in less than thirty-six hours.

BURGESS
All right, John, just take a
breath, let's think about this...

ANDERTON
I'm out of breath! I'm a fucking
fugitive!

BURGESS
Then come to my house. We'll
talk --

ANDERTON
I can't. They're following me
right now. They'll meet me there.
They'll halo me.

BURGESS
How could Witwer have accessed the
case file?

ANDERTON
Can you fake the cerebral output?

BURGESS
We're years from that. John, I'm
asking you: please, come in, we'll
shut down the system until we get
this thing figured out.

ANDERTON
You know I can't do that. You
can't do that...
(then)
Lamar, I need you to talk to Wally,
see if Witwer's gone inside the
temple again. Then ask Jad for any
off hour EYEdents into the
analytical room --

BURGESS
John. Just tell me, who's Leo
Crow?

Suddenly, Anderton's doors LOCK tight.

COMPUTER VOICE
Security lockdown enabled.

ANDERTON
Jesus, you don't believe me.

Anderton looks up at his windshield display which now shows
that his vehicle has been rerouted...

COMPUTER VOICE
Revised Destination: Office.

Anderton starts trying to figure a way out of the car.

BURGESS
John. Please. Listen to me --

ANDERTON
I'm not getting halo'd.

BURGESS
You can't run --

ANDERTON
Everybody runs.

Leaning back, he KICKS THROUGH the windshield, breaking his
way out.

EXT. VEHICLE - DAY

As it goes down a huge maglev "falls", straight down the face
of a 200 foot building. Anderton climbs onto the nose of the
car, his only hope to jump into one of the BALCONIES that
protrude out.

As the car flies down, he tries to time his jump between the
umbrellas and flowerpots that whiz by. He finally makes the
suicide leap, gets to a balcony and crashes through a table.
He picks himself up, goes through the door into...

AN EXERCISE STUDIO

We hear ROCK & ROLL OVER as Anderton now moves through A
CONTORTIONIST EXERCISE CLASS, people bent and bowed into
impossible positions. Anderton looks back at the Fellini-
esque fever dream, then runs out the door.

INT. BURGESS' OFFICE - DAY

Frustrated, Burgess turns away, emotional now and we see
Fletcher and Witwer were watching the conversation.

FLETCHER
Don't worry. I'll bring him in
unharmed.

WITWER
Actually, Gordon, you're not gonna
do that.
(to Burgess)
I'm taking control of the team.

FLETCHER
What?!

BURGESS
(motions to Fletcher "it's
okay", then)
Witwer, Fletcher is second in
command. It's his show to run.
You want, you can observe.
(to Fletcher)
Do it. Find him.

Fletcher cuts a look at Witwer and heads out. Witwer remains
eerily calm, sticks a piece of gum in his mouth.

WITWER
He came to see you yesterday.
Right before he got tagged. What
did you talk about?

BURGESS
The Mets. John doesn't think
they've got a deep enough pitching
roster this year, and I'm inclined
to agree.

WITWER
Why are you protecting him? You
knew he was doping, yet you did
nothing about it.

BURGESS
The man lost a child, for Christ's
sake...

WITWER
Six years ago. What did you two
talk about yesterday afternoon?

BURGESS
(turning away)
None of your damn business.

WITWER
Oh, it's all my damn business now,
Lamar.
(then)
Investigation of a supervising
office for a capital crime falls
under federal jurisdiction... so as
to rule out any possibility of
conspiracy. He's my suspect.

BURGESS
He's my subordinate!

Burgess looks at him. Hates him, but knows he can't win.

WITWER
Shall we call the Attorney General?
I'm sure he'd be happy to clarify
the issue for you.

BURGESS
(beat)
I don't want John Anderton hurt.

EXT. MALL - DAY

As Anderton seems to float through the city, BILLBOARDS and
other ADVERTISEMENTS scan his eyes and actually call to him
by name.

ADVERTISEMENTS
(travel)
Stressed out John Anderton? Need a
vacation? Come to Aruba!
(sportswear)
Challenge yourself, John! Push
harder, John!
(Lexus Motor Co.)
It's not just a car, Mr. Anderton.
It's an environment, designed to
soothe and caress the tired soul...

WITWER (V.O.)
You've all worked with him...

INT. BRIEFING ROOM - DAY

Witwer addresses the Precrime crew. Behind him is the frozen
video image of Anderton shooting Leo Crow. Evanna stares up
at it in disbelief.

WITWER
You may consider him a friend.

He walks up the line now, looking into the eyes of each and
every one of them.

WITWER
But we know that John Anderton is
going to kill Leo Crow this Friday
at three-o-six p.m., unless we stop
him.

He looks into Fletcher's eyes, moves on...

WITWER
Don't think for a minute that if
the situation was reversed he
wouldn't go after you. He would be
a cop doing his job, as I'm doing
mine.

He stops at Evanna and looks her in the eye now.

WITWER
So if you're not ready and willing
to put the halo on him, leave now.

A few looks around the room, but nobody gets up. Not even
Fletcher. Witwer stares another moment at Evanna, smiles,
offers her a piece of gum...

EVANNA
No, thank you.

He sticks it in his own mouth, then turns to the officer
beside her.

WITWER
You can go.

OFFICER
Excuse me?

WITWER
Go. You're dismissed.
(points to another)
You, too.
(another)
And you.

Everybody watches as the men Witwer dismissed walk out.

FLETCHER
Sir, the team's gonna be light
without those men.

WITWER
Yes, I know.

And now the Pressure Door opens and FOUR LARGE MEN in dark
suits enter the room. Knott smiles at the sight of them.

WITWER
These gentlemen are Federal Agents
Jucket, Paymen, Price and Foley.
Like you, I feel more comfortable
with people I trust.

INT. MALL - DAY

As Anderton watches people all over the mall getting EYE
scanned...

He spots a UNIFORMED COP headed his way. The cop hasn't
spotted Anderton yet who now transfers to the fast lane on
the moving walkway and gets off at the New Metro station.

INT. NEW METRO - DAY

Reaching the bottom of the escalators, Anderton spots two
METRO COPS talking to a HOMELESS MAN. He veers around them,
making it across the platform to the train, which is just
arriving.

He pushes his way on with the other passengers. As the doors
close, an EYE-DENT SCANNER sweeps through the cabin -- that's
how the system bills citizens for using the train. Anderton
tries to look away, but it's impossible to avoid.

INT. PRECRIME ANALYTICAL ROOM - DAY

Witwer watches as Jad works the display, watching the
movement of BLUE DOTS that represent EYEscanned citizens. A
BEEP and Jad sits up.

JAD
I got him on the Metro!
(indicates the map)
The train makes two stops, at 20th
and then 33rd.

WITWER
Split the units, go to both.

FLETCHER
We'll never make 20th.

Witwer looks at Fletcher. Gives him an odd smile.

WITWER
Have faith.

INT. PRECRIME READY ROOM - DAY

As Fletcher and the other Precops strap into HOVERSUITS.

INT. SUBWAY - DAY

Anderton rides the train, avoiding the eyes of other
passengers. A nearby PASSENGER is flipping pages in the
digital Post, where the headline changes to "Precrime Hunts
Its Own".

INT. SUBWAY - METRO STATION - DAY

As Anderton gets off the train, stops cold when he sees...

NINE PRECRIME COPS IN HOVERSUITS stand waiting for him.
Fletcher steps forward...

FLETCHER
We know there's been a mistake,
Chief. Come on back with us so we
can talk, get this thing
straightened out.

Anderton takes off running. He barges through a NEWSSTAND,
knocking it over, momentarily slowing the cops behind him.

EXT. SUBWAY STATION - DUPONT CIRCLE - DAY

As Anderton explodes onto street level and takes off running.
He runs close to a wall, the ADVERTISEMENTS FLASHING AT HIM.
He dodges people left and right, but doesn't slow down...

Anderton runs faster and faster, it's starting to sink in
that his life has changed forever... that he's now and
forever a hunted man.

Anderton turns down an alley. One of the Hover Cops is now
behind him... gets ahead of him, swings around and cuts him
off. Anderton stops, sees the others landing at the other
end of the alley. WE HEAR A DOG BARKING O.S.

FLETCHER
Don't run, Chief. You know we'll
catch you. You trained us.

ANDERTON
Everybody runs.

FLETCHER
You don't have to do this, Chief.

ANDERTON
You don't have to chase me,
Fletcher.

He stares at Fletcher. The DOG GOES QUIET.

FLETCHER
Chief, please...

Anderton sees Knott reaching behind his back, coming out with
the HALO. The cop BEHIND ANDERTON takes out his sick-
stick... All of them begin moving in forcing Anderton back
against the wall, A WINDOW BEHIND HIM...

KNOTT
Easy does it, Chief.

Anderton keeps one eye on the sick-stick, the other on the
halo. When SUDDENLY A HUGE DOG HITS THE GLASS.

Anderton grabs the sick-stick and shoves it at Knott, then
ducks as Knott pukes on the other cop. Anderton starts up
the fire escape...

The Hover Cops blast up after him, one of them hitting the
floor grating on the landing as Anderton climbs through...

On the landing a Hover Cop floats up, just off the landing
and draws his sick-stick. Anderton reaches out and hits the
hoverpacks quick release and the PACK ROCKETS UP AND AWAY as
the cop now falls.

Several other Hover Cops fly up the building. One of them
jumps Anderton on the fire escape. Anderton slams him into
the window. The cop kicks back and Anderton swings out,
hanging onto the ladder... dangling... he looks down...

The other cops are now jetting up towards him... a moment...
then ANDERTON LETS GO... FALLS... going DOWN towards the
other cops coming UP... One of them looks up, it's KNOTT...

He gasps as ANDERTON falls onto him. Hangs on. The other
cops BLURRING PAST as they fly up... they turn and look at
Anderton and Knott now plummeting... the ground coming up
fast... when...

Anderton GRABS THE THROTTLE and HITS THE GAS and the
hoverpack slows down, Anderton and Knott hovering just above
the ground as the other cops now once more descend...

Knott tries to fight back and Anderton hits the throttle and
smacks Knott back-first into the wall... and then UP ALONG
THE SIDE OF THE BUILDING, taking out planter boxes as they
go... hitting a WINDOW AWNING which CATCHES FIRE from the
THRUSTERS.

The rest of the cops fly up as Anderton now knocks away the
burning awning, sees the ascending cops and sweeps Knott and
the hoverpack down and hits the thrusters... blasting the
cops...

Anderton (still hanging onto Knott) drops and hovers, then
races along the building, scraping KNOTT AGAINST THE BRICK.
They head for the wall of another building when Anderton
veers them off...

Anderton and Knott head up A CONSTRUCTION TUBE, it catches
fire behind them. They race up, the fire racing right behind
them. At the end of the tube we see HOVER COPS waiting...

But Anderton and Knott thrust through, head right into a
hanging scaffolding, scattering debris down onto the cops.
Anderton and Knott race around the corner.

INT. TENEMENT - DAY

As a FAMILY sits down to dinner. Calm. Anderton and Knott
burst through the window and zoom around the room before then
crashing up into the ceiling, the hoverpack thrusters
torching the dinner on the stove directly below.

The other cops now fly in through the windows as Anderton and
Knott fly up into the next floor through the hole, the other
cops following, the thrusters catching everything in their
wake on fire, the FAMILY ducking as the hover cops fly past
overhead...

EXT. ALLEY - DAY - LOOKING UP

As Anderton and Knott burst out of one apartment, cross the
alley and burst into another...

INT. APARTMENT - A KID'S BEDROOM - DAY

A KID looks up from his homework as the Hoverpack fizzes out
and Knott and Anderton go at it on the floor, Anderton taking
Knott out with the kid's hockey stick.

The other cops come flying in and Anderton takes off running.
The cops in their hoverpacks get stuck in the door. A dazed
Knott is the last one to get up, while behind him, we see the
kid shove Knott's abandoned hoverpack under his bed...

INT. HALLWAY - DAY

As Anderton crashes into an adjoining apartment an instant
before the cops begin deploying in the hallway. Tenants are
roused as Anderton changes rooms across the hall, always one
beat ahead of the cops.

A cop goes into a room a beat after Anderton. We HEAR THE
SOUNDS OF A STRUGGLE, then a moment later, Anderton emerges
wearing the cop's hoverpack and rockets down the hall. He
crashes out the window, catching the carpet on fire. THE
SPRINKLERS ERUPT IN SEQUENCE as...

EXT. BUILDING - DAY

The cops all fly out the window and we now PULL BACK TO
REVEAL A DUMPSTER LID in immediate f.g. Anderton lies there
watching as the cops fly off and away...

EXT. LEXUS FACTORY - DAY

As Anderton climbs the fence, SETS OFF AN ALARM. He moves to
the new vehicles and tries to open the doors. THEY'RE ALL
LOCKED. He looks off, sees THE BLINKING LIGHTS of the Hover
Cops and runs for the cover of the factory itself.

INT. LEXUS FACTORY - ENTRY AREA - DAY

We hear A LOW HUM as now FOUR PRECOPS enter in hoversuits.
They stop in mid-air and drop their packs in unison.

INT. COMPUTER ROOM - DAY

Anderton hides as the precops move towards the room. One of
them breaks through the door. The other cops move into the
room behind him. ANDERTON IS GONE. They look off at...

THE FACTORY DOORWAY

As Anderton runs through it, heading inside the main
building.

INT. MAIN FACTORY AREA - DAY

As Anderton stops a moment and takes in the entire factory.
We see that IT IS COMPLETELY AUTOMATED.

INT. ENTRY AREA - DAY

As Witwer and his four goons now head inside. They approach
the precops and now they all walk inside together.

A WIDER SHOT

Of the Stereo Lithographer in the f.g. Witwer and the others
entering in the b.g. Anderton watches the group from across
the factory, then moves off.

ON WITWER

As he looks at the CAMERAS all around the factory, then turns
to his wrist communicator...

WITWER
Jad. Patch me into security.

Witwer looks at his watch, sees the different views of the
factory. Sees Anderton running. Witwer deploys the other
men with HAND SIGNS. Witwer then looks at the watch, moves
off, takes a position behind a machine.

ON ANDERTON

As he moves along the assembly line. The car door to a
vehicle is being tested: open-shut, open-shut, open...

He's suddenly jumped by Price. Anderton takes a swing, but
Foley comes up behind him, and holds onto him while Price now
clumsily fumbles with a halo, moves towards Anderton.
Anderton struggles as the guy tries to put the halo on...

He kicks Foley, knocks him back into one of the cars as now A
ROBOT ARM swings in and a panel welds the man into the door
frame.

The arm opens and closes the door in the b.g. as Anderton
and Price fight it out in the f.g. Anderton gets free and
climbs up a CRANE, hanging onto it as Price hangs onto him
and they rise up towards a CONVEYOR BELT full of engine
blocks.

Anderton swings Price against the blocks, the lithography
pool approaching now. Anderton shakes loose the agent who
drops, lands on a CHASSIS IN THE MIDDLE OF THE POOL, sinks
into the lithographer surface... and SUBMERGES!

Anderton hangs from the crane as now the LASERS FIRE into the
pool. A moment later the chassis re-emerges. We see A HAND,
then PULL BACK TO REVEAL AGENT PRICE FROZEN ONTO THE CHASSIS
like a giant hood ornament as it's lifted from the pool by a
huge robotic arm and carried away.

Anderton jumps from the crane to a smaller one, then lands on
the CONVEYER BELT and starts running. And now we go...

OVERHEAD - TRACKING

As Anderton runs below, Jucket on the floor below unable to
reach him as he runs by, but now we reveal PAYMEN ON A BEAM
ABOVE ANDERTON... he dives and lands on...

Anderton. The two men begin fighting on the conveyor belt
leading to the vertical stereo lithographer. Paymen kicks
Anderton who falls back on the belt... the lithographer
machine in b.g.

Anderton tries to get up, but Paymen hits him again. We see
the Lithographer fabricating a car part right behind them...
Paymen pulls a weapon and lungs at Anderton who judo throws
the man over him and into the lithographer...

The curtain lasers activate and "sculpt" him as he freezes in
place. Anderton grabs one of the passing cranes and jumps
on...

As Anderton rides the crane ACROSS FRAME, we REVEAL WITWER
WATCHING HIM. Anderton gets off the crane and lands right in
front of Witwer who steps out and hits him in the face...

The ASSEMBLY LINE moves past as the two men fight their way
towards it. A CAR moves past as Witwer and Anderton tumble
into the empty engine compartment.

And now the ROBOTIC ARMS GO TO WORK ON THE CAR ALL AROUND
THEM. A crane LOWERS AN ENGINE BLOCK above them, Anderton
sees it and rolls them both out of the way as THE ENGINE
SMASHES DOWN INTO PLACE.

The two of them roll over the dash as another piece drops
into frame and smashes into place. As the two fight, a
machine blasts in from the side and STAMPS THE DASHBOARD INTO
PLACE.

Witwer looks forward and sees the TANGLE OF ROBOTIC ARMS NOW
ENVELOPING THE CAR IN FRONT OF THEM. Witwer grabs onto a
retracting robot arm and is lifted up and away from the car
as now...

The ROBOT ARMS BEGIN ASSEMBLING THE CAR ALL AROUND ANDERTON.
He rolls towards the rear as one machine after another stamps
pieces into the car. A LASER GRID appears over his face as a
LASER WELDER POPS UP and now...

THE LASER begins firing welding "hits" towards him. He jumps
to the other side of the car, tries to get out when the DOOR
PANEL IS SLAMMED INTO PLACE and now the welder comes around
and "grids" him again. Anderton dives for the floor, just
missing getting decapitated by the steering wheel as it's
slammed into place. But now...

METAL PARTS BOLT UP THROUGH THE FLOOR, narrowly missing his
head. Anderton looks up and sees THE SEATS SLIDING INTO
POSITION OVER HIM. He grabs the steering wheel and rolls out
of the way as the seat comes crashing down.

ANGLE ON RAILING

As Witwer walks up, the other men now flanking him. They
watch as ROBOT ARMS DESCEND ON, THEN ENVELOPE THE CAR...

The car moves forward and the robot arms retract and now THE
ROOF INSTALLING MECHANISMS SLIDE INTO PLACE. The WINDSHIELD
comes down and slams into place as WELDERS DROP DOWN and now
secure it.

Witwer watches the car, starts walking for the end of the
line. He watches as the car enters THE PAINTING TUNNEL.
Witwer and his men walk through the adjacent hallway,
watching through the windows as the car rolls out...

The finished car emerges through smoke and lasers from the
painting tunnel. Witwer and his men approach the driver's
side window... the car looks empty... until...

Anderton pops up into frame and STARTS THE CAR. He turns and
looks at WITWER, HIS ANGRY REFLECTION IN THE GLASS as
Anderton now DRIVES THE CAR OUT OF THERE and we then...

DISSOLVE TO:

INT./ EXT. RED LEXUS - MARYLAND COUNTRYSIDE - DAY

Anderton drives away from the city on the open road, passing
a solar/wind farm. Giant windmills and solar panels dot the
landscape for as far as the eye can see.

EXT. FARMLAND - DAY

The surroundings become more and more rural. Anderton's
vehicle kicks up a roostertail of dust along the dirt side
road as he passes a row of old mailboxes.

EXT. A WALLED ESTATE - DAY

Overgrown with vines and shrubbery of every possible variety.
Anderton gets out of his vehicle and moves to a wooden gate.
A rusted NO TRESPASSING SIGN is nailed to it.

Anderton rings the BELL. No answer. He peers through a
crack in the gate. We then...

BEGIN TO CRANE UP

As Anderton moves to the wall, and starts climbing the vines.
He gets to the top of the wall, looks out at...

GARDENS

Wild and out of control. A small ivy-covered STONE HOUSE is
nestled into a corner of the property. Smoke rises from the
chimney. Anderton starts down the other side of the wall.

EXT. THE GARDENS - DAY

As Anderton jumps to the ground. His shirt is ripped; his
arms scratched from what he realizes are THORNS embedded in
the vines.

We hear RUSTLING as, behind Anderton, several of the plants
unfurl to their full dimensions of eight feet and wrap their
vines around Anderton's neck and torso.

He breaks free. We hear CLASSICAL MUSIC O.S. and Anderton
moves through the gardens towards it. He stops, dizzy,
touches his forehead and then looks off at...

A GREENHOUSE

Where we see A WOMAN, 50, dressed in a wide-brimmed hat and
gardening attire, attending to the plants, gently spraying,
then wiping each leaf with a small, square cloth...

Anderton staggers into the greenhouse, something now quite
wrong with him.

ANDERTON
Dr. Hineman --

Quick as a flash she holds up her cane and a six-inch BLADE
extends from the tip to Anderton's throat. She looks down
the length of it at Anderton, his ripped clothing, bruised
face, and scratched arms.

IRIS
You're trespassing.

He starts to sway, touches his forehead.

IRIS
Something wrong?

ANDERTON
I'm a little dizzy...

She casually leans on the cane, shoving the blade back up
inside.

IRIS
Yes, I'm afraid that would be from
the Doll's Eye.

ANDERTON
The what?

IRIS
The vine -- the Baneberry that
scratched you during your illegal
climb over my wall...

She leads Anderton over to a wooden table just inside the
greenhouse where she's got AFTERNOON TEA set up.

IRIS
It's not a true Doll's Eye, of
course, but a little hybrid of my
own design.

Anderton staggers, grabs hold of the table for support.

IRIS
It's quite something, once the
poison gets into your bloodstream,
you'll start to see what I can only
describe as the most extraordinary
display of blue objects.

Anderton struggles. She watches him a moment.

IRIS
This just isn't your week, is it,
Chief?

He pulls his gun. She shakes her head...

IRIS
Now now...

She easily takes it away from him, jacks the clip onto the
table, then calmly pours a cup of tea.

IRIS
You have three minutes to tell me
what you're doing here before I
feed you to a few of my more
predacious plants.

ANDERTON
I'm... not... a... killer.

She studies him a moment, then tears a leaf from a plant, and
calmly begins crumpling it up into the tea...

IRIS
You better drink this. Soon you
won't be able to swallow, and then
you'll be totally buggered.

He looks at the cup, hesitates, tries to pick it up.

IRIS
Drink all of it.

She pours the rest into his mouth. He sits back, waits for
the antidote to take effect.

IRIS
Take a moment to right yourself.

She picks up some pruning shears and goes to work on an
orchid.

IRIS
Just what is it you think I can do
for you?

ANDERTON
You can tell me how someone...
could fake a prevision.

IRIS
And how would I know that?

He looks at her.

ANDERTON
You invented precrime.

She chuckles bitterly at that one.

ANDERTON
What's so funny?

IRIS
If the unintended consequences of a
series of genetic mistakes and
science gone haywire can be called
invention, then yes, I invented
precrime.

ANDERTON
You don't seem all that proud.

IRIS
I'm not. I was trying to heal
them, not turn them into...
something else.

ANDERTON
Heal who?

IRIS
The innocents we now use to stop
the guilty.

ANDERTON
You're talking about the precogs...

IRIS
You think the three in the tank
come from a test tube? They're
merely the ones who survived.

She sits down, pours herself some tea.

IRIS
I was doing genetic research at the
Woodhaven Clinic in Rhode Island on
Renning's Syndrome, a neurological
condition that affects the cerebral
cortex of children. Most of these
kids were abandoned or forgotten.
Very few of the kids lived past the
age of twelve.

She looks away, remembering it all now...

IRIS
It began as play. A guessing game
like you play with any toddler,
except these children always
guessed right.
(then)
And then the nightmares started.
They were all different, but all
the same. They were all about
murder. And the murders were all
happening.

ANDERTON
And how did Lamar become involved?

IRIS
Back then, he was still a DA, and
quite a few parents of my patients
had passed through his courtroom.
You have to understand, these
people were the dregs of society.
But once they saw their children...
he decided he would do whatever he
could for them. He's that way, you
know, paternal about certain
things. Precrime. The precogs.
You.

ANDERTON
(keeping her on track)
You say some of the children died?

IRIS
So many of them... despite what we
did for them. Or maybe because of
what we did to them.
(then, bitter)
It doesn't matter. It's a perfect
system now, isn't it?

ANDERTON
I'm not a murderer. I've never
even met the man I'm supposed to
kill.

IRIS
And, yet, a chain of events has
started. A chain that will lead
inexorably to his death.

ANDERTON
Not if I stay away from him.

IRIS
How can you avoid a man you've
never met?

ANDERTON
So you won't help me?

IRIS
I can't help you. No one can. The
Precogs are never wrong.

He turns away, looking lost. She picks up her tea cup, looks
at him over the top.

IRIS
But, occasionally, they do
disagree.

He turns back to her. She casually sips her tea.

ANDERTON
What?

IRIS
Most of the time, all three
Precognitives will see an event in
the same way. But once in a while,
one of them will see things
differently than the other two.

ANDERTON
Jesus Christ -- why didn't I know
about this?

IRIS
Because these Minority Reports are
destroyed the instant they occur.

ANDERTON
Why?

IRIS
Obviously, for Precrime to
function, there can't be any
suggestion of fallibility. After
all, what good is a Justice system
that instills doubt? It may be
reasonable, but it's still doubt.

Anderton tries to take all of this in, looks at her.

ANDERTON
You're saying that I've halo'd
innocent people?

IRIS
I'm saying that every so often
those accused of a precrime might,
just might, have an alternate
future.

ANDERTON
Does Burgess know about this?
About the Minority Report?

IRIS
(beat)
I used to joke with Lamar that we
were the mother and father of
Precrime. Well, in my experience,
parents often see their children as
they want them to be, not as they
are.

ANDERTON
Answer my question. Did Lamar
Burgess know about the Minority
Report?

IRIS
Yes, of course, he knew, but at the
time, he felt -- we both felt their
existence was... an insignificant
variable.

ANDERTON
Insignificant to you maybe, but
what about those people I put away
with alternate futures? My God, if
the country knew there was a chance
they might not --

IRIS
The system would collapse.

ANDERTON
I believe in that system...

IRIS
Do you? Really?

He looks at her.

ANDERTON
You want to bring it down.

IRIS
But you will bring it down if you
kill Leo Crow.
(she relishes the thought)
Why, that will be the most
spectacular public display of how
Precrime... didn't work.

ANDERTON
I'm not gonna kill anybody.

IRIS
Hold that thought.

ANDERTON
Why should I trust you?

IRIS
You shouldn't. You shouldn't trust
anyone... certainly not the
Attorney General who wants it all
for himself. Not the young federal
agent who wants your job. Not even
the old man who just wants to hang
onto what he's created. Don't
trust anyone.
(then)
Just find the Minority Report.

ANDERTON
You said they're destroyed.

IRIS
I said the record is destroyed.
The original report exists for all
time.
(then)
I designed the system so that
whenever a report occurred, it
would be stored in a safe place --
but not declared.

ANDERTON
What safe place is that?

IRIS
The safest place of all.

Anderton grabs her hand as she reaches once more for her
teacup, spilling it.

ANDERTON
Where?

IRIS
Inside the Precog who predicted it.
(then)
All you have to do is download it.

ANDERTON
That's all, huh? Just walk right
into Precrime, go into the Temple,
somehow tap into the Precogs, and
then download this Minority
Report...

IRIS
If... you have one.

ANDERTON
-- and then walk out.

IRIS
Actually, I think you'll have to
run out, but yes, that's what you
have to do.

ANDERTON
You're insane or you think I am.

She shrugs.

ANDERTON
I'll get EYEscanned a dozen times
before I get within ten miles of
Precrime. They'll pick me up...

IRIS
(looks at him)
Sometimes in order to see the
light, you have to risk the dark.

He looks back at her.

IRIS
As a policeman -- excuse me, a
former policeman -- I'm sure you
know all sorts of people who
could... help you out in this
regard.

Anderton sits there thinking about what she's suggesting.
She gets up, moves to one of her plants, starts feeding it
with a sprayer. She reaches out and takes a long vine in her
hand and strokes it...

IRIS
It's funny how all living organisms
are alike. When the chips are
down...
(she grips the vine)
When the pressure is on...
(squeezes it tighter)
... every creature on the face of
the earth is interested in one
thing and one thing only:

The vine suddenly whips out of her hand.

IRIS
It's own survival.

She looks at Anderton.

IRIS
Find the Minority Report.

Anderton sees that her palm is now bleeding from the vine.
She smiles, takes out a handkerchief and wraps her hand.

She then turns her back on him and faces her plants.

ANDERTON
How do I even know which one has
it?

IRIS
It's always in the more gifted of
the three.

ANDERTON
Which one is that?

IRIS
(isn't it obvious)
The female.

She picks up her cane and turns the music back on, leaving
Anderton to ponder this.

CUT TO:

THE ANDERTON PREVISION

The series of images we saw earlier: a MAN backlit by a
window. A FACE WEARING SUNGLASSES outside the window. "6"
becoming "9". A GUN GOES OFF. A MAN FLYING THROUGH THE
WINDOW. We're ZOOMING IN AND OUT. PANNING THIS WAY AND THAT
now we...

REVEAL: ANDERTON'S OFFICE - PRECRIME

As Fletcher works the Prevision screen in here, Witwer looks
around the office. He pulls open a drawer. It's empty.

JAD (O.S.)
He wasn't in here much. He
preferred to be with the team.

Witwer looks to where Jad stands in the doorway. Witwer
notices something above Jad's head. A LASER PROJECTOR.
Witwer looks around, sees A JACKET COVERING A PIECE OF
EQUIPMENT ON THE BOOKSHELF. Knott comes into the room.

KNOTT
You seen the latest polls? We're
dead even.

He sits on Anderton's desk, knocking over a photograph of
Anderton, his wife, and son.

KNOTT
Even since Chief America ran away,
the numbers for Precrime have been
goin' up.
(looks at Fletcher)
People feel better, they know we're
willing to go after one of our own.

JAD
More likely, people just want a
show like this every week.

Fletcher calmly rights the photograph, indicates the screen.

FLETCHER
Here's where we're at. Three men
in a room. The victims here.
Anderton here, and this
unidentified male out the window.
The exterior of the adjacent
building suggests public housing,
but I can't make out the location.
Government architecture is
modern/conformist which means --

WITWER
There's thousands of units like
this one.

FLETCHER
(nods)
They're everywhere.

Witwer looks at the photograph of Anderton, Sean and Lara.

WITWER
But he doesn't go there to kill
Crow for another twenty-two hours.
In the meantime, I'm betting he's
somewhere in the sprawl.

Jad and Fletcher exchange looks.

WITWER
Anderton's smart enough to go where
electronic billboards and other
media can't ID him to pick his
pocket. There's fewer consumers
down there, which means fewer
scanners to target him.

FLETCHER
No offense, sir, but why wouldn't
he just run?

WITWER
Because he thinks he's innocent.

Witwer pulls the jacket off and we see A HOLO-COMPUTER like
the one Anderton has at home.

WITWER
We concentrate on the sprawl. We
do overflies in ships with two
spyder teams on the ground. Go
building by building. Thermal scan
the whole area, read anything with
eyes and a heartbeat.

Witwer switches the computer on and we see AN IMAGE OF LARA
IN A EVENING GOWN OPENING A PRESENT...

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