MINORITY REPORT

                              by

                          Scott Frank




























                                                REVISED DRAFT

                                                May 16, 2001






		BLACK
		
		We hear a woman WHISPER:
		
		                    WOMAN'S VOICE
		          Murderer.
		
		FADE IN: A SERIES OF IMAGES
		
		Some coming at us fast and furious, some slowed down, and
		some still as photographs, none making sense to us yet:
		
		A HAND picks up a PAIR OF SCISSORS... THE FACE OF ABRAHAM
		LINCOLN.  The SCISSORS POKE THROUGH THE EYE.  A NEWSPAPER BOY
		rides by on a recumbent bike.  A NEWS PAPER HITS THE GROUND. 
		SNIP go the scissors and now we see...
		
		A MAN'S face watching us -- muscular, handsome -- with a
		KID'S FACE beside his own.  The same man's face with the
		kid's face on the other side of him, now facing backwards. 
		SNIP go the scissors and we now see...
		
		A WOMAN admires herself in a mirror.  WATER runs into a
		BATHTUB.  A HAND REACHES FOR A DOORKNOB.  WE MOVE THROUGH IT,
		leaving the DOOR OPEN BEHIND US.  A FLIGHT OF STAIRS.  SNIP
		go the scissors and we now see...
		
		The woman UNBUTTONS HER BLOUSE as THE MAN -- now half-nude,
		WATCHES from a doorway.  We START UP THE STAIRS.  A DOOR at
		the top, slightly ajar.  SNIP go the scissors and we see...
		
		The WOMAN at the mirror.  The MAN comes up behind her and
		enfolds her in his arms.  SNIP and we see...
		
		A KISS on the NECK.  SNIP.  SNIP.  And we CONTINUE ON UP THE
		STAIRS.  We're at the door now.  SNIP.  A HAND now dips into
		the rush of WATER from the spout, testing it.  SNIP SNIP SNIP
		and we see...
		
		THE WOMAN smiling into the MIRROR, pleased with her
		reflection.  SNIP SNIP and we see...
		
		The WOMAN and the MAN on the bed making love.  ANOTHER MAN'S
		face rising over the bed now as he watches.  The WOMAN looks
		over her lover's shoulder, sees the face and sits up...
		
		The man by the bed is smaller than the lover, older, but
		ENRAGED as he now raises THE SCISSORS and we PULL AWAY TO
		REVEAL:
		
		That we're looking at the image as it plays out inside the
		dark pupil of a HUMAN EYE.  The eye BLINKS and now we go...
		
		WIDER, we're looking now at A FEMALE FACE staring up at us --
		eyes blue as gas flames -- floating in some sort of WHITE
		LIQUID as she looks up at us and speaks:
		
		                    FEMALE FACE
		          Howard --
		
		PULLING BACK STILL FURTHER we see A MALE FACE next to her:
		
		                    MALE FACE
		          I forgot my glasses.
		
		THE SCISSORS SNIP.
		
		                    MALE FACE
		          You know how blind I am without
		          them.
		
		WE SEE THE WOMAN IN THE BEDROOM
		
		As she SCREAMS and the man stabs her in the throat with the
		scissors as now the MUSCULAR MAN gets out of the bed, tries
		to run for the safety of the bathroom, gets stabbed in the
		back.  QUICK FLASHES of the scissors as the muscular man goes
		down.
		
		The bloody scissors bounce open onto the bathroom floor.
		
		Now BLOOD-RED water begins to overflow onto the floor.  We
		follow the water through the cracks and lines in the tile, to
		an OUTSTRETCHED HAND, still, striped with blood.  We then...
		
		                                             DISSOLVE TO:
		
		THE THREE FACES
		
		As they shut their eyes, begin to slowly sink back down into
		the white liquid as they all whisper together:
		
		                    THE THREE OF THEM
		          Murderer.
		
		As their faces disappear into the milky void, we HEAR A SIREN
		ALARM and now see...
		
		A RED BALL - ANALYTICAL ROOM
		
		Rolling fast down a chute from the top right CORNER OF FRAME. 
		And now another RED BALL rolls down from the top left corner. 
		The motion is slowed for an instant so that we can see NAMES
		etched into it: SARAH MARKS.  And then: DONALD DOOBIN.
		
		It rolls past and now A SECOND RED BALL rolls right at us
		from the top left.  The motion on this one is slowed for an
		instant so that we can read the name etched into the side:
		"HOWARD MARKS".  Just as it rolls over to us, we now see...
		
		INSIDE PRECRIME HEADQUARTERS - MAIN FLOOR
		
		Slides open, revealing senior detective JOHN ANDERTON.  Mid
		thirties, military haircut.  He pushes through a second,
		pressurized door, leading us past a series of glassed-in
		offices and viewbicles.
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		                    ANDERTON
		          Okay, Jad, what's coming?
		
		                    JAD
		          Red Ball -- double homicide: one
		          male, one female.  Killer's male,
		          white, 40's.
		
		JAD (28, African- American), the main dispatcher, one of six
		TEAM MEMBERS crowded around the computer display.  They back
		off so Anderton can take a look.
		
		                    JAD
		          We need confirmation on the time
		          frame.  Location still uncertain. 
		          Remote witnesses are hooked in...
		
		                    ANDERTON
		          Case #1108, previsualized by the
		          Precogs and recorded on holoshpere
		          by Precrime's q-stacks.
		              (to a screen)
		          My fellow witnesses for case #1108
		          are Dr. Katherine James and Chief
		          Justice Frank Pollard.
		
		ON A VIDEO SCREEN
		
		As a split-image emerges of James and Pollard in their
		respective offices.
		
		                    ANDERTON
		          Have the witnesses previewed and
		          validated #1108?
		
		INT.  POLLARD'S OFFICE - MORNING
		
		As an elderly man, retired CHIEF JUSTICE FRANK POLLARD stares
		at a video monitor showing the Prevision.
		
		                    POLLARD
		          Affirmative.  Validated.
		
		INT.  DR. JAMES' OFFICE - MORNING
		
		As KATHERINE JAMES, a bespectacled, middle-aged criminal
		psychologist yawns, a big cup of coffee in one hand.
		
		                    JAMES
		          Go get him.
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		As Anderton pulls a small disc from his pocket.
		
		                    ANDERTON
		          Stand by...
		
		The men all share knowing glances as he inserts the disc into
		a player and we now hear a STRAUSS SYMPHONY OVER...
		
		Anderton slips on an eyepiece and special finger gloves, then
		moves his hands over the huge PREVISION SCREEN, "conducting"
		the array of images we saw during the opening.  The screen
		responds to wherever he looks, or whatever he touches...
		
		                    ANDERTON
		          Alright, Howard, where are you...
		
		INT.  SUBURBAN D.C. KITCHEN - MORNING
		
		We HEAR BIRDS CHIRPING, someone HUMMING softly, then...
		
		                    A WOMEN'S VOICE
		          Breakfast!
		
		SARAH, the woman we just saw murdered, cooks breakfast,
		bathed in a halo of bright sunshine that streams in from a
		window.  She looks up, smiles.  A beautiful day outside.
		
		                    VOICE
		          For score and seven years ago our
		          fathers brought forth on this,
		          um...
		
		She sets two plates of scrambled eggs down on the table where
		her SON -- 10 -- sits reciting the Gettysburg Address as he
		cuts out A CARDBOARD MASK with a pair of SCISSORS, poking
		through Lincoln's eyes to make holes he can see through.
		
		                    SARAH
		          Continent...
		
		                    SON
		          Continent.  A new nation, conceived
		          in liberty...
		
		                    SARAH
		          Howard?!  Breakfast!
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		Everybody in the room working on the vision.  A team of
		researchers study the buildings.  The trees in the area.
		
		                    JAD
		          I show eight "Howard Marks" inside
		          the District.  Sorting by race and
		          age.
		
		On another screen, Driver's license photos now begin to FLASH
		PAST.
		
		                    ANDERTON
		          Let's see if we can get lucky...
		
		He ZOOMS IN on the image of a NEWSPAPER.  The headline reads
		PRESIDENT SUPPORTS PRECRIME AMENDMENT...
		
		                    ANDERTON
		          Come on...
		
		EXT.  BROWNSTONE IN GEORGETOWN - MORNING
		
		As the SPRINKLERS COME ON just as HOWARD MARKS, the older man
		we saw stab his wife, steps out of the house.
		
		                    VOICE
		          Morning, Mr. Marks.
		
		He looks over as A PAPERBOY waves from a recumbent bicycle
		and tosses A NEWSPAPER.  As it flies at us...
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		The image auto-enhances as we zoom in closer to the newspaper
		sitting on the KITCHEN TABLE.  We see AN ADDRESS LABEL with
		the name HOWARD MARKS...
		
		EXT.  BROWNSTONE - MORNING
		
		As the paper lands on the lawn, starts to get soaked by the
		sprinklers.  Howard frowns at the kid, reaches through the
		water to grab it...
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		As Anderton sees that the INK ON THE WET ADDRESS LABEL has
		run, blurring the information.  Jad shakes his head.
		
		                    JAD
		          We can't grab it...
		
		                    ANDERTON
		          Run the subscription list...
		
		EXT.  BROWNSTONE - MORNING
		
		As A MOUNTED POLICEMAN rides by.  Howard smiles, turns and
		starts to head back inside when he notices something across
		the street...
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		As Anderton focuses now on the "murder room".  He ZOOMS IN on
		a blurry nightstand clock.  A stack of books blocks it... He
		ZOOMS OUT THE WINDOW...
		
		                    ANDERTON
		          I've got north facing shadows out
		          the window of the building behind. 
		          I need trig and image analysis...
		
		VECTORS from the shadows appear on the screen now.
		
		                    JAD
		          Workin' it.
		
		Anderton turns and looks at THREE SCREENS showing the male
		faces and the female face floating in the liquid we saw in
		the beginning.
		
		                    ANDERTON
		          Morning, detectives.
		
		The faces don't respond.  Just stare into the void.  Anderton
		touches the screen and now the FEMALE seems to turn and look
		at him.
		
		EXT.  BROWNSTONE - MORNING
		
		Howard Marks pauses, notices A MAN -- handsome, muscular,
		practically bursting out of a nice suit -- loitering in front
		of the small park across the street.  Howard studies the man
		a moment as Sarah appears in the doorway behind him, sees him
		looking at the man.
		
		                    SARAH
		          Breakfast, honey.
		
		And now the Man across the street looks this way, sees
		Howard, sees Sarah right behind him and quickly moves off.
		
		                    HOWARD
		          He looks familiar.
		
		                    SARAH
		          Who?
		
		                    HOWARD
		          The man across the street.  I've
		          seen him before...
		
		                    SARAH
		          How can you even tell?  You know
		          how blind you are without your
		          glasses.
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		As Jad looks at an array of Driver's License Photos... We see
		ONE FOR HOWARD MARKS.  Then ANOTHER FOR SARAH MARKS.  Same
		address.
		
		                    JAD
		          Got him in the Foxhall.  4421
		          Gainsborough.
		
		                    ANDERTON
		          Send a DCPD blue & white out there,
		          set up a perimeter and tell 'em
		          we're en route.  What's our
		          confirmed time?
		
		                    JAD
		          From solar position, Trig & Image
		          confirms it at approximately eight
		          oh-four a.m.
		
		The whole team looks up at the clock on the wall.  7:47. 
		Anderton sets THE TIMER ON HIS WATCH.
		
		                    FLETCHER
		          Seventeen minutes.
		
		                    ANDERTON
		          Armor up -- sick-sticks and
		          concussion guns -- this is gonna be
		          close.
		
		INT.  PRECRIME READY ROOM - MORNING
		
		Like a firehouse, everybody slipping into uniform, riding up
		poles on chairs.  A flurry of activity as weapons, helmets,
		and other newfangled gear are pulled from wall racks.
		
		KNOTT, a big redhead, thick of neck and thicker of head,
		hands out the gear.  He takes what looks like A BILLY CLUB
		and points it at a HEAVYSET COP who wolfs down the last of a
		Danish...
		
		                    KNOTT
		          Hey, Steadman, wanna lose those ten
		          ugly pounds like right now?
		
		The cop reacts, pushes the stick away...
		
		                    PETROTTA
		          Touch me with that puke-pole,
		          asshole, you're gonna wear the
		          fuckin' risoto I had for dinner
		          last night along with the two
		          chilidogs I had for breakfast.
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		As Jad spins around in his chair...
		
		                    JAD
		          Chief, we got a problem with our
		          location --
		
		Anderton looks at him.
		
		                    JAD
		          It's no longer there.
		
		Jad indicates a video screen showing VIDEO BOT VIEW OF A FIRE
		CHARRED HOME.  Only one wall is left standing...
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		As Anderton looks at the Prevision, begins manipulating the
		images... He glances at the PRECOG MONITOR.  The female face
		writhes in the screen and Anderton looks at her.
		
		                    ANDERTON
		          Where we going, Agatha?  Talk to
		          me.
		
		Anderton turns away as FLETCHER (30), second in command
		approaches Anderton.  The FEMALE FACE turns and seems to look
		at Anderton through the screen.
		
		                    FLETCHER
		          Chief, the investigator from the
		          Fed is here.
		
		                    ANDERTON
		              (distracted)
		          You're kidding, that's today?
		
		                    FLETCHER
		          I wrote it down in your calendar,
		          then left a message at your house --
		
		                    ANDERTON
		              (working)
		          All I need, some twink from the Fed
		          poking around right now.
		              (then, to Jad)
		          Check again with the paper, they
		          had it forwarded.  See if the
		          neighbors know where they went,
		          check all relations --
		
		                    FLETCHER
		          Uh, sir...
		
		                    ANDERTON
		          Get him some coffee and tell him to
		          wait outside.
		
		                    VOICE
		          I've got coffee, thank you.
		
		Anderton turns to see DANNY WITWER.  Mid-twenties, quietly
		looking at everything and everyone.  He extends his hand.
		
		                    WITWER
		          Danny Witwer.
		              (then)
		          The "Twink from the Fed".  Gum?
		
		Anderton gives him a look, Witwer offers Anderton a stick of
		GUM.
		
		                    JAD
		          The Marks moved two weeks ago.  No
		          one knows where.  Still searching
		          for family and employer.
		
		                    MECHANICAL VOICE
		          Time horizon: 12 minutes...
		
		Anderton looks at his watch: COUNTING DOWN, 12 MINUTES.
		
		                    ANDERTON
		          I'm sorry Danny, but I'll have to
		          give you the full tour later on.
		
		                    WITWER
		          Your secretaries were all kind
		          enough to give me a look around the
		          office...
		
		Anderton looks through the glass doors where A HALF DOZEN
		FEMALE PRECRIME OFFICE WORKERS ogle Witwer, even one that's
		pregnant (a moving image of her baby on the front of her
		maternity T-shirt).  They ALL CHEW GUM.
		
		Witwer watches as Anderton moves his fingers across the
		display, "flying through" the precrime scene, moving forward
		and back in time.  ARCHITECTURAL REFERENCE SCREENS run side
		by-side with the Prevision Screen...
		
		                    ANDERTON
		          Original running bond brick
		          pattern, streamlined early Georgian
		          Details...
		
		Fletcher begins pointing out the equipment to Witwer who just
		listens quietly... asks no questions.
		
		                    FLETCHER
		          What he's doing now, we call
		          "scrubbing the image", looking for
		          clues as to where the murder's
		          going to happen.
		
		                    ANDERTON
		          The brick has been repointed, the
		          glass is original with new glazing
		          bars.  I show composite mouldings
		          with dentils.
		              (then)
		          Someone took care in the
		          renovation.  Let's find the
		          architect...
		
		                    FLETCHER
		          Victims are pronounced here. 
		          Killers here.  We never touch
		          anything.
		
		                    ANDERTON
		          I show a cop on horseback.
		
		                    JAD
		          Somewhere near the capital?
		
		                    ANDERTON
		          No maglev system.
		
		                    JAD
		          The mall?
		
		                    ANDERTON
		          Georgetown.
		
		Fletcher introduces Witwer to a female member of the team.
		
		                    FLETCHER
		          This is Evanna, the team pilot.
		
		                    WITWER
		          Nice to meet you.  Gum?
		
		She gives him a once over, takes a piece of gum.
		
		                    EVANNA
		          Oh, thank you...
		
		He pops a piece in his own mouth, cuts a look back at her...
		
		                    WITWER
		          She's cute.
		
		Witwer now notices the three faces on screen, can't take his
		eyes off them.  Witwer looks at the images on the screen. 
		These three faces writhing in agony.
		
		                    FLETCHER
		          Filtered, the Precogs can see
		          outward up to four days with a
		          sensory range of 200 miles.
		
		Witwer stares at them, blowing a bubble.
		
		                    WITWER
		          So if you wanna kill someone, you
		          take him to Miami.
		
		                    FLETCHER
		          Not after the vote next week.  Once
		          the Amendment passes, we go
		          national, there's gonna be nowhere
		          to run.
		
		Anderton cuts a look at him as Jad indicates a 3D map full of
		BLUE DOTS...
		
		                    JAD
		          Two Howard Markses EYEdented in the
		          sprawl.  Neither show married --
		
		Anderton looks at THE REFERENCE SCREENS AS THEY SCROLL
		THROUGH ARCHITECTURAL IMAGERY...
		
		                    ANDERTON
		          I show a match for Dwight Kingsley. 
		          Nineteenth century architect.  He
		          did two dozen houses in D.C....
		
		                    MECHANICAL VOICE
		          Time Horizon, ten minutes...
		
		Witwer reacts to the incessant RINGING OF THE ALARM BELL.
		
		                    WITWER
		          Can't they shut that off?
		
		                    FLETCHER
		          That's the Red Ball Alarm.
		
		Witwer looks at him.
		
		                    FLETCHER
		          Crime of passion.  No
		          premeditation.  They show up late. 
		          Most of our scrambles are flash
		          events like this one.  We rarely
		          see anything with premeditation
		          anymore.
		
		                    WITWER
		          People have gotten the message.
		              (to Fletcher)
		          Gum?
		
		INT.  MARKS KITCHEN - MORNING
		
		As Howard sits down with his son who keeps cutting the piece
		of cardboard while reciting the address.
		
		                    SON
		          ... the world will little note, nor
		          long remember what we say here...
		
		                    HOWARD
		              (looks at Sarah)
		          I was thinking, maybe I'd play
		          hooky, stay home today.
		
		Her back to him, Sarah pauses for just a second.
		
		                    SARAH
		          What about your meeting?
		
		                    HOWARD
		          I'll reschedule.  I've been working
		          too much anyway.
		
		The boy holds up what WE NOW SEE IS A LINCOLN MASK to his
		face...
		
		                    SON
		          ... that these honored dead we take
		          increased devotion to that cause
		          for which they gave us they gave
		          the last full measure of
		          devotion...
		
		He looks at the back of his wife as he pokes at his
		breakfast.
		
		                    HOWARD
		          We could have lunch together.
		
		                    SARAH
		          I'd love to, but I've got an open
		          house today at the Ressler place.
		
		                    HOWARD
		          Ah.  That must be why you look so
		          nice.
		
		As Sarah turns and smiles at Howard.
		
		                    SARAH
		          Raincheck?
		
		                    HOWARD
		          Sure.  Raincheck.
		
		                    SON
		          ... that we here highly resolve
		          that these dead shall not have died
		          in vain...
		
		We hear a HORN HONK O.S.  Sarah looks at her son.
		
		                    SARAH
		          Your ride's here.  Get your stuff.
		
		The boy gets up, setting THE SCISSORS down on the table.
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		Two men act as "dressers", getting Anderton into gear while
		he works.  They help him on with a jacket, the word PRECRIME
		emblazoned on the back.
		
		                    JAD
		          Director.  Line three.
		
		And now we see an IMAGE OF LAMAR BURGESS, DIRECTOR OF
		PRECRIME in one corner.
		
		                    BURGESS
		          Tell me not to worry, John.
		
		                    ANDERTON
		          Don't worry, Lamar.
		
		                    BURGESS
		          The nation votes this week...
		
		Anderton notices something on the prevision screen, brushes
		off the "dressers".
		
		                    BURGESS
		          Which makes this the worst possible
		          time to show that we're only human.
		
		                    ANDERTON
		              (working)
		          Uh-huh...
		
		                    BURGESS
		          Has the observer from Justice shown
		          up yet?
		
		                    ANDERTON
		          Hang on, Lamar --
		
		Anderton mutes the director, looks at AN IMAGE OF THE
		MUSCULAR MAN IN THE SUIT.  There's a CHILD'S FACE to the left
		of his own.
		
		INT.  MARKS KITCHEN - MORNING
		
		Howard takes his jacket and leaves.  Sarah watches after him
		for a beat, a little out of sorts.
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		As Anderton indicates the screen to Jad.  Witwer watches.
		
		                    ANDERTON
		          Look at the kid.  In this one, he's
		          on the left of the man in the suit.
		
		                    JAD
		          Yeah?  So?
		
		                    ANDERTON
		          Now look at him...
		
		Anderton moves his hand so the image changes and the kid is
		now to the right of the man, but FACING BACKWARDS.  He now
		moves back and forth between the images...
		
		                    ANDERTON
		          It's a park.
		
		He runs the image and we see the kid back on the left facing
		front, then on the other side facing back...
		
		EXT.  PARK ACROSS FROM THE MARKS BROWNSTONE - MORNING
		
		The HANDSOME MAN IN THE SUIT watches the house.  Behind him,
		we see A KID ON A PUSH MERRY-GO-ROUND, as he goes by we see
		him facing one way, then the other...
		
		The man glances about, then crosses the street.  He climbs
		the steps to the front door.  Doesn't even get to knock
		before Sarah opens it.
		
		                    SARAH
		          Come on...
		
		The man follows her inside.  A beat later, Howard steps into
		FRAME.  He never really left for work.
		
		INT.  PRECRIME - MORNING
		
		As Anderton runs with his team -- five in all.  Witwer trails
		behind them.
		
		                    FLETCHER
		          There's only sixteen of those old
		          merry-go-rounds left in the city. 
		          Two of which are in Georgetown. 
		          One in Barnaby woods, the other
		          Woodley.
		
		Anderton looks at the readout Fletcher hands him.
		
		                    ANDERTON
		          Woodley's all Victorian.  It's
		          gotta be Barnaby Woods.
		              (keeps moving)
		          I want two cameras: one Spyder, one
		          floater.
		
		Witwer watches as Anderton pulls a .45 from his waistband. 
		Jacks the clip and checks it.
		
		                    WITWER
		          As I recall, they outlawed
		          compression firearms in the
		          District ten years ago.
		
		                    ANDERTON
		              (replacing the clip)
		          They did.  Make yourself
		          comfortable.  We'll be back in an
		          hour.
		
		                    WITWER
		          You mind if I tag along?
		
		Some looks amid the team.  They know Anderton doesn't want
		him here.
		
		                    ANDERTON
		          I'd love to take you along,
		          Inspector, but there's no room on
		          the ship.
		
		EXT.  DEPARTMENT OF PRECRIME - ROOF - MORNING
		
		Anderton and his team head for a HOVERSHIP.  Anderton climbs
		in beside EVANNA, the female pilot.  Even with everyone
		onboard, one seat is conspicuously vacant.  KASI, an African
		American cop, sets some equipment on it, smiles at Anderton.
		
		                    EVANNA
		          Time Horizon six minutes.
		
		As the hovership lifts off.
		
		EXT.  MARKS HOUSE - GEORGETOWN - MORNING
		
		Howard walks up the steps to his house, takes out his key. 
		His hand shaking, he inserts the key into the lock.  A long
		beat.  He makes a decision and he finally turns it.
		
		INT.  MARKS HOUSE - KITCHEN - MORNING
		
		We hear LAUGHING from the second floor.  Howard picks up the
		scissors from the table.
		
		INT.  HOVERSHIP - MORNING
		
		As Anderton looks at his watch.  COUNTING DOWN 5:38...
		5:37...
		
		INT.  MARKS HOUSE - MORNING
		
		As we HEAR FOOTSTEPS and Howard steps behind a door, watches
		as the Lover, wrapped only in a towel, comes WHISTLING into
		the kitchen, grabs a couple of sodas from the refrigerator,
		then heads back out.
		
		EXT.  D.C. - MORNING
		
		Overhead, the precrime Hovership ROARS past.  In the
		distance, we see familiar Washington buildings, along with
		some new ones.
		
		INT.  MARKS HOUSE - MORNING
		
		Howard starts up the stairs.  We hear the sound of WATER
		RUNNING.
		
		INT.  MARKS HOUSE - MORNING
		
		Howard gets to the door, slowly pushes it open with the point
		of the SCISSORS.
		
		INT.  BEDROOM - MORNING
		
		As we see Sarah's reflection in the bathroom mirror as she
		wraps her arms around her lover, kicks the door closed with
		her foot.
		
		We now see HOWARD MARKS standing there, reflected in the full
		length mirror on the other side.
		
		EXT.  PARK - MORNING
		
		The only sound, the SQUEAK OF THE MERRY-GO-ROUND as the kid
		goes round and round.  All of a sudden several PRECOPS drop
		down on DESCENDERS.  The kid looks off at them, confused as
		to why it's now raining cops... he slowly looks UP and sees
		THE HOVERSHIP floating above him...
		
		INT.  BEDROOM - MORNING
		
		We hear GIGGLING O.S. as Howard Marks sits down on the bed,
		and starts to weep, he slides onto the floor...
		
		EXT.  PARK - MORNING
		
		As Anderton studies his portable screen, the image of the kid
		with the house behind him.  He looks up and realizes that the
		PARK IS SURROUNDED ON FOUR SIDES BY HOUSES.  And THEY ALL
		LOOK ALIKE...
		
		INT.  PRECRIME HOVERSHIP - MORNING
		
		As Evanna watches the image, watches Howard Marks kill his
		wife over and over.  The rest of the team is anxious.
		
		                    MECHANICAL VOICE
		          Time Horizon.  One minute.
		
		                    EVANNA
		          Chief, we're catching up to the
		          future.
		
		EXT.  PARK - MORNING
		
		As Anderton calmly looks around at the surrounding houses,
		all we hear is the SQUEAK of the merry-go-round.
		
		                    ANDERTON
		          Jad?
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		As Jad answers the call.  Witwer is right there watching.
		
		                    JAD
		          Go ahead.
		
		                    ANDERTON (PHONE)
		          Did he close the front door?
		
		                    JAD
		          What?
		
		                    ANDERTON (PHONE)
		          Did Marks close the front door?!
		
		Jad looks over the prevision a moment.  He sees the image of
		the front door... the stairs just beyond it...
		
		                    JAD
		          Negative -- front door is open! 
		          The front door is open!!
		
		EXT.  PARK - MORNING
		
		As Anderton scans the houses, sees one across the park with
		the door open --
		
		INT.  BEDROOM - MORNING
		
		As the two lovers now stumble wet from the bathroom onto the
		bed, neither of them see Howard sitting there on the floor on
		the other side of the bed, his head in his hands.  They start
		to make love.  Howard doesn't move.
		
		EXT.  PARK - MORNING
		
		As Anderton makes a headlong dash for the house.  The other
		cops right behind him...
		
		INT.  PRECRIME HOVERSHIP - MORNING
		
		As Evanna takes off...
		
		                    MECHANICAL VOICE
		          Time Horizon, thirty seconds --
		
		                    EVANNA
		          Hold on!
		
		The craft pitches as she heads over the park now...
		
		INT.  BEDROOM - MORNING
		
		As the motion of the two lovers now begins to rock Howard
		back and forth.  He looks at the SCISSORS in his lap, also
		rocking back and forth to the rhythm of the two in the bed.
		
		EXT.  HOUSE - MORNING
		
		As Anderton blows through the open front door...
		
		INT.  BEDROOM - MORNING
		
		As Howard now stands up, looks down at the bed, his face
		turning from disgrace to rage as he raises the scissors over
		his head.
		
		INT.  HOUSE - MORNING
		
		As Anderton sprints up the stairs, the other cops behind him.
		
		INSERT - HIS WATCH COUNTING DOWN the last few seconds...
		
		INT.  BEDROOM - MORNING
		
		As Sarah opens her eyes, sees Howard standing there over the
		shoulder of her lover and gasps.
		
		                    SARAH
		          Howard --
		
		                    HOWARD
		          I forgot my glasses.
		
		The lover rolls off of her and sits up.
		
		                    HOWARD
		          You know how blind I am without
		          them.
		
		She sees the scissors in his hand.  SCREAMS.  He's bringing
		them down when, suddenly, the HAND HOLDING THE SCISSORS IS
		GRABBED by Anderton...
		
		                    HOWARD
		          What --
		
		TIGHT ON THEIR TWO HANDS
		
		As Anderton's watch BEEPS as it counts down the last second
		and now...
		
		... the SKYLIGHT OVERHEAD EXPLODES, wood and glass flying
		everywhere as the other Precops descend from the Hovership,
		drop straight into the room.
		
		A FLOATING CAMERA BOT pushes past Anderton to the center of
		the room.
		
		CAMERA BOT - POV
		
		GRIDS and VECTORS place and locate everyone in the room.  A
		screen-within-a-screen zooms in on the SCISSORS.  It films
		Sarah's lover as he comes away from the bed.
		
		                    ANDERTON
		          Mr. Marks, you're under arrest  
		          for --
		
		Howard makes a run for the door...
		
		                    ANDERTON
		          Knott --
		
		Knott grabs him, but the man puts up a fight.
		
		Anderton takes a hand-held device from his belt (A SPYDER)
		and scans Marks' retina.
		
		                    ANDERTON
		          Positive for Howard Marks --
		
		Howard stands frozen, mouth agape as he now fully sees the
		PRECRIME SHIP hovering right out the window.
		
		                    ANDERTON
		          By mandate of the District of
		          Columbia Precrime division, I'm
		          placing you under arrest for the
		          future murder of Sarah Marks and
		          Donald Doobin that was to take
		          place today, April 22, at oh-eight
		          hundred hours, four minutes --
		
		                    SARAH
		          What?
		
		                    HOWARD
		          I didn't do anything!  Sarah!
		
		                    ANDERTON
		              (to Fletcher)
		          Give the man his hat.
		
		And now the other team members grab hold of Howard and start
		to shave his head with an electric sheer right there on the
		stairs, his hair falling in clumps to the floor below.
		
		                    HOWARD
		          Oh, God.  Don't put the halo on me!
		
		And now Fletcher steps forward with what is essentially a
		metal HALO.  Fletcher places it on Howard's head while he
		screams...
		
		                    HOWARD
		          I wasn't going to do it!  I wasn't
		          going to hurt her!  I just wanted
		          to scare her!
		
		As the halo is fitted onto his head, Howard's body arches in
		a convulsive shock, his eyes rolling white into his head as
		he finally goes limp.
		
		INT.  PRECRIME ANALYTICAL ROOM - MORNING
		
		As Witwer watches the Prevision Screen.
		
		                    WITWER
		          I thought they stopped the murder --
		
		Jad looks over as Witwer indicates an image of Howard Marks
		stabbing his wife, now from a slightly different angle.
		
		                    JAD
		          That's just an echo.
		              (smiles)
		          Precog Deja Vu.
		              (looks at the screen)
		          Some of the really bad ones, the
		          Precogs see over and over again.
		
		The stabbing happens again and Jad moves his hand across the
		screen and it goes BLANK.  Witwer looks at the PRECOG SCREEN,
		watches as the female rolls over and sinks under the milk.
		
		INT.  MARKS HOUSE - MORNING
		
		Anderton goes into the bathroom and SHUTS OFF THE WATER in
		the bathtub just as it's about to overflow.
		
		He stands, sees Sarah, hugging herself in the middle of the
		room.  She stares back at him, confused and overwhelmed as we
		now...
		
		                                             DISSOLVE TO:
		
		EXT.  INNER CITY - NIGHT
		
		As Anderton, now in a hooded sweatshirt and sweatpants, jogs
		through the rain, the neighborhood around him getting worse
		and worse as he goes.
		
		INT.  A DARK ROOM - NIGHT
		
		We can see Howard Marks' breath as he's laid out naked on a
		metal table.  His head has been shaved.
		
		                    VOICE OVER
		          Precrime: It works!
		
		EXT.  INNER CITY - NIGHT
		
		As Anderton runs through the city, we now hear OTHER VOICES
		joining in saying the same thing, over and over, finally
		overlapping one another:
		
		                    VOICES
		          PRECRIME: IT WORKS!
		              (until we hear)
		          IT WORKS IT WORKS IT WORKS...
		
		And now, PROJECTED ON THE WALL BESIDE ANDERTON, we start to
		see a SERIES OF HUGE CLOSE-UPS as he runs by:
		
		                    AFRICAN-AMERICAN WOMAN
		          I used to worry about my children
		          going to the playground...
		
		                    POLICEMAN
		          My partner was murdered...
		
		                    VARIOUS PEOPLE
		          My sister was murdered... My
		          brother was killed... I was
		          attacked in the stairwell... My
		          teacher was stabbed... My neighbor
		          was shot... My child was
		          murdered...
		
		And now we see a series of shocking murder scenes, as the
		above testimonials continue in the b.g.
		
		INT.  DARK ROOM - NIGHT
		
		A LARGER METAL HALO, spikes pointing inward, is fitted onto
		Howard Marks' head.  He starts to SCREAM...
		
		                    A DEEP VOICE
		          In a world where we look to science
		          for answers, they were a gift...
		
		EXT.  INNER CITY - NIGHT
		
		As Anderton runs along the wall, the PROJECTIONS CONTINUE:
		the images are of different people on the street now.  WE
		BEGIN PULLING BACK...
		
		                    VARIOUS PEOPLE
		          I was going to be killed in my
		          apartment... He was going to rape
		          me and then stab me... It was going
		          to happen in a parking lot... We
		          were having marital problems, I had
		          no idea he would try and...
		
		So that now we see we're looking at some sort of SCREEN ON
		THE SIDE OF THE BUILDINGS.  On it, we see a shot of the
		Precrime building, a statue of the precogs out front.
		
		                    THE DEEP VOICE
		          And now, Precrime is coming to your
		          state, allowing you to sleep as
		          well as we do in the District of
		          Columbia.
		
		Anderton, runs past the HUGE PROJECTION...
		
		                    THE DEEP VOICE
		          On April 30, vote Yes on the
		          National Precrime Referendum and
		          make murder a thing of the past.
		
		On the screen we see a SCHOOLYARD FULL OF KIDS...
		
		                    CHILDREN
		          Precrime: It works!
		
		Above Anderton, in the middle of the projection, some MENTAL
		CASE sticks his head out a window and SCREAMS at the night.
		
		EXT.  INNER CITY - DARK
		
		As Anderton slows down, turns up a DARK ALLEY.  He pauses,
		looks around.
		
		                    ANDERTON
		          Lycon?
		
		                    A VOICE
		          What's the matter, can't sleep?
		
		Anderton turns and we see a dark FIGURE in a black coat
		sitting in a doorway.  LYCON.
		
		                    ANDERTON
		          I just need a little clarity.
		
		                    LYCON
		          True that.  You want the customary,
		          or the new and improved?
		
		                    ANDERTON
		          I'll try the new stuff.
		
		Anderton reaches into his sock and takes out some CASH. 
		Lycon takes out his own, much filthier sock and reaches
		inside.  He pulls out a handful of tiny BLACK INHALERS and
		holds a few of them out to Anderton who hesitates, then takes
		them.
		
		                    LYCON
		          Sweet dreams, Chief.
		
		"Chief".  Anderton turns and looks at the Dealer.
		
		                    LYCON
		          Oh, don't worry none, your secret's
		          safe with me. 
		          After all, you gonna be The Big
		          Boss soon enough, be nice to have a
		          little juice on my side.
		
		                    ANDERTON
		          What makes you say I'm gonna be the
		          boss?
		
		                    LYCON
		          You're the perfect man for the job. 
		          It's like my Daddy used to say, "In
		          the land of the blind..."
		
		Lycon leans forward and the moonlight catches his face, and
		we see that BOTH OF HIS EYES ARE GONE FROM THEIR SOCKETS.
		
		                    LYCON
		          "The one eyed-man is King".
		
		Lycon starts to laugh.  Anderton watches him a moment, then
		turns and jogs off into the wet night.
		
		INT.  ANDERTON'S APARTMENT - NIGHT
		
		Dark.  Rain falls on the towers and pavilions of the inner
		city that fill the large windows.  The front door opens and
		Anderton comes inside.  When he turns on a light, we see the
		place is a complete mess.
		
		Trash and black INHALERS litter the floor.  Clothing is
		strewn about.  In the kitchen, cupboards, even the
		refrigerator door have been left open.  You might think the
		place has been burglarized, but it's just the way he left it.
		
		Anderton walks past a bedroom -- an airplane bed and toys on
		the floor tell us this was once a kid's room.  He continues
		on to...
		
		HIS BEDROOM
		
		Where he peels off his sweatshirt, then moves to the bed and
		sticks the old .45 back under the pillow it came from.
		
		On the nightstand, are piles of NEWS CLIPPINGS, all of them
		with headlines like "BOY MISSING ELEVEN YEARS RETURNS HOME!"
		Or "FAMILY FIGHTS TO CLONE DEAD CHILD" or "GIRL RESCUED FROM
		KIDNAPPERS AFTER TWO YEAR ORDEAL".
		
		Anderton grabs a BLACK INHALER from atop one of the clippings
		and shakes it, sees that there's still something in it.  He
		takes it, goes into...
		
		THE SOLARIUM
		
		Anderton moves to a COMPUTER and types in an entry.  All at
		once, the room begins to fill with HOLOGRAPHIC IMAGES of his
		son, SEAN.  The images are ghostlike, not solid; created by a
		dozen LASER PROJECTORS placed around the room.
		
		The scenes themselves are "stolen" from birthday parties,
		outings and vacations from a life that's somehow no more.
		
		In one of them, his son Sean (age 2), playing with toys on
		the floor with LARA, Anderton's ex-wife.  Anderton looks at
		Lara a moment, reaching out to her when we hear...
		
		                    SEAN
		          Daddy!
		
		Anderton looks to a HOLOGRAM where Sean (age 4) is throwing a
		Frisbee on a beach.  The hologram-Sean looks up in Anderton's
		general direction as he throws...
		
		                    SEAN
		          Catch!
		
		And the Frisbee sails right through Anderton.  He takes a
		deep hit off the inhaler and then looks around the room.
		
		ANDERTON'S POV
		
		As the images GRADUALLY BEGIN TO FILL IN.  LOOK REAL.
		
		                    SEAN
		          Hi, Daddy...
		
		Anderton moves to one of the images in the middle of the room
		and crouches down in front of it.
		
		                    ANDERTON
		          Hi, Sean.  How was your day?
		
		And then the image cuts to Sean (age 6) holding a soccer
		ball...
		
		                    SEAN
		          I scored a goal!
		
		                    ANDERTON
		          That's great.
		
		And now the IMAGE JUMPS and we see Sean (age 4) at a younger
		age...
		
		                    SEAN
		          I raced mommy!
		
		And we see LARA, smiling beside him on a beach.  Anderton
		looks at Lara a moment, then...
		
		                    SEAN
		          I won!
		
		                    ANDERTON
		          What a big boy.  How old are you?
		
		The image JUMPS and we see Sean (age 6)...
		
		                    SEAN
		          I want pizza!
		
		Wrong answer.  Anderton frowns, goes over to the computer,
		starts searching through the images.  He stops when he sees
		one of Sean at age 4, at a birthday party, holding up four
		fingers.  He then walks back to the image...
		
		                    ANDERTON
		              (tries again)
		          How old are you, Sean?
		
		And now the holo-image JUMPS so that it's the same as the one
		we just saw on the computer.  SEAN HOLDS UP FOUR FINGERS.
		
		                    ANDERTON
		          Four.  Wow.  What a big boy.
		              (then)
		          I love you, Sean.
		
		                    SEAN
		              (age 2)
		          I love you, too!
		              (age 4)
		          I love you daddy.
		              (age 6)
		          Love ya, dad.
		
		Anderton sits down on the floor beside the image and takes
		another hit off the inhaler.  He then lies back and watches
		his "son" as we now...
		
		FADE OUT.
		
		                    VINCENT NASH (V.O.)
		          On the eve of a national referendum
		          that will make all of our citizens
		          safe from violent crime...
		
		FADE IN:
		
		INT.  ANDERTON'S APARTMENT - MORNING
		
		As Anderton opens an eye, looks off AT A CLOCK TV that shows
		the image of L. VINCENT NASH, U.S. Attorney General as he
		addresses a press conference at Precrime...
		
		                    NASH
		          ... it's the responsibility of the
		          Justice Department to fully review
		          and inspect the Precrime system.
		
		Anderton sits up, looks at the screen.  To his horror, he
		sees WITWER sitting at a long table beside Nash with LAMAR
		BURGESS sitting on the other side.  The chair next to Burgess
		EMPTY...
		
		                    ANDERTON
		          Shit --
		
		Anderton jumps to his feet, begins ripping off his sweats and
		getting dressed as fast as he can.  He grabs his shirt off
		the answering machine...
		
		                    SYNTH VOICE
		          You have twelve messages.
		
		                    BURGESS' VOICE
		          John?  Where the hell are you?
		
		Anderton sits on the bed and starts pulling on his boots.
		
		                    BURGESS
		          Speaking on behalf of Precrime, I'd
		          just like to say that we welcome
		          any review by Attorney General Nash
		          and his team, although I must say
		          I'm somewhat baffled by their
		          timing.
		
		Anderton grabs his coat, pulls his .45 out from under the
		pillow and tucks it away behind his back.
		
		                    BURGESS
		          In the six years we've been
		          conducting our little experiment
		          there hasn't been a single murder
		          in the District.
		
		Anderton opens the door and gets RIGHT INTO HIS VEHICLE. 
		It's there IN THE WALL.  He sits down, closes the door and
		the VEHICLE DROPS FROM SIGHT.
		
		EXT.  PRECRIME - DAY
		
		As Anderton runs across the busy quad to the entrance of the
		building.
		
		                    BURGESS (V.O.)
		          So I'm sure I speak for Chief
		          Anderton who's on assignment, that
		          we plan to do everything we can to
		          help our good friends and
		          colleagues at the Justice
		          Department...
		
		He lowers his sunglasses and two ultraviolet lights STROBE on
		the retinal scanner as Anderton is EYEdentiscanned and
		cleared to enter.
		
		INT.  PRECRIME HEADQUATERS - MAIN FLOOR - DAY
		
		As Anderton enters, is immediately cut off by Burgess.
		
		                    BURGESS
		          Those bastards at Justice want to
		          take it all away from us.
		
		Anderton stops, faces Burgess who looks at his watch, then
		stares back at Anderton.
		
		                    BURGESS
		          And this is exactly the kind of
		          behavior that will give them an
		          excuse to do it.
		
		                    ANDERTON
		          Lamar, I'm sorry.  I don't know
		          what --
		
		                    BURGESS
		          Don't apologize, John.
		
		His tone stops Anderton.
		
		                    BURGESS
		          You understand that a week from now
		          people are going to vote on whether
		          or not what we've been doing down
		          here has been some noble-minded
		          enterprise or a chance to change
		          the way this country fights crime.
		
		                    ANDERTON
		          I understand.  Sir.
		
		Burgess stares at Anderton.
		
		                    BURGESS
		          I need you to do two things for me. 
		          One, watch Danny Witwer.
		
		                    ANDERTON
		          Yes, sir.
		
		                    BURGESS
		          You can let him look around, answer
		          his questions, but watch him.  If
		          there's any problems, make sure we
		          know about it first.
		
		                    ANDERTON
		          I understand.  What's the other
		          thing?
		
		                    BURGESS
		          Tuck in your shirt.
		
		Burgess gives him a look, then turns and walks away. 
		Anderton looks down, tucks in his shirt, then hurries off...
		
		INT.  PRECRIME ANALYTICAL ROOM - DAY
		
		As Jad, Fletcher and Knott show Witwer one of the wooden
		"eggs".  All of them now chewing gum, friendly with Witwer.
		
		                    FLETCHER
		          The information we need is embedded
		          in the grain of wood.  And since
		          each piece is unique, the shape and
		          grain is impossible to duplicate.
		
		                    WITWER
		              (returns the sphere to
		               Fletcher)
		          I'm sure you've all grasped the
		          legalistic drawback to precrime
		          methodology.
		
		                    KNOTT
		          Here we go again...
		
		                    WITWER
		          Look, I'm not with the ACLU on this
		          Jeff.  But let's not kid ourselves,
		          we are arresting individuals who've
		          broken no law.
		
		                    JAD
		          But they will.
		
		                    FLETCHER
		          The commission of the crime itself
		          is absolute metaphysics.  The
		          Precogs see the future.  And
		          they're never wrong.
		
		                    WITWER
		          But it's not the future if you stop
		          it.  Isn't that a fundamental
		          paradox?
		
		                    ANDERTON (O.S.)
		          Yes, it is.
		
		They all turn and look at Anderton as he comes into the room,
		takes the sphere from Fletcher.
		
		                    ANDERTON
		          You're talking about
		          predetermination, which happens all
		          the time.
		
		Suddenly, Anderton rolls the ball towards Witwer who catches
		it just as it's about to go off the table.
		
		                    ANDERTON
		          Why did you catch that?
		
		                    WITWER
		          Because it was going to fall.
		
		                    ANDERTON
		          You're certain?
		
		                    WITWER
		          Yes.
		
		                    ANDERTON
		          But it didn't fall.  You caught it.
		
		Witwer looks at the ball in his hand.
		
		                    ANDERTON
		          The fact that you prevented it from
		          happening doesn't change the fact
		          that it was going to happen.
		
		                    WITWER
		          You ever get any false positives? 
		          Someone intends to kill his boss or
		          his wife, but they never go through
		          with it.  How do the precogs tell
		          the difference?
		
		                    ANDERTON
		          The Precogs don't see what you
		          intend to do, only what you will
		          do.
		
		                    WITWER
		          Then why can't they see rapes, or
		          assaults... or suicides?
		
		                    FLETCHER
		          Because of the nature of murder.
		              (quoting)
		          "There's nothing more destructive
		          to the metaphysical fabric that
		          binds us than the untimely murder
		          of one human being by another".
		
		                    WITWER
		          Somehow, I don't think that was
		          Walt Whitman.
		
		Anderton looks at Witwer.  The man knows more than he
		thought.
		
		                    ANDERTON
		              (looking at Witwer)
		          It was Iris Hineman.  She developed
		          the Precogs, designed the system
		          and pioneered the interface.
		
		                    WITWER
		          Speaking of interfacing, I'd love
		          to say hello.
		
		                    ANDERTON
		          To Hineman?
		
		Witwer looks at the screens showing THE PRECOGS.
		
		                    WITWER
		          To them.
		
		                    ANDERTON
		          Cops aren't allowed inside the
		          temple.
		
		                    WITWER
		          Really?  You've never been inside?
		
		                    ANDERTON
		          We keep a strict separation so that
		          no one can accuse us of tampering.
		
		                    WITWER
		          So I'll be the first one to go in
		          then?
		
		                    ANDERTON
		          Maybe you didn't hear me.
		
		                    WITWER
		          If it's a question of authority.
		
		                    ANDERTON
		          There's no question.  You don't
		          have any.
		
		                    WITWER
		          I have a warrant in my pocket that
		          says different.
		
		The other men don't move, don't blink.
		
		                    ANDERTON
		          Show it to me.
		
		Witwer pulls out a piece of paper from his pocket folded
		several times and hands it to him.  As Anderton unfolds it...
		
		                    WITWER
		          Contrary to what you might think,
		          this experiment is being conducted
		          under the supervision and with the
		          express permission of the Attorney
		          General of the United States.  I'm
		          here as his representative.  Which
		          means... you're now operating under
		          my supervision.
		
		Anderton looks up from the paper, at his men, at Witwer. 
		He's lost and he knows it.  Witwer takes the paper back.
		
		                    WITWER
		          It seems you've been left out of
		          the loop, John.
		
		INSIDE THE TEMPLE
		
		AS WALLY, the caretaker, an odd little guy who doesn't get a
		lot of sun looks over as Witwer and Anderton walk through A
		LASER DECONTAMINATION BOOTH...
		
		                    WALLY
		          No no no no no...
		
		Witwer smiles, extends his hand.  Wally backs away.
		
		                    WALLY
		          I can't touch you!  And John, you
		          can't be in here!  You'll confuse
		          them!
		
		                    ANDERTON
		          Wally.  This is Danny Witwer.  He's
		          from Justice and we're to give him
		          a full run of the farm.
		
		                    WITWER
		          Nice to meet you, Wally.
		
		                    WALLY
		          Shhh!  They're sleeping.
		
		                    WITWER
		              (whispers)
		          Tell me how all this works.
		
		AND NOW WE SEE: THE TANK
		
		As a RIPPLE APPEARS in the white liquid.
		
		                    WITWER (O.S.)
		          The photon milk acts as both a
		          nutrient supply and a liquid
		          conductor.  It makes the images
		          that each of them receive strong.
		
		And now a MAN'S FACE slowly breaks the surface, then ANOTHER
		MAN'S FACE, followed by A FEMALE FACE...
		
		PULL BACK TO REVEAL: THE THREE PRECOGS
		
		Three nude bodies -- TWO MALE, ONE FEMALE.  As they writhe
		about in the liquid, we can see that their bodies are thin,
		nearly translucent.
		
		The precogs appear to be in suspended animation or in comas. 
		They are absolutely still and limp, except for their faces
		which are in constant motion, reacting to murders only they
		can see.
		
		                    WALLY
		          We call the female Agatha.  The
		          twins are Arthur and Dashiell.
		
		REVEAL: THE PRECOG TANK
		
		Egg-like in shape, it's filled with the milky-looking liquid
		the three Precogs are suspended in.
		
		                    WALLY
		          We scan by way of optical
		          tomography, white light pinpoints
		          pulse along the entire length of
		          the headgear and are re-read after
		          absorption through their brain
		          tissue.
		
		Witwer looks at him, has no idea what he just said.
		
		                    WALLY
		          In other words, we see what they
		          see.
		
		Wally lifts one of the Male Precogs into a harness and hoists
		him up for exercise and cleaning.  Wally starts to trim his
		nails and the Precog begins convulsing...
		
		                    WALLY
		          They're not in any pain.  We keep
		          their heads pretty well stocked
		          with dopamine and endorphins. 
		          Plus, we maintain careful control
		          over their serotonin levels --
		          don't want 'em to drift off to
		          sleep, but they can't be kept too
		          awake either.
		
		                    ANDERTON
		          It helps if you don't think of them
		          as human.
		
		                    WITWER
		              (staring at them)
		          No... they're much more than that.
		
		Witwer nods, looks up at THE SCREENS ABOVE THE TANK, a series
		of screens tapped into each Precog.  We can see all sorts of
		images, but none of them clear right now.  He's mesmerized by
		all of them.
		
		                    WITWER
		          Science has stolen most of our
		          miracles.  In a way...
		              (indicates the tank)
		          ... they give us hope... hope of
		          the existence of the divine.
		
		He sees Anderton and Wally looking at him.
		
		                    WITWER
		          I find it interesting that some
		          people have begun to deify the
		          precogs.
		
		                    ANDERTON
		          The precogs are pattern recognition
		          filters, nothing more.
		
		                    WITWER
		          But you call this room the
		          "temple".
		
		                    ANDERTON
		          Just a nickname.
		
		                    WITWER
		              (nods, then)
		          The oracle isn't where the power is
		          anyway.  The power's always been
		          with the priests.
		              (looks at the Precogs)
		          Even if they had to invent the
		          oracle.
		
		Anderton looks to where Fletcher, Jad and Knott stand near
		the entrance, nodding their heads.
		
		                    ANDERTON
		          You guys are nodding your heads
		          like you actually know what the
		          hell he's talking about.
		
		                    JAD
		          Come on, Chief, you think about it,
		          the way we work -- changing destiny
		          and all -- we're more like clergy
		          than cops.
		
		                    ANDERTON
		          Uh-huh.  Jad?
		
		                    JAD
		          Sir?
		
		                    ANDERTON
		          Go back to work.  All of you.
		
		The others give him a look and walk out.  Anderton turns back
		to Witwer who smiles at him.
		
		                    WITWER
		          Sorry.  Old habit.  I spent three
		          years at Fuller Seminary before I
		          became a cop.  My father was a
		          minister.  Lutheran.
		
		                    ANDERTON
		          What does he think of your chosen
		          line of work?
		
		                    WITWER
		          I don't know.  He was shot and
		          killed when I was fourteen on the
		          steps of his church in Bethesda.
		
		He looks at Anderton.
		
		                    WITWER
		          I know what it's like to lose
		          someone close, John.  Of course,
		          nothing is like the loss of a
		          child.
		
		Agatha rolls over now, seems to be looking at Anderton.
		
		                    WITWER
		          I don't have any children of my
		          own, so I can only imagine what
		          that must have been like, to lose
		          your son in a public place like
		          that.
		
		Anderton says nothing.  Hates the man all over again.
		
		                    WITWER
		          At least now you -- and I -- have
		          the chance to make sure that kind
		          of thing doesn't happen to anyone
		          ever again.
		
		                    ANDERTON
		              (beat)
		          Why don't you cut the cute act,
		          Danny, and tell me exactly what it
		          is you're looking for?
		
		                    WITWER
		          Flaws.
		
		                    ANDERTON
		          There hasn't been a murder in six
		          years.  There's nothing wrong with
		          the system.  It's perfect.
		
		                    WITWER
		          I agree.  The system is perfect. 
		          If there's a flaw, it's human.  It
		          always is.
		              (then)
		          Thank you for the tour, Wally.
		
		Anderton watches him walk out, shakes his head, then
		notices...
		
		The FEMALE PRECOG'S ARM is resting on the edge of the tank. 
		He looks down at her a moment.  She's looking at him, but her
		eyes seem somewhere else.
		
		Anderton looks around for Wally, doesn't see him.  He doesn't
		want to touch her.  He finally reaches down and gently takes
		her arm, sets it back into the tank.
		
		As it submerges, she takes hold of ANDERTON'S FINGER and
		hangs on.  He stares back at her.  She holds on tight...
		
		                    ANDERTON
		          Uh, Wally --
		
		He tries to pull his hand away, but she holds on, grabs onto
		Anderton's shirt, and STARTS TRYING TO PULL HERSELF OUT OF
		THE WATER...
		
		                    ANDERTON
		          Wally!
		
		                    AGATHA
		              (whisper)
		          Can you see?
		
		And now she's clinging to Anderton, looking up.  He looks up
		at the SCREEN above her and sees...
		
		A FLASH OF A WOMAN'S FACE.  Silent.  Eyes and mouth wide
		open.  A shock of red hair all around her.  Her face is a
		white mask of terror.  She seems to be beckoning Anderton
		with her arm...
		
		He looks at Agatha, who continues to cling to him, HER OWN
		FACE HOLDS THE SAME EXPRESSION as the woman on the screen. 
		She finally lets go of Anderton and falls back into the tank.
		
		                    WALLY
		          John?!
		
		Anderton, shaken, looks up and THE IMAGE FADES, replaced with
		the blurry flood of images we saw earlier.
		
		                    WALLY
		          What the hell just happened?  Her
		          ACTH levels just shot through the
		          roof!
		
		Anderton turns and looks at the Precog writhing about.
		
		                    WALLY
		          Her pituitary dumped a week's worth
		          into her system... What did you do
		          to her?
		
		                    ANDERTON
		          Nothing... she grabbed me, and then
		          there was an image on the screen...
		
		                    WALLY
		          She grabbed you?  Impossible.  The
		          Precogs aren't even aware of us. 
		          In the milk all they see is the
		          future.
		
		Anderton shoots a look down the hall as WITWER WALKS THROUGH
		THE LASER DECONTAMINATOR, unaware of what just happened.  He
		turns to Wally and lowers his voice...
		
		                    ANDERTON
		          She was looking right at me.
		
		                    WALLY
		          It could have been a nightmare...
		          Sometimes they dream about the old
		          murders.
		
		Anderton looks back down at Agatha, her eyes closed now as
		she sinks down into the milk and disappears, her own arm in
		front of her, beckoning in the same way as the woman.
		
		                    ANDERTON
		          She spoke to me.
		
		                    WALLY
		              (dismissive)
		          To you?  I don't think so...
		              (but has to know)
		          What'd she say?
		
		                    ANDERTON
		          She said...
		
		Anderton looks up at the screens...
		
		                    ANDERTON
		          "Can you see?"
		
		EXT.  THE DEPARTMENT OF CONTAINMENT - EARLY MORNING
		
		Anderton takes off his sunglasses, looks at a screen:
		
		                    ANDERTON
		          Anderton.  John.
		
		He moves his eyes close to the screen and gets
		EYEdentiscanned at the door and goes inside.
		
		INT.  DEPARTMENT OF CONTAINMENT - EARLY MORNING
		
		Silent.  A huge open space, a human warehouse.  Along the
		floor -- ringing the entire perimeter -- are markers with
		numbers on the front of them.  We now HEAR FOOTSTEPS as...
		
		Anderton enters the building.  As he moves further into the
		space, our angle changes and we now see HUMAN BODIES lying on
		their backs on the other side of the markers.  Each
		"prisoner" has a metal HALO-like apparatus -- spikes going
		inward -- fitted onto his head.
		
		Anderton slows his pace, eyeing the row of inert bodies along
		the floor as he goes.  Above each inert prisoner is a SCREEN
		that continuously plays the Precog's PREVISION OF THE MURDER
		for which they've been convicted.
		
		Suddenly we hear a blast of ORGAN MUSIC reverberating from
		somewhere O.S. and he looks off towards a CURTAIN at the
		back...
		
		ON THE CURTAIN
		
		As Anderton parts it to REVEAL:
		
		A LIVING SPACE
		
		A bed.  A stove.  A fridge... And A HUGE PIPE ORGAN.  A MAN
		IN A WHEELCHAIR playing with his back to us.  From the sound
		of it, he seems to be making it up as he goes along. 
		Anderton taps the guy on the shoulder, startling him --
		
		                    MAN
		          HOO BOY!
		              (then)
		          You scared me, Chief.
		
		He takes a breath, looks at Anderton standing there.  The
		man's face is large, almost retarded in appearance.  He wears
		A PRISON GUARD UNIFORM.
		
		                    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...
		
		                    LARA
		          John -- stop filming me.
		
		Witwer watches as Lara, looks up at us, her face beautiful.
		
		                    WITWER
		          Where is she?
		
		EXT.  INNER CITY SLUMS - DAY
		
		As Anderton walks up to one of the more decrepit-looking
		buildings and then takes off into the night.  A giant
		TRANSPORTATION SYSTEM VENT blows on him from above as he
		takes a hit off an inhaler, tosses it aside and walks to the
		entrance.
		
		                    DR. EDDIE (V.O.)
		          Have a seat, Chief...
		
		INT.  DR. EDDIE'S "OPERATING" ROOM - DAY
		
		A shitty little room with a single stained overstuffed chair
		in the corner, a foul kitchen piled high with dirty dishes
		and a grime-smeared window looking out onto another wall.
		
		In the center of all this is a make-shift medical set-up: a
		gleaming operating table, an array of lasers, scalpels and
		other surgical and anesthesia equipment.
		
		Anderton sits in a chair facing DR. SOLOMON EDDIE -- a skinny
		man with a shock of hair on top, like an upended broom.  Dr.
		Eddie sneezes, blows his nose hard into a handkerchief.
		
		                    DR. EDDIE
		          Damn cold won't go away.
		
		Anderton glances about uneasily as the man sneezes again. 
		Dr. Eddie sees he's anxious and smiles.
		
		                    DR. EDDIE
		          Don't worry.  I could cut open your
		          chest, sew a dead cat in there and
		          you'd never get an infection.  Not
		          with the spectrum of antibios I'll
		          be shooting into you.
		
		                    ANDERTON
		          That's comforting.
		
		                    DR. EDDIE
		          You do understand I can't just give
		          you new irises.  The scanners will
		          read the scar tissue.  Alarms will
		          go off.  Large men with guns will
		          appear...
		
		                    ANDERTON
		          Right.  I know --
		
		Anderton stiffens as Dr. Eddie injects him...
		
		                    DR. EDDIE
		          Anesthesia.  Try to relax, John.
		              (injecting)
		          I'm saying I'll have to remove your
		          eyes.  Completely.
		
		                    ANDERTON
		          Yeah --
		
		                    DR. EDDIE
		          And replace them with new ones.
		
		                    ANDERTON
		          I know that, but I wanna keep the
		          old ones.
		
		                    DR. EDDIE
		          Why?
		
		                    ANDERTON
		          Because my mother gave them to me. 
		          What do you care?  They're no good
		          to you on the secondary market
		          anyway.
		
		                    DR. EDDIE
		          Whatever you say, John.
		
		Dr. Eddie holds out his hand and Anderton hands him a tiny
		opalescent card.
		
		                    DR. EDDIE
		          Greta!
		
		Dr. Eddie yells something in SWEDISH and now into the room
		walks a LARGE WOMAN in a white coat.
		
		                    DR. EDDIE
		          This is Miss Van Eyck, my gorgeous
		          assistant.
		
		She turns and giggles at Anderton and we see A MOLE on her
		cheek the size of Bermuda.
		
		                    ANDERTON
		          Nice to meet you.
		
		Miss Van Eyck slides the card into a small console, watches
		the numbers flash up.  She says something to Dr. Eddie who
		looks at the numbers then frowns at Anderton.
		
		                    DR. EDDIE
		          That's not much.
		
		                    ANDERTON
		          It's all I could safely move.
		
		                    DR. EDDIE
		          Tell you what, since you and I go
		          way back, I'll give you my Old Pal
		          discount.  How's that sound?
		
		Anderton looks at him.  "Go way back?"
		
		                    DR. EDDIE
		          You don't remember me, do you?
		
		                    ANDERTON
		          We know each other?
		
		                    DR. EDDIE
		          Oh, yes.
		
		Miss Van Eyck picks up a LASER SCALPEL, blows on the end to
		clean it off, then hands it to Dr. Eddie who tests it on a
		PIECE OF METAL.  Anderton watching as it cuts right through.
		
		                    ANDERTON
		          From where?  D.C.?
		
		                    DR. EDDIE
		          Baltimore.  Eastside.
		              (then)
		          Solomon P. Eddie M.D.  I was a
		          plastic surgeon.
		
		Anderton thinks a moment.  The name rings a bell.
		
		                    DR. EDDIE
		          I specialized in burn victims.
		              (then)
		          Women mostly.
		
		Boom.  Anderton looks at him.
		
		                    ANDERTON
		          I put you away --
		
		                    DR. EDDIE
		          Yes, you did.
		
		                    ANDERTON
		          You made those tapes...
		
		                    DR. EDDIE
		              (defensive)
		          They were performance pieces.
		
		                    ANDERTON
		          You set your patients on fire!
		
		                    DR. EDDIE
		          And put them out.  Some not as
		          quickly as others, but let's change
		          the subject, shall we?  The future
		          is much more interesting than the
		          past.  Don't you think?
		
		Dr. Eddie walks over to a large medical cabinet and opens the
		door.  It's full of EYES and PARTS OF EYES -- all in cryo
		jars.  Anderton turns away.  It's the last thing he wants to
		see.  Dr. Eddie studies them a moment, then...
		
		Anderton watches as he and Miss Van Eyck confer in Swedish
		and she starts giggling at whatever it is he said.  The doc
		himself has a smile on his face as he turns back around.
		
		                    DR. EDDIE
		          Lie down, John.
		
		Anderton hesitates, finally complies.  Next thing he knows
		Miss Van Eyck is smiling down on him, her big face hovering
		above his like a planet.  She smiles, then...
		
		                    MISS VAN EYCK
		              (the only English she
		               knows)
		          Hello.
		
		                    ANDERTON
		          Uh, hi --
		
		                    DR. EDDIE
		          Try to relax, Chief.
		
		Anderton counts to himself, listens to Dr. Eddie preparing
		instrument trays, sharing another joke in Swedish with his
		assistant.  MORE GIGGLING O.S.  Anderton looks over...
		
		                    ANDERTON
		          So uh, if you were a plastic
		          surgeon before...
		
		                    DR. EDDIE
		          How can I do what I do now?  Let's
		          just say I spent a lot of time in
		          the prison library.
		
		Anderton turns and casts a groggy eye at Dr. Eddie to see if
		he's serious, but the good doctor has his back to him as he
		does his prep work.
		
		                    DR. EDDIE
		          It was a great way to avoid some of
		          the more unpleasant aspects of
		          prison life.
		              (then)
		          Yes, confinement was a real
		          education, a real eye opener if you
		          will.
		
		Anderton tries to get up, but Miss Van Eyck gently pushes him
		down again.
		
		                    MISS VAN EYCK
		          No no no...
		
		                    DR. EDDIE
		          I mean, for true enlightenment,
		          John, there's nothing quite like
		          the experience of, say, taking a
		          shower while a large felon with a
		          hard-on you can't knock down with a
		          hammer whispers in your --
		
		                    ANDERTON
		              (tries to sit up)
		          Uh, okay, you know what?  I think
		          maybe I'll just --
		
		But Anderton can't raise himself up: The drug is starting to
		take effect.  Dr. Eddie approaches with the LASER SCALPEL...
		
		                    DR. EDDIE
		          Yes, it was a lot of fun.  Thank
		          you so much, John, for putting me
		          there.  For giving me the
		          opportunity to get to know myself
		          better.  And now...
		
		He clicks on the LASER, right in front of one of Anderton's
		eyes...
		
		                    DR. EDDIE
		          To return the favor...
		
		And just as the LIGHT-BLADE is about to touch the eye, we go
		to...
		
		EXT.  BEACH COTTAGE - CHESAPEAKE BAY - DAY
		
		We see LARA, Anderton's ex-wife, standing on a ladder,
		painting a weatherbeaten shutter.  She looks older now.  More
		tired than in the images we've seen.
		
		                    VOICE
		          Lara?
		
		She turns and we see Danny Witwer approaching.  She watches
		him come, climbs down the ladder.
		
		                    WITWER
		          My name is Danny Witwer.  I'm --
		
		                    LARA
		          I know who you are.
		
		She walks past him, goes into the cottage.  He looks out at
		the ocean a moment, then follows.
		
		INT.  COTTAGE - DAY
		
		Simple, comfortable with an endless view of the sea.  DOZENS
		OF BLACK & WHITE PHOTOGRAPHS line the floor, hang from the
		walls.  Lara pours Witwer and herself a cup of coffee.
		
		                    WITWER
		          This your work?
		
		                    LARA
		          Yes.
		
		We see that the photographs are all reportage shots of
		CHILDREN.
		
		                    WITWER
		          I like it.
		
		                    LARA
		          Thanks.  You take anything in your
		          coffee?
		
		                    WITWER
		          Cream and sugar.
		
		                    LARA
		          I don't have any cream.  Sorry.
		
		                    WITWER
		          Just sugar then.  You and John ever
		          come here?
		
		                    LARA
		          We used to, every summer.
		
		                    WITWER
		          He's not here now, is he?
		
		She looks at him.
		
		                    WITWER
		          I had to ask.
		
		She hands him his coffee.
		
		                    LARA
		          I don't have any sugar either.
		
		                    WITWER
		              (smiles)
		          Thank you.
		              (then)
		          He hasn't tried to contact you?
		
		                    LARA
		          No.
		
		                    WITWER
		          You ever heard him mention the name
		          Leo Crow?
		
		                    LARA
		          No, but then I don't talk to John
		          that much anymore.
		
		                    WITWER
		          So you haven't seen his apartment?
		
		                    LARA
		          That was our apartment.
		
		                    WITWER
		          Have you been there recently?
		
		He takes A BLACK INHALER from his pocket...
		
		                    WITWER
		          It's full of these.
		
		She stares at it.
		
		                    WITWER
		          How long's he been doping?
		
		She turns away, takes a moment, then...
		
		                    LARA
		          Since right after we lost our son.
		
		                    WITWER
		          You mean after he lost your son.
		
		                    LARA
		          It was nobody's fault.
		
		                    WITWER
		          But John was with him at the pool?
		
		                    LARA
		          Yes.
		
		Witwer watches her a moment, then...
		
		                    WITWER
		          You said in your divorce papers
		          that he tried to kill himself.
		
		                    LARA
		          It wasn't a suicide attempt.  I
		          regret ever saying that.
		
		                    WITWER
		          What was it then?
		
		                    LARA
		          The FBI found something that
		          belonged to my son.
		              (hard for her)
		          A sandal... Anyway, John was upset. 
		          He... he...
		
		                    WITWER
		          He took out his gun and sat down to
		          watch his home movies.  This is all
		          in your statement, Lara...
		
		                    LARA
		          He shot a hole in the damn ceiling. 
		          So what?  You lose your son, let's
		          see how well you handle it.
		
		                    WITWER
		          Not very well, I'm sure.  I'd
		          probably start doping myself.  Or
		          maybe I'd...
		
		He looks at her photographs of children, but doesn't finish
		his thought.  She turns and looks at him.  He meets her gaze.
		
		                    WITWER
		          Lamar Burgess thinks that you left
		          John because he lost himself in
		          Precrime instead of you.
		
		                    LARA
		          I left him because every time I
		          looked at him, I saw my son.  Every
		          time I got close to him, I smelled
		          my little boy.  That's why I left
		          him.
		              (then)
		          And now you can leave.
		
		He puts down his coffee and looks at her.
		
		                    WITWER
		          You know I need to use you.
		
		                    LARA
		          To what?  Trap him?
		
		                    WITWER
		          To prevent a murder.  Sooner or
		          later, he's going to contact you.
		
		                    LARA
		          I haven't seen him in two years.
		
		                    WITWER
		          But I've seen the three hundred
		          hours of your image he's got stored
		          away.
		
		She reacts to his as he moves up close to her.
		
		                    WITWER
		          He's still living with you.
		              (then)
		          And your son.
		              (then)
		          You have to choose, Lara.  You have
		          to choose sides now.
		
		INT.  TENEMENT ROOM - DAY
		
		A strange, near Zoetrope-like lighting effect on the walls
		and ceiling as, outside, the MAGLEV cars go whizzing by.  As
		Dr. Eddie looks down at us...
		
		                    DR. EDDIE
		          Don't take the bandages off for
		          twelve hours.  If you take them off
		          before then, you'll go blind.  Do
		          you understand?
		
		Anderton lies on a caved-in bed, his face swathed in a white
		bandage.
		
		                    DR. EDDIE
		          There's food in the refrigerator. 
		          Make sure you drink a lot of water.
		
		                    ANDERTON
		          How do I find the --
		
		                    DR. EDDIE
		          Here --
		
		He takes Anderton's hand and places it on a ROPE that's tied
		from the bedpost to the bathroom and the kitchen --
		
		                    DR. EDDIE
		          It goes from the bathroom to the
		          kitchen.
		
		                    ANDERTON
		              (tries to sit up)
		          I can't even stand up --
		
		                    DR. EDDIE
		          I know you're in a hurry, so I
		          juiced up the nano-reconstruction
		          around your new eyes.
		
		                    ANDERTON
		          The nano... what?
		
		                    DR. EDDIE
		          Organic microbots that reconstruct
		          the nerves and blood vessels. 
		          It'll feel like fleas chewing on
		          your eyeballs.  But whatever you
		          do, don't scratch.
		
		Anderton is already reaching his hands up to his bandages. 
		Dr. Eddie forces them away.
		
		                    DR. EDDIE
		          Seeing as we're old pals and all,
		          I'm giving you a bonus, might come
		          in handy.  Feel this.
		
		Dr. Eddie takes an air-syringe from his pocket and touches it
		to Anderton's hand.
		
		                    DR. EDDIE
		          It's a temporary paralytic enzyme. 
		          Shoot this baby under your chin. 
		          Right here...
		
		Dr. Eddie presses the tip into the soft underpart of
		Anderton's chin.  Anderton recoils.
		
		                    DR. EDDIE
		          The enzyme turns your facial
		          muscles to mush.  You won't look
		          like the same man.  You tighten up
		          again in about thirty minutes. 
		          Hurts like nothing you ever felt.
		              (drops it in a bag)
		          I'll just drop it in your goodie
		          bag along with the uh...
		
		He holds up the bag with Anderton's OLD EYES.
		
		                    DR. EDDIE
		          ... leftovers.
		
		Next Dr. Eddie takes a small clock from his pocket and places
		it on a dresser beside Anderton's bed.
		
		                    DR. EDDIE
		          I'm setting up a timer.  When it
		          goes off tomorrow, take off your
		          bandages and get the hell out of
		          here.  But not before then, or
		          you'll --
		
		                    ANDERTON
		          -- go blind.  I know.
		
		He takes something from his pocket, puts it into Anderton's
		hand.  A BLACK INHALER.
		
		                    DR. EDDIE
		          A little something from our mutual
		          friend.
		
		                    VOICE
		          That you, Chief?
		
		Anderton turns towards the voice and we see LYCON standing in
		the doorway, clutching his dirty sock full of inhalers, HIS
		MANGY SEEING EYE DOG at his heel.
		
		                    DR. EDDIE
		          I believe you know Lycon.  I
		          purchase my more hard to get
		          pharmaceuticals from him.  And, of
		          course, once upon a time he was
		          also a patient of mine.  Like you.
		
		                    LYCON
		          Good luck, Chief.
		
		And they start out of there, Lycon's dog bumping into the
		wall on the way out.  We hear the DOOR CLOSE O.S.  Anderton
		lies there, gripping the bed, listening to the TICK TICK TICK
		of the timer.  We now...
		
		                                             DISSOLVE TO:
		
		EXT.  TENEMENT CITY - DAY
		
		As a Precrime ship cruises past the tenement.
		
		INT.  TENEMENT - DAY
		
		It's only been a few hours.  Anderton, still blindfolded by
		his dressings, is unaware of the Precrime Ship that passes by
		the open window, grimy curtains blowing in the breeze.
		
		He takes the inhaler Dr. Eddie had left him from his pocket. 
		He feels it in his hand a moment, then takes a long hit.
		
		He listens to the MUFFLED VOICES that float in through the
		paper-thin walls; a cacophony of HUMAN SOUND above, below,
		and all around him.  TICK... TICK... TICK...
		
		                    SEAN (V.O.)
		          How much time, Dad?
		
		Now, gradually, LIGHT BEGINS TO FILL THE ROOM as we...
		
		                                             DISSOLVE TO:
		
		A PUBLIC POOL - DAY
		
		Crowded.  Laughing kids.  Yelling Parents.  Anderton stands
		in the shallow end looking at his WATCH as his six-year-old
		son breaks the surface of the water.
		
		                    ANDERTON
		          Twelve seconds.  A new record.
		
		The boy smiles, clings to the side.
		
		                    SEAN
		          Okay... now let me time you.
		
		                    ANDERTON
		          Are you kidding?  There's
		          absolutely positively no way, on my
		          best day, I could ever beat twelve
		          seconds!
		
		                    SEAN
		          Come on!
		
		                    ANDERTON
		          All right, I'll try...
		
		Sean hauls himself up onto the side, lets his feet dangle in
		the water.  Anderton takes his WATCH off, hands it to him.
		
		                    ANDERTON
		          You better take this.
		
		The kid takes it, delighted to be holding his father's watch.
		
		                    SEAN
		          Okay -- Ready?  Set... Go!
		
		And now WE GO UNDER WITH ANDERTON as he sinks down to the
		bottom of the pool, shuts his eyes to all of the activity and
		muffled sound around him.
		
		And now we wait.  Five seconds... Ten seconds... Twenty
		seconds... And then A SHINY GLINT as...
		
		WE SEE HIS WATCH sink past his face and now he opens his
		eyes.  He snatches it, and Anderton now pushes up to...
		
		THE SURFACE.  Where Anderton, squinting against the sun's
		glare, looks to the side of the pool.  HIS SON IS GONE.
		
		                    ANDERTON
		          Sean?
		
		He moves to the side and pulls himself out of the pool.
		
		                    ANDERTON
		          Sean Anderton?  Where are you?
		
		He looks around at all the faces, the other kids, parents, a
		dull panic setting in now as we...
		
		CRANE UP and away from a frantic Anderton now pushing his way
		through the crowd.  Shouting for his son...
		
		                    ANDERTON
		          SEAN!!
		
		INT.  TENEMENT ROOM - NIGHT
		
		As Anderton's SHOUT ECHOES and then FADES.  He sits there a
		moment, listening to the sounds all around him.  He CRUSHES
		THE BLACK INHALER and throws the pieces on the floor.
		
		He then takes a breath and feels around for THE ROPE and
		starts for the kitchen, unaware of THE PRECRIME SHIP now
		moving past the window IN THE OTHER DIRECTION...
		
		INT.  PRECRIME HOVERSHIP - NIGHT
		
		As Evanna, unaware that Anderton is in the building moves
		into position over the building.
		
		                    EVANNA
		          Jad, we're now in position and
		          ready to begin thermal scan on 931
		          Powell.
		
		INT.  TENEMENT ROOM - NIGHT
		
		As Anderton follows the rope to the refrigerator and opens
		it.
		
		Inside, among plates of ROTTING FOOD we see ONE GOOD
		SANDWICH.  Anderton reaches in, runs his hand over the
		molding month-old goodies, passing the good sandwich and,
		instead, grabbing hold of a slimy, green piece of meat.
		
		Much to our disgust, he shoves that in his mouth, immediately
		spits it out, then washes his mouth out with the old, ruined
		milk that sits next to the new stuff.  He spits that out now,
		too...
		
		                    ANDERTON
		          Shit!
		
		He reaches gingerly into the refrigerator, locates the good
		sandwich, sniffs it carefully, then wolfs it down.  He grabs
		a pitcher of water and drinks that down as well.
		
		Anderton sits down in a chair.  The muffled VOICES next door
		get louder.
		
		He's sweating.  He keeps reaching for his dressings to
		scratch, then forces himself not to by clinging tightly to
		the armrests on the chair as the PEOPLE NEXT DOOR move on to
		breaking things...
		
		EXT.  TENEMENT - NIGHT
		
		As Fletcher and Knott exit the Precrime Ship.  Fletcher does
		a thermal reading on the building while they talk.
		
		                    KNOTT
		          I'm thinking you must really like
		          me, don't you, Fletcher?
		
		Fletcher looks at him.
		
		                    KNOTT
		          That's why you asked to partner
		          with me on this little sortie,
		          isn't it?
		
		                    FLETCHER
		          I think you're swell company,
		          Knott.
		
		                    KNOTT
		          It's not at all that you don't
		          trust me to be alone with the
		          Chief.  That you think I might, you
		          know, fuck with him, if I had the
		          chance...
		
		Knott grins at him now.  Pleased with himself.
		
		                    FLETCHER
		          No, I just wanna watch him use your
		          body to sandblast another building. 
		          That's all.  Jeff.
		
		And the grin goes away as Fletcher looks through the scan
		lens on his helmet doing the thermal reading on the building.
		
		INT.  HOVERSHIP - NIGHT
		
		As Evanna looks at the thermal read on the building.
		
		                    EVANNA
		          I show twenty-seven warm bodies.
		
		                    FLETCHER (RADIO)
		          What do you think, four spyders?
		
		                    KNOTT (RADIO)
		          Let's do eight.  I'm hungry.
		
		EXT.  TENEMENT - NIGHT
		
		As Knott and Fletcher each unhook A ROUND BALL -- black, the
		size of billiard balls -- from their belts.
		
		Fletcher rolls his towards the building.  Knott does the
		same.  Then they take SIX MORE and roll these as well.
		
		THE BALLS
		
		Roll a few feet, then begin to open up like daisies --
		daisies with legs.  Robotic SPYDERS, each the size of a fist,
		with an EYEdentiscan antenna on their head, begin to click
		their way into the building.
		
		ONE OF THE SPYDERS
		
		Pauses in front of a closed door.  It FLATTENS ITSELF, then
		creeps under the door.
		
		INT.  A ROOM - NIGHT
		
		Where AN OLD WOMAN sits eating a bowl of soup.  She looks up
		as the Spyder comes CLICKING across the floor towards her. 
		She knows the drill, keeps a calm eye on the spyder as she
		eats her dinner, holding out a leg for the spyder to climb
		up.
		
		                    OLD WOMAN
		          Nice to have some company...
		
		The Spyder climbs up the woman, up her arm and across her
		shoulder.  It grips her cheek lightly as the EYEdentiscan
		reads her eyes...
		
		                    OLD WOMAN
		          See my new earrings?  My grandson
		          gave them to me.  He's in beauty
		          school --
		
		The spyder BEEPS as it reads her --
		
		INT.  HOVERSHIP - NIGHT
		
		Fletcher gets a reading and checks off something on his
		clipboard with a laser pen.
		
		INT.  ANDERTON'S ROOM - NIGHT
		
		Anderton sits in the chair, listening now to the MUFFLED
		ARGUING NEXT DOOR.  Suddenly, THE VOICES STOP.  Anderton
		turns his face toward the wall...
		
		SILENCE.  Then we hear BOUNCING BEDSPRINGS as the couple next
		door starts to go at it.  He shakes his head.
		
		INT.  HALLWAY - NIGHT
		
		Two spyders exit the stairwell and move to the nearest doors.
		
		EXT.  TENEMENT - NIGHT
		
		Knott checks off another tenant.  He looks at the thermal
		scanner, sees the double reading.
		
		                    KNOTT
		          Hey, Fletcher.  Check out the
		          double reading.
		              (showing him)
		          Coitus interuptus.
		
		                    EVANNA (RADIO)
		          Do you even know what that means?
		
		INT.  ANDERTON'S ROOM - NIGHT
		
		We hear the bedsprings in the next room SQUEAK FASTER AND
		FASTER, the woman's MOANING now getting louder and louder.
		
		INT.  HALLWAY - NIGHT
		
		One of the spyders flattens itself and goes under the door.
		
		INT.  ANDERTON'S ROOM - NIGHT
		
		He sits in the chair, drumming his fingers on the arm rest as
		the couple gets ready to blast off.  Then, abruptly, they
		stop.  A MAN'S VOICE, SHOUTING:
		
		                    MAN'S VOICE
		          Oh -- man -- come on!  You can't
		          just barge in here!
		
		                    WOMAN'S VOICE
		          This is private property!  You
		          can't --
		
		She cries out in pain.  Anderton turns his head towards the
		wall.
		
		EXT.  TENEMENT - NIGHT
		
		Knott speaks into a microphone on his collar --
		
		                    KNOTT
		          People, if you don't let the spyder
		          scan you, we'll have to come in and
		          arrest you.
		
		                    FLETCHER
		          Knott!
		
		INT.  ANDERTON'S ROOM - NIGHT
		
		Anderton hears familiar voices O.S.
		
		                    FLETCHERÕS VOICE
		          Please permit the spyder to scan
		          you --
		
		Anderton bolts up from the chair.  He quickly feels his way
		over to the timer, feels the face: six more hours to go; he's
		only halfway there.  He stands there thinking a moment.
		
		EXT.  TENEMENT - NIGHT
		
		Knott speaks once more into the microphone...
		
		                    KNOTT
		          Let's go, folks.
		
		INT.  ANDERTON'S ROOM - NIGHT
		
		He follows the rope to the kitchen, opens the freezer and
		reaches inside, feels a couple of ice trays.  He grabs them.
		
		                    WOMANÕS VOICE
		          There!  Now get the hell out!
		
		INT.  BATHROOM - NIGHT
		
		Anderton feels his way over to the filthy bathtub, turns on
		the cold water, dumps the contents of the ice tray inside.
		
		EXT.  TENEMENT - NIGHT
		
		Knott checks off another, looks up at the building.
		
		                    KNOTT
		          One more...
		
		INT.  ANDERTON'S ROOM - NIGHT
		
		Anderton grabs whatever's cold from the fridge -- sodas,
		fruit, water, sandwiches -- starts to carry it all into the
		bathroom.  On the way he trips over the guide rope and drops
		all of the cold stuff onto the floor.
		
		INT.  HALLWAY - NIGHT
		
		The spyder comes out of the apartment next door, moves down
		towards Anderton's door.
		
		INT.  BATHROOM - NIGHT
		
		Anderton dumps the stuff from the fridge into the tub.  Peels
		off his clothes.
		
		INT.  ANDERTON'S ROOM - NIGHT
		
		As the Spyder flattens out and eases under the door.
		
		INT.  BATHROOM - NIGHT
		
		As Anderton climbs into the ice cold tub, reaches over and
		shuts the bathroom door as...
		
		THE SPYDER
		
		Turns toward the sound of the water shutting off.  As it
		moves towards the bathroom door, it begins to fold its legs
		and flatten itself out.
		
		INT.  BATHROOM - HIGH ANGLE - NIGHT
		
		Anderton lowers his head under the water, just as the spyder
		comes under the door and into the bathroom.
		
		INT.  HOVERSHIP - NIGHT
		
		As Evanna looks at the thermal scanner.
		
		                    EVANNA
		          We lost one --
		
		                    FLETCHER (RADIO)
		          Cat maybe, went out the window.
		
		                    EVANNA
		          Awful big cat...
		
		INT.  BATHROOM - NIGHT
		
		Anderton HOLDS HIS BREATH.  The Spyder finally turns to
		leave.  Begins to flatten itself out to go back under the
		door...
		
		INT.  HOVERSHIP - NIGHT
		
		As Evanna watches the scan, turns and looks at the building.
		
		INT.  TENEMENT - NIGHT
		
		As Anderton lets a single bubble of air escape his lips.  We
		watch it rise to the surface... then burst with the tiniest
		sounding: BLIP!
		
		THE SPYDER
		
		Hears it.  Stops cold.  Begins to EMIT A LOW BEEPING SOUND.
		
		INT.  HALLWAY - THE OTHER SPYDERS
		
		Also begin EMITTING THE SAME SOUND, stop, turn and head off
		in the same direction.
		
		INT.  HOVERSHIP - NIGHT
		
		As Evanna starts to get a signal.
		
		                    EVANNA
		          Wait a minute...
		
		INT.  BATHROOM - NIGHT
		
		Anderton continues holding his breath underwater.
		
		A HIGH ANGLE
		
		As now SEVEN MORE SPYDERS come under the bathroom door.
		
		FROM UNDER THE WATER - ANDERTON'S POV
		
		Looking up at the lip of the bathtub, we SEE THE HEAD OF A
		SPYDER SLOWLY APPEAR JUST OVER THE EDGE OF THE TUB...
		
		THE HIGH ANGLE
		
		As the Spyder rises over the edge of the tub and we see not
		that it has grown, but that it is ACTUALLY STANDING ON THE
		BACKS OF THE OTHER SEVEN SPYDERS...
		
		EXT.  TENEMENT - NIGHT
		
		Knott looks at the scanner.
		
		INT.  HOVERSHIP - NIGHT
		
		As Evanna tries to read the scanner...
		
		                    EVANNA
		          What do you think, guys, a drunk
		          maybe, can't wake up?
		
		EXT.  TENEMENT - NIGHT
		
		                    FLETCHER
		          Or a guy who doesn't want to get
		          read.  Stand by.  We're gonna go
		          take a look...
		
		They grab their helmets and go into the building.
		
		INT.  BATHROOM - NIGHT
		
		Anderton sits up.  He feels one of the spyder's legs grab
		hold of his cheek and try to read his eye through the
		bandages.  It WHIRS and HUMS trying to adjust its antenna.
		
		                    ANDERTON
		          Please...
		
		It STINGS HIM.  He jumps back.  Then he reaches up and
		gently, slowly, pulls down the bandages over one eye while
		the spyder moves in closer to read it.
		
		INT.  TENEMENT - NIGHT
		
		As Fletcher and Knott run up the stairs...
		
		INT.  BATHROOM - NIGHT
		
		Anderton forces his eye open and lets in the BLINDING LIGHT.
		
		                    ANDERTON
		          Oh, God...
		
		The spyder takes forever.  Anderton's eye starts to go milky
		as the color and iris disintegrate.  The pain is unbearable. 
		The spyder finally backs off --
		
		INT.  TENEMENT - HALLWAY - DAY
		
		Fletcher and Knott come out of the stairwell, run up to
		ANDERTON'S DOOR when they HEAR AN INDICATOR, see that the
		Spyder has now gotten a reading.  They stop, look down as...
		
		All eight spyders come under the bottom of Anderton's door
		and start back down the hallway...
		
		                    KNOTT
		          Let's eat.
		
		                                             DISSOLVE TO:
		
		A BLURRY IMAGE
		
		We hear THE MURMUR OF VOICES.  Gradually, we begin to
		FOCUS... objects whizzing by us... PEOPLE all around... it's
		hard to see... it's all piled on top of each other...
		
		REVEAL: PUBLIC TRANSPORTATION SYSTEM
		
		Anderton wears new clothing now.  He has dark sunglasses.  He
		waits for the subway to pull into the station.  He watches
		people getting on and off, all of them read by the EYEdent
		scanner, the scanner light silently going from red to green
		as they pass.
		
		Anderton takes a breath, gets on, relaxes as the scanner
		light turns green.
		
		He finds an empty seat and sits down.  He lowers his head,
		taking off his glasses and gently massages his eyes.  When he
		looks up, he sees...
		
		A MOTHER AND CHILD.  Blurry.  Anderton's depth perception is
		all flattened out.  We can't tell, though, that they're both
		staring this way, the kid pointing now...
		
		                    KID
		          Look at his eye --
		
		The mother hushes him up, points out the window at some sight
		to distract him.
		
		Anderton turns and now WE SEE HIS EYES.  One of them is
		milky.  The other is deep brown.
		
		Both are red around the sockets from Dr, Eddie's rush job. 
		Anderton turns and sees his blurred reflection in the window
		and quickly puts his sunglasses back on.
		
		INT.  ANDERTON'S OFFICE - DAY
		
		Witwer sits at the desk screen studying the different images
		from the Prevision of Anderton murdering Leo Crow:
		
		Anderton holding the gun.  The shadowy figure of Leo Crow by
		the window.  The face in sunglasses outside the window.
		
		He then pans about the room: A bed.  A table.  A mirror. 
		There's Anderton.  Wait -- he goes back to the mirror.  He
		leans close to the screen.  Pushes in.  And now we see it: A
		FIGURE STANDING IN THE MIRROR.  Blurry.  But there.
		
		                    WITWER
		          Fletcher!
		
		EXT.  PLAZA NEAR GOVERNMENT BUILDING - DAY
		
		A TOUR GROUP -- mostly kids, a smattering of adults --
		gathers in front of the statue of the three Precogs, who look
		nothing like the creatures we've seen floating in the tank.
		
		                    TOUR GUIDE
		          The Precrime program began with a
		          Federal grant in 2036, and today,
		          six years later, the District of
		          Columbia is now the safest city in
		          America.  Why?  Because Precrime
		          Works.
		
		We move OFF THE TOUR GUIDE to a shady spot beneath a tree
		where we see Anderton hidden in a shadow, wearing an
		overcoat.
		
		                    TOUR GUIDE
		          Precrime has eliminated the need
		          for traditional detectives, so that
		          most of the work done here is about
		          the verification of motive and the
		          protection of the future victim...
		
		Anderton pulls out the AIR SYRINGE that Dr. Eddie gave him
		and stares at it.  He touches it to the underside of his chin
		and takes a deep breath...
		
		                    ANDERTON
		          Okay, one... two -- shit.
		
		He lowers the syringe.  Can't do it.  He looks around.
		
		INT.  ANDERTON'S OFFICE - DAY
		
		As Witwer works the equipment tries to enhance the FACE IN
		THE MIRROR.  It looks ephemeral, like the face of a ghost...
		
		EXT.  PLAZA - DAY
		
		As Anderton takes another breath.  This time counts
		quickly --
		
		                    ANDERTON
		          One two three...
		
		                    KID
		          Can we see the precogs?
		
		And injects himself as we then PAN BACK to the Tour Guide...
		
		                    TOUR GUIDE
		          The three precogs have such a
		          powerful gift, they have to be kept
		          in peaceful seclusion so as not to
		          be distracted from the outside
		          world.  This display should give
		          you some idea of their daily
		          life...
		
		The guide gestures to a DIARAMA like they have in Natural
		History Museums.  But instead of seeing a clan of cavemen
		hunting a woolly mammoth with spears, the scene depicted here
		is supposedly of the "three precogs" performing their daily
		tasks.
		
		But what we're looking at, however, is three healthy-looking
		silhouettes dressed in loose-fitting pajamas and sitting in
		overstuffed chairs in the middle of a beautiful living room,
		surrounded by people in white coats attending to their every
		need, while images of bloodless murders appear on a small TV
		screen in one corner.
		
		Not at all the image of three frail, nearly translucent souls
		writhing about in a milk tank.
		
		ON ANDERTON
		
		In agony, his head ducked as he now pulls out the syringe
		from under his chin.  He stumbles to the PRECOG DIARAMA and
		slowly looks up.
		
		And now, in front of this display of lies, HIS ENTIRE FACE
		BEGINS TO SAG as all of his facial muscles essentially let
		go, changing his appearance from youthful to geriatric in a
		matter of seconds.
		
		Anderton stumbles over to and then falls in behind the group
		as it follows the guide into the building.
		
		                    TOUR GUIDE
		          The precogs get over eight million
		          pieces of mail each year.  That's
		          more mail than Santa gets...
		
		Jucket and Paymen walk out of the building, barely glance at
		Anderton as he passes.
		
		INT.  PRECRIME TEMPLE - DAY
		
		As Wally hoists out one of the male precogs, begins
		"grooming" him.  He hits an ORANGE LEVER and flushes the old
		milk from the tank.
		
		EXT.  PRECRIME BUILDING - DAY
		
		As Anderton moves away from the group to a side entrance
		where Precrime Personnel enter.  He pulls off the overcoat as
		he goes so that we now read the word MAINTENANCE on the back
		of his coveralls.  He goes inside the building, into...
		
		A MAINTENANCE AREA
		
		Anderton emerges pushing an ultrasonic scrubber.  He turns up
		one corridor, then another.  He walks to a door marked
		NUTRIENT ROOM and looks both ways.  He pulls a SMALL, BLACK
		ZIPLOC-LIKE BAG from his pocket and opens it.
		
		And now, wincing, he very gingerly removes his TWO OLD EYES
		from the bag.  One of the eyes slips from his hands...
		
		                    ANDERTON
		          Oh, no...
		
		Then the other one slips.
		
		                    ANDERTON
		          No... no... no...
		
		He carefully avoids stepping on them as he awkwardly scoops
		them up off the floor.
		
		He then glances about, and now, holding one eye in each hand,
		he very very very carefully holds them up to the EYEDENTISCAN
		and prays...
		
		After the world's longest beat, he gets CLEARED and quickly
		drops his eyeballs back into the bag and enters the secured
		area.
		
		INT.  ANDERTON'S OFFICE - DAY
		
		As Fletcher comes into the room.
		
		                    WITWER
		          Take a look.
		
		He moves aside so Fletcher can see the screen.
		
		                    WITWER
		          There are two others in the room
		          besides Anderton and Crow.
		
		                    FLETCHER
		          Two?
		
		He indicates the face in the sunglasses...
		
		                    WITWER
		          There's the man in sunglasses
		          outside the window... here... but
		          there's someone else... here... in
		          the mirror.
		
		Witwer begins enhancing THE FACE IN THE MIRROR...
		
		INT.  NUTRIENT ROOM - DAY
		
		As Anderton enters the room and closes the door behind him. 
		The room is full of pipes and tanks full of liquid.  We hear
		A LOW HUM as Anderton makes his way through the room...
		
		He stops at a thick glass window and we realize he's looking
		into THE PRECOG TANK from below.  A series OF PIPES RUN INTO
		THE TANK.  A DOOR is beside the window.  Another EYEscan...
		
		He once more takes out the black plastic bag...
		
		INT.  ANDERTON'S OFFICE - DAY
		
		As the FACE IN THE MIRROR comes into sharper focus now...
		
		                    FLETCHER
		          It's definitely female...
		
		INT.  PRECOG TEMPLE - DAY
		
		As Anderton comes through the door.  He starts to drag
		Wally's desk over to barricade it...
		
		                    WALLY (O.S.)
		          Hey!
		
		Anderton turns, sees Wally coming over now.  A look on his
		face...
		
		                    WALLY
		          What're you doing in here?  I'm
		          afraid I'm gonna have to ask you to
		          leave...
		
		Anderton ignores him, puts a screwdriver in his mouth and
		jumps up and grabs a light fixture near the door, then pulls
		himself up like a gymnast.  Wally is taken aback at the
		strength of the "old man..."
		
		                    WALLY
		          Careful there, old timer, you're
		          gonna hurt yourself...
		
		Anderton takes the screwdriver and jams the sliding-door
		mechanism with it, then jumps down beside Wally.
		
		                    ANDERTON
		          Wally, listen to me...
		
		                    WALLY
		          Do I know you?  Who are you?
		
		Anderton touches his face, realizes it's still sagging, old
		looking.  He grabs Wally by the shirt...
		
		                    ANDERTON
		          I like you, Wally, so I'm not gonna
		          kick you, or hit you with anything,
		          but only if you promise to help
		          me...
		
		                    WALLY
		              (beat)
		          Oh... Hi, John.
		
		INT.  ANDERTON'S OFFICE - DAY
		
		As Witwer stops working, stares at the screen.
		
		                    WITWER
		          Who does that look like to you?
		
		Fletcher can't make it out, shakes his head.
		
		                    WITWER
		          It's Agatha.
		
		And now we see the image -- the ghost-like face of THE FEMALE
		PRECOG in the mirror.
		
		                    FLETCHER
		          So this means --
		
		Witwer stands up straight as he realizes what it means.
		
		                    WITWER
		          He's coming here to get her.
		
		Witwer hits his comline...
		
		                    WITWER
		          Jad, ask the building who's come
		          and gone in the last couple of
		          hours...
		
		INT.  PRECOG TEMPLE - DAY
		
		As Wally works the computer, Anderton looks up at the array
		of horrifying images on the screens above.
		
		                    ANDERTON
		          Are these all of her previsions?
		
		                    WALLY
		          There's no way of knowing for sure. 
		          She could've forgotten whatever it
		          is you're looking for...
		
		INT.  CORRIDOR - DAY
		
		As Witwer moves along with Fletcher, Jad falling in.
		
		                    JAD
		          He was EYEdented five minutes ago
		          in the maintenance area.
		
		                    WITWER
		          There any way into the temple from
		          there?
		
		Fletcher and Jad look at each other.  Yes.
		
		                    WITWER
		          No alarms.  We don't wanna lose
		          him.  And call Wally.  Tell him to
		          get out of there.
		
		Jucket appears on Witwer's head up...
		
		                    JUCKET
		          Chief, we got video on someone
		          inside the temple.
		
		                    WITWER
		          What do you mean "Someone?"
		
		                    JUCKET
		          Looks like an old man.
		
		INT.  PRECOG TEMPLE - DAY
		
		An anxious Anderton looks over at Wally.  His face is
		starting to tighten, regain it's regular shape and
		characteristics.
		
		                    ANDERTON
		          Just go to the beginning!
		
		                    WALLY
		          Okay.  Fine.  Where the hell is
		          that?
		
		And now we see JAD ON WALLY'S HEAD UP...
		
		                    JAD
		          Wally --
		
		Anderton looks over...
		
		                    JAD
		          Leave the temple now.
		
		                    WALLY
		          Uh -- no can do there, Jad...
		
		Anderton looks down at the female precog, she's suddenly
		trashing about, trying to sit up...
		
		                    ANDERTON
		          What is it?
		
		She reaches out and GRABS HIS ARM.
		
		A LOW ANGLE - ANDERTON
		
		As he looks down at Agatha, WE see every video screen on the
		ceiling shows the SCREAMING FACE OF ANNE LIVELY.  He slowly
		looks up at them...
		
		INT.  PRECRIME ANALYTICAL ROOM - DAY
		
		As Witwer, Jad and Fletcher push through the doors.  Jucket
		and Paymen, geared up, meet him.
		
		                    PAYMEN
		          He's inside.
		
		                    JUCKET
		          Got some kind of mask on.
		
		They all look at the monitors.  Knott and two others are all
		in full gear.
		
		                    KNOTT
		          We got four guys on the other door.
		
		                    WITWER
		          Do not fire any weapons inside the
		          temple.  Use only bindfoam or your
		          sick-sticks.  We go on my count...
		
		INT.  PRECOG TEMPLE - DAY
		
		Anderton looks at Agatha... who now opens her mouth and
		speaks:
		
		                    AGATHA
		          Can you see?
		
		She looks at Anderton, her eyes imploring him.  He thinks a
		moment, then starts to unhook all of the cables.  We HEAR
		WITWER AND HIS TEAM TRYING TO GET THROUGH THE JAMMED DOORS. 
		We hear as they finally BLOW THE MECHANISM, then...
		
		                    WITWER (O.S.)
		          John -- move away from the tank!
		
		Anderton looks over as the team starts to come in.
		
		                    WITWER
		          Move away from the tank!
		
		Agatha looks past him up at AN ORANGE LEVER.  Nods.
		
		                    WITWER
		          John --
		
		Anderton throws the lever.  Suddenly, a RUSH as the milk is
		quickly flushed from the tank.  Witwer and the team rush up
		the steps as...
		
		Witwer freezes, watches as the two male precogs flail about
		the milk, strapped into their harnesses while Anderton and
		Agatha are sucked out through a large drain.
		
		                    WALLY
		          Oh, God...
		
		Wally, crying now, lifts Agatha's empty restraints and stares
		at it.
		
		                    WALLY
		          They've never been separated
		          before.
		
		                    WITWER
		          What does he want with a precog?
		
		                    WALLY
		          What do you think?  So he can kill
		          whoever he wants to without anyone
		          knowing about it.
		
		                    WITWER
		          But there's still the other two.
		
		Wally doesn't say anything, just weeps over the tank.
		
		                    WITWER
		          Wally, the other two can still
		          function, right?
		
		                    WALLY
		          You don't understand... they're a
		          hive mind.  It takes all three for
		          their predictive abilities to work.
		
		                    WITWER
		              (incredulous)
		          Are you telling me they can't see
		          murders anymore?
		
		                    WALLY
		          Maybe if he'd taken one of the
		          males.  But the female, she's the
		          key.  She's the one they listen to,
		          the one with the most talent.  The
		          one who takes care of the other
		          two.
		
		                    WITWER
		              (staring at the remaining
		               two)
		          Jesus...
		
		                    WITWER
		              (tears in his eyes)
		          Please, bring her back.
		
		EXT.  ALLEY - DAY
		
		As Anderton, the Precog in his arms, both of them soaked,
		runs to where THE LEXUS is parked.
		
		INT.  PRECRIME ANALYTICAL ROOM - DAY
		
		As Fletcher barks into his heads up --
		
		                    FLETCHER
		          Find out where that pipe leads -- I
		          want every team underground now!
		
		They look to where Witwer stares at the PREVISION SCREEN.
		
		                    WITWER
		          It doesn't matter.  He wins.
		
		                    FLETCHER
		          We can stop him.
		
		                    WITWER
		          She's in the room with him when he
		          kills Crow.
		              (then)
		          She's already a part of his future.
		
		And now everybody looks at the image, the ghost-like face of
		Agatha in the mirror, watching John Anderton shoot a man
		named Leo Crow.
		
		                    WITWER
		              (as he walks out)
		          Put everything you've got into
		          finding that room and we stop a
		          murder.
		              (to Jad)
		          How much time have we got?
		
		INSERT WATCH
		
		As it COUNTS DOWN TO FIFTY-ONE MINUTES.  SHADOWS pass over
		it...
		
		REVEAL: INT.  LEXUS - MOVING - DAY
		
		As Anderton looks at his watch, then out the window...
		
		EXT.  INNER CITY - DAY
		
		As Anderton's vehicle moves past the more downtrodden segment
		of the D.C. population.  Agatha sits low in the seat, so that
		just her eyes peer out of the window at the world around her.
		
		INT.  LEXUS - DAY
		
		Anderton looks over at the Precog, staring out the window at
		the unfamiliar rush of humanity all around her.  She SHIVERS.
		
		                    ANDERTON
		          Are you cold?
		
		He moves to put his coat over her and she looks at his HAND.
		
		                    ANDERTON
		          Can you understand me?
		
		She holds onto his hand, is fixated by it.
		
		                    ANDERTON
		          It's the drugs.  They'll wear off
		          in a few hours.
		
		She looks up, stares out the window now at the world she's
		never been a part of.
		
		                    ANDERTON
		          I'm sorry, but I need your help. 
		          You contain information.  I need to
		          know how to get it.
		              (then)
		          Can you just tell me who Leo Crow
		          is?  Can you tell me if --
		
		                    AGATHA
		          Is it now?
		
		                    ANDERTON
		          What?
		
		                    AGATHA
		          Is it now?
		
		He looks outside, understands what she means.  Then...
		
		                    ANDERTON
		          Yes... this is all happening right
		          now.
		
		She nods, closes her eyes.
		
		                    AGATHA
		          I'm tired...
		              (then)
		          I'm tired of the future.
		
		INT.  MALL CITY - DAY
		
		Anderton's vehicle pulls up in front of a GAP.
		
		INT.  LEXUS - DAY
		
		As Anderton turn to Agatha.
		
		                    AGATHA
		          I have to take you someplace, in
		          public, which means I have to get
		          you something... else to wear.
		
		She stares out the window, doesn't respond...
		
		                    ANDERTON
		          I'll hurry.
		
		INT.  THE GAP - DAY
		
		As Anderton walks in the door, gets his new eyes scanned, and
		we hear a voice say:
		
		                    STORE VOICE
		          Hello, Mr. Yakamoto!  Welcome back
		          to the Gap.
		
		Anderton stops cold as a HOLOGRAPHIC IMAGE OF A HUGE ASIAN
		MAN now appears standing in front of him.
		
		                    STORE VOICE
		          How'd those assorted tank tops work
		          out for you?
		
		Anderton stops and stares at the thug-like previous owner of
		his eyes who's now shown wearing a sweater that changes from
		color to color.
		
		                    STORE VOICE
		          Come on in and see how good you
		          look in one of our new Winter
		          sweaters.
		
		INT.  LEXUS - DAY
		
		Agatha leans out the window, experiencing the world outside
		for the first time in years.  A group of TEENAGERS walking
		by.  A WOMAN pushing A BABY in a pram.
		
		A MAN WALKING A DOG.  The dog turns to Agatha, now trying to
		pull his master over to her...
		
		She turns to the street and watches people going by on
		bicycles and inside other vehicles.
		
		But for Agatha, it is not a peaceful scene at all.  She sees
		only death, pain and suffering.  The world is overwhelming.
		
		She turns away, watches as RAINDROPS fall on the windshield. 
		She rolls down the window and sticks her head out to feel the
		rain.
		
		She listens to the now-soothing sounds of the rain mixed with
		laughter mixed with the baby crying mixed with the snippets
		of conversation she hears all around her.  Then:
		
		WE HEAR A JACKHAMMER
		
		And Agatha turns to A CONSTRUCTION SITE across the way.  A
		HUGE BUILDING is going up.
		
		A CRANE hoists a bundle of steal GIRDERS up to the top of the
		site.
		
		A TEENAGE BOY walks to a bicycle locked to a fence in front
		of the site.  She closes her eyes and shudders, then sits up,
		steels herself and calls to the boy...
		
		                    AGATHA
		              (barely)
		          Nathan --
		
		The boy keeps going.
		
		                    AGATHA
		              (tries again, louder)
		          Nathan!
		
		The TEENAGE BOY stops as he gets to the bike, looks at her.
		
		                    AGATHA
		          Come here.
		
		The Boy sees this pretty face inside a vehicle beckoning him,
		looks around to make sure she meant him, then comes over.
		
		                    BOY/NATHAN
		          Do I know you?
		
		                    AGATHA
		          Hold my hand.
		
		As she reaches for him, Nathan sees she must be blind.
		
		                    NATHAN
		          What?
		
		                    AGATHA
		          Please, Nathan, hold my hand.
		
		The teenager sees she's only wearing Anderton's jacket...
		
		                    NATHAN
		          Whoa --
		
		Agatha reaches out and takes his hand and holds onto it. 
		Something pulses through him.  He looks at her, afraid...
		
		                    NATHAN
		          Who are you?
		
		INT.  THE GAP - DAY
		
		As Anderton walks out with his purchases...
		
		                    STORE VOICE
		          Thanks for shopping at the Gap, Mr.
		          Yakamoto.
		
		                    ANDERTON
		          Sayonara.
		
		INT./ EXT.  LEXUS - DAY
		
		Agatha looks up at Nathan, into his eyes, who tries to pull
		his hand away.
		
		                    NATHAN
		          Look, whoever you are --
		
		We hear SOMEONE SHOUT and the teenager boy wheels around
		as...
		
		A STEEL BEAM
		
		Falls from the construction site, landing directly on
		Nathan's bicycle.  Nathan stares in horror at where he would
		have been had he not come over to Agatha.  She lets go of his
		hand.
		
		                    AGATHA
		          You can go now.
		
		Anderton comes out of the store, looks at the crushed bike, a
		CROWD gathering around it.  Oblivious to what's just
		happened, he walks past the stunned kid.
		
		                    ANDERTON
		          Excuse me.
		
		INT.  ANDERTON'S OFFICE - DAY
		
		As Witwer sits there staring at the image, the rest of the
		team gathers in the office.
		
		                    JAD
		          What's he want with a precog?
		
		                    FLETCHER
		          He knows we can't operate without
		          her.  He's gonna ransom her.
		
		                    JAD
		          Where's the note?
		
		Witwer gets up and turns on the HOLO-COMPUTER.  AN IMAGE OF
		SEAN (age 6) appears.
		
		                    JAD
		          If he's ransoming her, where's the
		          damn note?
		
		                    SEAN
		              (jumping between ages)
		          He, Dad!  How's... your... day? 
		          Hey, look what I built!  Thanks...
		          for... helping... me... I... love
		          you... Daddy.
		
		Witwer stares at it.
		
		                    WITWER
		          It has nothing to do with ransom. 
		          It has to do with the information
		          that's inside of her.
		
		They all look at him.
		
		                    WITWER
		          He's trying to prove his innocence.
		
		                    FLETCHER
		          He can't download her without a lot
		          of technical help.
		
		                    WITWER
		              (staring at the image)
		          No.  He can't...
		
		Suddenly, Witwer begins to tear apart the computer.  He pulls
		off the cover, looks at the components inside, rips one out,
		then tosses it aside.  He rips out another, sees a NAME
		PRINTED on the bottom: PATENT PENDING - RUFUS T. RILEY.
		
		                    WITWER
		          Who's Rufus T. Riley?
		
		INT.  RUFUS' DREAMWEAVER HEADSPA - DAY
		
		CUSTOMERS in dark corners, wearing bladdered bodysuits and
		tiny headsets, act out various fantasies.
		
		                    RUFUS
		          What's your pleasure?
		
		RUFUS RILEY -- heavy, goateed, ponytail down to his waist and
		a name tag that says "HI!  I'M RUFUS!" -- shows a NERVOUS
		CUSTOMER around the place.
		
		                    RUFUS
		          We got it all here.  We got guys
		          come in, want to experience sex as
		          a woman.  We got women come in,
		          want to get laid by their favorite
		          soap star.  We got rape fantasies
		          from both sides.  We got sports
		          fantasies.  And then we got what I
		          call the "Look Ma, I can fly"
		          fantasies which encompass
		          everything from bungee jumping to
		          soaring like an eagle over the
		          Grand Canyon.
		
		The nervous customer turns as we hear a MAN CRY OUT.  He
		looks in and sees a man flailing about on a cushion.
		
		                    RUFUS
		          Near Death's real popular right
		          now, which includes everything from
		          getting hit by a car, to falling
		          off a high building to plane
		          crashes.  It's a big rush, you come
		          out the other side without a heart
		          attack.
		
		                    CUSTOMER
		          I wanna kill my boss.
		
		                    RUFUS
		              (unfazed)
		          Uh-huh.  Okay.  You got some images
		          I can work with?
		
		                    CUSTOMER
		              (holds out a disk)
		          Right here.
		
		                    RUFUS
		          Good.  What I can do is set you up
		          down in the --
		
		                    ANDERTON
		          Rufus...
		
		Rufus sees Anderton come in now with Agatha on his arm.  He
		turns back to the guy, says in a loud voice...
		
		                    RUFUS
		          Uh, yeah, being concert master of
		          the Philadelphia Symphony Orchestra
		          is one of our most popular
		          choices...
		
		                    CUSTOMER
		          No, I wanna kill my boss!
		
		                    RUFUS
		          Get the hell outta here.  You sick
		          bastard.
		
		He pushes the man away, sending him tripping for the door.
		
		                    RUFUS
		          Detective.  Nice of you to come
		          down here.
		              (lowers his voice)
		          Seeing as every cop in the world is
		          looking for you right now.  Jesus,
		          what's up with your eye?
		
		                    ANDERTON
		          I need your help.
		
		                    RUFUS
		          Well, hey, you didn't have to come
		          all the way down here.  For you,
		          Chief, I make housecalls...
		
		                    ANDERTON
		          I need help with her.
		
		                    RUFUS
		              (just notices her)
		          Well, hello there, honey-pie.
		
		Barely able to yet stand, Agatha is also too stunned by the
		bizarre surroundings to even respond as Rufus takes her hand
		and kisses it.
		
		                    RUFUS
		          I'm impressed, Anderton.  You're on
		          the lam, but you still got the time
		          and energy to slice off a little
		          jerky for yourself.
		
		                    ANDERTON
		          Rufus.  She's a precog.
		
		                    RUFUS
		              (looks at Agatha)
		          She's a precog?
		
		                    ANDERTON
		          That's right.
		
		Rufus starts to laugh.  Agatha looks at Anderton.  Rufus
		keeps on laughing... until he looks a little closer and
		realizes --
		
		                    RUFUS
		          You brought a Precog -- HERE? 
		          Jesus Christ...
		
		And now Rufus looks at Agatha, a thought dawning and then
		drops to his knees.  He genuflects, looking up at her.
		
		                    RUFUS
		          Are you reading my mind right now?
		
		                    ANDERTON
		          Rufus, for Christ's sake, get up.
		
		                    RUFUS
		          I'm sorry for whatever I'm gonna
		          do!  And I swear, I didn't do any
		          of the stuff I did!
		
		Anderton hauls him to his feet.
		
		                    ANDERTON
		          She's got information inside of
		          her.  I need you to get it out.
		
		                    RUFUS
		          No.  No way.  I wouldn't even know
		          where to begin!
		              (to Agatha)
		          Those thoughts about my cousin
		          Elena -- they were just thoughts. 
		          I would never --
		
		                    ANDERTON
		          C'mon, Rufus, you've been busted
		          twice for felony hacking.
		
		                    RUFUS
		          So?
		
		                    ANDERTON
		          So now I need you to hack into her.
		
		Rufus studies her a moment, then...
		
		                    RUFUS
		          I tell you what.  I do this, I get
		          to keep whatever images I get from
		          her head.
		
		                    ANDERTON
		          They don't belong to anybody.
		
		                    RUFUS
		              (turns to go)
		          Then take her to Radio Shack.
		
		Anderton grabs Rufus and throws him against the wall.  Gets
		right in Rufus' face... the one blown eye looking at him...
		
		                    ANDERTON
		          Do I look like I'm leaving?
		
		INT.  PRECRIME READY ROOM - DAY
		
		As the precops get ready, ride the chairs up to the
		hovership.
		
		INT.  HOVERSHIP - DAY
		
		As Evanna gets ready to lift off, looks over as Witwer gets
		in and sits IN ANDERTON'S SEAT.  She gives him an icy look as
		he starts to take out a piece of gum...
		
		                    EVANNA
		          No chewing gum on my ship.
		
		INT.  RUFUS RILEY'S BASEMENT - DAY
		
		Agatha, hooked into some kind of LIGHT READER, sits in a
		chair in the center of the room, surrounded by contraptions
		of all kinds.  Rufus paces around, checking connections.
		
		                    RUFUS
		          Okay, we're all set.  I can't
		          promise you the images are gonna be
		          any good, though.
		
		Suddenly, there's A FLOOD OF MURDER-IMAGES (similar in type
		to the ones used upstairs in the cyber-parlor) beamed from
		the projector to the center of the room.
		
		                    RUFUS
		          Good God...
		
		Dozens of murders happening all around them.  Agatha begins
		twitching.  The images shake, distort, go fuzzy, then clear
		again.  It's a rapid-fire display of all the murder and
		mayhem that Agatha has been privy to, including the last
		image of the STEEL BEAM CRUSHING YOUNG NATHAN.
		
		                    RUFUS
		              (watching)
		          You know what, Chief?  On second
		          thought I don't think I wanna keep
		          any of these --
		
		But now we see ANDERTON BLOW LEO CROW through a window.
		
		                    ANDERTON
		          Stop --
		
		                    RUFUS
		          Tell me how.
		
		Rufus tries in vain to work the equipment.  THE IMAGES RUN ON
		and now we see THE FACE WEARING SUNGLASSES.  The number 9
		turning into the number 6.
		
		                    PROJECTED CROW
		          You're not going to kill me...
		
		                    PROJECTED ANDERTON
		          Good-bye, Crow.
		
		                    ANDERTON
		          Rufus -- can you record this?!
		
		Rufus moves to the computer as now we see Crow at the window,
		the face with the sunglasses behind him as he wrestles with
		the gun that ANDERTON holds.
		
		The real Anderton walks up to his projection, amazed to see
		his likeness frozen there, doing something he can't imagine.
		
		He watches as the image jumps and once more Crow is blown out
		the window.  Then we see nothing.
		
		                    ANDERTON
		          What happened?  Where's the rest?
		
		                    RUFUS
		          I guess that's all of it.
		
		Anderton looks at Agatha, her expression calm.
		
		                    ANDERTON
		          Is there a Minority Report?
		
		She just looks at him.  A what?
		
		                    ANDERTON
		          An alternate future.  Do I have
		          one?
		
		She looks at where the images were projected a moment ago.
		
		                    AGATHA
		          No.
		
		Anderton is about to turn away.  She takes his hand, as she
		did in the temple, and suddenly the room is full of IMAGES:
		
		                    AGATHA
		          Can you see?
		
		Every single one of the images is the same: THE SCREAMING
		FACE OF...
		
		                    ANDERTON
		          Anne Lively...
		
		Anderton looks at Agatha.  Her face is contorted in the same
		way as the image.  Suddenly, there's a RUSH OF IMAGES, we
		glimpse only some of them, TWO FIGURES STRUGGLING, a SPLASH. 
		ANNE LIVELY DROWNING.  Then nothing...
		
		                    ANDERTON
		          Why are you showing me this?  What
		          do you want me to see?
		
		She doesn't move, a single TEAR rolls down her cheek.
		
		                    ANDERTON
		          Rufus, play it back...
		
		                    RUFUS
		          Uh, I'll try...
		
		And now we see the FOLLOWING IMAGES ALL PLAYING BACKWARDS...
		Anne Lively being drown, but now she comes OUT OF THE LAKE...
		backwards.  We see Anne Lively on the ground by the lake,
		struggling with A MASKED FIGURE.  Suddenly, the FIGURE POPS
		up and RUNS BACKWARDS.  She pops up a second later (a STUMBLE
		IN REVERSE) and runs BACKWARDS.  Now we see an OVERCOAT BEING
		PUT ON, TURNING INSIDE OUT, FROM DARK TO LIGHT.
		
		Anderton looks about the room, THE IMAGES ALL AROUND HIM. 
		The dark figure is just ABOUT TO TAKE OFF THE MASK when --
		
		THE IMAGES STOP and Agatha holds on tight to him.
		
		                    ANDERTON
		          What?
		
		                    AGATHA
		          They're inside.
		
		                    ANDERTON
		          Who?
		
		Suddenly, a red light flashes on the wall.  Rufus scrambles
		to a security monitor.
		
		                    RUFUS
		          Your old Teammates.
		
		INSERT MONITOR: Witwer leads a team through the parlor.
		
		INT.  NEUROPLEX - DAY
		
		Witwer and the Precrime team move through the parlor.
		
		                    WITWER
		          Check every room.
		
		INT.  BASEMENT CORRIDOR - DAY
		
		As Rufus leads them down a long, dark corridor and up a
		flight of stairs...
		
		                    RUFUS
		          You come up just outside the sprawl
		          on Millhouse.
		
		EXT.  OUTDOOR CLOTHING MARKET - DAY
		
		Anderton and Agatha come through a hidden door and hurry
		through the market.  She stops at one of the stalls...
		
		                    AGATHA
		          Can you see the umbrella?
		
		Anderton looks at A STALL SELLING UMBRELLAS.
		
		                    AGATHA
		          Take it.
		
		                    ANDERTON
		          Agatha...
		
		He buys an umbrella from the vendor, then drags her off.
		
		INT.  INNER CITY - MALL - DAY
		
		As they move through the crowded inner city shopping area. 
		She has trouble keeping up.  She looks ahead, something in
		her eyes, then...
		
		                    AGATHA
		          Can you see the man in the blue
		          suit?
		
		Sure enough a MAN walking by in the other direction is
		wearing a blue suit.
		
		                    AGATHA
		          He drops his briefcase.
		
		He drops his briefcase, spilling all kinds of papers all over
		the sidewalk, including a NEWSPAPER WITH ANDERTON'S PHOTO.
		
		                    AGATHA
		          A woman in a brown dress is going
		          to come out of the door up ahead.
		
		This happens.
		
		                    AGATHA
		          Wait -- she knows you face.  Turn
		          in here.
		
		The WOMAN looks at Anderton, squints, but before she can make
		any kind of determination as to who he is and why he looks
		sort of familiar, Anderton and the Precog have gone into...
		
		A PET SHOP
		
		They move through the store, jammed with all kinds of
		animals, including FOXES and shrieking EXOTIC BIRDS.  They go
		through the back door and come out...
		
		IN A DIFFERENT SECTION OF THE MALL
		
		As Anderton starts to lead her around a corner, she stops. 
		Anderton looks around, sees A PRECOP on the UPPER LEVEL.
		
		                    ANDERTON
		          Agatha --
		
		                    AGATHA
		          Can you see the balloon man?
		
		                    ANDERTON
		          What?
		
		PRECOP'S POV - FROM THE UPPER LEVEL
		
		As the cop scans the mall.  He's about to spot Anderton and
		Agatha when A BALLOON VENDOR comes around the corner where
		they're waiting and blocks the cops view.  He moves on.
		
		ANDERTON & AGATHA
		
		Start walking again.
		
		                    AGATHA
		          This way...
		
		She leads him underneath the PEDESTRIAN BRIDGE.
		
		                    AGATHA
		          Stop.
		
		We now BOOM UP to the TOP OF THE BRIDGE where we see Knott
		moving to the side, leaning over the rail and peering down...
		
		ON ANDERTON & AGATHA
		
		She gently pulls Anderton further under the bridge so that...
		
		ON THE BRIDGE - KNOTT
		
		Can't see them when he looks down.  They're a foot or two out
		of his sightline.  He then moves to the other side of the
		bridge and peers down as...
		
		AGATHA
		
		Now leads Anderton a step or two back the other way, so that
		again...
		
		KNOTT
		
		Just misses seeing them.  He moves off across the bridge.
		
		ANDERTON & AGATHA
		
		Hurry through the mall now.
		
		A BUM in one of the doorways begs for change.  They walk past
		him...
		
		                    BUM
		          May the Devil take you as his
		          bride!
		
		A few steps later, Agatha stops IN FRONT OF A DOOR.
		
		                    AGATHA
		          Drop some money.
		
		                    ANDERTON
		          Forget that guy --
		
		                    AGATHA
		          Do it.  Right here.  On the ground.
		
		Anderton reaches into his pocket, drops some change on the
		ground.  Agatha looks back at the Bum who turns towards them
		upon hearing the sound of the coins hitting the ground.  She
		then leads Anderton off...
		
		                    BUM
		          May God Bless You!
		
		The Bum comes over, bends down IN FRONT OF A DOOR just as IT
		OPENS INTO HIM, knocking him over, and TWO PRECOPS burst out
		and TOPPLE OVER HIM.
		
		EXT.  STREET - DAY
		
		As Anderton and Agatha exit the mall and IT STARTS RAINING. 
		Anderton OPENS THE UMBRELLA along with the dozens of people
		around him just as...
		
		EXT.  UPPER LEVEL - DAY
		
		As Fletcher leads some cops outside, they look down, but all
		they can see is a sea of umbrellas below them.
		
		EXT.  STREET - DAY
		
		As Agatha and Anderton walk along the street.  Behind them
		the way is blocked off with buildings.  There's only one way
		out: Straight ahead.  They start for it.
		
		Suddenly KNOTT COMES OUT OF A BUILDING IN FRONT OF THEM AND
		STARTS WALKING IN FRONT OF THEM.  Anderton starts to turn
		around... Agatha pulls on his arm.
		
		                    AGATHA
		          No.  Follow him.
		
		                    ANDERTON
		          He'll turn around.
		
		                    AGATHA
		          He won't.
		
		Anderton and Agatha walk past a LARGE METAL GATE, she stops. 
		Knott slows down ahead of them, starts to look this way and
		that.  Anderton starts to back away...
		
		                    ANDERTON
		          Agatha...
		
		                    AGATHA
		          Wait.
		
		WE HEAR A BELL RING and suddenly the GATE OPENS, and a beat
		later, KIDS SWARM OUT OF A SCHOOL.  Knott turns around, is
		about to spot them when...
		
		                    AGATHA
		          Can you see his shoe?
		
		In front of them one of the kids trips OVER HIS SHOE LACES.
		
		                    AGATHA
		          Tie his shoe.
		
		Anderton drops down to help him, Agatha does the same so
		that...
		
		Knott sees nothing but A SWARM OF KIDS.
		
		                    KNOTT
		              (into his radio)
		          He's not here.  I'll check one
		          block east.
		
		Knott moves off across the street.  Anderton smiles at the
		kid as he helps him with his shoe...
		
		                    ANDERTON
		          Here you go, buddy...
		
		                    KID
		          I can do it myself!
		
		Anderton finishes tying the kid's shoe, stays low as a
		TEACHER ushers the kids off, REVEALING: PART OF A GIANT FACE
		WEARING SUNGLASSES.
		
		Anderton slowly stands up, looks at A BILLBOARD, spinning in
		the wind as it's hoisted upward by a GIANT CRANE, it SPINS
		AROUND, we see that it's for REVO -- on it is A HUGE GRINNING
		FACE WEARING SUNGLASSES.  Anderton turns and looks at...
		
		AN OLD HOTEL
		
		A dozen stories up, WORKMEN motion for the CRANE OPERATOR to
		hold up as they continue to get the steel frame prepared.
		
		                    ANDERTON
		          Agatha.  Can you see that?
		
		Anderton looks at Agatha, she's looking away.
		
		                    ANDERTON
		          That's the man in the window.
		
		He looks at his watch.  COUNTING DOWN: EIGHTEEN MINUTES.
		
		INT.  RUFUS' CYBER PARLOR - DAY
		
		As Witwer looks at the equipment, turns to Rufus.
		
		                    WITWER
		          What was he looking for?
		
		EXT.  STREET - DAY
		
		As Anderton takes Agatha by the arm, but she stays put.
		
		                    AGATHA
		          Don't go inside.
		
		He looks at her.
		
		                    AGATHA
		          You don't have to.
		              (then)
		          Walk away.
		
		He looks at her, then turns and walks to the hotel.  We see
		THE BILLBOARD as it's hoisted up towards the hotel.
		
		INT.  RUFUS' CYBER PARLOR - DAY
		
		As Witwer stands there looking at the Anne Lively murder. 
		Confused.
		
		                    WITWER
		          This is what he wanted to see?
		
		                    RUFUS
		          No... This is what she wanted him
		          to see.
		
		                    WITWER
		              (watches, then)
		          I'll need a copy of this.
		
		INT.  HOTEL - DAY
		
		Once grand, now pretty much a flophouse.  The skinny and
		skagged-out CLERK looks up from the tattoo magazine as
		Anderton walks to the desk and looks around...
		
		                    CLERK
		          Room's are ninety-five a night plus
		          tax.
		              (regarding Agatha)
		          Or fifteen an hour.
		
		                    ANDERTON
		          You mind if I take a look at your
		          register?
		
		                    CLERK
		          Yeah, I mind --
		
		The guy starts to get up and Anderton pulls his gun, puts the
		muzzle in the guy's eye.
		
		                    ANDERTON
		          How about now?
		
		He spins the register around so that Anderton can read it.
		
		                    CLERK
		          Help yourself.
		
		Anderton looks at the register...
		
		ON THE REGISTER
		
		As Anderton runs the BARREL OF THE GUN down the inky list of
		names scrawled in the book.  Most of them Smith or Jones.  He
		stops when he gets to L. CROW.
		
		                    ANDERTON
		          He's here.
		
		                    AGATHA
		          Anderton, leave.
		
		He looks at her.
		
		                    AGATHA
		          You have a choice.  Walk away.
		              (holds out her hand)
		          Right now.
		
		He stands there a moment, torn.  He starts to close the
		register and follow her to the door.  But then he stops,
		takes his hand back.
		
		                    ANDERTON
		          I can't.  I have to know.
		
		                    AGATHA
		          Please --
		
		                    ANDERTON
		          I have to find out what happened to
		          my life.
		              (then)
		          Agatha.  I'm not going to kill the
		          man.  I don't even know him.
		
		She looks frightened.
		
		                    ANDERTON
		          Don't you understand, going
		          upstairs is the only way I'll ever
		          find out what's underneath all of
		          this.  Who's setting me up.
		              (then)
		          I have to know.
		
		Anderton turns to the clerk.
		
		                    ANDERTON
		          What room's Crow in?
		
		                    CLERK
		          Ten-o-six.
		
		Anderton and Agatha ride up.  The elevator looks out at the
		other buildings, people working in offices across the way. 
		Anderton looks at his watch: COUNTING DOWN ELEVEN MINUTES.
		
		INT.  HALLWAY - DAY
		
		Anderton and Agatha walk up the hall, stopping at a door
		marked 1006.  Anderton knocks.  No answer.  He tries the
		door.  It's open.
		
		INT.  ROOM - DAY
		
		Anderton steps into the empty room, just a bed (made), a
		night table and a dresser.  He pulls out a drawer: it's
		empty.  Turns on the bathroom light -- no personal effects --
		turns it off.
		
		                    AGATHA
		          He's gone.
		
		Anderton stands in the room, thinking.  He looks out the open
		door into the hallway.
		
		                    ANDERTON
		          Wait a minute...
		
		ANDERTON'S POV - THE ROOM ACROSS THE WAY
		
		The number on the door to this room is also 1006.
		
		INT.  HALLWAY - DAY
		
		Anderton steps into the hallway and looks at the door he just
		came through.  The "6" is lower than the other three numbers.
		
		Now Agatha watches as Anderton reaches up and pivots the
		number "6" into a "9", making the number now even with the
		other three.
		
		                    ANDERTON
		          It's the wrong room.
		
		He turns and looks across the hall at the real 1006.  He
		looks at his watch.  COUNTING DOWN: EIGHT MINUTES...
		
		                    AGATHA
		          Anderton...
		
		Anderton knocks on the door.  No answer.  Agatha recoils as
		Anderton suddenly kicks the door open.
		
		INT.  THE REAL 1006 - DAY
		
		Someone definitely lives in this room.  The bed's unmade. 
		Clothes are strewn about, hanging from open drawers. 
		Anderton steps around a half-eaten meal that sits on the
		floor.
		
		He looks down and stares at a pile of POLAROID PHOTOGRAPHS
		that sit on the dresser.
		
		All of them are of CHILDREN.  Some sitting on beds in hotel
		rooms like this one, looking afraid.  Others in parks and
		schoolyards unaware that their picture was taken...
		
		                    ANDERTON
		          Jesus...
		
		EXT.  STREET - DAY
		
		LEO CROW, the man we saw in the prevision, walks along the
		sidewalk.  He's unsteady, and keeps bumping into people.  In
		person we can see that the man's small, with countable wisps
		of hair combed over one side of his head.  His eyes are dark,
		almost black, more insect-like than human.
		
		INT.  HOTEL ROOM - DAY
		
		Anderton quickly rifles the stack of photographs.  He
		suddenly stops and stares at one of them.  The impact of the
		image makes his legs buckle, forcing him to sit down on the
		bed.
		
		                    ANDERTON
		          Oh, God...
		
		                    AGATHA
		          What is it?
		
		A BOY we know very well, hugging himself in the back seat of
		some vehicle.
		
		                    ANDERTON
		          This is Sean.  My son.
		
		INT.  LOBBY - DAY
		
		As Crow stands in the doorway a moment, teeters a bit, then
		enters the hotel, the CLERK looks up from his magazine.  But
		doesn't say a word.
		
		INT.  HOTEL ROOM - DAY
		
		Agatha sits beside Anderton on the bed.
		
		                    ANDERTON
		          Every day for the last six years
		          I've thought about only two things. 
		          The first was what my son would
		          look like if he were alive today. 
		          If I would even recognize him if I
		          saw him on the street.
		              (then)
		          The second was what I would do to
		          the man who took him.
		
		                    AGATHA
		          Anderton --
		
		                    ANDERTON
		          You were right.  I'm not being set
		          up.
		
		Anderton looks at the photograph.
		
		                    ANDERTON
		          I'm gonna kill this man.
		
		INT.  ELEVATOR - DAY
		
		As Crow rides up.  He takes out a DENTED FLASK and takes a
		long hit from it... draining it of the last drop.
		
		INT.  HOTEL ROOM - DAY
		
		We now hear the elevator DING.  Anderton looks at his watch,
		gets to his feet.
		
		                    AGATHA
		          Please, I want to go back...
		
		                    ANDERTON
		          I can't leave.  You said so
		          yourself, there is no Minority
		          Report.  I don't have an
		          alternative future.
		
		                    AGATHA
		          But you still have a choice.  The
		          others never had a chance to see
		          their future.  You did.
		
		FOOTSTEPS.  Anderton waits.  The door slowly opens and we see
		Crow peering around it.
		
		                    ANDERTON
		          Leo Crow?
		
		The man does a strange thing: he glances at his watch.  Then
		takes a deep breath...
		
		                    CROW
		          Who... who... The hell are you?
		
		Anderton kicks the door shut on the man's hand.  Crow screams
		and he goes down.  Anderton steps on him.
		
		                    ANDERTON
		          Six years ago.  Baltimore.  You
		          grabbed a kid at Francis public
		          pool in the West End.
		
		                    CROW
		          Did I?  I don't recall... I got
		          lots of kids from that place --
		
		Anderton kicks the man in the stomach.
		
		                    CROW
		          Jesus --
		
		He doubles over.  Anderton grabs him by the hair, pulls his
		head up.  The guy is shaking like mad...
		
		                    ANDERTON
		          Do you know who I am?
		
		                    CROW
		          Some -- somebody's father?
		
		                    ANDERTON
		          His name was Sean.  Six years ago. 
		          Francis pool.
		
		The guy doesn't raise his head for a moment.  Finally...
		
		                    CROW
		          I told him I was a policeman...
		
		Anderton reacts to this.
		
		                    CROW
		          ... and that I needed his help.  It
		          wasn't so bad really.
		              (looks at Anderton)
		          I sang him a song, made him laugh,
		          bought him a pretzel.  I took care
		          of him.  I made him happy.
		
		                    ANDERTON
		          He's alive?
		
		The man just looks at him.  Anderton is reeling...
		
		                    ANDERTON
		          Where've you got him?  Is he all
		          right?
		              (shaking Crow)
		          Tell me, you fuck -- WHERE IS HE?!
		
		                    CROW
		              (beat)
		          I put him in a barrel and sunk him
		          in the bay.
		
		Anderton stops.  Shocked by this image.
		
		                    CROW
		          It floated back up.  I had to take
		          him out and --
		
		                    ANDERTON
		          NO!
		
		Anderton screams and throws him against the wall, ignoring
		Agatha's SCREAMS for him to stop.  For his part, Crow just
		covers up and waits for it to end, shouting over and over...
		
		                    CROW
		          I'm sorry!  I'm sorry...
		
		INSERT - ANDERTON'S STOPWATCH.  Counting down from 18
		SECONDS.  
		
		Anderton pulls the man to his feet, shoves him up against the
		window and now stands there shaking, staring at Crow, the man
		shaking as Anderton weighs what he's about to do.
		
		And now behind Crow, we see THE REVO BILLBOARD as it's
		hoisted upward by the crane, the SMILING FACE coming around
		so that its grinning visage is just over Crow's shoulder as
		it was in the prevision.
		
		He cuts a look into the mirror off to his left, sees the
		IMAGE OF AGATHA, her face imploring...
		
		                    AGATHA
		          Anderton, you can choose... You can
		          choose.
		
		INSERT - ANDERTON'S WATCH.  Counting down from 5 - 4 - 3 -
		2 - 1 - The ALARM on the watch goes off.  BEEP.  BEEP.  BEEP.
		BEEP.  BEEP.
		
		Finally, tears in his eyes, Anderton backs away from Crow and
		looks at the gun in his hand.  Crow opens his eyes, watches
		as Anderton finally lowers the gun.
		
		                    ANDERTON
		          You have the right to remain
		          silent.  Anything you say can be
		          used against you in a court of law.
		
		Crow looks at him.  Not what he expected.
		
		                    ANDERTON
		          You have the right to an attorney
		          present now and during any future
		          questioning.  If you cannot afford
		          one, one will be appointed to you. 
		          Do you understand these rights?
		
		Crow doesn't move, confused.
		
		                    CROW
		          You're not gonna kill me?
		
		                    ANDERTON
		          No.
		
		Crow still doesn't move.
		
		                    CROW
		              (whispering)
		          But you have to.
		              (then)
		          They said you would.
		
		                    ANDERTON
		              (looks at Agatha)
		          The precogs were wrong.
		
		                    CROW
		          If you don't kill me, my family
		          gets nothing!
		
		Anderton pauses, looks back at him as Crow comes forward.
		
		                    CROW
		          You're supposed to kill me.  He
		          said you would.
		
		                    ANDERTON
		          Who said I would?
		
		                    CHILDREN
		          He called me in Prison.  Said if I
		          went along, he'd get me released,
		          take care of my family.
		
		                    ANDERTON
		          If you did what?
		
		                    CROW
		          Acted like I killed your kid.
		
		Anderton goes stiff, looks at Agatha.
		
		                    CROW
		          Look, I've put my family through
		          enough misery.  You gotta kill me! 
		          This way I can leave 'em something.
		
		                    ANDERTON
		          Crow.  I'm not gonna kill you.
		
		                    CROW
		          Look, believe me, I know it's hard,
		          but you gotta do it --
		
		                    ANDERTON
		          I'm asking you again, who made you
		          do this?
		
		                    CROW
		          I don't know -- I never saw his
		          face.  All I know is, the next day
		          I was out, so the guy must've had
		          juice somewhere.  Look, man, you
		          gotta go through with this.
		
		                    ANDERTON
		          What the fuck is going on?
		
		Suddenly Crow steps forward, grabs the muzzle of Anderton's
		gun, holds it up to his own chest.  Agatha's eyes roll, she
		holds onto the table for support...
		
		                    AGATHA
		          Anderton --
		
		                    CROW
		          Kill me!
		
		Anderton tries to pull the gun away, but Crow hangs on.
		
		                    ANDERTON
		          What about the picture --
		
		                    CROW
		          Fake.  He gave it to me.  Now --
		              (pulling on the gun)
		          -- shoot me, Goddammit, before I
		          lose my nerve!
		
		                    ANDERTON
		              (pulls the gun back)
		          Tell me, who was it, set this up?
		
		                    CROW
		          If I tell you, my family gets
		          nothing.
		
		                    ANDERTON
		          Who made you do this?
		
		                    CROW
		              (pulls the gun)
		          Kill me!
		
		                    ANDERTON
		          Tell me!
		
		Anderton looks at Crow who holds the gun muzzle tight to his
		chest, his eyes imploring Anderton to pull the trigger.
		
		                    ANDERTON
		          Let go of the gun.
		
		                    CROW
		          You're not gonna kill me...
		
		                    ANDERTON
		          Good-bye, Crow.
		
		Anderton turns to go, but Crow hold onto the muzzle --
		
		                    CROW
		          Anderton!  Wait -- don't --
		
		Crow yanks on the gun, making Anderton pull the trigger.  We
		hear a loud BOOM and Anderton turns, sees Crow holding the
		gun to his own exploded chest.
		
		                    ANDERTON
		          Jesus --
		
		Crow looks at Anderton, a stupid look on his face.  He
		stumbles backwards towards the window.  Anderton moves
		forward and reaches for his shirt as...
		
		                    AGATHA
		          NO!
		
		... now she turns away, framed in the mirror, as Crow falls
		through the glass window.
		
		Anderton stands there frozen a moment, unable to move or
		think.  We HEAR SOMEONE SCREAM O.S.  Anderton looks across
		the way, sees everyone in the building across the street
		watching him.  Agatha takes him by the arm...
		
		                    AGATHA
		          Go...
		
		Anderton grabs Agatha and runs out of the room.
		
		INT.  HALLWAY - DAY
		
		As People stick their heads out of their doors and WHISPER as
		Agatha leads a stunned Anderton down the hall.
		
		A WOMAN watches them go, then moves to the doorway, and peers
		into the room, sees the broken window through the doorway...
		
		                    WOMAN
		          Murder!
		
		EXT.  HOTEL - DAY
		
		As they come outside, quickly move past where Crow's body
		lies crumpled half-on and half-off the roof of the CRANE. 
		Gawkers stand around stunned, staring at the body until the
		WOMAN sticks her head out of the WINDOW above and SCREAMS:
		
		                    WOMAN
		          MURDER!
		
		And now everybody's whispering...
		
		                    DIFFERENT VOICES
		          Murder!!!
		
		Agatha leads Anderton around the back of the building.
		
		INT.  PRECRIME HOVERSHIP - DAY
		
		As the ship comes over the roof of the hotel, Witwer looks
		down at the billboard sitting there, and then, as they move
		past the edge of the roof, he sees the crane with the body of
		Leo Crow on top.
		
		EXT.  HOTEL - DAY
		
		Other COPS keep the crowd back as the ship lands in the
		middle of the street and the team disperses.  Witwer goes
		straight to the body.  He looks up at the broken window in
		the hotel.
		
		INT.  CROW'S HOTEL ROOM - DAY
		
		As Witwer moves around the room.  He looks at the Polaroids
		on the bed, spots the one of Sean and freezes.  As Anderton
		did, he sits down on the bed.  He notices something on the
		floor by the window and moves to it.  He slowly bends down
		and picks up Anderton's .45.
		
		                    FLETCHER
		          First murder in six years.
		
		Witwer looks up at Fletcher standing in the doorway, looking
		around at the room.
		
		                    FLETCHER
		          Jesus, they're never wrong, are
		          they?
		
		Witwer looks at Fletcher a moment.
		
		                    WITWER
		          There a maid in this hotel?
		
		                    FLETCHER
		          I don't know, why?
		
		                    WITWER
		          If you were a child killer, you
		          took these pictures, would you
		          leave them out on the bed for
		          anyone to find?
		
		                    FLETCHER
		          They could have been put away. 
		          Anderton could have found them.
		
		                    WITWER
		              (beat)
		          What kind of cop were you before
		          this?
		
		                    FLETCHER
		          I was a Treasury Agent for eight
		          years.  Why?
		
		                    WITWER
		          Treasury... Then this would be your
		          first actual murder scene.
		
		Fletcher nods, watches as Witwer looks around the room.
		
		                    WITWER
		          I worked homicide before I went
		          federal.
		              (indicates the room)
		          This is what we would've called an
		          "orgy of evidence".
		              (then)
		          Do you know how many orgies I had
		          as a homicide copy, Gordon?
		
		                    FLETCHER
		          How many?
		
		                    WITWER
		          None.
		              (looks at the room)
		          This was arranged.
		
		INSERT -  A PHOTOGRAPH OF A CHILD
		
		Slowly developing, floating in solution.  We HEAR A PHONE
		RING.  And...
		
		WIDEN TO REVEAL: A DARK ROOM
		
		Lara Anderton working under the red light.  She watches the
		photo develop a moment, drops it into the stop-bath and
		answers the phone...
		
		                    ANDERTON'S VOICE
		          Crow is dead.
		
		She goes stiff.
		
		                    LARA
		          John?
		
		                    ANDERTON'S VOICE
		          He's dead, Lara.
		
		                    LARA
		              (beat)
		          Oh, God, what did you do?
		
		                    ANDERTON'S VOICE
		          Nothing.  I didn't kill him.
		
		                    LARA
		          Then how did he --
		
		                    ANDERTON'S VOICE
		          Lara, I don't know why this is
		          happening.  I just know they're
		          setting me up.  I can't trust
		          anybody.  I don't know who to talk
		          to or where to go...
		              (then)
		          Lara?  Are you there?
		
		She stands there a moment, staring at the image...
		
		                    LARA
		          Yes, I'm here, John.
		
		EXT.  COASTAL HIGHWAY - DAY
		
		Anderton stands outside the Lexus, talking on the phone.  He
		looks off towards the water...
		
		                    LARA'S VOICE
		          I'm right here.
		
		EXT.  CHESAPEAKE BAY - DAY
		
		As the Lexus moves along the coast.
		
		INT.  LEXUS - DAY
		
		Agatha stares out the window at the bay.  She looks pale,
		weak.  Anderton's jacket is folded over her.
		
		                    AGATHA
		          Can you see?  So beautiful...
		
		She looks at him.
		
		                    AGATHA
		          Where are we going?
		
		                    ANDERTON
		          Someplace safe.
		
		                    AGATHA
		          I have to go back.
		
		                    ANDERTON
		          Why?
		
		                    AGATHA
		          The other two will die without me.
		
		                    ANDERTON
		          You want to spend the rest of your
		          life in the temple?
		
		She looks back out the window.
		
		                    AGATHA
		          I always wondered what the world
		          would be like.  But now that I've
		          seen it, I don't need to see any
		          more.
		              (then)
		          It's all right.  Once I'm in the
		          tank, I won't remember any of this.
		
		                    ANDERTON
		          Agatha, you're never going back
		          there.
		
		                    AGATHA
		          I am going back.  I see myself
		          there.
		
		He reacts to this.  She touches his arm.
		
		                    AGATHA
		          It's best, Anderton, if you don't
		          think of me as human.
		
		He looks at her, but she closes her eyes.
		
		INT.  BURGESS' HOUSE - DAY
		
		A sad Burgess sits with a drink in his hand watching the CNN
		coverage of the Crow "murder".
		
		Burgess shakes his head, as his WIFE comes in.
		
		                    WIFE
		          Danny Witwer's on the phone.  He
		          says it's important.
		
		Burgess mutes the set, watches as the Attorney General,
		looking like shit right now, talks to the reporter.
		
		                    BURGESS
		              (into the phone)
		          What?
		
		We see the image of Witwer in one corner of the TV screen.
		
		                    WITWER
		          Lamar, I found something.
		
		                    BURGESS
		          What?
		
		                    WITWER
		          I don't wanna say over the phone,
		          but I think we may be chasing the
		          wrong man.
		
		                    BURGESS
		              (beat)
		          Where are you?
		
		INT.  ANDERTON'S APARTMENT - DAY
		
		As Anne Lively is drowned by an assailant in black in the
		middle of the room.  Witwer sits at Anderton's holo-computer
		watching the image.  It finishes just as Burgess comes into
		the room.
		
		                    BURGESS
		          Good God.  What was that?
		
		                    WITWER
		          Wait, just a second...
		
		Witwer works the machine a moment while Burgess looks around
		the apartment, takes in the mess, the open cupboards in the
		kitchen.  He kicks at the inhalers on the floor and sits
		down.  He see ANDERTON'S .45 sitting by the chair and picks
		it up and examines it.
		
		                    WITWER
		          We recovered that from Crow's hotel
		          room.
		
		Burgess looks sadly at the gun a moment.
		
		                    BURGESS
		          I remember when I gave this to him. 
		          Back in Baltimore.  He was one of
		          those cops, still thought he could
		          make a dent in all the bad there
		          was in the world.
		
		Burgess looks around the apartment now.
		
		                    BURGESS
		          The irony is, sometimes it's the
		          very vision that makes you want to
		          make the world a better place that
		          turns you into something you can't
		          even recognize anymore.
		
		He sighs, looks at Witwer.
		
		                    BURGESS
		          Tell me what you have.
		
		Witwer nods, starts the image once more.
		
		                    WITWER
		          This is the murder of a woman named
		          Anne Lively.
		
		Burgess sits forward, watches as The Man in black shoves her
		face under the water.
		
		                    BURGESS
		          He told me about this.  You got
		          this from Containment?
		
		                    WITWER
		          Yes.  This is from the twins,
		          Arthur and Dashiel.  Agatha's
		          stream was missing.  Now this one
		          is from the cyberparlor.  Anderton
		          downloaded it directly from Agatha. 
		          Watch...
		
		We see the fragments of A MAN DONNING GLOVES, DROPPING AN
		OVERCOAT and then once more we see the Man in black drowning
		her...
		
		                    BURGESS
		          It's the same prevision.
		
		                    WITWER
		          Not quite.
		
		Witwer gets up, moves to the image...
		
		                    WITWER
		          Look at the surface wind across the
		          water.  Watch the ripples... moving
		          away from shore.
		
		We see they're all moving right to left.  We watch the silent
		murder of Anne Lively.  The image finishes.  A blank.  We see
		the fragmented images of the gloves.  And now we see the
		second image of Anne Lively being murdered...
		
		                    WITWER
		          Now the second image.  Watch the
		          water.  The wind's changed.  The
		          ripples are going the other way.
		
		                    BURGESS
		          I don't understand --
		
		                    WITWER
		          This murder is happening at two
		          different times.
		
		Burgess stares at the image.  Watches again as it repeats. 
		Witwer hits the remote and the image of Anne Lively freezes.
		
		                    WITWER
		          According to the Sentry, Anderton
		          was watching this at Containment
		          right before he was tagged.
		
		                    BURGESS
		          I know.  He came to me, told me
		          about the missing data stream.
		              (then)
		          He was concerned that you might
		          find it.
		
		                    WITWER
		          I did find it.  It was inside of
		          Agatha all this time.  So the
		          question is, why would someone want
		          this erased from the data file?
		
		                    BURGESS
		              (intrigued)
		          Danny, tell me what you're
		          thinking.
		
		                    WITWER
		          I'm thinking someone got away with
		          murder.
		
		                    BURGESS
		          How?
		
		Witwer moves around the frozen image of Anne Lively.
		
		                    WITWER
		          By fooling the system.  All someone
		          would have to do is wait for
		          Precrime to stop the murder from
		          taking place, then, a few minutes
		          later, commit the crime in exactly
		          the same way.
		
		                    BURGESS
		              (nods)
		          Yes... It's called an echo.  The
		          act of murder is such a violent
		          disturbance in the future continuum
		          that it sometimes repeats to the
		          Precogs.
		
		                    WITWER
		              (beat, remembering)
		          Precog Deja Vu...
		
		                    BURGESS
		          We teach the tech's to identify
		          them and disregard...
		
		Witwer looks at him.
		
		                    WITWER
		          So there is a way to fool the
		          system?
		
		                    BURGESS
		          Yes.
		
		Witwer looks at the image.
		
		                    WITWER
		          Of course, it would have to be
		          someone with access to the
		          Prevision in the first place,
		          someone fairly high up --
		
		                    BURGESS
		              (finger to his lips)
		          Shhh.  You know what I hear?
		
		                    WITWER
		          What?
		
		                    BURGESS
		          Nothing.  No footsteps coming up
		          the stairs.  No hovercraft out the
		          window.  No clickity click of
		          little spyders.  No one crashing
		          through that door.  And do you know
		          why I don't hear any of those
		          things, Danny?  Because right now,
		          the Precogs can't see.
		
		Witwer suddenly understands.  See Anderton's .45 in Burgess'
		hand and knows it's already too late as the gun goes off
		loud, Burgess shooting Witwer right through the holo-image of
		Anne Lively.
		
		Burgess stands up as Witwer drops to his knees.  He looks up
		at Burgess -- gasping, clutching his chest with both hands as
		if in prayer -- and can do nothing but watch as the man
		shoots him once more, knocking him down to the floor.
		
		Burgess steps over him, crouches down and takes something
		from Witwer's pocket.  A stick of gum.  He puts it into his
		mouth, then starts to wipe the .45 down with a handkerchief.
		
		HIS PHONE RINGS.  Burgess answers it.
		
		                    BURGESS
		          Burgess.
		
		INT.  THE COTTAGE - DAY
		
		As Lara watches Anderton pull up to the cottage.
		
		                    LARA
		          Lamar, it's Lara.
		
		INT.  ANDERTON'S APARTMENT - DAY
		
		Burgess talks to her, all the while continuing to wipe down
		the gun, tidy up the apartment.
		
		                    BURGESS
		          Yes, Lara.
		
		He takes the DISK from the holo-computer and drops it into
		his pocket.
		
		                    LARA'S VOICE
		          You have to help him.
		
		                    BURGESS
		              (beat)
		          Is he there?
		
		INT.  THE CLIFF COTTAGE - DAY
		
		As Lara watches Anderton lead Agatha towards the door.
		
		                    LARA
		          Yes.
		
		                    BURGESS' VOICE
		          Has he got the precog with him?
		
		                    LARA
		          Yes.
		
		INT.  ANDERTON'S APARTMENT - DAY
		
		Burgess looks around the room, making sure he hasn't
		forgotten anything.
		
		                    BURGESS
		          Keep them there.  I'm on my way.
		
		                    LARA'S VOICE
		          Please don't tell Witwer.  I don't
		          trust him.
		
		Burgess looks at Witwer's body.
		
		                    BURGESS
		          I won't say a word.  You just don't
		          let John leave.  All right?
		
		                    LARA'S VOICE
		          He's no killer, Lamar.
		
		                    BURGESS
		          I know.
		
		EXT.  THE CLIFF COTTAGE - DAY
		
		As Agatha looks at the house, watching as Lara now comes out
		the front door and hugs Anderton.  She looks at Agatha...
		
		                    ANDERTON
		          It's all right.  Lara, I want you
		          to meet Agatha.
		
		Lara smiles at her.  Agatha turns and looks at the RUSTED
		TRICYCLE lying in the weeds near the door and shivers...
		
		                    AGATHA
		          I'm cold --
		
		As Lara opens the door...
		
		                    LARA
		          Come inside.
		
		EXT.  COTTAGE - DUSK
		
		As Lara walks to the cliff, stands beside Anderton.
		
		                    ANDERTON
		          I... just need to sit and think,
		          figure this out.
		
		He turns to her.
		
		                    ANDERTON
		          It's like a bad dream.  It's like
		          I'm down the fucking rabbit hole.
		
		It's getting dark.  He takes off his sunglasses and she now
		sees his "new" eyes.  She gasps...
		
		                    LARA
		          Oh, God, John... What have you
		          done?
		
		INT.  COTTAGE - DUSK
		
		Agatha moves around the house.  Stops at a bedroom.  Inside
		is a DAYBED, BEACH TOYS, STUFFED ANIMALS, TOY SOLDIERS.  She
		puts her hand in Anderton's coat pocket, takes out the CARD
		CONTAINING THE IMAGE OF ANNE LIVELY DROWNING.
		
		INT.  PRECRIME HOVERSHIP - NIGHT
		
		The team flies silently over the countryside.
		
		                    EVANNA
		          ETA five minutes.
		
		EXT.  COTTAGE - NIGHT
		
		As Anderton paces along the cliff...
		
		                    ANDERTON
		          They used Sean.  They wanted me to
		          think Crow killed him --
		
		Lara reacts to this.
		
		                    ANDERTON
		          -- but he didn't.
		
		                    LARA
		          Then who was he?
		
		                    ANDERTON
		          Just some guy... they found.
		
		                    LARA
		          Found?  Where?
		
		                    ANDERTON
		          Somewhere.
		
		He stands there.  A thought dawning on him.
		
		                    LARA
		          Think, John.  Why would they set
		          you up?
		
		                    ANDERTON
		              (beat)
		          Because I found out about her...
		
		                    LARA
		          About who?
		
		                    ANDERTON
		          Anne Lively...
		
		He starts for the house.
		
		INT.  CLIFF HOUSE - NIGHT
		
		Anderton comes in from the back.  The place is dark.
		
		                    ANDERTON
		          Agatha?
		
		INT.  BACK BEDROOM - NIGHT
		
		Agatha sits on the floor in the midst of a pile of toys, face
		streaked with tears.
		
		                    AGATHA
		          Dr. Hineman once said to me that
		          "The dead don't die."
		              (looks up)
		          "They look on and help."
		              (then, as a statement)
		          Remember that, John.
		
		Agatha looks around the room...
		
		                    AGATHA
		          He's on the beach now, a toe in the
		          water, asking you to come in with
		          him.  He's been racing his mother
		          up and down the sand.
		
		She looks up at Anderton, smiling and crying at the same
		time.
		
		                    AGATHA
		          There's so much love in this house.
		
		She closes her eyes.
		
		                    AGATHA
		          He's ten years old.  He's
		          surrounded by animals.  He wants to
		          be a vet.  You keep a rabbit for
		          him.  A bird.  And a fox.
		
		Anderton can't move, can't breath.
		
		                    AGATHA
		          He's in high school.  He likes to
		          run.  Like his father.  He runs the
		          two mile and the long relay.
		              (then)
		          He's twenty-three, at a University. 
		          He makes love to a pretty girl
		          named Claire.  He asks her to be
		          his wife.  He calls here and tells
		          Lara who cries... he still runs. 
		          Across the University.  And in the
		          stadium where John watches.
		
		She's shaking her head now...
		
		                    AGATHA
		          Oh, God -- he's running so fast,
		          like his daddy.  He sees his daddy,
		          wants to run to him, but he's only
		          six years old and he can't do it. 
		          And the other man is so fast.
		
		Agatha looks up at Anderton, weeping, shaking...
		
		                    AGATHA
		          There was so much love in this
		          house.
		
		Anderton turns away, see Lara in the doorway now, her own
		eyes full of tears.
		
		                    ANDERTON
		          I'm so sorry... I just want him
		          back... I want him back so bad...
		
		                    LARA
		          I know... I do, too...
		
		                    AGATHA
		          So did she.
		
		They both look at her.  She's staring at the PHOTOGRAPH OF
		ANNE LIVELY.
		
		                    AGATHA
		          Can't you see?  She just wanted her
		          little girl back.
		
		                    ANDERTON
		          Who wanted her little girl back?
		
		                    AGATHA
		          The drowning woman.
		              (shows him the photograph)
		          Anne... But it was too late.  Her
		          little girl was already gone.
		
		                    ANDERTON
		          She died?
		
		                    AGATHA
		          She grew up.
		
		                    ANDERTON
		          She's still alive?
		
		Agatha looks up at Anderton now.
		
		                    AGATHA
		          She's not alive, but she didn't
		          die.
		
		                    ANDERTON
		              (beat)
		          Oh, Jesus...
		
		                    LARA
		          John?  What is it?
		
		                    ANDERTON
		          How did I not see this?
		              (then)
		          Agatha, who killed you mother?  Who
		          killed Anne Lively?
		
		She looks at Anderton, keeps her voice calm as she says:
		
		                    AGATHA
		          I'm sorry, John, but you have to
		          run again.
		
		                    ANDERTON
		          What --
		
		                    AGATHA
		          RUN!
		
		Suddenly the room is BATHED IN LIGHT --
		
		EXT.  HOUSE - NIGHT
		
		The Precrime Ships hover over the house.  Precrime cops are
		everywhere.
		
		INT.  HOUSE - NIGHT (SLOW MOTION)
		
		We hear NO SOUND as the cops burst into the room and grab
		Anderton.  We see, but don't hear, Lara scream as they throw
		him to the floor.
		
		He sees Knott come forward, pulling the temporary halo from
		his belt.
		
		                    KNOTT
		              (muted)
		          John Anderton, by mandate of the
		          District of Columbia, precrime
		          division, I'm placing you under
		          arrest for the murders of Leo Crow
		          and Danny Witwer --
		
		Lara sees the surprise in Anderton's face as he now turns at
		the mention of Witwer's name --
		
		                    ANDERTON
		          Witwer --
		
		But another cop pulls his head back and begins to quickly
		shave his head, his hair falling onto the picture of his dead
		son.
		
		He looks over, sees Agatha in the center of it all, THE ONLY
		ONE MOVING AT NORMAL SPEED, going from one cop to the next,
		whispering in their ears, startling them, until Fletcher
		takes her by the arm and ushers her away...
		
		She nods and that's the last thing Anderton sees before his
		body racks and goes stiff with a shock, and we then...
		
		FADE TO BLACK.
		
		We hear a soft cooing voice, like someone talking to a
		baby...
		
		                    VOICE
		          That's it... that's my girl...
		
		FADE IN: ON THE PRECOG TANK
		
		As Wally gently lowers Agatha into the tank and begins the
		process of reconnecting her to her "brothers".  Her eyes are
		sunken and dark.
		
		                    WALLY
		          I was so worried about you.  Did he
		          hurt you?
		
		He stops and looks at her a moment, then takes out a NEEDLE
		and injects her with the Drug...
		
		                    WALLY
		          God, I missed you so much...
		
		She says nothing as he kisses her on the mouth...
		
		INT.  A DARK PLACE
		
		Where Anderton lies still as a halo CLICKS into his shaved
		head.  Anderton moves his eyes and sees Gideon smiling over
		him.
		
		                    GIDEON
		          You're part of my flock now, John. 
		          Welcome.
		
		                    ANDERTON
		          Lara --
		
		                    GIDEON
		          It's actually kind of a rush.  They
		          say you get visions; that your life
		          flashes before your eyes.  That all
		          your dreams come true.
		
		Anderton struggles, but can't move.  Gideon starts to roll
		away.
		
		INT.  PRECOG TANK - DAY
		
		As Wally climbs down.  Agatha then turns to her brothers and
		takes each one by the hand as the tank begins to refill with
		the "milk."
		
		INT.  DEPARTMENT OF CONTAINMENT - DAY
		
		As the TIER begins to SINK DOWN INTO THE FLOOR, Anderton
		starts to sink into the blackness below...
		
		                    ANDERTON
		          Gideon --
		              (screams)
		          GIDEON!
		
		But Anderton's scream is drowned out by a blast from Gideon's
		PIPE ORGAN as we now...
		
		CUT TO BLACK.
		
		                    SEAN (V.O.)
		          Dad?  Wake up...
		
		And now we see ANDERTON'S SON standing before him.  He's now
		eleven years-old.
		
		                    ANDERTON
		          Sean -- you're not real.
		
		                    SEAN
		          You gotta have faith, Dad.
		
		                    ANDERTON
		          It's a little late for that.
		
		                    SEAN
		          Wanna hear something funny?
		
		                    ANDERTON
		          What the hell.
		
		                    SEAN
		          I lived for a year with a man who
		          was pretending to be my father.  He
		          took me all over the world.
		
		Anderton looks at him.
		
		                    ANDERTON
		          You're alive?
		
		                    SEAN
		          No.
		              (then)
		          He got tired of pretending.
		
		                    ANDERTON
		          Oh, Sean --
		
		                    SEAN
		          The funny thing is, I started to
		          believe he really was my Dad.
		
		                    ANDERTON
		          Sean --
		
		                    SEAN
		          I feel bad about that.
		              (then)
		          I need you to forgive me.
		
		                    ANDERTON
		          I forgive you.
		
		                    SEAN
		          Once I even told him I loved him.
		
		                    ANDERTON
		          I forgive you...
		
		                    SEAN
		          The more you want to believe
		          something, the easier it is to be
		          fooled.
		
		                    ANDERTON
		          I was looking for you...
		
		                    SEAN
		          I know that.  I know you would have
		          done anything to find me.  I know
		          you would have died for me.
		
		                    ANDERTON
		          I wanted to.
		
		                    SEAN
		          Good-bye, Dad...
		
		The boy begins to fade away.
		
		                    ANDERTON
		          Who are you?
		
		                    SEAN
		          I'm your son.  I'm you.
		
		                    ANDERTON
		          Sean, wait...
		
		                    SEAN
		              (now six years old)
		          Hold your breath, Dad...
		
		And he's gone.  Anderton is left alone in the dark.
		
		INT.  LAMAR BURGESS' OFFICE - DAY
		
		As Lara is greet by Burgess in a white T-shirt and slacks, no
		shoes -- in the middle of getting dressed.  He embraces her.
		
		                    BURGESS
		          This is all my fault.
		
		                    LARA
		          No, it isn't, Lamar.  There was
		          nothing anyone could do.
		
		She sits on the couch, a BOX OF ANDERTON'S BELONGINGS on the
		coffee table in front of her.
		
		                    BURGESS
		          I thought you might want to have
		          those.
		
		He moves to a mirror, starts to put on his Precrime dress
		uniform shirt.
		
		                    BURGESS
		          I haven't worn this damn thing in
		          years.  I just wanted to make sure
		          it fits before tonight.
		
		                    LARA
		          You look great.
		
		He watches in the mirror as she lifts John's .45 out of the
		box.
		
		                    BURGESS
		          I knew he was having trouble for
		          some time, and yet I did nothing
		          about it.
		
		Lara is about to say something when Burgess' Secretary sticks
		her head in...
		
		                    SECRETARY
		          The guy from USA Today is here.
		
		                    BURGESS
		          Tell him not now.
		
		                    SECRETARY
		          He just wanted a few minutes
		          before --
		
		                    BURGESS
		          Not.  Now.
		
		The Secretary exits.  Burgess buttons his shirt.
		
		                    BURGESS
		          It's insanity around here.
		
		                    LARA
		          I thought you were retiring?
		
		                    BURGESS
		          I was, but this whole incident with
		          John made me realize the fragility
		          of what we've built here.  This is
		          John's legacy as much as mine and I
		          want to protect that.
		
		He looks at her.
		
		                    BURGESS
		          I know how hard this all is for
		          you, but you can at least find some
		          comfort in the fact that John
		          finally found the man who killed
		          your son.
		
		She looks at him, thinks about what he just said, watching as
		he pins his precrime badge to his shirt.
		
		                    LARA
		          Who's Anne Lively?
		
		He pokes himself with the pin, winces.
		
		                    BURGESS
		          Who?
		
		                    LARA
		          Anne Lively.  John was talking
		          about her right before they took
		          him.
		
		                    BURGESS
		          I don't know who that is.
		
		Burgess doesn't say anything.  The news keeps getting worse.
		
		                    LARA
		          John said something about him being
		          set up because he "found out about
		          her."
		
		                    BURGESS
		          We know why John was tagged.
		
		                    LARA
		          He also said Crow was a fake.
		
		Burgess looks at her.
		
		                    BURGESS
		          And Witwer?  He was shot with
		          John's gun inside John's apartment.
		
		She looks back at Burgess a moment, then:
		
		                    LARA
		          Lamar, do you know the reason why
		          John came here to work with you?
		
		                    BURGESS
		          Sean --
		
		                    LARA
		          No.  That's what everyone thinks.
		              (then)
		          John shot a man dead in Baltimore
		          six months before.
		
		She lets Burgess react to that, then...
		
		                    LARA
		          He was serving a warrant on a
		          murder suspect when the guy opened
		          fire from inside.  It was a good
		          shooting.  The department gave John
		          a commendation for it.  But John
		          couldn't let it go.  He'd say the
		          man's name in his sleep.  He didn't
		          eat.  It was all he talked about. 
		          It was all he thought about.  He
		          came to work for you because he
		          thought if he could just stop that
		          kind of thing from happening...
		
		She takes a breath, tries to control herself.
		
		                    BURGESS
		          I understand.
		
		                    LARA
		          No.  I don't think you do.
		              (then)
		          The other day, when he came to the
		          cottage, he talked about a lot of
		          things, but Danny Witwer, the man
		          he was supposed to have just
		          killed?  He didn't mention him.  He
		          didn't say his name even once.
		
		Burgess looks at her, then takes her hand and sighs.
		
		                    BURGESS
		          Lara, John was the best cop I ever
		          knew, and in some ways, the best
		          man.  But the scars he carried
		          around, well...
		              (shakes his head)
		          I know that he'd want us to honor
		          the good things we remember about
		          him.
		
		She keeps looking at him.  He smiles.
		
		                    BURGESS
		          But I also know why he married you:
		          you're as stubborn as he is.
		
		                    LARA
		          Lamar --
		
		                    BURGESS
		          All right.  Tell you what I'll do. 
		          First thing Monday, I'll look over
		          the Witwer evidence and I'll have
		          Gideon run the Containment files,
		          see if anyone drowned a woman named
		          -- what did you say her name was?
		
		                    LARA
		              (beat)
		          Anne Lively... But I never said she
		          drowned.
		
		Burgess looks at her, his expression slowly going icy as his
		Secretary once more reappears.
		
		                    SECRETARY
		          Sir, the press conference is
		          starting.
		
		                    BURGESS
		              (looking at Lara)
		          I'll be right there.
		
		The Secretary backs out of the room.  Burgess moves to Lara. 
		She flinches slightly as he reaches past her head, and grabs
		his HAT from the back of the couch.
		
		                    BURGESS
		          We'll talk about this later.
		              (kisses her)
		          I'll come by the cottage.
		
		He walks out, leaving her there on the couch.  She looks
		around the office, then at John's .45 sitting on the table.
		
		INT.  DEPARTMENT OF CONTAINMENT - NIGHT
		
		Moving in on Gideon's hands as he plays the ORGAN.  Suddenly
		the fingers stop.  We REVEAL: Lara standing there, Anderton's
		.45 pressed to Gideon's temple.
		
		                    LARA
		          I'd like a word with my husband.
		
		He looks at her.
		
		                    GIDEON
		          You're not authorized.  How did you
		          get in here?
		
		She drops THE BLACK ZIPLOC on the table in front of him. 
		Gideon nods as Anderton's old eyes "swim" past the clear
		plastic window.
		
		                    GIDEON
		          Okee pokee... off we go...
		
		EXT.  WILLARD HOTEL - NIGHT
		
		News crews are out front.  A NEWS REPORTER faces a hovering
		NEWS BOT...
		
		                    REPORTER
		          ... today a six year experiment was
		          deemed a success when all fifty
		          states overwhelmingly ratified the
		          National Precrime Amendment...
		
		INT.  HOTEL BALLROOM - NIGHT
		
		A gala ball.  Lamar Burgess and HIS FAMILY are surrounded by
		WASHINGTON DIGNITARIES and WELL-WISHERS, all here to
		celebrate the passage of the National Precrime bill.
		
		On a giant screen, victims are expressing their thanks for
		the programs existence, including Sarah Marks.
		
		ATTORNEY GENERAL NASH
		
		Speaks to a throng of reporters, not looking too happy about
		what he has to say...
		
		                    NASH
		          The President feels, and I agree,
		          that the best way to avoid any
		          appearance of impropriety, or any
		          kind of infighting was to create an
		          entirely new entity...
		
		PULL BACK TO REVEAL: INT.  PRECRIME ANALYTICAL ROOM - NIGHT
		
		As the team watches the "festivities" on a monitor.  Their
		faces are all glum.  Evanna looks like she's been crying.
		
		                    NASH (TV)
		          ... and, of course, the only man
		          qualified to run such an entity is
		          Lamar Burgess...
		              (then)
		          Now, if you'll excuse me, I'm
		          urgently needed... uh, somewhere...
		          else.
		
		Fletcher pours some more CHAMPAGNE into a paper cup, drinks
		it down.  He's drunk.
		
		                    FLETCHER
		          Why don't I feel like celebrating?
		
		                    KNOTT
		          Cause all of a sudden you got no
		          one you can fucking brown nose
		          anymore.
		
		Fletcher looks at Knott.  Gets to his feet.  Unsteady...
		
		                    FLETCHER
		          John Anderton was my friend!
		
		                    KNOTT
		          You "friend's" a murderer and he
		          ruined our perfect record.  Six
		          years, not one damn murder...
		
		Knott grabs the champagne from Fletcher, starts to pour it
		into a cup, but just sucks on the bottle instead.
		
		INT.  WILLARD BALLROOM - NIGHT
		
		A VIDEO PRESENTATION of the history of Precrime, and LAMAR
		BURGESS.  We hear music, see different shots of Burgess at
		his Rehab-Prison, we hear about its fabulous success rate. 
		The video ends to GREAT APPLAUSE.
		
		                    ANNOUNCER
		          Ladies and gentlemen, Lamar
		          Burgess, Director of the new,
		          national Precrime.
		
		Applause.  Then the room falls silent as Burgess' STAFF
		presents him with an IVORY BOX.  He opens it, looks at his
		secretary who smiles.
		
		                    SECRETARY
		          Congratulations, sir.
		
		                    BURGESS
		          My God...
		
		He holds up a beautiful ivory-handled ANTIQUE REVOLVER and
		the crowd ooohs and ahhhs.
		
		                    BURGESS
		          How did you get this?
		
		                    SECRETARY
		          I padded your expense account for
		          the last six months.
		
		LAUGHTER.  But as he stares at the gun, moved almost to
		tears, the room grows silent.  He looks up.
		
		                    BURGESS
		          Revolvers like this one were given
		          to Generals at the end of the Civil
		          War by their troops.  The cylinders
		          were loaded with six gold-plated
		          bullets to symbolize the end of the
		          destruction and death that had
		          ripped the country apart for six
		          years.
		
		He opens the gun and shows them the six GOLD BULLETS.  We
		pick out LARA in an evening gown at the back of the room,
		watching, her eyes fixed on Burgess.
		
		                    BURGESS
		          With Precrime going national, maybe
		          we can all look forward to a time
		          when none of us have to discharge
		          another firearm ever again.
		
		Everyone APPLAUDS.  Burgess' secretary gets a phone call and
		ducks her head so that she can hear...
		
		                    BURGESS
		          I think people forget that, for all
		          the talk about the Precogs,
		          Precrime is only as good as the men
		          and women who support them...
		
		INT.  PRECRIME ANALYTICAL ROOM - NIGHT
		
		As Anderton's old team watches... silent.
		
		                    BURGESS (TV)
		          I'm grateful to you for all that
		          you've done to make this happen. 
		          And I assure you that I won't
		          forget you when bonus time comes
		          around!
		
		Knott raises the bottle.
		
		                    KNOTT
		          Now that's cool.
		
		INT.  WILLARD BALLROOM - NIGHT
		
		As Burgess smiles now...
		
		                    BURGESS
		          Now enjoy yourselves.  That's an
		          order!
		
		LARA watches as Burgess steps off the stage and his Secretary
		meets him.  He's immediately surrounded by WELL-WISHERS and
		AUTOGRAPH SEEKERS.
		
		                    SECRETARY
		          You have an emergency call on your
		          private line.
		
		                    BURGESS
		          Thank you.
		              (into his phone)
		          This is Burgess.
		
		                    ANDERTON (PHONE)
		          Hello, Lamar.
		
		Burgess goes instantly pale as his wife comes up and kisses
		him on the cheek.
		
		                    BURGESS
		          John --
		
		                    ANDERTON (PHONE)
		          I just wanted to congratulate you. 
		          You did it.  You've created a world
		          without murder.  So what if you had
		          to kill someone to do it.
		
		INT.  PRECRIME ANALYTICAL ROOM - NIGHT
		
		As Jad gets a phone call...
		
		                    JAD
		          A-room.  Jad.
		
		INT.  BALLROOM - NIGHT
		
		Burgess smiles at his unaware wife, then starts walking to
		the side doors, trying to get away from the crowd, many of
		whom now thrust PRECRIME BASEBALL HATS at him to sign.  He
		moves past Lara, on her phone, who turns away...
		
		                    LARA
		              (to Jad)
		          John needs a favor...
		
		INT.  PRECRIME ANALYTICAL ROOM - NIGHT
		
		As Jad listens a moment, then hits a switch and now we hear
		the conversation between Burgess and Anderton...
		
		                    ANDERTON (PHONE)
		          All these years Agatha's had the
		          truth locked inside of her -- the
		          Minority Report.  All these years
		          she's the only one who knew what
		          really happened...
		
		INT.  PRECRIME TEMPLE - NIGHT
		
		As Agatha lies there, staring upward.
		
		                    ANDERTON (V.O.)
		          ... until last week when she took
		          my hand and showed me the image of
		          a drowning woman... an image that
		          would eventually lead me back to
		          you.
		
		CLOSE ON BURGESS
		
		A forced smile, nodding to this person and that.
		
		                    BURGESS
		          I don't know what you're talking
		          about, John.
		
		CLOSE ON THE BACK OF ANDERTON
		
		We don't know where he is yet...
		
		                    ANDERTON (PHONE)
		          I'm talking about Anne Lively. 
		          Just a junkie who had a kid once
		          and had to give her up.
		
		INT.  BALLROOM - NIGHT
		
		As Burgess smiles tightly at people, mouths "excuse me" as he
		tries to make for the damn door, but can't seem to get away
		from the crowd of well-wishers including the Attorney General
		who reluctantly shakes his hand...
		
		                    ANDERTON (PHONE)
		          But, surprise, this junkie cleaned
		          herself up.
		
		INT.  PRECOG TANK - AGATHA - NIGHT
		
		As Agatha opens her eyes.  We begin moving into ONE OF
		THEM...
		
		                    ANDERTON (V.O.)
		          And she wanted the kid back.
		
		AND NOW WE SEE IN HER EYE:
		
		The screaming face of Anne Lively.
		
		                    ANDERTON (V.O.)
		          She wanted Agatha...
		
		INT.  PRECRIME ANALYTICAL ROOM - NIGHT
		
		As Jad sees the image on the screen, starts patching it in.
		
		                    ANDERTON (V.O.)
		          But you and Hineman had already
		          turned the girl into something
		          else: A Precog.
		
		INT.  PRECOG TEMPLE - NIGHT
		
		As Wally looks up at the image on the screen.  ANNE LIVELY
		DROWNING...
		
		                    JAD (PHONE)
		          Wally?  You getting this?
		
		                    WALLY
		          Uh-huh...
		
		INT.  BALLROOM - NIGHT
		
		As Burgess, surrounded by AUTOGRAPH SEEKERS, is forced to
		stop and sign their PRECRIME HATS... while Anderton
		continues.
		
		                    ANDERTON (PHONE)
		          And without her, there was no
		          Precrime.  She's always been the
		          strongest of the three.  And you
		          know that without Agatha, you had
		          nothing.  Without her, you wouldn't
		          be where you are now, standing
		          there signing autographs...
		
		Boom.  Burgess stops cold, starts looking around the room. 
		Knows Anderton is somewhere nearby.
		
		INT.  PRECOG TEMPLE - NIGHT
		
		As Wally studies the IMAGE OF ANNE LIVELY DROWNING plays over
		and over.
		
		                    WALLY
		          It's a single stream, from the
		          female only, with no time or
		          incident data.
		
		                    JAD (PHONE)
		          Meaning?
		
		                    WALLY
		          Meaning whatever this is, it ain't
		          the future.
		              (watches the drowning)
		          It already happened.
		
		INT.  HOTEL BALLROOM - NIGHT
		
		As the screen starts to show the SAME VISION and people
		react.  Burgess, at the back of the room sees it, too.
		
		                    ANDERTON (PHONE)
		          So now you had to get rid of Anne
		          Lively, you had to find a way to
		          shut her up... which presented a
		          problem.  How can you murder her
		          without the precogs seeing it? 
		          Simple: you use the system against
		          her.
		
		Burgess quickly goes through a swinging door into...
		
		A CORRIDOR
		
		Where he looks up and down the corridor for Anderton.
		
		                    ANDERTON (PHONE)
		          You hired someone to kill her for
		          you, knowing full well the precogs
		          would see that murder.
		
		Burgess turns back, looks through a CIRCLE OF GLASS in the
		swinging door at...
		
		THE BALLROOM SCREEN - A SERIES OF GRAINY IMAGES
		
		A FIGURE in a black overcoat pulls on a mask...
		
		                    ANDERTON (PHONE)
		          You lured Anne Lively out to the
		          lake with the promise of doing the
		          right thing, reuniting her with her
		          daughter...
		
		And now we see Anne Lively standing by the side of A LAKE,
		her hair whipping in the wind.  As THE FIGURE APPROACHES...
		
		                    ANNE
		          Mr. Burgess?
		
		INT.  PRECOG TEMPLE - NIGHT
		
		As the IMAGE PLAYS OUT IN AGATHA'S EYE...
		
		                    AGATHA
		          Run...
		
		INT.  HOTEL BALLROOM - ON THE SCREEN - NIGHT
		
		As Anne Lively looks up, sees the source of the wind is THE
		PRECRIME HOVERSHIP.  The figure takes off running...
		
		                    ANDERTON (PHONE)
		          You even made the arrest
		          yourself...
		
		And now we see a series of images, Lamar Burgess standing
		there in a WHITE COAT getting off the hovership as the KILLER
		IS BROUGHT DOWN, THE MASK RIPPED OFF.  We see the RED LINES
		AROUND THE EYES.  We see it's the JOHN DOE from Containment. 
		HIS FACE SHOVED INTO THE MUD...
		
		THE CROWD
		
		Stands there stunned by what they're watching.
		
		INT.  HOTEL KITCHEN - NIGHT
		
		As we move through the chaos of fifty SERVERS, COOKS, and
		DISHWASHERS, we find Anderton for the first time, standing in
		a corner, in a hooded sweatshirt, his back to us...
		
		                    ANDERTON
		          And then, when you were all
		          alone...
		
		INT.  THE CORRIDOR - BURGESS - NIGHT
		
		Staring through the glass at the BALLROOM SCREEN as we see
		the younger Burgess facing Anne Lively beside the lake, as
		the HOVERSHIP LIFTS OFF IN THE B.G.
		
		                    ANNE
		          Where's my daughter?
		
		On screen, the younger Burgess takes off the WHITE OVERCOAT. 
		He pulls his arm from the coat and we see that the inside is
		BLACK; that the coat is REVERSIBLE.
		
		                    ANDERTON (PHONE)
		          You killed her yourself in the same
		          way the Precogs predicted your John
		          Doe would kill her.  You made the
		          real murder look like an echo,
		          knowing the tech would ignore it.
		
		INT.  PRECOG TEMPLE - NIGHT
		
		As the image plays out in Agatha's eye... Anne Lively backing
		away...
		
		                    ANDERTON (V.O.)
		          You fooled the other two precogs,
		          but not Agatha.
		
		And now inside her eye, we see the image of BURGESS pulling
		on the same MASK that John Doe wore...
		
		                    ANDERTON (V.O.)
		          She was going to see the murder of
		          her own mother no matter what state
		          you did it in, or how you tired to
		          hide it.
		
		INT.  PRECOG TEMPLE - NIGHT
		
		As Agatha tries to sit up...
		
		                    AGATHA
		          Run!
		
		INT.  HOTEL BALLROOM - SCREEN - NIGHT
		
		The crowd is SILENT as they watch A SERIES OF FAST IMAGES:
		Anne Lively stumbles.  Burgess grabbing her... Anne's face
		hitting the water... Burgess shoving her head under and
		holding it down...
		
		ON BURGESS
		
		Through the glass window, watching himself murder this woman.
		
		INT.  PRECOG TEMPLE - IMAGE IN AGATHA'S EYE
		
		As Anne Lively dies under the water, her arm floating across
		her chest, beckoning us to her as she floats away.  Agatha
		raises her own arm now...
		
		                    AGATHA
		          Mama...
		
		INT.  CORRIDOR - NIGHT
		
		As Burgess turns away from the window and leans against the
		wall.  Sweating.  Ashen faced.
		
		INT.  HOTEL KITCHEN - NIGHT
		
		Anderton turns around, so that we see the two different
		colored eyes peering out...
		
		                    ANDERTON
		          You still there, Lamar?
		
		INT.  CORRIDOR - NIGHT
		
		Burgess looks down for a moment, then holds up his hand.  And
		we see that he STILL HOLDS THE REVOLVER.
		
		INT.  PRECOG TANK - NIGHT
		
		As now ALL THREE PRECOGS float to the surface.
		
		                    MALE FACE
		          Murderer.
		
		                                                  CUT TO:
		
		A RED BALL
		
		Screaming at us...
		
		INT.  PRECRIME ANALYTICAL ROOM - NIGHT
		
		As an ALARM SOUNDS and Wally appears on screen...
		
		                    WALLY
		          We got a Red Ball!
		
		INT.  PRECOG TANK - NIGHT
		
		As Agatha rises to the surface...
		
		                    AGATHA
		          Think about the lives that little
		          girl saved.
		
		INT.  CORRIDOR - NIGHT
		
		As Burgess collects himself, starts walking...
		
		                    BURGESS
		          Think about the lives that little
		          girl saved.
		
		He peers into a room, looking for Anderton.
		
		                    BURGESS
		          Think about all the lives she will
		          save?
		
		INT.  HOTEL KITCHEN - NIGHT
		
		As Anderton moves through the steamy room...
		
		                    BURGESS (PHONE)
		          That little girl could have saved
		          Sean --
		
		Anderton slams his hand down on a metal counter.
		
		                    ANDERTON
		          DON'T YOU FUCKING SAY HIS NAME!
		
		INT.  CORRIDOR - NIGHT
		
		As Burgess hears the sound, starts down the corridor for it.
		
		INT.  PRECOG TANK - NIGHT
		
		As one of the males speaks...
		
		                    MALE PRECOG
		          You used the memory of my dead
		          son...
		
		INT.  KITCHEN - NIGHT
		
		People in the kitchen are now looking at Anderton.  He turns
		away...
		
		                    ANDERTON
		          You used the memory of my dead son
		          to set me up!  That was the one
		          thing you knew would drive me to
		          murder.
		
		INT.  CORRIDOR - NIGHT
		
		As up ahead Burgess sees A WAITER EXIT THE KITCHEN.
		
		                    ANDERTON (PHONE)
		          What are you going to do now,
		          Lamar?
		
		INT.  PRECOG TANK - NIGHT
		
		As the male speaks...
		
		                    MALE PRECOG
		          How are you gonna shut me up?
		
		INT.  HOTEL KITCHEN - NIGHT
		
		Anderton starts for the kitchen door...
		
		                    ANDERTON
		          How are you gonna shut me up?
		
		And now, behind him, we see BURGESS COME INTO THE KITCHEN...
		
		                    BURGESS
		          John, people have seen a future
		          where they feel safe.  If all it
		          cost was the death of a former drug
		          addict...
		              (then)
		          Leave it alone, John.  Leave it
		          alone.
		
		INT.  PRECRIME ANALYTICAL ROOM - NIGHT
		
		As THE ANNE LIVELY IMAGES distort into static, we now see an
		image of Lamar Burgess embracing Anderton, THE CITY SKYLINE
		behind them.  We see ANDERTON WHISPER IN BURGESS' EAR...
		Burgess looks at him, then...
		
		                    BURGESS
		          Forgive me, John.
		
		And now Burgess SHOOTS ANDERTON AT POINT BLANK RANGE.
		
		                    FLETCHER
		          Oh, God --
		
		ON THE RED BALL (VICTIM)
		
		As it slows and we see the name JOHN ANDERTON...
		
		INT.  HOTEL KITCHEN - NIGHT
		
		As the two men move about the giant kitchen, Burgess now
		stalking Anderton.
		
		                    BURGESS
		          People want to believe in the
		          system.  That's the beauty of it...
		
		                    ANDERTON
		          Beauty?  The precogs don't even
		          always agree with each other!
		
		Burgess catches a glimpse of Anderton, moves that way.
		
		                    BURGESS
		          The precogs don't have to always
		          work, John, just as long as people
		          believe they do, that's enough.
		
		INT.  PRECRIME READY ROOM - NIGHT
		
		As the Team gets ready.  A drunk Fletcher tries to put on his
		uniform.
		
		                    FLETCHER
		          Willard Hotel... Two minutes...
		
		Jad rests a hand on his shoulder.
		
		                    JAD
		          Fletcher, I think you should stay
		          with me.
		
		Knott looks at Fletcher...
		
		                    KNOTT
		          Not to worry, Gordon.  I'll save
		          your pal.
		
		INT.  HOTEL KITCHEN - NIGHT
		
		As Burgess moves through the huge space looking this way and
		that for Anderton...
		
		                    BURGESS
		          My God, John, a few hundred years
		          ago, they used to bleed the sick. 
		          Twenty years ago, you had a tumor,
		          they'd cut it out of you, with a
		          knife, for Christ's sake.
		
		He peers into a walk-in freezer as it's opened...
		
		                    BURGESS
		          Since then the focus of medicine
		          has gone from cure to prevention. 
		          Well, now law enforcement is going
		          the same way.
		
		As the FREEZER DOOR is closed, he sees A MOVING REFLECTION IN
		THE STAINLESS STEEL, turns and sees Anderton go through a
		door at the back.
		
		                    ANDERTON (PHONE)
		          Lamar, it's over.
		
		INT.  TEMPLE - NIGHT
		
		As the male precog rolls over...
		
		                    MALE PRECOG
		          The question you have to ask is...
		
		EXT.  HOTEL TERRACE - NIGHT
		
		With nowhere else to go, Anderton stands at the balcony.  His
		hood is off exposing his shaved head.
		
		                    ANDERTON
		          What are you gonna do now?
		
		He turns, sees Burgess standing in the doorway, holding the
		gun on him.  Anderton looks off at the SKYLINE.  We see a
		BLINKING RED LIGHT moving towards us over the city...
		
		                    ANDERTON
		          No doubt the Precogs have already
		          seen this.
		
		                    BURGESS
		              (seeing the red light)
		          No doubt.
		
		                    ANDERTON
		          Then go ahead, pull the trigger.
		
		EXT.  WASHINGTON D.C. - NIGHT
		
		As the HOVERSHIP whips past us like a gunshot...
		
		EXT.  HOTEL TERRACE - NIGHT
		
		Burgess begins moving towards Anderton.
		
		                    ANDERTON
		          What's the matter, Lamar?  You see
		          the problem, don't you?  If you
		          don't kill me, it means the precogs
		          were wrong and Precrime is over. 
		          If you do kill me, you go away,
		          but... it proves the system works. 
		          The precogs were right.
		
		Burgess is now right in front of Anderton, the gun inches
		from Anderton's chest.
		
		                    ANDERTON
		          So what do you do?
		
		INT.  HOVERSHIP - NIGHT
		
		As EVANNA'S WATCH COUNTS DOWN: SEVEN SECONDS...
		
		                    EVANNA
		          We're not gonna make it...
		
		EXT.  HOTEL TERRACE - NIGHT
		
		Anderton waits for Burgess to pull the trigger.
		
		                    ANDERTON
		          What's it worth?  Just one more
		          murder...
		
		And now THE HOVERSHIP RISES UP OVER THE TERRACE...
		
		                    ANDERTON
		          You'll rot in hell with a halo, but
		          people will still believe in
		          Precrime.
		
		Burgess looks at the ship...
		
		                    ANDERTON
		          All you have to do now is pull the
		          trigger like they said you would.
		
		Burgess turns back, raises the gun: his hand shakes.
		
		                    ANDERTON
		          Except...
		              (a step closer)
		          You've seen your own future.  Which
		          means...
		
		A wind blows AS THE HOVERSHIP NOW COMES DOWN ON THE TERRACE,
		THE PRECOPS DESCENDING FROM INSIDE.
		
		                    ANDERTON
		          You can change it if you want to.
		
		Burgess looks off as the PRECOPS run across the terrace.
		
		                    ANDERTON
		          You still have a choice, Lamar...
		
		Suddenly, all at once, THE PRECOPS' WATCHES BEGIN TO BEEP AS
		THE TIME RUNS OUT.
		
		Anderton, his eyes on Burgess, raises his hand, and motions
		for the Precops to all stop where they are.  The SOUND OF THE
		SHIP IS LOUD, Anderton speaks into Burgess' ear.
		
		                    BURGESS
		              (finally)
		          Yes, I have a choice... and I've
		          made it.
		
		He lowers the gun, the precops stand there, waiting for him. 
		Anderton takes Burgess by the arm, but the man is unsteady,
		and Anderton holds onto him.  Burgess looks him in the eye...
		
		                    BURGESS
		          Forgive me, John.
		
		We hear A GUNSHOT and everybody freezes.  Anderton falls to
		his knees.  Looks up at Burgess.  A RED STAIN now spreading
		around BURGESS' heart...
		
		                    BURGESS
		          Forgive me...
		
		And as Anderton and now the rest of the precops all move to a
		dying Burgess, we HEAR THE SOUND OF RAIN OVER and...
		
		                                             DISSOLVE TO:
		
		EXT.  PRECRIME HEADQUATERS - DAY
		
		It's raining.  A CRANE dismantles the statue.
		
		EXT.  DOWNTOWN - DAY
		
		As "regular cops" patrol the rainy streets.
		
		INT.  PRECRIME TEMPLE - DAY
		
		The tank is empty... the equipment gone.
		
		INT.  ANDERTON'S APARTMENT - DAY
		
		Anderton stands alone, watching the rain fall, looking out at
		the city.  A figure walks up to him.  But this time it's not
		digital -- it's Lara.  She's flesh and blood.  And she's
		PREGNANT.  She stands beside him, watching the rain as we...
		
		                                             DISSOLVE TO:
		
		THE IMAGE OF ANNE LIVELY
		
		On the PLASTIC CARD Anderton had downloaded from Containment. 
		It's cracked, but the image still moves: Anne Lively
		drowning, her hand beckoning us in death.  A FINGER caresses
		the image as we now PULL BACK TO REVEAL...
		
		AGATHA.  Sitting in a rocking chair, bundled up, wind blowing
		her hair.  She stares at the photograph.  We hear LAUGHTER
		O.S. as we continue PULLING BACK TO REVEAL...
		
		A SMALL CABIN.  She sits in front of it, rocking back and
		forth.  She looks off as we PULL BACK FARTHER TO REVEAL...
		
		THE OTHER TWO PRECOGS, dressed in warm clothing, working in a
		crude garden, one of them pulling rocks from the flower bed. 
		We now begin TO CRANE UP so that we see they're...
		
		BY THE SHORE.  The ocean, murky and fierce, with HUGE WAVES
		crashing on the rocky beach.  WE CRANE ALL THE WAY UP AND
		BACK so that now we see that the three of them are...
		
		ON A SMALL ISLAND.  In the middle of the North Atlantic
		somewhere.  With no other people... no civilization...
		
		And no murder.  And then we...
		
		FADE OUT.