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1.
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OPEN ON:
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Desert.
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2 EXT. CURSED EARTH - DAY 2
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Blasted rock and dust, as far as the eye can see.
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VOICE OVER
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America is an irradiated wasteland.
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A Cursed Earth, in which a single
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outpost of civilization remains.
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Stretching from Boston to
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Washington ...
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3 EXT. CURSED EARTH/MEGA CITY ONE - CONTINUOUS 3
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A vast walled city appears on the horizon.
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VOICE OVER
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... Mega City One.
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4 EXT. MEGA CITY ONE - CONTINUOUS 4
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We fly over the city.
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On first glance, it looks comparable to its early Twenty
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First Century counterpart. A sprawl of low-rise buildings,
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with clusters of tall skyscrapers.
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But as we get closer, we realize that what looked like low-
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rise buildings are in fact skyscrapers, and what looked
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like high rise buildings are in fact the MEGA BLOCKS.
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Brutal concrete monoliths, jutting up out of pollution
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haze. Each operates like self-contained town. The higher
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levels are residential, housing tens of thousands. On the
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lower levels, there are schools, med centers, shops,
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restaurants, bars, and recreational facilities.
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Over this view of MEGA CITY ONE...
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FADE TO:
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5 INT. HALL OF JUSTICE 5
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2.
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In a darkened room, with single light source, a man is
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putting on a uniform.
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In the darkness and artfully positioned lighting, his face
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is always hidden in total shadow.
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We see him -
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- zipping up boots.
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- clipping on utility belt.
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- pulling on gloves.
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- picking up his LAWGIVER GUN.
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As DREDD'S fist closes around it, an LED light by a small
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digital display flashes red.
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Then, on the digital display, a message appears:
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ID OK
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The LED Turns green.
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He holsters the weapon.
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Finally, he pulls his helmet down over his head.
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Now he moves in such a way that the light falls on his
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face.
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The top half of his features are hidden below a visor.
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The lower half, his mouth and chin, look as if they have
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been carved from rock.
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Title:
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DREDD
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CUT TO:
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6 EXT. MEGA CITY ONE/ROAD - NIGHT 6
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- a ribbon of road, through a canyon of mega blocks.
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DREDD rides down it, on a huge, fat-wheeled motorbike.
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His fist twists the throttle.
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3.
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As he accelerates, we SWING AROUND to reveal -
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- DREDD is in hot pursuit of a vehicle.
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The pursuit takes place in the tunnels beneath and through
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the megablocks, and the open stretches of road fly-overs
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between.
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DREDD
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Dredd to Control. In pursuit of
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vehicle, sector thirteen, moving
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west up Wagner Drive. Driving
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erratic. Suspect driver is under
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influence of narcotics.
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CONTROL
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(over radio)
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Copy, Dredd.
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CUT TO:
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7 INT. VEHICLE - CONTINUOUS 7
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INSIDE THE VEHICLE -
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- suddenly everything is in SLOW MOTION, and the colors are
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unnaturally IRIDESCENT and BRIGHT.
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Inside, are three men. The DRIVER, the PASSENGER beside
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him, and a third man in the backseat -
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- who is jamming a clip into a small MACHINE GUN.
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The DRIVER turns in his seat, shouting something at the man
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behind -
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- but the words are too slow and slurred for us to
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understand.
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THEN the slow motion abruptly starts to speed up, and the
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colours start to lose their sparkle - returning to normal.
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We can now understand what the DRIVER is shouting.
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DRIVER
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- we've got a judge on our tail!
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Take him out or we're dead fucking
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meat!
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The SHOOTER takes a long hit on a small device like an
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asthma INHALER. On the side of the inhaler are the words
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SLO-MO.
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4.
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As soon as the SHOOTER takes the hit from the inhaler -
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- the slow motion and iridescent colours return.
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CUT TO:
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9 EXT. MEGA CITY ONE/ROAD - CONTINUOUS 9
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- outside the VEHICLE, as the SHOOTER leans out of the
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window of the vehicle ...
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... and starts FIRING his machine-pistol at DREDD.
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CONTROL
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(over radio)
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Do you require back up?
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DREDD
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(into radio)
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No.
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10 INT. VEHICLE - CONTINUOUS 10
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Inside the venichle, seen through the psychedelic filter of
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the narcotics, we see the driver swerve to avoid an
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oncoming venichle.
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In doing so, he mounts the pavement, and -
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- a PEDESTRIAN slams against the front windscreen.
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Then is sucked downwards, and dragged beneath the wheels.
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CUT TO:
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15 EXT. MEGA CITY ONE/ROAD - CONTINUOUS 15
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DREDD.
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DREDD
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Control. The perps just wiped out
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an innocent. I'm taking them out.
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CONTROL
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(over radio)
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Copy.
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FROM THE FRONT OF DREDD'S MOTORBIKE -
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5.
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- twin canons either side of the front wheel suddenly blaze
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into life.
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Bullets rip into the vehicle, blowing out its back tyres.
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It is immediately thrown into a skid, slides sideways, then
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starts to roll.
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CUT TO -
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20 INT. VEHICLE - CONTINUOUS 20
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- inside the vehicle, in BRIGHT COLOURS and SLOW MOTION, as
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it rolls.
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CUT TO BLACK.
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Then FADE UP TO -
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- inside the wreckage of the vehicle. Normal speed. Normal
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colours.
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The vehicle is upside down.
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The DRIVER is still strapped into his seat, impaled on the
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broken steering column, twitching.
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Blood runs down from the DRIVER onto the corpse of his
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PASSENGER, who is crumpled up, limbs unnaturally folded
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like child's doll.
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The only living occupant is the SHOOTER.
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He picks himself up and wipes blood from his eyes.
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22 EXT. MEGA CITY ONE/ROAD - CONTINUOUS 22
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DREDD approaches the wreckage of the vehicle, handgun
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drawn.
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He pulls open the side door, and sees, past the bodies of
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the DRIVER and the PASSENGER, the opposite window.
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Which has been kicked out.
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And through the hole, DREDD spots the SHOOTER, sprinting
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towards the pedestrian entrance of a habitation block.
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CITIZENS are thronged around the entrance, and the SHOOTER
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fires into them to clear a path.
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6.
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DREDD steps around the side of the wrecked vehicle, talking
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into his radio:
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DREDD
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Paramedics to my GPS. We have
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citizens down.
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DREDD lifts his gun.
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We see what DREDD is aiming at.
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The figure of the SHOOTER appears in glimpses through the
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crowd. Flashing in and out of view.
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To pick him off from here, through the shifting layers of
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innocent people, would be an incredible shot.
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But DREDD is clearly going to take it.
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DREDD
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Armour piercing.
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A setting on his firearm changes,
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He holds the gun level, completely still, waiting for the
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right moment.
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Then fires - just a single round.
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A muzzle flash.
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Halfway between DREDD and the SHOOTER, a WOMAN drops, with
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a puff of blood erupting from her shoulder.
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And a split second later, the SHOOTER himself pitches
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forwards, hit in the back.
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At the noise of the gunshot, the crowds scream and scatter.
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DREDD moves forwards, gun still raised.
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He passes the WOMAN who was hit, who is lying on the ground
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in a spreading pool of blood, flapping her arms weakly.
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DREDD
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Remain calm. The bullet missed all
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major organs, and a paramedic team
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will be with you shortly.
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He keeps moving.
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To the SHOOTER.
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7.
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23 EXT. OUTSIDE BLOCK - CONTINUOUS 23
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The SHOOTER is alive, lying on his front, leaving a snail-
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trail of blood as he pulls himself forwards, still
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hopelessly trying to escape.
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DREDD kicks the man's gun out of reach, then reaches down
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and flips him over on to his back.
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The SHOOTER tries to speak, but his mouth is filled with
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blood, and no words come out.
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DREDD uses his free hand to check the SHOOTER'S inside
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pockets.
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Then finds what he is looking for. An ID card.
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DREDD checks it.
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DREDD
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Citizen Zwirner. Your crimes are
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homicide, unauthorized use of a
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firearm, attempted murder of a
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judge. Do you have anything to say
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in your defense?
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More blood bubbles out of ZWIRNER'S mouth.
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DREDD
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Defense noted.
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DREDD levels his gun at ZWIRNER'S head.
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DREDD
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Sentence: death.
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ZWIRNER gazes up at DREDD, and the gun barrel aiming down
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at him.
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Then DREDD fires.
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A single shot. Right between ZWIRNER'S eyes.
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A beat. Then DREDD'S radio fuzzes back to life.
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CONTROL
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Control to Dredd. Come in.
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DREDD
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Dredd here.
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CONTROL
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8.
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Is your pursuit resolved?
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ZWIRNER lies dead at DREDD'S feet.
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Behind him, the wounded WOMAN flaps around.
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Behind her, the wrecked vehicle smoulders.
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DREDD
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Yes.
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CONTROL
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Report back to the Hall Of Justice.
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The Chief Judge wants to see you.
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CUT TO:
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24 INT. HALL OF JUSTICE/OBSERVATION ROOM CONTINUOUS 24
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- a girl in her early twenties, in judge's uniform, minus
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helmet.
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She is an immediate contrast with everything we have so far
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seen of the grim world of Mega City One.
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Beautiful, blonde, and slightly vulnerable. Biting her lip
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as she sits on a chair in a featureless room.
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Opposite her is a mirror.
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26 INT. HALL OF JUSTICE/OBSERVATION ROOM - CONTINUOUS 26
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On the other side of the two-way mirror, DREDD and the
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CHIEF JUDGE, a woman in her fifties, look back at the girl.
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CHIEF JUDGE
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Cassandra Anderson. Twenty one.
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Born in a block one hundred metres
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from the radiation boundary wall.
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At seven years old, she lost both
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parents to residual-fallout cancer.
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As is standard with orphans, she
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was given a judge aptitude test at
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age nine. It classified her as
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unsuitable, but she was entered
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into the Academy on special
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instruction. In the Academy, her
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record was never better than
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borderline. The final Academy score
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put her three percentile points
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below a pass.
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9.
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DREDD
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So what's she doing in a uniform?
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The CHIEF JUDGE doesn't answer.
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Instead, she reaches out, and presses the INTERCOM button.
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CHIEF JUDGE
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Rookie Anderson.
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ANDERSON
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Sir.
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CHIEF JUDGE
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How many people are observing you?
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28 INT. HALL OF JUSTICE/OBSERVATION ROOM CONTINUOUS 28
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ANDERSON continues looking at her reflection, frowning
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slightly. Biting her lip a little harder.
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ANDERSON
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Two.
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30 INT. HALL OF JUSTICE/OBSERVATION ROOM - CONTINUOUS 30
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DREDD reacts.
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CHIEF JUDGE
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(into intercom)
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What can you tell me about the
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person I am with?
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ANDERSON
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(through intercom)
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Male.
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CHIEF JUDGE
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(into intercom)
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Good.
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ANDERSON
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(through intercom)
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Another judge.
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(concentrating harder)
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I can feel anger. And control. But
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there's something else. Behind the
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control. Something almost ...
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CHIEF JUDGE
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(cuts in)
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10.
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Okay, Anderson. That'll do.
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The CHIEF JUDGE switches the intercom off.
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DREDD
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A mutant.
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CHIEF JUDGE
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The most powerful psychic we've
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ever come across - by a huge
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margin. We believe she could be a
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major asset.
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Beat.
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CHIEF JUDGE
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As I said. Her final score was only
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three points below a pass. It's
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marginal.
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DREDD
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It's not marginal. She failed.
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CHIEF JUDGE
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The girl's getting one more chance.
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I want you to take her out and give
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her one day in the field.
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Supervised. To see if she makes the
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grade.
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The CHIEF JUDGE turns to DREDD.
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CHIEF JUDGE
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Sink or swim. Chuck her in the deep
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end.
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On DREDD, unreadable:
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DREDD
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It's all the deep end.
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THEN CUT TO:
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32 INT. HALL OF JUSTICE/OBSERVATION ROOM - CONTINUOUS 32
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- ANDERSON.
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She sits quietly.
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Gazing at something in her hands.
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11.
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It's a photo. Slightly battered. It shows a little blonde
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girl, seven years old, smiling, between both her parents.
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All are smiling at the camera.
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Abruptly, she folds the PHOTO and tucks it into her utility
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belt.
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Then turns to look at the door.
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A second later, it opens, revealing DREDD.
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ANDERSON stands immediately, and salutes.
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DREDD enters, and closes the door behind him.
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A beat.
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Then:
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DREDD
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A rookie judge on assessment is
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likely to be involved in armed
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combat. They may be required to
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carry out on the spot executions of
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convicted felons.
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ANDERSON
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Yes, sir.
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DREDD
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Incorrect sentencing is an
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automatic fail. Not obeying a
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direct order from your assessment
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officer is an automatic fail.
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Losing your primary weapon or
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having it taken from you is an
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automatic fail.
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ANDERSON
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Yes, sir.
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DREDD
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You ready
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for this.
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ANDERSON
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I am.
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A beat.
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Then DREDD nods.
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DREDD
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12.
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Your assessment starts now.
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36 EXT. MEGA CITY ONE - DAY 36
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An airborne view of the city.
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38 EXT. PEACH TREE BLOCK - CONTINUOUS 38
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CLOSE UP on a SKATEPARK, concrete, surrounded by a high
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wire mesh fence, half-pipes and rails, where six SKATERS
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are pulling off some impressive arial moves.
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As one of the SKATERS soars, and revolves a neat 720 spin -
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- we reveal the vertiginous drop on the other side of the
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wire fence.
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The SKATE PARK is bolted on the side of a mega block,
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hundreds of feet in the air.
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This particular block is called PEACH TREES. Named in
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luminous peach lettering, etched into the acid-rain and
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fume-stained concrete flanks.
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The scale of the construction is colossal. Leaving the park
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behind, we start moving past windows, we glimpse the lives
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inside. Cramped apartments. People watching television.
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Sleeping. Eating. Having sex. Or simply absent.
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The only common factor between the lives we see is squalor,
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and poverty.
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Peach Trees is a slum.
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47 EXT. PEACH TREE BLOCK/WINDOW - CONTINUOUS 47
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We eventually settle on a single window, at the top level
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of the block.
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Looking out of the window is a woman. She could be in her
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late fifties or early sixties, but a diagonal stripe scar
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that disfigures her cheek and top lip, and heavy make-up,
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make her precise age hard to place.
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This is MA-MA.
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51 INT. MA-MA'S BASE - CONTINUOUS 51
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13.
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52 BEHIND MA-MA ARE FIVE MEN. 52
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|
Behind MA-MA are five men.
|
|
|
|
The first of these men is CALEB. Late thirties. Physically
|
|
powerful. Intelligent and violent. MA-MA's right hand man.
|
|
|
|
The next two are KAY and SY. Junior to CALEB. Soldiers.
|
|
Lieutenants.
|
|
|
|
And finally there are MA-MA'S two BODYGUARDS. They never
|
|
leave her side, and never speak.
|
|
|
|
All are inked with dense black tattoos - but share one
|
|
particular tattoo on the side of their necks: a pierced
|
|
heart and scroll - with the word Ma-Ma written inside.
|
|
|
|
CALEB
|
|
The only danger is we expand too
|
|
fast. In the last few days we've
|
|
added distribution to three new
|
|
blocks. Pretty soon we'll be
|
|
looking at making inroads into
|
|
sectors nine and fifteen.
|
|
|
|
MA-MA
|
|
Fifteen is still Red territory. Whe
|
|
make waves?
|
|
|
|
CALEB
|
|
I've been talking to my contacts
|
|
there. They want a sit-down, but
|
|
from what I hear, it's already
|
|
squared. Fact is, they want what
|
|
we've got. Just business.
|
|
|
|
MA-MA nods.
|
|
|
|
MA-MA
|
|
Good.
|
|
|
|
Then she turns, and gestures to the corner of the room.
|
|
|
|
MA-MA
|
|
And what about them?
|
|
|
|
REVEAL that throughout the previous conversation, there
|
|
were actually three other men in the room.
|
|
|
|
Sat in a row, on chairs. Beneath the chairs are plastic
|
|
sheets. Their arms are tied behind them. They are all
|
|
gagged. Wide-eyed. Bruised and blood-stained. Unable to do
|
|
anything but listen.
|
|
14.
|
|
|
|
|
|
KAY speaks up.
|
|
|
|
KAY
|
|
They were selling Sternhammer
|
|
product on my level. Warned them
|
|
off with a beating a couple of
|
|
weeks ago. Guess it didn't work.
|
|
|
|
MA-MA
|
|
And you can't deal with it
|
|
yourself?
|
|
|
|
KAY
|
|
I can deal with it.
|
|
|
|
CALEB
|
|
The question is whether you want to
|
|
make an example of them.
|
|
|
|
MA-MA thinks a couple of moments.
|
|
|
|
Then turns away.
|
|
|
|
MA-MA
|
|
Skin them and toss them over the
|
|
balcony.
|
|
|
|
On their seats, the GAGGEDMEN freak out, eyes bugging,
|
|
struggling against their restraints.
|
|
|
|
SY pulls a knife.
|
|
|
|
KAY
|
|
Hit 'em with a little slo-mo first?
|
|
|
|
MA-MA
|
|
Sure.
|
|
|
|
KAY walks up to the first GAGGEDMAN. He is also - with a
|
|
crude JUDGE DEATH TATTOO on his chest.
|
|
|
|
KAY yanks the MAN'S head back and pulls out the gag.
|
|
|
|
As the gag is released, the MAN starts to scream.
|
|
|
|
Which is stifled as KAY jams a SLO-MO inhaler into his
|
|
mouth, and depresses the button.
|
|
|
|
CUT TO:
|
|
|
|
|
|
53 INT. PEACH TREE BLOCK/ATRIUM - DAY 53
|
|
15.
|
|
|
|
|
|
- the interior of Peach Trees, which contains an atrium of
|
|
dizzying scale. It spans the entire height of the
|
|
construction. Effectively, the block is hollowed out, two
|
|
hundred stories high, ringed with balconies.
|
|
|
|
The lower levels are a shopping and recreation zone. Above
|
|
the shopping and recreation zone are medical centers and
|
|
educational facilities. Everything above is residential.
|
|
|
|
At the base of the atrium is an area like a massive, busy
|
|
Third-World train station, with people criss-crossing the
|
|
area, milling about, exiting out of tunnels and escalators.
|
|
|
|
We track a WOMAN with a CHILD in a pushchair as she makes
|
|
her way through.
|
|
|
|
Suddenly, out of nowhere, a body falls out of the sky, and
|
|
lands with a sickening impact.
|
|
|
|
THWACK. Right in front of the pushchair.
|
|
|
|
The WOMAN pulls back.
|
|
|
|
And a second body lands directly behind her.
|
|
|
|
THWACK.
|
|
|
|
She looks up, as the crowd around her starts to scatter ...
|
|
|
|
... and is stunned to see that another body is tumbling
|
|
down towards her.
|
|
|
|
She just manages to jam the pushchair forwards before the
|
|
body lands.
|
|
|
|
THWACK
|
|
|
|
|
|
56 EXT. MEGA CITY ONE - DAY 56
|
|
|
|
DDREDD and ANDERSON stand by their fat-wheeled motorbikes,
|
|
on a ribbon of flyover, in a canyon of Mega Blocks.
|
|
|
|
Vehicles flash past them.
|
|
|
|
Over the roar of the traffic, their radios fuzz into life.
|
|
|
|
We tap into the endless streams of radio calls that are
|
|
constantly being transmitted from CONTROL.
|
|
|
|
CONTROL
|
|
(over radio)
|
|
16.
|
|
|
|
|
|
Responders in vicinity of Peach
|
|
Tree block. We have a report of a
|
|
multiple homicide.
|
|
|
|
CONTROL
|
|
(over radio)
|
|
Responders in Sector 13 North, we
|
|
have armed robbery in progress.
|
|
Four suspects on foot. Gunshot
|
|
victims at scene of crime.
|
|
|
|
CONTROL
|
|
(over radio)
|
|
Responders on Highway Alpha Five.
|
|
We have ambulance crew under fire,
|
|
requesting assistance.
|
|
|
|
DREDD
|
|
(to Anderson)
|
|
Twelve serious crimes reported
|
|
every minute. Seventeen thousand
|
|
per day. We respond to around six
|
|
percent.
|
|
|
|
ANDERSON
|
|
Which six percent?
|
|
|
|
DREDD
|
|
Your assessment. You tell me.
|
|
|
|
ANDERSON glances down at her bike-nav screen. Waypoint
|
|
markers are flashing all across the sector map.
|
|
|
|
ANDERSON
|
|
Peach Trees, multiple homicide.
|
|
|
|
DREDD lifts his left hand - which has his radio integrated
|
|
into the glove.
|
|
|
|
DREDD
|
|
(into radio)
|
|
Dredd responding to Peach Tree
|
|
homicides. On our way.
|
|
|
|
|
|
57 EXT. MEGA CITY ONE/ROAD - DAY 57
|
|
|
|
DREDD and ANDERSON ride their bikes towards Peach Trees.
|
|
|
|
|
|
58 EXT. PEACH TREE BLOCK - DAY 58
|
|
17.
|
|
|
|
|
|
DREDD and ANDERSON walk into the south entrance of Peach
|
|
Trees.
|
|
|
|
Above them, against the background of grey and black
|
|
concrete slab, a bright hologram of a cartoonish peach tree
|
|
flickers like a neon strip-light with a bad connection.
|
|
|
|
Sat against one side of the entrance is a HOMELESS MAN.
|
|
|
|
In front of him is a handwritten sign on cardboard.
|
|
|
|
It reads:
|
|
|
|
HOMELESS JUNKIE.
|
|
|
|
WILL DEBASE SELF FOR CREDITS.
|
|
|
|
As DREDD and ANDERSON pass him:
|
|
|
|
DREDD
|
|
Anderson.
|
|
|
|
ANDERSON
|
|
Vagrancy, three weeks, iso cubes.
|
|
But prioritize murders.
|
|
|
|
DREDD
|
|
Correct.
|
|
(to the Homeless Man)
|
|
Don't be here when we come back.
|
|
|
|
|
|
59 INT. PEACH TREE ATRIUM - DAY 59
|
|
|
|
DREDD and ANDERSON enter the busy atrium.
|
|
|
|
DREDD
|
|
Tell me about Peach Trees.
|
|
|
|
ANDERSON
|
|
Sir. Houses seventy five thousand
|
|
registered citizens. Actual
|
|
population rate probably closer to
|
|
one hundred thousand. Highest crime
|
|
rate in Sector Thirteen.
|
|
Unemployment rate at ninety six
|
|
percent. More than half of the
|
|
residential levels are classed as
|
|
slums.
|
|
|
|
DREDD
|
|
Why do you want to be a judge,
|
|
Anderson?
|
|
18.
|
|
|
|
|
|
ANDERSON is thrown momentarily by the non-sequitur.
|
|
|
|
ANDERSON
|
|
... Sir. I want to serve the city.
|
|
Make a difference.
|
|
|
|
DREDD
|
|
Make a difference to a block like
|
|
this?
|
|
|
|
ANDERSON
|
|
I was born and raised in a block
|
|
like this. Until the Justice
|
|
Department took me. I know there
|
|
are good people inside. Good
|
|
families. Just trying to get by.
|
|
|
|
Beat.
|
|
|
|
ANDERSON
|
|
Yes. I think I can make a
|
|
difference.
|
|
|
|
DREDD glances upwards.
|
|
|
|
Above the bustle of the atrium floor, the ringed balconies
|
|
of the atrium stretch up into shade and darkness. At the
|
|
very top is a small circle of reddish sky.
|
|
|
|
It's like looking into a pit, with a pool of blood at the
|
|
bottom.
|
|
|
|
DREDD
|
|
(flat)
|
|
Admirable.
|
|
|
|
|
|
60 INT. PEACH TREE ATRIUM/CRIME SCENE - CONTINUOUS 60
|
|
|
|
DREDD and ANDERSON push past a taped cordon.
|
|
|
|
Behind the cordon, a PARAMEDIC is erecting a tent screen to
|
|
shield the sight of the bodies from the gathering crowd,
|
|
and the onlookers who are looking down from the ringed
|
|
balconies.
|
|
|
|
DREDD
|
|
(to Paramedic)
|
|
What have you got?
|
|
|
|
PARAMEDIC
|
|
Three stiffs in a somewhat fucked-
|
|
up condition.
|
|
19.
|
|
|
|
|
|
The PARAMEDIC pulls open the tent screen to allow DREDD and
|
|
ANDERSON through.
|
|
|
|
The bodies are the three men we saw with KAY.
|
|
|
|
They have fallen from a great enough height to crack the
|
|
tiles on which they landed.
|
|
|
|
From the neck down and waist up, they have been skinned.
|
|
|
|
DREDD
|
|
You're based in Peach Trees?
|
|
|
|
PARAMEDIC
|
|
Med center on level twenty five.
|
|
|
|
DREDD
|
|
Have you ID'd them?
|
|
|
|
PARAMEDIC
|
|
Mostly. That one is registered to
|
|
this block. And that one is
|
|
registered to Block Sternhammer.
|
|
|
|
DREDD
|
|
(gesturing to the last)
|
|
And him?
|
|
|
|
The PARAMEDIC shrugs.
|
|
|
|
CLOSE UP on the man's severely crushed head.
|
|
|
|
PARAMEDIC
|
|
I'll have to run his blood through
|
|
the DNA profiler. If I can figure
|
|
out which blood is his.
|
|
|
|
DREDD kneels down to take a closer look at the nearest
|
|
body.
|
|
|
|
Inside the man's open mouth is a white, dust-like marking.
|
|
|
|
DREDD
|
|
Anderson. What do you make of this?
|
|
|
|
ANDERSON
|
|
... I don't know, sir.
|
|
|
|
DREDD
|
|
It's a cold-burn from a slo-mo
|
|
inhaler.
|
|
20.
|
|
|
|
|
|
ANDERSON
|
|
Slo-mo?
|
|
|
|
PARAMEDIC
|
|
A new narcotic. Only just hit the
|
|
grid, but it's making big waves.
|
|
Makes the brain feel as if time is
|
|
passing at one percent its normal
|
|
speed.
|
|
|
|
ANDERSON looks up to the height from which the men dropped.
|
|
|
|
FLASH CUT TO -
|
|
|
|
- a image of one of the men falling, screaming, in extreme
|
|
slow motion, leaving a trail of suspended blood droplets
|
|
from his flayed torso.
|
|
|
|
CUT BACK TO:
|
|
|
|
- ANDERSON, shuddering.
|
|
|
|
The PARAMEDIC is also gazing upwards, obviously having much
|
|
the same thought.
|
|
|
|
PARAMEDIC
|
|
Must have felt like a long way
|
|
down.
|
|
|
|
|
|
63 INT. CONTROL - DAY 63
|
|
|
|
In CONTROL, where rows of men and women sit in front of
|
|
banks of monitors, operating the huge communication center
|
|
within the Hall Of Justice ...
|
|
|
|
... we find a screen, on which the faces of murdered men
|
|
are appearing.
|
|
|
|
The CONTROL OPERATOR manning this monitor speaks into his
|
|
mike.
|
|
|
|
CONTROL OPERATOR
|
|
Positive on your IDs. All show
|
|
convictions for possession of
|
|
narcotics.
|
|
|
|
CLOSE ON MONITOR SCREEN.
|
|
|
|
CONTROL OPERATOR
|
|
Transmitting data now,
|
|
21.
|
|
|
|
|
|
67 INT. PEACH TREE ATRIUM/CRIME SCENE - CONTINUOUS 67
|
|
|
|
PULL BACK from the image on the monitor screen, to reveal
|
|
we are now seeing it on DREDD'S FDA.
|
|
|
|
DREDD
|
|
Small-time perps. Junkies. No known
|
|
gang affiliation. What's your
|
|
assessment, Anderson?
|
|
|
|
ANDERSON
|
|
Drugged. Skinned. Dumped in the
|
|
most public place you could find.
|
|
It has to be a punishment killing.
|
|
A message.
|
|
|
|
Above them, the balconies of the atrium are ringed with
|
|
people looking down.
|
|
|
|
PARAMEDIC
|
|
Yeah. Don't fuck with the Ma-Ma
|
|
Clan.
|
|
|
|
ON DREDD. Turning.
|
|
|
|
DREDD
|
|
Who?
|
|
|
|
|
|
71 INT. MEDICAL CENTER - DAY 71
|
|
|
|
In the twenty fifth floor medical center, DREDD and
|
|
ANDERSON are looking at a holographic display, on which we
|
|
can see a rotating 3D MUGSHOT of MA-MA, and her medical
|
|
records.
|
|
|
|
In the background, the PARAMEDIC closes the medical
|
|
center's heavy security door, while he provides a brief bio
|
|
of MA-MA.
|
|
|
|
PARAMEDIC
|
|
We have her on record days. The
|
|
picture's pretty old, but - yeah.
|
|
That's her. Madeline Madrigal, AKA
|
|
Ma-Ma. Ex-hooker from the S-Nine
|
|
pleasure district. Quit working
|
|
after she got sliced up by a pimp.
|
|
But she got her own back. Block
|
|
legend says she feminized the guy
|
|
with her teeth. Then took over his
|
|
business interests, and never
|
|
looked back.
|
|
22.
|
|
|
|
|
|
The PARAMEDIC sucks his teeth.
|
|
|
|
PARAMEDIC
|
|
Anyone else, you'd say it was
|
|
bullshit. But not with Ma-Ma. Her
|
|
trademark is violence. Takes it
|
|
further and harder than anyone
|
|
else. I've been in Peach Trees
|
|
fifteen years. Used to be there
|
|
were nine or ten different gangs,
|
|
hustling for control. Now there's
|
|
just one.
|
|
|
|
ANDERSON
|
|
How did she get away with it?
|
|
|
|
PARAMEDIC
|
|
You know how often we get a Judge
|
|
in Peach Trees?
|
|
|
|
DREDD
|
|
You've got one now.
|
|
|
|
DREDD hits a console button, and the holographic display
|
|
changes to a map of Peach Trees.
|
|
|
|
DREDD
|
|
The victims were registered to
|
|
apartments on level thirty nine.
|
|
Likely killed over a turf issue, so
|
|
we'll find their killers in the
|
|
same vicinity.
|
|
(to Anderson)
|
|
Anderson. Next move.
|
|
|
|
ANDERSON
|
|
Locate where the Clan work out of
|
|
on this level, and hit it hard.
|
|
|
|
The PARAMEDIC lights up an area of the map.
|
|
|
|
PARAMEDIC
|
|
That would be here.
|
|
|
|
CUT TO:
|
|
|
|
|
|
74 INT. METAL DOOR - DAY 74
|
|
|
|
- a viewing hatch sliding open, in a metal door.
|
|
|
|
Crowded into the other side of the viewing hatch, we see
|
|
the faces of the two JUNKIES.
|
|
23.
|
|
|
|
|
|
One of them holds up credits.
|
|
|
|
The door is opened.
|
|
|
|
|
|
75 INT. SLO MO DEN - CONTINUOUS 75
|
|
|
|
The JUNKIES enter an apartment.
|
|
|
|
A squalid shit-hole. In our day and age, it would be a
|
|
crystal meth or crack-den, with piss-stained mattresses,
|
|
schizoid graffiti on the walls, and crushed glass pipes on
|
|
the floor.
|
|
|
|
But this is a slo-mo den. Much the same, but instead of
|
|
crushed crack pipes on the floor, it's empty inhalers.
|
|
|
|
The man by the door is SY, holding a shotgun.
|
|
|
|
Sat on an armchair, with a pistol on his lap, is KAY.
|
|
|
|
Our two JUNKIES score off KAY, swapping credits for
|
|
inhalers.
|
|
|
|
CUT TO:
|
|
|
|
|
|
76 INT. LEVEL THIRTY NINE - CORRIDOR - CONTINUOUS 76
|
|
|
|
- outside the apartment.
|
|
|
|
DREDD and ANDERSON, taking position either side of the
|
|
metal door.
|
|
|
|
Weapons drawn.
|
|
|
|
We can see ANDERSON'S nerves.
|
|
|
|
The door opposite them opens - and a KID peers out of the
|
|
crack. ANDERSON gestures for the kid to go back inside. The
|
|
door closes.
|
|
|
|
DREDD
|
|
Take it this is your first time in
|
|
non-simulator combat.
|
|
|
|
ANDERSON
|
|
Yes sir.
|
|
|
|
DREDD
|
|
Been wondering when you'd remember
|
|
you left your helmet at base.
|
|
24.
|
|
|
|
|
|
ANDERSON
|
|
Sir - a helmet interferes with my
|
|
psychic abilities.
|
|
|
|
DREDD
|
|
Think a bullet might interfere with
|
|
them more.
|
|
|
|
CUT BACK TO:
|
|
|
|
|
|
78 INT. SLO MO DEN - CONTINUOUS 78
|
|
|
|
- the JUNKIES.
|
|
|
|
They find a space in a corner of the room, beside two
|
|
people who are mechanically screwing on a filthy mattress.
|
|
|
|
Then put the inhalers in their mouths. Take a long hit.
|
|
|
|
CUT TO:
|
|
|
|
|
|
79 INT. LEVEL THIRTY NINE - CORRIDOR - CONTINUOUS 79
|
|
|
|
- DREDD, pulling a plasti-charge out of his utility belt.
|
|
|
|
He fixes the plasti-charge to the door.
|
|
|
|
DREDD
|
|
Ready?
|
|
|
|
ANDERSON nods.
|
|
|
|
DREDD notices -
|
|
|
|
- glitter of sweat on ANDERSON'S face. The slight tremble
|
|
in her hands.
|
|
|
|
DREDD
|
|
You don't look ready.
|
|
|
|
ANDERSON tightens her grip around her gun to stop the
|
|
shake.
|
|
|
|
ANDERSON
|
|
Just adrenaline, sir.
|
|
|
|
CUT BACK TO:
|
|
|
|
|
|
80 INT. SLO MO DEN - CONTINUOUS 80
|
|
25.
|
|
|
|
|
|
- our JUNKIES. In the grip of the drug.
|
|
|
|
And we're with it too.
|
|
|
|
Everything slow.
|
|
|
|
Not just slow - ultra slow.
|
|
|
|
All movements. Facial expressions. Blinking eyes.
|
|
|
|
And we discover why people take the SLO MO - as grim
|
|
reality is transformed into something lyrical.
|
|
|
|
From sordid to oddly beautiful. Fascinating and hypnotic.
|
|
|
|
Even the couple screwing on the floor.
|
|
|
|
Then -
|
|
|
|
- what was fascinating and hypnotic
|
|
|
|
- becomes slightly confusing.
|
|
|
|
Because the heavy door of the slo-mo den is very gradually
|
|
starting to expand.
|
|
|
|
To bulge.
|
|
|
|
And in front of the bulge, a shock wave of air is starting
|
|
to form.
|
|
|
|
And contacting the guard, SY, who stands just behind it.
|
|
|
|
Lifting him delicately off his feet.
|
|
|
|
And now around the edges of the door, we can see a white
|
|
and yellow brightness.
|
|
|
|
Which becomes a blossoming explosion of flame.
|
|
|
|
Until the door, and SY, are flying backwards across the
|
|
room.
|
|
|
|
SLOW CUTS BETWEEN -
|
|
|
|
JUNKIES hunching.
|
|
|
|
Faces morphing into expressions of fear and surprise.
|
|
|
|
Hands reaching for guns.
|
|
|
|
DREDD coming through the door.
|
|
26.
|
|
|
|
|
|
Followed by ANDERSON.
|
|
|
|
Now gunplay, gracefully erupting.
|
|
|
|
Bullets rifling through the air.
|
|
|
|
Punching through plaster work.
|
|
|
|
Drilling through chests, leaving trails of hanging blood.
|
|
|
|
Drilling into the head of a clan member, creating a spiral
|
|
of flesh as it enters.
|
|
|
|
Smoke and dust unfurls.
|
|
|
|
Until it blinds us.
|
|
|
|
|
|
81 INT. SLO-MO DEN - CONTINUOUS 81
|
|
|
|
As the smoke and dust clears, it allows us to return
|
|
seamlessly to normal speed.
|
|
|
|
DREDD and ANDERSON stand surrounded by the corpses of gang
|
|
members and those junkies who were foolish enough to reach
|
|
for their guns.
|
|
|
|
The survivors crouch or stand with arms raised, dazed with
|
|
narcotics and fear, with the guns of the two judges trained
|
|
on them.
|
|
|
|
ANDERSON is breathing fast. Still charged with adrenaline.
|
|
|
|
DREDD
|
|
Anderson. Judgement.
|
|
|
|
ANDERSON gathers her wits.
|
|
|
|
ANDERSON
|
|
Crime: possession and use of
|
|
controlled substances. Sentence:
|
|
two years in the iso-cubes.
|
|
|
|
DREDD
|
|
Don't tell me. Tell Control.
|
|
|
|
ANDERSON
|
|
Sir.
|
|
(into radio)
|
|
27.
|
|
|
|
|
|
Anderson to Control. Requesting
|
|
meat wagon to Peach Trees. We've
|
|
got six bodies for Resyk and seven
|
|
live for the iso-cubes.
|
|
|
|
CONTROL
|
|
(over radio)
|
|
Copy that. Meat Wagon inbound.
|
|
|
|
DREDD nods.
|
|
|
|
DREDD
|
|
Let's get them cuffed.
|
|
|
|
|
|
82 INT. SLO-MO DEN - CONTINUOUS 82
|
|
|
|
The perps are lined up and being cuffed.
|
|
|
|
One of them winces as DREDD pulls the plasti-cuffs
|
|
mercilessly tight around his wrists.
|
|
|
|
ANDERSON is cuffing another man -
|
|
|
|
- but hesitates as she sees the distinctive Ma-Ma tattoo on
|
|
the side of his neck.
|
|
|
|
ANDERSON
|
|
Sir, this one is a gang member. He
|
|
-
|
|
|
|
ANDERSON breaks off. Frowning.
|
|
|
|
Then she turns the man round, revealing -
|
|
|
|
- KAY.
|
|
|
|
They gaze at each other for a couple of beats.
|
|
|
|
Then:
|
|
|
|
ANDERSON
|
|
Sir. It's him.
|
|
|
|
DREDD
|
|
It's who?
|
|
|
|
ANDERSON
|
|
The man who murdered the people in
|
|
the atrium.
|
|
28.
|
|
|
|
|
|
KAY'S eyes narrow fractionally. Internally, he's wondering
|
|
how she could know this information, but he's far too
|
|
practiced with being on the wrong side of the law to give
|
|
anything away.
|
|
|
|
DREDD
|
|
You're sure.
|
|
|
|
ANDERSON
|
|
Ninety nine percent.
|
|
|
|
DREDD
|
|
Can't execute a perp on ninety nine
|
|
percent.
|
|
|
|
DREDD steps over to KAY. Stares him down.
|
|
|
|
DREDD
|
|
Save a lot of paperwork if you
|
|
confessed right now.
|
|
|
|
KAY says nothing. And clearly isn't going to.
|
|
|
|
DREDD nods.
|
|
|
|
DREDD
|
|
(to Anderson)
|
|
Finish securing him. We'll take him
|
|
in. See how he holds up after a few
|
|
hours of interrogation.
|
|
|
|
As ANDERSON turns to KAY again, KAY'S eyes look up to the
|
|
corner of the room.
|
|
|
|
We ZOOM ON the place where KAY is looking, and find -
|
|
|
|
- a PINHOLE.
|
|
|
|
And through the pinhole, the glint of a lens.
|
|
|
|
CUT TO:
|
|
|
|
This scene, viewed from the hidden CCTV camera in the
|
|
corner of the room.
|
|
|
|
PULL BACK TO REVEAL:
|
|
|
|
|
|
84 INT. MA-MA'S BASE/CCTV ROOM - CONTINUOUS 84
|
|
|
|
- a monitor, showing the image of KAY'S arrest by DREDD and
|
|
ANDERSON.
|
|
29.
|
|
|
|
|
|
Next to the monitor, a red alarm light is blinking.
|
|
|
|
PULL BACK to reveal more monitors, showing various views
|
|
around Peach Trees.
|
|
|
|
This is the CCTV ROOM: the technological hub of MA-MA'S
|
|
operation, at the heart of her base, overlooking the atrium
|
|
from the top floor.
|
|
|
|
Supervising the monitors is the CLAN TECHIE.
|
|
|
|
Twenty years old.
|
|
|
|
Hunted, undernourished, nervy: a dog who's been kicked too
|
|
many times. And he's got no eyes.
|
|
|
|
Instead, attached and implanted to his face are large,
|
|
bulbous robotic eye implants. Like a chameleon lizard, each
|
|
eye implant can move independently of the other.
|
|
|
|
And what these robotic eyes are focused on is making him
|
|
worried.
|
|
|
|
CLAN TECHIE
|
|
Oh shit.
|
|
|
|
He reaches for a radio.
|
|
|
|
CLAN TECHIE
|
|
(into radio)
|
|
Uh, Caleb? I'm sorry to - no, I
|
|
know. Yes, but - I think there's a
|
|
problem on level thirty nine.
|
|
|
|
CUT TO:
|
|
|
|
|
|
88 INT. MA MA'S PENTHOUSE/ENTRANCE HALL - DAY 88
|
|
|
|
- an extreme CLOSE UP on MA-MA'S FACE.
|
|
|
|
Her cheeks are rippling weirdly, and slowly.
|
|
|
|
REVEAL -
|
|
|
|
- compressed gas from a SLO-MO INHALOR is jetting into her
|
|
mouth.
|
|
|
|
CUT TO:
|
|
|
|
- NORMAL TIME.
|
|
30.
|
|
|
|
|
|
CALEB enters the room.
|
|
|
|
Reveal MA-MA'S penthouse surroundings. It's a weird mix of
|
|
squalor and crass luxury. A Dolce and Gabbana crack den.
|
|
Gold fittings, rococo design, holes in walls, wires
|
|
trailing from empty light fittings. The artwork on the
|
|
walls is softcore porn, in florid frames, much of it
|
|
featuring MA-MA herself.
|
|
|
|
Sees MA-MA, sprawled on day-bed, inhalor in mouth.
|
|
|
|
Behind her, her two BODYGUARDS, like statues.
|
|
|
|
CALEB
|
|
Ma.
|
|
|
|
Long beat.
|
|
|
|
Vapour curling out of MA-MA'S mouth.
|
|
|
|
The beat continues.
|
|
|
|
MA-MA frozen.
|
|
|
|
Then the drug rush fades.
|
|
|
|
MA-MA focuses. Turns to CALEB.
|
|
|
|
MA-MA
|
|
What?
|
|
|
|
CALEB
|
|
We've got trouble.
|
|
|
|
|
|
90 INT. MA-MA'S BASE/CORRIDOR - CONTINUOUS 90
|
|
|
|
MA-MA and CALEB walk and talk, en route to the CCTV room,
|
|
followed by the BODYGUARDS
|
|
|
|
CALEB
|
|
The judges hit the distribution
|
|
point on level thirty nine. Shot
|
|
the place up. Took out a few of the
|
|
boys.
|
|
|
|
MA-MA
|
|
(unfazed)
|
|
So what? We're overdue a bust. The
|
|
law's just showing their faces.
|
|
Reminding the citizens they exist.
|
|
31.
|
|
|
|
|
|
CALEB
|
|
No. Ma - they picked up Kay.
|
|
|
|
MA-MA reacts.
|
|
|
|
MA-MA
|
|
Executed?
|
|
|
|
CALEB
|
|
Interrogation.
|
|
|
|
This stops MA-MA in her tracks.
|
|
|
|
MA-MA
|
|
What?
|
|
|
|
CALEB
|
|
He's cuffed and they're taking him
|
|
in. Right now.
|
|
|
|
Beat.
|
|
|
|
MA-MA
|
|
Fuck.
|
|
|
|
CALEB
|
|
If Kay talks -
|
|
|
|
MA-MA
|
|
If they're taking him in, he'll
|
|
talk.
|
|
|
|
Beat.
|
|
|
|
CALEB
|
|
What are we going to do?
|
|
|
|
MA-MA glazes a moment.
|
|
|
|
Thinking.
|
|
|
|
CUT TO:
|
|
|
|
|
|
91 INT. LIFT - DAY 91
|
|
|
|
- DREDD, ANDERSON and KAY, riding the lift to the ground
|
|
floor in silence.
|
|
|
|
As the lift descends -
|
|
|
|
- KAY is looking straight ahead at the doors ...
|
|
32.
|
|
|
|
|
|
.. in which he can see himself, and DREDD and ANDERSON
|
|
reflected.
|
|
|
|
KAY shifts his position very slightly.
|
|
|
|
DREDD'S head tilts fractionally.
|
|
|
|
ANDERSON
|
|
Sir - he's thinking about making a
|
|
move for your gun.
|
|
|
|
DREDD
|
|
I know.
|
|
|
|
KAY shoots a glance back at ANDERSON.
|
|
|
|
ANDERSON
|
|
He just changed his mind.
|
|
|
|
DREDD
|
|
Yeah.
|
|
|
|
The lift continues descending in silence.
|
|
|
|
|
|
93 INT. PEACH TREE CONTROL ROOM - DAY 93
|
|
|
|
The control room of Peach Trees.
|
|
|
|
Banks of screens.
|
|
|
|
Many of them down, broadcasting static or blacked out.
|
|
|
|
Others showing water and electricity levels.
|
|
|
|
Power levels.
|
|
|
|
Refuse collection times.
|
|
|
|
Engineering schematics.
|
|
|
|
Manning the control room, four TECHNICIANS, playing cards.
|
|
|
|
Looking round in surprise as the door to the control room
|
|
is kicked open -
|
|
|
|
- and CALEB, plus four other clan members pile in.
|
|
|
|
A vicious burst of gunfire, and the TECHNICIANS in the
|
|
control room are cut down.
|
|
|
|
CALEB lifts a two-way.
|
|
33.
|
|
|
|
|
|
CALEB
|
|
(into two-way)
|
|
Control room is secure.
|
|
|
|
CALEB walks over to the central console, and pulls out a
|
|
small router, and plugs it in.
|
|
|
|
CALEB
|
|
(into two-way)
|
|
Router's in. You're good to go.
|
|
|
|
CUT TO:
|
|
|
|
|
|
94 INT. MA-MA'S BASE/CCTV ROOM - CONTINUOUS 94
|
|
|
|
- the CLAN TECHIE, sitting in front of the bank of monitors
|
|
and assorted hardware.
|
|
|
|
MA-MA and her BODYGUARDS stand behind him.
|
|
|
|
MA-MA leans down to the CLAN TECHIE. Puts a slab hand on
|
|
his shoulder. Makes him hunch instinctively.
|
|
|
|
MA-MA
|
|
What am I going to do to you if you
|
|
don't pull this off?
|
|
|
|
The TECHIE swallows.
|
|
|
|
CLAN TECHIE
|
|
Don't know.
|
|
(beat)
|
|
Shoot me?
|
|
|
|
MA-MA
|
|
Worse.
|
|
|
|
CLAN TECHIE
|
|
(small voice)
|
|
Probably cut out my insides or
|
|
something.
|
|
|
|
MA-MA
|
|
Yeah. That.
|
|
|
|
The CLAN TECHIE takes a moment.
|
|
|
|
Then starts tapping commands into his keyboard.
|
|
|
|
We hear a phone ring over speaker phone.
|
|
34.
|
|
|
|
|
|
Then a voice picks up.
|
|
|
|
SECTOR CONTROL
|
|
(over speaker)
|
|
Sector Control.
|
|
|
|
The CLAN TECHIE forces his voice to sound casual.
|
|
|
|
CLAN TECHIE
|
|
Sector Control, this is Peach Trees
|
|
Control. Just want to check you
|
|
were notified about the def-con
|
|
systems test today.
|
|
|
|
SECTOR CONTROL
|
|
(over speaker)
|
|
Copy that. Uh ...
|
|
(beat)
|
|
Peach Trees, we don't have you down
|
|
for a def-con test.
|
|
|
|
CLAN TECHIE
|
|
We must be. Check the
|
|
|
|
SECTOR CONTROL
|
|
(over speaker)
|
|
Nope. I've got nothing.
|
|
|
|
The CLAN TECHIE injects heat into his voice.
|
|
|
|
CLAN TECHIE
|
|
God-fucking-dammit, Sector! I put
|
|
in the notification myself, three
|
|
fucking times! We're set to go
|
|
right now! I've got my supervisor
|
|
breathing down my neck and -
|
|
|
|
SECTOR CONTROL
|
|
(cuts in, over speaker)
|
|
Hold fire, Peach Trees. Let me get
|
|
this.
|
|
|
|
ON
|
|
(beat)
|
|
Okay. I put you on the system. Hall
|
|
of Justice and all emergency
|
|
services are notified to ignore
|
|
your status. Run the test anytime
|
|
you like.
|
|
|
|
The CLAN TECHIE'S relief is genuine.
|
|
|
|
CLAN TECHIE
|
|
35.
|
|
|
|
|
|
Appreciate that, Sector. You're
|
|
saved my ass over here.
|
|
|
|
SECTOR CONTROL
|
|
(over speaker)
|
|
You're welcome, Peach Trees.
|
|
|
|
MA-MA nods her approval.
|
|
|
|
On his console, the CLAN TECHIE hits the RETURN KEY.
|
|
|
|
CUT TO:
|
|
|
|
|
|
95 INT. PEACH TREE CONTROL ROOM - CONTINUOUS 95
|
|
|
|
a blood-sprayed monitor in the control room, with the body
|
|
of a TECHNICIAN sprawled in front of it.
|
|
|
|
CALEB hauls the body of the man off.
|
|
|
|
On the bloody monitor, a command screen appears, headed:
|
|
|
|
DEF CON EMERGENCY PROTOCOLS
|
|
|
|
The command prompt moves down the screen.
|
|
|
|
Highlighting, in turn -
|
|
|
|
FIRE
|
|
|
|
BOMB
|
|
|
|
RIOT
|
|
|
|
CHEMICAL
|
|
|
|
And finally ending on -
|
|
|
|
NUCLEAR WAR
|
|
|
|
On NUCLEAR WAR, the command prompt stops.
|
|
|
|
Off camera, we hear a tap.
|
|
|
|
And a moment later, a message box appears on the screen.
|
|
|
|
PROTOCOL INITIATED
|
|
|
|
|
|
101 INT. PEACH TREE BLOCK/ENTRANCE - CONTINUOUS 101
|
|
36.
|
|
|
|
|
|
DREDD and ANDERSON walk KAY towards the South entrance.
|
|
|
|
The HOMELESS MAN is still there, sat in the doorway.
|
|
|
|
DREDD
|
|
Warned you. Get up. You're headed
|
|
for the cubes.
|
|
|
|
DREDD is interrupted by a SIREN, which abruptly starts
|
|
sounding.
|
|
|
|
AS DREDD LOOKS ROUND, CUT TO:
|
|
|
|
|
|
102 EXT. PEACH TREE BLOCK - CONTINUOUS 102
|
|
|
|
- the outside of the block.
|
|
|
|
Moving down as, over every window we pass ...
|
|
|
|
.. A LEAD-LINED SHUTTER suddenly slams down.
|
|
|
|
|
|
104 EXT. PEACH TREE BLOCK/SKATEPARK - CONTINUOUS 104
|
|
|
|
In the SKATEPARK bolted on to the side of Peach Trees, the
|
|
shutter comes down, trapping the SKATERS outside.
|
|
|
|
SKATER 1
|
|
What the fuck?
|
|
|
|
SKATER 2 pointlessly bangs his fist against the slab of
|
|
metal.
|
|
|
|
SKATER 2
|
|
Hey! What's going on? Open up!
|
|
|
|
|
|
105 INT. PEACH TREE BLOCK/ENTRANCE - CONTINUOUS 105
|
|
|
|
At the south entrance, just ahead of where DREDD, ANDERSON
|
|
and KAY are standing, a two-metre thick blast door slams
|
|
down with incredible speed.
|
|
|
|
The HOMELESS MAN, unlucky enough to be directly beneath it,
|
|
is crushed as it drops.
|
|
|
|
One half of his bisected body remains on the inside.
|
|
|
|
|
|
106 EXT. PEACH TREE BLOCK/ATRIUM ROOF - CONTINUOUS 106
|
|
37.
|
|
|
|
|
|
At the top of the atrium, two massive metal shutters are
|
|
closing, blocking out the light from the sky above.
|
|
|
|
|
|
107 INT. MA-MA'S BASE/CCTV ROOM - CONTINUOUS 107
|
|
|
|
The CLAN TECHIE hands MA-MA a handset.
|
|
|
|
CLAN TECHIE
|
|
You're patched in.
|
|
|
|
|
|
107A INT. PEACH TREE ATRIUM - CONTINUOUS 107A
|
|
|
|
DREDD, ANDERSON and KAY have returned to the atrium.
|
|
|
|
Across the atrium floor, as the roof shutters close, twin
|
|
shadows are moving across the floor.
|
|
|
|
DREDD, ANDERSON and KAY stand in the middle of the
|
|
narrowing band of light.
|
|
|
|
All around them, people react with confusion and panic.
|
|
|
|
ANDERSON
|
|
What's going on?
|
|
|
|
DREDD
|
|
I don't know.
|
|
|
|
But KAY seems to have an idea.
|
|
|
|
He says nothing, but the barest smile appears on the corner
|
|
of his lips ...
|
|
|
|
... as the roof shutters finally connect, and slam shut.
|
|
|
|
And the narrowing band of light winks out.
|
|
|
|
And the siren suddenly stops.
|
|
|
|
A moment of silence.
|
|
|
|
The whole building is now in a twilight of emergency
|
|
lighting.
|
|
|
|
Then a sudden FEEDBACK WHINE comes over the block-wide
|
|
TANOY.
|
|
|
|
Piercing. Rising fast to a deafening level, which echoes
|
|
around the atrium, making people jam their hands over their
|
|
ears ...
|
|
38.
|
|
|
|
|
|
... until it abruptly cuts out.
|
|
|
|
And MA-MA'S voice comes in.
|
|
|
|
MA-MA
|
|
Peach Trees. This is Ma-Ma.
|
|
|
|
The statement hangs a moment. Everywhere, everyone is
|
|
frozen.
|
|
|
|
MA-MA
|
|
Somewhere in this block are two
|
|
judges. I want them dead. And until
|
|
I get what I want, the block is
|
|
locked down.
|
|
|
|
As she talks, we move around the atrium. Seeing the
|
|
confusion and fear on people faces.
|
|
|
|
MA-MA
|
|
All Clan, every level, hunt the
|
|
judges down. Everyone else, clear
|
|
the corridors and stay the fuck out
|
|
of our way until the shooting
|
|
stops. If I hear about anyone
|
|
helping the judges, I'll kill them
|
|
and the next generation of their
|
|
family.
|
|
|
|
She pauses a moment, to make sure the point is rammed home.
|
|
Then:
|
|
|
|
MA-MA
|
|
As for the judges, sit tight, or
|
|
run. Makes no difference. You're
|
|
mine.
|
|
|
|
The Tanoy cuts out.
|
|
|
|
Now, all across the balconies, above and below, and from
|
|
the atrium floor, everyone single person is looking at
|
|
DREDD and ANDERSON.
|
|
|
|
A beat.
|
|
|
|
Then:
|
|
|
|
DREDD
|
|
... We'd better move.
|
|
|
|
|
|
108 INT. CORRIDOR - CONTINUOUS 108
|
|
39.
|
|
|
|
|
|
DREDD and ANDERSON move down a corridor, dragging KAY
|
|
behind.
|
|
|
|
DREDD is talking into his radio.
|
|
|
|
DREDD
|
|
Control, we have a situation
|
|
developing in Peach Trees. Request
|
|
immediate back-up.
|
|
|
|
He gets only static back.
|
|
|
|
DREDD
|
|
Control. Do you copy?
|
|
|
|
Static.
|
|
|
|
ANDERSON
|
|
(nervous)
|
|
My comms are down too.
|
|
|
|
DREDD
|
|
The shielding transmissions must be
|
|
blocking our transmissions.
|
|
|
|
As he says this, they turn a corner.
|
|
|
|
Directly ahead is a posse of four CLAN, all armed.
|
|
|
|
CLAN MEMBER
|
|
(shouts)
|
|
THEY'RE HERE!
|
|
|
|
As DREDD, ANDERSON and KAY duck back behind the corridor,
|
|
the CLAN open fire.
|
|
|
|
As the plasterwork around the corner erupts -
|
|
|
|
DREDD
|
|
Anderson. Call it.
|
|
|
|
ANDERSON
|
|
... Sir?
|
|
|
|
DREDD
|
|
You forgotten you're on assessment?
|
|
|
|
A volley of shots almost destroys the corner they are
|
|
hiding behind.
|
|
|
|
ANDERSON
|
|
(flustered)
|
|
40.
|
|
|
|
|
|
Sir - multiple armed targets.
|
|
Minimal risk of collateral. Rapid
|
|
fire.
|
|
|
|
DREDD
|
|
Rapid fire.
|
|
|
|
On Dredd's command, a setting on DREDD'S gun changes.
|
|
|
|
He spins back around the corner, and opens up.
|
|
|
|
Rapid fire rounds rip through the air and punch into the
|
|
CLAN, mowing them down.
|
|
|
|
DREDD
|
|
We'll head back for the med center.
|
|
This way.
|
|
|
|
They take a side door into a stairwell.
|
|
|
|
|
|
109 INT. STAIRWELL - CONTINUOUS 109
|
|
|
|
In the stairwell, DREDD looks up.
|
|
|
|
CLAN are coming from above.
|
|
|
|
DREDD looks down.
|
|
|
|
CLAN are coming from below.
|
|
|
|
DREDD
|
|
Respirators.
|
|
|
|
DREDD and ANDERSON pull respirators from their belts.
|
|
|
|
DREDD
|
|
(to Kay)
|
|
Advise you hold your breath.
|
|
|
|
From his utility belt, DREDD pulls out two grenades.
|
|
|
|
He primes them and throws them. One up. One down.
|
|
|
|
Gas plumes behind them as they arc through the air.
|
|
|
|
|
|
110 INT. STAIRWELL - CONTINUOUS 110
|
|
|
|
As DREDD and ANDERSON fight their way through the gas
|
|
cloud, and the choking, vomiting CLAN ...
|
|
41.
|
|
|
|
|
|
... CUT TO -
|
|
|
|
|
|
111 INT. JAPHET'S APARTMENT - CONTINUOUS 111
|
|
|
|
A man, JAPHET, with CLAN tattoos, is pulling apart his
|
|
kitchen.
|
|
|
|
He has a BERETTA 9mm stuffed into the back of his trousers.
|
|
|
|
JAPHET
|
|
Shit, shit, shit.
|
|
|
|
He finds a box of bullets in the back of a drawer.
|
|
|
|
Checks it. There are three rounds inside.
|
|
|
|
JAPHET
|
|
Three fucking rounds! Is that all
|
|
we've got?
|
|
|
|
JJAPHET takes out the clip and starts sliding in the
|
|
rounds.
|
|
|
|
His fingers are shaking.
|
|
|
|
His WIFE, watching from the kitchen doorway, holding a
|
|
horrified young baby, is watching,
|
|
|
|
JAPHET'S WIFE
|
|
You're going to take on two judges
|
|
with an antique gun and three
|
|
bullets?
|
|
|
|
JAPHET
|
|
They probably aren't even on your
|
|
level.
|
|
|
|
JAPHET'S WIFE
|
|
Then just stay in here! Let the
|
|
others get them!
|
|
|
|
JAPHET slides the clip home.
|
|
|
|
JAPHET'S WIFE
|
|
Please, Japhet!
|
|
|
|
JAPHET
|
|
What the fuck do you want me to do?
|
|
Call Ma-Ma and ask if I can sit
|
|
this one out? I'd be better off
|
|
fighting the judges.
|
|
42.
|
|
|
|
|
|
JAPHET pushes past his wife.
|
|
|
|
Then turns.
|
|
|
|
Looks at her.
|
|
|
|
JAPHET
|
|
Lock the door. Don't open it,
|
|
whatever happens.
|
|
|
|
He's gone.
|
|
|
|
JAPHET'S WIFE
|
|
(quiet)
|
|
Oh God.
|
|
|
|
|
|
113 EXT. CORRIDOR - CONTINUOUS 113
|
|
|
|
We track JAPHET as he runs down the corridor.
|
|
|
|
As he runs, other CLAN are exiting from apartments,
|
|
carrying firearms of various types.
|
|
|
|
MAN
|
|
(exiting apartment)
|
|
Japhet!
|
|
|
|
JAPHET
|
|
Where we headed?
|
|
|
|
MAN
|
|
Big Joe said the med center!
|
|
|
|
|
|
114 INT. OUTSIDE MEDICAL CENTER - CONTINUOUS 114
|
|
|
|
JAPHET and the others join up with the crowd gathering
|
|
outside the closed security doors of the MED CENTER.
|
|
|
|
In the middle of the crowd is BIG JOE.
|
|
|
|
BIG JOE is huge. He has a SAW machine gun in one hand and
|
|
an ammo box in the other.
|
|
|
|
BIG JOE
|
|
I want the North and East corridors
|
|
totally covered! Sal is covering
|
|
West and South! Spread out the
|
|
hardware!
|
|
|
|
BIG JOE lifts his SAW, and fires a burst into the ceiling.
|
|
43.
|
|
|
|
|
|
BIG JOE
|
|
We're going to shoot these judges
|
|
into hamburger and hand them to Ma-
|
|
ma on a plate.
|
|
|
|
CUT TO:
|
|
|
|
|
|
115 INT. DOORWAY- CONTINUOUS 115
|
|
|
|
On the other side of the area outside the MED CENTER, there
|
|
is a door.
|
|
|
|
Slightly ajar.
|
|
|
|
Through it, a sliver of JUDGE'S helmet.
|
|
|
|
DREDD, observing the scene.
|
|
|
|
|
|
116 INT. ACCESS CORRIDOR - CONTINUOUS 116
|
|
|
|
DREDD and ANDERSON are hidden in an access corridor.
|
|
|
|
Low lit.
|
|
|
|
Utility pipework and wiring.
|
|
|
|
KAY is behind them. Gagged and cuffed to a pipe.
|
|
|
|
DREDD
|
|
We're going to have to go through
|
|
them.
|
|
|
|
DREDD pulls back from the slightly open doorway.
|
|
|
|
Checks his utility belt.
|
|
|
|
DREDD
|
|
No gas grenades. Got any
|
|
flashbangs?
|
|
|
|
ANDERSON
|
|
One.
|
|
|
|
He looks back through the doorway.
|
|
|
|
DREDD
|
|
Let's give them the bad news.
|
|
|
|
|
|
117 INT. OUTSIDE MEDICAL CENTER - CONTINUOUS 117
|
|
44.
|
|
|
|
|
|
TRACKING a small cylindrical object.
|
|
|
|
Rolling along the floor.
|
|
|
|
Under the legs of the citizen vigilantes.
|
|
|
|
Until it comes to a stop -
|
|
|
|
- under JAPHET.
|
|
|
|
He doesn't see it, because his attention - and the
|
|
attention of all the vigilantes, is distracted by the sound
|
|
of DREDD'S voice.
|
|
|
|
This words are amplified, as if through a loud hailer.
|
|
|
|
DREDD'S VOICE
|
|
Citizens of Peach Trees. This is
|
|
the law.
|
|
|
|
The vigilantes look around, trying to see where the noise
|
|
is coming from.
|
|
|
|
DREDD'S VOICE
|
|
Disperse immediately, or we will
|
|
use lethal force to clear the area.
|
|
|
|
CITIZEN
|
|
Where's that coming from?
|
|
|
|
CITIZEN
|
|
Over there!
|
|
|
|
ALL WEAPONS swing to the doorway behind which DREDD and
|
|
ANDERSON are hidden.
|
|
|
|
|
|
118 INT. ACCESS CORRIDOR - CONTINUOUS 118
|
|
|
|
DREDD and ANDERSON are pressed to the wall either side of
|
|
the doorway.
|
|
|
|
DREDD is speaking into a mike, swung out of the inside
|
|
curve of his helmet.
|
|
|
|
DREDD
|
|
You have been warned. You now have
|
|
twenty seconds to comply.
|
|
|
|
|
|
119 INT. OUTSIDE MEDICAL CENTER - CONTINUOUS 119
|
|
45.
|
|
|
|
|
|
BIG JOE, SAW trained on the doorway, shouts back.
|
|
|
|
BIG JOE
|
|
It's you doing the complying,
|
|
judge. Twenty of us, two of you.
|
|
Come out from that doorway, or
|
|
we're blowing the shit out of you.
|
|
|
|
DREDD
|
|
Ten seconds to comply.
|
|
|
|
BIG JOE flips the safety.
|
|
|
|
BIG JOE
|
|
You got five.
|
|
|
|
|
|
120 INT. ACCESS CORRIDOR - CONTINUOUS 120
|
|
|
|
DREDD
|
|
Thanks for the heads-up.
|
|
|
|
In his hand, he depresses a small button on a hand held
|
|
device.
|
|
|
|
|
|
121 INT. OUTSIDE MEDICAL CENTER - CONTINUOUS 121
|
|
|
|
At JAPHET'S feet -
|
|
|
|
- t~e FLASHBANG detonates.
|
|
|
|
A blinding flash of light fills the space.
|
|
|
|
As our vision returns, bleaching back from white-out
|
|
brightness, deafening tinnitus ringing in our ears...
|
|
|
|
...we can see DREDD and ANDERSON are already out of the
|
|
doorway.
|
|
|
|
Guns blazing.
|
|
|
|
And the CLAM MEMBERS are being shredded by the rain of
|
|
rapid fire.
|
|
|
|
Before the effects of the flashbang have cleared, the CLAN
|
|
have been shot to the ground.
|
|
|
|
CUT TO:
|
|
|
|
ANDERSON.
|
|
46.
|
|
|
|
|
|
She seems dazed by the sight of the carnage.
|
|
|
|
The shattered bodies. The sprays of blood and bullet holes.
|
|
|
|
She's looking at the one vigilante who is still alive.
|
|
|
|
JAPHET.
|
|
|
|
Blood pouring from the wounds in his stomach. Doubled up on
|
|
the floor. Kneeling. Still dazed.
|
|
|
|
Seeing his BERETTA beside him.
|
|
|
|
With slow, drunken coordination, reaching for it.
|
|
|
|
Trying to bring it to bear on ANDERSON.
|
|
|
|
ANDERSON keeps her gun levelled at JAPHET.
|
|
|
|
But she doesn't fire.
|
|
|
|
Instead, frozen, watches as JAPHET'S arm fails him.
|
|
|
|
The gun remains only half-raised, Swaying. As if it is
|
|
heavy for him to lift.
|
|
|
|
DREDD'S voice cuts in to ANDERSON'S reverie.
|
|
|
|
DREDD
|
|
Anderson - what are you waiting
|
|
for?
|
|
|
|
ANDERSON doesn't answer.
|
|
|
|
DREDD
|
|
His crime is attempted murder of a
|
|
judge. His sentence is death.
|
|
|
|
Beat.
|
|
|
|
ANDERSON
|
|
(distant)
|
|
Sir.
|
|
|
|
ANDERSON fires.
|
|
|
|
JAPHET is hit in the head.
|
|
|
|
He drops forward, and lands face down.
|
|
47.
|
|
|
|
|
|
HOLD on DREDD a moment. Watching ANDERSON. His face is
|
|
expressionless, but we can tell: as far as ANDERSON'S
|
|
assessment goes, the balance just tipped against her.
|
|
|
|
|
|
122 INT. MEDICAL CENTER - CONTINUOUS 122
|
|
|
|
The PARAMEDIC is watching a monitor from behind his
|
|
security doors.
|
|
|
|
On the monitor:
|
|
|
|
ANDERSON is pulling KAY out of the access corridor.
|
|
|
|
DREDD is walking over the bodies of the dead vigilantes, to
|
|
the video intercom.
|
|
|
|
DREDD
|
|
Open up.
|
|
|
|
In front of the PARAMEDIC is the door release mechanism.
|
|
But he makes no move for it.
|
|
|
|
DREDD
|
|
(leaning into the camera)
|
|
Open up!
|
|
|
|
PARAMEDIC
|
|
Negative, judge.
|
|
|
|
DREDD
|
|
You know what's going on. We need a
|
|
place we can defend.
|
|
|
|
PARAMEDIC
|
|
Then you'd better find somewhere
|
|
else. This is a medical facility.
|
|
Neutral ground.
|
|
|
|
DREDD
|
|
You're not neutral. You're choosing
|
|
sides.
|
|
|
|
PARAMEDIC
|
|
Peach Trees has been sealed by
|
|
blast doors designed to withstand
|
|
nuclear attack. No one is getting
|
|
out. No one is getting in. And you
|
|
have every Clan affiliate in the
|
|
block after your blood.
|
|
(shrugs)
|
|
You're already dead. There are no
|
|
sides.
|
|
48.
|
|
|
|
|
|
123 INT. OUTSIDE MEDICAL CENTER - CONTINUOUS 123
|
|
|
|
DREDD walks to ANDERSON.
|
|
|
|
KAY kneels a few feet away.
|
|
|
|
DREDD
|
|
We're going to keep moving.
|
|
|
|
They are out of KAY'S earshot, but he seems to know what's
|
|
happening.
|
|
|
|
He smiles.
|
|
|
|
ANDERSON
|
|
What about the perp? Are we keeping
|
|
him with us?
|
|
|
|
DREDD
|
|
Explain.
|
|
|
|
ANDERSON
|
|
... Just that under the
|
|
circumstances, he's a liability.
|
|
|
|
DREDD
|
|
Also a prime suspect in five
|
|
homicides. What do you say, rookie?
|
|
Want to cut him loose?
|
|
|
|
ANDERSON
|
|
(chastened)
|
|
No, sir.
|
|
|
|
|
|
124 INT. LEVEL TWENTY FIVE/CORRIDOR - 124
|
|
|
|
KAY, with DREDD and ANDERSON either side of him, move down
|
|
a corridor.
|
|
|
|
Echoing down the corridors, we can hear the voices and
|
|
shouts of CLAN, searching for the judges.
|
|
|
|
DREDD
|
|
(quiet)
|
|
Switch weapon to silencer mode.
|
|
Minimum profile. Conserve
|
|
ammunition. Don't shoot unless
|
|
you're going to hit.
|
|
|
|
They hit a button on their handguns, and a suppressor
|
|
slides out over the barrel.
|
|
49.
|
|
|
|
|
|
Almost as soon as they have done so, at the far end of the
|
|
corridor, at a T-junction, we see three armed CLAN appear.
|
|
|
|
They are not facing the judges. They appear to be talking
|
|
to someone out of sight around the junction corner.
|
|
|
|
ANDERSON'S gun raises immediately -
|
|
|
|
- but DREDD pushes her hand down.
|
|
|
|
He pulls her into the recess of one of the apartment
|
|
doorways.
|
|
|
|
DOWN THE CORRIDOR -
|
|
|
|
- the three CLAN start to walk towards us.
|
|
|
|
IN THE RECESS -
|
|
|
|
DDREDD pushes himself flat, gun raised, waiting for the men
|
|
to draw parallel.
|
|
|
|
We can hear their footsteps.
|
|
|
|
Getting closer.
|
|
|
|
But ANDERSON is doing something else.
|
|
|
|
Her head suddenly tilts to the side -
|
|
|
|
- as if she is listening. Hearing something through the
|
|
apartment doorway.
|
|
|
|
Then stays motionless like that for a moment.
|
|
|
|
Then - surprisingly, ANDERSON pushes the intercom buzzer.
|
|
|
|
DREDD
|
|
(whispers)
|
|
What are you -
|
|
|
|
She motions for him to be silent.
|
|
|
|
Then whispers into the intercom.
|
|
|
|
ANDERSON
|
|
Cathy?
|
|
|
|
Beat. Then:
|
|
|
|
WOMAN'S VOICE
|
|
(through intercom)
|
|
50.
|
|
|
|
|
|
Who's that?
|
|
|
|
The ARMED CITIZENS are now only a few feet away.
|
|
|
|
ANDERSON
|
|
Cathy, open the door.
|
|
|
|
Another beat.
|
|
|
|
Then the door unlatches.
|
|
|
|
Immediately, ANDERSON jams it open.
|
|
|
|
|
|
127 INT. JAPHET'S APARTMENT - CONTINUOUS 127
|
|
|
|
DREDD and ANDERSON push inside with KAY, throwing CATHY
|
|
back, and close the door behind them.
|
|
|
|
As soon as we see CATHY, we recognize her as JAPHET'S wife.
|
|
|
|
ANDERSON stops CATHY from screaming with her hand.
|
|
|
|
ANDERSON
|
|
(quiet)
|
|
It's okay. We aren't going to hurt
|
|
you.
|
|
|
|
DREDD watches through the spyhole as the ARMED CITIZENS
|
|
pass.
|
|
|
|
A silent beat.
|
|
|
|
DREDD
|
|
They're gone.
|
|
|
|
He turns, looking at ANDERSON. She obviously just went up
|
|
in his esteem.
|
|
|
|
DREDD
|
|
Secure the woman, somewhere where
|
|
she can't raise any alarms, and
|
|
we'll move on.
|
|
|
|
ANDERSON
|
|
Sir - I don't think we can. She has
|
|
a baby. Joey. Asleep next door.
|
|
He's three weeks old.
|
|
|
|
CATHY, wide-eyed with confusion and fear, nods.
|
|
|
|
ANDERSON
|
|
51.
|
|
|
|
|
|
We can't secure her if we don't
|
|
know when she'll get freed.
|
|
|
|
DREDD
|
|
Where's her husband?
|
|
|
|
ANDERSON gazes into CATHY'S eyes. Not looking into them.
|
|
Through them.
|
|
|
|
ANDERSON
|
|
Out there. Looking for us.
|
|
|
|
CATHY'S eyes open even wider. Awed and bewildered by
|
|
ANDERSON'S abilities.
|
|
|
|
ANDERSON
|
|
She has something to say.
|
|
|
|
ANDERSON removes her hand from CATHY'S mouth.
|
|
|
|
ANDERSON
|
|
Go ahead, Cathy.
|
|
|
|
CATHY keeps looking at ANDERSON, hyperventilating.
|
|
|
|
CATHY
|
|
You. You're - How did you -
|
|
|
|
ANDERSON
|
|
(cuts in)
|
|
Calm down. Just tell him what you
|
|
were thinking.
|
|
|
|
CATHY takes a deep breath. Tries to control the tremor in
|
|
her voice.
|
|
|
|
CATHY
|
|
I'm not raising any alarms. If the
|
|
men out there don't know where you
|
|
are, you won't be killing them.
|
|
|
|
DREDD
|
|
Go on.
|
|
|
|
CATHY
|
|
There's a service elevator near
|
|
here. The sign says it's broken,
|
|
but it works as long as you're
|
|
hitting a button above level forty.
|
|
|
|
DREDD nods.
|
|
|
|
DREDD
|
|
52.
|
|
|
|
|
|
You've done the right thing,
|
|
citizen.
|
|
|
|
CATHY
|
|
I just want you off my level. Away
|
|
from my family.
|
|
|
|
|
|
128 INT. LEVEL TWENTY FIVE/DOORWAY - CONTINUOUS 128
|
|
|
|
DREDD eases the door open.
|
|
|
|
Checks each way down the corridor.
|
|
|
|
DREDD
|
|
It's clear. Let's move.
|
|
|
|
|
|
129 INT. JAPHET'S APARTMENT - CONTINUOUS 129
|
|
|
|
DREDD leads KAY through the door into the corridor.
|
|
|
|
ANDERSON is about to follow -
|
|
|
|
- then stops dead.
|
|
|
|
She's seen something.
|
|
|
|
On the wall - a framed photo.
|
|
|
|
CATHY, the BABY, and JAPHET.
|
|
|
|
A terrible, frozen beat, as ANDERSON realizes that the man
|
|
she executed was CATHY'S husband.
|
|
|
|
From the other room, the baby wakes, and starts to cry.
|
|
|
|
ANDERSON looks back to CATHY.
|
|
|
|
A moment between them.
|
|
|
|
ANDERSON
|
|
Cathy, I -
|
|
|
|
CATHY
|
|
(cuts in)
|
|
Don't thank me. It's not for you. I
|
|
just don't want to see you again.
|
|
|
|
ANDERSON
|
|
(quiet)
|
|
You won't.
|
|
53.
|
|
|
|
|
|
130 INT. LEVEL FIFTY/LOBBY - DAY 130
|
|
|
|
An armed CLAN MEMBER stands guard in a lobby.
|
|
|
|
The glowing wall stencil reads LEVEL 50.
|
|
|
|
Behind him is the service elevator. A sign in front of it
|
|
reads: out of order.
|
|
|
|
But - PING.
|
|
|
|
The elevator just arrived.
|
|
|
|
The CLAN MEMBER turns as the doors open.
|
|
|
|
And sees DREDD pointing a gun right at his head.
|
|
|
|
The next moment, the CLAN MEMBER drops, shot silently,
|
|
right between the eyes.
|
|
|
|
CUT TO:
|
|
|
|
|
|
132 INT. CCTV IMAGES - CONTINUOUS 132
|
|
|
|
- a CCTV image of the dead CLAN MEMBER, crumpled on the
|
|
floor by the service elevator.
|
|
|
|
CLAN TECHIE
|
|
(O.S.)
|
|
We've got one here.
|
|
|
|
CUT TO:
|
|
|
|
- the strewn bodies outside the med center.
|
|
|
|
CLAN TECHIE (O.S.)
|
|
Maybe twenty outside the med
|
|
center.
|
|
|
|
CUT TO:
|
|
|
|
- the bodies in the stairwell.
|
|
|
|
CLAN TECHIE (O.S.)
|
|
Eight in the stairwell.
|
|
|
|
CUT TO:
|
|
|
|
- the bodies in the corridor.
|
|
|
|
CLAN TECHIE (V.O.)
|
|
54.
|
|
|
|
|
|
And another five on level eighteen.
|
|
|
|
CUT TO:
|
|
|
|
|
|
133 INT. MA MA'S BASE/CCTV ROOM - CONTINUOUS 133
|
|
|
|
- the bank of monitors on which these images are being
|
|
shown.
|
|
|
|
Watching these images, over the shoulder of the CLAN
|
|
TECHIE, is MA-MA and her BODYGUARDS.
|
|
|
|
CLAN TECHIE
|
|
They've downed thirty plus, and
|
|
haven't even taken a scratch.
|
|
|
|
MA-MA
|
|
Where are they now?
|
|
|
|
The CLAN TECHIE points to the monitors.
|
|
|
|
CLAN TECHIE
|
|
These bodies are from level forty
|
|
six and forty eight, but -
|
|
|
|
The CLAN TECHIE breaks off.
|
|
|
|
CLAN TECHIE
|
|
Wait - I just picked them up. Level
|
|
Fifty, West Quadrant.
|
|
|
|
He points them out on the monitor. Zooms in the image.
|
|
|
|
CLAN TECHIE
|
|
Do you want me to hook you up to
|
|
the Tanoy? We could get level forty
|
|
through sixty converging on them.
|
|
|
|
MA-MA processes. Quickly.
|
|
|
|
MA-MA
|
|
No. Can you seal them in there?
|
|
|
|
CLAN TECHIE
|
|
Nuke override gives me full control
|
|
of the building.
|
|
|
|
The CLAN TECHIE starts tapping in commands to his console.
|
|
|
|
CLAN TECHIE
|
|
55.
|
|
|
|
|
|
There. I just triggered the fire
|
|
protocols. All doorways to
|
|
stairwells, elevator shafts, and
|
|
access corridors are all sealed.
|
|
Full lockdown. They're going
|
|
nowhere.
|
|
|
|
MA-MA nods.
|
|
|
|
MA-MA
|
|
They're in the West quadrant, so I
|
|
want three miniguns set up on the
|
|
East.
|
|
|
|
Tight on MA-MA. The ice in her eyes.
|
|
|
|
MA-MA
|
|
I tried to do this clean. But they
|
|
wouldn't let me. So now we do it
|
|
messy.
|
|
|
|
CUT TO:
|
|
|
|
|
|
134 INT. LEVEL FIFTY/LOBBY - CONTINUOUS 134
|
|
|
|
DREDD, ANDERSON and KAY stop in their tracks, as all around
|
|
them, in a strange ripple of sound, all the doorways are
|
|
locking.
|
|
|
|
The noise starts from down the corridor, then passes over
|
|
them like a wave, and continues away from them.
|
|
|
|
Then a computerized voice comes over the Tanoy.
|
|
|
|
TANOY
|
|
Warning. Warning. Fire containment
|
|
protocol initiated. All citizens
|
|
remain in your apartments until
|
|
further notice.
|
|
|
|
DREDD
|
|
This isn't good.
|
|
|
|
DREDD'S gaze flicks to the CCTV camera in the corner of the
|
|
lobby.
|
|
|
|
He knows the Clan are watching.
|
|
|
|
He lifts his gun and -
|
|
|
|
CUT BACK TO:
|
|
56.
|
|
|
|
|
|
135 INT. MA-MA'S BASE/CCTV ROOM - CONTINUOUS 135
|
|
|
|
- fires.
|
|
|
|
The monitor image goes dead.
|
|
|
|
MA-MA
|
|
Too late, Judge.
|
|
|
|
MA-MA lifts her handset.
|
|
|
|
MA-MA
|
|
Caleb, come in.
|
|
|
|
|
|
136 INT. PEACH TREE CONTROL ROOM - CONTINUOUS 136
|
|
|
|
CALEB lifts his radio.
|
|
|
|
CALEB
|
|
Here, Ma.
|
|
|
|
MA-MA
|
|
We've got them cornered. We're
|
|
taking them down, right now.
|
|
|
|
|
|
137 INT. LEVEL FIFTY/CORRIDOR - DAY 137
|
|
|
|
A blast door covers the entrance to a stairwell.
|
|
|
|
DREDD is checking it out.
|
|
|
|
DREDD
|
|
We'll need oxyacetylene to even
|
|
make a dent.
|
|
|
|
ANDERSON looks around.
|
|
|
|
They are in a long corridor, with further corridors leading
|
|
off. There is no cover, except the shallow recesses of the
|
|
doorways.
|
|
|
|
ANDERSON
|
|
Why aren't they coming? They know
|
|
where we are.
|
|
|
|
DREDD
|
|
Not sure.
|
|
57.
|
|
|
|
|
|
He lifts his gun and shoots out the ceiling lights of the
|
|
section of corridor they are in, leaving this section of
|
|
the corridor in darkness.
|
|
|
|
DREDD
|
|
(to Anderson)
|
|
You'll see anyone coming before
|
|
they see you. It'll give you a
|
|
chance.
|
|
|
|
ANDERSON
|
|
Where are you going?
|
|
|
|
DREDD
|
|
To find out what they're up to.
|
|
|
|
He starts to walk away.
|
|
|
|
Then stops and looks back.
|
|
|
|
DREDD
|
|
If I don't come back, and you get
|
|
cornered, you might not want to be
|
|
taken alive.
|
|
(beat)
|
|
Your call.
|
|
|
|
ANDERSON
|
|
... Sir.
|
|
|
|
DREDD turns and goes. Leaving ANDERSON alone with KAY, in
|
|
the darkness.
|
|
|
|
|
|
139 INT. LEVEL FIFTY/CORRIDOR - CONTINUOUS 139
|
|
|
|
DREDD moves cautiously down a corridor.
|
|
|
|
The corridor is empty.
|
|
|
|
As he walks down, we cut to the interiors of the apartments
|
|
...
|
|
|
|
|
|
141 INT. LEVEL FIFTY/APARTMENTS - CONTINUOUS 141
|
|
|
|
... and see the lives inside.
|
|
|
|
The people. The families.
|
|
|
|
This is the reality of the world inside Peach Trees. Normal
|
|
people, managing as best they can.
|
|
58.
|
|
|
|
|
|
And right now, they are silent. Frightened. Huddled.
|
|
Fathers with a hand on the shoulder of teenage daughters.
|
|
Mothers trying to keep babies from crying.
|
|
|
|
Because on their security monitors, and through the fish-
|
|
eye lenses of the spyholes on their doors, they can see the
|
|
JUDGE passing by outside.
|
|
|
|
They know trouble is coming.
|
|
|
|
|
|
142 INT. LEVEL FIFTY/CORRIDOR - CONTINUOUS 142
|
|
|
|
DRE0D turns a corner.
|
|
|
|
Ahead, he can see where the next section of corridor ends
|
|
...
|
|
|
|
.. . at the ringed balcony around the atrium.
|
|
|
|
|
|
143 INT. LEVEL FIFTY/DARK CORRIDOR - CONTINUOUS 143
|
|
|
|
ANDERSON waits with KAY.
|
|
|
|
KAY is sat on the floor, hands still cuffed behind his
|
|
back.
|
|
|
|
ANDERSON'S gaze is flicking between the two lit ends of the
|
|
corridor.
|
|
|
|
KAY'S gaze is on only ANDERSON.
|
|
|
|
His tongue wets his lips.
|
|
|
|
Then, after a few moments -
|
|
|
|
KAY
|
|
He's right, you know.
|
|
|
|
ANDERSON reacts. Partly because KAY has broken his silence.
|
|
Partly because of what he's said.
|
|
|
|
KAY
|
|
About not wanting to be taken
|
|
alive.
|
|
(beat)
|
|
The stuff the Clan would do to a
|
|
girl like you ...
|
|
(shakes his head)
|
|
Nasty.
|
|
59.
|
|
|
|
|
|
Beat.
|
|
|
|
KAY
|
|
I mean, there was this one time, we
|
|
got a girl about your age and -
|
|
(he breaks off)
|
|
Well anyway. I'm just saying. Save
|
|
the last bullet for yourself.
|
|
|
|
ANDERSON
|
|
If I do, I'll save the second from
|
|
last bullet for you.
|
|
|
|
KAY smiles to himself.
|
|
|
|
She's made a mistake. By attempting to show that she isn't
|
|
getting rattled, she has in fact shown that she is.
|
|
|
|
KAY
|
|
Sure.
|
|
|
|
Beat.
|
|
|
|
KAY
|
|
So - you're a mutant. I've heard
|
|
about your kind. Psychics, right?
|
|
|
|
Beat.
|
|
|
|
KAY
|
|
Kind of hard to believe it's real.
|
|
Like - what am I thinking about
|
|
right now?
|
|
|
|
ANDERSON turns and gazes at him evenly, determined to show
|
|
he can't get to her.
|
|
|
|
ANDERSON
|
|
You're picturing a violent sexual
|
|
liaison between the two of us in an
|
|
pointless attempt to shock me.
|
|
|
|
KAY raises his eyebrows.
|
|
|
|
KAY
|
|
You're good.
|
|
(beat)
|
|
But I wasn't trying to shock you.
|
|
If I'd been trying to shock you,
|
|
I'd have thought of this.
|
|
|
|
ANDERSON suddenly winces at the image he had dropped on
|
|
her.
|
|
60.
|
|
|
|
|
|
Then - snaps.
|
|
|
|
She lashes out with her fist.
|
|
|
|
Catches KAY full in the face, and drops him.
|
|
|
|
ANDERSON
|
|
What are you thinking about now?
|
|
|
|
Through bloody and busted lips, KAY looks up at her and
|
|
smiles.
|
|
|
|
He might be bleeding and cuffed, but the victory in this
|
|
encounter is his.
|
|
|
|
|
|
144 INT. ATRIUM - CONTINUOUS 144
|
|
|
|
We are spiraling up through the levels, to level fifty.
|
|
|
|
At level fifty, we find DREDD pressed to the wall of a
|
|
corridor, as it exits on to the West quadrant of the
|
|
interior balcony.
|
|
|
|
The camera continues its spiral motion, but remains at
|
|
level fifty, to reveal to the East quadrant.
|
|
|
|
Directly opposite the West.
|
|
|
|
As three MINGUNS appear over the balcony rail.
|
|
|
|
Each with six rotating barrels, electric driven, air-
|
|
cooled, firing six thousand rounds a minute.
|
|
|
|
Behind the machine guns are MA-MA, her BODYGUARDS, CALEB,
|
|
and his men.
|
|
|
|
CUT TO:
|
|
|
|
DREDD.
|
|
|
|
DREDD
|
|
... Damn.
|
|
|
|
CUT TO:
|
|
|
|
MA-MA.
|
|
|
|
MA-MA
|
|
Fire.
|
|
|
|
CUT TO:
|
|
61.
|
|
|
|
|
|
DREDD.
|
|
|
|
Sprinting back down the corridor.
|
|
|
|
Back to ANDERSON.
|
|
|
|
As the miniguns open up.
|
|
|
|
CUT TO:
|
|
|
|
|
|
148 INT. LEVEL FIFTY MASSACRE - CONTINUOUS 148
|
|
|
|
- a staggering shooting sequence.
|
|
|
|
The tracer rounds from the miniguns create an effect like a
|
|
continuous streak of light.
|
|
|
|
Their effect on the Western quadrant is like a band-saw
|
|
cutting through the building.
|
|
|
|
Shredding and ripping through walls and doors. Through
|
|
apartments. Annihilating everything inside.
|
|
|
|
Objects. Pets. People. All destroyed. All vaporized in
|
|
clouds of blood and glass and dust.
|
|
|
|
MA-MA is sacrificing the entire Western community of level
|
|
fifty in order to be sure of killing the judges and KAY. A
|
|
micro-genocide.
|
|
|
|
And sprinting just ahead of the wave of destruction, DREDD.
|
|
|
|
Shouting to ANDERSON.
|
|
|
|
DREDD
|
|
Get down!
|
|
|
|
|
|
149 INT. ATRIUM/LEVEL FIFTY/EASTERN BALCONY - CONTINUOUS 149
|
|
|
|
Behind the miniguns, MA-MA and her men are electrified by
|
|
the level of destruction they are causing.
|
|
|
|
Jaws open. Laughing. Howling. Inaudible over the roar of
|
|
the gunfire.
|
|
|
|
|
|
151 INT. LEVEL FIFTY MASSACRE - CONTINUOUS 151
|
|
|
|
Deafening noise. Smoke and dust. Sparks Streaks of tracer.
|
|
Darkness.
|
|
62.
|
|
|
|
|
|
DREDD, ANDERSON and KAY are crawling on their bellies.
|
|
|
|
Bodies flash past them. Civilians running.
|
|
|
|
Some are cut down, or cut in half, by the gunfire.
|
|
|
|
DREDD, ANDERSON and KAY scramble to shelter behind a thick
|
|
upright concrete pillar -
|
|
|
|
- which immediately starts to erode under the hail of
|
|
bullets.
|
|
|
|
The pillar isn't going to last long, and there is nowhere
|
|
left to run.
|
|
|
|
Then - on the wall opposite them, taking the full force of
|
|
the rounds - a single point of BRIGHT LIGHT appears through
|
|
the smoke and dust.
|
|
|
|
DREDD sees it.
|
|
|
|
Lifts his gun.
|
|
|
|
DREDD
|
|
Hi-Ex!
|
|
|
|
The setting on DREDD'S gun changes.
|
|
|
|
DREOD fires at the single point of light.
|
|
|
|
And the high explosive round blows a massive hole in the
|
|
wall, through which BRIGHT LIGHT floods through.
|
|
|
|
DREDD
|
|
GO!
|
|
|
|
DREDD rises, driving KAY ahead of him, running into the
|
|
light.
|
|
|
|
ANDERSON follows.
|
|
|
|
And as she goes through, CUT TO -
|
|
|
|
|
|
152 EXT. PEACH TREE BLOCK/LEVEL FIFTY - CONTINUOUS 152
|
|
|
|
- the exterior of Peach Trees.
|
|
|
|
ANDERSON has exited into thin air.
|
|
|
|
The brightness is revealed as daylight. DREDD has blown a
|
|
hole in the side of the building.
|
|
63.
|
|
|
|
|
|
ANDERSON starts to fall -
|
|
|
|
- but not fifty stories to ground.
|
|
|
|
Only a couple of metres - to the SKATEPARK.
|
|
|
|
Where the SKATERS stand, awestruck, as just above them,
|
|
tracers fire rips through the hole in the side of Peach
|
|
Trees.
|
|
|
|
CUT BACK TO:
|
|
|
|
|
|
152A INT. ATRIUM/LEVEL FIFTY/EASTERN BALCONY - CONTINUOUS 152A
|
|
|
|
- the three miniguns.
|
|
|
|
Which, one by one, run out of ammunition.
|
|
|
|
The roar of gunfire is replaced by ratchet clicks as the
|
|
smoking barrels keep rotating for a few moments.
|
|
|
|
Then come to a stop.
|
|
|
|
Leaving silence.
|
|
|
|
MA-MA and CALEB stare across the atrium at the destruction
|
|
opposite.
|
|
|
|
CALEB
|
|
I think we got 'em.
|
|
|
|
CUT BACK TO:
|
|
|
|
|
|
153 EXT. PEACH TREE BLOCK - CONTINUOUS 153
|
|
|
|
- wind clearing the smoke on the outside of the building.
|
|
|
|
Revealing DREDD, ANDERSON, KAY and the SKATERS in the
|
|
skatepark.
|
|
|
|
DREDD'S radio suddenly fuzzes into life.
|
|
|
|
CONTROL
|
|
(over radio)
|
|
Responders in vicinity of block Tom
|
|
Frame. Small arms fire reported in
|
|
shopping zone.
|
|
|
|
DREDD and ANDERSON react.
|
|
64.
|
|
|
|
|
|
ANDERSON
|
|
The radios
|
|
are working!
|
|
|
|
DREDD lifts his glove to speak into his radio.
|
|
|
|
DREDD
|
|
Control. Do you read me?
|
|
|
|
CONTROL
|
|
(over radio)
|
|
Affirmative.
|
|
|
|
DREDD
|
|
10-24 on my GPS. We are under fire
|
|
and need immediate assistance.
|
|
|
|
CONTROL
|
|
(over radio)
|
|
Copy, 10-24. Your location is
|
|
showing as Peach Trees, Sector
|
|
Thirteen. Confirm.
|
|
|
|
DREDD
|
|
Confirm. Be advised, nuke defenses
|
|
have been triggered in order to
|
|
seal the building.
|
|
|
|
CONTROL
|
|
Can you hold your current GPS?
|
|
|
|
DREDD glances over the ledge at the precipitous drop.
|
|
|
|
DREDD
|
|
Negative. If they come for us,
|
|
we've got nowhere to go. Have to
|
|
keep moving.
|
|
|
|
CONTROL
|
|
(over radio)
|
|
Copy that. Just stay alive. Back up
|
|
is on its way.
|
|
|
|
|
|
154 INT. LEVEL FIFTY/CORRIDOR - DAY 154
|
|
|
|
A blast door raises -
|
|
|
|
- revealing CALEB and five heavies on the other side.
|
|
|
|
|
|
156 INT. LEVEL FIFTY/REMAINS OF WEST QUADRANT- CONTINUOUS 156
|
|
65.
|
|
|
|
|
|
CALEB and his men step into the rubble of what was the West
|
|
Quadrant of level fifty.
|
|
|
|
In the hanging dust, they can't see more than ten metres
|
|
ahead of them.
|
|
|
|
Ahead of them, a glowing band of light shows where the
|
|
exterior wall once was.
|
|
|
|
Half poking through the rubble at their feet are the
|
|
mangled remains of the people and families who have been
|
|
slaughtered.
|
|
|
|
HEAVY 2
|
|
No way they survived.
|
|
|
|
CALEB
|
|
They're not dead until we find them
|
|
dead.
|
|
|
|
At CALEB'S feet, an extremely badly damaged body is
|
|
resting.
|
|
|
|
CALEB
|
|
Or part of them anyway.
|
|
|
|
They fan out, keeping their guns raised.
|
|
|
|
|
|
158 INT. LEVEL FIFTY/REMAINS OF WEST QUADRANT- CONTINUOUS 158
|
|
|
|
We are looking back at CALEB and his men as they cautiously
|
|
move forwards.
|
|
|
|
So we see what CALEB and his men don't.
|
|
|
|
Barely visible through the dust, a dark shape appears
|
|
fleetingly behind them.
|
|
|
|
Then -
|
|
|
|
- one of the five HEAVIES suddenly jerks backwards, out of
|
|
sight, as if yanked by an invisible wire.
|
|
|
|
A couple of beats later, a second HEAVY vanishes exactly
|
|
the same way.
|
|
|
|
CALEB now has only three men with him, and he doesn't even
|
|
realize it yet.
|
|
|
|
But one of his surviving HEAVIES does.
|
|
66.
|
|
|
|
|
|
HEAVY 3
|
|
(looking round)
|
|
Hey - where's the others?
|
|
|
|
CALEB and the others all turn.
|
|
|
|
They see the missing space where the men had been.
|
|
|
|
But don't see -
|
|
|
|
- what's happening to HEAVY 3.
|
|
|
|
HEAVY 3 would shout out in alarm, if DREDD'S right hand
|
|
wasn't closed around his mouth.
|
|
|
|
The man's head is snapped sideways. Neck broken.
|
|
|
|
And HEAVY 3 is pulled from view ...
|
|
|
|
... a beat before CALEB looks round, and sees that another
|
|
of his men has gone.
|
|
|
|
Immediately, the remaining three men panic.
|
|
|
|
They open up with their weapons, aiming wildly all around
|
|
them. But in the heavy dust, they're firing blind. They're
|
|
shooting at a ghost.
|
|
|
|
They keep the fire sustained, emptying their clips.
|
|
|
|
After the gunfire, a silent beat as they hurriedly reload.
|
|
|
|
HEAVY 5
|
|
(panicky)
|
|
This is fucked up. How did he do
|
|
that? There's only three of us
|
|
left!
|
|
|
|
But there isn't.
|
|
|
|
There's two.
|
|
|
|
Somehow, during the firing, HEAVY 4 was spirited away.
|
|
|
|
It's all happened so fast.
|
|
|
|
Only CALEB and HEAVY 5 are left.
|
|
|
|
And as if in answer, a red bullet hole from a silenced
|
|
round punches in the middle of HEAVY S's forehead.
|
|
|
|
Then his knees give way, and he drops.
|
|
67.
|
|
|
|
|
|
CALEB
|
|
(quiet)
|
|
Ma.
|
|
|
|
|
|
160 INT. ATRIUM/LEVEL FIFTY/EASTERN BALCONY - CONTINUOUS 160
|
|
|
|
The dust cloud is slowly drifting into the atrium from the
|
|
wreckage of the level fifty Western quadrant.
|
|
|
|
Out of the dust cloud, into the thin air of the atrium, a
|
|
body is ejected.
|
|
|
|
It's CALEB.
|
|
|
|
Screaming, as he starts the fifty storey fall down to the
|
|
ground level.
|
|
|
|
Reveal -
|
|
|
|
- MA-MA watching, as CALEB drops out of sight.
|
|
|
|
Silence.
|
|
|
|
Then, out of MA-MA'S mouth, a howl of rage.
|
|
|
|
|
|
164 INT. ATRIUM - CONTINUOUS 164
|
|
|
|
MA-MA'S howl seems to echo down the atrium, reverberating
|
|
through the entire building.
|
|
|
|
|
|
165 INT. CORRIDOR - CONTINUOUS 165
|
|
|
|
The sound of MA-MA'S howl is becoming mingled with another
|
|
noise.
|
|
|
|
Not a howl of rage. A scream of pain.
|
|
|
|
We close in on the source of the scream.
|
|
|
|
Which turns out to be KAY'S mouth.
|
|
|
|
And he's screaming, because DREDD is propelling him down
|
|
the corridor, with his wrist twisted behind him in a nasty
|
|
looking pressure hold.
|
|
|
|
ANDERSON follows behind.
|
|
68.
|
|
|
|
|
|
Something in DREDD'S manner feels different. In his body
|
|
language, the speed he's moving, his total lack of
|
|
concession for KAY'S pain - he's not fucking around.
|
|
|
|
They pass an apartment with the door broken off its hinges.
|
|
|
|
Inside, it is a burned-out shell, long abandoned.
|
|
|
|
DREDD stops.
|
|
|
|
DREDD
|
|
This'll do.
|
|
|
|
|
|
166 INT. ABANDONED APARTMENT - CONTINUOUS 166
|
|
|
|
KAY is thrown inside.
|
|
|
|
Landing hard, face first. Unable to break his fall because
|
|
his hands are cuffed behind his back.
|
|
|
|
DREDD jams the door to the apartment closed.
|
|
|
|
Then turns to KAY.
|
|
|
|
DREDD
|
|
Homicide investigation, busting a
|
|
narcotics den, bringing in a
|
|
suspect for interrogation. Any
|
|
other block in Mega city One, it's
|
|
routine. In Peach Trees, it's war.
|
|
|
|
KAY says nothing. Just spits blood, and gazes back at
|
|
DREDD.
|
|
|
|
DREDD
|
|
Your gang locks down the whole
|
|
block. Massacres an entire quadrant
|
|
of men, women, children. Just to
|
|
take out two judges. Sound like
|
|
overkill to you?
|
|
|
|
DREDD upholsters his weapon. Checks the clip.
|
|
|
|
DREDD
|
|
Tell you what I think. If we'd
|
|
executed you in the bust, Ma-Ma
|
|
would have let us walk out of here.
|
|
|
|
KAY reacts slightly. DREDD'S on the money.
|
|
|
|
DREDD
|
|
69.
|
|
|
|
|
|
What she doesn't want is you taken
|
|
back to the sector house and
|
|
interrogated. Because she's afraid
|
|
of what you might say.
|
|
(beat)
|
|
That's got me curious.
|
|
|
|
DREDD steps over to KAY, yanks his hair back, and puts the
|
|
muzzle against KAY'S head.
|
|
|
|
DREDD
|
|
Start talking.
|
|
|
|
KAY
|
|
Fuck you.
|
|
|
|
ANDERSON
|
|
Sir.
|
|
|
|
DREDD hesitates.
|
|
|
|
ANDERSON
|
|
If you leave it to me, he doesn't
|
|
have to talk.
|
|
|
|
CUT TO:
|
|
|
|
|
|
167 INT. ABANDONED APARTMENT - DAY 167
|
|
|
|
KKAY is kneeling on the floor, with his hands plastic-
|
|
cuffed behind his back.
|
|
|
|
ANDERSON is standing opposite him, looking down.
|
|
|
|
DREDD is watching.
|
|
|
|
KAY
|
|
What are you up to, bitch?
|
|
|
|
ANDERSON doesn't respond, except to close her eyes.
|
|
|
|
And as she does so -
|
|
|
|
- DREDD and surrounding walls of the abandoned apartment
|
|
melt away.
|
|
|
|
Leaving just her and KAY alone, in a dark, undefined space.
|
|
|
|
|
|
168 INT. UNDEFINED SPACE - CONTINUOUS 168
|
|
70.
|
|
|
|
|
|
ANDERSON opens her eyes again.
|
|
|
|
KAY looks around.
|
|
|
|
The walls and substance of the space are constantly
|
|
shifting, never quite resolved.
|
|
|
|
KAY
|
|
What the -
|
|
|
|
ANDERSON
|
|
Welcome to the inside of your head.
|
|
|
|
She glances around.
|
|
|
|
ANDERSON
|
|
Kind of empty.
|
|
|
|
KAY looks a little weirded out.
|
|
|
|
KAY
|
|
I don't know what fucked up mutant
|
|
shit this is, but if I wasn't
|
|
cuffed I'd -
|
|
|
|
ANDERSON
|
|
(cuts in)
|
|
You aren't cuffed. Do what you
|
|
like.
|
|
|
|
KAY frowns.
|
|
|
|
CUT TO his plastic-cuffed hands.
|
|
|
|
Exploratory, he pulls his wrists apart ...
|
|
|
|
... and the cuffs fall away, as if they were never there.
|
|
|
|
A beat.
|
|
|
|
Then KAY stands.
|
|
|
|
Puts his hands in front of him.
|
|
|
|
KAY
|
|
Huh.
|
|
|
|
He smiles nastily.
|
|
|
|
KAY
|
|
My head. Do what I like.
|
|
71.
|
|
|
|
|
|
ANDERSON
|
|
Sure.
|
|
|
|
KAY reaches out with his hand -
|
|
|
|
- and ANDERSON'S weapons suddenly springs out her holster,
|
|
into his waiting palm.
|
|
|
|
Immediately, without any delay or ceremony, he lifts the
|
|
gun, and fires a volley of shots at point blank range into
|
|
ANDERSON'S face.
|
|
|
|
And when the last muzzle flash has faded, and the smoke has
|
|
cleared, ANDERSON stands before him, just as before,
|
|
unscathed.
|
|
|
|
ANDERSON
|
|
Thinking about hurting me doesn't
|
|
actually hurt me.
|
|
|
|
KAY
|
|
Oh. Yeah. Point to you.
|
|
|
|
He tosses the gun.
|
|
|
|
KAY
|
|
Except - there is that thing. That
|
|
thing we already established.
|
|
|
|
ANDERSON
|
|
What thing was that?
|
|
|
|
KAY
|
|
That I know how to freak you the
|
|
fuck out.
|
|
|
|
When we cut back to ANDERSON, her uniform has vanished -
|
|
leaving her completely naked.
|
|
|
|
KAY
|
|
See, if we're talking about my
|
|
fucked-up head versus your fucked-
|
|
up head ...
|
|
|
|
As he's talking, an invisible force compels ANDERSON to a
|
|
kneeling position in front of him.
|
|
|
|
KAY
|
|
... your fucked-up head is going to
|
|
lose.
|
|
|
|
KAY unzips himself.
|
|
72.
|
|
|
|
|
|
KAY
|
|
Speaking of head.
|
|
|
|
WE CLOSE ON KAY'S UPPER BODY.
|
|
|
|
He laughs.
|
|
|
|
KAY
|
|
Figured that would shut you up.
|
|
Gives me a moment to think up
|
|
something really -
|
|
|
|
ANDERSON (O.S.)
|
|
Hey.
|
|
|
|
KAY jumps.
|
|
|
|
ANDERSON'S voice came from over his shoulder.
|
|
|
|
His head turns, and he sees her. She's back in uniform, and
|
|
standing directly behind him.
|
|
|
|
ANDERSON
|
|
Guess what?
|
|
(into Kay's ear)
|
|
I can play mind games too.
|
|
|
|
KAY
|
|
What the -
|
|
|
|
KAY'S head turns again, to see who is felating him -
|
|
|
|
- and SHOUTS with alarm.
|
|
|
|
KAY
|
|
Fuck!
|
|
|
|
The naked woman felating him is MA-MA.
|
|
|
|
KAY pulls back like a scalded cat.
|
|
|
|
KAY
|
|
Aaaagh! Fuck! Jesus! FUCK! You sick
|
|
bitch!
|
|
|
|
ANDERSON spins him round.
|
|
|
|
ANDERSON
|
|
Sick? We haven't even started.
|
|
|
|
CUT TO:
|
|
73.
|
|
|
|
|
|
170 INT. ABANDONED APARTMENT - CONTINUOUS 170
|
|
|
|
- stillness and quiet in the abandoned apartment.
|
|
|
|
From what DREDD can see, there is no indication of the
|
|
strange battle of wits between ANDERSON and KAY.
|
|
|
|
They are both in the same positions they were in
|
|
previously.
|
|
|
|
KAY kneeling with his hands cuffed.
|
|
|
|
ANDERSON standing in front of him.
|
|
|
|
Both with their eyes closed.
|
|
|
|
The calm moment is sustained.
|
|
|
|
Then, abruptly, KAY pisses himself.
|
|
|
|
As the dark stain spreads across his trousers, ANDERSON
|
|
opens her eyes and looks at DREDD
|
|
|
|
ANDERSON
|
|
Peach Trees is the manufacturing
|
|
base for all the slo-mo in Mega
|
|
City One. Ma-Ma is controlling the
|
|
production and distribution across
|
|
the whole city.
|
|
|
|
KAY'S looks down at the puddle on the floor, then up at
|
|
ANDERSON.
|
|
|
|
In KAY'S eyes, it's pure hatred.
|
|
|
|
DREDD
|
|
Interesting.
|
|
|
|
CUT TO:
|
|
|
|
|
|
171 INT. MA-MA'S BASE/CONTROL ROOM - DAY 171
|
|
|
|
The CLAN TECHIE looks under even more pressure than usual.
|
|
He's shaking with fear.
|
|
|
|
MA-MA is leaned over behind him, with her head
|
|
uncomfortable close to his, and her right arm around his
|
|
torso.
|
|
|
|
On the monitor in front of him, we can see the exterior of
|
|
the South Entrance.
|
|
74.
|
|
|
|
|
|
And standing by the closed blast-door are three judges.
|
|
|
|
CLAN TECHIE
|
|
But Ma, please - they're Judges! I
|
|
can't refuse them entry! They can
|
|
go where ever they like!
|
|
|
|
REVEAL that MA-MA is holding a knife across the CLAN
|
|
TECHIE'S stomach. Ready to cut.
|
|
|
|
MA-MA
|
|
If you want to keep your insides
|
|
in, you better keep the Judges out.
|
|
So I guess you'd better think of
|
|
something fast.
|
|
|
|
The CLAN TECHIE takes a steadying breath.
|
|
|
|
Then flicks a switch on the console and speaks into his
|
|
headset.
|
|
|
|
CLAN TECHIE
|
|
Peach Trees. Can I help you?
|
|
|
|
On the MONITOR, one of the judges speaks into the intercom.
|
|
|
|
JUDGE
|
|
(over intercom)
|
|
We're responding to a report of
|
|
judges under fire from within this
|
|
block.
|
|
|
|
CLAN TECHIE
|
|
Judges under fire? I'm not aware of
|
|
any such activity. We're actually
|
|
under a scheduled nuke defense test
|
|
...
|
|
|
|
JUDGE
|
|
(over intercom)
|
|
Not any more you're not. Open the
|
|
blast door right now.
|
|
|
|
Sweat rolls down the TECHIE'S face. But he keeps his voice
|
|
under control.
|
|
|
|
CLAN TECHIE
|
|
Yes, sir. The problem is, we have a
|
|
software malfunction and we've lost
|
|
control over the system. We've had
|
|
a fire on level forty ...
|
|
75.
|
|
|
|
|
|
The JUDGE glances upwards, to the hole DREDD blasted in the
|
|
side of the building.
|
|
|
|
JUDGE
|
|
(over intercom)
|
|
You'd better get control. Fast. Or
|
|
I'm slapping you with an
|
|
obstruction of justice charge. Five
|
|
years in the cubes, mandatory.
|
|
|
|
CLAN TECHIE
|
|
Will do, sir. On it right now.
|
|
|
|
The CLAN TECHIE hits the disconnect button and pulls his
|
|
headset off.
|
|
|
|
Wipes his hand over his mouth.
|
|
|
|
Then glances round at MA-MA nervously.
|
|
|
|
Beat.
|
|
|
|
MA-MA
|
|
Good.
|
|
|
|
CUT TO:
|
|
|
|
|
|
172 INT. CORRIDOR - CONTINUOUS 172
|
|
|
|
- a ten year-old boy, standing in the corridor on which the
|
|
abandoned apartment is situated.
|
|
|
|
The KID points with his index finger.
|
|
|
|
KID
|
|
They went that way. All the way
|
|
down. Then went in to three-four-
|
|
nine.
|
|
|
|
Behind the KID are two CLAN. They are AMOS and FREEL.
|
|
|
|
AMOS
|
|
You sure it was them?
|
|
|
|
KID
|
|
They walked right past my door. Two
|
|
judges and one of the clan. He was
|
|
screaming. I think one of the
|
|
judges was breaking his arm.
|
|
|
|
FREEL
|
|
76.
|
|
|
|
|
|
Shit. Why'd have to be us that
|
|
found them?
|
|
|
|
AMOS
|
|
(to the kid)
|
|
All right, Joey. Run back home. And
|
|
stay there.
|
|
|
|
The KID legs it.
|
|
|
|
AMOS
|
|
Okay. Let's do it.
|
|
|
|
AMOS and FREEL raise their guns, and start making their way
|
|
down the corridor.
|
|
|
|
ON THEIR FACES -
|
|
|
|
- we can see how nervous they are. Bright beads of sweat on
|
|
the top lips. Eyes darting.
|
|
|
|
Then, from ahead down the corridor, from the doorway of the
|
|
abandoned apartment, a CLICK of a door opening.
|
|
|
|
CUT TO:
|
|
|
|
|
|
174 INT. CORRIDOR - CONTINUOUS 174
|
|
|
|
- DREDD exiting from the abandoned apartment, into the
|
|
corridor.
|
|
|
|
He looks left and right ...
|
|
|
|
... and the corridor is empty.
|
|
|
|
DREDD
|
|
Clear.
|
|
|
|
ANDERSON, leading KAY ahead of her, follow.
|
|
|
|
CUT TO:
|
|
|
|
|
|
175 INT. CORRIDOR/DOORWAYS - CONTINUOUS 175
|
|
|
|
In the recess of two doorways, opposite each other in the
|
|
corridor, AMOS and FREEL are hiding.
|
|
|
|
They whisper to each other:
|
|
|
|
AMOS
|
|
77.
|
|
|
|
|
|
Why didn't you shoot them?
|
|
|
|
FREEL
|
|
Why didn't you?
|
|
|
|
AMOS peeks around the recess - and sees the judges and
|
|
their prisoner, walking away from them.
|
|
|
|
AMOS
|
|
We could do it now.
|
|
|
|
FREEL
|
|
Go on then.
|
|
|
|
AMOS looks back around the recess -
|
|
|
|
- and the corridor is empty.
|
|
|
|
The judges have gone.
|
|
|
|
AMOS
|
|
Shit.
|
|
|
|
AMOS wipes the sweat off his face with the back of his
|
|
sleeve.
|
|
|
|
AMOS
|
|
Come on.
|
|
|
|
|
|
176 INT. CORRIDOR - CONTINUOUS 176
|
|
|
|
DREDD, ANDERSON and KAY move down the corridor away from
|
|
the abandoned apartment.
|
|
|
|
DREDD
|
|
We have new intel about Ma-Ma, and
|
|
we've managed to get a 10-24 call
|
|
to Control. Parameters are
|
|
shifting. What are our options,
|
|
rookie?
|
|
|
|
ANDERSON
|
|
Find a position to defend, or keep
|
|
moving and attempt to avoid further
|
|
detection. Sarne as before. Except
|
|
now at least we know back-up is
|
|
inbound.
|
|
|
|
DREDD
|
|
Two options.
|
|
|
|
ANDERSON
|
|
78.
|
|
|
|
|
|
Yes, sir.
|
|
|
|
DREDD
|
|
What about we head straight for Ma-
|
|
Ma.
|
|
|
|
ANDERSON
|
|
... Is that an option?
|
|
|
|
DREDD
|
|
She's guilty. We're judges.
|
|
|
|
ANDERSON
|
|
Sir - if back-up is inbound we
|
|
should wait until the odds have
|
|
shifted in our favor.
|
|
|
|
Beat.
|
|
|
|
ANDERSON
|
|
... Wrong answer?
|
|
|
|
DREDD
|
|
You're the psychic.
|
|
|
|
ANDERSON glances at DREDD.
|
|
|
|
Beat.
|
|
|
|
Then looks away.
|
|
|
|
|
|
177 INT. SHOPPING ZONE - CONTINUOUS 177
|
|
|
|
Ahead of them, the corridor widens into a lobby area.
|
|
|
|
It's a mini-shopping zone - like the clusters of shops at
|
|
the bases of large estate tower blocks. Metal grills over
|
|
the windows. Everything covered in the ubiquitous graffiti.
|
|
|
|
The shops are all abandoned or closed.
|
|
|
|
Set into the wall is a machine that looks like a large cash
|
|
dispenser. It is in fact a BLOCK INFO POINT.
|
|
|
|
There is also an elevator door.
|
|
|
|
DREDD
|
|
Wait. Map point. Let's get
|
|
bearings.
|
|
|
|
DREDD approaches the INFO POINT.
|
|
79.
|
|
|
|
|
|
Taps the console.
|
|
|
|
Surprisingly, it works.
|
|
|
|
He taps the screen.
|
|
|
|
Brings up a map of the block, similar to the map we saw in
|
|
the med center.
|
|
|
|
He rotates the map.
|
|
|
|
A flashing marker reads: YOU ARE HERE.
|
|
|
|
They are about half up the block.
|
|
|
|
AT THAT MOMENT -
|
|
|
|
- AMOS and FREEL make their move.
|
|
|
|
AMOS
|
|
FREEZE!
|
|
|
|
DREDD looks round.
|
|
|
|
By the entrance to the lobby, AMOS and FREEL are standing
|
|
with their guns aimed respectively at DREDD and ANDERSON.
|
|
|
|
A beat.
|
|
|
|
DREDD sees - the fear in their eyes. The sweat. The shake
|
|
in their hands.
|
|
|
|
CUT TO:
|
|
|
|
- KAY, who is standing beside ANDERSON with his hands
|
|
cuffed behind him. Next to the elevator control panel.
|
|
|
|
CUT BACK TO:
|
|
|
|
- DREDD.
|
|
|
|
DREDD
|
|
Why?
|
|
|
|
AMOS
|
|
Why what?
|
|
|
|
DREDD
|
|
Why should I freeze?
|
|
|
|
AMOS is momentarily thrown.
|
|
80.
|
|
|
|
|
|
AMOS
|
|
... Because otherwise I'll shoot
|
|
you.
|
|
|
|
DREDD
|
|
With the safety catch on.
|
|
|
|
AMOS'S eyes flick to the safety catch of his gun.
|
|
|
|
Which is, in fact, off.
|
|
|
|
AMOS
|
|
It isn't -
|
|
|
|
The words dry up.
|
|
|
|
In the brief instant that AMOS and FREEL glanced at their
|
|
weapons, DREDD and ANDERSON have drawn their own guns, and
|
|
are pointing them back at AMOS and FREEL.
|
|
|
|
DREDD
|
|
Drop the weapons.
|
|
|
|
AMOS gulps.
|
|
|
|
DREDD
|
|
You aren't killers. If you were,
|
|
you'd have shot us already. Put the
|
|
guns down, and you get to live.
|
|
|
|
CUT TO:
|
|
|
|
- KAY.
|
|
|
|
Who can see the way this is about to go.
|
|
|
|
And now makes his move.
|
|
|
|
The following
|
|
|
|
action is fast and fluid. A surprise.
|
|
|
|
KAY'S hands are cuffed behind him.
|
|
|
|
In a contortionist's move, KAY DISLOCATES HIS LEFT
|
|
SHOULDER, then sweeps his looped arms over his head.
|
|
|
|
Now, like magic, his cuffed hands are in front of his body.
|
|
|
|
It's an amazing trick,
|
|
|
|
for the right moment
|
|
81.
|
|
|
|
|
|
and he's obviously been waiting
|
|
|
|
to do it.
|
|
|
|
ANDERSON is reacting
|
|
|
|
to KAY'S move -
|
|
|
|
- but she's too slow. KAY has grabbed her gun, forced his
|
|
finger over her trigger finger, and jammed the aim in
|
|
DREDD'S direction.
|
|
|
|
The following action is fast and fluid. A surprise.
|
|
|
|
KAY'S hands are cuffed behind him.
|
|
|
|
In a contortionist's move, KAY DISLOCATES HIS LEFT
|
|
SHOULDER, then sweeps his looped arms over his head.
|
|
|
|
Now, like magic, his cuffed hands are in front of his body.
|
|
|
|
It's an amazing trick, and he's obviously been waiting for
|
|
the right moment to do it.
|
|
|
|
ANDERSON is reacting to KAY'S move -
|
|
|
|
- but she's too slow. KAY has grabbed her gun, forced his
|
|
finger over her trigger finger, and jammed the aim in
|
|
DREDD'S direction.
|
|
|
|
And now ANDERSON'S gun is firing.
|
|
|
|
DREDD dives for cover.
|
|
|
|
Almost simultaneously, panicked by the sudden explosion of
|
|
action, AMOS and FREEL open fire.
|
|
|
|
DREDD rolls to upright position and returns fire.
|
|
|
|
AMOS and FREEL are dropped by rapid rounds that stitch
|
|
across them and the wall behind.
|
|
|
|
And when DREDD brings his gun to bear on where ANDERSON and
|
|
KAY should be -
|
|
|
|
- he sees KAY has twisted ANDERSON'S gun back against her
|
|
head, and is backing into the now open elevator doors.
|
|
|
|
A glimpse between DREDD and ANDERSON.
|
|
|
|
Then the elevator doors close.
|
|
82.
|
|
|
|
|
|
182 INT. ELEVATOR - CONTINUOUS 182
|
|
|
|
The elevator is rising.
|
|
|
|
Still gripping ANDERSON, KAY slams his shoulder against the
|
|
side of the lift, popping it back in to place.
|
|
|
|
Looks unbelievably painful, but KAY deals with it.
|
|
|
|
KAY
|
|
Wow.
|
|
|
|
KAY pushes the gun harder against ANDERSON'S head.
|
|
|
|
KAY
|
|
You are so fucked.
|
|
|
|
|
|
183 INT. SHOPPING ZONE/LIFT SHAFT - CONTINUOUS 183
|
|
|
|
DREDD forces open the outer doors to the elevator, and
|
|
looks up the lift shaft.
|
|
|
|
Far above, he can see the lift car, rapidly ascending.
|
|
|
|
|
|
185 INT. SHOPPING ZONE - CONTINUOUS 185
|
|
|
|
Outside, in the lobby, we can see the digital display show
|
|
the position of the lift.
|
|
|
|
The numbers rise - all the way up to 200.
|
|
|
|
Then stop.
|
|
|
|
A beat.
|
|
|
|
|
|
186 INT. SHOPPING ZONE/LIFT SHAFT - CONTINUOUS 186
|
|
|
|
High above, a noise floats down the lift shaft.
|
|
|
|
It sounds at first like a scream.
|
|
|
|
As if it might be ANDERSON.
|
|
|
|
But there's something weird about the noise.
|
|
|
|
It takes us a moment to realize, it is in fact the sound of
|
|
metal, rending and tearing.
|
|
83.
|
|
|
|
|
|
187 INT. SHOPPING ZONE - CONTINUOUS 187
|
|
|
|
The numbers on the digital display start descending again,
|
|
at an accelerating rate, much faster than before.
|
|
|
|
|
|
188 INT. SHOPPING ZONE/LIFT SHAFT - CONTINUOUS 188
|
|
|
|
DREDD pulls back just in time to avoid being struck by the
|
|
plummeting lift car.
|
|
|
|
It continues down, severed cabled whipping through the air,
|
|
all the way to the bottom.
|
|
|
|
CUT TO:
|
|
|
|
|
|
189 INT. MA MA'S BASE - CONTINUOUS 189
|
|
|
|
- KAY. Back on home turf - and a hero. Dragging ANDERSON
|
|
through a group of CLAN, who are cheering the capture of
|
|
one of the judges, and slapping KAY on the back.
|
|
|
|
KAY throws ANDERSON to the floor.
|
|
|
|
KAY
|
|
Now then. What am I going to do
|
|
with you?
|
|
|
|
MA-MA
|
|
You're going to do nothing.
|
|
|
|
KAY turns.
|
|
|
|
Sees, coming through the CLAN, MA-MA and her BODYGUARDS.
|
|
|
|
MA-MA
|
|
All this trouble is your doing.
|
|
When you got busted, you should
|
|
have killed the judges or been
|
|
killed yourself. But instead, you
|
|
let yourself get taken. Like the
|
|
dumb fuck you are.
|
|
|
|
KAY
|
|
But -
|
|
|
|
MA-MA silences him with a vicious blow from the back of her
|
|
hand.
|
|
|
|
MA-MA
|
|
84.
|
|
|
|
|
|
Shut the fuck up. I'd kill you
|
|
myself, but I already lost plenty
|
|
today, and I can't afford to lose
|
|
more.
|
|
|
|
MA-MA turns to ANDERSON. Looks her up and down.
|
|
|
|
MA-MA
|
|
Sooner or later, the justice
|
|
department is going to come through
|
|
the blast doors, looking for their
|
|
judges. And they'll find their
|
|
bodies, all shot up. One on level
|
|
fifty five, and one in the slo-mo
|
|
den they took down. Just a bust
|
|
that went wrong.
|
|
|
|
MA-MA'S hand reaches back, and closes around KAY'S hair,
|
|
allowing her to yank his head close to hers.
|
|
|
|
MA-MA
|
|
That means no torture. No raping.
|
|
No skinning. Just a bunch of
|
|
bullets in the head and chest. You
|
|
understand me?
|
|
|
|
KAY hesitates.
|
|
|
|
MA-MA'S fist tightens so hard we can see the hairs getting
|
|
pulled out of KAY'S head.
|
|
|
|
MA-MA
|
|
Do you fucking understand me?
|
|
|
|
KAY
|
|
Yes.
|
|
|
|
MA-MA
|
|
Good.
|
|
|
|
AT THAT MOMENT-
|
|
|
|
- a CLAN MEMBER arrives.
|
|
|
|
CLAN MEMBER
|
|
Ma,
|
|
|
|
MA-MA turns. Wipes stray hairs from her hand.
|
|
|
|
The guy looks worried.
|
|
|
|
CLAN MEMBER
|
|
You'd better come quick.
|
|
85.
|
|
|
|
|
|
191 INT. MA MA'S BASE/CCTV ROOM - CONTINUOUS 191
|
|
|
|
MA-MA, followed by KAY, enters the CCTV room.
|
|
|
|
The CLAN TECHIE is hurriedly working his console.
|
|
|
|
MA-MA
|
|
Now what?
|
|
|
|
CLAN TECHIE
|
|
It's the other judge. He's patched
|
|
himself in to one of the terminals.
|
|
I think he's trying to access the
|
|
Tanoy.
|
|
|
|
MA-MA
|
|
Can't you stop him?
|
|
|
|
CLAN TECHIE
|
|
I can shut down the whole system.
|
|
But if we let him talk, I can trace
|
|
which terminal he's using. We'll
|
|
know exactly where he is.
|
|
|
|
On cue, over the Tanoy, DREDD'S VOICE cuts in.
|
|
|
|
DREDD'S VOICE
|
|
Inhabitants of Peach Trees. This is
|
|
Judge Dredd speaking.
|
|
|
|
The CLAN TECHIE looks back to MA-MA.
|
|
|
|
MA-MA
|
|
Let him talk.
|
|
|
|
|
|
192 INT. ATRIUM - CONTINUOUS 192
|
|
|
|
DREDD'S VOICE echoes down the whole atrium.
|
|
|
|
All around the balconies and apartments, the citizens, many
|
|
of them armed, listen.
|
|
|
|
DREDD'S VOICE
|
|
In case you people have forgotten:
|
|
this block operates under the same
|
|
rules as the rest of the city. Ma-
|
|
Ma is not the law. I am the law.
|
|
|
|
CUT TO:
|
|
|
|
- MA-MA and KAY walk out on to the top level balcony.
|
|
86.
|
|
|
|
|
|
DREDD'S VOICE
|
|
Ma-Ma is a common criminal.
|
|
|
|
On MA-MA'S FACE:
|
|
|
|
DREDD'S VOICE
|
|
Guilty of murder. Guilty of the
|
|
manufacture and distribution of the
|
|
narcotic known as slo-mo.
|
|
|
|
MA-MA'S head snaps round to KAY.
|
|
|
|
The look in her eyes silences him.
|
|
|
|
DREDD'S VOICE
|
|
And as of now, under sentence of
|
|
death.
|
|
|
|
CUT TO:
|
|
|
|
- groups of armed citizens.
|
|
|
|
DREDD'S VOICE
|
|
Any who obstruct me in carrying out
|
|
my duty will be treated as an
|
|
accessory to her crimes. You have
|
|
been warned.
|
|
|
|
The armed citizens exchange glances.
|
|
|
|
CUT TO:
|
|
|
|
MA-MA.
|
|
|
|
DREDD'S VOICE
|
|
As for you, Ma-Ma ...
|
|
|
|
CUT TO:
|
|
|
|
CLOSE UP ON DREDD'S MOUTH.
|
|
|
|
DREDD'S VOICE
|
|
Judgement time.
|
|
|
|
|
|
195 INT. ATRIUM/TOP BALCONY - CONTINUOUS 195
|
|
|
|
As the Tanoy cuts out, we find MA-MA, standing by the rail,
|
|
gripping it hard in her huge fists.
|
|
|
|
Beside her, KAY, ashen-faced.
|
|
87.
|
|
|
|
|
|
Behind her, the CLAN-TECHIE, appearing.
|
|
|
|
CLAN TECHIE
|
|
I've got him. He's only ten levels
|
|
below us. South Quad balcony.
|
|
Terminal five.
|
|
|
|
CUT TO:
|
|
|
|
|
|
196 INT. LEVEL 190/CORRIDORS - DAY 196
|
|
|
|
Two groups of CLAN, automatic weapons in hand, run down
|
|
corridors, exiting onto the -
|
|
|
|
|
|
198 INT. LEVEL 190/BALCONY - CONTINUOUS 198
|
|
|
|
- balcony, where they converge on Terminal Five: one of the
|
|
information access booths dotted around the block.
|
|
|
|
Through the frosted glass of the booth, we can just make
|
|
out the shape of a tall man.
|
|
|
|
CLAN MEMBER
|
|
He's still in there!
|
|
|
|
The two converging groups of Clan open fire as one.
|
|
|
|
Hundreds of rounds simultaneously smash into the frosted
|
|
glass.
|
|
|
|
Blood and glittering shards cloud our vision.
|
|
|
|
And when they clear -
|
|
|
|
- we find the body of a CLAN member.
|
|
|
|
Dead. Shot to pieces. But still held upright by the
|
|
plasticuffs that secure him to the terminal console.
|
|
|
|
PULL BACK FAST TO:
|
|
|
|
|
|
199 INT. LEVEL 191/BALCONY - CONTINUOUS 199
|
|
|
|
- the opposite balcony of the next level up.
|
|
|
|
Where DREDD is standing.
|
|
|
|
Looking down.
|
|
88.
|
|
|
|
|
|
DREDD
|
|
Incendiary.
|
|
|
|
The setting on DREDD'S gun changes.
|
|
|
|
Then he opens up.
|
|
|
|
As the incendiary rounds make contact, they erupt into
|
|
fireballs, engulfing the balcony of level 190.
|
|
|
|
DREDD walks, calmly shooting. Spreading the flame.
|
|
|
|
Until it is a ring of fire.
|
|
|
|
Out of which, blazing Clan, blinded by fire and pain, throw
|
|
themselves into the void of the atrium.
|
|
|
|
A PARTICULARLY LARGE FIREBALL erupts.
|
|
|
|
|
|
200 INT. ATRIUM - CONTINUOUS 200
|
|
|
|
We FOLLOW the FIREBALL upwards, as it rolls through the
|
|
atrium ...
|
|
|
|
... until it hits and dissipates on the roof ...
|
|
|
|
Sending MA-MA, KAY, and the CLAN TECHIE recoiling back from
|
|
the edge of the balcony, and diving for the floor.
|
|
|
|
When the CLAN TECHIE and MA-MA look up, they see the KAY
|
|
tearing at his head, screaming.
|
|
|
|
He didn't pull back from the balcony quickly enough, and
|
|
the fireball has caught his hair on fi
|
|
|
|
KAY
|
|
Aaah! AAAAH!
|
|
|
|
KAY beats the flames on his head out.
|
|
|
|
When he's done, half his hair is burned to the scalp.
|
|
|
|
KAY
|
|
Fuck!
|
|
|
|
MA-MA goes back to the balcony.
|
|
|
|
Looks down at the devastation.
|
|
|
|
KAY watches her, smoke curling up from his head.
|
|
89.
|
|
|
|
|
|
KAY
|
|
Ma, this is going to shit! You've
|
|
got to fucking stop this guy! What
|
|
are we going to do?
|
|
|
|
Fire reflecting in MA-MA'S eyes.
|
|
|
|
MA-MA
|
|
Got no choice. Dial 911.
|
|
|
|
CUT TO:
|
|
|
|
|
|
201 EXT. MEGA CITY ONE - NIGHT 201
|
|
|
|
SIRENS in Mega City One.
|
|
|
|
Blue lights strobing the night.
|
|
|
|
Four judges, straight-line formation, on bikes.
|
|
|
|
We see them each in turn.
|
|
|
|
They are judges ELMUNDO, THOZ, MUGGERS, and LEX.
|
|
|
|
Each more hard-bitten than the last.
|
|
|
|
Riding up the ramps, down the walkways, scattering
|
|
pedestrians ...
|
|
|
|
... then pulling up at the SOUTH ENTRANCE of Peach Trees.
|
|
|
|
As they get off their bike, we see ELMUNDO is armed
|
|
differently to the other three. Instead of a handgun, he
|
|
carries a bulky MACHINE GUN
|
|
|
|
|
|
202 EXT. PEACH TREE BLOCK/SOUTH ENTRANCE - CONTINUOUS 202
|
|
|
|
LEX approaches the three JUDGES who are already on the
|
|
scene.
|
|
|
|
LEX is very like DREDD. Same build. Same granite face.
|
|
Speaks with total economy in a low growl.
|
|
|
|
LEX
|
|
Got a 10-24 from this block. Two
|
|
judges under fire, requesting
|
|
urgent assistance. And you're
|
|
standing outside.
|
|
|
|
JUDGE
|
|
90.
|
|
|
|
|
|
Block's under lock-down.
|
|
Malfunction with their nuke defense
|
|
system.
|
|
|
|
LEX glances at the blast doors.
|
|
|
|
ELMUNDO, the HEAVY WEAPONS JUDGE, walks over to the
|
|
intercom. Speaks into it.
|
|
|
|
ELMUNDO
|
|
Open up. Now.
|
|
|
|
A beat.
|
|
|
|
Then ...
|
|
|
|
the heavy door starts to rise.
|
|
|
|
LEX looks back at the judges.
|
|
|
|
LEX
|
|
You're relieved.
|
|
|
|
|
|
203 INT. PEACH TREE BLOCK/SOUTH ENTRANCE - CONTINUOUS 203
|
|
|
|
Seen from a CCTV POV, LEX, ELMUNDO, MUGGERS THOZ and enter
|
|
the darkened entrance.
|
|
|
|
The three judges on the outside watch them.
|
|
|
|
Until the blast door suddenly slams shut again.
|
|
|
|
REVEAL -
|
|
|
|
|
|
205 INT. PEACH TREE BLOCK/MEDICAL CENTER - CONTINUOUS 205
|
|
|
|
- that the CCTV image is being watched by the PARAMEDIC.
|
|
|
|
He jumps up, runs to his security, and punches in the code
|
|
to unlock it.
|
|
|
|
|
|
206 INT. ATRIUM - CONTINUOUS 206
|
|
|
|
LEX, THOZ, ELMUNDO and MUGGERS stand at the base of the
|
|
atrium.
|
|
|
|
It's the bottom of a pit of Hell.
|
|
|
|
Dark, apart from the glow of emergency lighting.
|
|
91.
|
|
|
|
|
|
A hundred and ninety stories up, fire burns.
|
|
|
|
The base of the atrium is littered with smouldering bodies,
|
|
crumpled and half exploded from the impact of their fall.
|
|
|
|
LEX
|
|
So what we got here?
|
|
|
|
THOZ
|
|
Two judges trigger a turf war.
|
|
Judges die in pursuit of duty.
|
|
|
|
LEX
|
|
And the perps who killed the
|
|
judges?
|
|
|
|
THOZ gestures at the bodies.
|
|
|
|
THOZ
|
|
Laid out here.
|
|
|
|
LEX
|
|
Sounds right.
|
|
|
|
PARAMEDIC
|
|
Excuse me.
|
|
|
|
The four judges turn.
|
|
|
|
See the PARAMEDIC, who has approached them from the
|
|
shadows.
|
|
|
|
PARAMEDIC
|
|
That's not what's happened. I've
|
|
been here right from the start.
|
|
This killing is all because of one
|
|
gang - the Ma-Ma Clan. And from
|
|
that fire up there, I'd say at
|
|
least one of your two judges is
|
|
still alive.
|
|
|
|
LEX gazes at the man a beat.
|
|
|
|
LEX
|
|
You prepared to testify to that?
|
|
|
|
PARAMEDIC
|
|
Sure.
|
|
|
|
THOZ shoots the PARAMEDIC in the head.
|
|
|
|
|
|
207 INT. LEVEL 199/CORRIDOR - CONTINUOUS 207
|
|
92.
|
|
|
|
|
|
DREDD exits a stairwell into a corridor of level 199.
|
|
|
|
One level down from MA-MA'S penthouse base.
|
|
|
|
One end of the corridor opens into the atrium, where we
|
|
|
|
can see the glow of flames from the fire he has
|
|
|
|
started.
|
|
|
|
Smoke hangs in the air. Gives everything a strange,
|
|
|
|
heavy atmosphere.
|
|
|
|
Ahead of DREDD is an elevator lobby.
|
|
|
|
The digital display by the call button shows the
|
|
|
|
elevator moving between floors, upwards through the
|
|
|
|
building.
|
|
|
|
The elevator gets closer and closer to level 199.
|
|
|
|
As the countdown is about to reach his floor, DREDD
|
|
|
|
takes aim, to catch whoever is inside as the doors
|
|
|
|
open ...
|
|
|
|
... but the elevator continues to the floor above.
|
|
|
|
NO SOONER HAS IT PASSED -
|
|
|
|
- than there is a sound behind DREDD.
|
|
|
|
He turns, fast, firing.
|
|
|
|
Corning out of a doorway, a CLAN MEMBER is almost shot in
|
|
half by the volley.
|
|
|
|
ON DREDD'S GUN -
|
|
|
|
- a WARNING LIGHT flicks on.
|
|
|
|
DREDD glances down.
|
|
|
|
On the DIGITAL DISPLAY it reads: AMMUNITION LOW
|
|
|
|
CUT TO:
|
|
93.
|
|
|
|
|
|
209 INT. MA MA'S BASE - CONTINUOUS 209
|
|
|
|
Elevator doors open, revealing the four judges.
|
|
|
|
The four judges exit.
|
|
|
|
Waiting for them are MA-MA and KAY.
|
|
|
|
LEX
|
|
One million credits.
|
|
|
|
MA-MA
|
|
A million?
|
|
|
|
LEX
|
|
You got a problem with a judge.
|
|
Know who he is?
|
|
|
|
MA-MA
|
|
No.
|
|
|
|
LEX
|
|
I do. One million.
|
|
|
|
Beat.
|
|
|
|
MA-MA
|
|
Fine.
|
|
|
|
LEX
|
|
Muggers, protection detail on
|
|
client. Thoz and El, we're flushing
|
|
him out,
|
|
|
|
ELMUNDO
|
|
Got it.
|
|
|
|
LEX turns back to MA-MA.
|
|
|
|
LEX
|
|
Where's the other one? The rookie.
|
|
|
|
MA-MA
|
|
We've got her here.
|
|
|
|
LEX
|
|
Dead or alive?
|
|
|
|
MA-MA
|
|
Alive.
|
|
|
|
LEX
|
|
94.
|
|
|
|
|
|
Make her dead.
|
|
|
|
|
|
210 INT. LEVEL 199/SMOKE FILLED CORRIDOR - CONTINUOUS 210
|
|
|
|
Smoke hangs in a corridor.
|
|
|
|
Bright sparks swirl in the air, floating up from the fire.
|
|
|
|
And the sparks, through the smoke, are changing their
|
|
movement ...
|
|
|
|
... as DREDD appears through them, gun raised.
|
|
|
|
|
|
211 INT. LEVEL 199/SMOKE FILLED CORRIDOR - CONTINUOUS 211
|
|
|
|
LEX, THOZ and ELMUNDO appear out of a stairwell.
|
|
|
|
LEX silently gestures to the other two judges - telling
|
|
them to fan out.
|
|
|
|
They nod, and move, each taking a different direction.
|
|
|
|
|
|
212 INT. LEVEL 199/SMOKE FILLED CORRIDOR - CONTINUOUS 212
|
|
|
|
DREDD moves forwards.
|
|
|
|
Reacts to a movement in the smoke.
|
|
|
|
Brings his gun to bear, as the smoke momentarily clears.
|
|
|
|
Revealing nothing.
|
|
|
|
Just a shadow.
|
|
|
|
|
|
213 INT. MA MA'S BASE/CORRIDOR - CONTINUOUS 213
|
|
|
|
MUGGERS leads MA-MA and KAY down a corridor, towards MA-
|
|
MA'S penthouse.
|
|
|
|
KAY
|
|
I'll do the girl.
|
|
|
|
MA-MA gives KAY the nod.
|
|
|
|
KAY peels off.
|
|
|
|
|
|
214 INT. LEVEL 199/SMOKE-FILLED CORRIDOR - CONTINUOUS 214
|
|
95.
|
|
|
|
|
|
Back to the sparks.
|
|
|
|
DREDD seeing something ahead.
|
|
|
|
Through the haze and pinprick points of brightness ...
|
|
|
|
.... the shape of another judge.
|
|
|
|
The shoulder pads. The curve of the helmet.
|
|
|
|
CUT TO:
|
|
|
|
- the REVERSE VIEW.
|
|
|
|
THOZ pulling back into an alcove, drawing his weapon.
|
|
|
|
THOZ lifts his glove and speaks into his mike.
|
|
|
|
THOZ
|
|
(quiet)
|
|
Just eyeballed him.
|
|
|
|
CUT TO:
|
|
|
|
- LEX, elsewhere in the smoke filled corridors, lifting his
|
|
glove.
|
|
|
|
LEX
|
|
Don't take him one on one. Stick
|
|
with the plan.
|
|
|
|
CUT TO:
|
|
|
|
THOZ.
|
|
|
|
THOZ
|
|
(quiet)
|
|
Copy that.
|
|
|
|
THOZ lowers is glove.
|
|
|
|
Then calls out.
|
|
|
|
THOZ
|
|
You there. Identify yourself.
|
|
|
|
CUT TO:
|
|
|
|
DREDD. Also ducked into an alcove, weapon drawn.
|
|
|
|
DREDD
|
|
Dredd. Sector Thirteen.
|
|
96.
|
|
|
|
|
|
Ahead of him, THOZ steps out of cover.
|
|
|
|
THOZ
|
|
Thoz. Sector Nine. Responding to
|
|
your 10-24.
|
|
|
|
THOZ walks towards DREDD.
|
|
|
|
THOZ
|
|
Good to see you, Dredd.
|
|
|
|
DREDD
|
|
Likewise. You alone?
|
|
|
|
THOZ
|
|
Negative. Three man squad. Closing
|
|
on my vector right now.
|
|
|
|
THOZ smiles.
|
|
|
|
THOZ
|
|
So relax. Cavalry's here.
|
|
|
|
Beat. On DREDD. His sixth sense, catching bullshit. It's
|
|
THOZ'S smile.
|
|
|
|
Then:
|
|
|
|
DREDD
|
|
There were two of us.
|
|
|
|
THOZ
|
|
Two.
|
|
|
|
DREDD
|
|
Two of us called in the 10-24.
|
|
Wondering why you haven't asked
|
|
about the other one.
|
|
|
|
Beat.
|
|
|
|
Then THOZ lifts his left glove ...
|
|
|
|
THOZ
|
|
Lex - move it -
|
|
|
|
THOZ is cut off.
|
|
|
|
DREDD'S hand catches his gun-arm around the wrist -
|
|
|
|
- and with equal speed, THOZ has done the same to DREDD,
|
|
holding DREDD'S gun by the barrel.
|
|
97.
|
|
|
|
|
|
For a moment, the TWO judges face each other, each
|
|
neutralising the other's handgun.
|
|
|
|
Then -
|
|
|
|
- the fight kicks off.
|
|
|
|
DREDD pushes forwards, jamming THOZ'S wrist back, forcing
|
|
his gun to drop.
|
|
|
|
THOZ twists, turning DREDD one eighty, pulling DREDD'S gun
|
|
up so that the weapon is jammed against DREDD'S throat.
|
|
|
|
To prevent being choked, DREDD must release the gun.
|
|
|
|
Immediately, DREDD snaps his helmet back into THOZ with a
|
|
reverse headbutt.
|
|
|
|
And now it's just silent HAND TO HAND COMBAT.
|
|
|
|
Incredibly fast and vicious.
|
|
|
|
Pure fight to the death between two hard-as-nails street
|
|
judges.
|
|
|
|
Carried out in the hanging smoke and whirling sparks.
|
|
|
|
CUT TO:
|
|
|
|
|
|
216 INT. LEVEL 199/SMOKE FILLED CORRIDOR - CONTINUOUS 216
|
|
|
|
- LEX hooking up with ELMUNDO.
|
|
|
|
Joining to move fast down the corridor.
|
|
|
|
CUT TO:
|
|
|
|
DREDD and THOZ in HAND TO HAND COMBAT.
|
|
|
|
Ending on a fast jab. An open hand. DREDD'S fingers
|
|
slamming into THOZ'S neck.
|
|
|
|
It stops THOZ in his tracks.
|
|
|
|
When DREDD'S hand pulls back, there is a weird concave dip,
|
|
several inches deep, in THOZ'S throat.
|
|
|
|
His windpipe has been crushed.
|
|
|
|
He can't breathe.
|
|
98.
|
|
|
|
|
|
As THOZ'S hands move up to his neck, as if trying to push
|
|
it back into shape -
|
|
|
|
- DREDD steps away.
|
|
|
|
And calmly picks up his handgun.
|
|
|
|
BACK TO -
|
|
|
|
LEX and ELMUNDO.
|
|
|
|
Turning a corner.
|
|
|
|
Seeing, ahead of them, the silhouette shape of a judge.
|
|
|
|
Their guns immediately snap to him.
|
|
|
|
But don't shoot, as the figure takes a hesitant, drunken
|
|
step towards them.
|
|
|
|
Revealing himself as THOZ.
|
|
|
|
A final strangled noise comes out of THOZ'S blood-filled
|
|
mouth.
|
|
|
|
Then he drops to his knees. Hard.
|
|
|
|
Then falls face down and lies still.
|
|
|
|
LEX and ELMUNDO exchange a glance.
|
|
|
|
CUT TO:
|
|
|
|
|
|
217 INT. LEVEL 199/SMOKE-FILLED CORRIDOR - CONTINUOUS 217
|
|
|
|
- DREDD, who backs through a doorway.
|
|
|
|
As the door closes behind him, pulled shut by a hydraulic
|
|
mechanism that slows the door on its final inches ...
|
|
|
|
LEX and ELMUNDO appear, guns drawn.
|
|
|
|
LEX gestures at the door.
|
|
|
|
ELMUNDO nods.
|
|
|
|
|
|
219 INT. SLO MO MANUFACTURINGBASE - CONTINUOUS 219
|
|
|
|
DREDD looks around at the space he has just entered into.
|
|
99.
|
|
|
|
|
|
Apartment walls have been knocked out, as have sections of
|
|
ceiling and floor. All to accommodate pipes, tanks,
|
|
heaters, condensers ...
|
|
|
|
.. . and racks of large COMPRESSED GAS CANISTERS, the size
|
|
of a scuba-diver's air tank.
|
|
|
|
The machinery for the large-scale manufacture and refining
|
|
of the slo-mo narcotic.
|
|
|
|
This is MA-MA'S MANUFACTURING BASE.
|
|
|
|
As the WORKERS see DREDD, and scatter.
|
|
|
|
CUT TO:
|
|
|
|
|
|
220 INT. MA-MA'S BASE/ROOM - CONTINUOUS 220
|
|
|
|
- KAY. Half his hair burned off.
|
|
|
|
Looking at a variety of objects, laid out on a table.
|
|
Objects taken from ANDERSON.
|
|
|
|
There are ammunition clips. Lock knife. Med kits. Plasti
|
|
cuffs ...
|
|
|
|
... and the PHOTO of ANDERSON and her parents.
|
|
|
|
KAY'S gaze hesitates on it.
|
|
|
|
Then -
|
|
|
|
- turns to ANDERSON, who is kneeling in front of him.
|
|
|
|
Head down, not meeting KAY'S gaze. No hope left for her.
|
|
Defeated, it seems.
|
|
|
|
KAY glances at the weapon in his hand.
|
|
|
|
It's ANDERSON'S LAWGIVER.
|
|
|
|
KAY
|
|
Bet you thought you were going to
|
|
make your parents proud. Not much
|
|
chance of that now.
|
|
|
|
KAY shakers his head.
|
|
|
|
KAY
|
|
You were shit out of luck when you
|
|
ran into the Ma-Ma Clan.
|
|
100.
|
|
|
|
|
|
KAY turns over ANDERSON'S gun in his hand, appraising it.
|
|
|
|
ANDERSON'S eyes stay down.
|
|
|
|
KAY
|
|
But don't feel too bad. I've seen a
|
|
lot of Judges in my time, and you
|
|
just weren't cut out for it. If it
|
|
wasn't today you got killed, it
|
|
would have been tomorrow. At best
|
|
the day after.
|
|
|
|
Beat.
|
|
|
|
KAY
|
|
Anyway. Today it is.
|
|
|
|
He looks back at ANDERSON.
|
|
|
|
KAY
|
|
Any last words, bitch?
|
|
|
|
Beat.
|
|
|
|
Then -
|
|
|
|
ANDERSON
|
|
That's funny.
|
|
|
|
ANDERSON raises her head.
|
|
|
|
And in her eyes, there's no fear. She's totally calm,
|
|
staring death right in the face. Not even blinking.
|
|
|
|
She may be a failed rookie, but she looks like a judge.
|
|
|
|
ANDERSON
|
|
I was going to ask you the exact
|
|
thing.
|
|
|
|
SAME
|
|
(beat)
|
|
Bitch.
|
|
|
|
KAY'S wrong-footed. It's fleeting, but just for a moment,
|
|
it's almost like he's scared of her.
|
|
|
|
Then his fingers close around ANDERSON'S gun.
|
|
|
|
He lifts it, aiming right at her head.
|
|
|
|
And squeezes the trigger.
|
|
101.
|
|
|
|
|
|
Nothing happens.
|
|
|
|
KAY frowns.
|
|
|
|
Sees on the side of the gun -
|
|
|
|
- a small LED light. Strobing red.
|
|
|
|
Next to the light, the digital display. Which reads: ID
|
|
FAIL.
|
|
|
|
Just as he has time to take this in -
|
|
|
|
- the gun EXPLODES.
|
|
|
|
A bright flash, a detonation.
|
|
|
|
And when it has passed, KAY'S arm is a stump, spraying
|
|
blood everywhere. And he's screaming.
|
|
|
|
Cut short as ANDERSON rises ...
|
|
|
|
and delivers a single roundhouse kick.
|
|
|
|
It contacts KAY'S jaw perfectly, snapping his head
|
|
sideways.
|
|
|
|
Breaking his neck.
|
|
|
|
CUT BACK TO:
|
|
|
|
|
|
221 INT. SLO MO MANUFACTURINGBASE - CONTINUOUS 221
|
|
|
|
- DREDD.
|
|
|
|
Moving through the manufacturing base.
|
|
|
|
Keeping low, from cover to cover.
|
|
|
|
Peering out across the lab.
|
|
|
|
Seeing the door he came through
|
|
|
|
Tucking himself behind a counter, he calls out:
|
|
|
|
DREDD
|
|
What's the price of a judge these
|
|
days?
|
|
|
|
CUT TO:
|
|
102.
|
|
|
|
|
|
LEX and ELMUNDO.
|
|
|
|
On the other side of the room, doing the same as DREDD.
|
|
|
|
LEX silently gestures to ELMUNDO. Flat palm, held vertical
|
|
to the ground, curving round.
|
|
|
|
ELMUNDO nods. Starts moving.
|
|
|
|
Then LEX calls back:
|
|
|
|
LEX
|
|
Million. Split four ways.
|
|
|
|
BACK TO -
|
|
|
|
- DREDD.
|
|
|
|
Both DREDD and LEX are trying to keep the other talking.
|
|
DREDD to get a fix on LEX, and LEX to allow ELLMUNDO to
|
|
work his way around.
|
|
|
|
DREDD
|
|
Three ways now.
|
|
|
|
LEX
|
|
Suits me.
|
|
|
|
DREDD starts to move again.
|
|
|
|
DREDD
|
|
Doesn't sound like much. To betray
|
|
the law.
|
|
|
|
DREDD steals a look across the room towards where he thinks
|
|
he has made LEX'S location.
|
|
|
|
DREDD
|
|
Betray the city.
|
|
|
|
LEX
|
|
Save that shit for the rookies.
|
|
Twenty years I've been on the
|
|
streets.
|
|
|
|
DREDD now thinks he has a clear fix on LEX.
|
|
|
|
He's zeroed in on one spot - a long steel workbench.
|
|
|
|
Which is in fact exactly where LEX is hiding.
|
|
|
|
LEX
|
|
103.
|
|
|
|
|
|
You know what Mega City One is,
|
|
Dredd? It's a meat grinder.
|
|
|
|
REVEAL -
|
|
|
|
- BEHIND DREDD, while DREDD has been closing in on LEX,
|
|
ELMUNDO has been flanking.
|
|
|
|
LEX
|
|
People go in one end.
|
|
|
|
DREDD doesn't seem to have seen.
|
|
|
|
He's easing forwards, his gun trained on the workbench.
|
|
|
|
LEX
|
|
Meat comes out the other.
|
|
|
|
DREDD hesitates.
|
|
|
|
MAYBE having heard something. Maybe sensing the trap.
|
|
|
|
LEX
|
|
All we do is turn the handle.
|
|
|
|
A fraction of a beat.
|
|
|
|
Then DREDD throws himself sideways, just in time, as rounds
|
|
from ELMUNDO'S HEAVY MACHINE GUN trace into the space he
|
|
occupied only a split second before.
|
|
|
|
INTENSE GUNPLAY immediately erupts.
|
|
|
|
GUNPLAY version of the HAND TO HAND.
|
|
|
|
DREDD starts returning fire in the direction of ELMUNDO.
|
|
|
|
ELMUNDO does the same in reverse.
|
|
|
|
As does LEX, breaking cover.
|
|
|
|
The manufacturing base starts disintegrating.
|
|
|
|
Amidst the glass vaporizing, wood splintering, and metal
|
|
puncturing -
|
|
|
|
- we find DREDD and ELMUNDO.
|
|
|
|
Finding a clear line of sight to each other.
|
|
|
|
Each bringing their guns to bear.
|
|
104.
|
|
|
|
|
|
ELMUNDO fires first.
|
|
|
|
And nothing happens. The display on his HEAVY MACHINE GUN
|
|
reads EMPTY.
|
|
|
|
ELMUNDO
|
|
Shit -
|
|
|
|
DREDD fires.
|
|
|
|
CLICK.
|
|
|
|
DREDD'S weapon also just found an empty chamber.
|
|
|
|
Both judges realize what's happening.
|
|
|
|
ELMUNDO reaches for his UTILITY BELT -
|
|
|
|
DREDD
|
|
Incendiary.
|
|
|
|
The gun setting changes. DREDD pulls the trigger again.
|
|
|
|
Click. Still empty.
|
|
|
|
ELMUNDO pulls out a fresh CLIP.
|
|
|
|
DREDD
|
|
Rapid fire.
|
|
|
|
Click.
|
|
|
|
ELMUNDO jams the CLIP home.
|
|
|
|
DREDD
|
|
Armour piercing.
|
|
|
|
Click.
|
|
|
|
ELMUNDO lifts the gun.
|
|
|
|
DREDD
|
|
High Ex.
|
|
|
|
BANG.
|
|
|
|
As DREDD'S LAST BULLET flies out of his gun, the DIGITAL
|
|
DISPLAY reads:
|
|
|
|
EMPTY
|
|
|
|
THEN -
|
|
105.
|
|
|
|
|
|
- ELMUNDO'S head is blown off.
|
|
|
|
It fragments.
|
|
|
|
The pieces fly apart.
|
|
|
|
CUT TO:
|
|
|
|
- LEX.
|
|
|
|
In cover, as blood patters around him like rain.
|
|
|
|
LEX
|
|
(under his breath)
|
|
Motherfucker.
|
|
|
|
DREDD calls out.
|
|
|
|
DREDD
|
|
Two-way split.
|
|
|
|
In LEX, there's fury behind the steel.
|
|
|
|
He calls back:
|
|
|
|
LEX
|
|
Yeah. I'd be breaking a sweat. If
|
|
you hadn't just run out of bullets.
|
|
|
|
LEX rises, and starts strafing the room.
|
|
|
|
AS DREDD SCRAMBLES for cover,
|
|
|
|
CUT TO:
|
|
|
|
|
|
228 INT. MA-MA'S BASE - CONTINUOUS 228
|
|
|
|
- ANDERSON.
|
|
|
|
Moving through MA-MA'S base.
|
|
|
|
She's unarmed.
|
|
|
|
But only for a moment.
|
|
|
|
Ahead of her are two CLAN.
|
|
|
|
She moves up behind them.
|
|
|
|
She doubles up the first with an extremely vicious kidney
|
|
punch.
|
|
106.
|
|
|
|
|
|
As the first folds over, the second is lifting his MACHINE
|
|
PISTOL gun.
|
|
|
|
Only to have his wrist folded back on itself, so the barrel
|
|
is aiming between his eyes.
|
|
|
|
ANDERSON forced the trigger down. The muzzle flash of the
|
|
MACHINE PISTOL engulfs his whole face.
|
|
|
|
ANDERSON empties the clip.
|
|
|
|
When the muzzle stops flashing, the man's face is
|
|
completely gone.
|
|
|
|
He remains standing, because ANDERSON is holding him
|
|
upright, as she pulls another ammo clip from his belt.
|
|
|
|
Then she lets him go.
|
|
|
|
As he's falling, she's sliding in the new clip.
|
|
|
|
Then she turns, and shoots the man she dropped with the
|
|
kidney punch.
|
|
|
|
CUT TO:
|
|
|
|
|
|
230 INT. MA-MA'S BASE - CONTINUOUS 230
|
|
|
|
MA-MA and MUGGERS react to the burst of gunfire.
|
|
|
|
In the silence that follows:
|
|
|
|
MA-MA
|
|
Kay's dead.
|
|
|
|
MUGGERS
|
|
Get a gun. Find somewhere to hide.
|
|
|
|
MA-MA
|
|
Where are you going?
|
|
|
|
MUGGERS
|
|
I've got the girl cold. I see her
|
|
first, I shoot her. She sees me
|
|
first, she hesitates, then I shoot
|
|
her.
|
|
|
|
CUT TO:
|
|
|
|
|
|
231 INT. MA MA'S BASE/CORRIDOR - CONTINUOUS 231
|
|
107.
|
|
|
|
|
|
- ANDERSON, moving fast in classic sweep, gun raised in two
|
|
handed grip.
|
|
|
|
Rounding a corner.
|
|
|
|
Finding the corridor is clear.
|
|
|
|
Tense beats, as she moves towards the next blind spot.
|
|
|
|
A T-JUNCTION.
|
|
|
|
She swings around it, and -
|
|
|
|
- finds MUGGERS.
|
|
|
|
He's side on to her.
|
|
|
|
His head turns.
|
|
|
|
MUGGERS
|
|
Lower the gun, rookie. I'm your
|
|
back up.
|
|
|
|
A beat on ANDERSON'S face.
|
|
|
|
ONLY JUST LONG ENOUGH -
|
|
|
|
- for us to realize she's reading him.
|
|
|
|
Then she unloads into MUGGERS'S chest.
|
|
|
|
CUT TO:
|
|
|
|
|
|
232 INT. SLO MO MANUFACTURINGBASE - CONTINUOUS 232
|
|
|
|
- bullets punching the cover around DREDD.
|
|
|
|
DREDD moves for another place to hide.
|
|
|
|
But as soon as he reaches fresh cover, he is driven out by
|
|
further volleys of bullets.
|
|
|
|
Finally, he finds himself behind a short section of wall. A
|
|
remainder of the apartment walls that once stood. Five foot
|
|
long.
|
|
|
|
Nothing to hide behind where he just came from, because
|
|
everything is shot to pieces.
|
|
|
|
Not:1ing ahead but clear air.
|
|
108.
|
|
|
|
|
|
DREDD'S options just ran out.
|
|
|
|
He knows it.
|
|
|
|
And on the other side of the wall, LEX knows it too.
|
|
|
|
CUT TO:
|
|
|
|
- LEX.
|
|
|
|
Unhurried.
|
|
|
|
LEX
|
|
Armour piercing.
|
|
|
|
The setting on his gun changes.
|
|
|
|
He takes aim at a mid-way point on the wall.
|
|
|
|
A final beat.
|
|
|
|
Then LEX fires.
|
|
|
|
CUT TO:
|
|
|
|
- a bullet rifling out of DREDD'S stomach.
|
|
|
|
We've seen a lot of bullets hit people up to now. This one
|
|
is different. Almost understated.
|
|
|
|
The visual impact is not what in what the bullet has done,
|
|
but in who it has hit.
|
|
|
|
In the wall opposite DREDD, a single hole is drilled.
|
|
|
|
DREDD looks at the hole a moment.
|
|
|
|
Then down to the hole in his lower torso, from which blood
|
|
is running.
|
|
|
|
Down onto his utility belt. Down his leg.
|
|
|
|
Starting to pool on the tread under his boot.
|
|
|
|
DREDD
|
|
Damn.
|
|
|
|
A beat.
|
|
|
|
Then DREDD starts to slide down the wall.
|
|
|
|
Landing in a seated position.
|
|
109.
|
|
|
|
|
|
And when he looks up, LEX is standing over him.
|
|
|
|
Gun trained on DREDD'S head.
|
|
|
|
A beat between the two judges.
|
|
|
|
Then:
|
|
|
|
DREDD
|
|
Wait.
|
|
|
|
Beat.
|
|
|
|
LEX
|
|
'Wait'?
|
|
|
|
LEX hesitates.
|
|
|
|
LEX
|
|
Are you kidding me? Did you just
|
|
say: 'wait'? Judge Dredd. The Judge
|
|
Dredd. Finally gets on the wrong
|
|
end of a gun. And what he says is
|
|
'wait'.
|
|
|
|
LEX shakes his head, incredulous.
|
|
|
|
LEX
|
|
You know what? I expected more of
|
|
you.
|
|
(hitting his stride)
|
|
I mean, wait for what? Wait for me
|
|
to change my mind? Wait for another
|
|
two or three seconds of life,
|
|
because you're so fucking weak you
|
|
can't stand to see it end?
|
|
|
|
DREDD
|
|
No.
|
|
|
|
Abruptly, shockingly, LEX gets drilled with bullets.
|
|
|
|
They smash through his chest and helmet. Through his mouth
|
|
and teeth.
|
|
|
|
As he drops, REVEAL ANDERSON, standing behind.
|
|
|
|
DREDD
|
|
Wait for her to shoot you.
|
|
|
|
CUT TO:
|
|
110.
|
|
|
|
|
|
- DREDD'S gloved and bloody fingers popping a pouch on his
|
|
utility belt.
|
|
|
|
Pulling out a med-kit.
|
|
|
|
CUT TO:
|
|
|
|
- DREDD taking a compressed antiseptic foam canister from
|
|
the med-kit.
|
|
|
|
CUT TO:
|
|
|
|
- DREDD sticking the nozzle into his bullet wound, and
|
|
depressing the spray.
|
|
|
|
The wound fills with a foam, which solidifies instantly.
|
|
|
|
CUT TO:
|
|
|
|
- DREDD pulling another instrument from his utility belt. A
|
|
weird little device which looks like a stapler. And pretty
|
|
much is a stapler.
|
|
|
|
He holds the device up to the entry wound, and depresses
|
|
it.
|
|
|
|
A small clamp punctures the flesh either side of the bullet
|
|
hole, then contracts, stapling the wound shut.
|
|
|
|
CUT TO:
|
|
|
|
- DREDD taking LEX'S GUN from his dead hand.
|
|
|
|
Ejecting the clip.
|
|
|
|
Slotting the clip home into his own gun.
|
|
|
|
Then straightening.
|
|
|
|
And turning to ANDERSON.
|
|
|
|
DREDD
|
|
Ready?
|
|
|
|
ANDERSON
|
|
Yes, sir.
|
|
|
|
A shared beat between then.
|
|
|
|
DREDD nods.
|
|
|
|
DREDD
|
|
111.
|
|
|
|
|
|
You look ready.
|
|
|
|
CUT TO:
|
|
|
|
|
|
234 INT. MA-MA'S PENTHOUSE/ENTRANCE HALL - DAY 234
|
|
|
|
- MA-MA'S penthouse.
|
|
|
|
In the entrance hall, eight CLAN are crouched behind cover,
|
|
Guns trained at the front double doors ...
|
|
|
|
... which, a moment later, are blown open by an explosive
|
|
charge.
|
|
|
|
Dust and smoke clear. And -
|
|
|
|
- nothing happens.
|
|
|
|
For a beat.
|
|
|
|
The CLAN exchange glances.
|
|
|
|
Then -
|
|
|
|
- one of the air-tank sized COMPRESSED GAS CANNISTERS is
|
|
thrown into the room.
|
|
|
|
It bounces as it hits the ground.
|
|
|
|
Spinning up.
|
|
|
|
Then, in mid air, DREDD appears framed in the blown open
|
|
doors, gas mask pulled down over his face...
|
|
|
|
DREDD
|
|
Overdose.
|
|
|
|
... and fires once.
|
|
|
|
As the bullet hits the GAS CANNISTER, it explodes. And a
|
|
micro second after it explodes, we go to -
|
|
|
|
- EXTREME SLOW MOTION.
|
|
|
|
Watching the metal expand. Like a kid's balloon. Rip open.
|
|
Releasing an expanding cloud of shimmering iridescent gas.
|
|
|
|
Then -
|
|
|
|
- cutting between NORMAL SPEED and SLO MO as the GAS
|
|
envelopes each of the CLAN in turn.
|
|
112.
|
|
|
|
|
|
Becoming -
|
|
|
|
- cuts between DREDD'S unaffected POV, and the CLAN'S
|
|
MASSIVELY OVERDOSED POV, where SLO MO is almost STATIC,
|
|
almost FREEZE FRAMES ...
|
|
|
|
... as DREDD and ANDERSON simply walk into the middle of
|
|
the room. Side by side.
|
|
|
|
And shoot each of them in turn.
|
|
|
|
|
|
240 INT. MA MA'S PENTHOUSE - CONTINUOUS 240
|
|
|
|
DREDD and ANDERSON are moving through the penthouse.
|
|
|
|
Cat and mouse through the space. Around corners. Through
|
|
doorways.
|
|
|
|
Silence between DREDD and ANDERSON.
|
|
|
|
All hand gestures. Tension building. As they close in on a
|
|
shut metal door at the end of a corridor. Beside which is a
|
|
numbered keypad.
|
|
|
|
But before they reach it -
|
|
|
|
- ANDERSON suddenly turns, kicks open a side door.
|
|
|
|
Revealing the CCTV room.
|
|
|
|
|
|
244 INT. MA-MA'S BASE/CCTV ROOM 244
|
|
|
|
The room looks empty.
|
|
|
|
But ANDERSON enters, followed by DREDD. Weapons drawn.
|
|
|
|
ANDERSON straight to the bank of monitors, then reaches to
|
|
the cavity underneath the console ...
|
|
|
|
... and hauls out the CLAN TECHIE.
|
|
|
|
CLAN TECHIE
|
|
Please, don't shoot, don't shoot!
|
|
I'm not armed! And -
|
|
|
|
His gaze flicks between the two judges, and the guns
|
|
trained on him. Sensing imminent death. Looking for the
|
|
out.
|
|
|
|
CLAN TECHIE
|
|
113.
|
|
|
|
|
|
- and I can help you!
|
|
|
|
DREDD
|
|
How?
|
|
|
|
The TECHIE gestures back to the corridor outside.
|
|
|
|
CLAN TECHIE
|
|
Ma-Ma's in her private quarters -
|
|
but it's behind ten inches of
|
|
steel. There's no way inside
|
|
without the keypad combination! And
|
|
I can give it to you! I installed
|
|
it myself!
|
|
|
|
ANDERSON
|
|
I don't need your cooperation the
|
|
combination from you.
|
|
|
|
She puts her hand on the TECHIE'S shoulder to hold him
|
|
steady. Then closes her eyes. Reads him.
|
|
|
|
Then -
|
|
|
|
- opens her eyes.
|
|
|
|
Frowning slightly.
|
|
|
|
But doesn't release the TECHIE.
|
|
|
|
Instead, closes her eyes, and reads him again.
|
|
|
|
CUT TO:
|
|
|
|
|
|
245 INT. UNDEFINED SPACE - CONTINUOUS 245
|
|
|
|
- inside the CLAN TECHIE'S head.
|
|
|
|
Similar to the UNDEFINED SPACE that existed inside KAY'S
|
|
head.
|
|
|
|
The CLAN TECHIE and ANDERSON in the same positions relative
|
|
to each other as they are in the real world, as -
|
|
|
|
- ANDERSON'S hand reaches out to touch the CLAN TECHIE'S
|
|
cheek.
|
|
|
|
FLASH CUTS TO:
|
|
|
|
- the CLAN TECHIE'S memories. Key moments in his life,
|
|
PLAYED BACKWARDS. Glimpsed.
|
|
114.
|
|
|
|
|
|
IN REVERSE -
|
|
|
|
- KAY laughing as he throws acid in the TECHIE'S face.
|
|
|
|
- The TECHIE (without eye implants) in an ELECTRONICS
|
|
REPAIR SHOP, cowering beside the body of his FATHER, as
|
|
pooled blood runs back into him, who then springs up to his
|
|
feet, bullets popping back out of his chests and head, and
|
|
back into the guns of the CALEB and two CLAN, who are
|
|
sticking up the shop.
|
|
|
|
- the TECHIE sitting with his parents at home, as he
|
|
watches his FATHER soldering a circuit board. smoke curling
|
|
back to the board.
|
|
|
|
His FATHER turns and smiles at the TECHIE.
|
|
|
|
HOLD ON THIS a fraction longer than the other flashed
|
|
images.
|
|
|
|
THEN CUT BACK TO:
|
|
|
|
- the UNDEFINED SPACE.
|
|
|
|
ANDERSON with her hand cupping the face of the TECHIE.
|
|
|
|
Except the cheek she touches is that of the BOY.
|
|
|
|
Nine. Skinny. Anxious-looking.
|
|
|
|
Gazing back at ANDERSON uncertainly.
|
|
|
|
CUT TO:
|
|
|
|
|
|
255 INT. MA-MA'S BASE/CCTV ROOM - CONTINUOUS 255
|
|
|
|
- ANDERSON removing her hand.
|
|
|
|
Beat.
|
|
|
|
Then:
|
|
|
|
ANDERSON
|
|
Go.
|
|
|
|
The CLAN TECHIE doesn't understand.
|
|
|
|
ANDERSON
|
|
You're free. Leave the block when
|
|
you can and don't come back.
|
|
115.
|
|
|
|
|
|
The CLAN TECHIE doesn't need to be told again.
|
|
|
|
He starts running, out the CCTV room, and is gone.
|
|
|
|
DREDD turns to ANDERSON.
|
|
|
|
DREDD
|
|
You mind explaining what you just
|
|
did? Abetting a felon is not just a
|
|
fail offense. It's a crime.
|
|
|
|
ANDERSON
|
|
I already picked up the fail when I
|
|
lost my primary weapon. I'll never
|
|
be a Judge, and I don't need to be
|
|
a mind reader to know it.
|
|
|
|
She turns to DREDD. Stares him down.
|
|
|
|
ANDERSON
|
|
But you haven't yet told me that.
|
|
And until the assessment is
|
|
formally over, I'm still entitled
|
|
to dispense justice. And that's
|
|
what I did: by letting him go.
|
|
(to herself)
|
|
Maybe that will be the one
|
|
difference I do make.
|
|
|
|
She walks past DREDD.
|
|
|
|
ANDERSON
|
|
The combination to Ma-Ma's quarters
|
|
is four nine four three six. Let's
|
|
finish this.
|
|
|
|
|
|
257 INT. MA MA'S PENTHOUSE/MASTER BEDROOM - CONTINUOUS 257
|
|
|
|
The door to MA-MA'S bedroom bursts open.
|
|
|
|
Revealing DREDD and ANDERSON.
|
|
|
|
Opening fire on the two BODYGUARDS, who are riddled, and
|
|
drop.
|
|
|
|
And when the smoke clears, we can see:
|
|
|
|
- a four poster with black silk sheets.
|
|
|
|
- a huge window, which doesn't look out over Mega City One,
|
|
but the ATRIUM. The world over which MA-MA was queen.
|
|
116.
|
|
|
|
|
|
- beside the window, a plush daybed and coffee table, on
|
|
which are piled SLO-MO inhalers.
|
|
|
|
- and on the ceiling, above the bed, a large mirror.
|
|
|
|
But no MA-MA.
|
|
|
|
Then room is empty.
|
|
|
|
DREDD and ANDERSON exchange a glance.
|
|
|
|
Enter the room, guns raised.
|
|
|
|
Sweeping.
|
|
|
|
DREDD
|
|
Escape route?
|
|
|
|
ANDERSON
|
|
No. She's near. But -
|
|
|
|
ANDERSON breaks off.
|
|
|
|
Then -
|
|
|
|
- looks up at the mirror.
|
|
|
|
At her own reflection.
|
|
|
|
Which suddenly -
|
|
|
|
- is drilled with two BULLET HOLES in quick succession.
|
|
|
|
ANDERSON is hit in the shoulder. As she falls backwards -
|
|
|
|
- the glass around the two bullet holes starts to splinter
|
|
-
|
|
|
|
- and MA-MA drops down from above, directly in front of
|
|
them.
|
|
|
|
She tries to bring her gun to bear on DREDD.
|
|
|
|
But she has no hope.
|
|
|
|
DREDD catches the barrel, twists it round, snapping MAMA'S
|
|
fingers, which are caught in the trigger guard.
|
|
|
|
Then he wrenches the gun free.
|
|
|
|
MA-MA screams, clutching her mangled hand.
|
|
117.
|
|
|
|
|
|
DREDD tosses the shotgun.
|
|
|
|
MA-MA tries to take a swing with her unmangled fist.
|
|
|
|
DREDD dodges, neatly moving sideways.
|
|
|
|
Then sends his own fist smashing into her face.
|
|
|
|
She staggers backwards. Towards the massive window to the
|
|
ATRIUM.
|
|
|
|
He punches her again. Same blow, right hand, full in
|
|
|
|
the face.
|
|
|
|
She staggers back more.
|
|
|
|
Stops against the glass.
|
|
|
|
DREDD looks at her a beat.
|
|
|
|
Then leans down. Picks up a SLO-MO inhaler from the coffee
|
|
table.
|
|
|
|
And JAMS IT in her mouth.
|
|
|
|
As he depresses the button:
|
|
|
|
DREDD
|
|
Citizen Ma-Ma. Your crimes are
|
|
multiple homicide, and manufacture
|
|
and distribution of narcotics. How
|
|
do you plead?
|
|
|
|
MA-MA can't answer. So much gas is being pumped into her
|
|
that we can see it escaping through the sides of her mouth
|
|
and nose.
|
|
|
|
DREDD
|
|
Defense noted.
|
|
|
|
He tosses the inhaler.
|
|
|
|
He tosses the inhaler.
|
|
|
|
Then punches her one last time.
|
|
|
|
And she flies backwards, smashing though the window in a
|
|
shower of glass.
|
|
118.
|
|
|
|
|
|
Then she's in FREE-FALL. With nothing but two hundred
|
|
stories of thin air between her and the concrete atrium
|
|
floor.
|
|
|
|
And as she's falling, the SLO-MO DRUG is taking hold.
|
|
|
|
|
|
258 INT. ATRIUM - CONTINUOUS 258
|
|
|
|
BEAUTIFUL WEIRD FREE-FALL SEQUENCE.
|
|
|
|
Looking up at the fire blazing around level 190.
|
|
|
|
Through the smoke and flames, MA-MA'S drops, punching a
|
|
hole in the smoke with the turbulence from her massive
|
|
body.
|
|
|
|
All seen in the grip of the drug.
|
|
|
|
Watching the balconies drift past.
|
|
|
|
The surprised faces of the block citizens watching.
|
|
|
|
FLASH CUT TO:
|
|
|
|
- REAL-TIME, from the POV of the people on the balconies,
|
|
as MA-MA zooms past.
|
|
|
|
FLASH CUT TO:
|
|
|
|
DREDD leaning over ANDERSON'S bloody body in the penthouse
|
|
bedroom.
|
|
|
|
Her skin is pale. The blood is scarlet.
|
|
|
|
Her eyes are closed.
|
|
|
|
DREDD leans closer.
|
|
|
|
Their lips touch.
|
|
|
|
He is giving her the KISS OF LIFE.
|
|
|
|
CUT BACK TO:
|
|
|
|
- SLO MO of MA-MA'S continuing fall.
|
|
|
|
The fat woman screaming.
|
|
|
|
More faces of citizens on the balconies.
|
|
|
|
Watching MA-MA'S literal fall from grace.
|
|
119.
|
|
|
|
|
|
CUT TO:
|
|
|
|
DREDD pulling back.
|
|
|
|
ANDERSON'S eyes opening.
|
|
|
|
CUT TO:
|
|
|
|
MA-MA.
|
|
|
|
Alone.
|
|
|
|
Looking down, just as she -
|
|
|
|
- hits the ATRIUM floor.
|
|
|
|
Head first. Very slowly.
|
|
|
|
Hypnotic to watch ...
|
|
|
|
... Her skull crushes, flattening.
|
|
|
|
And the rest of her massive body follows.
|
|
|
|
As the body is slowly pulped, GO TO -
|
|
|
|
|
|
263 EXT. MEGA CITY ONE - SUNRISE 263
|
|
|
|
- the sun rising over the city.
|
|
|
|
|
|
264 EXT. PEACH TREE BLOCK/SOUTH ENTRANCE - CONTINUOUS 264
|
|
|
|
The CHIEF JUDGE stands with a team of men with oxyacetylene
|
|
torches, who are trying to cut through the massive blast
|
|
doors.
|
|
|
|
Behind are MEDICS and an AMBULANCE.
|
|
|
|
Then ABRUPTLY the blast doors start to rise.
|
|
|
|
|
|
265 INT. PEACH TREE BLOCK/SOUTH ENTRANCE - CONTINUOUS 265
|
|
|
|
DREDD and ANDERSON stand side by side as the doors rise.
|
|
|
|
Both bloodied, both wounded, both standing independently.
|
|
|
|
In silence.
|
|
|
|
Then DREDD turns to ANDERSON.
|
|
120.
|
|
|
|
|
|
DREDD
|
|
Your assessment is now over.
|
|
|
|
A beat.
|
|
|
|
Then ANDERSON unclips her ROOKIE badge, and hands it to
|
|
DREDD.
|
|
|
|
DREDD looks at it.
|
|
|
|
But says nothing.
|
|
|
|
CLUNK.
|
|
|
|
The doors are fully open.
|
|
|
|
ANDERSON starts walking away from DREDD.
|
|
|
|
|
|
267 EXT. PEACH TREE BLOCK/SOUTH ENTRANCE - CONTINUOUS 267
|
|
|
|
DREDD follows ANDERSON out, into the throng of medics and
|
|
Judges.
|
|
|
|
The CHIEF JUDGE approaches DREDD.
|
|
|
|
CHIEF JUDGE
|
|
When I heard you'd called a 10-24,
|
|
thought I'd better check it out.
|
|
Seeing as I forced the rookie on
|
|
you.
|
|
|
|
She looks up at the MEGA BLOCK.
|
|
|
|
CHIEF JUDGE
|
|
What happened in there?
|
|
|
|
DREDD
|
|
Drugs bust.
|
|
|
|
CHIEF JUDGE
|
|
You look like you've been through
|
|
it.
|
|
|
|
DREDD
|
|
Perps were uncooperative.
|
|
|
|
CHIEF JUDGE
|
|
Aren't they always?
|
|
|
|
The CHIEF JUDGE nods to where ANDERSON is being treated by
|
|
the MEDICS.
|
|
121.
|
|
|
|
|
|
CHIEF JUDGE
|
|
So how did she do? Is she a pass or
|
|
a fail.
|
|
|
|
On DREDD.
|
|
|
|
Looking towards ANDERSON.
|
|
|
|
As DREDD watches, two MEDICS approach her -
|
|
|
|
- and she brushes them away.
|
|
|
|
Then, underplayed:
|
|
|
|
DREDD
|
|
A pass.
|
|
|
|
The CHIEF JUDGE nods.
|
|
|
|
CHIEF JUDGE
|
|
Knew she would be.
|
|
|
|
PULL BACK from the scene.
|
|
|
|
ANDERSON entering an ambulance.
|
|
|
|
JUDGES entering PEACH TREES, where sunlight is punching
|
|
back into the darkness as the roof shields reopen.
|
|
|
|
The CHIEF JUDGE looking up at the monolithic mega block,
|
|
where a holographic peach tree flicker.
|
|
|
|
And DREDD walking back to his bike alone.
|
|
|
|
FADE IN:
|
|
|
|
CONTROL
|
|
(over radio)
|
|
All responders in vicinity of
|
|
sector five leisure complex, we
|
|
have weapons fired in astro-dome.
|
|
Four suspects on foot ...
|
|
|
|
CONTROL
|
|
(over radio)
|
|
Suspect wanted in connection with
|
|
three judge slayings seen leaving
|
|
in dark coloured vehicle, heading
|
|
for North boundary road ...
|
|
|
|
CONTROL
|
|
(over radio)
|
|
122.
|
|
|
|
|
|
Responders needed in sub-sector
|
|
twenty, flyover five. Block riot
|
|
has spread East. Judges on the
|
|
ground requesting immediate support
|
|
...
|
|
|
|
THE END
|
|
|