diff --git "a/scripts/Dredd.txt" "b/scripts/Dredd.txt" new file mode 100644--- /dev/null +++ "b/scripts/Dredd.txt" @@ -0,0 +1,6621 @@ + 1. + + + + OPEN ON: + + Desert. + + +2 EXT. CURSED EARTH - DAY 2 + + Blasted rock and dust, as far as the eye can see. + + VOICE OVER + America is an irradiated wasteland. + A Cursed Earth, in which a single + outpost of civilization remains. + Stretching from Boston to + Washington ... + + +3 EXT. CURSED EARTH/MEGA CITY ONE - CONTINUOUS 3 + + A vast walled city appears on the horizon. + + VOICE OVER + ... Mega City One. + + +4 EXT. MEGA CITY ONE - CONTINUOUS 4 + + We fly over the city. + + On first glance, it looks comparable to its early Twenty + First Century counterpart. A sprawl of low-rise buildings, + with clusters of tall skyscrapers. + + But as we get closer, we realize that what looked like low- + rise buildings are in fact skyscrapers, and what looked + like high rise buildings are in fact the MEGA BLOCKS. + + Brutal concrete monoliths, jutting up out of pollution + haze. Each operates like self-contained town. The higher + levels are residential, housing tens of thousands. On the + lower levels, there are schools, med centers, shops, + restaurants, bars, and recreational facilities. + + Over this view of MEGA CITY ONE... + + FADE TO: + + +5 INT. HALL OF JUSTICE 5 + 2. + + + In a darkened room, with single light source, a man is + putting on a uniform. + + In the darkness and artfully positioned lighting, his face + is always hidden in total shadow. + + We see him - + + - zipping up boots. + + - clipping on utility belt. + + - pulling on gloves. + + - picking up his LAWGIVER GUN. + + As DREDD'S fist closes around it, an LED light by a small + digital display flashes red. + + Then, on the digital display, a message appears: + + ID OK + + The LED Turns green. + + He holsters the weapon. + + Finally, he pulls his helmet down over his head. + + Now he moves in such a way that the light falls on his + face. + + The top half of his features are hidden below a visor. + + The lower half, his mouth and chin, look as if they have + been carved from rock. + + Title: + + DREDD + + CUT TO: + + +6 EXT. MEGA CITY ONE/ROAD - NIGHT 6 + + - a ribbon of road, through a canyon of mega blocks. + + DREDD rides down it, on a huge, fat-wheeled motorbike. + + His fist twists the throttle. + 3. + + + As he accelerates, we SWING AROUND to reveal - + + - DREDD is in hot pursuit of a vehicle. + + The pursuit takes place in the tunnels beneath and through + the megablocks, and the open stretches of road fly-overs + between. + + DREDD + Dredd to Control. In pursuit of + vehicle, sector thirteen, moving + west up Wagner Drive. Driving + erratic. Suspect driver is under + influence of narcotics. + + CONTROL + (over radio) + Copy, Dredd. + + CUT TO: + + +7 INT. VEHICLE - CONTINUOUS 7 + + INSIDE THE VEHICLE - + + - suddenly everything is in SLOW MOTION, and the colors are + unnaturally IRIDESCENT and BRIGHT. + + Inside, are three men. The DRIVER, the PASSENGER beside + him, and a third man in the backseat - + + - who is jamming a clip into a small MACHINE GUN. + + The DRIVER turns in his seat, shouting something at the man + behind - + + - but the words are too slow and slurred for us to + understand. + + THEN the slow motion abruptly starts to speed up, and the + colours start to lose their sparkle - returning to normal. + + We can now understand what the DRIVER is shouting. + + DRIVER + - we've got a judge on our tail! + Take him out or we're dead fucking + meat! + + The SHOOTER takes a long hit on a small device like an + asthma INHALER. On the side of the inhaler are the words + SLO-MO. + 4. + + + As soon as the SHOOTER takes the hit from the inhaler - + + - the slow motion and iridescent colours return. + + CUT TO: + + +9 EXT. MEGA CITY ONE/ROAD - CONTINUOUS 9 + + - outside the VEHICLE, as the SHOOTER leans out of the + window of the vehicle ... + + ... and starts FIRING his machine-pistol at DREDD. + + CONTROL + (over radio) + Do you require back up? + + DREDD + (into radio) + No. + + +10 INT. VEHICLE - CONTINUOUS 10 + + Inside the venichle, seen through the psychedelic filter of + the narcotics, we see the driver swerve to avoid an + oncoming venichle. + + In doing so, he mounts the pavement, and - + + - a PEDESTRIAN slams against the front windscreen. + + Then is sucked downwards, and dragged beneath the wheels. + + CUT TO: + + +15 EXT. MEGA CITY ONE/ROAD - CONTINUOUS 15 + + DREDD. + + DREDD + Control. The perps just wiped out + an innocent. I'm taking them out. + + CONTROL + (over radio) + Copy. + + FROM THE FRONT OF DREDD'S MOTORBIKE - + 5. + + + - twin canons either side of the front wheel suddenly blaze + into life. + + Bullets rip into the vehicle, blowing out its back tyres. + + It is immediately thrown into a skid, slides sideways, then + starts to roll. + + CUT TO - + + +20 INT. VEHICLE - CONTINUOUS 20 + + - inside the vehicle, in BRIGHT COLOURS and SLOW MOTION, as + it rolls. + + CUT TO BLACK. + + Then FADE UP TO - + + - inside the wreckage of the vehicle. Normal speed. Normal + colours. + + The vehicle is upside down. + + The DRIVER is still strapped into his seat, impaled on the + broken steering column, twitching. + + Blood runs down from the DRIVER onto the corpse of his + PASSENGER, who is crumpled up, limbs unnaturally folded + like child's doll. + + The only living occupant is the SHOOTER. + + He picks himself up and wipes blood from his eyes. + + +22 EXT. MEGA CITY ONE/ROAD - CONTINUOUS 22 + + DREDD approaches the wreckage of the vehicle, handgun + drawn. + + He pulls open the side door, and sees, past the bodies of + the DRIVER and the PASSENGER, the opposite window. + + Which has been kicked out. + + And through the hole, DREDD spots the SHOOTER, sprinting + towards the pedestrian entrance of a habitation block. + + CITIZENS are thronged around the entrance, and the SHOOTER + fires into them to clear a path. + 6. + + +DREDD steps around the side of the wrecked vehicle, talking +into his radio: + + DREDD + Paramedics to my GPS. We have + citizens down. + +DREDD lifts his gun. + +We see what DREDD is aiming at. + +The figure of the SHOOTER appears in glimpses through the +crowd. Flashing in and out of view. + +To pick him off from here, through the shifting layers of +innocent people, would be an incredible shot. + +But DREDD is clearly going to take it. + + DREDD + Armour piercing. + +A setting on his firearm changes, + +He holds the gun level, completely still, waiting for the +right moment. + +Then fires - just a single round. + +A muzzle flash. + +Halfway between DREDD and the SHOOTER, a WOMAN drops, with +a puff of blood erupting from her shoulder. + +And a split second later, the SHOOTER himself pitches +forwards, hit in the back. + +At the noise of the gunshot, the crowds scream and scatter. + +DREDD moves forwards, gun still raised. + +He passes the WOMAN who was hit, who is lying on the ground +in a spreading pool of blood, flapping her arms weakly. + + DREDD + Remain calm. The bullet missed all + major organs, and a paramedic team + will be with you shortly. + +He keeps moving. + +To the SHOOTER. + 7. + + +23 EXT. OUTSIDE BLOCK - CONTINUOUS 23 + + The SHOOTER is alive, lying on his front, leaving a snail- + trail of blood as he pulls himself forwards, still + hopelessly trying to escape. + + DREDD kicks the man's gun out of reach, then reaches down + and flips him over on to his back. + + The SHOOTER tries to speak, but his mouth is filled with + blood, and no words come out. + + DREDD uses his free hand to check the SHOOTER'S inside + pockets. + + Then finds what he is looking for. An ID card. + + DREDD checks it. + + DREDD + Citizen Zwirner. Your crimes are + homicide, unauthorized use of a + firearm, attempted murder of a + judge. Do you have anything to say + in your defense? + + More blood bubbles out of ZWIRNER'S mouth. + + DREDD + Defense noted. + + DREDD levels his gun at ZWIRNER'S head. + + DREDD + Sentence: death. + + ZWIRNER gazes up at DREDD, and the gun barrel aiming down + at him. + + Then DREDD fires. + + A single shot. Right between ZWIRNER'S eyes. + + A beat. Then DREDD'S radio fuzzes back to life. + + CONTROL + Control to Dredd. Come in. + + DREDD + Dredd here. + + CONTROL + 8. + + + Is your pursuit resolved? + + ZWIRNER lies dead at DREDD'S feet. + + Behind him, the wounded WOMAN flaps around. + + Behind her, the wrecked vehicle smoulders. + + DREDD + Yes. + + CONTROL + Report back to the Hall Of Justice. + The Chief Judge wants to see you. + + CUT TO: + + +24 INT. HALL OF JUSTICE/OBSERVATION ROOM CONTINUOUS 24 + + - a girl in her early twenties, in judge's uniform, minus + helmet. + + She is an immediate contrast with everything we have so far + seen of the grim world of Mega City One. + + Beautiful, blonde, and slightly vulnerable. Biting her lip + as she sits on a chair in a featureless room. + + Opposite her is a mirror. + + +26 INT. HALL OF JUSTICE/OBSERVATION ROOM - CONTINUOUS 26 + + On the other side of the two-way mirror, DREDD and the + CHIEF JUDGE, a woman in her fifties, look back at the girl. + + CHIEF JUDGE + Cassandra Anderson. Twenty one. + Born in a block one hundred metres + from the radiation boundary wall. + At seven years old, she lost both + parents to residual-fallout cancer. + As is standard with orphans, she + was given a judge aptitude test at + age nine. It classified her as + unsuitable, but she was entered + into the Academy on special + instruction. In the Academy, her + record was never better than + borderline. The final Academy score + put her three percentile points + below a pass. + 9. + + + DREDD + So what's she doing in a uniform? + + The CHIEF JUDGE doesn't answer. + + Instead, she reaches out, and presses the INTERCOM button. + + CHIEF JUDGE + Rookie Anderson. + + ANDERSON + Sir. + + CHIEF JUDGE + How many people are observing you? + + +28 INT. HALL OF JUSTICE/OBSERVATION ROOM CONTINUOUS 28 + + ANDERSON continues looking at her reflection, frowning + slightly. Biting her lip a little harder. + + ANDERSON + Two. + + +30 INT. HALL OF JUSTICE/OBSERVATION ROOM - CONTINUOUS 30 + + DREDD reacts. + + CHIEF JUDGE + (into intercom) + What can you tell me about the + person I am with? + + ANDERSON + (through intercom) + Male. + + CHIEF JUDGE + (into intercom) + Good. + + ANDERSON + (through intercom) + Another judge. + (concentrating harder) + I can feel anger. And control. But + there's something else. Behind the + control. Something almost ... + + CHIEF JUDGE + (cuts in) + 10. + + + Okay, Anderson. That'll do. + + The CHIEF JUDGE switches the intercom off. + + DREDD + A mutant. + + CHIEF JUDGE + The most powerful psychic we've + ever come across - by a huge + margin. We believe she could be a + major asset. + + Beat. + + CHIEF JUDGE + As I said. Her final score was only + three points below a pass. It's + marginal. + + DREDD + It's not marginal. She failed. + + CHIEF JUDGE + The girl's getting one more chance. + I want you to take her out and give + her one day in the field. + Supervised. To see if she makes the + grade. + + The CHIEF JUDGE turns to DREDD. + + CHIEF JUDGE + Sink or swim. Chuck her in the deep + end. + + On DREDD, unreadable: + + DREDD + It's all the deep end. + + THEN CUT TO: + + +32 INT. HALL OF JUSTICE/OBSERVATION ROOM - CONTINUOUS 32 + + - ANDERSON. + + She sits quietly. + + Gazing at something in her hands. + 11. + + +It's a photo. Slightly battered. It shows a little blonde +girl, seven years old, smiling, between both her parents. +All are smiling at the camera. + +Abruptly, she folds the PHOTO and tucks it into her utility +belt. + +Then turns to look at the door. + +A second later, it opens, revealing DREDD. + +ANDERSON stands immediately, and salutes. + +DREDD enters, and closes the door behind him. + +A beat. + +Then: + + DREDD + A rookie judge on assessment is + likely to be involved in armed + combat. They may be required to + carry out on the spot executions of + convicted felons. + + ANDERSON + Yes, sir. + + DREDD + Incorrect sentencing is an + automatic fail. Not obeying a + direct order from your assessment + officer is an automatic fail. + Losing your primary weapon or + having it taken from you is an + automatic fail. + + ANDERSON + Yes, sir. + + DREDD + You ready + for this. + + ANDERSON + I am. + +A beat. + +Then DREDD nods. + + DREDD + 12. + + + Your assessment starts now. + + +36 EXT. MEGA CITY ONE - DAY 36 + + An airborne view of the city. + + +38 EXT. PEACH TREE BLOCK - CONTINUOUS 38 + + CLOSE UP on a SKATEPARK, concrete, surrounded by a high + wire mesh fence, half-pipes and rails, where six SKATERS + are pulling off some impressive arial moves. + + As one of the SKATERS soars, and revolves a neat 720 spin - + + - we reveal the vertiginous drop on the other side of the + wire fence. + + The SKATE PARK is bolted on the side of a mega block, + hundreds of feet in the air. + + This particular block is called PEACH TREES. Named in + luminous peach lettering, etched into the acid-rain and + fume-stained concrete flanks. + + The scale of the construction is colossal. Leaving the park + behind, we start moving past windows, we glimpse the lives + inside. Cramped apartments. People watching television. + Sleeping. Eating. Having sex. Or simply absent. + + The only common factor between the lives we see is squalor, + and poverty. + + Peach Trees is a slum. + + +47 EXT. PEACH TREE BLOCK/WINDOW - CONTINUOUS 47 + + We eventually settle on a single window, at the top level + of the block. + + Looking out of the window is a woman. She could be in her + late fifties or early sixties, but a diagonal stripe scar + that disfigures her cheek and top lip, and heavy make-up, + make her precise age hard to place. + + This is MA-MA. + + +51 INT. MA-MA'S BASE - CONTINUOUS 51 + 13. + + +52 BEHIND MA-MA ARE FIVE MEN. 52 + + 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 + \ No newline at end of file