Screenplays for You - free movie scripts and screenplays
#/A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z  ALL  PDF

Blade Runner (1982)

by Hampton Fancher and David Peoples.
Based on the story "Do Androids Dream of Electric Sheep?" by Philip K. Dick.
Final script. February 23, 1981.

More info about this movie on imdb.com
android (an'droid) adj.  Possessing human features - n.
        A synthetic man created from biological materials.
        Also called humanoid.  (Late Greek androeides,
        manlike:  ANDR(O) - OID.)

		        THE AMERICAN HERITAGE
		        DICTIONARY OF THE ENGLISH
		        LANGUAGE  (1976)


android (an'droid) n, Gk. humanoid automation. more at
        robot./ 1. early version utilized for work too
        boring, dangerous or unpleasant for humans.
        2. second generation bio-engineered.  Electronic
        relay units and positronic brains.  Used in space
        to explore inhospitable environments.  3. third
        generation synthogenetic.  REPLICANT, constructed
        of skin/flesh culture.  Selected enogenic transfer
        conversion.  Capable of self perpetuating thought.
        paraphysical abilities.  Developed for emigration
        program.

		        WEBSTER'S DICTIONARY
		        New International  (2012)


FADE IN:

EXT. HADES - DUSK

We are MOVING TOWARD the Tyrell Corporation across a
vast plain of industrialization, menacing shapes on the
horizon, stacks belching flames five hundred feet into
the sky the color of cigar ash.  The CAMERA MOVES INTO
a window in the large pyramid-shaped building.  A man
is sitting at a table.  Another man enters the room and
sits down.  The following scene is reflected in the eye
until HOLDEN is seated.


INT. TYRELL CORPORATION INTERROGATION ROOM - DUSK

The eye is magnified and deeply revealed.  Flecks of
green and yellow in a field of milky blue.  Icy fila-
ments surround the undulating center.

The eye is brown in a tiny screen.  On the metallic
surface below, the words VOIGHT-KAMPFF are finely
etched.  There's a touch-light panel across the top
and on the side of the screen, a dial that registers
fluctuation of the iris.

The instrument is no bigger than a music box and sits
on a table between two men.  The man talking is big,
looks like an overstuffed kid.  LEON it says on his
breast pocket.  He's dressed in a warehouseman's uni-
form and his pudgy hands are folded expectantly in his
lap.  Despite the obvious heat, he looks very cool.

The man facing him is lean, hollow-cheeked, and dressed
in grey.  Detached and efficient, he looks like a cop
or an accountant.  His name is Holden and he's all
business, except for the sweat on his face.

The room is large and humid.  Rows of salvaged junk
are stacked neatly against the walls.  Two large FANS
WHIRR above their heads.

		LEON
	Okay if I talk?

Holden doesn't answer.  He's centering Leon's eye on
the machine.

		LEON
	I kinda get nervous when I take
	tests.

		HOLDEN
	Don't move.

		LEON
	Sorry.

He tries not to move, but finally his lips can't help
a sheepish smile.

		LEON
	I already had I.Q. test this year...
	but I don't think I never had a...

		HOLDEN
	Reaction time is a factor in this so
	please pay attention. Answer as quickly
	as you can.

		LEON
	Uh... sure...

		HOLDEN
	One one eight seven at Hunterwasser...

		LEON
	Oh... that's the hotel.

		HOLDEN
	What?

		LEON
	Where I live.

		HOLDEN
	Nice place ?

		LEON
	Huh? Sure.  Yeah. I guess. Is
	that.. part of the test ?

Holden smiles a patronising smile.

		HOLDEN
	Warming you up, that's all.

		LEON
	Oh.
	It's

		HOLDEN
	You're in a desert, walking along
	in the sand when....

		LEON
	Is this the test now ?

		HOLDEN
	Yes.   You're in a desert, walking
	along in the sand when all of a sudden
	you lookdown and see a.....

		LEON
	What one ?

It was a timid interruption, hardly audible.

		HOLDEN
	What ?

		LEON
	What desert ?

		HOLDEN
	Doesn't make any difference what
	desert.. it's completely hypothetical.

		LEON
	But how come I'd be there?

		HOLDEN
	Maybe you're fed up, maybe you want
	to be by yourself.. who knows.
	So you look down and see a
	tortoise.  It's crawling toward
	you....

		LEON
	A tortoise.  What's that?

		HOLDEN
	Know what a turtle is?

		LEON
	Of course.

		HOLDEN
	Same thing.

		LEON
	I never seen a turtle.

He sees Holden's patience is wearing thin.

		LEON
	But I understand what you mean.

		HOLDEN
	You reach down and flip the
	tortoise over on its back, Leon.

Keeping an eye on his subject, Holden notes the dials
in the Voight-Kampff.  One of the needles quivers
slightly.

		LEON
	You make these questions, Mr.
	Holden, or they write 'em down
	for you?

Disregarding the question, Holden continues, picking
up the pace.

		HOLDEN
	The tortoise lays on its back,
	its belly baking in the hot sun,
	beating its legs trying to turn
	itself over.  But it can't.  Not
	without your help.  But you're not
	helping.

Leon's upper lip is quivering.

		LEON
	Whatya mean, I'm not helping?

		HOLDEN
	I mean you're not helping!  Why is
	that, Leon?

Holden looks hard at Leon, piercing look.

Leon is flushed with anger, breathing hard, it's a
bad moment, he might erupt.

Suddenly Holden grins disarmingly.

		HOLDEN
	They're just questions, Leon.
	In answer to your query, they're
	written down for me.  It's a
	test, designed to provoke an
	emotional response.

Leon is glaring now, the blush subsides, his anger
slightly defused.

Holden smiles cheerfully, very smooth.

		HOLDEN
	Shall we continue?

Leon nods, still frowning, suspiciously.

		HOLDEN
	Describe in single words.  Only
	the good things that come into
	your mind.  About your mother.

		LEON
	My...

Leon looks shocked, surprised.  But the needles in
the computer barely move.  Holden goes for the in-
side of his coat.  But big Leon is faster.  His
laser burns a hole the size of a nickel through
Holden's stomach.  Unlike a bullet, a laser causes
no impact.  It goes through Holden's shoulder and
comes out his back, clean as a whistle.  Like a
rag doll he falls back into the seat.  Big slow Leon
is already walking away, but he stops, turns, and
with a little smile of satisfaction fires through
the back of the seat.

As Leon walks out of the room the Voight-Kampff
begins to blink, faint but steady.

						CUT TO:


EXT. OVERHEAD VIEW CITY - NIGHT

We are looking down on a city of the future where
gigantic buildings dwarf the ancient skyscrapers --
of -- now as a huge blimp, flashing lights and
BLARING SOUND drifts slowly over the tall buildings.

						CUT TO:


EXT. THE BLIMP - FROM BELOW - NIGHT

As the blimp drifts through the tall buildings ad-
vertisements appear on the curved sides of dirigible
and an accompanying SOUNDTRACK proclaims, with AM
enthusiasm, the virtues of Offworld emigration.

		BLIMP TRACK
	ATTENTION SUPERVISORY PERSONNEL!
	(WE NEED YOU YOU YOU)
	ATTENTION FAMILY MAKERS!
	(WE NEED YOU you you)
	OPPORTUNITY!
	(WE NEED YOU you you you)
	AUTOMATIC ADVANCEMENT!
	(WE NEED YOU YOU YOU)
	TOP PAY!
	(WE NEED YOU YOU you you)
	NUMEROUS BONUSES!
	(WE NEED YOU YOU you you)
	SPECIAL INCENTIVES!
	(WE NEED YOU YOU YOU you)
	NINE PAID VACATIONS PER YEAR!
	(WE NEED YOU you you)
		(beat, beat)
	The Dominguez-Shimata colony
	wants supervisory recruits and
	families.

	Join us in a clean, fresh
	environment featuring the
	invigorating Johnson and
	Murikami California Climate!
	(WE NEED YOU YOU you you you)
	Enjoy the numerous recreation
	areas and resorts such as the
	famous Elysium Crater Resort!

	(WE NEED YOU YOU you you)

	Let our abundant man-made labour
	force cater to your personal needs!

	(WE NEED YOU YOU you you)

	If you meet health and experience
	qualifications for the Offworld
	Emmigration Programs... the
	standard OPE short form... there's
	a place for you at Dominguez and
	Shimata Colonies.

	Press the button now!

	Give yourself a brand new world!

	(WE NEED YOU YOU you you)


EXT. CITY STREET - NIGHT

Lights from the blimp flash along the street and wipe
across the crowds of pedestrians as the VOICE TRACK
CONTINUES TO BLARE from above.

A portable noodle bar is crowded with customers, sit-
ting on stools slurping their food out of bowls.

DECKARD is standing near the noodle bar waiting for a
seat.  He's in his thirties, wiry, athletic, rumpled,
used, unshaven.  He's holding a newspaper, made of
tissue paper, open while he glances at the blimp
passing NOISILY overhead.  Then he notices the
COUNTERMAN.

The Counterman is beckoning to him to a newly vacated
seat.

Deckard sits down at the noodle bar and the Counterman,
an elderly Japanese, slaps a menu in front of him.

No words on the menu, just pictures of sliced fish
parts.

Deckard points to a particular item and holds up four
fingers.

The Counterman looks at the item on the menu, confirms
the order by holding up two fingers.

Deckard shakes his head "no" and repeats his four
fingers.

The Counterman nods, corrected and hurries off.

Deckard glances overhead.

The blimp drifts off among the buildings like a fish
disappearing in seaweed, the NOISY VOICE doing a
diminuendo.

Whap.  The Counterman slaps a bowl of rice and a pot
of tea in front of Deckard.  Then he puts the little
bowl with the two slices of fish on the counter.

Deckard looks at the fish.  Two slices of fish.

He looks at the Counterman and holds up four fingers.

The Counterman looks down at the two slices of fish,
looks like two to him.  He looks at Deckard as though
Deckard was a fool and holds up two fingers.  He can
count!

Deckard stares bleakly at the fish.  Can't win.

He starts to eat and that's when he feels a tap on his
shoulder.  He glances over his right shoulder.

A huge cop in uniform is looming behind him.

Deckard feels funny, looks left.

Another cop is looming over his left shoulder.

Deckard is tapped again from the right.

Turning again he realizes that it isn't the cop tapping
him, it's the short Japanese guy next to the cop.  The
guy's got beady eyes and lots of energy.  His name is
GAFF.

		GAFF
		(in Japanese)
	*** You will be required to
	accompany me, sir. ***

Deckard doesn't understand Japanese, thinks the man
wants a seat.

		DECKARD
	Wait your turn, pal.

Deckard turns back to his food.

		GAFF
		(in Japanese)
	*** If you do not comply with an
	official request, I will be
	obliged to exert my authority. ***

Deckard is ignoring Gaff but the Counterman leans in
Deckard's face and translates.

		THE COUNTERMAN
	He say, you go with him.

Deckard turns and finds Gaff waving a badge in his face.

		GAFF
		(in Japanese)
	*** To defy duly constituted
	authority is to flaunt the public
	good. ***

Deckard doesn't understand a word.

		THE COUNTERMAN
	He say, you're under arrest, Deckard.

Deckard turns back to his food.

		DECKARD
	Tell him he's got the wrong guy.
		(turning to Gaff
		 loudly)
	You got the wrong guy, pal.

		GAFF
		(in Japanese)
	*** Wrong guy, my ass.  You're
	known as The Boogeyman in every
	mean joint in town. ***

		THE COUNTERMAN
	He say, Boogeyman.

Deckard flinches at the word "Boogeyman," but goes on
eating.  But now we know, and he knows it's not a
mistake.

		GAFF
		(in Japanese)
	*** You are a Blade Runner in the
	Four Sector and after the slaughter
	at the steel shop they called you
	Mister Nighttime. ***

		THE COUNTERMAN
	He say, Brade Runner.  He say,
	Mister Nightime.

		DECKARD
	Tell him I'm eating.

		GAFF
		(to the Counterman
		 in Japanese)
	*** Please tell this notorious
	gentleman that I am acting as an
	emmisary from Captain Bryant and
	Captain Bryant has ordered me to
	bring Mr. Deckard to headquarters
	even if I have to serve him like
	so much sushi. ***

Deckard is continuing to eat but he has reacted to
Gaff's repeated use of the word "Bryant."

		THE COUNTERMAN
		(to Deckard)
	He say, you be ornery, okay.  He
	say big boss Bryant give him
	permission to use violence make
	arrest.  He say Bryant tell him
	rearrange your brains akay.  Make
	you raw fish.

Deckard looks disgusted and resigned.

		DECKARD
	Bryant huh.

						CUT TO:


EXT. STREET - NIGHT

Deckard, still holding his bowl of food, is climbing
into a spinner behind Gaff as the two cops loom over
him.  One of the cops shuts the spinner door behind
Deckard and the spinner lifts off in a flurry of wind.

						CUT TO:


EXT. CITY - BIRD'S EYE VIEW - NIGHT

The spinner zips through the canyons of the city.

Deckard is sitting in the passenger seat, eating while
he watches the maze of suspension bridges, platforms
and catwalks swim by below.  The tops of larger build-
ings emblazoned with fluorescent numerals and scrawls
of neon ads.

						CUT TO:


INT. SPINNER - NIGHT

Deckard is sitting gloomily in the passenger seat,
still eating from his bowl with chopsticks as Gaff
maneuvers the spinner through the city canyons chat-
tering in rapid Japanese.

		GAFF
		(in Japanese)
	I told Bryant I could take care of
	this myself.  Just move me up.
	I'll do the job, I told him.  Five
	phonies.  I just air 'em out.
		(he imitates shooting)
	Bow!  Bow!  Bow!

Deckard looks at Gaff uncomprehendingly.

		GAFF
		 (continuing in Japanese)
	But no, he says.  Bryant thinks
	you're hot shit, smartest spotter,
	baddest Blade Runner.  You don't
	look so hot to me.  Don't even
	shave.  Bad grooming reflects on
	the whole department.  You don't
	dress well, that reflects on me...
	makes the whole department look
	like shit.
	The skin jobs look better than you
	do!  What's the point of wiping out
	skin jobs if they look better than
	Enforcement?  pretty soon the public
	will want skin jobs for Enforcement.
	I guess you'd prefer that, hunh?
	That why you quit?

Deckard looks at Gaff.  He hasn't understood a word.

		DECKARD
	I don't understand a word you're
	saying.

Gaff glares and mutters, turning his attention to navi-
gation of the spinner.

		GAFF
		(in Japanese)
	Exactly!  Whatta jerk!  If I wasn't
	up for promotion I'd put this baby
	in a hot spin and leave your dinner
	all over the glass!

The spinner flies low along the center of a busy
street and then turns right.


EXT. PRECINCT SPINNER PAD - NIGHT

The spinner slides toward the pad, cuts speed and
gently touches down as another lifts off.

						CUT TO:


INT. POLICE HQ CONCOURSE - NIGHT

An enormous grey vault of a building, Deckard and Gaff
stride down the long corridor.  Perhaps Gaff is still
jabbering in Japanese.

						CUT TO:


INT. BRYANT'S OFFICE - NIGHT

BRYANT is sitting behind his big desk, a fat man in his
fifties with grey hair, jowls and gas.

		BRYANT
	Hiya, Deck!

Deckard is standing in the doorway, still in the cus-
tody of Gaff.  Deckard glares at Bryant and doesn't
answer.  Bryant dismisses Gaff with a head movement.
Deckard glares at Gaff who glares back as he departs.

		BRYANT
	You wouldn't have come if I'd just
	asked you to.  Siddown, pal.

Deckard glares at Bryant without moving.

		BRYANT
	Don't be an asshole, Deckard.  I
	got five skin jobs walking the
	streets.

Deckard smiles and sits down.

		BRYANT
	They jumped a shuttle offworld.
	Killed the crew and passengers.

Deckard reacts.  This isn't usual.

		BRYANT
	We found the shuttle floating off
	the coast two weeks ago.  So we
	know they're around.

		DECKARD
	Embarrassing.

Bryant is pouring bourbon into a thick shot glass.  He
passes the amber tumbler to Deckard who takes it and
holds it to the light.

		BRYANT
	No, sir!  Not fucking embarrassing
	... Because nobody's ever gonna
	find out they're down here because
	you're gonna spot 'em an' you're
	gonna air 'em out.

Deckard downs his drink and slides the empty back.

		DECKARD
	Not me, Bryant.  I won't work for
	you anymore.  Give it to Holden,
	he's good.

Deckard turns to go.

		BRYANT
	I did.

Deckard freezes and turns back.

		DECKARD
	And?

		BRYANT
	He can breathe okay... as long as
	nobody unplugs him.

Deckard is impressed.

		BRYANT
		Not good enough.  Not as
	good as you.  I need ya, Deck.
	This is a bad one, the worst yet.
	I need the old Blade Runner, I
	need your magic.

Deckard meets Bryant's pleading eyes for a beat.

		DECKARD
	I was quit when I walked in
	here...
		(pause)
	... I'm twice as quit now.
	See ya, Bryant.

Deckard turns to go.

Bryant's pleading look turns abruptly cold and hard.

		BRYANT
	Stop the fuck right where you are!

Deckard freezes at the hard tone.

		BRYANT
	You know the score, pal.  When
	you're not a cop, you're little
	people.

		DECKARD
	Forgot there for a minute about
	the little people.  No choices
	I guess.

		BRYANT
	No choice, pal.

						CUT TO

INT. WHITE TILED ROOM (DAY)

We are looking at the bright image of a NAKED MAN in a
white tiled room with a white floor... an abbatoir
without blood. The naked man is very athletic. His
face reveals nothing as he executes one physical demon-
stration after another.... one handed pushups, gymnastic
contortions etc. An accompanying soundtrack drones
boringly and while we might pick up a few key words
such as "emigration, "incentive and "Man made
that we absorb the words.. they are the music to which
the image exercises.

After a moment a series of lines cross the screen and
the image diminishes and we realise we are looking at
a monitor.


INT. BRYANT'S OFFICE (DAY)

Deckard and Bryant are sitting in the dark looking
at a series of flickering monitors. Deckard has a
bored expression on his face.

		BRYANT
	We had an escape from the Off world
	colonies two weeks ago. Six repli-
	cants, three male, three female.
	Slaughtered twenty three people and
	jumped a shuttle. An aerial patrol
	found the ship in the desert. No
	crew.

		DECKARD
	These are old slave tapes, show me
	something new.

The naked man continues to exercise as Bryant
continues.

		BRYANT
	No sign of them then three nights ago
	they tried to break into the Tyrell
	Corporation, one got fried going through
	an electro-field but we lost the others.
	Going on the possibibility they might
	try to infiltrate as employees, we sent
	Holden in to run Voight Kampff tests on
	new workers.  Guess he found himself one.

The screen changes. Roy Batty in a loin cloth is battering
a metal post with his fists.  The smile on his face
indicates a total lack of pain.  He continues to pummel
the post mercilessly his hands becoming bloody.
The only sound is Batty humming Beethoven's 9th.

Deckard begins to look interested.

		DECKARD
	Who's this ?

		BRYANT
	It's a Nexus 6. Roy Batty. Incept
	date 2016, combat model optimum self
	sufficiency. Probably the leader.

		DECKARD
	Why would they come down here ?
	They coulda hid out ?

		BRYANT
	You tell me pal, that's what you're
	here for.

		DECKARD
	They must want something pretty important
	to risk coming back here. What do the
	rest look like ?

Bryant pushes a button. And a series of revolving still
shots of Leon, Pris, Mary and Zhora appear on the screen.

		DECKARD
	Why the Tyrell Corporation? Why would
	they return to the place of their
	manufacture?

		BRYANT
	Maybe they want to find out when
	they were made ?

		DECKARD
	Why would they bother?

		BRYANT
	The Nexus 6 was designed to copy human
	beings in every way except their emotions.
	But the makers reckoned that after a few
	years they might develop their own
	emotional responses - hate, love, fear,
	anger, envy.  So they built in
	a fail safe device.

		DECKARD
	What's that?

		BRYANT
	The Nexus 6 has only four years
	to live.

The screens go blank. The lights go on.  Bryant pours
two more drinks and hands one to Deckard.

		BRYANT
	You got one more problem, pal.

Deckard downs the glass.

		BRYANT (continuing)
	Looks like Holden found out that
	V-K machine doesn't work on the Nexus
	6. The Tyrell Corporation has a demo
	model so go check it out.   If the
	machine fails, we're in deep trouble.

						CUT TO


INT. HOSPITAL - NIGHT

Small green letterforms skim soundlessly across a dark
glass panel.  Beneath the panel a sick, white face
reads excerpts from Treasure Island, mouthing the
words as they appear in front of him.  It's Holden.

		HOLDEN
		(reading)

Holden is flat on his back in a breather, an iron-
lung-type of device covered in indicator lights and
exotic paraphernalia.  The hospital room is in com-
plete darkness.  Holden's breaths come in sharp rasps
as he reads.

We become aware of Deckard standing in the shadows.

		DECKARD
	Whatcha reading?

Holden is startled, has to look in a mirror angled over
his head, rolling his eyes way back to see who it is.

		HOLDEN
	Deckard, Treasure Island!  Good to
	see ya, buddy.  Old Favourite.

Deckard looks down at Holden and doesn't say anything.

		HOLDEN
	Pretty awful, huh?

		DECKARD
	Naw, you look great!  Absolutely
	terrific!  Never saw ya look
	better.  Jesus, you look good.

Deckard pinches Holden's cheek.

		DECKARD
	Great complexion!  Suit looks
	really nice.  Who's your tailor?

Deckard is making a joke, mocking hospital good cheer
but the touch of bitterness in his voice reveals his
sympathy for Holden.

Tears wet Holden's eyes.

		HOLDEN
	A big fucking skin job put the
	smash on me, wrecked me up!  Looka
	me, for Chrissake!

Deckard works at being hard.

		 DECKARD
	Ya blew it, huh ?

Holden recovers from his tears and whines.

		 HOLDEN
	It ain't like it used to be, Deck.
	It's tough now. These replicants
	aren't just a buncha muscle miners
	anymore, they're no goddamn different
	than you or me...

Deckard lights up and sits down, resting his elbows on
the glass.

		 DECKARD
	So what happened ?

		 HOLDEN
	Ten days ago Security at the
	Tyrell Corp finds three intruders
	in the records room.   Kills one,
	two get away, okay ?

Deckard nods.

		 HOLDEN
	They do a routine autopsy on the
	one that got aired and.. whaddya know?
	A skin job, one of the ones that
	busted out!  Top drawer replicant..
	combat type.. Nexus six.

		 DECKARD
	Pretty sexy, the sixes.

		 HOLDEN
	Sexy!  Three hours into the autopsy
	they still think they're cutting
	up a human.  No marks, nothing.

Deckard looks impressed. Satisfied, Holden continues.

		  HOLDEN
	I decided to check out all new employees
	at Tyrell. I test 26 boring jerks until
	in comes this guy Leon Somebody, nothing
	special but very big...
		    (pause)
	Anyway....

		  DECKARD
	You Voight-Kampff him ?

Holden's eyes flutter a moment.  Deckard waits.  The
breathing changes rhythm.

		  HOLDEN
	Yeah!  I thought maybe I was getting
	something......
	Maybe it doesn't work on these ones
	Deck.

Deckard gets up and gives Holden phony good cheer.

		  HOLDEN
		    (continuing)
	It's all over, it's a wipe out,
	they're almost us, Deck, they're
	a disease, they're....

		  DECKARD
	Take it easy, take it easy....
	Tyrell Corp's got one. I'm gonna
	Vee Kay it tomorrow.

		  HOLDEN
	Push it!  Push that button!

Deckard pushes.

		  DECKARD
	What's it for?

		  HOLDEN
	Pain!

						CUT TO

EXT. CITYSCAPE - MORNING

A bleak morning.

						CUT TO

EXT. SPINNER - MORNING

The police spinner is whizzing over the city.

						CUT TO

INT. SPINNER - MORNING

Deckard looks very rumpled as he sits sleepily in the
passenger seat drinking coffee from a mug and smoking.


INT. SPINNER - MORNING

Gaff is terse and silent at the controls.  Suddenly the
spinner rocks urgently from side to side and the sound
of a hot Ferrari Spinner dopplers off.

Gaff is pop-eyed with instant fury.  He hits the spinner
lights and flashes them.

						CUT TO:


EXT. OVER CITY - MORNING

The Ferrari Spinner zips right around a huge smokestack
and shoots insolently off into the distance.

						CUT TO:


INT. SPINNER - MORNING

Gaff sputters and fumes as he guides the spinner around
the same stack.

Deckard looks at Gaff.  It's too early in the morning
for all this energy.

						CUT TO:


EXT. SPINNER - MORNING

The Spinner makes a sharp bank, drops into a steep
curve and slides toward the vast plain of industrializa-
tion, the menacing shapes on the horizon, stacks
of belching flames five hundred feet into the sky the
color of cigar ash, towards a large pyramid shaped
building.

						CUT TO:


EXT. THE PYRAMID - MORNING

The spinner is in a holding pattern.

						CUT TO:


INT. SPINNER - MORNING

Traffic control purrs its SOFT ELECTRONIC INSTRUCTION
into the cockpit as the spinner rocks gently lower,
spiralling into the vortex.


	      [page 22 missing from script]


CONTINUED

Now we see for the first time, Rachael, a beautiful
woman in her late twenties dressed with taste and
dignity.

		DECKARD
	Replicants are like any other
	machine. They can be a benefit
	or a hazard. If it's a benefit,
	it's not my problem.

		RACHAEL
	May I ask a personal question?

		DECKARD
	Go ahead.

		RACHAEL
	Have you ever retired a human by
	mistake ?

Deckard blinks... hesitates before answering the
question.

		DECKARD
	No.

		RACHAEL
	But in your position that is a risk.

An OWL flaps around the huge marble office.

		TYRELL (os)
	Is this to be an empathy test?
	Capillary dilation of the so-called
	blush response.. fluctuation of the
	pupil involuntary dilation of
	the iris......

		DECKARD
	We call it Voight Kampff for short.

Deckard turns to see an older man, very distinguished
very well tailored has entered the huge marble office.
TYRELL!

		RACHAEL
	Mr. Deckard.  Dr. Eldon Tyrell.

Tyrell has extended his hand to Deckard. Deckard shakes.

		TYRELL
	Demonstrate it. I want to see it
	work.

		DECKARD
	Where's the prototype ?

		TYRELL
	I want to see it work on a person.
	I want to see a negative before I
	provide you with a positive.

		DECKARD
	What's that gonna prove?

		TYRELL
	Indulge me.

		DECKARD
	On you?

Tyrell indicates Rachael.

		TYRELL
	Try her.

Deckard looks at Rachael.  She's a beauty alright.  He
shrugs.

		DECKARD
	It's too bright in here.

Tyrell hits a button.

The windows darken, a polaroid effect that seems to
give Tyrell the power to turn off the sun.

Deckard is placing the Voight Kampff case on the table.

The Voight Kampff opens like a butterfly as the room
darkens.


INT. TYRELL'S OFFICE - A LITTLE LATER

Rachael's eye fills the screen, the iris brilliant,
shot with light, the pupil contracting.  We hear
Deckard's voice and we have the impression the test
has been going on for a while.

		DECKARD (O.S.)
	You are given a calfskin wallet
	for your birthday...

Tyrell stands silhouetted behind Deckard, who sits in
front of Rachael.

The needles in both gauges swing violently past green
to red, then subside.

		RACHAEL
	I wouldn't accept it, also I'd
	report the person who gave it to me
	to the police.

		DECKARD
	You have a little boy.  He shows
	you his butterfly collection, plus
	the killing jar.

Again the gauges register, but not so far.

		RACHAEL
	I'd take him to the doctor.

		DECKARD
	You're watching TV and suddenly
	you notice a wasp crawling on
	your wrist.

		RACHAEL
	I'd kill it.

Both needles go red.  Deckard makes a note, takes a
sip of coffee and continues.

		DECKARD
	In a magazine you come across a
	full-page photo of a nude girl.

		RACHAEL
	Is this testing whether I'm a
	replicant or a lesbian?

		DECKARD
	You show the pciture to your
	husband.  He likes it and hangs
	it on the wall.  The girl is lying
	on a bearskin rug.

		RACHAEL
	I wouldn't let him.

		DECKARD
	Why not?

		RACHAEL
	I should be enough for him.

Deckard frowns, then smiles.  His smile looks a little
like a grimace or the other way around.

		DECKARD
	Last question.  You're watching
	an old movie.  It shows a banquet
	in progress, the guests are enjoying
	raw oysters.

		RACHAEL
	Ugh.

Both needles swing swiftly.

		DECKARD
	The entree consists of boiled
	dog stuffed with rice.

Needles move less.

		DECKARD
		(continuing)
	The raw oysters are less acceptable
	to you than a dish of boiled dog.

Deckard switches off his beam.

		TYRELL
	Well, Mr. Deckard?

Deckard is looking at Tyrell and wincing indecisively.

He doesn't get it.  Are they playing with him?

		TYRELL
		(continuing)
	Perhaps some privacy will loosen
	your tongue, Mr. Deckard.

He turns to Rachael

		TYRELL
	Would you step out for a few moments,
	Rachael?

Rachael exits looking a little shaken.  What's going
on?

Deckard stares at Tyrell.

Tyrell meets his look.

		TYRELL
	I'm impressed.  How many questions
	does it usually take to spot one?

		DECKARD
	I don't get it.

		TYRELL
	How many questions ?

		DECKARD
	In columns of four cross referenced,
	twenty or thirty.

		TYRELL
	It took more than a hundred for
	Rachael, didn't it ?

		DECKARD
	She really doesn't know ?

		TYRELL
	She's beginning to suspect, I think.

		DECKARD
	Suspect!  How can she not know
	she is.

		TYRELL
	Well, we began to notice in them
	a strange obsession.

Tyrell is pacing now, lecturing.

		TYRELL
	After all, they are emotionally
	inexperienced with only a few
	years inwhich to store up the
	experiences which you and I take
	for granted.  If we gift them
	with a past... we create a
	cushion or pillow for their
	     emotions.. and we can
	control them better.

		DECKARD
	They want memories?

		TYRELL
	It's the dark corners, the little
	shadowy places that makes you
	interesting, Deckard..... gusty
	emotions on a wet road on an
	autumn night.. the change of
	seasons..... the sweet guilt
	after masturbation.

		DECKARD
	Jesus  Christ,Tyrell!

Tyrell looks startled.

		DECKARD
	Where do you get them, the
	memories?

		TYRELL
	In the case of Rachael, I simply
	copied and regenerated cells from
	the brain of my sixteen-year-
	old niece.  Rachael remembers
	what my little niece remembers.

		DECKARD
	I saw an old movie once.  The
	guy had  bolts in his head.

Deckard looks amazed while Tyrell looks pleased with
himself.

						CUT TO


EXT. OVERHEAD VIEW OF HOTEL - NIGHT

The hotel is in a seedy part of town.


EXT. ANGLE ON DECKARD - NIGHT

Deckard and Gaff are standing in front of the hotel,
looking it over.

Deckard glances at a crumpled piece of paper in his
hand with an address scrawled on it.

He glances at the hotel.  The address is correct.

Deckard and Gaff enter the hotel, leaving frame.

						CUT TO:


INT. HOTEL CORRIDOR - NIGHT

A dingy, trash-filled corridor.

An OLD MAN leads Deckard and Gaff to a door.  The Old
Man is wearing an oxygen tank taking occasional hits
of air from a mask.  He unlocks the door.

Deckard and Gaff enter wearily, hands inside their
coats on their weapons.

						CUT TO:


INT. HOTEL ROOM - NIGHT

The room is dark and ominous, full of danger.

Deckard studies the shadows, weapon ready.

Satisfied the room is empty, he hits the wall switch.

A four-tube fluorescent light overhead flutters weakly
to half-life, two tubes.

Deckard studies the room.

It's clean in contrast to the littered hallway.  A bed,
a wardrobe, a small desk, a chair.  Spartan, almost
military.

Gaff has seated himself on the windowsill.  Except for
his eyes he is motionless like a statue.

Deckard reaches into his pocket and takes out infrared
goggles which he puts on.  He looks strange wearing the
goggles.

The room, from his POV, is seen in high contrast,
every speck of dust in bright white, the fingerprints
on the wall standing out like paintings, Gaff appear-
ing eerie and ominous.

Deckard starts to inspect the room with great care,
feeling the moulding, inspecting the mattress on the
bed, studying the fingerprints on the wall.

Gaff watches motionless.

						CUT TO:


INT. HOTEL ROOM - NIGHT (A LITTLE LATER)

Deckard has opened the wardrobe.

He's inspecting the suit neatly hung there.  He feels
in the pockets.  He pulls out a packet of about sixty
photographs.  He thumbs them.  Very ordinary looking
snapshots.  Maybe he notices a couple of strange ones.
Maybe not.

Deckard pockets the pictures and continues his inspec-
tion.

Gaff sits motionless like a statue.


INT. HOTEL BATHROOM - NIGHT (MOMENTS LATER)

Deckard, still wearing goggles, is checking the inside
of the medicine cabinet in the tiny bathroom.

Nothing.  Clean.

He shuts the cabinet and sees himself in the mirror
in infrared wearing goggles.  Weird.

He exits the neat, tiny bathroom.

						CUT TO:


INT. HOTEL ROOM - NIGHT

Deckard steps out of the bathroom, notices something
on the floor.

Gaff is motionless.

						CUT TO:


INT. HOTEL ROOM - NIGHT (MOMENTS LATER)

Deckard is on his hands and knees studying the floor.
He picks up a little speck on his finger, studies it.

He picks up another.

He puts the speck in his wallet.

Gaff sits motionless on the sill.

						CUT TO:


INT. HOTEL ROOM - NIGHT (A LITTLE LATER)

Deckard takes off the goggles.  He motions Gaff off
the sill with his head.

Deckard steps to the window, pulls the photos from
his pocket and studies them in the faint light from
outside.

Snapshots.  Very ordinary.

Gaff stands near the door, watching Deckard.

Deckard shuffles through the pictures in front of the
window.

						CUT TO:


EXT. HOTEL - NIGHT

Leon is looking up at the hotel.

He can see Deckard in the window looking at pictures.

Leon is breathing hard, angry.

						CUT TO:


INT. HOTEL ROOM - NIGHT

Deckard feels funny as he studies the pictures, his
mind changes focus.  He steps aside, against the wall,
and glances out of the window.

Gaff watches Deckard and frowns uncomprehending.

Deckard, satisfied at what he sees out the window,
studies the photographs again, but not in front of
the window.

Gaff, frowning, approaches the window and looks out,
puzzled.

						CUT TO:


EXT. HOTEL - NIGHT

An angry Leon sees Gaff peering out the window above.

Leon's eyes blaze with anger.  He turns and runs off.

						CUT TO:


EXT. STREET - NIGHT

A blimp is drifting silently over the city reflect-
ed in an eyeball while we hear the SOUNDS OF THE
STREET.

The eyeball belongs to BATTY who is standing on
the sidewalk. He resembles a tradition, the gym
instructor, short, cropped hair with the body of a
drill sergeant but the eyes are gray and chilling.
Roy Batty is a presence of force with a lazy, but
acute sense of what goes on around him.

He lowers his attention from the sky to Leon.

Leon approaches him.

		BATTY
	Did you get your precious photos?

		LEON
	Somebody was there.

		BATTY
	Police.

		LEON
	Just men.

		BATTY
	Police men.

Leon looks sullen.  He doesn't know.

Batty is looking at the storefront across the street,
the one that says HANNIBAL CHEW over the door.

Batty indicates the store to Leon with a head movement.

						CUT TO


INT. CHEW'S SHOP - NIGHT

Eyes. Nothing but eyes swimming in a thick, clear
solution.

The eyes are in an aquarium inside Chew's shop.
There are other aquariums and technical equipment.

CHEW himself, wearing a heavy fur coat and gloves is
hunched over a workbench in a pool of light doing
meticulous work with a pair of forceps.  He is an
ancient Asian and  his steamy breath and frosty beard
indicate just how cold it is in this sub-zero
laboratory.

Chew dips the forceps into a vat at his side.
Deep cold!

The forceps and the tiny item in the forceps come out
of the solution frozen solid.

A SPEAKER on the wall CRACKLES and FARTS STATIC.

		WALL SPEAKER
	Mr. Chew.

Chew keeps working.

		CHEW
	Aaaaaaaannnnn?

The wall speaker is intermittent.

		WALL SPEAKER
	... one... URP... wants... to
	see you.

Chew continues working.

		CHEW
	Busy!

		WALL SPEAKER
	... talk to you... Nexus Six...
	designs.

Chew frowns and turns from his work disgruntled.

		CHEW
	Busy!

Chew continues working while he mutters in Chinese.
Peace returns, he calms down and works in chilly
silence.

Then the door opens.

Standing in the doorway is Roy Batty.

Chew gets up fuming.

		CHEW
	Busy!  Busy!  You go away!  Make
	appointment.

Chew bursts into Chinese.

Batty smiles.  You would not want him to smile at you.

Leon enters and closes the door.

		CHEW
	     (apoplectic)
	No!  No!  Cold!  Cold!  Go away.

Batty smiles. His coat is already covered with ice.

		BATTY
	Questions.

		CHEW
	No!  No questions!

Leon is staring at the floating eyes in an aquarium.

Batty smiles pleasantly and glances at a tank of
deep cold. Batty sticks his hand in.

		CHEW
	      (urgently)
	No! Cold!

Batty still smioing, pulls his hand out. It's icy.

Chew looks at Batty's hand and then at his smiling face.

Chew screams in sudden discovery and outrage.

		CHEW
	You replicant!

We looks at Batty's machine-gun smile, steam pouring
from his nostrils as we hear the shrill, indignant
voice of Chew being outraged.

		CHEW'S VOICE (OS)
	You illegal.  Can't come here!
	Illegal.

Batty is smiling his smokey smile and Chew is point-
ing up.

		CHEW
	You not belong here. Up there!

		BATTY
	Fiery the Angels fell... And as they
	fell deep thunder rolled around their
	shores;
	indignant,
	burning with the fires of Orc.

Chew is bug eyed. What is this shit?

Batty reaches out and puts his hands on the collar of
Chews's fur coat.

		BATTY
	Questions!

RRRRRIIIIIIPPPP.Batty pulls the coat apart, it splits
along the back seam and falls away like a banana peel.

Chew is suddenly totally scared, totally cold and totally
co-operative.

		CHEW
	Okay!  Answers!
	      (pointing)
	Gimmeee coat!  Cold!

Chew is pointing to the wall pegs where more fur coats
hang.

		BATTY
	Morphology.. longevity... use life...
	incept dates...

		CHEW
		(squealing)
	I dunno!  Dunna that stuff. I do
	eyes!  Just eyes!  Genetic designs,
	just eyes!

Batty looks around the room at the tank of eyes, the
muscle charts of eyes, the pictures of eyes.

		BATTY
	Ah!  I thought perhaps feet...
	hands... muscle tissue.. or..
	noses...

		CHEW
		(desperate)
	Just eyes. Gimee coat, okay?

Leon is staring into the tank of eyes, trying not to
blink.

The eyes stare back at Leon, unblinkingly, arrogantly.

		BATTY
	My  eyes..... I guess you designed
	them, eh?

		CHEW
	You Nexus? I design Nexus eyes.

SMASH!  Leon, infuriated by the unblinking eyes, smashes
the tank and the insolent eyes pour out onto the floor.

Batty smiles and points to his own eyes.

		BATTY
	Ah, Chew.....
	     (squish,squish)
	If only you could see the things
	I have seen with your eyes.

Squish!  Squish!  The squishes are Batty's feet
stepping in eyeballs as he paces in front of Chew.

		CHEW
	Please!  Cc-cc-cold!

		BATTY
	      (prosecuting attorney)
	Questions!

		CHEW
	D-dunno answers!  P-please!

		BATTY
	Who does?

		CHEW
	Tyro! Knows everything!

		BATTY
	The Tyrell Corporation?

		CHEW
	Big boss!  Big genius!  Design
	your brain.

		BATTY
	Ah!  Smart!

		CHEW
	V-very cold, p-please....

		BATTY
	Not an easy man to see, I'd
	guess.  Security.....

		CHEW
	Sebastian take you!  Gimmee
	coat.

		BATTY
	And who is Sebastian?

Chew is blue and hysterical.

		CHEW
	J-j-j-j-j F. S-sebastian.
	Please.............

		BATTY
	Ah!  How would I find him...
	J.F. Sebastian ?

Chew looks like heart attack city.  Is it going to
go on forever?

						CUT TO


EXT. DECKARD'S APARTMENT BUILDING - NIGHT

Deckard's car pulls up into a drive of a condominium
block that looms against the night sky like a pile
of cardboard boxes.

Deckard gets out of the car wearily and heads for the
front door.

						CUT TO


INT. ELEVATOR NIGHT

The elevator is gloomy, poorly lit, full of shadows.

Deckard asks for the 97th Floor.

The ELEVATOR makes a creaking noise, very distinctive,
and starts upward.

Deckard frowns.  Something is wrong. He is suddenly
very alert, ready.

There are shadows behind him but he can't turn to look.

The ELEVATOR CREAKS UPWARDS.

Deckard goes for his blaster, gets it out quick and
whirls.

Rachael is there, in the shadows.

Deckard's blaster is pointed at her.  One more second.....

Deckard lowers the blaster.  He's shaking all of a sudden.

		RACHAEL
	I'm sorry.


INT. CORRIDOR NIGHT

Deckard exits the elevator and approaches his door.

Rachael is behind him, she's desperate.

Deckard takes out his wallet, it drops to the floor
scattering his cards.

Rachael picks up the cards.

		RACHAEL
	Let me help you.

		DECKARD
	What do I need help for?

Deckard takes the card from her and starts to open
the door.

		RACHAEL
	I don't know why he told you what
	he did.

		DECKARD
	Talk to him.


INT. DECKARD'S APARTMENT - NIGHT

The place is a mess.Deckard walks in leaving the door open.

		RACHAEL
	He wouldn't see me.

Deckard goes into the kitchen, comes out with a towel drying
his hair.  He walks to the cocktail cabinet and pours himself
a drink.

		DECKARD
	I'm gonna have a drink.

		RACHAEL
	You think I'm a replicant, don't
	you?

Deckard takes off his wet raincoat and throws it on a chair.

		RACHAEL
	Look.

She goes to him holding a picture in her hand.

Deckard looks at it.

It's an old snapshot, a little girl with a mother and father.

		RACHAEL
	It's me with my parents.

Deckard hands it back to her slowly.  Finally speaks.

		DECKARD
	You remember when you were about six and you
	and your brother snuck into an empty building....
	through the basement window ?

		RACHAEL
	What? Y-yes....

		DECKARD
	You were going to play Doctor. He showed
	you his, then you chickened and ran out.

		RACHAEL
	But....

She looks up and he's staring at her, but she doesn't seem
to notice.

		DECKARD
	Remember the bush outside your window
	with the spider in it.

Rachael looks up at him.

		DECKARD
	Green body, orange legs... you watched
	her build a web all summer.

		RACHAEL
	Yes.

Her voice is getting very small.

		DECKARD
	One day there was an egg in the webb.

Rachael nods faintly.

		RACHAEL
	After a while, the egg hatched and
	hundreds of baby spiders came out and
	ate her.   That made quite an impression
	on me, Mr. Deckard.

		DECKARD
	You still don't get it?

		RACHAEL
	No.. I... I .... don't.

Deckard is now nasty, downright bitter.

		DECKARD
	Implants.  They are not your memories,
	they belong to Tyrell's sixteen year
	old niece.

Rachael doesnt say anything, she can't.

		DECKARD
	He's very proud of them.  He ran them
	on a scanner for me.

Rachael just stares at him, stunned and barely holding on.

		DECKARD
	Still don't believe me ?

		RACHAEL
	I... I...

		DECKARD
	Right.  I made it all up.  You're not
	a replicant. It was a nasty joke. Go home.

Rachael is biting her lip or something, holding it back.

		DECKARD
	Go on.  Beat it.  Sorry.   Bad joke.

Deckard sees  he's gotten through... maybe too far.

		DECKARD
	Wanna drink ?

She's completely destroyed, silent.

		DECKARD
	I'll getcha one.

Deckard hurries out.

The CLOCK IS TICKING.

						CUT TO


INT. KITCHEN - NIGHT

Deckard is peering at her from the doorway, a Peeping
Tom.  He sees the shaking hands.  He doesn't like this
shit.

He turns his attention to getting the drink.  The
kitchen is a disaster area, dirty dishes overflowing
from the sink the way a plant grows out of a pot.

Deckard opens the refrigerator.  The contents aren't
messy so much as unusual.  He opens the freezer com-
partment and pulls out a bottle of Tsing Tao vodka
and eyes it.  Half-empty.

He rummages among the dirty dishes for a glass that
doesn't actually have fungus growing in it.  He finds
one that's only greasy, wipes it with a dirty towel
(making it greasier) and pours vodka into it.

He heads back into the living room.


INT. LIVING ROOM - NIGHT

Deckard stops in the doorway,surprised.

The room is empty. Rachael is gone.

Deckard stares at the empty room for a long moment.  Then
he chug-a-lugs the vodka. As he brings his head back and
winces from the fiery booze he sees something.

Something crumpled on the floor.

He goes over and picks it up.

It's the picture of Rachael with her parents. He studies
it.

On the other side is a phone number.

Deckard walks over to the window and stares out.

A spinner flashes by smearing light on his face.

						CUT TO


EXT. AN ABANDONED BUILDING - NIGHT

Pris exits the building and starts across the street.

A spinner rockets past overhead.  She reacts nervously
watches the spinner slide away.

She crosses the street past a window full of wedding dresses
as the spinner zips off in the distance.


EXT. SEBASTIAN'S BUILDING - NIGHT

Pris walks under the art deco marquee between the twisted
corduroy columns and into the foyer.

She picks a spot near the entrance and is covering herself with
old newspapers and trash for warmth when she hears a strange
NOISE.

A weird street cleaning MACHINE GRINDS past.

Pris watches the machine with interest, then huddles
under the trash.

A battered old truck, Sebastian's, SPUTTER AND FARTS
to a halt in front.

SEBASTIAN gets out, a young man with skin that is yel-
lowing into old parchment.  He's wearing a World War
Two leather pilot's cap and dark goggles and carrying
a pack.

In spite of his youth, he carries himself like Old
China as he walks toward the entrance with the gait
of an old man.

Sebastian stumbles over the trash covered body of Pris
and Pris leaps to her feet and start to run like a
frightened gazelle.

		SEBASTIAN
	Hey!

He reaches down and picks up the bag she left in the
trash.

		SEBASTIAN
	You forgot your bag.

He's holding it up.

She eyes him from a distance... unsure of him.  Then
she moves toward him tentatively.

Sebastian smiles awkwardly and holds out the bag.

		PRIS
	I'm lost.

		SEBASTIAN
	Don't worry, I won't hurt you.

Both of them are silent.  People are not Sebastian's
forte... usually he's too shy, but this girl is shyer
still.  Plus they're about the same age... it gives
him courage.

		SEBASTIAN
	What's your name?

		PRIS
	Pris.

		SEBASTIAN
	Mine's J.F. Sebastian.

		PRIS
	Hi.

So pleased with the way that went, he forgets for a
while what comes next.

		SEBASTIAN
	Oh... where were you going?

She shrugs.  That leaves him a lot of responsibility.
He throws her side-long glances, but she's not helping.

		SEBASTIAN
	Home?

		PRIS
	I don't have one.

		SEBASTIAN
	Oh.

She looks at him, a shadow of enticement in her clear
blue eyes.

		PRIS
	We scared each other pretty good,
	didn't we?

		SEBASTIAN
	We sure did.

She giggles and laughs.

		PRIS
	I'm hungry, J.F.

		SEBASTIAN
	I've got stuff inside, you wanna
	come in.

		PRIS
	I was hoping you'd say that.

Sebastian's grey face flushes with pleasure.  He turns
and inserts a key in the ornate iron mesh door and
swings it open.

						CUT TO:


INT. SEBASTIAN'S LOBBY - NIGHT (SHOT)

Stacks of gaudy balconies loom into shadows above.

Overhead lights reveal a shark-like blimp cruising
above the building glowing with advertisements.

Pris stares in wonder.

		PRIS
	And you live in this building all
	by yourself ?

		SEBASTIAN
	Yeah, I live here pretty much alone
	right now....

						CUT TO


INT. CAGE ELEVATOR (SHOT)

Pris and Sebastian are standing in the mesh elevator
as it grumbles noisily into the shadows above.


INT. CORRIDOR - NIGHT (SHOT)

Pris and Sebastian are standing in the mesh elevator
as it grumbles noisily into the shadows above.


INT. CORRIDOR - NIGHT (SHOT)

Sebastian and Pris walk down the corridor towards
his apartment .

		PRIS (WILD LINE)
	No housing shortage around here.

		SEBASTIAN (WILD LINE)
	Plenty of room for everybody... most
	of the others have emigrated already.


INT. CORRIDOR - NIGHT

Sebastian is unlocking his door.  He opens the door
and ushers Pris into the apartment.


INT. SEBASTIAN'S APARTMENT -NIGHT

Sebastian flicks on the light revealing the high
walls, elegant moulding and strange contents.

A three foot high Kaiser Wilhelm figure and a teddy
bear dressed as Napoleon march into view from a
doorway.  An alarm sounds.

		SEBASTIAN
	Yoo hoo, home again, home again!

		BEAR
	Good evening J.F.

The alarm cuts out.

The Bear and Kasier  Wilhelm stare woodenly at Pris
for a moment, then turn away disappearing into the gloom.

		SEBASTIAN
	They're my friends... here,
	can I take your things, they're soaked.

		BEAR
		   (muttering)
	Home again, home again, jiggidy jig.

Pris is delighted.  She strips off her topcoat,
revealing a shape to pop eyes.

		SEBASTIAN
		   (besides himself)
	Where are your folks ?

		PRIS
	I'm sort of an orphan.

Pris smiles.

		SEBASTIAN
	What about friends?

		PRIS
	I have some, but I have to find them....
	I'll let them know where I am tomorrow.

		SEBASTIAN
	Oh!

There is a silence. He steals a glance at her.

		SEBASTIAN
	Well..... I can sleep on the couch.

		PRIS
	Watch the bed bugs don't bite !


INT. DECKARD'S APARTMENT - NIGHT

A blurry photograph, unclear, FILLS THE SCREEN.

The photograph intensified.  The foreground BLURS AND
SHARPENS.  it's the "man" in Leon's room with the
wardrobe behind him.  The head is turned away and
downward, the face unreadable.

Another change!  A dramatic one.  The picture is
suddenly three dimensional.

Now we see that Deckard is studying the picture in a
viewer controlling the effects with punch controls.

The ashtray next to him is full of butts.  The bottle
of vodka is nearly empty.

He sucks on his cigarette and empties the vodka bottle
into his glass and goes back to peering into the
viewer.

He punches up.

A transparent grid with vectors is superimposed over
the photo.

Deckard's eyes move over it carefully.

		DECKARD
	Sharpen line forty-eight between
	twenty point twenty-seven.

The edge of the man sharpens.

		DECKARD
	Profile trace.

Slowly the view tracks the periphery of the man's
shoulder, up and around the skull, down the other
side and as it approaches the bottom of the picture
passes a miniscule sparkle...

		DECKARD
	Stop.  Back up.

The line is retraced.

		DECKARD
	Stop.

The faintest little sparkle.  Static.  Almost nothing.
Deckard leans forward.

		DECKARD
	Enhance.

The view squeezes in.  The "spark" seems to be coming
from about fifteen feet behind the figure -- from
within the wardrobe.

		DECKARD
	Seesaw.

After a short pause, as if the command causes the
machine to strain, it emits a thin, high-pitched
FREQUENCY SOUND and the picture begins a horizontal
yawing motion.  As it swings back and forth glimpses
of things previously obscured by the foreground
figure are revealed.  Slightly at first, but the
opening grows as the process picks up momentum.

Deckard's right down there, hands on his knees like
a man watching his favorite team make a crucial play.

		DECKARD
	Stop!

The picture freezes.

		DECKARD
	Enhance.

The view pushes in to the wardrobe.  In its gloomy
recesses hangs a dress.

		DECKARD
	Enhance.

In closer on the dress.  An exotic shimmering gown
made of sequins.  Deckard ponders it, smiles slightly.

		DECKARD
	I don't suppose one of those males
	has a transvestite problem.

Pause.

		DECKARD
	Hey!

Esper wakes up.

		ESPER
	Yes?

		DECKARD
	I said, I don't suppose one of
	those males has a transvestite
	problem.

Pause.

		ESPER
	Negative.

Deckard considers the situation for a few moments,
then frowns thoughtfully and fishes his wallet out of
his pocket.  He produces the flakes he found in the
hotel room.

Deckard lights a cigarette.

The flake.

He's holding it on the tip of his finger under the
light of the console screen.  He sits down, studying
it like Hamlet, contemplating Yorick's skull.  But
for the HUM OF THE MACHINE, a long silence.

		ESPER
	You're gonna have a fire if you
	don't turn off the machine.

Absently, Deckard reaches out and flips it off.  He
sits a while in the silent dark.  Then goes into the
bathroom.


INT. SHOWER - NIGHT

Deckard stands in the shower, his cigarette still in
his mouth.

						CUT TO:


EXT. NOODLE BAR - NIGHT

It might be 2:00 a.m. but the joint is still crowded
as noisy taxi drivers jostle each other for seats and
jabber in Kangaroo, a crude lingual mix of Chinese,
Japanese, French and Tagalog.

Deckard is hunched over his bowl of noodles, slurping
hungrily from his busy chopsticks.

Whap!  The counterman slaps a serving of fish heads on
the counter in front of a CHINESE sitting next to
Deckard.

Startled by the sound Deckard glances at the bowl of
fish heads, then turns his attention back to his
noodles.

But after two bites he frowns and turns to look at
the fish heads again.

The Chinese is eating the flesh hungrily from a head.
He cleans the skull and drops it on the plate.

Deckard stares at the heads with their blank stares
that seem to gaze at eternity.

Deckard is thinking.

The Chinese is eating.

Deckard frowns lost in furious thought.  Suddenly he
reaches out and grabs a fish head.

The Chinese goes bug-eyed with indignation.

		CHINESE
		(in Chinese)
	What the hell are you doing, you
	moronic ahng mo dim bulb?  That's
	my goddamn dinner you (in English)
	dumb shit!

Deckard is peeling scales off the fish head.  He grabs
his wallet, produces the flake and compares it to the
scales from the head.  He ignores the ranting of the
Chinese as he stares at the flake next to the scales.

		DECKARD
	Fish!

		CHINESE
		(in Chinese)
	What do you expect you get from
	fish head, stupid?
		(in English)
	Elephant shit?

						CUT TO:


EXT. ANIMAL ROW - NIGHT

An aquarium full of fish, weird looking fish, the
kind that might eat each other.  They're gliding in
sinister clusters like Doberman pinschers with gills.

The CAMBODIAN LADY is a withered woman in black.
She's got a lens in her eye and she's looking at the
flake which is on the tip of her finger.

		CAMBODIAN LADY
	Not fish!  Snake !

And she points down the row.

Deckard looks that way and we.........

						CUT TO


MICROSCOPIC VIEW - NIGHT

We are looking at a huge enlargement of a snake scale
seen through a microscope.. but we don't know that.
It's just a grand abstract weirdness blurring and
sharpening and changing.

		EGYPTIAN (OS)
	The finest quality, yeeeeeeessssss.
	Perfect workmanship.
	Geniune artificial snake.

The flake  becomes a landscape of forests and moon-
scapes.  Buried deep in the texture of the thing is a
serial number.

		EGYPTIAN (OS)
	Serial Number 99069745xb7Y
	That would indicate a Crotalus
	Atrox......

						CUT TO


EXT. EGYPTIANS JOINT - NIGHT

We see the Egyptian for the first time as he takes
his eye from the viewer and points to a snake in one
of the many tanks that writhe with groggy reptiles.

		EGYPTIAN
		(continuing)
	... such as that one there with
	the black and white ring on tail.
		(making a whirring noise)
	Western Diamon Back....
		(whirr)
	Rattler.

Deckard is looking at the ugly serpent.

The Egyptian hands the scale back to Deckard.

		DECKARD
	Who made it ?

		EGYPTIAN
	This quality... not too many.

		DECKARD
	How many ?

		EGYPTIAN
	Very few.

		DECKARD
	How few ?

		EGYPTIAN
	Perhaps less than I thought....
	but still, more than I can remember.

		DECKARD
	What helps you to remember ?

The Egyptian pushes a hand out in front of him, revolving
the thumb slowly against the next two fingers.

Deckard slips a card out of his pocket and into the
man's fingers.  It's a police card.  It gets a super-
cilious smile, a sigh and a shrug.  And that's all
it gets.  The man knows his rights.  The card is
handed back.  The smile remains.

		EGYPTIAN
	What was the question again?

		DECKARD
	The question is...

Deckard steps in closer.

		DECKARD
	Are you a citizen?

		EGYPTIAN
	Yes.

		DECKARD
	Naturalized?

		EGYPTIAN
	Yes.

		DECKARD
	Your papers are in order.

		EGYPTIAN
	Of course.

This guy's got it covered.

		DECKARD
	You have a license for this
	establishment?

He points it out with a righteous finger.

		DECKARD
	Fire permit?

		EGYPTIAN
	Right here.

He lifts it out of a drawer, displays it.  A long
pause.  The Egyptian smiles smugly.  It pays to have
things covered.  Deckard pushes closer.

		DECKARD
	In two seconds I'm gonna break
	your fuckin' spine if you don't
	tell me what I wanna know.

Pause.

		EGYPTIAN
	I see.

Deckard's face is two inches away.  It's all very
plain.

		EGYPTIAN
	In that case, I think I will be obliged
	to tell you that one of two men could
	have done this.

		DECKARD
	Who ?

		EGYPTIAN
	Me.

The Egyptian works on an uncertain shit-eating grin
hoping to charm his way out of a hole.

Deckard lets him sweat for a beat or two, looking hard.

		DECKARD
	Who do you sell your junk to .

		EGYPTIAN
	Artists. Always to artists.

The Eygptian looks nervously at Deckard,sees he
means business and hastily begins to shuffle through a
wad of receipts from a cigar box.

						CUT TO


INT. TAFFEY'S SNAKE PIT BAR - NIGHT

A big guy, back to camera is sitting at the bar in
this sleazy joint.

		DECKARD (OS)
	You buy a snake off an Egyptian ?

The big guy turns to face his questioner.  His name
is TAFFEY LEWIS big and bad and low-life.  He looks
like he's looking at a cockroach.

		TAFFEY
	Buzz off, fella.

Deckard is searching in his pockets.  He pulls a dirty
handkerchief out, puts it on the bar, pulls out a
crumpled pack of cigs from another pocket, a wad of
money cards from another.  He's putting all sorts of
things on the bar.  Among them is the picture of
Rachael and her parents.

		DECKARD
	You ever see..... you ever se... ?

At last he finds the photo of the reclining woman, shows
it to Taffey.

		DECKARD
	You ever see this woman ?

Taffey doesn't even look at the picture.

		TAFFEY
	Never saw her.  Buzz off,pal.

Deckard flashes his police card.

		DECKARD
	Got your licenses in order, old
	buddy ?

		TAFFEY
	Pal, I got a license to piss,
	I got a license to kiss,
	An' I got a license to pee at
	four in the morning.

	I got licenses for things I do with
	my wife an' I got licenses for things
	I don't do with my wife.

	I got licenses for bad dreams, pal.
	I got licenses you wouldn't believe.
	Now buzz the fuck off, okay ?

Deckard seems blown away, puts his hands up, palms forward,
surrendering.

		DECKARD
	Take it easy mister, don't get
	excited.

		TAFFEY
	Nobody pushes me around.

		DECKARD
	Forget I asked.  My mistake.
	Water under the bridge.

Taffey looks a little startled. It was this easy ?  He's
kind of pleased with himself now that he's firmly estab-
lished his authority.

		TAFFEY
	No hard feelings. I just don't
	take a push, that's all.

		DECKARD
	No hard feelings.

		TAFFEY
		(to the bartender)
	Louis, the man's dry.  Give him
	one on the house, huh ?

		BARTENDER
	Whatcha drinking ?

		DECKARD
	Smokey, dry.

		TAFFEY
	You assed about a snake.....

Deckard is suddenly hopeful.

		DECKARD
	Yeah.....

		TAFFEY
	Wanna see a snake, huh?

The Bartender puts a weird drink in front of Deckard...
tiny worms floating in a viscous liquid.

Deckard takes the drink like he was used to it and swigs.

		TAFFEY
	Louis, show the cop the snake,
	willya?

The Bartender reaches under the bar and pulls out a
large snake that writhes lazily on the bar.  It is
bright gold.

		DECKARD
	    (disappointed)
	Wrong snake.

		TAFFEY
	Don't like gold ?

		DECKARD
	Gold's okay.

		TAFFEY
	Original paint job was shitty.  Those
	fucking Egyptian's do crappy work.

		DECKARD
	How long ago did ya paint it?

		TAFFEY
	I dunno.  Couple of months.
	Why ?

 Deckard looks discouraged, swigs the last of his drink.

		DECKARD
	No reason.  Doesn't matter.
	    (to the bartender)
	Gimmee another, willya?

There is a burst of applause and they all look around
toward the stage.

A large egg has appeared on the stage, beside it a
smaller egg.

		TAFFEY
	Getta loada this. New act.
	Very artistic, very sen-shoe-all.
	Beautiful.

Music starts to play.

Deckard looks bored and discouraged.  Absently starts
picking up his junk off the bar... the wads of money cards,
cigarette packs, matches... the picture of Rachael.  That
catches his attention.

Deckard stares at the picture for a long moment.

		DECKARD
	Gotta phone ?

						CUT TO


INT. TAFFEY'S BAR MOMENTS LATER

Deckard is at a telephone not far from  the bar.  He's
got the phone hooked between his shoulder and ear while
he notes a number.

		DECKARD
	.......six six five. Thanks.

Deckard breaks the connection, then starts punching the
numbers.

Behind him the stage show is progressing.  A beautiful
woman named SALOME is emerging from the large egg, very
scantily clad, an erotic birth scene.

Rachael appears on the telephone vid-screen.

		RACHAEL
	Hello.

		DECKARD
	People have walked out on me
	before... but never when I was
	being charming.

Rachael freezes when she see who it is.  Says nothing.

		DECKARD
	Ya missed out on the drink I
	poured ya.

Rachael still says nothing.

		DECKARD
	Wanna try again ?

For a long moment it seems Rachael isn't going to say
anything.

Rachael is bitter.

		RACHAEL
	     (on Vid-screen)
	Hunting... "skin jobs "?

		DECKARD
	Didn't find any.All I found was a bar.
	Why waste it ?

		RACHAEL
	     (on vid-screen)
	Not my kind of place I'm afraid.

		DECKARD
	Meet me here.  We'll go someplace
	else.  It's in the Fourth Sector....

Something on the stage catches Deckard's eye. He frowns.

On stage, a snake has emerged from the second egg.

Deckard is suddenly pre-occupied with the stage show as
he absently gives the address over the phone.

		DECKARD
	...... the  Fourth Sector, on the line.
	Taffey Lewis'  Snake Pit.

		RACHAEL
	I don't think so Mr. Deckard.
	As I said......

Deckard is staring at the stage show.

		DECKARD
		(absently)
	See ya in a half hour.

He hangs up.

On stage, the snake and Salome are into sexy stuff.

						CUT TO


INT. BACKSTAGE A LITTLE LATER

You can hear applause and catcalls from the audience
as Salome flounces backstage.  She starts toward the
dressing room.

Deckard emerges from the shadow.

		DECKARD
	Excuse me, Miss  Salome....

She turns.  Deckard's posture and attitude suggest humble,
sleazy persistence.  He comes closer with his shit-eating
grin.

		DECKARD
	I'd like to have a word with you
	if I could.

Salome stands almost six feet tall in her high heels and
looks down on him with haughty suspicion... a girl who
knows how to handle cheap hits.

		SALOME
	Yeah ?

		DECKARD
	I'm with the  American Federation of
	Variety Artists....

He holds up a hand as if to stop her from protesting.

		DECKARD
	Don't worry, I'm not here to
	make you join... that's not my department.

He glances around like a guy who's not supposed to be
there.

		DECKARD
	I'm an investigator for the Confidential
	Committee on Moral  Abuses.

She nods, taking it a little more seriously.

		DECKARD
	There's been reports of the
	management taking liberties with
	the artists in this place.

		SALOME
	I don't know nothing about it.

		DECKARD
	You haven't felt yourself to be
	exploited by the management in
	any way?

She's definitely puzzled.

		SALOME
	How do you mean 'exploited'?

		DECKARD
	Like to get this job... did you
	or were you asked to do anything
	lewd or unsavory or otherwise
	repulsive to your person?

		SALOME
	Are you for real?

		DECKARD
	Oh, yeah.  You'd be surprised
	what goes on around here.  I'd
	like to check the dressing room
	if I could.

		SALOME
	What the fuck for?

		DECKARD
	For holes.

This guy might be an asshole, but he's funny.

		SALOME
	I don't believe this.

She shrugs and they go in.


INT. DRESSING ROOM - NIGHT

Musty, cramped.  A portable shower, a dressing table
and not much else.  On the dressing table lies a snake.
Deckard watches it undulate into the warmth of the
lights.

		DECKARD
	Is that mother for real ?

		SALOME
	Of course he's not real.  You think
	I'd be working here if I could afford
	a real snake ?

Deckard reaches out to touch it.  As his fingers make
contact, there's an electric "snap".  he jerks his hand
back from the shock.

Salome is taking off her costume.  There's not much to
take off.

Deckard gets a glimpse of nakedness as she slips behind
the screen and turns on the shower.

		DECKARD
	How long you been doing a snake act ?

		SALOME
	What is it with you... you looking for
	holes or what ?

He starts pacing the room like's he's inspecting the walls.

		DECKARD
	You'd be surprised - they have their ways
	of doing their dirty work without the victim
	even knowing what's going on.

His fingers are moving over her gowns. There's about six of
them, on hangers, but nothing quite like the one in Leon's
closet.

		DECKARD
	You'd be surprised what a guy'll go through
	to get a glimpse of a beautiful body.

		SALOME
	No, I wouldn't.

		DECKARD
	Little dirty holes they drill in the wall
	so they can watch a lady undress.

And to his amazement, low on the wall, behind the dresses,
he actually spots one. He moves down for a peek.

		SALOME
	And what if somebody did try to "exploit"
	me?  Who do I go to ?

Deckard's peeking at a pair of fat legs in the next room.

		DECKARD
	Me.

		SALOME
	And who do I go to about you ?

He looks around... she's out of the shower dripping nude.
Her hair blonde and cropped short.  Her black hair is a wig
which now hangs on the wall next to the shower.  She didn't
look like Nexus designated Zhora to begin with, but even less
now.

		SALOME
	So did you find any holes ?

Deckard makes a sheepish grin.

		DECKARD
	One so far.

		SALOME
	You're a dedicated man.

Her smile is an invitation.  She throws him a towel.
He catches it and she turns her back to him.

		SALOME
	Dry me.

The evening doesn't have to be a total waste.  Deckard
steps up behind her and starts patting her down.

On the dressing table in front of them the python
noses through the cosmetics, tongue flicking, trying
to get back to its mistress.  Caught up in the sensu-
ousness of the moment, absently she reaches out to
stroke the snake.

Deckard works his way down her back, over her buns and
as he reaches her thighs, sits on the cot.  Concen-
trating on her buns, he leans back for a handier per-
spective.  But jerks forward like he'd been stung as
his ears are hit with the BUZZ OF RATTLES directly be-
hind him.

Partly hidden behind the pillow against the wall is
the Egyptian's pride and joy, a four-and-a-half foot,
ring-tailed diamondback rattler.  Its lethal looking
spade-shaped head elevated out of its coiled body,
tail erect and whirring madly.

Deckard rolls off the cot going for his blaster as he
hits the floor.  SALOME/ZHORA has her hand around the
head of the python and, using it like a club, she
brings it down with all her might.

Deckard rolls out of the way as the SNAKE WHISTLES
through the air with such force, it ruptures as it
hits the floor.

If Deckard's fast, Zhora's a blur.  As he FIRES, her
foot kicks into his groin, and he doubles up with the
pain of it.  He tries for a second shot but she's al-
ready out the door carrying a raincoat.


INT. PASSAGEWAY - NIGHT

Bottom lip between his teeth, Deckard hops out of the
dressing room in time to see her go through the door at
the other end of the hall.

It hurts to move so fast, but he jack-legs after her,
arrives at the door and flings it open.  Blackness.
The SOUND OF HER HIGH HEELS CLATTER down the metal
steps.


EXT. STREET - OPERA HOUSE - NIGHT

It's RAINING HEAVILY.

The front of the Opera House is open only to foot
traffic these days.  A bizarre place on a Friday night,
hawkers and whores, the rabble, the poor and the curi-
ous mill around the crudely built platforms and
brightly lit stands.  Zhora, in just a translucent
raincoat, is not out of place in this flea market at-
mosphere.  Trying not to run, she slices through the
mob as quickly as she can.  Deckard is not far behind,
dodging and side-stepping, trying to move against the
tide of people scurrying for shelter.

She comes to an intersection and turns out of the mall
onto a less crowded street.  She glances over her
shoulder as she breaks into a run and runs right into
a couple of pedestrians.  All three go down.

Deckard comes out of the crowd in time to spot her get-
ting to her feet.  She sees him and runs.  The two
pedestrians are in his line of fire.  He runs past
them and drops to one knee, leveling his blaster.

		DECKARD
	Stop or you're dead!

She doesn't.

Deckard OPENS UP, squeezing off two quick misses.

WHAP!  The corner of the building disintegrates --
bricks imploding, dust in the air.

FWAAAP!  Another miss!  A lamppost wrenched with a
tight air implosion.  Twisted metal, a breath of smoke.

Deckard FIRES again!

WHUMP!  Zhora takes a hit in the back of the head, and
that's it for her except her motor reflexes which keep
her going right into a showcase window.

CRASH!  Zhora explodes through a series of plate glass
windows in adjoining shops.

Deckard is trying to pour FIRE through the tunnel of her
jagged wake, but after TWO MISSES his blaster CLICKS
empty, CLICKS empty, CLICKS empty and he watches her
go.

Zhora breaks through one window after another, getting
sliced, already shot, running on reflexes.  Glass
sprays like fireworks as she smashes through the last
two windows and into the street.  She's going too fast
to stop.

She hits a passing bus so hard she's smeared all over the
side like a mural and the bus squeals to a halt.

The rain has stopped and turned into a quiet DRIZZLE.
WATER GURGLING down the gutters.

Hunched over, breathing hard, Deckard comes slowly
forward.  The crowd starting to gather.  Something here
for everybody as they're coming from all directions.
Deckard moves through them, ending up to the side of
the bus.

Zhora is wedged on her side, torn, bloody and broken.
All she can move is her eyes -- they dart about like
a wounded animal doomed in a trap and stop on
Deckard.

He's kneeled in the street, stooped low, head cocked at
an awkward angle looking back at her.

In the cramped and dripping darkness her eyes are turn-
ing glassy.  The intervals between the FALLING DROPS OF
WATER accentuate the silence until there is no dripping
and even the gurgling gutters have receded into silence
as the life drains out of Zhora's face until it's
frozen, dead.

Deckard's eyes slowly follow the rivulets of blood that
lead over the slope of a blacktop to his shoes.  Deckard
tries to repress his wince.  His eyes reveal that it's
getting to him.  He's aware of the spectators around
him.

Looking up, he sees them moving nervously away from
him with frightened looks.

Then he sees her.  Rachael is standing in the crowd
staring at the dead Zhora.

Rachael's face reveals her horror.  She looks from Zhora
to Deckard.

Deckard feels her eyes burn into him.   He clicks his empty
pistol stupidly.  CLICK CLICK.

Lights from a spinner smear over the crowd, sirens whine.

Deckard sees Rachael disappear into the crowd.

Deckard starts to say something but anything he said would
be drowned in siren noise.

Rachael is swallowed up into the crowd near a big sign
(or some other distinctive landmark).

						CUT TO


EXT. THE CROWD - NIGHT

Leon and Batty are just faces in the throng of ASIANS
and LATINOS. They too see the body of Zhora.

Batty and Leon look very grim.

They turn their attention to  Deckard.

From their point of view they see a pantomime out of ear
shot.... Deckard hastily flashes his badge at arriving
COPS, points to Zhora, gives a couple of instructions and
hurries off, passing under the big sign, leaving the cops
to stare after him with amazement.

Batty and Leon exchange a look. Batty makes a head movement.

Leon heads off toward the big sign.

						CUT TO


EXT. STREETS - NIGHT

The tide of STREET PEOPLE moves inexorbaly as Deckard,
like a swimmer, moves through them, eyes busy, searching
for Rachael.

Thinks he sees her.

Shoves his way through the crowd.

Not her.

Looks around in dispair.

Catches sight of her half a block away.

Deckard hurries after her. Calls out.

		DECKARD
	Rachael.  Wait.

Rachael looks back, sees him.

		DECKARD
	Hold on.

Rachael keeps going.

Deckard is hurrying past the mouth of an alley.  Suddenly
he's being hurried into the alley.

		DECKARD
	Hey.

A big guy is collaring him and hauling him into the alley.

Leon.

						CUT TO


EXT. ALLEY NIGHT

A family of SAMOANS look up from their dismal cooking
fire in the alley.

		DECKARD
	Hey, what the hell, buddy!

The Samoan's faces are blank.  They stick by the fire and
express no feelings anout the events in the alley.

Deckard is swept off his feet and twirled around in
Leon's bear-trap embrace.

Leon lets go and Deckard hits the pavement, skidding
hard enough to tear clothes and burn skin, but he
rolls out of it and comes up with gun in hand; but Leon
is so fast he's already there and kicks it out of his
hand.

Leon moves towards him, backing Deckard against the
wall.

		LEON
	How come you knew where Zhora was
	so quick?

His hand is like lightning.  It shoots out, grabs Deckard's
hair.

		DECKARD
	I showed pictures.  Somebody
	recognized her.  I went to see.

Deckard is pale.  The sweat is starting to run.

		LEON
	How old am I?

		DECKARD
	I don't know.

The grip tightens and twists.

		LEON
	My birthday is April 10, 2017.
	How long do I live?

		DECKARD
	Four years.

He lets go.

		LEON
	More than you.

Deckard's knees come up fast, but Leon's fist comes down
faster, like a hammer.

		LEON
	Painful to live in fear, isn't it.

Deckard is doubled over, hugging his thigh.

		LEON
	But that's how it is to be a slave.
	The future is sealed off, he
	grovels, he waits.

Even hurt, Deckard is fast.  He goes for his ankle gun,
but Leon's got it out of his hand before he can even
raise it and throws it down the alley.

Deckard hurls forward, knocking him off balance, and
scrambles to get away.  Leon grabs him by the foot,
drags him back and jerks him off the ground.

		LEON
	Sex, reproduction, security, the
	simple things.  But no way to
	satisfy them.  To be homesick
	with no place to go.  Potential
	with no way to use it.  Lots of
	little oversights in the Nexus
	Six.

He slams Deckard into the wall.

		LEON
	I tell you, nothing is worse than
	having an itch you can never scratch.

Deckard slides down the wall to his knees and huddles
protecting his head with his arms, waiting for the
next one.

		DECKARD
	I agree with you.

Leon folds his big hands together and raises them over
his head, pausing just a second to savor the satisfac-
tion of smashing Deckard's skull.

		LEON
	Too late.  Your mistake.

The spasm that runs through Leon's face is not from
satisfaction.  It's the bullet that went through his
neck.  He hits the ground hard, his big teeth biting
the air like a rabid dog.  Dead.

Deckard has slumped to the ground where he sits propped
into a sitting position by the wall, staring up in
amazement at his deliverer.

He sees Rachael standing there with his blaster,
Rachael is staring at the body of Leon, stunned and
shaken at what she has done.

Deckard looks up at her, his eyes swollen into slits,
his mouth and nose bloody.  He sees how shaken she is.

Rachael turns and looks at him.  Their eyes meet.
She drops the blaster.

Deckard gets painfully to his feet, picks up the
blaster and starts to reload it.  He doesn't make the
same mistake twice.  He glances at her.

Again their eyes meet.

						CUT TO:


EXT. 42ND STREET - 20 MINUTES LATER

It's the 42nd Street of the future, a garish, wicked
place.

Deckard and Rachaek are walking together, almost
zombies.

Deckard is only a little less bloody and a lot more
swollen.

Rachael looks stoned on the horror of the killing.

		DECKARD
	There's only one thing that works
	on cuts and bruises and long nights.

She looks at him blankly.

						CUT TO:


EXT. KIOSK - MOMENTS LATER

It's a grimy little tienda with a counter right on the
sidewalk and shelves crammed with dusty bottles,
bright packs of cigarettes, old magazines and assorted
junk.  The SALESLADY wears an eyepatch and a sharp look
in her good eye.

Deckard and Rachael are facing her.

		DECKARD
	Tsing Tao.

The Saleslady tries to hand Deckard a half pint but he
shakes his head and points and she produces a fifth.

Deckard is paying when he feels a tap on his shoulder.

He turns and sees Gaff leering at him.

Not what Deckard expected or wanted.  His eyes flicker
a warning in Rachael's direction.

Rachael is standing in the flow of pedestrians, Asians,
Mexicans and Indians.  She has already seen Gaff and
she gets the message in Deckard's eyes and allows her-
self to drift away, part of the stream of humanity
moving down the sidewalk.

But Gaff's sharp eyes have picked up Deckard's look
and he glances.

What Gaff sees is the back of a woman's head in the
crowd.

Gaff looks back at Deckard and makes a head movement
indicating the vehicle at the curb.

It's a spinner and Bryant is grinning at the window,
chewing on a heater.

		BRYANT
	Christ, Deckard, ya look almost as
	bad as that tit job ya left under
	the bus.  Almost.

Deckard walks over to the spinner.

Gaff is looking down the street, trying to make out the
Caucasian woman disappearing in the crowd.

		DECKARD
	You get the call on the big one?

		BRYANT
	Bet your ass.  Two in one night,
	you're the same old shitstorm,
	aren't ya?
		(to Gaff)
	You could learn from this guy,
	Gaff.  A goddamn one-man slaughter
	squad, that's what he is, a real
	shitstorm.

Gaff has to smile and nod politely, that's his job.

Deckard has followed Bryant's beady gaze to the obvious
bottle he's holding in the paper bag.

		DECKARD
	I'm going home.

		BRYANT
	Home!  A killer like you!  I
	figured you'd be up all night
	slaughtering phonies.  Four to
	go, thought you'd just leave
	'em dead in the alleys for us
	to pick up.  Haw!  Haw!  Come on,
	Gaff.

		DECKARD
	Three.  There's three to go.

		BRYANT
	Huh?

		DECKARD
	There's three left.

		BRYANT
	Four.  That tit job you vee kayed
	at the Tyrell Corp... disappeared.
	She didn't even know she was skin
	till you put the machine on her.
	Some kinda brain plant, says Tyrell.

Deckard has already noticed that Gaff is looking down
the street in the direction Rachael went.

Gaff feels Deckard's eyes, turns and leers cheerfully
at Deckard.  Deckard meets the look... an ominous
exchange.

		BRYANT
	Come on, Gaff.
		(to Deckard)
	Drink a couple for me, pal.

						CUT TO:


INT. DECKARD'S KITCHEN - NIGHT

Deckard is about to swig some Tsing Tao for Bryant.
He puts the glass to his lip and the lip, caked with
dry blood and swollen, splits again and blood gushes
into the clear liquid in the glass.

Deckard stares at the bloodstained drink ruefully, then
takes a thirsty gulp and licks his bleeding lip.

The ice in  Rachael's glass is RATTLING.  She's standing
only a few feet away, half eaten by shadows, her eyes
blank with shock.

The reason the ice is rattling is because her hand is
shaking.

You can hear the CLOCK TICKING in the living room.

		DECKARD
	Me too.

Rachael frowns and looks at him. What ?

		DECKARD
	I get 'em bad. It's part of the
	business.

Deckard holds out his hands.  They're shaking.

Rachael gives Deckard a long hard look.

		RACHAEL
	I'm not in the business.

Deckard meets her look, understands he cannot comfort
her so easy, she will not be one of the boys with him.

		RACHAEL
	I am the business.

She is grim and angry and shaking.

You can hear the clock TICKING.

						CUT TO


INT. DECKARD'S BATHROOM - NIGHT

SPLASH.   Deckard sticks his head in the sink full of
water and the water turns crimson.

He lifts his face out of the water, dripping and gropes
for a towel, wipes water blindly from his face.


INT. DECKARD'S LIVING ROOM - NIGHT

Rachael is in the foreground shadows, a drink in her hand.
She's watching Deckard who is washing his face in the
bathroom,framed by the open door.  You get the

Deckard in the background, goes on drying.  He's naked
except for a towel around his waist.

Rachael takes a drink.  Her face is enigmatic.  She's
watching.

Deckard is unaware of her eyes on the back of his neck.

She's looking at the ripple of muscle around his
shoulders.

						CUT TO


INT. DECKARD'S BATHROOM A FEW MINUTES LATER

Deckard is standing in front of the mirror.  He's
staunched the bleeding lip and now he's studying it.

The rustle of silk.

Rachael appears in the doorway of the bathroom, drink
in hand.

Deckard doesn't acknowledge her presence.

There is a long silence. She sees the muscle ripple in
his naked back.  Hard body.  Scars of old wounds.

		RACHAEL
	What if I   go   North...
	disappeared ?

Deckard gives her a look, turns back to the mirror.
Puts a towel over his head.

		RACHAEL
	Would you come hunting. ?

Rachael waits a long tense moment for an answer.

		DECKARD
	No.

Deckard waits before he lets it out.

		DECKARD
	I guess I owe you.

Deckard turns and brushes past her so she has to
step back.

		DECKARD
	But somebody will.


INT. BEDROOM (NIGHT)

Deckard is sitting on the bed, wasted, still in his
towel, clean white bandages on his face.  He touches his
lip gently.

He can hear the clock ticking and then the whisper of her
stockings as she approaches the bedroom from the hallway.
He hears her stop, lost in the shadows beyond the door.
A pause then her voice.

		RACHAEL (OS)
	The file on me.. the incept date,
	the longevity, the psycho-program,
	those things.....

Her voice hesitates, stops.  Deckard sits there as the
clock ticks for a long moment.

In the corridor, lost in shadows, Rachael is working up
the nerve to ask.

		DECKARD
	Yeah ?

In the shadows Rachael takes a deep breath.

		RACHAEL
	You saw them?

Deckard, exhausted stares absently into space.

		DECKARD
	They're classified.

In the corridor, Rachael persists with effort.

		RACHAEL
	You're a policeman.

Deckard touches a spot on his forehead, looks at the
wall.

		DECKARD
	I didn't look at them.

In the hallway, Rachael is hardly breathing.

		DECKARD (O.S.)
	I didn't want to.

It must come as a tremendous relief to her.  She stands
in the shadows, grateful for the smallest favours.  She
waits a moment, hearing the clock ticking,  hearing the
distant noises of an apartment house, then she speaks
again.

		RACHAEL
	That test of yours.. The Voight
	Kampff test......

She pauses before completing the question. It's a
biggie.

		RACHAEL
		   (continuing)
	 .... did you ever take it yourself ?

Rachael waits for a long moment in the shadows.

The clock ticks.

No answer.

She moves into the light from the bedroom door and
peers in.

Deckard is lying on the bed, snoring gently.

						CUT TO


INT. LIVING ROOM NIGHT

The CLOCK IS LOUDER in the living room.

Rachael walks through the shadowy room lit by a single
lamp.

She sees a picture of Deckard's wife and son on a
table.

She looks at it for a long moment as though she might
be jealous.

She sees a picture on top of the piano.

A picture of a little boy and his father in fishing
clothes, each holding a pole, the boy proudly display-
ing a single under-sized fish, the hint of a smile on
the father's face.

She looks at the sheet music on the piano, Chopin.

She stands close to the keys and starts to play.  She
makes a mistake almost immedaitely.  She sits and
starts again and she is just a hair tentative, but
there's no mistake... the feeling, the rhythm, the
beauty of the music.  It fills the whole apartment.

						CUT TO:


INT. BEDROOM - NIGHT

Deckard is snoring peacefully as the MUSIC ebbs and
flows.

						CUT TO:


INT. LIVING ROOM - NIGHT

Rachael is lost in the music, her face a mask.


INT. CITYSCAPE DAWN

An ugly day is beginning to an eerie distortion of CHOPIN

						CUT TO


EXT. SEBASTIAN'S APARTMENT - DAWN

Nasty MUSIC a dismal looking building.

Do we see strange figures in overcoats from a distance.


INT. SEBASTIAN'S BUILDING - DAWN

A shark's POV of the stairways, hallways, the one's we'll
see later a shark's POV gliding along the hall towards
Sebastian's apartment. Chopin the ax murderer!


INT. SEBASTIAN'S APARTMENT - DAWN

Pris is filling the hours of insomniacal boredom by
experimenting with her make up. A bleached white face
and black ringed eyes. A sexual waif. A savage doll.
She gets up and starts exploring the rooms.


INT. WEDDING DRESS ROOM - DAWN

She wanders into a large room filled with mannequins
dressed in dusty ball gowns.

She wanders around wistfully, full of curiosity. She picks
out one of the dresses puts it on and stands there, the
mannequins surrounding her like a family tableau.


INT. SEBASTIAN LABORATORY - DAWN

Sebastian is asleep, Kaiser Wilhelm his mouth clamped open
is propped up next to him.

Pris wanders in, studying the array of his equipment. She
puts her eye to the steroscope near Sebastian. It reveals
a world of rare beauty. Landscapes, mountains etc.

She touches a button, a blue flash erupts.

		PRIS
	Oh!

Sebastian is awakened.

		SEBASTIAN
	Whatcha doin'.

		PRIS
	I'm sorry, just peeking.

		SEBASTIAN
	Oh.

Transfixed, Sebastian stares at her. If an improvement is
possible, she looks even better now. Older and even sexier.

		SEBASTIAN
	You look better.

		PRIS
	Just better.

		SEBASTIAN
		(blushing)
	Well... beautiful.

		PRIS
	Thanks.

As they are talking, Batty enters	     the room.
Pris sees  him but does not register anything on her face.
Sebastian does not hear or see him.

Pris studies  Sebastian for a moment.

		PRIS
	How old are you ?

		SEBASTIAN
	Twenty.

		PRIS
	What's your problem?

		SEBASTIAN
	Methuselah Syndrome.

		PRIS
	What's that's?

		SEBASTIAN
	My glands.  They grow old too fast.

		PRIS
	Is that why you're still on earth?

		SEBASTIAN
	Yeah. Couldn't pass the medical. Anyway
	I kinda like it here.

A moment.

		PRIS
	And I like you just the way you are.
	Hi Roy.

Sebastian whips round. He is flanked a hair's breath away
by Batty. The shock almost knocks him off his chair.

		PRIS
	This is my friend     I was
	telling you about.

Batty smiles benevolently.

		PRIS
	Roy, this is my saviour, J.F. Sebastian.

There is a long silence whilst everyone stares at each
other.

		BATTY
	Can't thank you enough, Mr. Sebastian.

Sebastian, still uneasy begins to smile.

		BATTY
	You certainly have a nice place.

BATTY looks around admiringly.  Sebastian mumbles some-
thing that sounds like "Thank you".

		PRIS
	Sebastian doesn't go out too much.

		BATTY
	I like a man who stays put. An admirable
	thing to be able to sustain yourself
	in these times. You live here all by
	yourself, do you ?

		SEBASTIAN
	Yes....
		(after a moment)
	How about some breakfast, I was just
	going to make some.

						CUT TO


INT DECKARD'S BEDROOM - MORNING

Deckard wakes up groggily. His face hurts. He touches
the puffy purple bruises.  He touches the lip and winces.
He looks around stupid with sleep, orienting himself.

He sits up... tries to remember.  Was she here ?  Were they
talking ?  He must have dozed off.  He gets up laboriously,
painfully and limps out of the bedroom still in yesterday's
clothes.

						CUT TO


INT. DECKARD'S LIVING ROOM MORNING

Rachael is sitting stone silent at the piano, staring at a
picture of Deckard and his Father above the keyboard.

Shadows brush across her, then Deckard is there, close to
her, looking to see what's got her attention.

		DECKARD
	Me and my Dad.

		RACHAEL
	Do you love him?

		DECKARD
	He's dead.

Rachael indicates the picture of Deckard's wife.

		DECKARD
	Wife.

		RACHAEL
	Do you love her ?

		DECKARD
	She left me.
		(pause)
	Went offworld.
	Wanted the good life.

		RACHAEL
	You didn't?

Deckard changes the subject.

		DECKARD
	I dreamt music.

Rachael answers his comment by touching the keys and
filling the room abruptly with music.

Deckard

		RACHAEL
	I didn't know if I could play.
		( pause)
	I remember lessons.... but I
	don't know if I took them... or
	Tyrell's niece.

She stops doesn't finish the thought, goes on playing
for a long moment.

		DECKARD
	You play fine.

Suddenly she stops playing and turns to him.  Al you
can hear is the CLOCK TICKING.

		RACHAEL
	Am I very different?

		DECKARD
	Yeah.

		RACHAEL
	How?

Her voice is small.  Something very young about her.
She looks up at him for the first time.

		DECKARD
	Stand up.

She does.  She's looking up at him with those big mer-
maid eyes and he kisses her mouth.  And then again.
She doesn't respond.  His voice is a whisper.

		DECKARD
	Now you kiss me.

She does -- but it's self conscious...

		RACHAEL
	I can't rely on my memory to...

He stops her with another kiss.

		DECKARD
	Say what I say.

She nods.  His voice intimate, low.

		DECKARD
	Kiss me.

		RACHAEL
	Kiss me.

He does, soft, wet, tender.  He backs off -- magnetic,
palpable energy growing up between them.

		DECKARD
	My eyes.

		RACHAEL
	Kiss my eyes.

She closes them.  He kisses each fluttering lid.

She's catching on quick.  Her lips are right there.

		DECKARD
	I want you.

		RACHAEL
	I want you.

		DECKARD
	Again.

		RACHAEL
	I want you.

Her face is flushed.  His fingers go to her mouth --
slowly over her lips and inside, into the wetness.  her
head is leaning back, eyes shut.

		RACHAEL
	Bite me.

His mouth goes to her neck, her ear.  His teeth evoke
a shiver and a gasp as they take her flesh.  Her breath
is coming faster.

		RACHAEL
	Put your hands on me.

He rakes his fingers through her hair and pulls her
into him.  His other hand molding and pressing her,
working around her body and under into the privacy
of her dress.

		RACHAEL
	Shall I take off my clothes?

		DECKARD
	Oh Yeah.

He's kissing her hard, deep, soft. She's hardly able to
talk she's so excited.

		RACHAEL
	Do whatever you want to me.

He is and her legs can no longer hold her and she's
sinking to the floor in his arms moaning, their words
obscured by kisses.

						CUT TO


INT. SEBASTIAN'S APARTMENT - NIGHT

Pris is staring out the window, watching.

Batty lies quietly on the couch, rubbing one of his hands.

Sounds emanate from the kitchen.

Batty gets up and goes to a chess set in the corner of the
room, a game is obviously in progress.  Batty studies it for
a moment, then moves the White Queen to the Bishop.

Pris walks over to him. Her tone muted but demanding.

		PRIS
	Well?

Batty finds her attitude amusing, which makes her even more
pugnacious.

		PRIS
	I want to know what's going on ?

		BATTY
	There's only two of us left.

Pris is shocked. Her whisper comes out a hiss.

		PRIS
	Then we're stupid and we'll die.

		BATTY
	Not if everybody is doing their job
	here at home.  How are things at home ?

Pris doesnt answer, as they hear Sebastian coming out of
the kitchen.

		PRIS
	What if he won't co-operate ?

		BATTY
	Mr. Sebastian is a host who wants to
	be appreciated. We'll appreciate him
	and he'll co-operate.

Sebastian walks into the room with a tray.  He takes some
eggs and puts them into a glass flask full of bubbling
water that is standing on a retort stand over a bunsen
burner on his work bench.
He notices the move on the chess set.

		SEBASTIAN
	No.  The Knight takes the Queen, see ?
	It won't do.

He takes the White Queen with the Black Knight.

Batty smiles a smile totally without feeling or interest.

Sebastian stares at Batty for a long moment, then at Pris.

		BATTY
	Why are you staring at us ?

		SEBASTIAN
	You're just so... so different.

Batty nods his head smiling, sending home the fact and
Sebastian is certainly getting it.

		BATTY
	What Sebastian ?

A long pause.

		PRIS
	What makes you think so, Sebastian?

		SEBASTIAN
	Well, you're ....so perfect.

Sebastian is grinning from ear to ear.

		SEBASTIAN
	What generation are you ?

		BATTY
	Nexus 6.

Sebastian whistles.

To the couch. Batty couldn't be more pleased.

		SEBASTIAN
	I know because I do genetic design work
	for the Tyrell Corporation.
		(proudly)
	There's some of me in you !

		BATTY
	We have a lot in common.

		SEBASTIAN
	What do you mean ?

		BATTY
	We have similar problems.
	Accelerated decrepitude.
		(or)
	Like the fabled salmon we came home to die.
	But we don't want to die quite yet.

		SEBASTIAN
	Of course not...... Could you....

His voice is trembling.

		SEBASTIAN
	Show me something.

		BATTY
	Like what ?

		SEBASTIAN
	Like... anything?

Like a million things, but he's too excited to think
of one.

		BATTY
	We're not computers, Sebastian, we're
	physical.

Pris perks up proudly.

		PRIS
	I think, therefore I am.

		BATTY
	Very good Pris.  Now show him why.

Without a moment's hesitation, Pris walks over to the
flask, sticks her hands into the boiling water and pulls
out one of the eggs and hands it to Sebastian.

Sebastian is riveted, his eyes wide and astounded, like
he's just seen the devil. He laughs nervously, glad that
the devil is a friend.   Then drops the egg which is
suddenly burning his hand.

		BATTY
	You could help us.

		SEBASTIAN
	I don't know much about biomechanics
	Roy, I wish I did, but you're out of
	my league.

		BATTY
	If we don't find help soon, Pris
	hasn't got long to live.

Batty walks back to the chess set.

		BATTY
	Is he good ?

		SEBASTIAN
	Who?

		BATTY
	Your opponent.

		SEBASTIAN
	Dr. Tyrell....  More than brilliant.
	He's a genius.  He's the Einstein
	of genetics.

		BATTY
	Maybe he can help us, Sebastian.

		SEBASTIAN
	I'd be happy to mention it to him.

		BATTY
	Be better if I could talk to him in
	person.  But he's not an easy man to
	get to.

		SEBASTIAN
	No.

Batty leans forward and looks right into Sebastian's eyes.

		BATTY
	Will you help us ?

		SEBASTIAN
	I....I.. can't.

He gets up and walks slowly over to Pris.

		PRIS
	We really need you Sebastian, you're
	our best and only friend.

A smile begins to spread across Sebastian's face.  She
is irresistable. He sits there for a long moment enjoying
her embrace.

Batty leans back nodding in gratitude.

		BATTY
	I'm sure glad you found us, Sebastian.
	What do you thin, Pris ?

		PRIS
	I don't think there's another human
	being in this whole world who would
	have helped us.

Pris gives Sebastian a big kiss.


INT. HOSPITAL (DAY)

A horrid image!  Tight on Holden very tight.  His eyes
are bulging almost out of his head.  Tears streaming
down his face, spittle spraying from his mouth as he
wheezes and grimace in horrid convulsions. Haw haw haw.
We're going to figure out that he's laughing, but only
after a moment, after we pull back wide enough to see
he's still engulfed in the breather and necklaced with
blinking lights, one of which blinks particularly
violently with every wheeze.

		HOLDEN
	Cut it... ha, ah, ah.. cut it a haw,
	ah ah... cut it out.. Deckard.
	You're... ah... making me... peeeee.
	Looka the... ah, haw, light...
	you're making me piss, you... ass
	hole.

Deckard looks uncomfortable and horrified.

		DECKARD
	Sorry.

		HOLDEN
	Eeeeeeee... haw, ahw, ha.  Hee...
	he... Hit you with a... ah.  Ah.
	Snake... Oh Jesus!  Aaaah.  Stark
	... Stark naked... Ah, ah oh ah...
	I love it.

		DECKARD
	I thought you'd go for the part
	about the big guy... Leon.

Holden's eyes change mood immediately at the thought
of Leon but the laughter has to continue like a wind-
up toy running down.  Finally he can talk again.

		HOLDEN
	You aired him... what's funny
	about that?

		DECKARD
	Revenge.  I thought you'd...

Holden interrupts, no longer amused.

		HOLDEN
	You don't revenge a machine,
	asshole!  Your slicer cuts your
	finger, whaddya do?  Punish it?

Holden looks at Deckard and lets his wisdom sink in.

		HOLDEN
	You can't make a 'thing' feel
	sorry, Deck.

		DECKARD
	They're different, the new ones.
	That big one... he... it had
	feelings.

Holden glares at Deckard for a long moment.

		HOLDEN
	Whatja do?  Fuck it?

		DECKARD
	Huh?  Wh-what?  Who who?

Deckard is alarmed.  The secret is out.

		HOLDEN
	The tit job, the one with the
	snake.  You stuck it in, didn't
	ya?

Deckard is immensely relieved and confused.

		DECKARD
	Uh... no... I mean... uh.

		HOLDEN
	You made zig zig, then you aired
	her out, now you got conscience,
	right?

Deckard is smug, sure of himself.  He knows the score.
As he pontificates we CUT and suddenly we are seeing
him on a TV screen.

						CUT TO:


INT. BRYANT'S OFFICE - DAY

A TV monitor FILLS THE SCREEN.  Holden is continuing to
lecture Deckard on the TV screen.

		HOLDEN
	You got the feelings, pal, not her.
	You fucked a washing machine...
	then you switched it off.  So what?
	You cry when you turn the lights
	out at night?

Now we see Bryant.  He's sitting in a chair chewing a
big cigar and glaring at the screen.

		BRYANT
	It's pitiful is what it is.  A
	couple of old blade runners trying
	to grapple with metaphysics... You
	gonna turn out that way, Gaff?

		GAFF
	I piss on metaphysics.  My middle
	name is 'death.'  See this foot...
		(holds up his foot)
	... completely lethal!  Savate!
	French foot fighting.  See these
	hands...!

Bryant interrupts the display, unimpressed.

		BRYANT
	You think he knows where she is?

		GAFF
		(shrugs)
	Maybe.  Maybe not.  Deckard's a
	deep one.  You gimmee the
	promotion, maybe I'll find her.
	If I get a promotion...

		BRYANT
	Shut up!

Bryant is looking back at the screen, intensely inter-
ested.

On the screen Holden is wheezingly explaining something
to Deckard.

		HOLDEN
	... then they bust into the record
	room at the Tyrell Corp... that
	doesn't work!  They put that big
	bozo... whatsitsname...

		DECKARD
	Leon.

		HOLDEN
	... they put him in to infiltrate
	Tyrell Corp... that doesn't work!
	They go after that eye designer,
	the Chinaman...

		DECKARD
	Chew.

		HOLDEN
	... that doesn't work!

Bryant is all attentiion, staring at the screen in
suspense.

Gaff is watching, too.

		DECKARD
	Work!  Whaddaya mean 'work.'

		HOLDEN
	Don't you see what they're after,
	who they're looking for?

On the screen Deckard frowns and shakes his head.

		DECKARD
	No.  Who?

Bryant is on the edge of his seat.

		HOLDEN
	God!

Bryant stares at the screen dumbfounded.  Then his jaw
sags open in disbelief.

		BRYANT
	God!

Gaff shakes his head, smirking.

		GAFF
	Metaphysics.

		BRYANT
	God?

Bryant looks about to erupt.

						CUT TO:


INT. DECKARD'S CAR

All we see at first is the Esper screen which features
the strangest face ever seen.. it's lines are weirdly
oscillating and the face itself is strangely anonymous
and flickering. It is in fact thousands of faces flashing
on the screen sequentially at the rate of fifty per
second.

Deckard is watching the screen.

A bunch of dwarfs run past the car.


INT. DECKARD'S CAR

Deckard is in the dark, suddenly a spinner appears, flashing
lights across Deckard's Face.

The Dwarfs run away.
A PA System blares out.

		SPINNER
	This sector was closed to ground traffic
	10 minutes ago.  What are you doing here ?

		DECKARD (on intercom to Spinner)
	Working.  What are you doing ?

		SPINNER
	Don't be a smart ass.

		DECKARD
	This is Deckard.  Blade Runner. I'm
	filed and monitored.

		SPINNER
	Hold on... checking.....

Deckard punches up.

		SPINNER
	Alright you're clear.  Keep up the
	good work.

Deckard punches a number of vid-phone.  Waits.

On the VIDPHONE screen (not the Esper Screen) Dr. Schlecht
suddenly appears, answering the call.

		DR. SCHLECHT
	Guten Abend.

		DECKARD
	Dr. Hermann Schlecht..

		DR. SCHLECHT
	Ja.

Deckard has shoved his badge in front of the lens.

Schlecht squints, inspecting the badge that must be appearing
on his vid screen.

		DECKARD
	You are Senior Vice President
	of the Tyrell Corporation.

Dr. Schlecht nods.

		DECKARD
	You have dix huit clearance at
	Tyrell.   Right ?

		DR. SCHLECHT.
	Yes.

		DECKARD
	How many other employees have the
	same clearance.

		DR. SCHLECHT
	Four, including Dr. Tyrell and
	myself.

		DECKARD
	The others ?

		SCHLECHT
	Dr. Chew and J.F. Sebastian

		DECKARD
	Sebastian ?

		SCHLECHT
	Yes. J.F. Sebastian.

		DECKARD
	I want you to authorise access to
	your personnel files.  Put it on
	Esper.

		SCHLECHT
	Now ?  Do you know what time it is ?

		DECKARD
	J.F.  Sebastian employment and
	personal information.

		SCHLECHT
	Punch in your  Esper code please.

Deckard punches Schlecht out and punches in Esper.

		DECKARD
	Coming in.  Night Doc.


INT. DECKARD'S CAR

The Esper screen reveals a single face SEBASTIAN.

Information and data blare out.

		ESPER
	J.F. Sebastian. AMAPT 46751.
	Designer, Age 27, hobbies
	Grand Master Chess Player..
	Clearance.....

Deckard punches the telephone number on the vid phone.

On the vid-phone a strange out of focus face looks startled.
It's Pris.

		DECKARD
	Hi.... J.F. there ?

		PRIS
	Who's this ?

		DECKARD
	An old friend of his.

Pris looks for a moment then puts down the phone.

		      DECKARD
	That's no way to treat a friend.

As the vid phone goes blank one of the dwarfs jumps on
to the hood of Deckard's car.

Deckard starts up the car, screetches forward and the dwarf
falls off onto the street.


INT. SEBASTIAN'S APARTMENT

On the vid screen is an off kilter shot of Deckard looking
surprised.

						CUT TO


INT. DECKARD'S CAR

Deckard punches the vid screen. It is bright again with
playback. Pris out of focus, weirdly framed, staring into
the lens. Then it disconnects.

Instantly  Deckard replays it again, slows the image
Pris frozen out of focus.

						CUT TO


EXT. TYRELL CORP. - SUNSET

The huge pyramid looms over the industrial landscape
backed by a gorgeous sunset sky of polluted reds.

Looking closer, we can see an elevator gliding up the
steep slope of the pyramid toward the apex.

						CUT TO:


EXT. PYRAMID - NIGHT

The elevator is whizzing up the slope of the pyramid.


INT. ELEVATOR - NIGHT

Sebastian and Batty are in the elevator, numbers flashing
on their faces as they shoot up toward the 800th floor.

Sebastian looks uneasy.

Suddenly the elevator comes to an abrupt halt, lights
flash a buzzer sounds and a VOICE emanates from a speaker.

		SPEAKER
	Quinzieme Bleu... cinquante.
	You have six seconds. Counting!
	Uno.. due... tre...

Sebastian is frantically fumbling through a stack of
magnetic cards he's pulled from his pocket, as the counting
goes on simultaneously in six languages.

batty is watching Sebastian fumble with the cards.

		SPEAKER
	... cuatro.. quince.... seis......

Batty reaches out impatiently and takes a card, inserts it.

The voice stops, the lights go out, the elevator starts up
again.

Sebastian gives Batty a funny look.

The Speaker voice interrupts again.

		SPEAKER
	Seven hundred up.... Tyrell Corporation.
	Purpose of visit please.

Sebastian looks at Batty nervously.

Batty gives a metallic smile.

		SEBASTIAN
	Pawn to King Three.

		SPEAKER
	Pawn to King Three.

Sebastian looks worried.

						CUT TO


INT. TYRELL'S BEDROOM -NIGHT

Tyrell is lying in a huge bed mutering into a computer
device.

		TYRELL
	Note to pantry milk still to hot.
	300,000 of Tsin Tsin Vinyl;...sell.
	Sixty six thousand Prosser and
	Ankopitch trade at...

		SPEAKER
	Quinzieme Blue entry.  A Mr. J.F.
	Sebastian, one-six-four-one-seven.

		TYRELL
	At this hour!

		SPEAKER
	Purpose of visit... Queen to
	Bishop six.  Check!

		TYRELL
	Check....nonsense!  Wait a
	minute!  Wait a minute!

Tyrell is frowning, gets out of bed and walks to his board.

		TYRELL
	Ridiculous.  Knight takes Queen.
	Ha!   Tell him to go home.

Tyrell smirks.

		SPEAKER
	Bishop to King Seven.  Mate!

						CUT TO:


INT. ELEVATOR - NIGHT

		SPEAKER
	Knight takes Queen.

Sebastian doesn't hesitate.

		SEBASTIAN
	Bishop to King Seven.  Mate!

Batty's eyes glow.  A long pause.

Suddenly the doors of the elevator opens.

						CUT TO:


INT. TYRELL'S BEDROOM - NIGHT

Tyrell is standing at the chess board in his nightgown
staring at the pieces in a fit of concentration.  He
doesn't look up at the sound of footsteps.

		SEBASTIAN
	I....uh.... I brought a friend.

Tyrell looks alarmed.

Batty is standing in the shadows.

Tyrell is reaching for a tasseled bell pull that hangs
over his bed.

Batty's eyes are like little coals glowing.

Warned by the look, Tyrell abandons the bell pull and
reaches under the sheets for something.

		BATTY
	To act without understanding
	could lead to the very thing
	the act seeks to avoid.

What's in Batty's eyes completes the warning.

Tyrell decides to heed it.  If he's scared though, he
does a good job of concealing it.

		TYRELL
	I'm surprised you didn't come
	here sooner.

Batty moves closer to the bed and the dogs slink away,
scared toothless.

		BATTY
	It's not an easy thing to meet
	your Maker.

		TYRELL
	And what can He do for you?

Batty sits on the end of Tyrell's bed.

		BATTY
	Can the Maker repair what He makes?

		TYRELL
	Would you like to be modified?

		BATTY
	Had mind something a little more
	radical.

		TYRELL
	What's the problem?

		BATTY
	Death.

		TYRELL
	I'm afraid that's a little out of
	my...

Batty leans close across the sheets and cuts in in an
urgent whisper.

		BATTY
	I want more life, fucker.

Sebastain looks alarmed.

Tyrell faces Batty with admirable cool.  After a tense
pause, the old man slides away from Batty and out of
bed.  He's wearing a long night shirt and he looks a
little silly.  He looks down at Batty who's still sit-
ting on the bed and addresses him as a professor add-
resses a pupil.

		TYRELL
	The facts of life.  I'll be blunt.
	To make an alteration in the
	evolvement of an organic life
	system, at least by men, makers
	or not, is fatal.  A coding
	sequence can't be revised once
	it's established.

		BATTY
	Why?

		TYRELL
	Because by the second day of
	incubation any cells that have
	undergone reversion mutation
	give rise to revertant colonies --
	like rats leaving a sinking ship.
	The ship sinks.

		BATTY
	What about E.M.S. recombination?

		TYRELL
	We've already tried it -- ethyl
	methane sulfonate is an alkylating
	agent and a potent mutagen -- it
	created a virus so lethal the
	subject was destroyed before we
	left the table.

Tyrell doesn't notice the subtle flicker of suspicion
on Batty's face... like maybe Batty's not buying all
this.

		BATTY
	Then a repressor protein that
	blocks the operating cells.

		TYRELL
	Wouldn't obstruct replication,
	but it does give rise to an error
	in replication so that the newly
	formed DNA strand carries a
	mutation and you've got a virus
	again... but all this is academic...
	you are made as well as we could
	make you.

		BATTY
	But not to last?

Batty's expression doesn't reveal whether Tyrell has
allayed his suspicions as Tyrell approaches Batty
(sitting on the edge of the bed) and puts a fatherly
hand on Batty's shoulder.

		TYRELL
	The light that burns twice as
	bright burns half as long.  And
	you have burned so very, very
	brightly, Roy.

Batty looks up at "Father" Tyrell, Tyrell is swelling
with pride.

		TYRELL
	The best of all possible replicants.
	We're proud of our prodigal son...
	glad you've returned.  You're quite
	a prize.

Batty looks down in a sudden, uncharacteristically
humble posture and speaks with guilt in his voice.

		BATTY
	I've done questionable things.

		TYRELL
	Also extraordinary things. --

		BATTY
	Nothing the God of bio-mechanics
	wouldn't let you in heaven for.

Tyrell in a burst of camaraderie, decides to give
laughing a try and comes out with a little titter.
After all, Roy Batty, that swell replicant is about
to embrace him.  Everything's gonna be okay after all.
Batty gets up from the bed and puts his hands around
Tyrell's face.

CRACK!  Tyrell's skull cracks like dry wood.

Sebastian stares in horror.

SQUISH!   Batty squashes the head in a gruesome moment.

Tyrell slumps to the floor like empty clothes.

Batty looks at the remains with disgust.

		BATTY
	Revertant colonies!  Methane sulfate!
	Bright lights!

Batty turns to Sebastian.

Sebastian looks like a heart attack.

Batty's eyes glow with fury.

Sebastian cowers.


EXT. ELEVATOR - NIGHT

The tiny elevator whizzes down the huge nighttime pyramid.


INT. ELEVATOR - NIGHT

Lights flash, the buzzer sounds and the elevator stops.
The speaker crackles.

		SPEAKER
	Dix huitieme Rouge.  18 Red.
	You have ten seconds.
	Counting!
	Un... de.......

CLICK!  Batty slaps one of Sebastian's many cards into
the slot almost instantly.

The lights go off, the elevator hums again.

Batty is alone, solemn.  The numbers reflect on his face.

						CUT TO


EXT. SEBASTIAN'S APARTMENT - NIGHT

The spinner comes down in a whirlwind of garbage blown
up from the street.

Deckard gets out and looks at the building.

						CUT TO


INT. LOBBY/SEBASTIAN'S - NIGHT

Deckard steps cautiously into the gloom and looks around.

The shadow areas look dangerous. The place looks vacant.

Deckard pulls his blaster out.

		DECKARD
	Mr. Sebastian?

No answer. His voice echoes in the emptiness.

Deckard walks across the dark lobby, stepping around the
heaps of trash, his footfalls echoing noisily in the silence.

						CUT TO


INT. SEBASTIAN'S APARTMENT - NIGHT

Pris is pacing nervously around the room.


INT. STAIRWELL/SEBASTIAN'S BUILDING - NIGHT

Deckard is at the foot of the gloomy stairwell looking
up. He can hear faint noises... very eerie.

Cautiously he begins to climb, blaster ready.

The noises continue.

						CUT TO


INT. SEBASTIAN'S APARTMENT - NIGHT

Pris is lurking in the shadows like a vampire, she hears
footsteps.


INT. STAIRWELL - NIGHT

Deckard is several flights up now, listening to the eerie
noises.

He starts up, stumbles on a piece of masonry.

The masonry clatters noisily down the stairwell.

Deckard freezes blaster ready.

						CUT TO


INT. SEBASTIAN'S APARTMENT - NIGHT

Pris is alert listening to the clattering echo die.
She frowns.  Is it Batty?


INT. STAIRWELL - NIGHT

Deckard cautiously starts to climb again, tiptoeing,
blaster ready.


INT. SEBASTIAN'S APARTMENT - NIGHT

A shadowy hallway cluttered with debris.. spooky.

Nothing moves.

Then we catch the sight of something. Deckard !  He enters
the hallway, pressed flat against a wall , weapon up.

Very carefully he slides along the wall.

We can see a doorway ahead of him, the door to Sebastian's
apartment.

He moves to the door. It's open a crack. He peeks in.

The apartment seems empty.


INT. SEBASTIAN'S APARTMENT - NIGHT

Deckard inches the door open, blaster ready.  He looks
around warily studying the apartment.  He sees nothing
moving.

He levels his blaster, arm extended full out cop-style,
as he ventures deeper into the apartment.

Suddenly a noise behind him makes him spin, blaster pointed.

A mouse runs across the floor.

Deep breath.

WHUMP!  Pris drops on Deckard from above and wraps her
bare thighs around his neck as she takes him down.

Deckard finds himself choking ot death in bare thighs
as she applies a brutal scissors grip with her legs.
All he can do is bite at the flesh near her crotch as
he fights for air and life.

Pris might look like a punk waif but she's a powerful
replicant and Deckard is
falls from his hand as he writhes and
his body.

Finally he gets his head loose and gasps for air but
she is immediately sitting on his chest and he looks up
into her furious face and flailing fists.

Deckard grabs at her trying to fight her off, tears
her tank top loose, exposing one breast, but a lot of
good that does him.

Pris starts to choke Deckard with one hand and Deckard's
only hope is to grasp blindly for his blaster on the floor.

His hand paws wildly... he can't look... in the general
area, and when he feels it he grabs it.  He struggles
to point it at her.

		DECKARD
	Please!  I don't want...

She catches his gun wrist and he fires a shot widly.

BOW!  Masonry erupts on the ceiling.

Dekcard struggles to point the weapon but she has his
wrist in her replicant grip.

		DECKARD
	Please!  I don't want to kill you.

Fat chance!  It doesn't look like he could if he wanted
to.  She's choking him with one hand, squeezing the
weapon loose with the other.

Deckard, fighting for breath and life, gives a violent
wrench and manages to bring the weapon to bear just
long enough to squeeze off one shot.

BOW!  Pris's left arm is torn away at the shoulder.

Pris's face erupts in fury as she clutches at the
empty socket.

Deckard rolls free and tries to cover her.

		DECKARD
	Please!  I...

WHAP!  She kicks him in the chest and he flies back
into a wall.

She's advancing on him, kicking like some martial arts
master... WHAP! WHAP! WHAP!

Deckard has to shoot or be kicked to death, he's already
badly battered by her furious feet.

BOW!  BOW!  Pris is blown away
hits.

BOW!  The third hit catches her in the back of the neck
as she spins away from Deckard... and that's it, she
goes down in a limp heap, leaving Deckard standing there,
bloody and stupified.

He's still staring when he hears it... the drone of the
elevator ascending.

Deckard frowns.  He starts toward the door, reaching in his
pocket as he goes and pulling out a cassette.


INT. CORRIDOR - NIGHT

Deckard slams the cassette into his blaster as he steps
intop the corridor and looks toward the sound.

He sees the elevator coming up.... glowing.

Deckard doesn't like this.  He glances quickly as the
various possible routes for escpe.

Not the stairs.

Nothing else.

The lift is almost to Sebastian's floor.

Deckard retreats hastily into Sebastian's apartment.

						CUT TO


INT. SEBASTIAN'S APARTMENT - NIGHT

Deckard steps into the room with Pris' body in it.

He hears the elevator stop.  Then footsteps.

Deckard considers.

The footsteps are getting closer.

Deckard walks silently toward the other door leading into the
next room and steps through it.

The footsteps keep coming.

And the breathing has started. Asthmatic, rasping.

						CUT TO


INT. BILLIARD ROOM - NIGHT

Deckard slides around the door and puts his back to the wall,
blaster ready.


INT. SEBASTIAN'S APARTMENT NIGHT

Deckard comes running into the lobby (hand held)through
the billiard room and into the darkened area the other
side of the billiard room and stands breathing heavily
gun aimed towards the lobby.


INT. LOBBY - NIGHT

Batty's shadow appears in the doorway (Deckard's POV) he
stares at Pris' dead body.

His body walks into the shadow.

Deckard fires, but Batty is faster, he ducks back and
disappears.

Deckard's bullet smashes into the dresser in the bedroom,
the mirror explodes.

Deckard runs into the billiard room.


INT. BILLIARD ROOM - NIGHT

He ducks back behind the wall.

Suddenly a hand comes tearing through the wall, and pulls
Deckard's hand through.

Systematically, Batty breaks two of Deckard's fingers.

		BATTY
	For Pris... for Zhora....
	Proud of yourself little man....

As Deckard screams, Batty puts the gun back in Deckard's
broken hand and pushes it back through the hole.

Batty's head peers through the hole, and Deckards fires at
him grazing the side of his face and blowing off his ear.

Deckard starts running (hand held) through the rooms
looking for an escape.

		BATTY(OS)
	Not very sporting to fire on
	an unarmed opponent. I thought
	you were supposed to be good...
	arent you the man.

						CUT TO


INT. DARK ROOM - NIGHT

Batty in semi darkness is
streaming down in his from his wounds.  He starts to daub
his face with his own blood, like a commanche warrior.
Then he starts to strip down - a tribal ritual.


INT. DARKENED ROOM (re-dressed lobby) ARMOIRE - NIGHT

Deckard runs into the darkened room. Rats scuttle across
the floor.

He hears footsteps coming.  There are no other exits.

He looks at the armoire.  His only escape.

He runs to a table and with great pain bends his fingers back
then runs to the armoire and starts to climb it.

Batty walks into the room looks up at Deckard and starts
to laugh.

		BATTY
	Where are you going ?

Deckard continues towards the ceiling, the armoire
starts to tilt, water drips on his head.

Thunder and lightning erupt.


INT. FLOOR B - TOILET - NIGHT

Deckard's head pops up through the floor next to an
overflowing toilet.

All of a sudden he too starts to laugh, as he lays down
on the floor, his laughter becoming hysterical.

He looks around for some tape and starts to wrap his broken
fingers.

Suddenly, with a resounding crash Batty's head comes through
the marble above the basin.

Deckard gets up and makes a run for the door at the end of
the room, as Batty, animal like, starts slurping the water
out of the basin.

Deckard pulls and tugs at the door, frantic with fear.

The other door opens and Batty walks in, as Deckard manages
to open his door.


INT. CLOSET - NIGHT

Two hundred objects (pigeons) burst out of the room into
Deckard's face as he runs into the closed off room.

There is no way out except by the
proceeds to tear down.

		BATTY
	Now where are you going?

Deckard climbs out the window, as Batty watches.


EXT. ROOF - WINDOW LEDGE - NIGHT

Deckard slowly eases himself around the window ledge
and edges his way around to a cornice.

Batty appears at another window, as Deckard scrambles
up the cornice and on to the roof, wind and rain hindering
his climb.


EXT ROOF - NIGHT

Wind and rain. Deckard dashes onto the roof and looks
frantically over his shoulder. Batty isn't in sight yet.
He looks around desperately. The roof is a desert no
shelter. Deckard looks across at the next building.

Suddenly a rooftop door opens and Batty steps out.

Deckard looks back at the next building. Is it possible ?
A long jump. But what choice.

Decision time.  Deckard decides to go.  He runs directly
towards Batty, turns, pumping like crazy, going for the gap.

						CUT TO


EXT. THE ROOF - LOW ANGLE - NIGHT

Looking up from way below, two buildings loom into the
dark with a gap between them and a tiny figure running
like hell and... jumping!

Deckard leaps across the gap, flies through the air...
almost makes it... catches a cornice on the second
building... hangs many stories up over the street and we:

						CUT TO:


EXT. THE SECOND ROOF - NIGHT

Deckard hangs onto the cornice in the wind and rain.
One hand is almost useless, the other's strained to
the limit.  He looks down.  A long, long fall to the
ground.

Deckard looks behind him, over his shoulder.

He can see Batty twenty feet away on the edge of the
first roof, watching him.

Deckard is almost sobbing, holding on with everything
he's got as we:

						CUT TO:


EXT. THE FIRST ROOF - NIGHT

Batty stands there watching Deckard hang.

Batty grins.

Then one of his hands cramps badly.  He has to work the
fingers open with effort.

He looks at Deckard again.

Batty walks back five yards, sprints quickly, and
leaps as we:

						CUT TO:


EXT. ROOF - LOW ANGLE - NIGHT

From below we see the tiny figure of Batty as he leaps
easily across the gap between the two looming skyscrapers
and we:

						CUT TO:


EXT. SECOND ROOF - NIGHT

Deckard is hanging there as Batty lands not far from
Deckard's desperate hands.

Batty looks down at Deckard.

Batty grins and takes a seat only a couple of feet
from Deckard.

Deckard's bad hand lets go.  He's hanging by one hand.

The street looms way below.

Deckard looks desperately into Batty's cold eyes.

Batty grins and shakes his head at the absurdity of it.

Deckard looks into that awful smile and sees no hope
there.

Batty glances down at his own hand.  Spasms again.

Deckard's hand is going.  He knows it's over now, he
bites the bullet of his anger.  He glares at Batty as
his grip gives way.

		DECKARD
	Asshole!

Batty meets Deckard's angry eyes.

Deckard's hand continues to slip.

Batty is still looking at Deckard's rage.  It moves the
warrior in him, you can see Batty change his opinion.

Too late!  Deckard's hand goes.

Batty's hand is like lightning.  He catches Deckard's
hand and holds Deckard.

Deckard is suspended above the awesome drop, not sure
why he's not falling.  He opens his tightly closed eyes
and looks up.

He looks up into the stern warrior face of Batty, the
cold eyes!

Deckard hangs there and for a moment he has to consider
whether this is the continuation of a cruel game.

The Batty is hauling him up one-handed and with that
scary strength he has.

Deckard is pulled onto the roof where he lies on his
stomach gasping for breath, not moving, just feeling
something solid under him.

Batty looks at the man gasping next to him with the
cold eyes of a man looking at a fish.  It is as though
Deckard is some species far below Batty on the evolu-
tionary scale.

Batty's hand cramps again.

Batty looks at it, almost with curiosity.

						JUMP CUT TO:


EXT. THE SECOND ROOF (LATER)

Deckard is looking at Batty.

Batty is partly crumpled, frozen in an unnatural posi-
tion as though he had been writhing and stopped mid-
writhe.  He looks back at Deckard with eyes full of
life and intensity.

They stare at each other for a long time in silence,
communicating something with their eyes... without
expression.  Finally Batty breaks the silence.

		BATTY
	I've seen things...
		(long pause)
	seen things you little people
	wouldn't believe... Attack ships
	on fire off the shoulder of Orion
	bright as magnesium... I rode on
	the back decks of a blinker and
	watched c-beams glitter in the dark
	near the Tanhauser Gate.
		(pause)
	all those moments... they'll be gone.

Batty holds Deckard's eyes like a hypnotist.

						CUT TO:


EXT. THE SECOND ROOF (A LITTLE LATER)

Batty is crumpled in a different position.  It's light-
er now and Batty's eyes are staring into infinity...
almost lifelessly.  A pigeon flutters down and perches
on his shoulder.  Batty doesn't stir.

Deckard is watching motionless.

The pigeon flies off.

Batty doesn't move.  Alive or dead?

						CUT TO:


EXT. THE SECOND ROOF - DAWN

A more distant perspective.  Deckard is a small figure
looking down at the dead body of Batty.

		DECKARD (V.O.)
	I watched him die all night.  It
	was a long, slow thing and he
	fought it all the way.  He never
	whimpered and he never quit.  He
	took all the time he had... as
	though he loved life very much...
	every second of it... even the
	pain.  Then he was dead.


EXT. ROOF - DAWN

The city is down there.  Endless and gray in the first
light.

Deckard's at the edge of the roof.

Maybe someday he'll be better.  But right now he hasn't
even got the energy to be sick.

The Mexican's voice doesn't surprise him, it comes through
the silence like the rasping of raven's wings.

		GAFF
	How do you rate yourself, now Deckard ?

He is standing 20 feet away, on the edge of the roof, like
a captain looking at the sea.  Smarts as a rooster,he places
a foot on the buttress....

		GAFF
	You put on quite a show - no doubt
	about it...

With a flourish he brings a dirty rag out of his pocket and
starts polishing the pointed tip of his long black shoe.

		GAFF
	You think I'm a wimp - don't you.

He waits for the answer.  But Deckard doesn't bother.

Gaff moistens the rag with his tongue and applies it to
the toe.

		GAFF
	I could kill you right now -
	so you better say something.

Deckard is unarmed. Gaff's got all the aces- seems to be
bristling with concealed weapons.  Deckard's eyes level on
him.  His voice comes out low and raw.

		DECKARD
	Yeah. I think you're a wimp.

Gaff nods like he knew it all along - it seems to please
him.

		GAFF
	I admire you more and more.

Deckard exhales fatigue.  His eyes close. The bullshit
is endless.  Gaff smiles like a beaver. Puts the rag back
in his pocket.

		GAFF
	I guess you're through, huh.

Deckard doesn't answer.

		GAFF
	Washed up. Wiped out.   Finished.

He cocks his head like a bluejay waiting for the answer.

		GAFF
	What about it.

		DECKARD
	Yeah. I'm through.

Somewhere far away a whistle blows. Then silence. Deckard
turns.  He is moving away.  His back to the Mexican. Gaff's
voice follows him. Taunting.

		GAFF
	You did
	sure you are, man.

He snickers. His hand comes out of his pocket with a gun.

		GAFF
	It's hard to be sure who's who around
	here.

Deckard keeps walking.

		GAFF
	Carnall!

Deckard slowly turns.

Gaff shows him the gun. But it doesn't make any difference.

		GAFF
	Oye la agua.

Deckard stares. He doesn't know the words.

Ever the dandy, Gaff swaggers closer, stops.

		GAFF
	Here.

He throws the gun across the gap to Deckard.

Deckard doesn't try to catch it. It lands at his feet.

Gaff dismisses the rejection with a suck on his teeth.

		GAFF
	I wouldn't wait too long. I wouldn't
	fool around. I'd get my little panocha
	and get the hell outta here.

They just stare at each other. Gaff smiles.

		GAFF
	It's too bad, she don't last, eh!

The smile is real and a little sad.

		GAFF
	But who does.

Everybody knows the answer to that one.

The Mexican shrugs.

The light is brighter.

The gun gleams on the wet

Deckard turns and walks.

						CUT TO



INT. DECKARD'S CORRIDOR - DAY

Deckard's FEET CLICK along the corridor as he
approaches his door.

Near the door, on the floor, is a little tinfoil uni-
corn, the kind of sculpture Gaff has been crafting on
previous occasions.

Deckard comes to the door, unlocks it, opens it.

He doesn't see the piece of sculpture on the floor.

						CUT TO:


INT. DECKARD'S LIVING ROOM - DAY

The room is dark and quiet as Deckard enters.  You can
hear the SOUND OF A BABY CRYING somewhere.

Deckard frowns, looks around.

The CLOCK TICKS.  The BABY CRIES.  Nothing moves.

		DECKARD
	Rachael.

No answer.

Deckard looks concerned.  He glances in the kitchen.

						CUT TO:


INT. KITCHEN - DECKARD'S POV - DAY

He sees the same old mess.

Or did she clean it up?

						CUT TO:


INT. BEDROOM - DAY

The bedroom is dark.

Deckard opens the door.

He sees something on the bed.  Motionless.  A body?

Deckard enters.

The CLOCK TICKS.  The BABY SQUALLS in the distance.

Deckard goes close.

Rachael is on the bed.  Completely motionless.

Deckard leans over her, very close, to see if she's
breathing.

A long moment.

Then the tension goes out of him.  She's alive.  He
turns away from her with a new urgency.

He pulls the blaster from his holster and goes to the
dresser.  He opens a drawer and pulls out a box of
ammo.  Opens it.

KACHUK!  He slams a cartridge in the gun.

KACHUK!  Another.

On the bed Rachael stirs, opens her eyes.  KACHUK!

She sees an ominous sight.  Deckard is loading his gun
in the shadows near the dresser, his back to her.

KACHUK!  He slams the last cartridge in.

		DECKARD
	Do you love me?

He is looking at her in the mirror on the dresser.  He
has the gun in his hand.

She is looking at his back.

		RACHAEL
	I love you.

Deckard holsters the gun without turning and pulls
open another drawer.

		DECKARD
	Do you trust me?

Deckard is pulling clothes out of the drawer, stuff-
ing them hastily into a parachute bag.

		RACHAEL
	I trust you.

Deckard turns and looks at her, one hand full of
clothes, the other hand holding the parachute bag.

						CUT TO:


INT. CORRIDOR - DAY

The door opens and Deckard and Rachael step out.  They
are carrying a couple of overnight cases.

Rachael starts toward the elevator.

Deckard locks the door and turns to follow her.

He spots something on the floor, something small.

He reaches down and picks it up.

It's the tiny unicorn made of tinfoil... Gaff's
gauntlet.

Deckard looks at it for a moment.

						CUT TO:


EXT. MOVING TREES - DAY

Birch trees whip past at 160 miles per hour urged on
by big, nasty MUSIC.

We have the feeling we are going to see a unicorn.

Instead we see Deckard's car rocketing through the
woods.

						CUT TO:


INT. DECKARD'S CAR - DAY

Deckard is at the wheel, Rachael is beside him.

Deckard smiles at her.

Rachael smiles back tentatively.

Deckard glances back at the road, then at the vid
screen.

A little blip flashes on the screen.

Deckard notices it, his eyes narrow just a little.  He
reaches in his pocket, pulls out the unicorn.

Deckard puts the tinfoil unicorn on the dash.

A flicker of a smile crosses his face.

						CUT TO:


EXT. WOODS - DAY

Deckard's car bullets through the woods in a fury of
speed and MUSIC.

We BACK OFF IT AND UP, PAST whizzing branches, OVER
the treetops, losing the car as we SOAR over what is
suddenly a vast forest spreading to infinity.

Enormous MUSIC!

Deckard's voice over.

		DECKARD (V.O.)
	I knew it on the roof that night.
	We were brothers, Roy Batty and I!
	Combat models of the highest order.
	We had fought in wars not yet
	dreamed of... in vast nightmares
	still unnamed.  We were the new
	people... Roy and me and Rachael!
	We were made for this world.  It
	was ours!

Trees explode PAST US in a rage of branches as we DIP
and SWERVE and that's when the spinner looms INTO VIEW
zooming RIGHT AT US, then tilting and yawing off in
hot pursuit with Gaff at the controls.

CREDITS ARE ROLLING, God help us all!

						FADE OUT.


		     THE END
All movie scripts and screenplays on this site are intended for educational purposes only.
eXTReMe TopList