BLADE RUNNER

Screenplay by

HAMPTON FANCHER

and

DAVID PEOPLES

February 23, 1981

NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS

AND SOME "SCENE OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR
THIS SOFT COPY.

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