Benim cici blogum...
Blade Runner
Posted 09-02-2007 at 11:34 by kymophobia
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.
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.
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