"BLADE RUNNER" (1982)

BLADE RUNNER

Screenplay by

HAMPTON FANCHER

and

DAVID PEOPLES

February 23, 1981

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.)

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.

FADE IN:

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.

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.

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

LEON

Sorry.

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

Holden smiles a patronising smile.

It was a timid interruption, hardly audible.

He sees Holden's patience is wearing thin.

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

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

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.

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.

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

Holden smiles cheerfully, very smooth.

Leon nods, still frowning, suspiciously.

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.

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.

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.

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)

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.

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

Deckard turns back to his food.

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

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

Deckard doesn't understand a word.

Deckard turns back to his food.

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

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

rearrange your brains akay.Make you raw fish.

Deckard looks disgusted and resigned.

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.

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.

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.

Deckard looks at Gaff uncomprehendingly.

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.

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

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

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

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

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

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.

Deckard glares at Bryant without moving.

Deckard smiles and sits down.

Deckard reacts.This isn't usual.

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.

Deckard downs his drink and slides the empty back.

Deckard turns to go.

Deckard freezes and turns back.

Deckard is impressed.

Deckard meets Bryant's pleading eyes for a beat.

Deckard turns to go.

Bryant's pleading look turns abruptly cold and hard.

Deckard freezes at the hard tone.

CUT TO

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.

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

The naked man continues to exercise as Bryant continues.

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.

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

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

Deckard downs the glass.

CUT TO

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 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.

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

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

Deckard pinches Holden's cheek.

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.

Deckard works at being hard.

Holden recovers from his tears and whines.

Deckard lights up and sits down, resting his elbows on

the glass.

Deckard nods.

Deckard looks impressed. Satisfied, Holden continues.

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

Deckard gets up and gives Holden phony good cheer.

Tyrell Corp's got one. I'm gonna Vee Kay it tomorrow.

Deckard pushes.

CUT TO

A bleak morning.

CUT TO

The police spinner is whizzing over the city.

CUT TO

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

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.

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

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.

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.

The spinner is in a holding pattern.

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]

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

Deckard blinks... hesitates before answering the question.

DECKARD

No.

An OWL flaps around the huge marble office.

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

Tyrell has extended his hand to Deckard. Deckard shakes.

Tyrell indicates Rachael.

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

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.

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.

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

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

Again the gauges register, but not so far.

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

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

Both needles swing swiftly.

Needles move less.

Deckard switches off his beam.

Deckard is looking at Tyrell and wincing indecisively.

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

He turns to Rachael

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

Deckard stares at Tyrell.

Tyrell meets his look.

Tyrell is pacing now, lecturing.

autumn night.. the change of seasons..... the sweet guilt after masturbation.

Tyrell looks startled.

Deckard looks amazed while Tyrell looks pleased with himself.

CUT TO

The hotel is in a seedy part of town.

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.

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.

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.

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.

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.

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

Gaff is motionless.

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.

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.

Leon is looking up at the hotel.

He can see Deckard in the window looking at pictures.

Leon is breathing hard, angry.

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.

An angry Leon sees Gaff peering out the window above.

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

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.

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

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 andhis 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.

Chew keeps working.

The wall speaker is intermittent.

Chew continues working.

designs.

Chew frowns and turns from his work disgruntled.

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 bursts into Chinese.

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

Leon enters and closes the door.

Batty smiles. His coat is already covered with ice.

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.

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.

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

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

Chew is bug eyed. What is this shit?

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

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

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

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.

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.

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

Chew is blue and hysterical.

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

CUT TO

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

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.

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.

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

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

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

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.

Deckard hands it back to her slowly.Finally speaks.

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

Rachael looks up at him.

Her voice is getting very small.

Rachael nods faintly.

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.

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

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

Deckard seeshe's gotten through... maybe too far.

She's completely destroyed, silent.

Deckard hurries out.

The CLOCK IS TICKING.

CUT TO

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.

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

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.

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.

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

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.

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.

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

She shrugs.That leaves him a lot of responsibility.

He throws her side-long glances, but she's not helping.

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

She giggles and laughs.

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

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.

CUT TO

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

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

Sebastian and Pris walk down the corridor towards his apartment .

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

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.

The alarm cuts out.

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

Pris is delighted.She strips off her topcoat,

revealing a shape to pop eyes.

Pris smiles.

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

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.

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...

The line is retraced.

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

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

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.

The picture freezes.

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

In closer on the dress.An exotic shimmering gown

made of sequins.Deckard ponders it, smiles slightly.

Pause.

Esper wakes up.

Pause.

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.

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

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

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.

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.

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.

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.

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

CUT TO

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.

Deckard is looking at the ugly serpent.

The Egyptian hands the scale back to Deckard.

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.

Deckard steps in closer.

This guy's got it covered.

He points it out with a righteous finger.

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.

Pause.

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

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.

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

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

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.

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.

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

Taffey doesn't even look at the picture.

Deckard flashes his police card.

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.

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.

Deckard is suddenly hopeful.

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.

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

Deckard looks discouraged, swigs the last of his drink.

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.

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.

CUT TO

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

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 freezes when she see who it is.Says nothing.

Rachael still says nothing.

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

Rachael is bitter.

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 is staring at the stage show.

He hangs up.

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

CUT TO

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

Deckard emerges from the shadow.

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

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.

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

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

She nods, taking it a little more seriously.

DECKARD

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

She's definitely puzzled.

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

She shrugs and they go in.

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 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.

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

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.

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

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

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.

Deckard makes a sheepish grin.

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

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.

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.

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.

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

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 toDeckard.

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

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.

Rachael looks back, sees him.

Rachael keeps going.

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

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

Leon.

CUT TO

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

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.

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

Deckard is pale.The sweat is starting to run.

The grip tightens and twists.

He lets go.

LEON

More than you.

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

Deckard is doubled over, hugging his thigh.

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.

He slams Deckard into the wall.

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

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.

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.

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.

She looks at him blankly.

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.

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.

Deckard walks over to the spinner.

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

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.

to pick up.Haw! Haw! Come on, Gaff.

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.

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 inRachael'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.

Rachael frowns and looks at him. What ?

business.

Deckard holds out his hands.They're shaking.

Rachael gives Deckard a long hard look.

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

She is grim and angry and shaking.

You can hear the clock TICKING.

CUT TO

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.

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

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.

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

Rachael waits a long tense moment for an answer.

Deckard waits before he lets it out.

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

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.

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.

In the shadows Rachael takes a deep breath.

Deckard, exhausted stares absently into space.

In the corridor, Rachael persists with effort.

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

In the hallway, Rachael is hardly breathing.

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.

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

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

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.

Deckard is snoring peacefully as the MUSIC ebbs and flows.

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

An ugly day is beginning to an eerie distortion of CHOPIN

CUT TO

Nasty MUSIC a dismal looking building.

Do we see strange figures in overcoats from a distance.

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!

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.

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.

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.

Sebastian is awakened.

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

As they are talking, Batty enters the room.

Pris seeshim but does not register anything on her face. Sebastian does not hear or see him.

Pris studiesSebastian for a moment.

A moment.

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

Batty smiles benevolently.

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

Sebastian, still uneasy begins to smile.

BATTY looks around admiringly.Sebastian mumbles some-

thing that sounds like "Thank you".

CUT TO

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

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.

Rachael indicates the picture of Deckard's wife.

DECKARD

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

Deckard changes the subject.

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

Deckard

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

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

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

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.

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

He stops her with another kiss.

She nods.His voice intimate, low.

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

She closes them.He kisses each fluttering lid.

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

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.

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.

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.

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

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

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.

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

Pris is shocked. Her whisper comes out a hiss.

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

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.

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

A long pause.

Sebastian is grinning from ear to ear.

Sebastian whistles.

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

His voice is trembling.

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

Pris perks up proudly.

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 walks back to the chess set.

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

He gets up and walks slowly over to Pris.

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.

Pris gives Sebastian a big kiss.

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.

Deckard looks uncomfortable and horrified.

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 interrupts, no longer amused.

Holden looks at Deckard and lets his wisdom sink in.

sorry, Deck.

Holden glares at Deckard for a long moment.

Deckard is alarmed.The secret is out.

Deckard is immensely relieved and confused.

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.

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

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

Bryant interrupts the display, unimpressed.

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

On the screen Holden is wheezingly explaining something to Deckard.

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

Gaff is watching, too.

who they're looking for?

On the screen Deckard frowns and shakes his head.

Bryant is on the edge of his seat.

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

Gaff shakes his head, smirking.

Bryant looks about to erupt.

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.

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

The Dwarfs run away. A PA System blares out.

Deckard punches up.

Deckard punches a number of vid-phone.Waits.

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

Deckard has shoved his badge in front of the lens.

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

Dr. Schlecht nods.

SCHLECHT

Dr. Chew and J.F. Sebastian

Deckard punches Schlecht out and punches in Esper.

The Esper screen reveals a single face SEBASTIAN.

Information and data blare out.

Deckard punches the telephone number on the vid phone.

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

Pris looks for a moment then puts down the phone.

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.

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

CUT TO

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

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

CUT TO

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.

The elevator is whizzing up the slope of the pyramid.

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.

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.

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.

Sebastian looks at Batty nervously.

Batty gives a metallic smile.

Sebastian looks worried.

CUT TO

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

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

Tyrell smirks.

Sebastian doesn't hesitate.

Batty's eyes glow.A long pause.

Suddenly the doors of the elevator opens.

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.

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.

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.

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

Batty sits on the end of Tyrell's bed.

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

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.

sequence can't be revised once it's established.

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

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.

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

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

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 turns to Sebastian.

Sebastian looks like a heart attack.

Batty's eyes glow with fury.

Sebastian cowers.

The tiny elevator whizzes down the huge nighttime pyramid.

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

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

Deckard gets out and looks at the building.

CUT TO

Deckard steps cautiously into the gloom and looks around.

The shadow areas look dangerous. The place looks vacant.

Deckard pulls his blaster out.

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

Pris is pacing nervously around the room.

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

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

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

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

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

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.

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.

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.

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.

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.

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

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

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

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.

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.

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.

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.

CUT TO

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.

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.

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

Thunder and lightning erupt.

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.

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.

Deckard climbs out the window, as Batty watches.

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.

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

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:

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:

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:

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

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.

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 seeBatty 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.

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 holds Deckard's eyes like a hypnotist.

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?

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

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.

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....

With a flourish he brings a dirty rag out of his pocket and starts polishing the pointed tip of his long black shoe.

He waits for the answer.But Deckard doesn't bother.

Gaff moistens the rag with his tongue and applies it to the toe.

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.

Gaff nods like he knew it all along - it seems to please him.

Deckard exhales fatigue.His eyes close. The bullshit is endless.Gaff smiles like a beaver. Puts the rag back in his pocket.

Deckard doesn't answer.

He cocks his head like a bluejay waiting for the answer.

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.

He snickers. His hand comes out of his pocket with a gun.

Deckard keeps walking.

Deckard slowly turns.

Gaff shows him the gun. But it doesn't make any difference.

Deckard stares. He doesn't know the words.

Ever the dandy, Gaff swaggers closer, stops.

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.

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.

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

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.

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.

No answer.

Deckard looks concerned.He glances in the kitchen.

He sees the same old mess.

Or did she clean it up?

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.

He is looking at her in the mirror on the dresser.He has the gun in his hand.

She is looking at his back.

Deckard holsters the gun without turning and pulls open another drawer.

Deckard is pulling clothes out of the drawer, stuff- ing them hastily into a parachute bag.

Deckard turns and looks at her, one hand full of clothes, the other hand holding the parachute bag.

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.

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.

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.

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.

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!