Screenplay by

                              HAMPTON FANCHER


                               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.)

                                        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

                                        WEBSTER'S DICTIONARY
                                        New International  (2012)

        FADE IN:

        EXT. HADES - DUSK                                      1

        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.

                  Okay if I talk?

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

                  I kinda get nervous when I take

                  Don't move.


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

                  I already had I.Q. test this year...
                  but I don't think I ever had a...

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

                  Uh... sure...

                  One one eight seven at Hunterwasser...

                  Oh... that's the hotel.


                  Where I live.

                  Nice place ?

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

       Holden smiles a patronising smile.

                  Warming you up, that's all.

                  It's [...]

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

                  Is this the test now ?

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

                  What one ?

   It was a timid interruption, hardly audible.

                  What ?

                  What desert ?

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

                  But how come I'd be there?

                  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

                  A tortoise.  What's that?

                  Know what a turtle is?

                  Of course.

                  Same thing.

                  I never seen a turtle.

        He sees Holden's patience is wearing thin.

                  But I understand what you mean.

                  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

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

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

                  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

        Leon's upper lip is quivering.

                  Whatya mean, I'm not helping?

                  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.

                  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.

                  Shall we continue?

        Leon nods, still frowning, suspiciously.

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


        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                        3

        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                    4

        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
                  (WE NEED YOU YOU YOU)
                  ATTENTION FAMILY MAKERS!
                  (WE NEED YOU you you)
                  (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)
                  (WE NEED YOU you you)
                         (beat, beat)
                  The Dominguez-Shimata colony
                  wants supervisory recruits and

                  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                               5

        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

        The Counterman is beckoning to him to a newly vacated

        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

        Deckard points to a particular item and holds up four

        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

        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

        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

        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

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

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

                  Wait your turn, pal.

        Deckard turns back to his food.

                         (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.

                         (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.

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

                         (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

                         (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.

                  Tell him I'm eating.

                         (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.

                  Bryant huh.

                                                   CUT TO:

        EXT. STREET - NIGHT                                    6

        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                    7

        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                                   8

        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.

                         (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.

                          (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.

                  I don't understand a word you're

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

                         (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                      9

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

                                                   CUT TO:

        INT. POLICE HQ CONCOURSE - NIGHT                       10

        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                           11

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

                  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.

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

        Deckard glares at Bryant without moving.

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

        Deckard smiles and sits down.

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

        Deckard reacts.  This isn't usual.

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


        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.

                  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.

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

        Deckard turns to go.

                  I did.

        Deckard freezes and turns back.


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

        Deckard is impressed.

                         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.

                  I was quit when I walked in
                  ... I'm twice as quit now.
                  See ya, Bryant.

        Deckard turns to go.

        Bryant's pleading look turns abruptly cold and hard.

                  Stop the fuck right where you are!

        Deckard freezes at the hard tone.

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

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

                  No choice, pal.

                                                   CUT TO

        INT. WHITE TILED ROOM (DAY)                            11A

        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)                             12

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

                  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

                  These are old slave tapes, show me
                  something new.

        The naked man continues to exercise as 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.

                  Who's this ?

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

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

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

                  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.

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

                  Maybe they want to find out when
                  they were made ?

                  Why would they bother?

                  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.

                  What's that?

                  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.

                  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                                  13

        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.

                  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.

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

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

                  Pretty awful, huh?

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

        Deckard pinches Holden's cheek.

                  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.

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

        Deckard works at being hard.

                  Ya blew it, huh ?

        Holden recovers from his tears and whines.

                  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.

                  So what happened ?

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

        Deckard nods.

                  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.

                  Pretty sexy, the sixes.

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

        Deckard looks impressed. Satisfied, Holden continues.

                  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...

                  You Voight-Kampff him ?

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

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

        Deckard gets up and gives Holden phony good cheer.

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

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

                  Push it!  Push that button!

        Deckard pushes.

                  What's it for?


                                                   CUT TO

        EXT. CITYSCAPE - MORNING                               14

        A bleak morning.

                                                   CUT TO

        EXT. SPINNER - MORNING                                 15

        The police spinner is whizzing over the city.

                                                   CUT TO

        INT. SINNER - MORNING                                  16

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

        INT. SPINNER - MORNING                                 17

        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                               18

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

                                                   CUT TO:

        INT. SPINNER - MORNING                                 19

        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                                 20

        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

                                                   CUT TO:

        EXT. THE PYRAMID - MORNING                             21

        The spinner is in a holding pattern.

                                                   CUT TO:

        INT. SPINNER - MORNING                                 22

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

                        [page 23 missing from script]

[from the film: [inside the Tyrell building]
         Do you like our owl?
         It's artificial?
         Of course it is.
         Must be expensive.
         Very. I'm Rachael.
         It seems you feel our work is not a benefit to the public.]

        CONTINUED                                              24

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

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

                  May I ask a personal question?

                  Go ahead.

                  Have you ever retired a human by
                  mistake ?

        Deckard blinks... hesitates before answering the


                  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......

                  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.

                  Mr. Deckard.  Dr. Eldon Tyrell.

        Tyrell has extended his hand to Deckard. Deckard shakes.

                  Demonstrate it. I want to see it

                  Where's the prototype ?

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

                  What's that gonna prove?

                  Indulge me.

                  On you?

        Tyrell indicates Rachael.

                  Try her.

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

                  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

        INT. TYRELL'S OFFICE - A LITTLE LATER                   25

        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.

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

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

        Again the gauges register, but not so far.

                  I'd take him to the doctor.

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

                  I'd kill it.

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

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

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

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

                  I wouldn't let him.

                  Why not?

                  I should be enough for him.

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

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


        Both needles swing swiftly.

                  The entree consists of boiled
                  dog stuffed with rice.

        Needles move less.

                  The raw oysters are less acceptable
                  to you than a dish of boiled dog.

        Deckard switches off his beam.

                  Well, Mr. Deckard?

        Deckard is looking at Tyrell and wincing indecisively.

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

                  Perhaps some privacy will loosen
                  your tongue, Mr. Deckard.

        He turns to Rachael

                  Would you step out for a few moments,

        Rachael exits looking a little shaken.  What's going

        Deckard stares at Tyrell.

        Tyrell meets his look.

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

                  I don't get it.

                  How many questions ?

                  In columns of four cross referenced,
                  twenty or thirty.

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

                  She really doesn't know ?

                  She's beginning to suspect, I think.

                  Suspect!  How can she not know
                  she is.

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

        Tyrell is pacing now, lecturing.

                  After all, they are emotionally
                  inexperienced with only a few
                  years in which 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.

                  They want memories?

                  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.

                  Jesus  Christ, Tyrell!

        Tyrell looks startled.

                  Where do you get them, the

                  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.

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

        Deckard looks amazed while Tyrell looks pleased with

                                                   CUT TO

        EXT. OVERHEAD VIEW OF HOTEL - NIGHT                     26

        The hotel is in a seedy part of town.

        EXT. ANGLE ON DECKARD - NIGHT                           27

        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                             28

        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                                 29

        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

        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

        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)                30

        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-

        Gaff sits motionless like a statue.

        INT. HOTEL BATHROOM - NIGHT (MOMENTS LATER)             31

        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                                 32

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

        Gaff is motionless.

                                                   CUT TO:

        INT. HOTEL ROOM - NIGHT (MOMENTS LATER)                 33

        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)                34

        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

        Snapshots.  Very ordinary.

        Gaff stands near the door, watching Deckard.

        Deckard shuffles through the pictures in front of the

                                                   CUT TO:

        EXT. HOTEL - NIGHT                                      35

        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                                 36

        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,

                                                   CUT TO:

        EXT. HOTEL - NIGHT                                      37

        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                                     38

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

        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.

                  Did you get your precious photos?

                  Somebody was there.


                  Just men.

                  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                                39

        Eyes. Nothing but eyes swimming in a thick, clear

        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

        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.


        The wall speaker is intermittent.

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

        Chew continues working.


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

        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

        Then the door opens.

        Standing in the doorway is Roy Batty.

        Chew gets up fuming.

                  Busy!  Busy!  You go away!  Make

        Chew bursts into Chinese.

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

        Leon enters and closes the door.

                  No!  No!  Cold!  Cold!  Go away.

        Batty smiles. His coat is already covered with ice.


                  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.

                  No! Cold!

        Batty still smiling, 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.

                  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!

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

                  You not belong here. Up there!

                  Fiery the Angels fell... And as they
                  fell deep thunder rolled around their
                  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.


        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

                  Okay!  Answers!
                  Gimmeee coat!  Cold!

        Chew is pointing to the wall pegs where more fur coats

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

                  I dunno!  Dunno 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.

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

                  Just eyes. Gimme coat, okay?

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

        The eyes stare back at Leon, unblinkingly, arrogantly.

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

                  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.

                  Ah, Chew.....
                  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.

                  Please!  Cc-cc-cold!

                        (prosecuting attorney)

                  D-dunno answers!  P-please!

                  Who does?

                  Tyro! Knows everything!

                  The Tyrell Corporation?

                  Big boss!  Big genius!  Design
                  your brain.

                  Ah!  Smart!

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

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

                  Sebastian take you!  Gimmee

                  And who is Sebastian?

        Chew is blue and hysterical.

                  J-j-j-j-j F. S-sebastian.

                  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               40

        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                                     41

        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.


        Deckard goes for his blaster, gets it out quick and

        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.

                  I'm sorry.

        INT. CORRIDOR NIGHT                                     42

        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.

                  Let me help you.

                  What do I need help for?

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

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

                  Talk to him.

        INT. DECKARD'S APARTMENT - NIGHT                        43

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

                  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.

                  I'm gonna have a drink.

                  You think I'm a replicant, don't

        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.

                  It's me with my parents.

        Deckard hands it back to her slowly.  Finally speaks.

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

                  What? Y-yes....

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


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

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

        Rachael looks up at him.

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


        Her voice is getting very small.

                  One day there was an egg in the webb.

        Rachael nods faintly.

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

                  You still don't get it?

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

        Deckard is now nasty, downright bitter.

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

        Rachael doesn't say anything, she can't.

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

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

                  Still don't believe me ?

                  I... I...

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

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

                  Go on.  Beat it.  Sorry.   Bad joke.

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

                  Wanna drink ?

        She's completely destroyed, silent.

                  I'll getcha one.

        Deckard hurries out.


                                                   CUT TO

        INT. KITCHEN - NIGHT                                    44

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

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

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

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

        He heads back into the living room.

        INT. LIVING ROOM - NIGHT                                45

        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

        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

        OMIT                                                    46

        OMIT                                                    47

        OMIT                                                    48

        EXT. AN ABANDONED BUILDING - NIGHT                      49

        Pris exits the building and starts across the street.

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

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

        EXT. SEBASTIAN'S BUILDING - NIGHT                       50

        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

        A weird street cleaning MACHINE GRINDS past.

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

        A battered old truck, Sebastian's, SPUTTERS 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

                  You forgot your bag.

        He's holding it up.

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

        Sebastian smiles awkwardly and holds out the bag.

                  I'm lost.

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

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

                  What's your name?


                  Mine's J.F. Sebastian.


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

                  Oh... where were you going?

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


                  I don't have one.


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

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

                  We sure did.

        She giggles and laughs.

                  I'm hungry, J.F.

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

                  I was hoping you'd say that.

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

                                                   CUT TO:

        INT. SEBASTIAN'S LOBBY - NIGHT (SHOT)                   51

        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.

                  And you live in this building all
                  by yourself ?

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

                                                   CUT TO

        INT. CAGE ELEVATOR (SHOT)                               51A

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

        INT. CORRIDOR - NIGHT (SHOT)                            51B

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

        INT. CORRIDOR - NIGHT (SHOT)                            51B

        Sebastian and Pris walk  down the corridor towards
        his apartment .

                                PRIS (WILD LINE)
                  No housing shortage around here.

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

        INT. CORRIDOR - NIGHT                                   51B

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

        INT. SEBASTIAN'S APARTMENT -NIGHT                       51C

        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.

                  Yoo hoo, home again, home again!

                  Good evening J.F.

        The alarm cuts out.

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

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

                  Home again, home again, jiggidy jig.

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

                            (besides himself)
                  Where are your folks ?

                  I'm sort of an orphan.

        Pris smiles.

                  What about friends?

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


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

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

                  Watch the bed bugs don't bite !

        INT. DECKARD'S APARTMENT - NIGHT                        52

        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

        He punches up.

        A transparent grid with vectors is superimposed over
        the photo.

        Deckard's eyes move over it carefully.

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

        The edge of the man sharpens.

                  Profile trace.

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

                  Stop.  Back up.

        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.

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



        Esper wakes up.


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



        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.

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

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

        INT. SHOWER - NIGHT                                     53 OUT

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

                                                   CUT TO:

        EXT. NOODLE BAR - NIGHT                                 54

        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

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

        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.

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

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


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

                                                   CUT TO:

        EXT. ANIMAL ROW - NIGHT                                 55

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

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

                                CAMBODIAN LADY
                  Not fish!  Snake !

        And she points down the row.

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

                                                   CUT TO

        OMIT                                                    56

        MICROSCOPIC VIEW - NIGHT                                57

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

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

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

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

                                                   CUT TO

        EXT. EGYPTIANS JOINT - NIGHT                            58

        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.

                  ... such as that one there with
                  the black and white ring on tail.
                         (making a whirring noise)
                  Western Diamond Back....

        Deckard is looking at the ugly serpent.

        The Egyptian hands the scale back to Deckard.

                  Who made it ?

                  This quality... not too many.

                  How many ?

                  Very few.

                  How few ?

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

                  What helps you to remember ?

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

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

                  What was the question again?

                  The question is...

        Deckard steps in closer.

                  Are you a citizen?




                  Your papers are in order.

                  Of course.

        This guy's got it covered.

                  You have a license for this

        He points it out with a righteous finger.

                  Fire permit?

                  Right here.

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

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


                  I see.

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

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

                  Who ?


        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.

                  Who do you sell your junk to ?

                  Artists. Always to artists.

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

                                                   CUT TO

        OMIT                                                    59

        OMIT                                                    60

        INT. TAFFEY'S SNAKE PIT BAR - NIGHT                     60A

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

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

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

                  Buzz off, fella.

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

                  You ever see..... you ever see... ?

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

                  You ever see this woman ?

        Taffey doesn't even look at the picture.

                  Never saw her.  Buzz off,pal.

        Deckard flashes his police card.

                  Got your licenses in order, old
                  buddy ?

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

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

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

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

                  Take it easy mister, don't get

                  Nobody pushes me around.

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

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

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

                  No hard feelings.

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

                  Whatcha drinking ?

                  Smokey, dry.

                  You assed about a snake.....

        Deckard is suddenly hopeful.


                  Wanna see a snake, huh?

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

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

                  Louis, show the cop the snake,

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

                  Wrong snake.

                  Don't like gold ?

                  Gold's okay.

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

                  How long ago did ya paint it?

                  I dunno.  Couple of months.
                  Why ?

         Deckard looks discouraged, swigs the last of his drink.

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

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

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

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

        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.

                  Gotta phone ?

                                                   CUT TO

        OMIT                                                    61

        OMIT                                                    62

        INT. TAFFEY'S BAR MOMENTS LATER                         62A

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

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

        Deckard breaks the connection, then starts punching the

        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.


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

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

                  Ya missed out on the drink I
                  poured ya.

        Rachael still says nothing.

                  Wanna try again ?

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

        Rachael is bitter.

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

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

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

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

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

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

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

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

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

        Deckard is staring at the stage show.

                  See ya in a half hour.

        He hangs up.

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

                                                   CUT TO

        INT. BACKSTAGE A LITTLE LATER                           63

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

        Deckard emerges from the shadow.

                  Excuse me, Miss  Salome....

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

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

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

                  Yeah ?

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

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

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

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

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

        She nods, taking it a little more seriously.

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

                  I don't know nothing about it.

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

        She's definitely puzzled.

                  How do you mean 'exploited'?

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

                  Are you for real?

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

                  What the fuck for?

                  For holes.

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

                  I don't believe this.

        She shrugs and they go in.

        INT. DRESSING ROOM - NIGHT                              64

        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

                  Is that mother for real ?

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

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

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

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

                  How long you been doing a snake act ?

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

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

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

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

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

                  No, I wouldn't.

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

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

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

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


                  And who do I go to about you ?

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

                  So did you find any holes ?

        Deckard makes a sheepish grin.

                  One so far.

                  You're a dedicated man.

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

                  Dry me.

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

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

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

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

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

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

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

        INT. PASSAGEWAY - NIGHT                                 65

        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

        EXT. STREET - OPERA HOUSE - NIGHT                       66


        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.

                  Stop or you're dead!

        She doesn't.

        Deckard OPENS UP, squeezing off two quick misses.

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

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

        Deckard FIRES again!

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

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

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

        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

        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

        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

        OMIT                                                    67

        OMIT                                                    68

        OMIT                                                    69

        OMIT                                                    70

        OMIT                                                    71

        EXT. THE CROWD - NIGHT                                  71A

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

        Batty and Leon look very grim.

        They turn their attention to Deckard.

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

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

        Leon heads off toward the big sign.

                                                   CUT TO

        EXT. STREETS - NIGHT                                    71B

        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.  Wait.

        Rachael looks back, sees him.

                  Hold on.

        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.


                                                   CUT TO

        EXT. ALLEY NIGHT                                        72

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

                  Hey, what the hell, buddy!

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

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

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

        Leon moves towards him, backing Deckard against the

                  How come you knew where Zhora was
                  so quick?

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

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

        Deckard is pale.  The sweat is starting to run.

                  How old am I?

                  I don't know.

        The grip tightens and twists.

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

                  Four years.

        He lets go.

                  More than you.

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

                  Painful to live in fear, isn't it.

        Deckard is doubled over, hugging his thigh.

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

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

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

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

        He slams Deckard into the wall.

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

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

                  I agree with you.

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

                  Too late.  Your mistake.

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

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

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

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

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

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

        Again their eyes meet.

                                                   CUT TO:

        EXT. 42ND STREET - 20 MINUTES LATER                     73

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

        Deckard and Rachael are walking together, almost

        Deckard is only a little less bloody and a lot more

        Rachael looks stoned on the horror of the killing.

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

        She looks at him blankly.

                                                   CUT TO:

        EXT. KIOSK - MOMENTS LATER                              74

        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.

                  Tsing Tao.

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

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

        He turns and sees Gaff leering at him.

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

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

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

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

        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.

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

        Deckard walks over to the spinner.

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

                  You get the call on the big one?

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

        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.

                  I'm going home.

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

                  Three.  There's three to go.


                  There's three left.

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

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

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

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

                                                   CUT TO:

        INT. DECKARD'S KITCHEN - NIGHT                          75

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

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

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

        The reason the ice is rattling is because her hand is

        You can hear the CLOCK TICKING in the living room.

                  Me too.

        Rachael frowns and looks at him. What ?

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

        Deckard holds out his hands.  They're shaking.

        Rachael gives Deckard a long hard look.

                  I'm not in the business.

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

                  I am the business.

        She is grim and angry and shaking.

        You can hear the clock TICKING.

                                                   CUT TO

        INT. DECKARD'S BATHROOM - NIGHT                         76

        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.

        OMIT                                                    77

        INT. DECKARD'S LIVING ROOM - NIGHT                      77A

        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

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

        She's looking at the ripple of muscle around his

                                                   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.

                  What if I go North...
                  disappeared ?

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

                  Would you come hunting. ?

        Rachael waits a long tense moment for an answer.


        Deckard waits before he lets it out.

                  I guess I owe you.

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

                  But somebody will.

        INT. BEDROOM (NIGHT)                                    77C

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

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

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

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

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

                  Yeah ?

        In the shadows Rachael takes a deep breath.

                  You saw them?

        Deckard, exhausted stares absently into space.

                  They're classified.

        In the corridor, Rachael persists with effort.

                  You're a policeman.

        Deckard touches a spot on his forehead, looks at the

                  I didn't look at them.

        In the hallway, Rachael is hardly breathing.

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

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

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

        She pauses before completing the question. It's a

                   .... did you ever take it yourself ?

        Rachael waits for a long moment in the shadows.

        The clock ticks.

        No answer.

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

        Deckard is lying on the bed, snoring gently.

                                                   CUT TO

        INT. LIVING ROOM NIGHT                                  78

        The CLOCK IS LOUDER in the living room.

        Rachael walks through the shadowy room lit by a single

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

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

        She sees a picture on top of the piano.

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

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

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

                                                   CUT TO:

        INT. BEDROOM - NIGHT                                    79

        Deckard is snoring peacefully as the MUSIC ebbs and

                                                   CUT TO:

        INT. LIVING ROOM - NIGHT                                80

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

        INT. CITYSCAPE DAWN                                     81

        An ugly days is beginning to an eerie distortion of CHOPIN

                                                   CUT TO

        EXT. SEBASTIAN'S APARTMENT - DAWN                       82

        Nasty MUSIC a dismal looking building.

        Do we see strange figures in overcoats from a distance.

        INT. SEBASTIAN'S BUILDING - DAWN                        83

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

        INT. SEBASTIAN'S APARTMENT - DAWN                       84

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

        INT. WEDDING DRESS ROOM - DAWN                          84A

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

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

        INT. SEBASTIAN LABORATORY - DAWN                        84B

        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.

                  Whatcha doin'.

                  I'm sorry, just peeking.


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

                  You look better.

                  Just better.

                  Well... beautiful.


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

        Pris studies Sebastian for a moment.

                  How old are you ?


                  What's your problem?

                  Methuselah Syndrome.

                  What's that ?

                  My glands.  They grow old too fast.

                  Is that why you're still on earth?

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

        A moment.

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

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

                  This is my friend I was
                  telling you about.

        Batty smiles benevolently.

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

        There is a long silence whilst everyone stares at each

                  Can't thank you enough, Mr. Sebastian.

        Sebastian, still uneasy begins to smile.

                  You certainly have a nice place.

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

                  Sebastian doesn't go out too much.

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

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

                                                   CUT TO

        INT DECKARD'S BEDROOM - MORNING                         85

        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

                                                   CUT TO

        INT. DECKARD'S LIVING ROOM MORNING                      86

        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.

                  Me and my Dad.

                  Do you love him?

                  He's dead.

        Rachael indicates the picture of Deckard's wife.


                  Do you love her ?

                  She left me.
                  Went offworld.
                  Wanted the good life.

                  You didn't?

        Deckard changes the subject.

                  I dreamt music.

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

        Deckard [...]

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

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

                  You play fine.

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

                  Am I very different?



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

                  Stand up.

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

                  Now you kiss me.

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

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

        He stops her with another kiss.

                  Say what I say.

        She nods.  His voice intimate, low.

                  Kiss me.

                  Kiss me.

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

                  My eyes.

                  Kiss my eyes.

        She closes them.  He kisses each fluttering lid.

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

                  I want you.

                  I want you.


                  I want you.

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

                  Bite me.

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

                  Put your hands on me.

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

                  Shall I take off my clothes?

                  Oh. Yeah.

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

                  Do whatever you want to me.

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

                                                   CUT TO

        INT. SEBASTIAN'S APARTMENT - NIGHT                      87

        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

                  I want to know what's going on ?

                  There's only two of us left.

        Pris is shocked. Her whisper comes out a hiss.

                  Then we're stupid and we'll die.

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

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

                  What if he won't co-operate ?

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

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

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

        He takes the White Queen with the Black Knight.

        Batty smiles a smile totally without feeling or interest.

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

                  Why are you staring at us ?

                  You're just so... so different.

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

                  What Sebastian ?

        A long pause.

                  What makes you think so, Sebastian?

                  Well, you're perfect.

        Sebastian is grinning from ear to ear.

                  What generation are you ?

                  Nexus 6.

        Sebastian whistles.

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

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

                  We have a lot in common.

                  What do you mean ?

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

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

        His voice is trembling.

                  Show me something.

                  Like what ?

                  Like... anything?

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

                  We're not computers, Sebastian, we're

        Pris perks up proudly.

                  I think, therefore I am.

                  Very good Pris.  Now show him why.

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

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

                  You could help us.

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

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

        Batty walks back to the chess set.

                  Is he good ?


                  Your opponent.

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

                  Maybe he can help us, Sebastian.

                  I'd be happy to mention it to him.

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


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

                  Will you help us ?

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

        He gets up and walks slowly over to Pris.

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

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

        Batty leans back nodding in gratitude.

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

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

        Pris gives Sebastian a big kiss.

        INT. HOSPITAL (DAY)                                     88

        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.

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

        Deckard looks uncomfortable and horrified.


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

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

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

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

                  Revenge.  I thought you'd...

        Holden interrupts, no longer amused.

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

        Holden looks at Deckard and lets his wisdom sink in.

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

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

        Holden glares at Deckard for a long moment.

                  Whatja do?  Fuck it?

                  Huh?  Wh-what?  Who who?

        Deckard is alarmed.  The secret is out.

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

        Deckard is immensely relieved and confused.

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

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

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

                                                   CUT TO:

        INT. BRYANT'S OFFICE - DAY                              89

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

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

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

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

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

        Bryant interrupts the display, unimpressed.

                  You think he knows where she is?

                  Maybe.  Maybe not.  Deckard's a
                  deep one.  You gimme the
                  promotion, maybe I'll find her.
                  If I get a promotion...

                  Shut up!

        Bryant is looking back at the screen, intensely inter-

        On the screen Holden is wheezingly explaining something
        to Deckard.

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


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


                  ... that doesn't work!

        Bryant is all attentiion, staring at the screen in

        Gaff is watching, too.

                  Work!  Whaddaya mean 'work.'

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

        On the screen Deckard frowns and shakes his head.

                  No.  Who?

        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.

                                                   CUT TO:

        INT. DECKARD'S CAR                                      89A

        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

        Deckard is watching the screen.

        A bunch of dwarfs run past the car.

        INT. DECKARD'S CAR                                      89AA

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

        The Dwarfs run away.
        A PA System blares out.

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

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

                  Don't be a smart ass.

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

                  Hold on... checking.....

        Deckard punches up.

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

        Deckard punches a number of vid-phone.  Waits.

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

                                DR. SCHLECHT
                  Guten Abend.

                  Dr. Hermann Schlecht..

                                DR. SCHLECHT

        Deckard has shoved his badge in front of the lens.

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

                  You are Senior Vice President
                  of the Tyrell Corporation.

        Dr. Schlecht nods.

                  You have dix huit clearance at
                  Tyrell.   Right ?

                                DR. SCHLECHT.

                  How many other employees have the
                  same clearance.

                                DR. SCHLECHT
                  Four, including Dr. Tyrell and

                  The others ?

                  Dr. Chew and J.F. Sebastian.

                  Sebastian ?

                  Yes. J.F. Sebastian.

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

                  Now ?  Do you know what time it is ?

                  J.F. Sebastian's employment and
                  personal information.

                  Punch in your Esper code please.

        Deckard punches Schlecht out and punches in Esper.

                  Coming in.  Night Doc.

        OMIT                                                    89B

        OMIT                                                    89C

        INT. DECKARD'S CAR                                      89CC

        The Esper screen reveals a single face SEBASTIAN.

        Information and data blare out.

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

        Deckard punches the telephone number on the vid phone.

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

                  Hi.... J.F. there ?

                  Who's this ?

                  An old friend of his.

        Pris looks for a moment then puts down the phone.

                  That's no way to treat a friend.

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

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

        INT. SEBASTIAN'S APARTMENT                              89D

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

                                                   CUT TO

        INT. DECKARD'S CAR                                      89E

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

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

                                                   CUT TO

        EXT. TYRELL CORP. - SUNSET                              90

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

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

                                                   CUT TO:

        OMIT                                                    91

        OMIT                                                    92

        EXT. PYRAMID - NIGHT                                    92A

        The elevator is whizzing up the slope of the pyramid.

        INT. ELEVATOR - NIGHT                                   92B

        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.

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

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

        Batty is watching Sebastian fumble with the cards.

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

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

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

        Sebastian gives Batty a funny look.

        The Speaker voice interrupts again.

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

        Sebastian looks at Batty nervously.

        Batty gives a metallic smile.

                  Pawn to King Three.

                  Pawn to King Three.

        Sebastian looks worried.

                                                   CUT TO

        INT. TYRELL'S BEDROOM -NIGHT                            92C

        Tyrell is lying in a huge bed mutering into a computer

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

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

                  At this hour!

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

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

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

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

        Tyrell smirks.

                  Bishop to King Seven.  Mate!

                                                   CUT TO:

        INT. ELEVATOR - NIGHT                                   92D

                  Knight takes Queen.

        Sebastian doesn't hesitate.

                  Bishop to King Seven.  Mate!

        Batty's eyes glow.  A long pause.

        Suddenly the doors of the elevator opens.

                                                   CUT TO:

        INT. TYRELL'S BEDROOM - NIGHT                           93

        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.

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

        Tyrell looks alarmed.

        Batty is standing in the shadows.

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

        Batty's eyes are like little coals glowing.

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

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

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

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

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

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

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

                  And what can He do for you?

        Batty sits on the end of Tyrell's bed.

                  Can the Maker repair what He makes?

                  Would you like to be modified?

                  Had in mind something a little more

                  What's the problem?


                  I'm afraid that's a little out of

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

                  I want more life, fucker.

        Sebastain looks alarmed.

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

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


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

                  What about E.M.S. recombination?

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

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

                  Then a repressor protein that
                  blocks the operating cells.

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

                  But not to last?

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

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

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

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

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

                  I've done questionable things.

                  Also extraordinary things. --

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

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

        CRACK!  Tyrell's skull cracks like dry wood.

        Sebastian stares in horror.

        SQUISH!   Batty squashes the head in a gruesome moment.

        Tyrell slumps to the floor like empty clothes.

        Batty looks at the remains with disgust.

                  Revertant colonies!  Methane sulfate!
                  Bright lights!

        Batty turns to Sebastian.

        Sebastian looks like a heart attack.

        Batty's eyes glow with fury.

        Sebastian cowers.

        OMIT                                                    94

        OMIT                                                    95

        EXT. ELEVATOR - NIGHT                                   95A

        The tiny elevator whizzes down the huge nighttime pyramid.

        INT. ELEVATOR - NIGHT                                   95B

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

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

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

        The lights go off, the elevator hums again.

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

                                                   CUT TO

        EXT. SEBASTIAN'S APARTMENT - NIGHT                      96

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

        Deckard gets out and looks at the building.

                                                   CUT TO

        INT. LOBBY/SEBASTIAN'S - NIGHT                          97

        Deckard steps cautiously into the gloom and looks around.

        The shadow areas look dangerous. The place looks vacant.

        Deckard pulls his blaster out.

                  Mr. Sebastian?

        No answer. His voice echoes in the emptiness.

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

                                                   CUT TO

        INT. SEBASTIAN'S APARTMENT - NIGHT                      98

        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

        INT. SEBASTIAN'S APARTMENT - NIGHT                      100

        Pris is lurking in the shadwos like a vampire, she hears

        INT. STAIRWELL - NIGHT                                  101

        Deckard is several flights up now, listening to the eerie

        He starts up, stumbles on a piece of masonry.

        The masonry clatters noisily down the stairwell.

        Deckard freezes blaster ready.

                                                   CUT TO

        INT. SEBASTIAN'S APARTMENT - NIGHT                      102

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

        INT. STAIRWELL = NIGHT                                  103

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

        INT. SEBASTIAN'S APARTMENT - NIGHT                      104

        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

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

        The apartment seems empty.

        INT. SEBASTIAN'S APARTMENT - NIGHT                      105

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

        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 to 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.

                  Please!  I don't want...

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

        BOW!  Masonry erupts on the ceiling.

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

                  Please!  I don't want to kill you.

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

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

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

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

        Deckard rolls free and tries to cover her.

                  Please!  I...

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

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

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

        BOW!  BOW!  Pris is blown away [...]

        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.

        OMIT                                                    106

        INT. CORRIDOR - NIGHT                                   106A

        Deckard slams the cassette into his blaster as he steps
        into 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

        OMIT                                                    107

        INT. SEBASTIAN'S APARTMENT - NIGHT                      107A

        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

        OMIT     !                                              108

        INT. BILLIARD ROOM - NIGHT                              108A

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

        INT. SEBASTIAN'S APARTMENT NIGHT                        109

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

        INT. LOBBY - NIGHT                                      110

        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

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

        Deckard runs into the billiard room.

        INT. BILLIARD ROOM - NIGHT                              111

        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.

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

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

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

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

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

                                                   CUT TO

        INT. DARK ROOM - NIGHT                                  112

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

        INT. DARKENED ROOM (re-dressed lobby) ARMOIRE - NIGHT   113

        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.

                  Where are you going ?

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

        Thunder and lightning erupt.

        INT. FLOOR B - TOILET - NIGHT                           114

        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

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

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

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

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

        INT. CLOSET - NIGHT                                     115

        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.

                  Now where are you going?

        Deckard climbs out the window, as Batty watches.

        EXT. ROOF - WINDOW LEDGE - NIGHT                        117/120

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

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

         EXT ROOF - NIGHT                                       121

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

        Suddenly a rooftop door opens and Batty steps out.

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

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

                                                   CUT TO

        EXT. THE ROOF - LOW ANGLE - NIGHT                       122

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

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

                                                   CUT TO:

        EXT. THE SECOND ROOF - NIGHT                            123

        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

        Deckard looks behind him, over his shoulder.

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

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

                                                   CUT TO:

        EXT. THE FIRST ROOF - NIGHT                             124

        Batty stands there watching Deckard hang.

        Batty grins.

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

        He looks at Deckard again.

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

                                                   CUT TO:

        EXT. ROOF - LOW ANGLE - NIGHT                           125

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

                                                   CUT TO:

        EXT. SECOND ROOF - NIGHT                                126

        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

        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 see Batty change his opinion.

        Too late!  Deckard's hand goes.

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

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

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

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

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

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

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

        Batty's hand cramps again.

        Batty looks at it, almost with curiosity.

                                                   JUMP CUT TO:

        EXT. THE SECOND ROOF (LATER)                            127

        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.

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

        Batty holds Deckard's eyes like a hypnotist.

                                                   CUT TO:

        EXT. THE SECOND ROOF (A LITTLE LATER)                   128

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

        Deckard is watching motionless.

        The pigeon flies off.

        Batty doesn't move.  Alive or dead?

                                                   CUT TO:

        EXT. THE SECOND ROOF - DAWN                             129

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

                                DECKARD (V.O.)
                  I watched him die all night.  It
                  was a long, slow thing and he
                  fought it all the way.  He never
                  whimpered and he never quit.  He
                  took all the time he had... as
                  though he loved life very much...
                  every second of it... even the
                  pain.  Then he was dead.

        EXT. ROOF - DAWN                                        130

        The city is down there.  Endless and gray in the first

        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.

                  How do you rate yourself, now Deckard ?

        He is standing 20 feet away, on the edge of the roof, like
        a captain looking at the sea.  Smarts as a rooster,he places
        a foot on the buttress....

                  You put on quite a show - no doubt
                  about it... [...]

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

                  You think I'm a wimp - don't you.

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

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

                  I could kill you right now -
                  so you better say something.

        Deckard is unarmed. Gaff's got all the aces- seems to be
        bristling with concealed weapons.  Deckard's eyes level on
        him.  His voice comes out low and raw.

                  Yeah. I think you're a wimp.

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

                  I admire you more and more.

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

                  I guess you're through, huh.

        Deckard doesn't answer.

                  Washed up. Wiped out.   Finished.

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

                  What about it.

                  Yeah. I'm through.

        Somewhere far away a whistle blows. Then silence. Deckard
        turns.  He is moving away.  His back to the Mexican. Gaff's
        voice follows him. Taunting.

                  You did [...]
                  sure you are, man.

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

                  It's hard to be sure who's who around

        Deckard keeps walking.


        Deckard slowly turns.

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

                  Oye la agua.

        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.

                  I wouldn't wait too long. I wouldn't
                  fool around. I'd get my little panocha
                  and get the hell outta here.

        They just stare at each other. Gaff smiles.

                  It's too bad, she don't last, eh!

        The smile is real and a little sad.

                  But who does.

        Everybody knows the answer to that one.

        The Mexican shrugs.

        The light is brighter.

        The gun gleams on the wet [...]

        Deckard turns and walks.

                                                   CUT TO

        OMIT                                                    131

        INT. DECKARD'S CORRIDOR - DAY                           132

        Deckard's FEET CLICK along the corridor as he
        approaches his door.

        Near the door, on the floor, is a little tinfoil uni-
        corn, the kind of sculpture Gaff has been crafting on
        previous occasions.

        Deckard comes to the door, unlocks it, opens it.

        He doesn't see the piece of sculpture on the floor.

                                                   CUT TO:

        INT. DECKARD'S LIVING ROOM - DAY                        133

        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.

                                                   CUT TO:

        INT. KITCHEN - DECKARD'S POV - DAY                      134

        He sees the same old mess.

        Or did she clean it up?

                                                   CUT TO:

        INT. BEDROOM - DAY                                      135

        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

        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.

                  Do you love me?

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

        She is looking at his back.

                  I love you.

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

                  Do you trust me?

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

                  I trust you.

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

                                                   CUT TO:

        INT. CORRIDOR - DAY                                     136

        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

        Deckard looks at it for a moment.

                                                   CUT TO:

        EXT. MOVING TREES - DAY                                 137

        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

                                                   CUT TO:

        INT. DECKARD'S CAR - DAY                                138

        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

        A little blip flashes on the screen.

        Deckard notices it, his eyes narrow just a little.  He
        reaches in his pocket, pulls out the unicorn.

        Deckard puts the tinfoil unicorn on the dash.

        A flicker of a smile crosses his face.

                                                   CUT TO:

        EXT. WOODS - DAY                                        139

        Deckard's car bullets through the woods in a fury of
        speed and MUSIC.

        We BACK OFF IT AND UP, PAST whizzing branches, OVER
        the treetops, losing the car as we SOAR over what is
        suddenly a vast forest spreading to infinity.

        Enormous MUSIC!

        Deckard's voice over.

                                DECKARD (V.O.)
                  I knew it on the roof that night.
                  We were brothers, Roy Batty and I!
                  Combat models of the highest order.
                  We had fought in wars not yet
                  dreamed of... in vast nightmares
                  still unnamed.  We were the new
                  people... Roy and me and Rachael!
                  We were made for this world.  It
                  was ours!

        Trees explodes PAST US in a rage of branches as we DIP
        and SWERVE and that's when the spinner looms INTO VIEW
        zooming RIGHT AT US, then tilting and yawing off in
        hot pursuit with Gaff at the controls.

        CREDITS ARE ROLLING, God help us all!

                                                   FADE OUT.

                              THE END