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Blade Runner

Blade Runner

Screenplay by

HAMPTON FANCHER

and

DAVID PEOPLES

February 23, 1981

     android (an'droid) adj.  Possessing human features - n.

                A synthetic man created from biological materials.

                Also called humanoid.  (Late Greek androeides,

                manlike:  ANDR(O) - OID.)

                                        THE AMERICAN HERITAGE

                                        DICTIONARY OF THE ENGLISH

                                        LANGUAGE  (1976)

     android (an'droid) n, Gk. humanoid automation. more at

                robot./ 1. early version utilized for work too

                boring, dangerous or unpleasant for humans.

                2. second generation bio-engineered.  Electronic

                relay units and positronic brains.  Used in space

                to explore inhospitable environments.  3. third

                generation synthogenetic.  REPLICANT, constructed

                of skin/flesh culture.  Selected enogenic transfer

                conversion.  Capable of self perpetuating thought.

                paraphysical abilities.  Developed for emigration

                program.

                                        WEBSTER'S DICTIONARY

                                        New International  (2012)

        FADE IN:

        EXT. HADES - DUSK

        We are MOVING TOWARD the Tyrell Corporation across a

        vast plain of industrialization, menacing shapes on the

        horizon, stacks belching flames five hundred feet into

        the sky the color of cigar ash.  The CAMERA MOVES INTO

        a window in the large pyramid-shaped building.  A man

        is sitting at a table.  Another man enters the room and

        sits down.  The following scene is reflected in the eye

        until HOLDEN is seated.

        INT. TYRELL CORPORATION INTERROGATION ROOM - DUSK

        The eye is magnified and deeply revealed.  Flecks of

        green and yellow in a field of milky blue.  Icy fila-

        ments surround the undulating center.

        The eye is brown in a tiny screen.  On the metallic

        surface below, the words VOIGHT-KAMPFF are finely

        etched.  There's a touch-light panel across the top

        and on the side of the screen, a dial that registers

        fluctuation of the iris.

        The instrument is no bigger than a music box and sits

        on a table between two men.  The man talking is big,

        looks like an overstuffed kid.  LEON it says on his

        breast pocket.  He's dressed in a warehouseman's uni-

        form and his pudgy hands are folded expectantly in his

        lap.  Despite the obvious heat, he looks very cool.

        The man facing him is lean, hollow-cheeked, and dressed

        in grey.  Detached and efficient, he looks like a cop

        or an accountant.  His name is Holden and he's all

        business, except for the sweat on his face.

        The room is large and humid.  Rows of salvaged junk

        are stacked neatly against the walls.  Two large FANS

        WHIRR above their heads.

                                LEON

                  Okay if I talk?

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

        the machine.

                                LEON

                  I kinda get nervous when I take

                  tests.

                                HOLDEN

                  Don't move.

                                LEON

                  Sorry.

        He tries not to move, but finally his lips can't help

        a sheepish smile.

                                LEON

                  I already had I.Q. test this year...

                  but I don't think I never had a...

                                HOLDEN

                  Reaction time is a factor in this so

                  please pay attention. Answer as quickly

                  as you can.

                                LEON

                  Uh... sure...

                                HOLDEN

                  One one eight seven at Hunterwasser...

                                LEON

                  Oh... that's the hotel.

                                HOLDEN

                  What?

                                LEON

                  Where I live.

                                HOLDEN

                  Nice place ?

                                LEON

                  Huh? Sure.  Yeah. I guess. Is

                  that.. part of the test ?

       Holden smiles a patronising smile.

                                HOLDEN

                  Warming you up, that's all.

                                LEON

                  Oh.

                  It's

                                HOLDEN

                  You're in a desert, walking along

                  in the sand when....

                                LEON

                  Is this the test now ?

                                HOLDEN

                  Yes.   You're in a desert, walking

                  along in the sand when all of a sudden

                  you lookdown and see a.....

                                LEON

                  What one ?

   It was a timid interruption, hardly audible.

                                HOLDEN

                  What ?

                                LEON

                  What desert ?

                                HOLDEN

                  Doesn't make any difference what

                  desert.. it's completely hypothetical.

                                LEON

                  But how come I'd be there?

                                HOLDEN

                  Maybe you're fed up, maybe you want

                  to be by yourself.. who knows.

                  So you look down and see a

                  tortoise.  It's crawling toward

                  you....

                                LEON

                  A tortoise.  What's that?

                                HOLDEN

                  Know what a turtle is?

                                LEON

                  Of course.

                                HOLDEN

                  Same thing.

                                LEON

                  I never seen a turtle.

        He sees Holden's patience is wearing thin.

                                LEON

                  But I understand what you mean.

                                HOLDEN

                  You reach down and flip the

                  tortoise over on its back, Leon.

        Keeping an eye on his subject, Holden notes the dials

        in the Voight-Kampff.  One of the needles quivers

        slightly.

                                LEON

                  You make these questions, Mr.

                  Holden, or they write 'em down

                  for you?

        Disregarding the question, Holden continues, picking

        up the pace.

                                HOLDEN

                  The tortoise lays on its back,

                  its belly baking in the hot sun,

                  beating its legs trying to turn

                  itself over.  But it can't.  Not

                  without your help.  But you're not

                  helping.

        Leon's upper lip is quivering.

                                LEON

                  Whatya mean, I'm not helping?

                                HOLDEN

                  I mean you're not helping!  Why is

                  that, Leon?

        Holden looks hard at Leon, piercing look.

        Leon is flushed with anger, breathing hard, it's a

        bad moment, he might erupt.

        Suddenly Holden grins disarmingly.

                                HOLDEN

                  They're just questions, Leon.

                  In answer to your query, they're

                  written down for me.  It's a

                  test, designed to provoke an

                  emotional response.

        Leon is glaring now, the blush subsides, his anger

        slightly defused.

        Holden smiles cheerfully, very smooth.

                                HOLDEN

                  Shall we continue?

        Leon nods, still frowning, suspiciously.

                                HOLDEN

                  Describe in single words.  Only

                  the good things that come into

                  your mind.  About your mother.

                                LEON

                  My...

        Leon looks shocked, surprised.  But the needles in

        the computer barely move.  Holden goes for the in-

        side of his coat.  But big Leon is faster.  His

        laser burns a hole the size of a nickel through

        Holden's stomach.  Unlike a bullet, a laser causes

        no impact.  It goes through Holden's shoulder and

        comes out his back, clean as a whistle.  Like a

        rag doll he falls back into the seat.  Big slow Leon

        is already walking away, but he stops, turns, and

        with a little smile of satisfaction fires through

        the back of the seat.

        As Leon walks out of the room the Voight-Kampff

        begins to blink, faint but steady.

                                                   CUT TO:

        EXT. OVERHEAD VIEW CITY - NIGHT

        We are looking down on a city of the future where

        gigantic buildings dwarf the ancient skyscrapers --

        of -- now as a huge blimp, flashing lights and

        BLARING SOUND drifts slowly over the tall buildings.

                                                   CUT TO:

        EXT. THE BLIMP - FROM BELOW - NIGHT

        As the blimp drifts through the tall buildings ad-

        vertisements appear on the curved sides of dirigible

        and an accompanying SOUNDTRACK proclaims, with AM

        enthusiasm, the virtues of Offworld emigration.

                                BLIMP TRACK

                  ATTENTION SUPERVISORY PERSONNEL!

                  (WE NEED YOU YOU YOU)

                  ATTENTION FAMILY MAKERS!

                  (WE NEED YOU you you)

                  OPPORTUNITY!

                  (WE NEED YOU you you you)

                  AUTOMATIC ADVANCEMENT!

                  (WE NEED YOU YOU YOU)

                  TOP PAY!

                  (WE NEED YOU YOU you you)

                  NUMEROUS BONUSES!

                  (WE NEED YOU YOU you you)

                  SPECIAL INCENTIVES!

                  (WE NEED YOU YOU YOU you)

                  NINE PAID VACATIONS PER YEAR!

                  (WE NEED YOU you you)

                         (beat, beat)

                  The Dominguez-Shimata colony

                  wants supervisory recruits and

                  families.

                  Join us in a clean, fresh

                  environment featuring the

                  invigorating Johnson and

                  Murikami California Climate!

                  (WE NEED YOU YOU you you you)

                  Enjoy the numerous recreation

                  areas and resorts such as the

                  famous Elysium Crater Resort!

                  (WE NEED YOU YOU you you)

                  Let our abundant man-made labour

                  force cater to your personal needs!

                  (WE NEED YOU YOU you you)

                  If you meet health and experience

                  qualifications for the Offworld

                  Emmigration Programs... the

                  standard OPE short form... there's

                  a place for you at Dominguez and

                  Shimata Colonies.

                  Press the button now!

                  Give yourself a brand new world!

                  (WE NEED YOU YOU you you)

        EXT. CITY STREET - NIGHT

        Lights from the blimp flash along the street and wipe

        across the crowds of pedestrians as the VOICE TRACK

        CONTINUES TO BLARE from above.

        A portable noodle bar is crowded with customers, sit-

        ting on stools slurping their food out of bowls.

        DECKARD is standing near the noodle bar waiting for a

        seat.  He's in his thirties, wiry, athletic, rumpled,

        used, unshaven.  He's holding a newspaper, made of

        tissue paper, open while he glances at the blimp

        passing NOISILY overhead.  Then he notices the

        COUNTERMAN.

        The Counterman is beckoning to him to a newly vacated

        seat.

        Deckard sits down at the noodle bar and the Counterman,

        an elderly Japanese, slaps a menu in front of him.

        No words on the menu, just pictures of sliced fish

        parts.

        Deckard points to a particular item and holds up four

        fingers.

        The Counterman looks at the item on the menu, confirms

        the order by holding up two fingers.

        Deckard shakes his head "no" and repeats his four

        fingers.

        The Counterman nods, corrected and hurries off.

        Deckard glances overhead.

        The blimp drifts off among the buildings like a fish

        disappearing in seaweed, the NOISY VOICE doing a

        diminuendo.

        Whap.  The Counterman slaps a bowl of rice and a pot

        of tea in front of Deckard.  Then he puts the little

        bowl with the two slices of fish on the counter.

        Deckard looks at the fish.  Two slices of fish.

        He looks at the Counterman and holds up four fingers.

        The Counterman looks down at the two slices of fish,

        looks like two to him.  He looks at Deckard as though

        Deckard was a fool and holds up two fingers.  He can

        count!

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

        He starts to eat and that's when he feels a tap on his

        shoulder.  He glances over his right shoulder.

        A huge cop in uniform is looming behind him.

        Deckard feels funny, looks left.

        Another cop is looming over his left shoulder.

        Deckard is tapped again from the right.

        Turning again he realizes that it isn't the cop tapping

        him, it's the short Japanese guy next to the cop.  The

        guy's got beady eyes and lots of energy.  His name is

        GAFF.

                                GAFF

                         (in Japanese)

                  *** You will be required to

                  accompany me, sir. ***

        Deckard doesn't understand Japanese, thinks the man

        wants a seat.

                                DECKARD

                  Wait your turn, pal.

        Deckard turns back to his food.

                                GAFF

                         (in Japanese)

                  *** If you do not comply with an

                  official request, I will be

                  obliged to exert my authority. ***

        Deckard is ignoring Gaff but the Counterman leans in

        Deckard's face and translates.

                                THE COUNTERMAN

                  He say, you go with him.

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

                                GAFF

                         (in Japanese)

                  *** To defy duly constituted

                  authority is to flaunt the public

                  good. ***

        Deckard doesn't understand a word.

                                THE COUNTERMAN

                  He say, you're under arrest, Deckard.

        Deckard turns back to his food.

                                DECKARD

                  Tell him he's got the wrong guy.

                         (turning to Gaff

                          loudly)

                  You got the wrong guy, pal.

                                GAFF

                         (in Japanese)

                  *** Wrong guy, my ass.  You're

                  known as The Boogeyman in every

                  mean joint in town. ***

                                THE COUNTERMAN

                  He say, Boogeyman.

        Deckard flinches at the word "Boogeyman," but goes on

        eating.  But now we know, and he knows it's not a

        mistake.

                                GAFF

                         (in Japanese)

                  *** You are a Blade Runner in the

                  Four Sector and after the slaughter

                  at the steel shop they called you

                  Mister Nighttime. ***

                                THE COUNTERMAN

                  He say, Brade Runner.  He say,

                  Mister Nightime.

                                DECKARD

                  Tell him I'm eating.

                                GAFF

                         (to the Counterman

                          in Japanese)

                  *** Please tell this notorious

                  gentleman that I am acting as an

                  emmisary from Captain Bryant and

                  Captain Bryant has ordered me to

                  bring Mr. Deckard to headquarters

                  even if I have to serve him like

                  so much sushi. ***

        Deckard is continuing to eat but he has reacted to

        Gaff's repeated use of the word "Bryant."

                                THE COUNTERMAN

                         (to Deckard)

                  He say, you be ornery, okay.  He

                  say big boss Bryant give him

                  permission to use violence make

                  arrest.  He say Bryant tell him

                  rearrange your brains akay.  Make

                  you raw fish.

        Deckard looks disgusted and resigned.

                                DECKARD

                  Bryant huh.

                                                   CUT TO:

        EXT. STREET - NIGHT

        Deckard, still holding his bowl of food, is climbing

        into a spinner behind Gaff as the two cops loom over

        him.  One of the cops shuts the spinner door behind

        Deckard and the spinner lifts off in a flurry of wind.

                                                   CUT TO:

        EXT. CITY - BIRD'S EYE VIEW - NIGHT

        The spinner zips through the canyons of the city.

        Deckard is sitting in the passenger seat, eating while

        he watches the maze of suspension bridges, platforms

        and catwalks swim by below.  The tops of larger build-

        ings emblazoned with fluorescent numerals and scrawls

        of neon ads.

                                                   CUT TO:

        INT. SPINNER - NIGHT

        Deckard is sitting gloomily in the passenger seat,

        still eating from his bowl with chopsticks as Gaff

        maneuvers the spinner through the city canyons chat-

        tering in rapid Japanese.

                                GAFF

                         (in Japanese)

                  I told Bryant I could take care of

                  this myself.  Just move me up.

                  I'll do the job, I told him.  Five

                  phonies.  I just air 'em out.

                         (he imitates shooting)

                  Bow!  Bow!  Bow!

        Deckard looks at Gaff uncomprehendingly.

                                GAFF

                          (continuing in Japanese)

                  But no, he says.  Bryant thinks

                  you're hot shit, smartest spotter,

                  baddest Blade Runner.  You don't

                  look so hot to me.  Don't even

                  shave.  Bad grooming reflects on

                  the whole department.  You don't

                  dress well, that reflects on me...

                  makes the whole department look

                  like shit.

                  The skin jobs look better than you

                  do!  What's the point of wiping out

                  skin jobs if they look better than

                  Enforcement?  pretty soon the public

                  will want skin jobs for Enforcement.

                  I guess you'd prefer that, hunh?

                  That why you quit?

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

                                DECKARD

                  I don't understand a word you're

                  saying.

        Gaff glares and mutters, turning his attention to navi-

        gation of the spinner.

                                GAFF

                         (in Japanese)

                  Exactly!  Whatta jerk!  If I wasn't

                  up for promotion I'd put this baby

                  in a hot spin and leave your dinner

                  all over the glass!

        The spinner flies low along the center of a busy

        street and then turns right.

        EXT. PRECINCT SPINNER PAD - NIGHT

        The spinner slides toward the pad, cuts speed and

        gently touches down as another lifts off.

                                                   CUT TO:

        INT. POLICE HQ CONCOURSE - NIGHT

        An enormous grey vault of a building, Deckard and Gaff

        stride down the long corridor.  Perhaps Gaff is still

        jabbering in Japanese.

                                                   CUT TO:

        INT. BRYANT'S OFFICE - NIGHT

        BRYANT is sitting behind his big desk, a fat man in his

        fifties with grey hair, jowls and gas.

                                BRYANT

                  Hiya, Deck!

        Deckard is standing in the doorway, still in the cus-

        tody of Gaff.  Deckard glares at Bryant and doesn't

        answer.  Bryant dismisses Gaff with a head movement.

        Deckard glares at Gaff who glares back as he departs.

                                BRYANT

                  You wouldn't have come if I'd just

                  asked you to.  Siddown, pal.

        Deckard glares at Bryant without moving.

                                BRYANT

                  Don't be an asshole, Deckard.  I

                  got five skin jobs walking the

                  streets.

        Deckard smiles and sits down.

                                BRYANT

                  They jumped a shuttle offworld.

                  Killed the crew and passengers.

        Deckard reacts.  This isn't usual.

                                BRYANT

                  We found the shuttle floating off

                  the coast two weeks ago.  So we

                  know they're around.

                                DECKARD

                  Embarrassing.

        Bryant is pouring bourbon into a thick shot glass.  He

        passes the amber tumbler to Deckard who takes it and

        holds it to the light.

                                BRYANT

                  No, sir!  Not fucking embarrassing

                  ... Because nobody's ever gonna

                  find out they're down here because

                  you're gonna spot 'em an' you're

                  gonna air 'em out.

        Deckard downs his drink and slides the empty back.

                                DECKARD

                  Not me, Bryant.  I won't work for

                  you anymore.  Give it to Holden,

                  he's good.

        Deckard turns to go.

                                BRYANT

                  I did.

        Deckard freezes and turns back.

                                DECKARD

                  And?

                                BRYANT

                  He can breathe okay... as long as

                  nobody unplugs him.

        Deckard is impressed.

                                BRYANT

                         Not good enough.  Not as

                  good as you.  I need ya, Deck.

                  This is a bad one, the worst yet.

                  I need the old Blade Runner, I

                  need your magic.

        Deckard meets Bryant's pleading eyes for a beat.

                                DECKARD

                  I was quit when I walked in

                  here...

                         (pause)

                  ... I'm twice as quit now.

                  See ya, Bryant.

        Deckard turns to go.

        Bryant's pleading look turns abruptly cold and hard.

                                BRYANT

                  Stop the fuck right where you are!

        Deckard freezes at the hard tone.

                                BRYANT

                  You know the score, pal.  When

                  you're not a cop, you're little

                  people.

                                DECKARD

                  Forgot there for a minute about

                  the little people.  No choices

                  I guess.

                                BRYANT

                  No choice, pal.

                                                   CUT TO

        INT. WHITE TILED ROOM (DAY)

        We are looking at the bright image of a NAKED MAN in a

        white tiled room with a white floor... an abbatoir

        without blood. The naked man is very athletic. His

        face reveals nothing as he executes one physical demon-

        stration after another.... one handed pushups, gymnastic

        contortions etc. An accompanying soundtrack drones

        boringly and while we might pick up a few key words

        such as "emigration, "incentive and "Man made

        that we absorb the words.. they are the music to which

        the image exercises.

        After a moment a series of lines cross the screen and

        the image diminishes and we realise we are looking at

        a monitor.

        INT. BRYANT'S OFFICE (DAY)

        Deckard and Bryant are sitting in the dark looking

        at a series of flickering monitors. Deckard has a

        bored expression on his face.

                                BRYANT

                  We had an escape from the Off world

                  colonies two weeks ago. Six repli-

                  cants, three male, three female.

                  Slaughtered twenty three people and

                  jumped a shuttle. An aerial patrol

                  found the ship in the desert. No

                  crew.

                                DECKARD

                  These are old slave tapes, show me

                  something new.

        The naked man continues to exercise as Bryant

        continues.

                                BRYANT

                  No sign of them then three nights ago

                  they tried to break into the Tyrell

                  Corporation, one got fried going through

                  an electro-field but we lost the others.

                  Going on the possibibility they might

                  try to infiltrate as employees, we sent

                  Holden in to run Voight Kampff tests on

                  new workers.  Guess he found himself one.

        The screen changes. Roy Batty in a loin cloth is battering

        a metal post with his fists.  The smile on his face

        indicates a total lack of pain.  He continues to pummel

        the post mercilessly his hands becoming bloody.

        The only sound is Batty humming Beethoven's 9th.

        Deckard begins to look interested.

                                DECKARD

                  Who's this ?

                                BRYANT

                  It's a Nexus 6. Roy Batty. Incept

                  date 2016, combat model optimum self

                  sufficiency. Probably the leader.

                                DECKARD

                  Why would they come down here ?

                  They coulda hid out ?

                                BRYANT

                  You tell me pal, that's what you're

                  here for.

                                DECKARD

                  They must want something pretty important

                  to risk coming back here. What do the

                  rest look like ?

        Bryant pushes a button. And a series of revolving still

        shots of Leon, Pris, Mary and Zhora appear on the screen.

                                DECKARD

                  Why the Tyrell Corporation? Why would

                  they return to the place of their

                  manufacture?

                                BRYANT

                  Maybe they want to find out when

                  they were made ?

                                DECKARD

                  Why would they bother?

                                BRYANT

                  The Nexus 6 was designed to copy human

                  beings in every way except their emotions.

                  But the makers reckoned that after a few

                  years they might develop their own

                  emotional responses - hate, love, fear,

                  anger, envy.  So they built in

                  a fail safe device.

                                DECKARD

                  What's that?

                                BRYANT

                  The Nexus 6 has only four years

                  to live.

        The screens go blank. The lights go on.  Bryant pours

        two more drinks and hands one to Deckard.

                                BRYANT

                  You got one more problem, pal.

        Deckard downs the glass.

                                BRYANT (continuing)

                  Looks like Holden found out that

                  V-K machine doesn't work on the Nexus

                  6. The Tyrell Corporation has a demo

                  model so go check it out.   If the

                  machine fails, we're in deep trouble.

                                                   CUT TO

        INT. HOSPITAL - NIGHT

        Small green letterforms skim soundlessly across a dark

        glass panel.  Beneath the panel a sick, white face

        reads excerpts from Treasure Island, mouthing the

        words as they appear in front of him.  It's Holden.

                                HOLDEN

                         (reading)

        Holden is flat on his back in a breather, an iron-

        lung-type of device covered in indicator lights and

        exotic paraphernalia.  The hospital room is in com-

        plete darkness.  Holden's breaths come in sharp rasps

        as he reads.

        We become aware of Deckard standing in the shadows.

                                DECKARD

                  Whatcha reading?

        Holden is startled, has to look in a mirror angled over

        his head, rolling his eyes way back to see who it is.

                                HOLDEN

                  Deckard, Treasure Island!  Good to

                  see ya, buddy.  Old Favourite.

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

                                HOLDEN

                  Pretty awful, huh?

                                DECKARD

                  Naw, you look great!  Absolutely

                  terrific!  Never saw ya look

                  better.  Jesus, you look good.

        Deckard pinches Holden's cheek.

                                DECKARD

                  Great complexion!  Suit looks

                  really nice.  Who's your tailor?

        Deckard is making a joke, mocking hospital good cheer

        but the touch of bitterness in his voice reveals his

        sympathy for Holden.

        Tears wet Holden's eyes.

                                HOLDEN

                  A big fucking skin job put the

                  smash on me, wrecked me up!  Looka

                  me, for Chrissake!

        Deckard works at being hard.

                                 DECKARD

                  Ya blew it, huh ?

        Holden recovers from his tears and whines.

                                 HOLDEN

                  It ain't like it used to be, Deck.

                  It's tough now. These replicants

                  aren't just a buncha muscle miners

                  anymore, they're no goddamn different

                  than you or me...

        Deckard lights up and sits down, resting his elbows on

        the glass.

                                 DECKARD

                  So what happened ?

                                 HOLDEN

                  Ten days ago Security at the

                  Tyrell Corp finds three intruders

                  in the records room.   Kills one,

                  two get away, okay ?

        Deckard nods.

                                 HOLDEN

                  They do a routine autopsy on the

                  one that got aired and.. whaddya know?

                  A skin job, one of the ones that

                  busted out!  Top drawer replicant..

                  combat type.. Nexus six.

                                 DECKARD

                  Pretty sexy, the sixes.

                                 HOLDEN

                  Sexy!  Three hours into the autopsy

                  they still think they're cutting

                  up a human.  No marks, nothing.

        Deckard looks impressed. Satisfied, Holden continues.

                                  HOLDEN

                  I decided to check out all new employees

                  at Tyrell. I test 26 boring jerks until

                  in comes this guy Leon Somebody, nothing

                  special but very big...

                             (pause)

                  Anyway....

                                  DECKARD

                  You Voight-Kampff him ?

        Holden's eyes flutter a moment.  Deckard waits.  The

        breathing changes rhythm.

                                  HOLDEN

                  Yeah!  I thought maybe I was getting

                  something......

                  Maybe it doesn't work on these ones

                  Deck.

        Deckard gets up and gives Holden phony good cheer.

                                  HOLDEN

                             (continuing)

                  It's all over, it's a wipe out,

                  they're almost us, Deck, they're

                  a disease, they're....

                                  DECKARD

                  Take it easy, take it easy....

                  Tyrell Corp's got one. I'm gonna

                  Vee Kay it tomorrow.

                                  HOLDEN

                  Push it!  Push that button!

        Deckard pushes.

                                  DECKARD

                  What's it for?

                                  HOLDEN

                  Pain!

                                                   CUT TO

        EXT. CITYSCAPE - MORNING

        A bleak morning.

                                                   CUT TO

        EXT. SPINNER - MORNING

        The police spinner is whizzing over the city.

                                                   CUT TO

        INT. SPINNER - MORNING

        Deckard looks very rumpled as he sits sleepily in the

        passenger seat drinking coffee from a mug and smoking.

        INT. SPINNER - MORNING

        Gaff is terse and silent at the controls.  Suddenly the

        spinner rocks urgently from side to side and the sound

        of a hot Ferrari Spinner dopplers off.

        Gaff is pop-eyed with instant fury.  He hits the spinner

        lights and flashes them.

                                                   CUT TO:

        EXT. OVER CITY - MORNING

        The Ferrari Spinner zips right around a huge smokestack

        and shoots insolently off into the distance.

                                                   CUT TO:

        INT. SPINNER - MORNING

        Gaff sputters and fumes as he guides the spinner around

        the same stack.

        Deckard looks at Gaff.  It's too early in the morning

        for all this energy.

                                                   CUT TO:

        EXT. SPINNER - MORNING

        The Spinner makes a sharp bank, drops into a steep

        curve and slides toward the vast plain of industrializa-

        tion, the menacing shapes on the horizon, stacks

        of belching flames five hundred feet into the sky the

        color of cigar ash, towards a large pyramid shaped

        building.

                                                   CUT TO:

        EXT. THE PYRAMID - MORNING

        The spinner is in a holding pattern.

                                                   CUT TO:

        INT. SPINNER - MORNING

        Traffic control purrs its SOFT ELECTRONIC INSTRUCTION

        into the cockpit as the spinner rocks gently lower,

        spiralling into the vortex.

                        [page 22 missing from script]

        CONTINUED

        Now we see for the first time, Rachael, a beautiful

        woman in her late twenties dressed with taste and

        dignity.

                                DECKARD

                  Replicants are like any other

                  machine. They can be a benefit

                  or a hazard. If it's a benefit,

                  it's not my problem.

                                RACHAEL

                  May I ask a personal question?

                                DECKARD

                  Go ahead.

                                RACHAEL

                  Have you ever retired a human by

                  mistake ?

        Deckard blinks... hesitates before answering the

        question.

                                DECKARD

                  No.

                                RACHAEL

                  But in your position that is a risk.

        An OWL flaps around the huge marble office.

                                TYRELL (os)

                  Is this to be an empathy test?

                  Capillary dilation of the so-called

                  blush response.. fluctuation of the

                  pupil involuntary dilation of

                  the iris......

                                DECKARD

                  We call it Voight Kampff for short.

        Deckard turns to see an older man, very distinguished

        very well tailored has entered the huge marble office.

        TYRELL!

                                RACHAEL

                  Mr. Deckard.  Dr. Eldon Tyrell.

        Tyrell has extended his hand to Deckard. Deckard shakes.

                                TYRELL

                  Demonstrate it. I want to see it

                  work.

                                DECKARD

                  Where's the prototype ?

                                TYRELL

                  I want to see it work on a person.

                  I want to see a negative before I

                  provide you with a positive.

                                DECKARD

                  What's that gonna prove?

                                TYRELL

                  Indulge me.

                                DECKARD

                  On you?

        Tyrell indicates Rachael.

                                TYRELL

                  Try her.

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

        shrugs.

                                DECKARD

                  It's too bright in here.

        Tyrell hits a button.

        The windows darken, a polaroid effect that seems to

        give Tyrell the power to turn off the sun.

        Deckard is placing the Voight Kampff case on the table.

        The Voight Kampff opens like a butterfly as the room

        darkens.

        INT. TYRELL'S OFFICE - A LITTLE LATER

        Rachael's eye fills the screen, the iris brilliant,

        shot with light, the pupil contracting.  We hear

        Deckard's voice and we have the impression the test

        has been going on for a while.

                                DECKARD (O.S.)

                  You are given a calfskin wallet

                  for your birthday...

        Tyrell stands silhouetted behind Deckard, who sits in

        front of Rachael.

        The needles in both gauges swing violently past green

        to red, then subside.

                                RACHAEL

                  I wouldn't accept it, also I'd

                  report the person who gave it to me

                  to the police.

                                DECKARD

                  You have a little boy.  He shows

                  you his butterfly collection, plus

                  the killing jar.

        Again the gauges register, but not so far.

                                RACHAEL

                  I'd take him to the doctor.

                                DECKARD

                  You're watching TV and suddenly

                  you notice a wasp crawling on

                  your wrist.

                                RACHAEL

                  I'd kill it.

        Both needles go red.  Deckard makes a note, takes a

        sip of coffee and continues.

                                DECKARD

                  In a magazine you come across a

                  full-page photo of a nude girl.

                                RACHAEL

                  Is this testing whether I'm a

                  replicant or a lesbian?

                                DECKARD

                  You show the pciture to your

                  husband.  He likes it and hangs

                  it on the wall.  The girl is lying

                  on a bearskin rug.

                                RACHAEL

                  I wouldn't let him.

                                DECKARD

                  Why not?

                                RACHAEL

                  I should be enough for him.

        Deckard frowns, then smiles.  His smile looks a little

        like a grimace or the other way around.

                                DECKARD

                  Last question.  You're watching

                  an old movie.  It shows a banquet

                  in progress, the guests are enjoying

                  raw oysters.

                                RACHAEL

                  Ugh.

        Both needles swing swiftly.

                                DECKARD

                  The entree consists of boiled

                  dog stuffed with rice.

        Needles move less.

                                DECKARD

                         (continuing)

                  The raw oysters are less acceptable

                  to you than a dish of boiled dog.

        Deckard switches off his beam.

                                TYRELL

                  Well, Mr. Deckard?

        Deckard is looking at Tyrell and wincing indecisively.

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

                                TYRELL

                         (continuing)

                  Perhaps some privacy will loosen

                  your tongue, Mr. Deckard.

        He turns to Rachael

                                TYRELL

                  Would you step out for a few moments,

                  Rachael?

        Rachael exits looking a little shaken.  What's going

        on?

        Deckard stares at Tyrell.

        Tyrell meets his look.

                                TYRELL

                  I'm impressed.  How many questions

                  does it usually take to spot one?

                                DECKARD

                  I don't get it.

                                TYRELL

                  How many questions ?

                                DECKARD

                  In columns of four cross referenced,

                  twenty or thirty.

                                TYRELL

                  It took more than a hundred for

                  Rachael, didn't it ?

                                DECKARD

                  She really doesn't know ?

                                TYRELL

                  She's beginning to suspect, I think.

                                DECKARD

                  Suspect!  How can she not know

                  she is.

                                TYRELL

                  Well, we began to notice in them

                  a strange obsession.

        Tyrell is pacing now, lecturing.

                                TYRELL

                  After all, they are emotionally

                  inexperienced with only a few

                  years inwhich to store up the

                  experiences which you and I take

                  for granted.  If we gift them

                  with a past... we create a

                  cushion or pillow for their

                       emotions.. and we can

                  control them better.

                                DECKARD

                  They want memories?

                                TYRELL

                  It's the dark corners, the little

                  shadowy places that makes you

                  interesting, Deckard..... gusty

                  emotions on a wet road on an

                  autumn night.. the change of

                  seasons..... the sweet guilt

                  after masturbation.

                                DECKARD

                  Jesus  Christ,Tyrell!

        Tyrell looks startled.

                                DECKARD

                  Where do you get them, the

                  memories?

                                TYRELL

                  In the case of Rachael, I simply

                  copied and regenerated cells from

                  the brain of my sixteen-year-

                  old niece.  Rachael remembers

                  what my little niece remembers.

                                DECKARD

                  I saw an old movie once.  The

                  guy had  bolts in his head.

        Deckard looks amazed while Tyrell looks pleased with

        himself.

                                                   CUT TO

        EXT. OVERHEAD VIEW OF HOTEL - NIGHT

        The hotel is in a seedy part of town.

        EXT. ANGLE ON DECKARD - NIGHT

        Deckard and Gaff are standing in front of the hotel,

        looking it over.

        Deckard glances at a crumpled piece of paper in his

        hand with an address scrawled on it.

        He glances at the hotel.  The address is correct.

        Deckard and Gaff enter the hotel, leaving frame.

                                                   CUT TO:

        INT. HOTEL CORRIDOR - NIGHT

        A dingy, trash-filled corridor.

        An OLD MAN leads Deckard and Gaff to a door.  The Old

        Man is wearing an oxygen tank taking occasional hits

        of air from a mask.  He unlocks the door.

        Deckard and Gaff enter wearily, hands inside their

        coats on their weapons.

                                                   CUT TO:

        INT. HOTEL ROOM - NIGHT

        The room is dark and ominous, full of danger.

        Deckard studies the shadows, weapon ready.

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

        A four-tube fluorescent light overhead flutters weakly

        to half-life, two tubes.

        Deckard studies the room.

        It's clean in contrast to the littered hallway.  A bed,

        a wardrobe, a small desk, a chair.  Spartan, almost

        military.

        Gaff has seated himself on the windowsill.  Except for

        his eyes he is motionless like a statue.

        Deckard reaches into his pocket and takes out infrared

        goggles which he puts on.  He looks strange wearing the

        goggles.

        The room, from his POV, is seen in high contrast,

        every speck of dust in bright white, the fingerprints

        on the wall standing out like paintings, Gaff appear-

        ing eerie and ominous.

        Deckard starts to inspect the room with great care,

        feeling the moulding, inspecting the mattress on the

        bed, studying the fingerprints on the wall.

        Gaff watches motionless.

                                                   CUT TO:

        INT. HOTEL ROOM - NIGHT (A LITTLE LATER)

        Deckard has opened the wardrobe.

        He's inspecting the suit neatly hung there.  He feels

        in the pockets.  He pulls out a packet of about sixty

        photographs.  He thumbs them.  Very ordinary looking

        snapshots.  Maybe he notices a couple of strange ones.

        Maybe not.

        Deckard pockets the pictures and continues his inspec-

        tion.

        Gaff sits motionless like a statue.

        INT. HOTEL BATHROOM - NIGHT (MOMENTS LATER)

        Deckard, still wearing goggles, is checking the inside

        of the medicine cabinet in the tiny bathroom.

        Nothing.  Clean.

        He shuts the cabinet and sees himself in the mirror

        in infrared wearing goggles.  Weird.

        He exits the neat, tiny bathroom.

                                                   CUT TO:

        INT. HOTEL ROOM - NIGHT

        Deckard steps out of the bathroom, notices something

        on the floor.

        Gaff is motionless.

                                                   CUT TO:

        INT. HOTEL ROOM - NIGHT (MOMENTS LATER)

        Deckard is on his hands and knees studying the floor.

        He picks up a little speck on his finger, studies it.

        He picks up another.

        He puts the speck in his wallet.

        Gaff sits motionless on the sill.

                                                   CUT TO:

        INT. HOTEL ROOM - NIGHT (A LITTLE LATER)

        Deckard takes off the goggles.  He motions Gaff off

        the sill with his head.

        Deckard steps to the window, pulls the photos from

        his pocket and studies them in the faint light from

        outside.

        Snapshots.  Very ordinary.

        Gaff stands near the door, watching Deckard.

        Deckard shuffles through the pictures in front of the

        window.

                                                   CUT TO:

        EXT. HOTEL - NIGHT

        Leon is looking up at the hotel.

        He can see Deckard in the window looking at pictures.

        Leon is breathing hard, angry.

                                                   CUT TO:

        INT. HOTEL ROOM - NIGHT

        Deckard feels funny as he studies the pictures, his

        mind changes focus.  He steps aside, against the wall,

        and glances out of the window.

        Gaff watches Deckard and frowns uncomprehending.

        Deckard, satisfied at what he sees out the window,

        studies the photographs again, but not in front of

        the window.

        Gaff, frowning, approaches the window and looks out,

        puzzled.

                                                   CUT TO:

        EXT. HOTEL - NIGHT

        An angry Leon sees Gaff peering out the window above.

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

                                                   CUT TO:

        EXT. STREET - NIGHT

        A blimp is drifting silently over the city reflect-

        ed in an eyeball while we hear the SOUNDS OF THE

        STREET.

        The eyeball belongs to BATTY who is standing on

        the sidewalk. He resembles a tradition, the gym

        instructor, short, cropped hair with the body of a

        drill sergeant but the eyes are gray and chilling.

        Roy Batty is a presence of force with a lazy, but

        acute sense of what goes on around him.

        He lowers his attention from the sky to Leon.

        Leon approaches him.

                                BATTY

                  Did you get your precious photos?

                                LEON

                  Somebody was there.

                                BATTY

                  Police.

                                LEON

                  Just men.

                                BATTY

                  Police men.

        Leon looks sullen.  He doesn't know.

        Batty is looking at the storefront across the street,

        the one that says HANNIBAL CHEW over the door.

        Batty indicates the store to Leon with a head movement.

                                                   CUT TO

        INT. CHEW'S SHOP - NIGHT

        Eyes. Nothing but eyes swimming in a thick, clear

        solution.

        The eyes are in an aquarium inside Chew's shop.

        There are other aquariums and technical equipment.

        CHEW himself, wearing a heavy fur coat and gloves is

        hunched over a workbench in a pool of light doing

        meticulous work with a pair of forceps.  He is an

        ancient Asian and  his steamy breath and frosty beard

        indicate just how cold it is in this sub-zero

        laboratory.

        Chew dips the forceps into a vat at his side.

        Deep cold!

        The forceps and the tiny item in the forceps come out

        of the solution frozen solid.

        A SPEAKER on the wall CRACKLES and FARTS STATIC.

                                WALL SPEAKER

                  Mr. Chew.

        Chew keeps working.

                                CHEW

                  Aaaaaaaannnnn?

        The wall speaker is intermittent.

                                WALL SPEAKER

                  ... one... URP... wants... to

                  see you.

        Chew continues working.

                                CHEW

                  Busy!

                                WALL SPEAKER

                  ... talk to you... Nexus Six...

                  designs.

        Chew frowns and turns from his work disgruntled.

                                CHEW

                  Busy!

        Chew continues working while he mutters in Chinese.

        Peace returns, he calms down and works in chilly

        silence.

        Then the door opens.

        Standing in the doorway is Roy Batty.

        Chew gets up fuming.

                                CHEW

                  Busy!  Busy!  You go away!  Make

                  appointment.

        Chew bursts into Chinese.

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

        Leon enters and closes the door.

                                CHEW

                       (apoplectic)

                  No!  No!  Cold!  Cold!  Go away.

        Batty smiles. His coat is already covered with ice.

                                BATTY

                  Questions.

                                CHEW

                  No!  No questions!

        Leon is staring at the floating eyes in an aquarium.

        Batty smiles pleasantly and glances at a tank of

        deep cold. Batty sticks his hand in.

                                CHEW

                        (urgently)

                  No! Cold!

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

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

        Chew screams in sudden discovery and outrage.

                                CHEW

                  You replicant!

        We looks at Batty's machine-gun smile, steam pouring

        from his nostrils as we hear the shrill, indignant

        voice of Chew being outraged.

                                CHEW'S VOICE (OS)

                  You illegal.  Can't come here!

                  Illegal.

        Batty is smiling his smokey smile and Chew is point-

        ing up.

                                CHEW

                  You not belong here. Up there!

                                BATTY

                  Fiery the Angels fell... And as they

                  fell deep thunder rolled around their

                  shores;

                  indignant,

                  burning with the fires of Orc.

        Chew is bug eyed. What is this shit?

        Batty reaches out and puts his hands on the collar of

        Chews's fur coat.

                                BATTY

                  Questions!

        RRRRRIIIIIIPPPP.Batty pulls the coat apart, it splits

        along the back seam and falls away like a banana peel.

        Chew is suddenly totally scared, totally cold and totally

        co-operative.

                                CHEW

                  Okay!  Answers!

                        (pointing)

                  Gimmeee coat!  Cold!

        Chew is pointing to the wall pegs where more fur coats

        hang.

                                BATTY

                  Morphology.. longevity... use life...

                  incept dates...

                                CHEW

                         (squealing)

                  I dunno!  Dunna that stuff. I do

                  eyes!  Just eyes!  Genetic designs,

                  just eyes!

        Batty looks around the room at the tank of eyes, the

        muscle charts of eyes, the pictures of eyes.

                                BATTY

                  Ah!  I thought perhaps feet...

                  hands... muscle tissue.. or..

                  noses...

                                CHEW

                         (desperate)

                  Just eyes. Gimee coat, okay?

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

        blink.

        The eyes stare back at Leon, unblinkingly, arrogantly.

                                BATTY

                  My  eyes..... I guess you designed

                  them, eh?

                                CHEW

                  You Nexus? I design Nexus eyes.

        SMASH!  Leon, infuriated by the unblinking eyes, smashes

        the tank and the insolent eyes pour out onto the floor.

        Batty smiles and points to his own eyes.

                                BATTY

                  Ah, Chew.....

                       (squish,squish)

                  If only you could see the things

                  I have seen with your eyes.

        Squish!  Squish!  The squishes are Batty's feet

        stepping in eyeballs as he paces in front of Chew.

                                CHEW

                  Please!  Cc-cc-cold!

                                BATTY

                        (prosecuting attorney)

                  Questions!

                                CHEW

                  D-dunno answers!  P-please!

                                BATTY

                  Who does?

                                CHEW

                  Tyro! Knows everything!

                                BATTY

                  The Tyrell Corporation?

                                CHEW

                  Big boss!  Big genius!  Design

                  your brain.

                                BATTY

                  Ah!  Smart!

                                CHEW

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

                                BATTY

                  Not an easy man to see, I'd

                  guess.  Security.....

                                CHEW

                  Sebastian take you!  Gimmee

                  coat.

                                BATTY

                  And who is Sebastian?

        Chew is blue and hysterical.

                                CHEW

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

                  Please.............

                                BATTY

                  Ah!  How would I find him...

                  J.F. Sebastian ?

        Chew looks like heart attack city.  Is it going to

        go on forever?

                                                   CUT TO

        EXT. DECKARD'S APARTMENT BUILDING - NIGHT

        Deckard's car pulls up into a drive of a condominium

        block that looms against the night sky like a pile

        of cardboard boxes.

        Deckard gets out of the car wearily and heads for the

        front door.

                                                   CUT TO

        INT. ELEVATOR NIGHT

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

        Deckard asks for the 97th Floor.

        The ELEVATOR makes a creaking noise, very distinctive,

        and starts upward.

        Deckard frowns.  Something is wrong. He is suddenly

        very alert, ready.

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

        The ELEVATOR CREAKS UPWARDS.

        Deckard goes for his blaster, gets it out quick and

        whirls.

        Rachael is there, in the shadows.

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

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

                                RACHAEL

                  I'm sorry.

        INT. CORRIDOR NIGHT

        Deckard exits the elevator and approaches his door.

        Rachael is behind him, she's desperate.

        Deckard takes out his wallet, it drops to the floor

        scattering his cards.

        Rachael picks up the cards.

                                RACHAEL

                  Let me help you.

                                DECKARD

                  What do I need help for?

        Deckard takes the card from her and starts to open

        the door.

                                RACHAEL

                  I don't know why he told you what

                  he did.

                                DECKARD

                  Talk to him.

        INT. DECKARD'S APARTMENT - NIGHT

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

                                RACHAEL

                  He wouldn't see me.

        Deckard goes into the kitchen, comes out with a towel drying

        his hair.  He walks to the cocktail cabinet and pours himself

        a drink.

                                DECKARD

                  I'm gonna have a drink.

                                RACHAEL

                  You think I'm a replicant, don't

                  you?

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

                                RACHAEL

                  Look.

        She goes to him holding a picture in her hand.

        Deckard looks at it.

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

                                RACHAEL

                  It's me with my parents.

        Deckard hands it back to her slowly.  Finally speaks.

                                DECKARD

                  You remember when you were about six and you

                  and your brother snuck into an empty building....

                  through the basement window ?

                                RACHAEL

                  What? Y-yes....

                                DECKARD

                  You were going to play Doctor. He showed

                  you his, then you chickened and ran out.

                                RACHAEL

                  But....

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

        to notice.

                                DECKARD

                  Remember the bush outside your window

                  with the spider in it.

        Rachael looks up at him.

                                DECKARD

                  Green body, orange legs... you watched

                  her build a web all summer.

                                RACHAEL

                  Yes.

        Her voice is getting very small.

                                DECKARD

                  One day there was an egg in the webb.

        Rachael nods faintly.

                                RACHAEL

                  After a while, the egg hatched and

                  hundreds of baby spiders came out and

                  ate her.   That made quite an impression

                  on me, Mr. Deckard.

                                DECKARD

                  You still don't get it?

                                RACHAEL

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

        Deckard is now nasty, downright bitter.

                                DECKARD

                  Implants.  They are not your memories,

                  they belong to Tyrell's sixteen year

                  old niece.

        Rachael doesnt say anything, she can't.

                                DECKARD

                  He's very proud of them.  He ran them

                  on a scanner for me.

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

                                DECKARD

                  Still don't believe me ?

                                RACHAEL

                  I... I...

                                DECKARD

                  Right.  I made it all up.  You're not

                  a replicant. It was a nasty joke. Go home.

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

                                DECKARD

                  Go on.  Beat it.  Sorry.   Bad joke.

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

                                DECKARD

                  Wanna drink ?

        She's completely destroyed, silent.

                                DECKARD

                  I'll getcha one.

        Deckard hurries out.

        The CLOCK IS TICKING.

                                                   CUT TO

        INT. KITCHEN - NIGHT

        Deckard is peering at her from the doorway, a Peeping

        Tom.  He sees the shaking hands.  He doesn't like this

        shit.

        He turns his attention to getting the drink.  The

        kitchen is a disaster area, dirty dishes overflowing

        from the sink the way a plant grows out of a pot.

        Deckard opens the refrigerator.  The contents aren't

        messy so much as unusual.  He opens the freezer com-

        partment and pulls out a bottle of Tsing Tao vodka

        and eyes it.  Half-empty.

        He rummages among the dirty dishes for a glass that

        doesn't actually have fungus growing in it.  He finds

        one that's only greasy, wipes it with a dirty towel

        (making it greasier) and pours vodka into it.

        He heads back into the living room.

        INT. LIVING ROOM - NIGHT

        Deckard stops in the doorway,surprised.

        The room is empty. Rachael is gone.

        Deckard stares at the empty room for a long moment.  Then

        he chug-a-lugs the vodka. As he brings his head back and

        winces from the fiery booze he sees something.

        Something crumpled on the floor.

        He goes over and picks it up.

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

        it.

        On the other side is a phone number.

        Deckard walks over to the window and stares out.

        A spinner flashes by smearing light on his face.

                                                   CUT TO

        EXT. AN ABANDONED BUILDING - NIGHT

        Pris exits the building and starts across the street.

        A spinner rockets past overhead.  She reacts nervously

        watches the spinner slide away.

        She crosses the street past a window full of wedding dresses

        as the spinner zips off in the distance.

        EXT. SEBASTIAN'S BUILDING - NIGHT

        Pris walks under the art deco marquee between the twisted

        corduroy columns and into the foyer.

        She picks a spot near the entrance and is covering herself with

        old newspapers and trash for warmth when she hears a strange

        NOISE.

        A weird street cleaning MACHINE GRINDS past.

        Pris watches the machine with interest, then huddles

        under the trash.

        A battered old truck, Sebastian's, SPUTTER AND FARTS

        to a halt in front.

        SEBASTIAN gets out, a young man with skin that is yel-

        lowing into old parchment.  He's wearing a World War

        Two leather pilot's cap and dark goggles and carrying

        a pack.

        In spite of his youth, he carries himself like Old

        China as he walks toward the entrance with the gait

        of an old man.

        Sebastian stumbles over the trash covered body of Pris

        and Pris leaps to her feet and start to run like a

        frightened gazelle.

                                SEBASTIAN

                  Hey!

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

        trash.

                                SEBASTIAN

                  You forgot your bag.

        He's holding it up.

        She eyes him from a distance... unsure of him.  Then

        she moves toward him tentatively.

        Sebastian smiles awkwardly and holds out the bag.

                                PRIS

                  I'm lost.

                                SEBASTIAN

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

        Both of them are silent.  People are not Sebastian's

        forte... usually he's too shy, but this girl is shyer

        still.  Plus they're about the same age... it gives

        him courage.

                                SEBASTIAN

                  What's your name?

                                PRIS

                  Pris.

                                SEBASTIAN

                  Mine's J.F. Sebastian.

                                PRIS

                  Hi.

        So pleased with the way that went, he forgets for a

        while what comes next.

                                SEBASTIAN

                  Oh... where were you going?

        She shrugs.  That leaves him a lot of responsibility.

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

                                SEBASTIAN

                  Home?

                                PRIS

                  I don't have one.

                                SEBASTIAN

                  Oh.

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

        blue eyes.

                                PRIS

                  We scared each other pretty good,

                  didn't we?

                                SEBASTIAN

                  We sure did.

        She giggles and laughs.

                                PRIS

                  I'm hungry, J.F.

                                SEBASTIAN

                  I've got stuff inside, you wanna

                  come in.

                                PRIS

                  I was hoping you'd say that.

        Sebastian's grey face flushes with pleasure.  He turns

        and inserts a key in the ornate iron mesh door and

        swings it open.

                                                   CUT TO:

        INT. SEBASTIAN'S LOBBY - NIGHT (SHOT)

        Stacks of gaudy balconies loom into shadows above.

        Overhead lights reveal a shark-like blimp cruising

        above the building glowing with advertisements.

        Pris stares in wonder.

                                PRIS

                  And you live in this building all

                  by yourself ?

                                SEBASTIAN

                  Yeah, I live here pretty much alone

                  right now....

                                                   CUT TO

        INT. CAGE ELEVATOR (SHOT)

        Pris and Sebastian are standing in the mesh elevator

        as it grumbles noisily into the shadows above.

        INT. CORRIDOR - NIGHT (SHOT)

        Pris and Sebastian are standing in the mesh elevator

        as it grumbles noisily into the shadows above.

        INT. CORRIDOR - NIGHT (SHOT)

        Sebastian and Pris walk down the corridor towards

        his apartment .

                                PRIS (WILD LINE)

                  No housing shortage around here.

                                SEBASTIAN (WILD LINE)

                  Plenty of room for everybody... most

                  of the others have emigrated already.

        INT. CORRIDOR - NIGHT

        Sebastian is unlocking his door.  He opens the door

        and ushers Pris into the apartment.

        INT. SEBASTIAN'S APARTMENT -NIGHT

        Sebastian flicks on the light revealing the high

        walls, elegant moulding and strange contents.

        A three foot high Kaiser Wilhelm figure and a teddy

        bear dressed as Napoleon march into view from a

        doorway.  An alarm sounds.

                                SEBASTIAN

                  Yoo hoo, home again, home again!

                                BEAR

                  Good evening J.F.

        The alarm cuts out.

        The Bear and Kasier  Wilhelm stare woodenly at Pris

        for a moment, then turn away disappearing into the gloom.

                                SEBASTIAN

                  They're my friends... here,

                  can I take your things, they're soaked.

                                BEAR

                            (muttering)

                  Home again, home again, jiggidy jig.

        Pris is delighted.  She strips off her topcoat,

        revealing a shape to pop eyes.

                                SEBASTIAN

                            (besides himself)

                  Where are your folks ?

                                PRIS

                  I'm sort of an orphan.

        Pris smiles.

                                SEBASTIAN

                  What about friends?

                                PRIS

                  I have some, but I have to find them....

                  I'll let them know where I am tomorrow.

                                SEBASTIAN

                  Oh!

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

                                SEBASTIAN

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

                                PRIS

                  Watch the bed bugs don't bite !

        INT. DECKARD'S APARTMENT - NIGHT

        A blurry photograph, unclear, FILLS THE SCREEN.

        The photograph intensified.  The foreground BLURS AND

        SHARPENS.  it's the "man" in Leon's room with the

        wardrobe behind him.  The head is turned away and

        downward, the face unreadable.

        Another change!  A dramatic one.  The picture is

        suddenly three dimensional.

        Now we see that Deckard is studying the picture in a

        viewer controlling the effects with punch controls.

        The ashtray next to him is full of butts.  The bottle

        of vodka is nearly empty.

        He sucks on his cigarette and empties the vodka bottle

        into his glass and goes back to peering into the

        viewer.

        He punches up.

        A transparent grid with vectors is superimposed over

        the photo.

        Deckard's eyes move over it carefully.

                                DECKARD

                  Sharpen line forty-eight between

                  twenty point twenty-seven.

        The edge of the man sharpens.

                                DECKARD

                  Profile trace.

        Slowly the view tracks the periphery of the man's

        shoulder, up and around the skull, down the other

        side and as it approaches the bottom of the picture

        passes a miniscule sparkle...

                                DECKARD

                  Stop.  Back up.

        The line is retraced.

                                DECKARD

                  Stop.

        The faintest little sparkle.  Static.  Almost nothing.

        Deckard leans forward.

                                DECKARD

                  Enhance.

        The view squeezes in.  The "spark" seems to be coming

        from about fifteen feet behind the figure -- from

        within the wardrobe.

                                DECKARD

                  Seesaw.

        After a short pause, as if the command causes the

        machine to strain, it emits a thin, high-pitched

        FREQUENCY SOUND and the picture begins a horizontal

        yawing motion.  As it swings back and forth glimpses

        of things previously obscured by the foreground

        figure are revealed.  Slightly at first, but the

        opening grows as the process picks up momentum.

        Deckard's right down there, hands on his knees like

        a man watching his favorite team make a crucial play.

                                DECKARD

                  Stop!

        The picture freezes.

                                DECKARD

                  Enhance.

        The view pushes in to the wardrobe.  In its gloomy

        recesses hangs a dress.

                                DECKARD

                  Enhance.

        In closer on the dress.  An exotic shimmering gown

        made of sequins.  Deckard ponders it, smiles slightly.

                                DECKARD

                  I don't suppose one of those males

                  has a transvestite problem.

        Pause.

                                DECKARD

                  Hey!

        Esper wakes up.

                                ESPER

                  Yes?

                                DECKARD

                  I said, I don't suppose one of

                  those males has a transvestite

                  problem.

        Pause.

                                ESPER

                  Negative.

        Deckard considers the situation for a few moments,

        then frowns thoughtfully and fishes his wallet out of

        his pocket.  He produces the flakes he found in the

        hotel room.

        Deckard lights a cigarette.

        The flake.

        He's holding it on the tip of his finger under the

        light of the console screen.  He sits down, studying

        it like Hamlet, contemplating Yorick's skull.  But

        for the HUM OF THE MACHINE, a long silence.

                                ESPER

                  You're gonna have a fire if you

                  don't turn off the machine.

        Absently, Deckard reaches out and flips it off.  He

        sits a while in the silent dark.  Then goes into the

        bathroom.

        INT. SHOWER - NIGHT

        Deckard stands in the shower, his cigarette still in

        his mouth.

                                                   CUT TO:

        EXT. NOODLE BAR - NIGHT

        It might be 2:00 a.m. but the joint is still crowded

        as noisy taxi drivers jostle each other for seats and

        jabber in Kangaroo, a crude lingual mix of Chinese,

        Japanese, French and Tagalog.

        Deckard is hunched over his bowl of noodles, slurping

        hungrily from his busy chopsticks.

        Whap!  The counterman slaps a serving of fish heads on

        the counter in front of a CHINESE sitting next to

        Deckard.

        Startled by the sound Deckard glances at the bowl of

        fish heads, then turns his attention back to his

        noodles.

        But after two bites he frowns and turns to look at

        the fish heads again.

        The Chinese is eating the flesh hungrily from a head.

        He cleans the skull and drops it on the plate.

        Deckard stares at the heads with their blank stares

        that seem to gaze at eternity.

        Deckard is thinking.

        The Chinese is eating.

        Deckard frowns lost in furious thought.  Suddenly he

        reaches out and grabs a fish head.

        The Chinese goes bug-eyed with indignation.

                                CHINESE

                         (in Chinese)

                  What the hell are you doing, you

                  moronic ahng mo dim bulb?  That's

                  my goddamn dinner you (in English)

                  dumb shit!

        Deckard is peeling scales off the fish head.  He grabs

        his wallet, produces the flake and compares it to the

        scales from the head.  He ignores the ranting of the

        Chinese as he stares at the flake next to the scales.

                                DECKARD

                  Fish!

                                CHINESE

                         (in Chinese)

                  What do you expect you get from

                  fish head, stupid?

                         (in English)

                  Elephant shit?

                                                   CUT TO:

        EXT. ANIMAL ROW - NIGHT

        An aquarium full of fish, weird looking fish, the

        kind that might eat each other.  They're gliding in

        sinister clusters like Doberman pinschers with gills.

        The CAMBODIAN LADY is a withered woman in black.

        She's got a lens in her eye and she's looking at the

        flake which is on the tip of her finger.

                                CAMBODIAN LADY

                  Not fish!  Snake !

        And she points down the row.

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

                                                   CUT TO

        MICROSCOPIC VIEW - NIGHT

        We are looking at a huge enlargement of a snake scale

        seen through a microscope.. but we don't know that.

        It's just a grand abstract weirdness blurring and

        sharpening and changing.

                                EGYPTIAN (OS)

                  The finest quality, yeeeeeeessssss.

                  Perfect workmanship.

                  Geniune artificial snake.

        The flake  becomes a landscape of forests and moon-

        scapes.  Buried deep in the texture of the thing is a

        serial number.

                                EGYPTIAN (OS)

                  Serial Number 99069745xb7Y

                  That would indicate a Crotalus

                  Atrox......

                                                   CUT TO

        EXT. EGYPTIANS JOINT - NIGHT

        We see the Egyptian for the first time as he takes

        his eye from the viewer and points to a snake in one

        of the many tanks that writhe with groggy reptiles.

                                EGYPTIAN

                         (continuing)

                  ... such as that one there with

                  the black and white ring on tail.

                         (making a whirring noise)

                  Western Diamon Back....

                         (whirr)

                  Rattler.

        Deckard is looking at the ugly serpent.

        The Egyptian hands the scale back to Deckard.

                                DECKARD

                  Who made it ?

                                EGYPTIAN

                  This quality... not too many.

                                DECKARD

                  How many ?

                                EGYPTIAN

                  Very few.

                                DECKARD

                  How few ?

                                EGYPTIAN

                  Perhaps less than I thought....

                  but still, more than I can remember.

                                DECKARD

                  What helps you to remember ?

        The Egyptian pushes a hand out in front of him, revolving

        the thumb slowly against the next two fingers.

        Deckard slips a card out of his pocket and into the

        man's fingers.  It's a police card.  It gets a super-

        cilious smile, a sigh and a shrug.  And that's all

        it gets.  The man knows his rights.  The card is

        handed back.  The smile remains.

                                EGYPTIAN

                  What was the question again?

                                DECKARD

                  The question is...

        Deckard steps in closer.

                                DECKARD

                  Are you a citizen?

                                EGYPTIAN

                  Yes.

                                DECKARD

                  Naturalized?

                                EGYPTIAN

                  Yes.

                                DECKARD

                  Your papers are in order.

                                EGYPTIAN

                  Of course.

        This guy's got it covered.

                                DECKARD

                  You have a license for this

                  establishment?

        He points it out with a righteous finger.

                                DECKARD

                  Fire permit?

                                EGYPTIAN

                  Right here.

        He lifts it out of a drawer, displays it.  A long

        pause.  The Egyptian smiles smugly.  It pays to have

        things covered.  Deckard pushes closer.

                                DECKARD

                  In two seconds I'm gonna break

                  your fuckin' spine if you don't

                  tell me what I wanna know.

        Pause.

                                EGYPTIAN

                  I see.

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

        plain.

                                EGYPTIAN

                  In that case, I think I will be obliged

                  to tell you that one of two men could

                  have done this.

                                DECKARD

                  Who ?

                                EGYPTIAN

                  Me.

        The Egyptian works on an uncertain shit-eating grin

        hoping to charm his way out of a hole.

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

                                DECKARD

                  Who do you sell your junk to .

                                EGYPTIAN

                  Artists. Always to artists.

        The Eygptian looks nervously at Deckard,sees he

        means business and hastily begins to shuffle through a

        wad of receipts from a cigar box.

                                                   CUT TO

        INT. TAFFEY'S SNAKE PIT BAR - NIGHT

        A big guy, back to camera is sitting at the bar in

        this sleazy joint.

                                DECKARD (OS)

                  You buy a snake off an Egyptian ?

        The big guy turns to face his questioner.  His name

        is TAFFEY LEWIS big and bad and low-life.  He looks

        like he's looking at a cockroach.

                                TAFFEY

                  Buzz off, fella.

        Deckard is searching in his pockets.  He pulls a dirty

        handkerchief out, puts it on the bar, pulls out a

        crumpled pack of cigs from another pocket, a wad of

        money cards from another.  He's putting all sorts of

        things on the bar.  Among them is the picture of

        Rachael and her parents.

                                DECKARD

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

        At last he finds the photo of the reclining woman, shows

        it to Taffey.

                                DECKARD

                  You ever see this woman ?

        Taffey doesn't even look at the picture.

                                TAFFEY

                  Never saw her.  Buzz off,pal.

        Deckard flashes his police card.

                                DECKARD

                  Got your licenses in order, old

                  buddy ?

                                TAFFEY

                  Pal, I got a license to piss,

                  I got a license to kiss,

                  An' I got a license to pee at

                  four in the morning.

                  I got licenses for things I do with

                  my wife an' I got licenses for things

                  I don't do with my wife.

                  I got licenses for bad dreams, pal.

                  I got licenses you wouldn't believe.

                  Now buzz the fuck off, okay ?

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

        surrendering.

                                DECKARD

                  Take it easy mister, don't get

                  excited.

                                TAFFEY

                  Nobody pushes me around.

                                DECKARD

                  Forget I asked.  My mistake.

                  Water under the bridge.

        Taffey looks a little startled. It was this easy ?  He's

        kind of pleased with himself now that he's firmly estab-

        lished his authority.

                                TAFFEY

                  No hard feelings. I just don't

                  take a push, that's all.

                                DECKARD

                  No hard feelings.

                                TAFFEY

                         (to the bartender)

                  Louis, the man's dry.  Give him

                  one on the house, huh ?

                                BARTENDER

                  Whatcha drinking ?

                                DECKARD

                  Smokey, dry.

                                TAFFEY

                  You assed about a snake.....

        Deckard is suddenly hopeful.

                                DECKARD

                  Yeah.....

                                TAFFEY

                  Wanna see a snake, huh?

        The Bartender puts a weird drink in front of Deckard...

        tiny worms floating in a viscous liquid.

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

                                TAFFEY

                  Louis, show the cop the snake,

                  willya?

        The Bartender reaches under the bar and pulls out a

        large snake that writhes lazily on the bar.  It is

        bright gold.

                                DECKARD

                      (disappointed)

                  Wrong snake.

                                TAFFEY

                  Don't like gold ?

                                DECKARD

                  Gold's okay.

                                TAFFEY

                  Original paint job was shitty.  Those

                  fucking Egyptian's do crappy work.

                                DECKARD

                  How long ago did ya paint it?

                                TAFFEY

                  I dunno.  Couple of months.

                  Why ?

         Deckard looks discouraged, swigs the last of his drink.

                                DECKARD

                  No reason.  Doesn't matter.

                      (to the bartender)

                  Gimmee another, willya?

        There is a burst of applause and they all look around

        toward the stage.

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

        smaller egg.

                                TAFFEY

                  Getta loada this. New act.

                  Very artistic, very sen-shoe-all.

                  Beautiful.

        Music starts to play.

        Deckard looks bored and discouraged.  Absently starts

        picking up his junk off the bar... the wads of money cards,

        cigarette packs, matches... the picture of Rachael.  That

        catches his attention.

        Deckard stares at the picture for a long moment.

                                DECKARD

                  Gotta phone ?

                                                   CUT TO

        INT. TAFFEY'S BAR MOMENTS LATER

        Deckard is at a telephone not far from  the bar.  He's

        got the phone hooked between his shoulder and ear while

        he notes a number.

                                DECKARD

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

        Deckard breaks the connection, then starts punching the

        numbers.

        Behind him the stage show is progressing.  A beautiful

        woman named SALOME is emerging from the large egg, very

        scantily clad, an erotic birth scene.

        Rachael appears on the telephone vid-screen.

                                RACHAEL

                  Hello.

                                DECKARD

                  People have walked out on me

                  before... but never when I was

                  being charming.

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

                                DECKARD

                  Ya missed out on the drink I

                  poured ya.

        Rachael still says nothing.

                                DECKARD

                  Wanna try again ?

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

        anything.

        Rachael is bitter.

                                RACHAEL

                       (on Vid-screen)

                  Hunting... "skin jobs "?

                                DECKARD

                  Didn't find any.All I found was a bar.

                  Why waste it ?

                                RACHAEL

                       (on vid-screen)

                  Not my kind of place I'm afraid.

                                DECKARD

                  Meet me here.  We'll go someplace

                  else.  It's in the Fourth Sector....

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

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

        Deckard is suddenly pre-occupied with the stage show as

        he absently gives the address over the phone.

                                DECKARD

                  ...... the  Fourth Sector, on the line.

                  Taffey Lewis'  Snake Pit.

                                RACHAEL

                  I don't think so Mr. Deckard.

                  As I said......

        Deckard is staring at the stage show.

                                DECKARD

                         (absently)

                  See ya in a half hour.

        He hangs up.

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

                                                   CUT TO

        INT. BACKSTAGE A LITTLE LATER

        You can hear applause and catcalls from the audience

        as Salome flounces backstage.  She starts toward the

        dressing room.

        Deckard emerges from the shadow.

                                DECKARD

                  Excuse me, Miss  Salome....

        She turns.  Deckard's posture and attitude suggest humble,

        sleazy persistence.  He comes closer with his shit-eating

        grin.

                                DECKARD

                  I'd like to have a word with you

                  if I could.

        Salome stands almost six feet tall in her high heels and

        looks down on him with haughty suspicion... a girl who

        knows how to handle cheap hits.

                                SALOME

                  Yeah ?

                                DECKARD

                  I'm with the  American Federation of

                  Variety Artists....

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

                                DECKARD

                  Don't worry, I'm not here to

                  make you join... that's not my department.

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

        there.

                                DECKARD

                  I'm an investigator for the Confidential

                  Committee on Moral  Abuses.

        She nods, taking it a little more seriously.

                                DECKARD

                  There's been reports of the

                  management taking liberties with

                  the artists in this place.

                                SALOME

                  I don't know nothing about it.

                                DECKARD

                  You haven't felt yourself to be

                  exploited by the management in

                  any way?

        She's definitely puzzled.

                                SALOME

                  How do you mean 'exploited'?

                                DECKARD

                  Like to get this job... did you

                  or were you asked to do anything

                  lewd or unsavory or otherwise

                  repulsive to your person?

                                SALOME

                  Are you for real?

                                DECKARD

                  Oh, yeah.  You'd be surprised

                  what goes on around here.  I'd

                  like to check the dressing room

                  if I could.

                                SALOME

                  What the fuck for?

                                DECKARD

                  For holes.

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

                                SALOME

                  I don't believe this.

        She shrugs and they go in.

        INT. DRESSING ROOM - NIGHT

        Musty, cramped.  A portable shower, a dressing table

        and not much else.  On the dressing table lies a snake.

        Deckard watches it undulate into the warmth of the

        lights.

                                DECKARD

                  Is that mother for real ?

                                SALOME

                  Of course he's not real.  You think

                  I'd be working here if I could afford

                  a real snake ?

        Deckard reaches out to touch it.  As his fingers make

        contact, there's an electric "snap".  he jerks his hand

        back from the shock.

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

        take off.

        Deckard gets a glimpse of nakedness as she slips behind

        the screen and turns on the shower.

                                DECKARD

                  How long you been doing a snake act ?

                                SALOME

                  What is it with you... you looking for

                  holes or what ?

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

                                DECKARD

                  You'd be surprised - they have their ways

                  of doing their dirty work without the victim

                  even knowing what's going on.

        His fingers are moving over her gowns. There's about six of

        them, on hangers, but nothing quite like the one in Leon's

        closet.

                                DECKARD

                  You'd be surprised what a guy'll go through

                  to get a glimpse of a beautiful body.

                                SALOME

                  No, I wouldn't.

                                DECKARD

                  Little dirty holes they drill in the wall

                  so they can watch a lady undress.

        And to his amazement, low on the wall, behind the dresses,

        he actually spots one. He moves down for a peek.

                                SALOME

                  And what if somebody did try to "exploit"

                  me?  Who do I go to ?

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

                                DECKARD

                  Me.

                                SALOME

                  And who do I go to about you ?

        He looks around... she's out of the shower dripping nude.

        Her hair blonde and cropped short.  Her black hair is a wig

        which now hangs on the wall next to the shower.  She didn't

        look like Nexus designated Zhora to begin with, but even less

        now.

                                SALOME

                  So did you find any holes ?

        Deckard makes a sheepish grin.

                                DECKARD

                  One so far.

                                SALOME

                  You're a dedicated man.

        Her smile is an invitation.  She throws him a towel.

        He catches it and she turns her back to him.

                                SALOME

                  Dry me.

        The evening doesn't have to be a total waste.  Deckard

        steps up behind her and starts patting her down.

        On the dressing table in front of them the python

        noses through the cosmetics, tongue flicking, trying

        to get back to its mistress.  Caught up in the sensu-

        ousness of the moment, absently she reaches out to

        stroke the snake.

        Deckard works his way down her back, over her buns and

        as he reaches her thighs, sits on the cot.  Concen-

        trating on her buns, he leans back for a handier per-

        spective.  But jerks forward like he'd been stung as

        his ears are hit with the BUZZ OF RATTLES directly be-

        hind him.

        Partly hidden behind the pillow against the wall is

        the Egyptian's pride and joy, a four-and-a-half foot,

        ring-tailed diamondback rattler.  Its lethal looking

        spade-shaped head elevated out of its coiled body,

        tail erect and whirring madly.

        Deckard rolls off the cot going for his blaster as he

        hits the floor.  SALOME/ZHORA has her hand around the

        head of the python and, using it like a club, she

        brings it down with all her might.

        Deckard rolls out of the way as the SNAKE WHISTLES

        through the air with such force, it ruptures as it

        hits the floor.

        If Deckard's fast, Zhora's a blur.  As he FIRES, her

        foot kicks into his groin, and he doubles up with the

        pain of it.  He tries for a second shot but she's al-

        ready out the door carrying a raincoat.

        INT. PASSAGEWAY - NIGHT

        Bottom lip between his teeth, Deckard hops out of the

        dressing room in time to see her go through the door at

        the other end of the hall.

        It hurts to move so fast, but he jack-legs after her,

        arrives at the door and flings it open.  Blackness.

        The SOUND OF HER HIGH HEELS CLATTER down the metal

        steps.

        EXT. STREET - OPERA HOUSE - NIGHT

        It's RAINING HEAVILY.

        The front of the Opera House is open only to foot

        traffic these days.  A bizarre place on a Friday night,

        hawkers and whores, the rabble, the poor and the curi-

        ous mill around the crudely built platforms and

        brightly lit stands.  Zhora, in just a translucent

        raincoat, is not out of place in this flea market at-

        mosphere.  Trying not to run, she slices through the

        mob as quickly as she can.  Deckard is not far behind,

        dodging and side-stepping, trying to move against the

        tide of people scurrying for shelter.

        She comes to an intersection and turns out of the mall

        onto a less crowded street.  She glances over her

        shoulder as she breaks into a run and runs right into

        a couple of pedestrians.  All three go down.

        Deckard comes out of the crowd in time to spot her get-

        ting to her feet.  She sees him and runs.  The two

        pedestrians are in his line of fire.  He runs past

        them and drops to one knee, leveling his blaster.

                                DECKARD

                  Stop or you're dead!

        She doesn't.

        Deckard OPENS UP, squeezing off two quick misses.

        WHAP!  The corner of the building disintegrates --

        bricks imploding, dust in the air.

        FWAAAP!  Another miss!  A lamppost wrenched with a

        tight air implosion.  Twisted metal, a breath of smoke.

        Deckard FIRES again!

        WHUMP!  Zhora takes a hit in the back of the head, and

        that's it for her except her motor reflexes which keep

        her going right into a showcase window.

        CRASH!  Zhora explodes through a series of plate glass

        windows in adjoining shops.

        Deckard is trying to pour FIRE through the tunnel of her

        jagged wake, but after TWO MISSES his blaster CLICKS

        empty, CLICKS empty, CLICKS empty and he watches her

        go.

        Zhora breaks through one window after another, getting

        sliced, already shot, running on reflexes.  Glass

        sprays like fireworks as she smashes through the last

        two windows and into the street.  She's going too fast

        to stop.

        She hits a passing bus so hard she's smeared all over the

        side like a mural and the bus squeals to a halt.

        The rain has stopped and turned into a quiet DRIZZLE.

        WATER GURGLING down the gutters.

        Hunched over, breathing hard, Deckard comes slowly

        forward.  The crowd starting to gather.  Something here

        for everybody as they're coming from all directions.

        Deckard moves through them, ending up to the side of

        the bus.

        Zhora is wedged on her side, torn, bloody and broken.

        All she can move is her eyes -- they dart about like

        a wounded animal doomed in a trap and stop on

        Deckard.

        He's kneeled in the street, stooped low, head cocked at

        an awkward angle looking back at her.

        In the cramped and dripping darkness her eyes are turn-

        ing glassy.  The intervals between the FALLING DROPS OF

        WATER accentuate the silence until there is no dripping

        and even the gurgling gutters have receded into silence

        as the life drains out of Zhora's face until it's

        frozen, dead.

        Deckard's eyes slowly follow the rivulets of blood that

        lead over the slope of a blacktop to his shoes.  Deckard

        tries to repress his wince.  His eyes reveal that it's

        getting to him.  He's aware of the spectators around

        him.

        Looking up, he sees them moving nervously away from

        him with frightened looks.

        Then he sees her.  Rachael is standing in the crowd

        staring at the dead Zhora.

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

        to Deckard.

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

        pistol stupidly.  CLICK CLICK.

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

        Deckard sees Rachael disappear into the crowd.

        Deckard starts to say something but anything he said would

        be drowned in siren noise.

        Rachael is swallowed up into the crowd near a big sign

        (or some other distinctive landmark).

                                                   CUT TO

        EXT. THE CROWD - NIGHT

        Leon and Batty are just faces in the throng of ASIANS

        and LATINOS. They too see the body of Zhora.

        Batty and Leon look very grim.

        They turn their attention to  Deckard.

        From their point of view they see a pantomime out of ear

        shot.... Deckard hastily flashes his badge at arriving

        COPS, points to Zhora, gives a couple of instructions and

        hurries off, passing under the big sign, leaving the cops

        to stare after him with amazement.

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

        Leon heads off toward the big sign.

                                                   CUT TO

        EXT. STREETS - NIGHT

        The tide of STREET PEOPLE moves inexorbaly as Deckard,

        like a swimmer, moves through them, eyes busy, searching

        for Rachael.

        Thinks he sees her.

        Shoves his way through the crowd.

        Not her.

        Looks around in dispair.

        Catches sight of her half a block away.

        Deckard hurries after her. Calls out.

                                DECKARD

                  Rachael.  Wait.

        Rachael looks back, sees him.

                                DECKARD

                  Hold on.

        Rachael keeps going.

        Deckard is hurrying past the mouth of an alley.  Suddenly

        he's being hurried into the alley.

                                DECKARD

                  Hey.

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

        Leon.

                                                   CUT TO

        EXT. ALLEY NIGHT

        A family of SAMOANS look up from their dismal cooking

        fire in the alley.

                                DECKARD

                  Hey, what the hell, buddy!

        The Samoan's faces are blank.  They stick by the fire and

        express no feelings anout the events in the alley.

        Deckard is swept off his feet and twirled around in

        Leon's bear-trap embrace.

        Leon lets go and Deckard hits the pavement, skidding

        hard enough to tear clothes and burn skin, but he

        rolls out of it and comes up with gun in hand; but Leon

        is so fast he's already there and kicks it out of his

        hand.

        Leon moves towards him, backing Deckard against the

        wall.

                                LEON

                  How come you knew where Zhora was

                  so quick?

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

        hair.

                                DECKARD

                  I showed pictures.  Somebody

                  recognized her.  I went to see.

        Deckard is pale.  The sweat is starting to run.

                                LEON

                  How old am I?

                                DECKARD

                  I don't know.

        The grip tightens and twists.

                                LEON

                  My birthday is April 10, 2017.

                  How long do I live?

                                DECKARD

                  Four years.

        He lets go.

                                LEON

                  More than you.

        Deckard's knees come up fast, but Leon's fist comes down

        faster, like a hammer.

                                LEON

                  Painful to live in fear, isn't it.

        Deckard is doubled over, hugging his thigh.

                                LEON

                  But that's how it is to be a slave.

                  The future is sealed off, he

                  grovels, he waits.

        Even hurt, Deckard is fast.  He goes for his ankle gun,

        but Leon's got it out of his hand before he can even

        raise it and throws it down the alley.

        Deckard hurls forward, knocking him off balance, and

        scrambles to get away.  Leon grabs him by the foot,

        drags him back and jerks him off the ground.

                                LEON

                  Sex, reproduction, security, the

                  simple things.  But no way to

                  satisfy them.  To be homesick

                  with no place to go.  Potential

                  with no way to use it.  Lots of

                  little oversights in the Nexus

                  Six.

        He slams Deckard into the wall.

                                LEON

                  I tell you, nothing is worse than

                  having an itch you can never scratch.

        Deckard slides down the wall to his knees and huddles

        protecting his head with his arms, waiting for the

        next one.

                                DECKARD

                  I agree with you.

        Leon folds his big hands together and raises them over

        his head, pausing just a second to savor the satisfac-

        tion of smashing Deckard's skull.

                                LEON

                  Too late.  Your mistake.

        The spasm that runs through Leon's face is not from

        satisfaction.  It's the bullet that went through his

        neck.  He hits the ground hard, his big teeth biting

        the air like a rabid dog.  Dead.

        Deckard has slumped to the ground where he sits propped

        into a sitting position by the wall, staring up in

        amazement at his deliverer.

        He sees Rachael standing there with his blaster,

        Rachael is staring at the body of Leon, stunned and

        shaken at what she has done.

        Deckard looks up at her, his eyes swollen into slits,

        his mouth and nose bloody.  He sees how shaken she is.

        Rachael turns and looks at him.  Their eyes meet.

        She drops the blaster.

        Deckard gets painfully to his feet, picks up the

        blaster and starts to reload it.  He doesn't make the

        same mistake twice.  He glances at her.

        Again their eyes meet.

                                                   CUT TO:

        EXT. 42ND STREET - 20 MINUTES LATER

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

        place.

        Deckard and Rachaek are walking together, almost

        zombies.

        Deckard is only a little less bloody and a lot more

        swollen.

        Rachael looks stoned on the horror of the killing.

                                DECKARD

                  There's only one thing that works

                  on cuts and bruises and long nights.

        She looks at him blankly.

                                                   CUT TO:

        EXT. KIOSK - MOMENTS LATER

        It's a grimy little tienda with a counter right on the

        sidewalk and shelves crammed with dusty bottles,

        bright packs of cigarettes, old magazines and assorted

        junk.  The SALESLADY wears an eyepatch and a sharp look

        in her good eye.

        Deckard and Rachael are facing her.

                                DECKARD

                  Tsing Tao.

        The Saleslady tries to hand Deckard a half pint but he

        shakes his head and points and she produces a fifth.

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

        He turns and sees Gaff leering at him.

        Not what Deckard expected or wanted.  His eyes flicker

        a warning in Rachael's direction.

        Rachael is standing in the flow of pedestrians, Asians,

        Mexicans and Indians.  She has already seen Gaff and

        she gets the message in Deckard's eyes and allows her-

        self to drift away, part of the stream of humanity

        moving down the sidewalk.

        But Gaff's sharp eyes have picked up Deckard's look

        and he glances.

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

        crowd.

        Gaff looks back at Deckard and makes a head movement

        indicating the vehicle at the curb.

        It's a spinner and Bryant is grinning at the window,

        chewing on a heater.

                                BRYANT

                  Christ, Deckard, ya look almost as

                  bad as that tit job ya left under

                  the bus.  Almost.

        Deckard walks over to the spinner.

        Gaff is looking down the street, trying to make out the

        Caucasian woman disappearing in the crowd.

                                DECKARD

                  You get the call on the big one?

                                BRYANT

                  Bet your ass.  Two in one night,

                  you're the same old shitstorm,

                  aren't ya?

                         (to Gaff)

                  You could learn from this guy,

                  Gaff.  A goddamn one-man slaughter

                  squad, that's what he is, a real

                  shitstorm.

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

        Deckard has followed Bryant's beady gaze to the obvious

        bottle he's holding in the paper bag.

                                DECKARD

                  I'm going home.

                                BRYANT

                  Home!  A killer like you!  I

                  figured you'd be up all night

                  slaughtering phonies.  Four to

                  go, thought you'd just leave

                  'em dead in the alleys for us

                  to pick up.  Haw!  Haw!  Come on,

                  Gaff.

                                DECKARD

                  Three.  There's three to go.

                                BRYANT

                  Huh?

                                DECKARD

                  There's three left.

                                BRYANT

                  Four.  That tit job you vee kayed

                  at the Tyrell Corp... disappeared.

                  She didn't even know she was skin

                  till you put the machine on her.

                  Some kinda brain plant, says Tyrell.

        Deckard has already noticed that Gaff is looking down

        the street in the direction Rachael went.

        Gaff feels Deckard's eyes, turns and leers cheerfully

        at Deckard.  Deckard meets the look... an ominous

        exchange.

                                BRYANT

                  Come on, Gaff.

                         (to Deckard)

                  Drink a couple for me, pal.

                                                   CUT TO:

        INT. DECKARD'S KITCHEN - NIGHT

        Deckard is about to swig some Tsing Tao for Bryant.

        He puts the glass to his lip and the lip, caked with

        dry blood and swollen, splits again and blood gushes

        into the clear liquid in the glass.

        Deckard stares at the bloodstained drink ruefully, then

        takes a thirsty gulp and licks his bleeding lip.

        The ice in  Rachael's glass is RATTLING.  She's standing

        only a few feet away, half eaten by shadows, her eyes

        blank with shock.

        The reason the ice is rattling is because her hand is

        shaking.

        You can hear the CLOCK TICKING in the living room.

                                DECKARD

                  Me too.

        Rachael frowns and looks at him. What ?

                                DECKARD

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

                  business.

        Deckard holds out his hands.  They're shaking.

        Rachael gives Deckard a long hard look.

                                RACHAEL

                  I'm not in the business.

        Deckard meets her look, understands he cannot comfort

        her so easy, she will not be one of the boys with him.

                                RACHAEL

                  I am the business.

        She is grim and angry and shaking.

        You can hear the clock TICKING.

                                                   CUT TO

        INT. DECKARD'S BATHROOM - NIGHT

        SPLASH.   Deckard sticks his head in the sink full of

        water and the water turns crimson.

        He lifts his face out of the water, dripping and gropes

        for a towel, wipes water blindly from his face.

        INT. DECKARD'S LIVING ROOM - NIGHT

        Rachael is in the foreground shadows, a drink in her hand.

        She's watching Deckard who is washing his face in the

        bathroom,framed by the open door.  You get the

        Deckard in the background, goes on drying.  He's naked

        except for a towel around his waist.

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

        watching.

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

        She's looking at the ripple of muscle around his

        shoulders.

                                                   CUT TO

        INT. DECKARD'S BATHROOM A FEW MINUTES LATER

        Deckard is standing in front of the mirror.  He's

        staunched the bleeding lip and now he's studying it.

        The rustle of silk.

        Rachael appears in the doorway of the bathroom, drink

        in hand.

        Deckard doesn't acknowledge her presence.

        There is a long silence. She sees the muscle ripple in

        his naked back.  Hard body.  Scars of old wounds.

                                RACHAEL

                  What if I   go   North...

                  disappeared ?

        Deckard gives her a look, turns back to the mirror.

        Puts a towel over his head.

                                RACHAEL

                  Would you come hunting. ?

        Rachael waits a long tense moment for an answer.

                                DECKARD

                  No.

        Deckard waits before he lets it out.

                                DECKARD

                  I guess I owe you.

        Deckard turns and brushes past her so she has to

        step back.

                                DECKARD

                  But somebody will.

        INT. BEDROOM (NIGHT)

        Deckard is sitting on the bed, wasted, still in his

        towel, clean white bandages on his face.  He touches his

        lip gently.

        He can hear the clock ticking and then the whisper of her

        stockings as she approaches the bedroom from the hallway.

        He hears her stop, lost in the shadows beyond the door.

        A pause then her voice.

                                RACHAEL (OS)

                  The file on me.. the incept date,

                  the longevity, the psycho-program,

                  those things.....

        Her voice hesitates, stops.  Deckard sits there as the

        clock ticks for a long moment.

        In the corridor, lost in shadows, Rachael is working up

        the nerve to ask.

                                DECKARD

                  Yeah ?

        In the shadows Rachael takes a deep breath.

                                RACHAEL

                  You saw them?

        Deckard, exhausted stares absently into space.

                                DECKARD

                  They're classified.

        In the corridor, Rachael persists with effort.

                                RACHAEL

                  You're a policeman.

        Deckard touches a spot on his forehead, looks at the

        wall.

                                DECKARD

                  I didn't look at them.

        In the hallway, Rachael is hardly breathing.

                                DECKARD (O.S.)

                  I didn't want to.

        It must come as a tremendous relief to her.  She stands

        in the shadows, grateful for the smallest favours.  She

        waits a moment, hearing the clock ticking,  hearing the

        distant noises of an apartment house, then she speaks

        again.

                                RACHAEL

                  That test of yours.. The Voight

                  Kampff test......

        She pauses before completing the question. It's a

        biggie.

                                RACHAEL

                            (continuing)

                   .... did you ever take it yourself ?

        Rachael waits for a long moment in the shadows.

        The clock ticks.

        No answer.

        She moves into the light from the bedroom door and

        peers in.

        Deckard is lying on the bed, snoring gently.

                                                   CUT TO

        INT. LIVING ROOM NIGHT

        The CLOCK IS LOUDER in the living room.

        Rachael walks through the shadowy room lit by a single

        lamp.

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

        table.

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

        be jealous.

        She sees a picture on top of the piano.

        A picture of a little boy and his father in fishing

        clothes, each holding a pole, the boy proudly display-

        ing a single under-sized fish, the hint of a smile on

        the father's face.

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

        She stands close to the keys and starts to play.  She

        makes a mistake almost immedaitely.  She sits and

        starts again and she is just a hair tentative, but

        there's no mistake... the feeling, the rhythm, the

        beauty of the music.  It fills the whole apartment.

                                                   CUT TO:

        INT. BEDROOM - NIGHT

        Deckard is snoring peacefully as the MUSIC ebbs and

        flows.

                                                   CUT TO:

        INT. LIVING ROOM - NIGHT

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

        INT. CITYSCAPE DAWN

        An ugly day is beginning to an eerie distortion of CHOPIN

                                                   CUT TO

        EXT. SEBASTIAN'S APARTMENT - DAWN

        Nasty MUSIC a dismal looking building.

        Do we see strange figures in overcoats from a distance.

        INT. SEBASTIAN'S BUILDING - DAWN

        A shark's POV of the stairways, hallways, the one's we'll

        see later a shark's POV gliding along the hall towards

        Sebastian's apartment. Chopin the ax murderer!

        INT. SEBASTIAN'S APARTMENT - DAWN

        Pris is filling the hours of insomniacal boredom by

        experimenting with her make up. A bleached white face

        and black ringed eyes. A sexual waif. A savage doll.

        She gets up and starts exploring the rooms.

        INT. WEDDING DRESS ROOM - DAWN

        She wanders into a large room filled with mannequins

        dressed in dusty ball gowns.

        She wanders around wistfully, full of curiosity. She picks

        out one of the dresses puts it on and stands there, the

        mannequins surrounding her like a family tableau.

        INT. SEBASTIAN LABORATORY - DAWN

        Sebastian is asleep, Kaiser Wilhelm his mouth clamped open

        is propped up next to him.

        Pris wanders in, studying the array of his equipment. She

        puts her eye to the steroscope near Sebastian. It reveals

        a world of rare beauty. Landscapes, mountains etc.

        She touches a button, a blue flash erupts.

                                PRIS

                  Oh!

        Sebastian is awakened.

                                SEBASTIAN

                  Whatcha doin'.

                                PRIS

                  I'm sorry, just peeking.

                                SEBASTIAN

                  Oh.

        Transfixed, Sebastian stares at her. If an improvement is

        possible, she looks even better now. Older and even sexier.

                                SEBASTIAN

                  You look better.

                                PRIS

                  Just better.

                                SEBASTIAN

                         (blushing)

                  Well... beautiful.

                                PRIS

                  Thanks.

        As they are talking, Batty enters               the room.

        Pris sees  him but does not register anything on her face.

        Sebastian does not hear or see him.

        Pris studies  Sebastian for a moment.

                                PRIS

                  How old are you ?

                                SEBASTIAN

                  Twenty.

                                PRIS

                  What's your problem?

                                SEBASTIAN

                  Methuselah Syndrome.

                                PRIS

                  What's that's?

                                SEBASTIAN

                  My glands.  They grow old too fast.

                                PRIS

                  Is that why you're still on earth?

                                SEBASTIAN

                  Yeah. Couldn't pass the medical. Anyway

                  I kinda like it here.

        A moment.

                                PRIS

                  And I like you just the way you are.

                  Hi Roy.

        Sebastian whips round. He is flanked a hair's breath away

        by Batty. The shock almost knocks him off his chair.

                                PRIS

                  This is my friend     I was

                  telling you about.

        Batty smiles benevolently.

                                PRIS

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

        There is a long silence whilst everyone stares at each

        other.

                                BATTY

                  Can't thank you enough, Mr. Sebastian.

        Sebastian, still uneasy begins to smile.

                                BATTY

                  You certainly have a nice place.

        BATTY looks around admiringly.  Sebastian mumbles some-

        thing that sounds like "Thank you".

                                PRIS

                  Sebastian doesn't go out too much.

                                BATTY

                  I like a man who stays put. An admirable

                  thing to be able to sustain yourself

                  in these times. You live here all by

                  yourself, do you ?

                                SEBASTIAN

                  Yes....

                         (after a moment)

                  How about some breakfast, I was just

                  going to make some.

                                                   CUT TO

        INT DECKARD'S BEDROOM - MORNING

        Deckard wakes up groggily. His face hurts. He touches

        the puffy purple bruises.  He touches the lip and winces.

        He looks around stupid with sleep, orienting himself.

        He sits up... tries to remember.  Was she here ?  Were they

        talking ?  He must have dozed off.  He gets up laboriously,

        painfully and limps out of the bedroom still in yesterday's

        clothes.

 

                                                   CUT TO

        INT. DECKARD'S LIVING ROOM MORNING

        Rachael is sitting stone silent at the piano, staring at a

        picture of Deckard and his Father above the keyboard.

        Shadows brush across her, then Deckard is there, close to

        her, looking to see what's got her attention.

                                DECKARD

                  Me and my Dad.

                                RACHAEL

                  Do you love him?

                                DECKARD

                  He's dead.

        Rachael indicates the picture of Deckard's wife.

                                DECKARD

                  Wife.

                                RACHAEL

                  Do you love her ?

                                DECKARD

                  She left me.

                         (pause)

                  Went offworld.

                  Wanted the good life.

                                RACHAEL

                  You didn't?

        Deckard changes the subject.

                                DECKARD

                  I dreamt music.

        Rachael answers his comment by touching the keys and

        filling the room abruptly with music.

        Deckard

                                RACHAEL

                  I didn't know if I could play.

                         ( pause)

                  I remember lessons.... but I

                  don't know if I took them... or

                  Tyrell's niece.

        She stops doesn't finish the thought, goes on playing

        for a long moment.

                                DECKARD

                  You play fine.

        Suddenly she stops playing and turns to him.  Al you

        can hear is the CLOCK TICKING.

                                RACHAEL

                  Am I very different?

                                DECKARD

                  Yeah.

                                RACHAEL

                  How?

        Her voice is small.  Something very young about her.

        She looks up at him for the first time.

                                DECKARD

                  Stand up.

        She does.  She's looking up at him with those big mer-

        maid eyes and he kisses her mouth.  And then again.

        She doesn't respond.  His voice is a whisper.

                                DECKARD

                  Now you kiss me.

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

                                RACHAEL

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

        He stops her with another kiss.

                                DECKARD

                  Say what I say.

        She nods.  His voice intimate, low.

                                DECKARD

                  Kiss me.

                                RACHAEL

                  Kiss me.

        He does, soft, wet, tender.  He backs off -- magnetic,

        palpable energy growing up between them.

                                DECKARD

                  My eyes.

                                RACHAEL

                  Kiss my eyes.

        She closes them.  He kisses each fluttering lid.

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

                                DECKARD

                  I want you.

                                RACHAEL

                  I want you.

                                DECKARD

                  Again.

                                RACHAEL

                  I want you.

        Her face is flushed.  His fingers go to her mouth --

        slowly over her lips and inside, into the wetness.  her

        head is leaning back, eyes shut.

                                RACHAEL

                  Bite me.

        His mouth goes to her neck, her ear.  His teeth evoke

        a shiver and a gasp as they take her flesh.  Her breath

        is coming faster.

                                RACHAEL

                  Put your hands on me.

        He rakes his fingers through her hair and pulls her

        into him.  His other hand molding and pressing her,

        working around her body and under into the privacy

        of her dress.

                                RACHAEL

                  Shall I take off my clothes?

                                DECKARD

                  Oh Yeah.

        He's kissing her hard, deep, soft. She's hardly able to

        talk she's so excited.

                                RACHAEL

                  Do whatever you want to me.

        He is and her legs can no longer hold her and she's

        sinking to the floor in his arms moaning, their words

        obscured by kisses.

                                                   CUT TO

        INT. SEBASTIAN'S APARTMENT - NIGHT

        Pris is staring out the window, watching.

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

        Sounds emanate from the kitchen.

        Batty gets up and goes to a chess set in the corner of the

        room, a game is obviously in progress.  Batty studies it for

        a moment, then moves the White Queen to the Bishop.

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

                                PRIS

                  Well?

        Batty finds her attitude amusing, which makes her even more

        pugnacious.

                                PRIS

                  I want to know what's going on ?

                                BATTY

                  There's only two of us left.

        Pris is shocked. Her whisper comes out a hiss.

                                PRIS

                  Then we're stupid and we'll die.

                                BATTY

                  Not if everybody is doing their job

                  here at home.  How are things at home ?

        Pris doesnt answer, as they hear Sebastian coming out of

        the kitchen.

                                PRIS

                  What if he won't co-operate ?

                                BATTY

                  Mr. Sebastian is a host who wants to

                  be appreciated. We'll appreciate him

                  and he'll co-operate.

        Sebastian walks into the room with a tray.  He takes some

        eggs and puts them into a glass flask full of bubbling

        water that is standing on a retort stand over a bunsen

        burner on his work bench.

        He notices the move on the chess set.

                                SEBASTIAN

                  No.  The Knight takes the Queen, see ?

                  It won't do.

        He takes the White Queen with the Black Knight.

        Batty smiles a smile totally without feeling or interest.

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

                                BATTY

                  Why are you staring at us ?

                                SEBASTIAN

                  You're just so... so different.

        Batty nods his head smiling, sending home the fact and

        Sebastian is certainly getting it.

                                BATTY

                  What Sebastian ?

        A long pause.

                                PRIS

                  What makes you think so, Sebastian?

                                SEBASTIAN

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

        Sebastian is grinning from ear to ear.

                                SEBASTIAN

                  What generation are you ?

                                BATTY

                  Nexus 6.

        Sebastian whistles.

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

                                SEBASTIAN

                  I know because I do genetic design work

                  for the Tyrell Corporation.

                         (proudly)

                  There's some of me in you !

                                BATTY

                  We have a lot in common.

                                SEBASTIAN

                  What do you mean ?

                                BATTY

                  We have similar problems.

                  Accelerated decrepitude.

                         (or)

                  Like the fabled salmon we came home to die.

                  But we don't want to die quite yet.

                                SEBASTIAN

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

        His voice is trembling.

                                SEBASTIAN

                  Show me something.

                                BATTY

                  Like what ?

                                SEBASTIAN

                  Like... anything?

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

        of one.

                                BATTY

                  We're not computers, Sebastian, we're

                  physical.

        Pris perks up proudly.

                                PRIS

                  I think, therefore I am.

                                BATTY

                  Very good Pris.  Now show him why.

        Without a moment's hesitation, Pris walks over to the

        flask, sticks her hands into the boiling water and pulls

        out one of the eggs and hands it to Sebastian.

        Sebastian is riveted, his eyes wide and astounded, like

        he's just seen the devil. He laughs nervously, glad that

        the devil is a friend.   Then drops the egg which is

        suddenly burning his hand.

                                BATTY

                  You could help us.

                                SEBASTIAN

                  I don't know much about biomechanics

                  Roy, I wish I did, but you're out of

                  my league.

                                BATTY

                  If we don't find help soon, Pris

                  hasn't got long to live.

        Batty walks back to the chess set.

                                BATTY

                  Is he good ?

                                SEBASTIAN

                  Who?

                                BATTY

                  Your opponent.

                                SEBASTIAN

                  Dr. Tyrell....  More than brilliant.

                  He's a genius.  He's the Einstein

                  of genetics.

                                BATTY

                  Maybe he can help us, Sebastian.

                                SEBASTIAN

                  I'd be happy to mention it to him.

                                BATTY

                  Be better if I could talk to him in

                  person.  But he's not an easy man to

                  get to.

                                SEBASTIAN

                  No.

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

                                BATTY

                  Will you help us ?

                                SEBASTIAN

                  I....I.. can't.

        He gets up and walks slowly over to Pris.

                                PRIS

                  We really need you Sebastian, you're

                  our best and only friend.

        A smile begins to spread across Sebastian's face.  She

        is irresistable. He sits there for a long moment enjoying

        her embrace.

        Batty leans back nodding in gratitude.

                                BATTY

                  I'm sure glad you found us, Sebastian.

                  What do you thin, Pris ?

                                PRIS

                  I don't think there's another human

                  being in this whole world who would

                  have helped us.

        Pris gives Sebastian a big kiss.

        INT. HOSPITAL (DAY)

        A horrid image!  Tight on Holden very tight.  His eyes

        are bulging almost out of his head.  Tears streaming

        down his face, spittle spraying from his mouth as he

        wheezes and grimace in horrid convulsions. Haw haw haw.

        We're going to figure out that he's laughing, but only

        after a moment, after we pull back wide enough to see

        he's still engulfed in the breather and necklaced with

        blinking lights, one of which blinks particularly

        violently with every wheeze.

                                HOLDEN

                  Cut it... ha, ah, ah.. cut it a haw,

                  ah ah... cut it out.. Deckard.

                  You're... ah... making me... peeeee.

                  Looka the... ah, haw, light...

                  you're making me piss, you... ass

                  hole.

        Deckard looks uncomfortable and horrified.

                                DECKARD

                  Sorry.

                                HOLDEN

                  Eeeeeeee... haw, ahw, ha.  Hee...

                  he... Hit you with a... ah.  Ah.

                  Snake... Oh Jesus!  Aaaah.  Stark

                  ... Stark naked... Ah, ah oh ah...

                  I love it.

                                DECKARD

                  I thought you'd go for the part

                  about the big guy... Leon.

        Holden's eyes change mood immediately at the thought

        of Leon but the laughter has to continue like a wind-

        up toy running down.  Finally he can talk again.

                                HOLDEN

                  You aired him... what's funny

                  about that?

                                DECKARD

                  Revenge.  I thought you'd...

        Holden interrupts, no longer amused.

                                HOLDEN

                  You don't revenge a machine,

                  asshole!  Your slicer cuts your

                  finger, whaddya do?  Punish it?

        Holden looks at Deckard and lets his wisdom sink in.

                                HOLDEN

                  You can't make a 'thing' feel

                  sorry, Deck.

                                DECKARD

                  They're different, the new ones.

                  That big one... he... it had

                  feelings.

        Holden glares at Deckard for a long moment.

                                HOLDEN

                  Whatja do?  Fuck it?

                                DECKARD

                  Huh?  Wh-what?  Who who?

        Deckard is alarmed.  The secret is out.

                                HOLDEN

                  The tit job, the one with the

                  snake.  You stuck it in, didn't

                  ya?

        Deckard is immensely relieved and confused.

                                DECKARD

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

                                HOLDEN

                  You made zig zig, then you aired

                  her out, now you got conscience,

                  right?

        Deckard is smug, sure of himself.  He knows the score.

        As he pontificates we CUT and suddenly we are seeing

        him on a TV screen.

                                                   CUT TO:

        INT. BRYANT'S OFFICE - DAY

        A TV monitor FILLS THE SCREEN.  Holden is continuing to

        lecture Deckard on the TV screen.

                                HOLDEN

                  You got the feelings, pal, not her.

                  You fucked a washing machine...

                  then you switched it off.  So what?

                  You cry when you turn the lights

                  out at night?

        Now we see Bryant.  He's sitting in a chair chewing a

        big cigar and glaring at the screen.

                                BRYANT

                  It's pitiful is what it is.  A

                  couple of old blade runners trying

                  to grapple with metaphysics... You

                  gonna turn out that way, Gaff?

                                GAFF

                  I piss on metaphysics.  My middle

                  name is 'death.'  See this foot...

                         (holds up his foot)

                  ... completely lethal!  Savate!

                  French foot fighting.  See these

                  hands...!

        Bryant interrupts the display, unimpressed.

                                BRYANT

                  You think he knows where she is?

                                GAFF

                         (shrugs)

                  Maybe.  Maybe not.  Deckard's a

                  deep one.  You gimmee the

                  promotion, maybe I'll find her.

                  If I get a promotion...

                                BRYANT

                  Shut up!

        Bryant is looking back at the screen, intensely inter-

        ested.

        On the screen Holden is wheezingly explaining something

        to Deckard.

                                HOLDEN

                  ... then they bust into the record

                  room at the Tyrell Corp... that

                  doesn't work!  They put that big

                  bozo... whatsitsname...

                                DECKARD

                  Leon.

                                HOLDEN

                  ... they put him in to infiltrate

                  Tyrell Corp... that doesn't work!

                  They go after that eye designer,

                  the Chinaman...

                                DECKARD

                  Chew.

                                HOLDEN

                  ... that doesn't work!

        Bryant is all attentiion, staring at the screen in

        suspense.

        Gaff is watching, too.

                                DECKARD

                  Work!  Whaddaya mean 'work.'

                                HOLDEN

                  Don't you see what they're after,

                  who they're looking for?

        On the screen Deckard frowns and shakes his head.

                                DECKARD

                  No.  Who?

        Bryant is on the edge of his seat.

                                HOLDEN

                  God!

        Bryant stares at the screen dumbfounded.  Then his jaw

        sags open in disbelief.

                                BRYANT

                  God!

        Gaff shakes his head, smirking.

                                GAFF

                  Metaphysics.

                                BRYANT

                  God?

        Bryant looks about to erupt.

                                                   CUT TO:

        INT. DECKARD'S CAR

        All we see at first is the Esper screen which features

        the strangest face ever seen.. it's lines are weirdly

        oscillating and the face itself is strangely anonymous

        and flickering. It is in fact thousands of faces flashing

        on the screen sequentially at the rate of fifty per

        second.

        Deckard is watching the screen.

        A bunch of dwarfs run past the car.

        INT. DECKARD'S CAR

        Deckard is in the dark, suddenly a spinner appears, flashing

        lights across Deckard's Face.

        The Dwarfs run away.

        A PA System blares out.

                                SPINNER

                  This sector was closed to ground traffic

                  10 minutes ago.  What are you doing here ?

                                DECKARD (on intercom to Spinner)

                  Working.  What are you doing ?

                                SPINNER

                  Don't be a smart ass.

                                DECKARD

                  This is Deckard.  Blade Runner. I'm

                  filed and monitored.

                                SPINNER

                  Hold on... checking.....

        Deckard punches up.

                                SPINNER

                  Alright you're clear.  Keep up the

                  good work.

        Deckard punches a number of vid-phone.  Waits.

        On the VIDPHONE screen (not the Esper Screen) Dr. Schlecht

        suddenly appears, answering the call.

                                DR. SCHLECHT

                  Guten Abend.

                                DECKARD

                  Dr. Hermann Schlecht..

                                DR. SCHLECHT

                  Ja.

        Deckard has shoved his badge in front of the lens.

        Schlecht squints, inspecting the badge that must be appearing

        on his vid screen.

                                DECKARD

                  You are Senior Vice President

                  of the Tyrell Corporation.

        Dr. Schlecht nods.

                                DECKARD

                  You have dix huit clearance at

                  Tyrell.   Right ?

                                DR. SCHLECHT.

                  Yes.

                                DECKARD

                  How many other employees have the

                  same clearance.

                                DR. SCHLECHT

                  Four, including Dr. Tyrell and

                  myself.

                                DECKARD

                  The others ?

                                SCHLECHT

                  Dr. Chew and J.F. Sebastian

                                DECKARD

                  Sebastian ?

                                SCHLECHT

                  Yes. J.F. Sebastian.

                                DECKARD

                  I want you to authorise access to

                  your personnel files.  Put it on

                  Esper.

                                SCHLECHT

                  Now ?  Do you know what time it is ?

                                DECKARD

                  J.F.  Sebastian employment and

                  personal information.

                                SCHLECHT

                  Punch in your  Esper code please.

        Deckard punches Schlecht out and punches in Esper.

                                DECKARD

                  Coming in.  Night Doc.

        INT. DECKARD'S CAR

        The Esper screen reveals a single face SEBASTIAN.

        Information and data blare out.

                                ESPER

                  J.F. Sebastian. AMAPT 46751.

                  Designer, Age 27, hobbies

                  Grand Master Chess Player..

                  Clearance.....

        Deckard punches the telephone number on the vid phone.

        On the vid-phone a strange out of focus face looks startled.

        It's Pris.

                                DECKARD

                  Hi.... J.F. there ?

                                PRIS

                  Who's this ?

                                DECKARD

                  An old friend of his.

        Pris looks for a moment then puts down the phone.

                               DECKARD

                  That's no way to treat a friend.

        As the vid phone goes blank one of the dwarfs jumps on

        to the hood of Deckard's car.

        Deckard starts up the car, screetches forward and the dwarf

        falls off onto the street.

        INT. SEBASTIAN'S APARTMENT

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

        surprised.

                                                   CUT TO

        INT. DECKARD'S CAR

        Deckard punches the vid screen. It is bright again with

        playback. Pris out of focus, weirdly framed, staring into

        the lens. Then it disconnects.

        Instantly  Deckard replays it again, slows the image

        Pris frozen out of focus.

                                                   CUT TO

        EXT. TYRELL CORP. - SUNSET

        The huge pyramid looms over the industrial landscape

        backed by a gorgeous sunset sky of polluted reds.

        Looking closer, we can see an elevator gliding up the

        steep slope of the pyramid toward the apex.

                                                   CUT TO:

        EXT. PYRAMID - NIGHT

        The elevator is whizzing up the slope of the pyramid.

        INT. ELEVATOR - NIGHT

        Sebastian and Batty are in the elevator, numbers flashing

        on their faces as they shoot up toward the 800th floor.

        Sebastian looks uneasy.

        Suddenly the elevator comes to an abrupt halt, lights

        flash a buzzer sounds and a VOICE emanates from a speaker.

                                SPEAKER

                  Quinzieme Bleu... cinquante.

                  You have six seconds. Counting!

                  Uno.. due... tre...

        Sebastian is frantically fumbling through a stack of

        magnetic cards he's pulled from his pocket, as the counting

        goes on simultaneously in six languages.

        batty is watching Sebastian fumble with the cards.

                                SPEAKER

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

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

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

        again.

        Sebastian gives Batty a funny look.

        The Speaker voice interrupts again.

                                SPEAKER

                  Seven hundred up.... Tyrell Corporation.

                  Purpose of visit please.

        Sebastian looks at Batty nervously.

        Batty gives a metallic smile.

                                SEBASTIAN

                  Pawn to King Three.

                                SPEAKER

                  Pawn to King Three.

        Sebastian looks worried.

                                                   CUT TO

        INT. TYRELL'S BEDROOM -NIGHT

        Tyrell is lying in a huge bed mutering into a computer

        device.

                                TYRELL

                  Note to pantry milk still to hot.

                  300,000 of Tsin Tsin Vinyl;...sell.

                  Sixty six thousand Prosser and

                  Ankopitch trade at...

                                SPEAKER

                  Quinzieme Blue entry.  A Mr. J.F.

                  Sebastian, one-six-four-one-seven.

                                TYRELL

                  At this hour!

                                SPEAKER

                  Purpose of visit... Queen to

                  Bishop six.  Check!

                                TYRELL

                  Check....nonsense!  Wait a

                  minute!  Wait a minute!

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

                                TYRELL

                  Ridiculous.  Knight takes Queen.

                  Ha!   Tell him to go home.

        Tyrell smirks.

                                SPEAKER

                  Bishop to King Seven.  Mate!

                                                   CUT TO:

        INT. ELEVATOR - NIGHT

                                SPEAKER

                  Knight takes Queen.

        Sebastian doesn't hesitate.

                                SEBASTIAN

                  Bishop to King Seven.  Mate!

        Batty's eyes glow.  A long pause.

        Suddenly the doors of the elevator opens.

                                                   CUT TO:

        INT. TYRELL'S BEDROOM - NIGHT

        Tyrell is standing at the chess board in his nightgown

        staring at the pieces in a fit of concentration.  He

        doesn't look up at the sound of footsteps.

                                SEBASTIAN

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

        Tyrell looks alarmed.

        Batty is standing in the shadows.

        Tyrell is reaching for a tasseled bell pull that hangs

        over his bed.

        Batty's eyes are like little coals glowing.

        Warned by the look, Tyrell abandons the bell pull and

        reaches under the sheets for something.

                                BATTY

                  To act without understanding

                  could lead to the very thing

                  the act seeks to avoid.

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

        Tyrell decides to heed it.  If he's scared though, he

        does a good job of concealing it.

                                TYRELL

                  I'm surprised you didn't come

                  here sooner.

        Batty moves closer to the bed and the dogs slink away,

        scared toothless.

                                BATTY

                  It's not an easy thing to meet

                  your Maker.

                                TYRELL

                  And what can He do for you?

        Batty sits on the end of Tyrell's bed.

                                BATTY

                  Can the Maker repair what He makes?

                                TYRELL

                  Would you like to be modified?

                                BATTY

                  Had mind something a little more

                  radical.

                                TYRELL

                  What's the problem?

                                BATTY

                  Death.

                                TYRELL

                  I'm afraid that's a little out of

                  my...

        Batty leans close across the sheets and cuts in in an

        urgent whisper.

                                BATTY

                  I want more life, fucker.

        Sebastain looks alarmed.

        Tyrell faces Batty with admirable cool.  After a tense

        pause, the old man slides away from Batty and out of

        bed.  He's wearing a long night shirt and he looks a

        little silly.  He looks down at Batty who's still sit-

        ting on the bed and addresses him as a professor add-

        resses a pupil.

                                TYRELL

                  The facts of life.  I'll be blunt.

                  To make an alteration in the

                  evolvement of an organic life

                  system, at least by men, makers

                  or not, is fatal.  A coding

                  sequence can't be revised once

                  it's established.

                                BATTY

                  Why?

                                TYRELL

                  Because by the second day of

                  incubation any cells that have

                  undergone reversion mutation

                  give rise to revertant colonies --

                  like rats leaving a sinking ship.

                  The ship sinks.

                                BATTY

                  What about E.M.S. recombination?

                                TYRELL

                  We've already tried it -- ethyl

                  methane sulfonate is an alkylating

                  agent and a potent mutagen -- it

                  created a virus so lethal the

                  subject was destroyed before we

                  left the table.

        Tyrell doesn't notice the subtle flicker of suspicion

        on Batty's face... like maybe Batty's not buying all

        this.

                                BATTY

                  Then a repressor protein that

                  blocks the operating cells.

                                TYRELL

                  Wouldn't obstruct replication,

                  but it does give rise to an error

                  in replication so that the newly

                  formed DNA strand carries a

                  mutation and you've got a virus

                  again... but all this is academic...

                  you are made as well as we could

                  make you.

                                BATTY

                  But not to last?

        Batty's expression doesn't reveal whether Tyrell has

        allayed his suspicions as Tyrell approaches Batty

        (sitting on the edge of the bed) and puts a fatherly

        hand on Batty's shoulder.

                                TYRELL

                  The light that burns twice as

                  bright burns half as long.  And

                  you have burned so very, very

                  brightly, Roy.

        Batty looks up at "Father" Tyrell, Tyrell is swelling

        with pride.

                                TYRELL

                  The best of all possible replicants.

                  We're proud of our prodigal son...

                  glad you've returned.  You're quite

                  a prize.

        Batty looks down in a sudden, uncharacteristically

        humble posture and speaks with guilt in his voice.

                                BATTY

                  I've done questionable things.

                                TYRELL

                  Also extraordinary things. --

                                BATTY

                  Nothing the God of bio-mechanics

                  wouldn't let you in heaven for.

        Tyrell in a burst of camaraderie, decides to give

        laughing a try and comes out with a little titter.

        After all, Roy Batty, that swell replicant is about

        to embrace him.  Everything's gonna be okay after all.

        Batty gets up from the bed and puts his hands around

        Tyrell's face.

        CRACK!  Tyrell's skull cracks like dry wood.

        Sebastian stares in horror.

        SQUISH!   Batty squashes the head in a gruesome moment.

        Tyrell slumps to the floor like empty clothes.

        Batty looks at the remains with disgust.

                                BATTY

                  Revertant colonies!  Methane sulfate!

                  Bright lights!

        Batty turns to Sebastian.

        Sebastian looks like a heart attack.

        Batty's eyes glow with fury.

        Sebastian cowers.

        EXT. ELEVATOR - NIGHT

        The tiny elevator whizzes down the huge nighttime pyramid.

        INT. ELEVATOR - NIGHT

        Lights flash, the buzzer sounds and the elevator stops.

        The speaker crackles.

                                SPEAKER

                  Dix huitieme Rouge.  18 Red.

                  You have ten seconds.

                  Counting!

                  Un... de.......

        CLICK!  Batty slaps one of Sebastian's many cards into

        the slot almost instantly.

        The lights go off, the elevator hums again.

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

                                                   CUT TO

        EXT. SEBASTIAN'S APARTMENT - NIGHT

        The spinner comes down in a whirlwind of garbage blown

        up from the street.

        Deckard gets out and looks at the building.

                                                   CUT TO

        INT. LOBBY/SEBASTIAN'S - NIGHT

        Deckard steps cautiously into the gloom and looks around.

        The shadow areas look dangerous. The place looks vacant.

        Deckard pulls his blaster out.

                                DECKARD

                  Mr. Sebastian?

        No answer. His voice echoes in the emptiness.

        Deckard walks across the dark lobby, stepping around the

        heaps of trash, his footfalls echoing noisily in the silence.

                                                   CUT TO

        INT. SEBASTIAN'S APARTMENT - NIGHT

        Pris is pacing nervously around the room.

        INT. STAIRWELL/SEBASTIAN'S BUILDING - NIGHT

        Deckard is at the foot of the gloomy stairwell looking

        up. He can hear faint noises... very eerie.

        Cautiously he begins to climb, blaster ready.

        The noises continue.

                                                   CUT TO

        INT. SEBASTIAN'S APARTMENT - NIGHT

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

        footsteps.

        INT. STAIRWELL - NIGHT

        Deckard is several flights up now, listening to the eerie

        noises.

        He starts up, stumbles on a piece of masonry.

        The masonry clatters noisily down the stairwell.

        Deckard freezes blaster ready.

                                                   CUT TO

        INT. SEBASTIAN'S APARTMENT - NIGHT

        Pris is alert listening to the clattering echo die.

        She frowns.  Is it Batty?

        INT. STAIRWELL - NIGHT

        Deckard cautiously starts to climb again, tiptoeing,

        blaster ready.

        INT. SEBASTIAN'S APARTMENT - NIGHT

        A shadowy hallway cluttered with debris.. spooky.

        Nothing moves.

        Then we catch the sight of something. Deckard !  He enters

        the hallway, pressed flat against a wall , weapon up.

        Very carefully he slides along the wall.

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

        apartment.

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

        The apartment seems empty.

        INT. SEBASTIAN'S APARTMENT - NIGHT

        Deckard inches the door open, blaster ready.  He looks

        around warily studying the apartment.  He sees nothing

        moving.

        He levels his blaster, arm extended full out cop-style,

        as he ventures deeper into the apartment.

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

        A mouse runs across the floor.

        Deep breath.

        WHUMP!  Pris drops on Deckard from above and wraps her

        bare thighs around his neck as she takes him down.

        Deckard finds himself choking ot death in bare thighs

        as she applies a brutal scissors grip with her legs.

        All he can do is bite at the flesh near her crotch as

        he fights for air and life.

        Pris might look like a punk waif but she's a powerful

        replicant and Deckard is

        falls from his hand as he writhes and

        his body.

        Finally he gets his head loose and gasps for air but

        she is immediately sitting on his chest and he looks up

        into her furious face and flailing fists.

        Deckard grabs at her trying to fight her off, tears

        her tank top loose, exposing one breast, but a lot of

        good that does him.

        Pris starts to choke Deckard with one hand and Deckard's

        only hope is to grasp blindly for his blaster on the floor.

        His hand paws wildly... he can't look... in the general

        area, and when he feels it he grabs it.  He struggles

        to point it at her.

                                DECKARD

                  Please!  I don't want...

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

        BOW!  Masonry erupts on the ceiling.

        Dekcard struggles to point the weapon but she has his

        wrist in her replicant grip.

                                DECKARD

                  Please!  I don't want to kill you.

        Fat chance!  It doesn't look like he could if he wanted

        to.  She's choking him with one hand, squeezing the

        weapon loose with the other.

        Deckard, fighting for breath and life, gives a violent

        wrench and manages to bring the weapon to bear just

        long enough to squeeze off one shot.

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

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

        empty socket.

        Deckard rolls free and tries to cover her.

                                DECKARD

                  Please!  I...

        WHAP!  She kicks him in the chest and he flies back

        into a wall.

        She's advancing on him, kicking like some martial arts

        master... WHAP! WHAP! WHAP!

        Deckard has to shoot or be kicked to death, he's already

        badly battered by her furious feet.

        BOW!  BOW!  Pris is blown away

        hits.

        BOW!  The third hit catches her in the back of the neck

        as she spins away from Deckard... and that's it, she

        goes down in a limp heap, leaving Deckard standing there,

        bloody and stupified.

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

        elevator ascending.

        Deckard frowns.  He starts toward the door, reaching in his

        pocket as he goes and pulling out a cassette.

        INT. CORRIDOR - NIGHT

        Deckard slams the cassette into his blaster as he steps

        intop the corridor and looks toward the sound.

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

        Deckard doesn't like this.  He glances quickly as the

        various possible routes for escpe.

        Not the stairs.

        Nothing else.

        The lift is almost to Sebastian's floor.

        Deckard retreats hastily into Sebastian's apartment.

                                                   CUT TO

        INT. SEBASTIAN'S APARTMENT - NIGHT

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

        He hears the elevator stop.  Then footsteps.

        Deckard considers.

        The footsteps are getting closer.

        Deckard walks silently toward the other door leading into the

        next room and steps through it.

        The footsteps keep coming.

        And the breathing has started. Asthmatic, rasping.

                                                   CUT TO

        INT. BILLIARD ROOM - NIGHT

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

        blaster ready.

        INT. SEBASTIAN'S APARTMENT NIGHT

        Deckard comes running into the lobby (hand held)through

        the billiard room and into the darkened area the other

        side of the billiard room and stands breathing heavily

        gun aimed towards the lobby.

        INT. LOBBY - NIGHT

        Batty's shadow appears in the doorway (Deckard's POV) he

        stares at Pris' dead body.

        His body walks into the shadow.

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

        disappears.

        Deckard's bullet smashes into the dresser in the bedroom,

        the mirror explodes.

        Deckard runs into the billiard room.

        INT. BILLIARD ROOM - NIGHT

        He ducks back behind the wall.

        Suddenly a hand comes tearing through the wall, and pulls

        Deckard's hand through.

        Systematically, Batty breaks two of Deckard's fingers.

                                BATTY

                  For Pris... for Zhora....

                  Proud of yourself little man....

        As Deckard screams, Batty puts the gun back in Deckard's

        broken hand and pushes it back through the hole.

        Batty's head peers through the hole, and Deckards fires at

        him grazing the side of his face and blowing off his ear.

        Deckard starts running (hand held) through the rooms

        looking for an escape.

                                BATTY(OS)

                  Not very sporting to fire on

                  an unarmed opponent. I thought

                  you were supposed to be good...

                  arent you the man.

                                                   CUT TO

        INT. DARK ROOM - NIGHT

        Batty in semi darkness is

        streaming down in his from his wounds.  He starts to daub

        his face with his own blood, like a commanche warrior.

        Then he starts to strip down - a tribal ritual.

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

        Deckard runs into the darkened room. Rats scuttle across

        the floor.

        He hears footsteps coming.  There are no other exits.

        He looks at the armoire.  His only escape.

        He runs to a table and with great pain bends his fingers back

        then runs to the armoire and starts to climb it.

        Batty walks into the room looks up at Deckard and starts

        to laugh.

                                BATTY

                  Where are you going ?

        Deckard continues towards the ceiling, the armoire

        starts to tilt, water drips on his head.

        Thunder and lightning erupt.

        INT. FLOOR B - TOILET - NIGHT

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

        overflowing toilet.

        All of a sudden he too starts to laugh, as he lays down

        on the floor, his laughter becoming hysterical.

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

        fingers.

        Suddenly, with a resounding crash Batty's head comes through

        the marble above the basin.

        Deckard gets up and makes a run for the door at the end of

        the room, as Batty, animal like, starts slurping the water

        out of the basin.

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

        The other door opens and Batty walks in, as Deckard manages

        to open his door.

        INT. CLOSET - NIGHT

        Two hundred objects (pigeons) burst out of the room into

        Deckard's face as he runs into the closed off room.

        There is no way out except by the

        proceeds to tear down.

                                BATTY

                  Now where are you going?

        Deckard climbs out the window, as Batty watches.

        EXT. ROOF - WINDOW LEDGE - NIGHT

        Deckard slowly eases himself around the window ledge

        and edges his way around to a cornice.

        Batty appears at another window, as Deckard scrambles

        up the cornice and on to the roof, wind and rain hindering

        his climb.

        EXT ROOF - NIGHT

        Wind and rain. Deckard dashes onto the roof and looks

        frantically over his shoulder. Batty isn't in sight yet.

        He looks around desperately. The roof is a desert no

        shelter. Deckard looks across at the next building.

        Suddenly a rooftop door opens and Batty steps out.

        Deckard looks back at the next building. Is it possible ?

        A long jump. But what choice.

        Decision time.  Deckard decides to go.  He runs directly

        towards Batty, turns, pumping like crazy, going for the gap.

                                                   CUT TO

        EXT. THE ROOF - LOW ANGLE - NIGHT

        Looking up from way below, two buildings loom into the

        dark with a gap between them and a tiny figure running

        like hell and... jumping!

        Deckard leaps across the gap, flies through the air...

        almost makes it... catches a cornice on the second

        building... hangs many stories up over the street and we:

                                                   CUT TO:

        EXT. THE SECOND ROOF - NIGHT

        Deckard hangs onto the cornice in the wind and rain.

        One hand is almost useless, the other's strained to

        the limit.  He looks down.  A long, long fall to the

        ground.

        Deckard looks behind him, over his shoulder.

        He can see Batty twenty feet away on the edge of the

        first roof, watching him.

        Deckard is almost sobbing, holding on with everything

        he's got as we:

                                                   CUT TO:

        EXT. THE FIRST ROOF - NIGHT

        Batty stands there watching Deckard hang.

        Batty grins.

        Then one of his hands cramps badly.  He has to work the

        fingers open with effort.

        He looks at Deckard again.

        Batty walks back five yards, sprints quickly, and

        leaps as we:

                                                   CUT TO:

        EXT. ROOF - LOW ANGLE - NIGHT

        From below we see the tiny figure of Batty as he leaps

        easily across the gap between the two looming skyscrapers

        and we:

                                                   CUT TO:

        EXT. SECOND ROOF - NIGHT

        Deckard is hanging there as Batty lands not far from

        Deckard's desperate hands.

        Batty looks down at Deckard.

        Batty grins and takes a seat only a couple of feet

        from Deckard.

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

        The street looms way below.

        Deckard looks desperately into Batty's cold eyes.

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

        Deckard looks into that awful smile and sees no hope

        there.

        Batty glances down at his own hand.  Spasms again.

        Deckard's hand is going.  He knows it's over now, he

        bites the bullet of his anger.  He glares at Batty as

        his grip gives way.

                                DECKARD

                  Asshole!

        Batty meets Deckard's angry eyes.

        Deckard's hand continues to slip.

        Batty is still looking at Deckard's rage.  It moves the

        warrior in him, you can see Batty change his opinion.

        Too late!  Deckard's hand goes.

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

        hand and holds Deckard.

        Deckard is suspended above the awesome drop, not sure

        why he's not falling.  He opens his tightly closed eyes

        and looks up.

        He looks up into the stern warrior face of Batty, the

        cold eyes!

        Deckard hangs there and for a moment he has to consider

        whether this is the continuation of a cruel game.

        The Batty is hauling him up one-handed and with that

        scary strength he has.

        Deckard is pulled onto the roof where he lies on his

        stomach gasping for breath, not moving, just feeling

        something solid under him.

        Batty looks at the man gasping next to him with the

        cold eyes of a man looking at a fish.  It is as though

        Deckard is some species far below Batty on the evolu-

        tionary scale.

        Batty's hand cramps again.

        Batty looks at it, almost with curiosity.

                                                   JUMP CUT TO:

        EXT. THE SECOND ROOF (LATER)

        Deckard is looking at Batty.

        Batty is partly crumpled, frozen in an unnatural posi-

        tion as though he had been writhing and stopped mid-

        writhe.  He looks back at Deckard with eyes full of

        life and intensity.

        They stare at each other for a long time in silence,

        communicating something with their eyes... without

        expression.  Finally Batty breaks the silence.

                                BATTY

                  I've seen things...

                         (long pause)

                  seen things you little people

                  wouldn't believe... Attack ships

                  on fire off the shoulder of Orion

                  bright as magnesium... I rode on

                  the back decks of a blinker and

                  watched c-beams glitter in the dark

                  near the Tanhauser Gate.

                         (pause)

                  all those moments... they'll be gone.

        Batty holds Deckard's eyes like a hypnotist.

                                                   CUT TO:

        EXT. THE SECOND ROOF (A LITTLE LATER)

        Batty is crumpled in a different position.  It's light-

        er now and Batty's eyes are staring into infinity...

        almost lifelessly.  A pigeon flutters down and perches

        on his shoulder.  Batty doesn't stir.

        Deckard is watching motionless.

        The pigeon flies off.

        Batty doesn't move.  Alive or dead?

                                                   CUT TO:

        EXT. THE SECOND ROOF - DAWN

        A more distant perspective.  Deckard is a small figure

        looking down at the dead body of Batty.

                                DECKARD (V.O.)

                  I watched him die all night.  It

                  was a long, slow thing and he

                  fought it all the way.  He never

                  whimpered and he never quit.  He

                  took all the time he had... as

                  though he loved life very much...

                  every second of it... even the

                  pain.  Then he was dead.

        EXT. ROOF - DAWN

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

        light.

        Deckard's at the edge of the roof.

        Maybe someday he'll be better.  But right now he hasn't

        even got the energy to be sick.

        The Mexican's voice doesn't surprise him, it comes through

        the silence like the rasping of raven's wings.

                                GAFF

                  How do you rate yourself, now Deckard ?

        He is standing 20 feet away, on the edge of the roof, like

        a captain looking at the sea.  Smarts as a rooster,he places

        a foot on the buttress....

                                GAFF

                  You put on quite a show - no doubt

                  about it...

        With a flourish he brings a dirty rag out of his pocket and

        starts polishing the pointed tip of his long black shoe.

                                GAFF

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

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

        Gaff moistens the rag with his tongue and applies it to

        the toe.

                                GAFF

                  I could kill you right now -

                  so you better say something.

        Deckard is unarmed. Gaff's got all the aces- seems to be

        bristling with concealed weapons.  Deckard's eyes level on

        him.  His voice comes out low and raw.

                                DECKARD

                  Yeah. I think you're a wimp.

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

        him.

                                GAFF

                  I admire you more and more.

        Deckard exhales fatigue.  His eyes close. The bullshit

        is endless.  Gaff smiles like a beaver. Puts the rag back

        in his pocket.

                                GAFF

                  I guess you're through, huh.

        Deckard doesn't answer.

                                GAFF

                  Washed up. Wiped out.   Finished.

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

                                GAFF

                  What about it.

                                DECKARD

                  Yeah. I'm through.

        Somewhere far away a whistle blows. Then silence. Deckard

        turns.  He is moving away.  His back to the Mexican. Gaff's

        voice follows him. Taunting.

                                GAFF

                  You did

                  sure you are, man.

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

                                GAFF

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

                  here.

        Deckard keeps walking.

                                GAFF

                  Carnall!

        Deckard slowly turns.

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

                                GAFF

                  Oye la agua.

        Deckard stares. He doesn't know the words.

        Ever the dandy, Gaff swaggers closer, stops.

                                GAFF

                  Here.

        He throws the gun across the gap to Deckard.

        Deckard doesn't try to catch it. It lands at his feet.

        Gaff dismisses the rejection with a suck on his teeth.

                                GAFF

                  I wouldn't wait too long. I wouldn't

                  fool around. I'd get my little panocha

                  and get the hell outta here.

        They just stare at each other. Gaff smiles.

                                GAFF

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

        The smile is real and a little sad.

                                GAFF

                  But who does.

        Everybody knows the answer to that one.

        The Mexican shrugs.

        The light is brighter.

        The gun gleams on the wet

        Deckard turns and walks.

                                                   CUT TO

        INT. DECKARD'S CORRIDOR - DAY

        Deckard's FEET CLICK along the corridor as he

        approaches his door.

        Near the door, on the floor, is a little tinfoil uni-

        corn, the kind of sculpture Gaff has been crafting on

        previous occasions.

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

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

                                                   CUT TO:

        INT. DECKARD'S LIVING ROOM - DAY

        The room is dark and quiet as Deckard enters.  You can

        hear the SOUND OF A BABY CRYING somewhere.

        Deckard frowns, looks around.

        The CLOCK TICKS.  The BABY CRIES.  Nothing moves.

                                DECKARD

                  Rachael.

        No answer.

        Deckard looks concerned.  He glances in the kitchen.

                                                   CUT TO:

        INT. KITCHEN - DECKARD'S POV - DAY

        He sees the same old mess.

        Or did she clean it up?

                                                   CUT TO:

        INT. BEDROOM - DAY

        The bedroom is dark.

        Deckard opens the door.

        He sees something on the bed.  Motionless.  A body?

        Deckard enters.

        The CLOCK TICKS.  The BABY SQUALLS in the distance.

        Deckard goes close.

        Rachael is on the bed.  Completely motionless.

        Deckard leans over her, very close, to see if she's

        breathing.

        A long moment.

        Then the tension goes out of him.  She's alive.  He

        turns away from her with a new urgency.

        He pulls the blaster from his holster and goes to the

        dresser.  He opens a drawer and pulls out a box of

        ammo.  Opens it.

        KACHUK!  He slams a cartridge in the gun.

        KACHUK!  Another.

        On the bed Rachael stirs, opens her eyes.  KACHUK!

        She sees an ominous sight.  Deckard is loading his gun

        in the shadows near the dresser, his back to her.

        KACHUK!  He slams the last cartridge in.

                                DECKARD

                  Do you love me?

        He is looking at her in the mirror on the dresser.  He

        has the gun in his hand.

        She is looking at his back.

                                RACHAEL

                  I love you.

        Deckard holsters the gun without turning and pulls

        open another drawer.

                                DECKARD

                  Do you trust me?

        Deckard is pulling clothes out of the drawer, stuff-

        ing them hastily into a parachute bag.

                                RACHAEL

                  I trust you.

        Deckard turns and looks at her, one hand full of

        clothes, the other hand holding the parachute bag.

                                                   CUT TO:

        INT. CORRIDOR - DAY

        The door opens and Deckard and Rachael step out.  They

        are carrying a couple of overnight cases.

        Rachael starts toward the elevator.

        Deckard locks the door and turns to follow her.

        He spots something on the floor, something small.

        He reaches down and picks it up.

        It's the tiny unicorn made of tinfoil... Gaff's

        gauntlet.

        Deckard looks at it for a moment.

                                                   CUT TO:

        EXT. MOVING TREES - DAY

        Birch trees whip past at 160 miles per hour urged on

        by big, nasty MUSIC.

        We have the feeling we are going to see a unicorn.

        Instead we see Deckard's car rocketing through the

        woods.

                                                   CUT TO:

        INT. DECKARD'S CAR - DAY

        Deckard is at the wheel, Rachael is beside him.

        Deckard smiles at her.

        Rachael smiles back tentatively.

        Deckard glances back at the road, then at the vid

        screen.

        A little blip flashes on the screen.

        Deckard notices it, his eyes narrow just a little.  He

        reaches in his pocket, pulls out the unicorn.

        Deckard puts the tinfoil unicorn on the dash.

        A flicker of a smile crosses his face.

                                                   CUT TO:

        EXT. WOODS - DAY

        Deckard's car bullets through the woods in a fury of

        speed and MUSIC.

        We BACK OFF IT AND UP, PAST whizzing branches, OVER

        the treetops, losing the car as we SOAR over what is

        suddenly a vast forest spreading to infinity.

        Enormous MUSIC!

        Deckard's voice over.

                                DECKARD (V.O.)

                  I knew it on the roof that night.

                  We were brothers, Roy Batty and I!

                  Combat models of the highest order.

                  We had fought in wars not yet

                  dreamed of... in vast nightmares

                  still unnamed.  We were the new

                  people... Roy and me and Rachael!

                  We were made for this world.  It

                  was ours!

        Trees explode PAST US in a rage of branches as we DIP

        and SWERVE and that's when the spinner looms INTO VIEW

        zooming RIGHT AT US, then tilting and yawing off in

        hot pursuit with Gaff at the controls.

        CREDITS ARE ROLLING, God help us all!

FADE OUT.

THE END