Hampton Fancher Worked for Years to Get His Screenplay Taken On. However, Even After It

Hampton Fancher worked for years to get his screenplay taken on. However, even after it was funded and Ridley Scott had accepted the role of Director, the process of rewriting the Blade Runner script still continued for a year. There are two earlier versions of Blade Runner scripts commonly available (you can download them from www.Brmovie.com). Elements of various versions of the scripts were finally combined to create the final shooting script and of course, during filming, they diverged from even that. Therefore the film itself differs considerably from earlier scripts.

So, there have been a number of attempts over the years at creating a “reverse-engineered” transcript of the film itself. These vary in quality, but even the better ones contain many errors, particularly in the non-English parts, (as do even the subtitles on the DVD). With the attempts by BRmovie contributors to get the definitive translations of such as the Noodle Bar scene, it was the obvious next step to create the definitive ‘final script’ of the film. And unlike every other version, this is the Multi-Script – it has the dialogue and significant actions from the three main versions that highlight the bigger differences. These are the Workprint (WP), the Original International Theatrical release [OV] and the Director’s Cut release [DC]. The Special Edition variations will be added when it finally becomes available (possibly 2019…)

This transcript has been created by Netrunner with direct reference to the three versions of the film and to the early scripts, but fully acknowledges the efforts of previous transcribers whose interpretations have been considered. Particular thanks go to those who have assisted in translation of non-English sections for the Blade Runner FAQ (also available at www.BRmovie.com).

The biggest thanks must of course go to Philip K. Dick for writing Do Androids Dream of Electric Sheep – the novel that inspired Blade Runner; to Hampton Fancher for creating the screenplay; to David Peoples for his enhancing of the screenplay; and to Ridley Scott for turning his vision of the screenplay into the wonderful film we all know and love. Acknowledgement also to Roland Kibbee for writing much of the voiceover that ended up in the Original Theatrical release. Special mention for Paul M. Sammon, who in his book Future Noir, gives us insights into the background details and of the making of the film and its variations beyond the level we could ever have got from anywhere else.

While every attempt has been made to create the best possible “reverse-engineered script”, it can never be “perfect”. I do not even consider it 100% finished. There are improvements that can still be made. And while I have attempted to make this as objective as possible, there will inevitably be the occasional subjective viewpoints slipping through. If you have any comments, improvements or suggestions at all, then by all means e-mail me: [email protected]

Finally, to state the obvious but legally necessary: This is a fan effort created for the amusement of other Blade Runner fans. I have no ownership rights to the script or film in any way and obviously this transcript is provided absolutely free. You may copy this document elsewhere, but if you do feel the need to do that, please retain this introduction. It will always be available (and continue to be updated) at www.BRmovie.com

This is Version 1.0 <>

Early in the 21st Century, THE TYRELL CORPORATION advanced Robot evolution into the NEXUS phase - a being virtually identical to a human - known as a Replicant.

The NEXUS 6 Replicants were superior in strength and agility, and at least equal in intelligence, to the genetic engineers who created them.

Replicants were used Off-World as slave labor, in the hazardous exploration and colonization of other planets.

After a bloody mutiny by a NEXUS 6 combat team in an Off-World colony, Replicants were declared illegal on earth - under penalty of death.

Special police squads - BLADE RUNNER UNITS - had orders to shoot to kill, upon detection, any trespassing Replicant.

This was not called execution. It was called retirement. <>

<> REPLICANT\rep’-li-cant\n. See also ROBOT (antique): ANDROID (obsolete): NEXUS (generic): Synthetic human, with paraphysical capabilities, having skin/flesh culture. Also: Rep, skin job (slang): Off-World uses: Combat, high risk industrial, deepspace probe. On- World use prohibited. Specifications and quantities – information classified. New American Dictionary. Copyright © 2016 <>

LOS ANGELES NOVEMBER, 2019 [View over ‘Hades’ – part of Los Angeles.] <> Air Traffic Control: Spinner niner-nine-Red-two, Tyrell Approach Control. Radar contact two-zero miles west. Spec planning pad Red-two, spec Green sector automated approach. <> <> [Hades is reflected in (“Holden’s”) eye. He is standing in a room at the Tyrell headquarters, smoking a cigarette.] <> Intercom: Next subject: Kowalski, Leon. Engineer, waste disposal. File Section - new employee - six days. [Knock on “door”] Intercom (background): Calling Mr. Weber. Please respond to Zone A, Sector 9. Holden: Come in. Intercom (background): Replication Sector, Level 9 - we have a B-1 security alert. Stand by for ID check. Holden: Sit down. Intercom (background): Replication Sector, Level 9 - we have a B-1 security alert. Please stand by for... [announcements continue in distant background as Holden calibrates the Voight-Kampff machine] Leon: Care if I talk? I'm kinda nervous when I take tests. Holden: Uh, just please don't move. Leon: Oh, I’m sorry. [pause] I already had an I.Q. test this year. I don't think I've ever had one of these-- Holden: Reaction time is a factor in this, so please pay attention. Now answer as quickly as you can. Leon: Sure. Holden: [Looking at Leon’s file] One-one-eight-seven Hunterwasser. Leon: That's the hotel. Holden: [Looks up, irritated] What? Leon: Where I live. Holden: Nice place? Leon: Yeah, sure I guess. That part of the test? Holden: No. Just warming you up, that's all. Leon: Oh. It's not fancy or anything. Holden: You're in a desert, walking along in the sand, when all of a sud-- Leon: Is this the test now? Holden: Yes. You're in a desert walking along in the sand when all of a sudden you look down-- Leon: What one? Holden: [Very irritated] What? Leon: What desert? Holden: [Calmly] 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 wanna be by yourself. Who knows? You look down and you see a tortoise, Leon. It's crawling towards you-- Leon: Tortoise? What's that? Holden: [Pauses to puff on cigarette, perhaps wondering if Leon is messing with him?] You know what a turtle is? Leon: Of course. Holden: Same thing. Leon: Never seen a turtle. [Holden is not happy with V-K readings. Leon is figuring out what this test really is, but sees Holden’s patience is wearing thin.] Leon: But I understand what you mean. Holden: You reach down and you flip the tortoise over on its back, Leon. Leon: Do you make up these questions, Mr. Holden. Or do they write ‘em down for you? Holden: [echoing] 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: [Getting agitated] What do you mean I'm not helping? Holden: I mean you're not helping. Why is that, Leon? [Leon seems confused. Holden leans back.] Holden: They're just questions, Leon. [Puffs cigarette] In answer to your query, they're written down for me. It's a test designed to provoke an emotional response. [Pauses and leans forward to put cigarette in ashtray] Shall we continue? [Leon nods slightly and leans forward with hands under table] Holden: Describe, in single words, only the good things that come into your mind -about … your mother. Leon: My mother? Holden: Yeah. Leon: Let me tell you about my mother. [Leon shoots Holden through table. Holden is pulling gun out, but is not as fast as Leon. As Holden in his chair crashed through the partition wall, Leon stands and shoots him again.] -- / -- [Spinner flies through city skyscrapers, passes huge billboard of lady happily popping a pill. Down at street level we look up at advertising blimp.] Blimp: A new life awaits you in the Off-World colonies. The chance to begin again in a golden land of opportunity and adventure. [Rainy, dark, busy, pedestrian street. Deckard reads a newspaper across from a noodle bar, waiting for a seat to open up. (Note: we call the next guy “Sushi Master” though he is actually the manager of this outlet of the White Dragon Noodle Bar chain.)] Sushi Master: [To a customer] Nani ni shimasho ka. {Japanese: "What would you like to have?"] Blimp: A new life awaits you in the Off-World Colonies. The chance to begin again in a golden land of opportunity and adventure. <> Blimp: Let’s go to the Colonies! This announcement has been brought to you by the Shimago-Dominguez Corporation. Helping America into the New World. [Note: Scripted as Dominguez-Shimata – the names of two Off-World Colonies.] <> <> Blimp: New climate, recreational facilities ... [Continues in background] Deckard (voiceover): They don't advertise for killers in the newspaper. That was my profession. Ex-cop, ex-Blade Runner, ex-killer. <> Blimp: [Continues over some of the following dialogue] Use your new friend as a personal body servant or a tireless field hand. The custom tailored genetically engineered humanoid replicant designed especially for your needs. So come on America, lets put our team up there ... Sushi Master: [Calls to Deckard] Kimashita, kimashita! Irasshai, irasshai! {Japanese: "Come, come. Welcome, welcome!"} [Deckard goes over to Noodle Bar.] Sushi Master: Sa dozo. {Japanese: "Come, please." (sit down here)} [Deckard takes place Sushi Master indicates.] Sushi Master: Nani ni shimasho ka. {Japanese: "What would you like to have?"} Deckard: [Points] Give me four. Sushi Master: Futatsu de jubun desu yo. {Japanese: "Two is enough!"} Deckard: No. Four. Two, two, four. Sushi Master: Futatsu de jubun desu yo. {Japanese: "Two is enough!"} Deckard: [Resignedly] And noodles. Sushi Master: Wakatte kudasai yo. {Japanese: "Please understand!" (Actually implying sarcastically, "Can't you understand?") He knows Deckard by name, so this is probably a familiar jibing between the two.} [Deckard rubs the splinters off his disposable chopsticks and the Sushi Master gives him his noodles.] <> Deckard (voiceover): Sushi. That's what my ex-wife called me. Cold fish. <> [Two people move to stand behind him.] Policeman: Hey, idi-wa. {Korean: "Hey, come here."} Gaff: Monsieur, azonnal kövessen engem bitte. {French-Hungarian-German: "Sir, follow me immediately please!" ("azonnal" - means immediately; "kövessen" - means follow imperative; "engem" - means me. And of course "Monsieur" is French for Sir and "bitte" is German for please.)} [Deckard gestures to Sushi Master to translate. (Maybe Deckard understands, but pretends not to.)] Sushi Master: He say you under arrest, Mr. Deckard. Deckard: [Trying to eat his dinner] You got the wrong guy, pal. Gaff: Lófaszt, nehogy már. Te vagy a Blade ... Blade Runner. {Hungarian: "Horsedick, no way! You are the Blade ... Blade Runner."} Sushi Master: He say you 'Brade Runner'. Deckard: Tell him I'm eating. Gaff: Captain Bryant toka. Me ni omae yo. {Japanese: "Captain Bryant wants to see your mug in front of his immediately!" (This is a loose translation. "Me ni omae yo" is a sort of pun. "Me ni mae" means to meet someone. "omae" is the very informal use of "you" - in Japanese, this is significant. "yo" - Exclamation - Japanese doesn't use the '!' punctuation. "toka" in this sense perhaps also marks information from someone else.)} Deckard: Bryant, huh? Gaff: Hai! {Japanese: "Yes!"} [Deckard takes his noodles with him as he and Gaff leave in spinner. Note “Purge” vidscreen from ‘Alien’.] Spinner: Yellow 3. Climb and maintain four thousand. When approaching pad six ... caution. [Flight through city to Police Tower. Deckard silently finishes his noodle dinner.] <> Gaff: [(Gaff putting Deckard down, saying he could do a better job than Deckard, that Deckard looked sloppy and that Deckard’s bad grooming reflected poorly on the police department.)] <> <> [Gaff is talking (putting Deckard down), but we don’t hear his words.] <> <> Deckard (voiceover): The charmer's name was Gaff. I'd seen him around. Bryant must have upped him to the Blade Runner unit. That gibberish he talked was Cityspeak, gutter-talk … a mishmash of Japanese, Spanish, German, what have you. I didn't really need a translator. I knew the lingo - every good cop did. But I wasn't going to make it easier for him. <> Spinner: [As they circle in to land on the Police Tower roof] Final descent, now on glide path, on course, over the landing threshold. -- / -- [Interior of police station, Deckard and Gaff walk to Bryant's office. The door has H. BRYANT INSPECTOR on it.] Bryant: Hiya Deck. Deckard: Bryant. Bryant: You wouldn't have come if I’d just asked you to. Siddown pal. [Deckard glares at Bryant without moving.] Bryant: C'mon don't be an asshole Deckard. I've got four skin jobs walking the streets. [Deckard and Gaff enter Bryant’s office and sit down. A police radio chatters in the background.] <> Deckard (voiceover): Skin jobs. That's what Bryant called replicants. In history books he's the kind of cop that used to call black men niggers. [(Note: It is only this VO that suggests “skin job” is a bigoted term.)] <> Bryant: [Bryant cracks open some Johnny Walker Black Label and pours two glasses (but never touches his own.)] They jumped a shuttle Off-World. Killed the crew and passengers. They found the shuttle drifting off the coast two weeks ago so we know they're around. Deckard: [Reaches for whiskey glass] Embarrassing. [Drinks] Bryant: No sir, not embarrassing, ‘cause no one's ever going to find out they're down here. ‘Cause you're gonna spot ‘em, and you're gonna air ‘em out. Deckard: I don't work here anymore. [Puts down empty glass to punctuate end of sentence.] Give it to Holden. He's good. Bryant: I did. He can breathe okay as long as nobody unplugs him. [Gaff picks up a small piece of crumpled paper from ashtray] He's not good enough. Not as good as you. I need ya, Deck. This is a bad one. The worst yet. <> Bryant: I need the old Blade Runner. I need your magic. <> Deckard: I was quit when I come in here, Bryant. I'm twice as quit now. [Gets up to leave.] Bryant: Stop right where you are! You know the score, pal. You're not cop, you're little people. [Gaff puts origami chicken on corner of table.] Deckard: [Turns round from door.] No choice, huh? Bryant: No choice, pal. -- / -- [Blue Room. The V.K. video of Leon is showing. (Note: The words in the video are not quite the same as the scene we saw earlier – or is your memory playing tricks?)] Leon (video): I’ve already had an I.Q. test this year. I don't think I've ever had one of these. [Video display shows “V.K. 96/W/9-3H”] <> Bryant: That’s Leon, ammunition loader on intergalactic runs. He can lift four- hundred-pound atomic loads all day and night. The only way you can hurt him is to kill him. <> Holden (video): Reaction time is a factor in this, so please pay attention. Answer as quickly as you can. Leon (video): Yeah, sure. Holden (video): One-one-eight-seven at Hunterwasser. Leon (video): Yeah… that's the hotel. Holden (video): What? Leon (video): Where I live. Holden (video): Nice place? Leon (video): Yeah, sure I guess. Bryant: There was an escape from the Off-World colonies two weeks ago. Six replicants, three male, three female. They slaughtered twenty-three people and jumped a shuttle. An aerial patrol spotted the ship off the coast. No crew, no sight of them. Three nights ago they tried to break into Tyrell Corporation. One of them got fried running through an electrical field. We lost the others. On the possibility they might try to infiltrate as employees, I had Holden go over and run Voight-Kampff tests on the new workers. Looks like he got himself one. [(Note: in the above, the camera is not on Bryant when he says “one” got fried, so the overdub of “two” works fine – as indeed it actually does in the WP.)] Holden (video): So you look down and you see a tortoise. It's crawling towards you. Leon (video): Tortoise, what's that? Holden (video): Know what a turtle is? Leon (video): Of course. Holden (video): Same thing. Leon (video): I've never seen a turtle. [As they’re speaking, the video shows Leon’s incept data: Replicant (M) Des: LEON NEXUS 6 N6MAC41717 Incept Date: 10 APRIL, 2017 Func: Combat / Loader (Nuc. Fiss.) Phys: LEV. A Ment: LEV. C ] Deckard: But I don't get it. What do they risk coming back to earth for? That's unusual. Why… What do they want out of the Tyrell Corporation? Bryant: Well you tell me pal, that's what you're here for. [Deckard smirks. Then Roy Batty’s incept tape comes up.] Deckard: What's this? [Note: “What” not “Who”…] Bryant: Nexus 6. Roy Batty. Incept date, 2016. Combat model. Optimum self- sufficiency. Probably the leader. [Roy’s incept data: Replicant (M) Des: BATTY (Roy) NEXUS 6 N6MAA10816 Incept Date: 8 JAN., 2016 Func: Combat, Colonization Defense Prog. Phys: LEV. A Ment: LEV. A Then Zhora’s incept tape comes up on screen.] Bryant: This is Zhora. She's trained for an Off-World kick-murder squad. Talk about beauty and the beast. She's both. [Zhora’s incept data: Replicant (F) Des: ZHORA NEXUS 6 N6FAB61216 Incept Date: 12 JUNE, 2016 Func: Retrained(9 Feb.,2018)Polit. Homicide Phys: LEV. A Ment: LEV. B Then Pris’s incept tape comes up on screen. Pris’s incept data: Replicant (F) Des: PRIS NEXUS 6 N6FAB21416 Incept Date: 14 FEB., 2016 Func: Military / Leisure Phys: LEV. A Ment: LEV. B ] Bryant: The fourth skin job is Pris. A basic pleasure model. The standard item for military clubs in the outer colonies. They were designed to copy human beings in every way, except their emotions. The designers reckoned that after a few years, they might develop their own emotional responses. Oh, hate, love, fear, anger, envy. So they built in a fail-safe device. Deckard: Which is what? Bryant: Four-year life span. Bryant: Now there's a Nexus 6 over at the Tyrell Corporation. I want you to go put the machine on it. Deckard: And if the machine doesn't work? [Not a question Bryant even wants to contemplate…] -- / -- [Gaff flies Deckard across town, passing the Coca Cola ad, to the impressive Tyrell buildings, glowing in the rays of the setting sun. This time they are both silent] <> Air Traffic Control: Police niner-niner-five, Tyrell Approach Control. The wind’s zero-nine-zero at six, and the altimeter two-niner-niner-two. <> <> Deckard (voiceover): I'd quit because I'd had a belly full of killing. But then I'd rather be a killer than a victim. And that's exactly what Bryant's threat about little people meant. So I hooked in once more, thinking that if I couldn't take it, I'd split later. I didn't have to worry about Gaff. He was brown-nosing for a promotion, so he didn't want me back anyway. <> <> Air Traffic Control: Spinner niner-niner, Tyrell Approach Control. Radar contact two-zero miles west. Spec planning pad Red-two, spec Green sector automated approach. [To another spinner] Pad two. The wind’s sero-niner-zero at six. Spinner two, Tyrell Approach Control. Spec planning Yellow. <> -- / -- [Deckard waits in a huge and impressive, minimally furnished room – Tyrell’s “office”. The owl flies across. Rachael enters.] Rachael: Do you like our owl? Deckard: It's artificial? Rachael: Of course it is. [(Note that this was originally spoken during filming as, “Of course not.” but was changed in post-production.)] Deckard: Must be expensive. Rachael: Very. I'm Rachael. Deckard: Deckard. Rachael: It seems you feel our work is not of benefit to the public. Deckard: Replicants are like any other machine. They're either a benefit or a hazard. If they're a benefit, it's not my problem. Rachael: May I ask you a personal question? Deckard: Sure. [Deckard sits in a chair.] <> Deckard: What is it? <> Rachael: Have you ever retired a human by mistake? Deckard: No. Rachael: But in your position that is a risk? Tyrell: [Has entered room silently.] 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. Rachael: Mr. Deckard, Dr. Eldon Tyrell. Tyrell: Demonstrate it. I want to see it work. Deckard: Where's the subject? 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: Try her. [Rachael smiles.] Deckard: It's too bright in here. [Tyrell goes to the end of the table and initiates window polarizing that dims the sun. Rachael sits. Deckard removes the V-K machine from a large briefcase and sets it up. (Note: If you look carefully in the long shot, you’ll see that Ford mimes getting the V-K machine out as it is already on the table!)] Rachael: Do you mind if I smoke? Deckard: It won't affect the test. Alright, I'm gonna ask you a series of questions. Just relax and answer them as simply as you can. [Rachael lights her cigarette. Deckard finishes calibrating the machine.] Deckard: It's your birthday. Someone gives you a calfskin wallet. Rachael: I wouldn't accept it. Also, I'd report the person who gave it to me to the police. Deckard: You've got a little boy. He shows you his butterfly collection plus the killing jar. Rachael: [Rachael’s eyes shine red.] I'd take him to the doctor. Deckard: You're watching television. Suddenly you realize there's a wasp crawling on your arm. Rachael: I'd kill it. Deckard: You're reading a magazine. You come across a full-page nude photo of a girl. Rachael: Is this testing whether I'm a replicant or a lesbian, Mr. Deckard? Deckard: Just answer the questions, please. [pause] You show it to your husband. He likes it so much, he hangs it on your bedroom wall. Deckard (background future echo): ...bush outside your window... Rachael: I wouldn't let him. Deckard (background future echo): ...orange body, green legs... Deckard: Why not? Rachael: I should be enough for him. [Time passes.] Deckard: One more question. You're watching a stage play ... a banquet is in progress. The guests are enjoying an appetizer of raw oysters. The entrée consists of boiled dog. [Rachael does not respond. Deckard shuts down the machine and leans back.] Tyrell: Would you step out for a few moments, Rachael? [Rachael gets up and leaves.] Tyrell: [To the departing Rachael] Thank you. Deckard: She's a replicant, isn't she? Tyrell: I'm impressed. How many questions does it usually take to spot one? Deckard: I don't get it Tyrell. Tyrell: How many questions? Deckard: Twenty, thirty, cross-referenced. Tyrell: It took more than a hundred for Rachael, didn't it? Deckard: She doesn't know? Tyrell: She's beginning to suspect, I think. Deckard: Suspect? How can it not know what it is? [(Note the change from “she” to “it”.)] Tyrell: Commerce is our goal here at Tyrell. “More human than human” is our motto. Rachael is an experiment, nothing more. We began to recognize in them … a strange obsession. After all they are emotionally inexperienced with only a few years in which to store up the experiences which you and I take for granted. If we gift them with a past … we create a cushion or pillow for their emotions and consequently we can control them better. Deckard: Memories. You're talking about memories! [Tyrell looks smug. Deckard is stunned.] -- / -- [Gaff flies the spinner while Deckard reviews Leon's V-K video. (Note: What we hear is again different and faster from the first two times we’ve heard it.)] Holden (video): Reaction time is a factor in this, so please pay attention. Now, answer as quickly as you can. Leon (video): Sure. Holden (video): One-one-eight-seven Hunterwasser. Leon (video): Yeah, that's the hotel. Holden (video): What? Leon (video): Where I live. Holden (video): Nice place? Leon (video): Yeah, sure I guess. Is that part of the test? Holden (video): No. [They again fly past the huge Coca Cola advertisement and come down to land. It is pouring with rain as they walk across to the Yukon Hotel.] -- / -- [The hotel manager opens Leon’s apartment door for them. (There is a guy on the public telephone behind them in the corridor.)] <> Hotel Manager: Kowalski <> <> Deckard (voiceover): I didn't know whether Leon gave Holden a legit address. But it was the only lead I had, so I checked it out. <> [Deckard searches the apartment. Gaff creates Mr Woody, the matchstick man. Deckard finds some scales in the bath and bags one. Exiting the bathroom, he sees Gaff’s completed “art”. Leon crosses the street outside and sees his apartment light is on, so stays down there, in the shadows. Deckard checks the drawers. One has that same old newspaper.] <> Deckard (voiceover): Whatever was in the bathtub was not human. Replicants don't have scales. <> [The next drawer has some clothes and Leon’s photos, which Deckard takes.] <> Deckard (voiceover): And family photos? Replicants didn't have families either. <> [Note: Leon has photos of the other Reps precisely because he does see them as his “family”. Oh, and by the way, Deckard in the entire bathroom scene is not Harrison Ford – it is Vic Armstrong.)] -- / -- [Street.] Roy: [His hand is cramping shut.] Time? Enough. [Roy ponders. He is standing in a phone booth. There is a tap on the door. It is Leon. Roy opens the door. (He has probably been phoning Eye World to check that Chew is there.) (Note: The thumb on Roy’s shoulder is a minor fault due to this being a flopped shot taken from later when Roy is talking to Tyrell – that is actually Tyrell’s thumb…)] Roy: [Exits phone booth] Did you get your precious photos? Leon: [Shakes head] Someone was there. Roy: Men? [Leon nods.] Roy: Police-men? [Leon looks sullenly at Roy.] [They walk down the street. Cyclists pass. Roy and Leon enter Eye World.] -- / -- [Chew’s freezing laboratory. Chew is dressed in heated protective clothes. He is engrossed in his work on … eyes. He is chattering to himself delightedly in Chinese.] Chew: [In Chinese] Ha yes! So little time. [Examines eyeball under microscope] Ha, ha! So beautiful. [Roy and Leon enter, unperturbed by the cold. Chew: [Still in Chinese] Ha, ha! Beautiful indeed! [Leon tugs on Chew’s air hoses.] Chew: [Still in Chinese] Where did you come from? What the hell do you think you are doing? Chew: [Speaks in Chinese into a microphone on his lapel] Ah Chong, come quickly! [But there is no answer. Presumably, Chong was front of shop and has already been silenced.] Roy: [Misquoting William Blake] Fiery the angels fell. Deep thunder rolled around their shores … burning with the fires of Orc. Chew: [In Chinese] How can this be? It can’t be! [Continues in English] You not come here. Illegal! Chew: [Sees Leon by a cold tank containing eyes in liquid.] Hey! Hey! [In Chinese] What are you doing? [Continues in English] Cold! Those are my eyes! Freezing! [But Leon dips his hand in and pulls it out unharmed – he is only curious at the sensation and smell of the freezing liquid. Chew looks at Roy.] Roy: [Smiles] Yes. Questions. [Leon walks up behind Chew and rips open his coat. Chew cries out in protest, but Leon pulls the coat off him. Chew is scared.] Roy: Morphology… Longevity… Incept dates? Chew: Don't know. I… I don't know such stuff. I just do eyes, see? Just eyes. Ge- genetic design. Just eyes. [Looks into Roy’s eyes] You Nexus, huh? I design your eyes. Roy: Chew, if only you could see what I've seen with your eyes. Now … questions. Chew: I don't know answers. Roy: Who does? Chew: Tyrell. He… he… he knows everything. Roy: Tyrell Corporation? Chew: He big boss … big genius. He… he design your mind … your brain. Roy: Ah! Smart. Chew: [Shivering] Very cold. Roy: Not an easy man to see… Chew: Very cold. Roy: …I guess? [Roy sits. Leon has been wandering around the lab and now is back behind Chew again, holding an eye on his shoulder.] Chew: Se… Se… Sebastian. He… he… take… take you there … he take you there. Roy: [Obviously enjoying this] Sebastian who? Chew: J. … J. F. Se… Sebastian… Sebas... Sebastian… <> Roy: Now … where … would we find this … J. F. Sebastian? <> -- / -- [Deckard in groundcar, listening to Leon's video, driving through Second Street Tunnel. (And by now you’re expecting it to sound slightly different to how you heard it before aren’t you … or is it just that your memory is faulty?)] Holden (video): Let’s continue, shall we? Describe in single words, only the good things that come into your mind … about your mother. Leon (video): My mother? Holden (video): Yeah. Leon (video): I'll tell you about my mother. [gunshot] [Deckard drives up to his apartment building, entering walled area through opening gates. It is pouring with rain. He goes inside and enters elevator, seemingly half- asleep.] Elevator: Voice print identification. Your floor number, please. Deckard: [Punches 97 on the keypad] Deckard, 97. Elevator: 97, thank you, danke. [Deckard is tired – he yawns. Elevator makes its ascending sound.] Rachael: [Whispers] Deckard. [Deckard spins, pulling out his blaster, pointing it at the figure standing in the shadows. The elevator doors open as Deckard recognises Rachael. Deckard walks out into corridor, holstering his weapon.] Rachael: I wanted to see you… [Deckard fumbles for his keycard in his coat pocket and pulls it out. Rachael follows him.] Rachael: …so I waited. [Deckard drops his keycard on the floor.] Rachael: Let me help. [Picks up keycard and hands it to Deckard.] Deckard: What do I need help for? [Takes card and opens his apartment door (Number 9732)] Rachael: I don't know why he told you what he did. Deckard: Talk to him. Rachael: He wouldn't see me! [Said as Deckard closes his apartment door on her.] [There is a pause before Deckard reopens his door. He leaves it open for her to enter.] -- / -- [Inside Deckard’s apartment.] Deckard: Do you want a drink? No? … No? [Pours himself one.] Rachael: You think I'm a replicant, don't you? [Deckard doesn’t answer, only sips his drink.] Rachael: [Pulls out photograph] Look. It's me with my mother. [Rachael holds out the photo, but Deckard ignores it.] Deckard: Yeah? Deckard: [Taking off coat] Remember when you were six? You and your brother snuck into an empty building through a basement window … you were gonna play doctor? He showed you his, and when it got to be your turn you chickened and ran. Remember that? [Sits in armchair and sighs.] You ever tell anybody that? Your mother? Tyrell? Anybody, huh? You remember the spider that lived in a bush outside your window? Orange body, green legs? Watched her build a web all summer. Then one day there was a big egg in it. The egg hatched… Rachael: The egg hatched... Deckard: And? Rachael: ...and a hundred baby spiders came out. And they ate her. Deckard: Implants! Those aren't your memories. They're somebody else's. They're Tyrell's niece's. [Rachael tries to come to terms with the confirmation of her suspicion.] Deckard: Okay. Bad joke. I made a bad joke. You're not a replicant. Go home. Okay? [Rachael doesn’t move.] Deckard: [Standing up] No really, I'm sorry. Go home. [Rachael doesn’t move.] Deckard: Wanna drink? I'll get you a drink. I'll get a glass. [Rachael is crying. Deckard goes to kitchen to get a glass. Rachael looks at her photo. She throws it down and leaves.] [Deckard retrieves Rachael’s photo and looks at it. He turns it over – there is a hand-written address on the back.] <> Deckard (voiceover): Tyrell really did a job on Rachael. <> [He turns the photo back to the picture.] <> Deckard (voiceover): Right down to a snapshot of a mother she never had, a daughter she never was. <> [The picture appears to come alive with happy memories.] <> Deckard (voiceover): Replicants weren't supposed to have feelings. Neither were Blade Runners. What the hell was happening to me? <> [He sits down to look at Leon’s photos.] <> Deckard (voiceover): Leon's pictures had to be as phoney as Rachael's. I didn't know why a replicant would collect photos. Maybe they were like Rachael. They needed memories. <> -- / -- [Moody moments as Deckard stands on his balcony, surveying the city.] [In another part of the city, Pris approaches the Bradbury Building (where J. F. lives). (Presumably Roy has given her the address and told her to infiltrate.) She settles into a pile of trash bags. After a while, J. F. Sebastian arrives in his van and parks. He approaches the front door and drops his keys on the ground.] [Pris appears shocked with sharp intake of breath. She leaps up, pushing over Sebastian, and runs and just happens to slip and catch herself on Sebastian’s van.] Sebastian: Hey! [They look at each other.] Sebastian: You forgot your bag. [Holds up Pris’s bag which she just happens to have dropped at his feet.] Pris: [Slowly approaches and grabs bag.] I'm lost. Sebastian: Don't worry, I won't hurt you. [People are not Sebastian’s forte.] What's your name? Pris: Pris. Sebastian: Mine's J. F. Sebastian. Pris: Hi. Sebastian: Hi. [Pleased with how that went, he forgets for a moment what comes next.] Oh… where were you going? [Pris shrugs] Home? Pris: I don't have one. [Sebastian is surprised at that, but then looks like he is about to leave, but Pris quickly steps forward.] Pris: [Smiling] We scared each other pretty good, didn't we? Sebastian: [Smiling] We sure did. Pris: [Laughs momentarily then looks lost] I'm hungry, J. F. Sebastian: I've got some stuff inside. You wanna come in? Pris: I was hoping you'd say that. [As Sebastian turns, Pris’s smile disappears. They enter the building.] [Inside they look up through atrium to see blimp floating over – Ogi no Mato is being sung… They get in the elevator.] Pris: Do you live in this building all by yourself? Sebastian: Yeah, I live here pretty much alone right now. No housing shortage around here. Plenty of room for everybody. [Elevator reaches Sebastian’s floor. Pris coughs.] Sebastian: Watch out for the water. Pris: Must get lonely here, J. F. Sebastian: Hmm... Not really. I make friends. They're toys. My friends are toys. I make them. It's a hobby. I'm a genetic designer. Do you know what that is? Pris: No… Sebastian: Now. [Opens his apartment door and is about to enter, but realises his manners.] Oh... [Steps back and lets Pris in first.] Yoo-hoo! Home again! Kaiser and Bear: [In unison] Home again, home again, jiggedy-jig. Goood evening, J.F.! Sebastian: Evening, fellas. Kaiser: [Bumps into doorpost] Mmnhh! Sebastian: They're my friends. I made them. Where are your folks? Pris: I'm sort of an orphan. Sebastian: Oh. What about your friends? Pris: I have some, but I have to find them. I'll let 'em know where I am tomorrow. Sebastian: Oh. Can I take those things for you? They're soaked aren't they? -- / -- [Deckard’s apartment. He is sleepily tinkling at the piano.] <> [Unicorn daydream!!!] <> [Deckard’s piano is littered with old family photos. He reaches for one of Leon’s photos that he has placed there with the music. Grabbing his glass and the bottle of whiskey he has been consuming, he heads over to the Esper and inserts Leon’s photo into a slot.] Deckard: [After topping up his glass, he looks up at the Esper screen now displaying the photo.] Enhance 224 to 176. [The Esper responds, focusing in.] Enhance. Stop. [It is Roy Batty – in WP, Deckard mutters “Hello, Roy.”] Move in. Stop. Pull out, track right. Stop. Center and pull back. Stop. Track 45 right. Stop. Center and stop. [Deckard sees something.] Enhance 34 to 36. [Now focusing on another glass in adjoining room.] Pan right and pull back. Stop. [Looking at curved mirror on far wall.] Enhance 34 to 46. [Focusing into reflection in mirror. What is that sequined thing hanging there?] Pull back. Wait a minute. Go right. Stop. [Sees arm reflected in another mirror.] Enhance 57-19. Track 45 left. Stop. [Woman lying down.] Enhance 15 to 23. [Focuses on snake tattoo on her neck.] Give me a hard copy right there. [Print is produced. Deckard looks at the print.] <> Deckard: Zhora or Pris? <> [He then looks at the scale he got from Leon’s apartment.] [(Note: The Esper movements in this scene don’t necessarily match Deckard’s instructions and the people in the photo look somewhat like Roy and Zhora, except strangely not… but maybe it is your memory playing tricks again…)] -- / -- [Animoid Row - Deckard takes the scale to the Cambodian (Fish) Lady.] Deckard: Fish? [He hands her the bag with the scale inside.] <> Cambodian Lady: It will take a moment. <> [Voice calling in indeterminate language in background.] Cambodian Lady: [Puts whole bag under electron microscope.] I think it was manufactured locally. Finest quality. Superior workmanship. There is a maker's serial number: 99069-47X/B71. [Note the number doesn’t match what we see on what is actually a close-up of a marijuana bud!] Interesting. Not fish. Snake scale. Deckard: Snake? Cambodian Lady: Try Abdul Ben-Hassan. He make this snake. [She indicates the direction.] [Deckard walks down Animoid Row, avoiding the ostriches and various other artificial creatures until he gets to the Egyptian’s artificial snake parlour. Abdul beckons him in. ] Abdul: [Speaks in possibly Arabic?] … [(Terrible lip flap in this scene in the OV and DC is due to entirely different conversation being recorded. See WP version below.)] <> Deckard: [Enters store] Abdul Hassan? [Abdul natters on and Deckard talks over him] I'm a police officer. I'd like to ask you a few questions. [Shows badge.] Artificial snake license X/B71, that's you? [Holds up snake scale.] This is your work, huh? Who did you sell it to? Abdul: My work? Not too many could afford such quality. Deckard: How many? Abdul: Very few. Deckard: How few? [Grabs Abdul by his tie.] Look my friend. Abdul: Taffey Lewis’. Down in Fourth Sector. Chinatown. <> <> Deckard: [Enters store] Abdul Hassan? [Abdul natters on and Deckard talks over him] I'm a police officer, Abdul. I’ve got a couple of questions I wanted to ask you. [Shows badge.] You made a snake, X/B71. [Holds up snake scale.] I want to know who you sold it to. Abdul: My work? Not too many could afford such quality. Deckard: How few? Abdul: Very few. Deckard: How FEW? Abdul: Perhaps less than I thought … but still, more than I can remember. Deckard: [Grabs Abdul by his tie.] Abdul, my friend … [Animoid Row noise drowns Deckard out] … about two seconds I’m gonna … [Noise drowns Deckard out again] Abdul: Snake Pit! <> -- / -- <> [Street and exterior of Snake Pit Bar including dancing girls in pods. A policeman is pointing Deckard to the Snake Pit.] <> [Inside Taffey Lewis' Snake Pit Bar. Deckard enters and approaches bar.] Deckard: Bartender? Taffey Lewis? [A bartender points down the bar.] Bar Patron: [As Deckard walks past to Taffey.] Oh, I can’t stand it! Deckard: Taffey. I'd like to ask you a few questions. [Shows ID.] Taffey: [To companion.] Blow. Deckard: You ever buy snakes from the Egyptian, Taffey? Taffey: All the time, pal. Deckard: Did you ever see this girl, huh? [Shows him Esper printout of Zhora.] Taffey: Never seen her. Buzz off. Deckard: [Threatening] Your licenses in order pal? Taffey: [Completely unphased, to bartender] Hey Louis, the man is dry. [Pun – “dry sense of humour”] Give him one on the house, okay? [Dismisses Deckard with a confident smirk.] See ya. [Deckard’s bluff has been called, so he accepts his drink (with worms in it – indicating probably Mescal). He sits at bar and looks at photos. Rachael’s photo prompts him to call her. Using the bar’s public VID-PHŌN, he dials 555-7583. (Note all US TV shows and movies use the 555 prefix for phone numbers – it is designated for that purpose.)] Rachael: Hello? Deckard: I've had people walk out on me before, but not when … I was being so charming. I'm in a bar here now down in the Fourth Sector. Taffey Lewis’ on the Line. Why don't you come on down here and have a drink? [Note: “The Line” is directions to the Snake Pit Bar, not a reference to Taffey giving away free drinks.] Rachael: I don't think so, Mr. Deckard. That's not my kind of place. Deckard: Go someplace else? [Rachael disconnects - TOTAL CHARGE - $1.25 Deckard returns to his drink.] <> Master of Ceremonies: Ladies and Gentlemen, We have for your delight and pleasure this evening, a spectacular act. Before you, a woman. And with her, a snake. Watch her take the pleasures from the serpent that once corrupted man! <> <> Master of Ceremonies: Ladies and Gentlemen. Taffey Lewis presents Miss Salome and the snake. Watch her take the pleasures from the serpent that once corrupted man! <> [Deckard turns to enjoy the show, but quickly suspects this is his quarry.] [Deckard waits for Zhora backstage in busy corridor near dressing rooms, reading that old newspaper again, trying to look nonchalant until Zhora arrives.] Deckard: [Sleazy act] Excuse me, Miss Salome, can I talk to you for a minute? I'm from the American Federation of Variety Artists. Zhora: [Sceptically] Oh, yeah? Deckard: I'm not here to make you join. No ma'am. That's not my department. [They enter her dressing room.] Actually, uh [closes door] I'm from the, uh, Confidential Committee on Moral Abuses. Zhora: Committee of Moral Abuses? Deckard: Yes, Ma'am. There's been some reports that the management have been taking liberties with the artists in this place. Zhora: I don't know nothin’ about it. [Puts her snake, (Darling), on a coat stand.] Deckard: Have you felt yourself to be exploited in any way? Zhora: How do you mean, exploited? Deckard: [Struggling] Well, l-like to get this job. I mean, di-did you do, or… or… were you asked to do anything that's … lewd or unsavory or … otherwise, uh, repulsive to… to your person, huh? Zhora: [The almost naked, sequinned, exotic dancer, Zhora laughs] Are you for real? Deckard: Oh yeah. [As Zhora heads to the shower.] I'd like to check your dressing room if I may. Zhora: [Not so happy about that] For what? Deckard: For, uh, for holes. Zhora: Holes? Deckard: Well you- you'd be surprised what a guy'd go through to … get a glimpse of a beautiful body. Zhora: [Clearly not surprised] No, I wouldn't. Deckard: Little, uh, dirty holes they, uh, drill in the wall so they can watch a lady undress. [Deckard looks around. Finds sequined boa as in the photo while Zhora showers and dries and starts dressing.] Deckard: Is this a real snake? Zhora: Of course it's not real. Do you think I'd be working in a place like this if I could afford a real snake? [Puts on boots. Then comes out still patting hair with towel.] So if somebody does try to exploit me, who do I go to about it? Deckard: Me. Zhora: You're a dedicated man. Dry me. [Throws towel at Deckard.] [She turns her back, putting on her leather bra-top. Then hits him. She almost strangles Deckard, but is interrupted by others entering room, whereupon she flees. Deckard struggles up and chases her down the street, eventually shooting her in the back as she runs. She crashes through plate glass windows.] Leon: [Watching, mumbles under his breath] He must die! He must die! <> Deckard (voiceover): The report would be routine retirement of a replicant which didn't make me feel any better about shooting a woman in the back. There it was again. Feeling, in myself. For her - for Rachael. <> Deckard: [Showing ID to street cop] Deckard. B-two-sixty-three-fifty-four. Police in hovering spinner: Move on… Move on……… [Deckard goes across to hole in the wall bottle shop.] Saleslady: A minute. [Finishes what she was doing.] Yeah what do you want? Deckard: Tsing Tao. [She gets a bottle (of vodka) and wraps it. Deckard holds out some cash.] This enough? Saleslady: Yeah. [Gaff taps Deckard hard on shoulder with cane. Deckard turns angrily and grabs it.] Gaff: Bryant. [They go to where Bryant has been waiting in Gaff’s spinner.] Bryant: Christ, Deckard, ya look almost as bad as that skin job ya left on the sidewalk. Deckard: I'm going home. Bryant: You could learn from this guy, Gaff. He's a goddamn one-man slaughterhouse, that's what he is. Four more to go. [Deckard is taken aback.] Come on Gaff, let's go. Deckard: Three. There's three to go. Bryant: There's four. [Realises Deckard doesn’t know.] Tha- tha- that skin job you V- K'd at Tyrell Corporation … Rachael. Disappeared. Vanished. Didn't even know she was a replicant. Something to do with a brain implant says Tyrell. Come on Gaff. [Nodding at the bottle of Tsing Tao.] Drink some for me, huh, pal. [Gaff and Bryant drive off. Deckard spots Rachael standing, watching him from the other side of the crowded street. She walks off and he tries to pursue. Deckard is grabbed by Leon.] Deckard: Leon! Leon: How old am I? Deckard: [Punches Leon, with no big effect.] I don't know. Leon: [Throws Deckard against the side of a garbage truck.] My birthday’s April 10, 2017. How long do I live? Deckard: Four years. [Leon drags Deckard and throws him against a steam thingy. Deckard draws his blaster, but Leon smacks it away.] Leon: More than you. [Leon punches, but Deckard ducks. Leon’s fist breaks through the metal of the thingy and steam comes out.] Leon: [Grabs Deckard before he can run.] Painful to live in fear, isn't it? [Leon throws Deckard onto the broken windscreen of an abandoned car.] Leon: Nothing is worse than having an itch you can never scratch. Deckard: Oh, I agree. [Leon picks Deckard up and starts smacking him across the face.] Leon: Wake up! Time to die. [Leon is about to poke Deckard’s eyes out when Rachael shoots him in the head with Deckard’s blaster.] -- / -- [Deckard's apartment. Deckard has poured himself some Tsing Tao. He takes a sip and a little blood runs into the glass from his mouth.] Deckard: Shakes? Me too. I get 'em bad. [Clears throat] It's part of the business. Rachael: [Crying] I'm not in the business. [pause] I am the business. [Deckard goes to bathroom, takes off his jacket and shirt, then washes his face. Rachael removes her coat. Deckard washes his bloody mouth out as red-eyed Rachael approaches.] Rachael: What if I go North? Disappear? Would you come after me? Hunt me? Deckard: No. No, I wouldn't. [Dries his face with towel.] I owe you one. [Deckard walks out of bathroom and behind Rachael where he gets all red-eyed too.] But somebody would. [Deckard goes into another room.] Rachael: Deckard? You know those files on me? The incept date … the longevity … those things. You saw them? Deckard: [Putting on clean shirt.] They're … classified. Rachael: But you're a policeman. Deckard: I … didn't look at ‘em. Rachael: You know that Voight-Kampff test of yours? Did you ever take that test yourself? [No answer.] Rachael: Deckard? [No answer.] [Rachael walks into the room where Deckard is. He has fallen asleep the moment he lay down on the sofa holding his drink on his chest.] [Rachael looks at Deckard’s photos while Deckard sleeps. She takes off her jacket and plays some music on the piano. (Originally Ravel’s Piano Concerto, Vangelis did a variation on Chopin’s Thirteenth Nocturne.) Deckard wakes up to the sound of the piano music. Rachael lets her hair down. Deckard slowly gets up, accidentally knocking and spilling the bottle of Tsing Tao (not the glass – Rachael removed that). He joins Rachael at the piano.] Deckard: I dreamt music. Rachael: [Plays music] I didn't know if I could play. I remember lessons. I don't know if it's me … or Tyrell's niece. Deckard: You play beautifully. [Deckard kisses Rachael on the cheek. He wants to kiss her on the mouth, but she suddenly gets nervous, gets up, grabbing her jacket and walks quickly towards the door. Deckard reaches for her, but she has gone past him. He runs after her and as she opens the door, he slams it shut with his fist (he doesn’t want her to run away from him a second time). He grabs her roughly by the arms and pushes her against the blind. He stretches his hands out to her face and she momentarily backs away, making Deckard realise he is being rough. He slowly puts his hands instead behind her and leans forward to gently kiss Rachael on the lips. She responds, but is still confused.] Deckard: Now you kiss me. Rachael: I can't rely on m- [“on my memory to…” She doesn’t trust her own feelings] Deckard: Say, “Kiss me.” Rachael: Kiss me. [He kisses her and she kisses back.] Deckard: I want you. Rachael: I want you. Deckard: Again. Rachael: I want you. Rachael: [Unprompted] Put your hands on me. [Rachael then kisses Deckard and they finally kiss passionately without restraint. The scene continues lovingly, but we don’t see it.] -- / -- [Cityscape. Pill popping lady.] [J. F. Sebastian's apartment. Pris is applying airbrush black eye makeup to herself. A cuckoo clock chimes six times. Pris cartwheels around. Sebastian is sleeping in a chair, surrounded by his ‘friends’. Pris sniffs him. Kaiser Wilhelm is not asleep, but is locked in a mouthbrace and looks nervous. Pris looks into a stereoscope. Sebastian wakes up.] Sebastian: Whatcha doin’? Pris: Sorry, just peeking. Sebastian: Oh. Pris: [Red-eyed] How do I look? Sebastian: You- you look better. Pris: Just better? Sebastian: [Shyly] Well, you look beautiful. Pris: Thanks. [Roy approaches Sebastian's apartment from the elevator.] Pris: How old are you? Sebastian: Twenty-five. Pris: What's your problem? Sebastian: Methuselah syndrome. Pris: What's that? Sebastian: My glands - they grow old too fast. Pris: Is that why you're still on Earth? Sebastian: Yeah. I couldn't pass the medical. Anyway, I kinda like it here. Pris: I like you … just the way you are. [Looks up] Hi Roy! [Sebastian looks round, startled.] Roy: Ah. Gosh. You really got some nice toys here. Pris: [To Sebastian] This is the friend I was telling you about. [To Roy] This is my savior, J. F. Sebastian. Roy: Sebastian. I like a man that stays put. You live here all by yourself, do you? Sebastian: Yes. [Roy and Pris kiss. The Roy-Pris-kiss embarrasses Sebastian.] Sebastian: How about some breakfast. I was just gonna make some. [Gets up and leaves.] Pris: Well? Roy: Leon… [Roy finds the emotions difficult.] Pris: What's going on? Roy: I… There's only two of us now. Pris: Then we're stupid and we'll die. Roy: [Smiles] No we won't. -- / -- [Boiling eggs. Roy and Pris hang out while Sebastian prepares breakfast. Roy finds Sebastian’s chessboard in mid-game and moves a piece.] Sebastian: No. Knight takes Queen, see? Won’t do. [Roy sits down at chessboard and plays.] Roy: Why are you staring at us, Sebastian? Sebastian: ‘Cause … you're so different. You're so perfect. Roy: Yes. Sebastian: What generation are you? Roy: [Sits with Pris] Nexus 6. Sebastian: Ah, I knew it. 'Cause I do genetic design work for the Tyrell Corporation. There's some of me in you. Show me something. [Note, a cuckoo clock is heard chiming six times in the background. Sebastian has lots of clocks, so it may not be the same one as before…] Roy: Like what? Sebastian: Like anything. Roy: We're not computers, Sebastian. We're physical. Pris: I think, Sebastian … therefore I am. Roy: Very good Pris, now show him why. [Pris cartwheels back to the boiling eggs. She sticks her hand in and grabs one, then throws it to Sebastian who has to drop it, because it is too hot for him to hold.] Roy: We've got a lot in common. Sebastian: What do you mean? Roy: Similar problems. Pris: Accelerated decrepitude. Sebastian: I don't know much about biomechanics, Roy. I wish I did. Roy: If we don't find help soon, Pris hasn't got long to live. I can't allow that. [Looks at chessboard] Is he good? Sebastian: Who? Roy: Your opponent. Sebastian: Oh, Dr. Tyrell? I've only beaten him once in chess. He's a genius. [Looks at Pris] He designed you. [Pris sits on edge of snooker table with a plate of food (pretending to be fish, actually strips of marinated peppers).] Roy: Maybe he could help. Sebastian: I'd be happy to mention it to him. Sure. Roy: [Stands, grips Sebastian’s shoulder.] Better if I talk to him in person. From what I understand he's a sort of hard man to get to. [Roy guides Sebastian over to Pris.] Sebastian: Yes. Very. [Pris wraps her legs and arms around him.] Roy: Will you help us? Sebastian: I can't. Pris: We need you, Sebastian. You're our best and only friend. [Sebastian feels the pressure. He can’t refuse.] Roy: [Holds large glass eyeballs in front of his own eyes and does a comic face and voice] We're so happy you found us. [Pris and Sebastian laugh.] Pris: I don't think there's another human being in the whole world who would have helped us. [Kisses Sebastian on the cheek] [Sebastian walks off – perhaps to ponder what the expression being between the devil and the deep blue sea means? Pris and Roy exchange looks – on to the next stage of the mission.] -- / -- [Tyrell Towers. Roy and Sebastian ascend in an external elevator. It stops. Tyrell is in bed in his papal bedroom and the owl looks on – clearly he doesn’t have a long commute.] Tyrell: 66,000 Prosser & Ankopitch. Hmm... Trade. Trade at-- Computer: Blue entry. A Mr J. F. Sebastian. 1-6-4-1-7. Tyrell: At this hour? What can I do for you Sebastian? Sebastian: Queen to Bishop six. Check. Tyrell: Nonsense! Just a moment. [Gets out of bed] Mmmm. [Goes to his chessboard] Queen to Bishop six. Ridiculous. [Sits at board] Queen. [Moves Queen] Bishop six. Mmmm... Knight … takes … Queen. [pause] What's on your mind Sebastian? What are you thinking about? Roy: [Sotto voce to Sebastian] Bishop to King seven. Checkmate. Sebastian: Bishop to King seven. Checkmate, I think. Tyrell: Got a brainstorm, huh, Sebastian? Milk and cookies kept you awake, huh? Let’s discuss this. You better come up, Sebastian. [Elevator continues its ascent. Red-eye owl looks on as Sebastian nervously opens the door to Tyrell’s room.] Sebastian: Mr Tyrell? I… I brought a friend. Tyrell: I'm… surprised you didn't come here sooner. Roy: It's not an easy thing to meet your Maker. Tyrell: And, what can He do for you? Roy: Can the Maker repair what He makes? Tyrell: Would you… like to be modified? Roy: [To Sebastian] Stay here. [Walks forward alone to Tyrell] I had in mind something a little more radical. Tyrell: What… what seems to be the problem? Roy: Death. Tyrell: Death? Well, I'm afraid that's a little out of my jurisdiction. You-- Roy: I want more life, fucker! [Note, this was alternatively recorded as “father”, mainly for TV use, although this is used in the WP and rather oddly, the DVD subtitles.] Tyrell: The facts of life. To make an alteration in the evolvement of an organic life- system is fatal. A coding sequence cannot be revised once it's been established. Roy: Why not? Tyrell: Because, by the second day of incubation, any cells that have undergone reversion mutations give rise to revertant colonies, like … rats leaving a sinking ship. Then the ship … sinks. Roy: 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 dead before he left the table. Roy: 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. [Roy sits down.] But, uh, this… all of this is … academic. You were made as well as we could make you. Roy: But not to last. Tyrell: The light that burns twice as bright burns half as long. And you have burned so very, very brightly, Roy. Look at you. You're the prodigal son. You're quite a prize! [Roy bows his head. Tyrell sits down next to Roy and smoothes his furrowed brow.] Roy: I've done … questionable things. Tyrell: Also extraordinary things. Revel in your time! Roy: [Looks at Tyrell] Nothing the God of biomechanics wouldn't let you in heaven for. [Roy takes Tyrell’s head in his hands and kisses him on the mouth. Roy squeezes his hands together, Tyrell’s skull cracks like dry wood. Tyrell screams and Roy gouges Tyrell’s eyes with his thumbs. The owl looks on impassively and Sebastian looks on in horror as Roy’s face contorts with a multitude of emotions while taking the life of his ‘maker’.] <> [Sebastian whimpers audibly.] Roy: Sorry, Sebastian. Come. Come. <> [Sebastian runs, but he has zero chance of escaping from a top combat replicant.] [The elevator contains only Roy as he descends from the Heavens above, pondering his actions and his limited future.] -- / -- [Deckard in his streetcar. Police radio chattering in background.] <> [Bryant on police radio tells Deckard to investigate one “J. F. Sebastian, age twenty- five,” at the Bradbury Building.] <> [Deckard parks in a run-down area, because of a call from Bryant. A small street gang approach his car. There is a police spinner hovering in the distance around the corner.] Vandal: Jemand hat uns ein kleines Geschenk dagelassen. {German: "Somebody left us a little present."} Vandal: Ist jemand drinnen? {German: "Is somebody inside?"} Vandal: Ich kann nichts sehen. Hey, warte bis die Bullen weg sind! Hey, warte bis die Bullen weg-- {German: "I can’t see anything. Hey, wait ‘til the pigs are gone! Hey, wait ‘til the pigs -- " (Note that "Bullen" actually translates to English "bulls", but this is the German slang equivalent of the Anglo/American "pigs" - that is, not just a colloquial "cops", but a rather more derogatory name for the police.")} <> Bryant: … body identified with Tyrell is a 25-year-old male Caucasian. Name, Sebastian. J. F. Sebastian. Address: Bradbury apartments, Ninth Sector. NF46751. I want you to go down there-- <> Policeman: This sector's closed to ground traffic. What are you doing here? Deckard: I'm workin’, what are you doin’? Policeman: Arresting you. That's what I'm doing. Deckard: I'm Deckard. Blade Runner. Two-sixty-three-fifty-four. I'm filed and monitored. Policeman: Hold on. Checking... [pause] Okay, checked and cleared. Have a better one. [Police spinner leaves.] [Deckard dials up Sebastian's phone on his in-board computer.] Pris: [On vidscreen] Hello? Deckard: Hi, is J. F. there? Pris: Who is it? Deckard: Uh, this is Eddie … old friend of J. F.'s. [Pris disconnects.] Deckard: Ooh. That's no way to treat a friend. [Deckard hears noises on top of his car. He drives off leaving the scavengers tumbling behind, but they have managed to pull something off his roof, which they promptly fight over.] Vandal: Scheißkerl! {German: "Shithead!" (Best sense)} Vandal: Gib` das sofort her! {German: "Give that to me now!"} Vandal: Hau ab! {German: "Bugger off!" (Best sense. Could really be translated as any variation of “Go away”.)} -- / -- [Deckard drives to the Bradbury Building. Inside Sebastian’s apartment, Pris is disguising herself as a mannequin. Deckard enters building. Sees blimp up through the atrium. He goes up the stairs. He cautiously approaches the open door of the apartment with blaster ready.] Kaiser and Bear: Home again, home again, jiggedy-jig. [Deckard enters] Good evening J. F. Kaiser: [Bumps into doorpost] Mnmph! [Pris, the mannequin, rolls eyes up and smiles slightly. Sebastian’s toyfriends are noisy as Deckard searches between them. He approaches Pris with caution, pulls her veil off. Suddenly she attacks and proceeds to beat him up in esoteric ways (including somersaults and the leg-squeeze trick. But before she gets around to finishing him off, she carelessly leaves him lying within grabbing distance of his blaster, which he grabs and uses to blow holes in her. She thrashes manically before expiring.] [Roy returns via the elevator. He has heard the shots. Deckard has heard the elevator. Deckard finds a firing position. Roy enters and finds the dead Pris. He kisses her. He then walks through the apartment … Deckard shoots, but Roy has sensed him and moves too fast.] Roy: Not very sporting to fire on an unarmed opponent. I thought you were supposed to be good. Aren't you the good man? Come on … Deckard. Show me … what you're made of. [Deckard is looking for Roy, blaster up. Roy’s hand breaks through a dividing wall and grabs Deckard’s blaster hand, pulling it back through.] Roy: Proud of yourself, little man? [Roy removes the blaster from Deckard’s grip.] Roy: [Breaks Deckard’s little finger] This is for Zhora! Deckard: Argh! Roy: [Breaks Deckard’s second finger] This is for Pris. Deckard: Waargh! [Roy places the blaster back in Deckard’s mangled hand and lets it go.] Roy: Come on, Deckard. I'm right here, but you've gotta shoot straight. [Deckard shoots through the hole in the wall and just catches Roy’s ear as he dodges.] Roy: Straight doesn't seem to be good enough! Now it's my turn. I'm gonna give you a few seconds before I come. One… two... [Deckard runs. Roy returns to Pris.] Roy: Three... four... [crying] Pris... [Paints his face with blood from Pris.] [Roy’s crying becomes more animalistic. Deckard stops to deal with his broken fingers.] Deckard: [As he bends his fingers back] Aaarrghhh… [Roy responds to Deckard’s scream by howling like a wolf.] Roy: [Laughs, then singing ] I'm cominnng... Deckard! … Four, five. How to stay alive? [Roy has stripped down to shorts. Deckard tries to escape up an armoire through a hole in the ceiling. Drops his gun. Roy is running around madly, laughing.] Roy: [Spots Deckard] I can see you! [Howls] [Deckard goes up through ceiling into bathroom that is partially open to the elements – it is raining heavily.] Roy: [Fingers are cramping shut again.] Bitte. {German for “Please”} Not … yet. Not... [Roy pulls nail out of floor and sticks it through his hand. It has the desired result. Deckard is busy bandaging his fingers.] Roy: Yes! [Roy puts head through wall into room where Deckard is standing.] <> Roy: You’re not in pain are you? Are you in pain? <> Roy: You better get it up! Or I'm gonna have to kill ya! Unless you're alive, you can't play, and if you don't play... [chokes] [Deckard grabs a pipe off the wall. Roy comes in.] Roy: Six … seven! Go to hell or go to heaven! Deckard: [Deckard whacks Roy with the pipe. And again.] Go to hell! Roy: Argh! [Grabs pipe] Good! That's the spirit! [Deckard flees through loft where birds are roosting and out of window onto ledge. He follows it around. Roy howls then breaks through different window in front of Deckard.] Roy: That hurt! That was irrational of you. Not to mention … unsportsmanlike. [Deckard starts to climb up the side of the ornately decorated building.] Heh heh… ha ha ha! Where are you going? [Deckard climbs up in desperation. Roy laughs then takes pleasure from the rain falling on his face. He goes in. Deckard climbs, using up the last of his energy to pull himself onto the roof. After recovering slightly, Deckard gets up and looks for escape – he runs towards a trapdoor, but Roy comes through it (clutching dove in one hand). Deckard runs and tries to jump to the next building, but he hasn’t enough strength left to completely make it and just manages to grab on to a protruding girder. Roy looks on. He then thinks (Dove pose) then jumps across the gap easily. He looks down on Deckard.] Roy: Quite an experience to live in fear, isn't it? That's what it is to be a slave. [Deckard’s grip slowly fails until he lets go. As he drops he spits at Roy. Roy catches him by the wrist.] Roy: Kinship! [(Note: There is debate about whether this is actually said. Hauer claims he didn’t, but that is irrelevant as it could have been dubbed in by Scott later (as I think it almost certainly was.)] [Roy lifts Deckard up and throws him on the roof. Deckard can now do nothing more. Roy sits.] Roy: I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched c-beams glitter in the dark near the Tanhauser Gate. All those … moments will be lost … in time … like tears … in rain. Time … to die. [Roy’s head bows. The dove flies away. Deckard watches Roy die.] <> Deckard (voiceover): 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. [Note: This is the only voiceover included in the WP.] <> << OV only>> Deckard (voiceover): I don't know why he saved my life. Maybe in those last moments he loved life more than he ever had before. Not just his life … anybody's life … my life. All he'd wanted were the same answers the rest of us want. Where do I come from? Where am I going? How long have I got? All I could do was sit there and watch him die. <> [Gaff’s spinner arrives in the background. Note: In WP this is a wide shot showing whole spinner and Roy and Deckard.] Gaff: You've done a man's job, Sir. I guess you're through, huh? Deckard: Finished. [Gaff throws Deckard’s blaster to him and walks away, but then stops a moment.] Gaff: It's too bad she won't live. But then again, who does? -- / -- [Deckard’s apartment. His door is not shut. Deckard enters warily, blaster ready.] Deckard: Rachael? [Deckard enters] Rachael? <> Deckard: [Deckard searches] Rachael? <> [Deckard sees Rachael unmoving under bed covers. He uncovers her face, then kisses her cheek. She is alive – his kiss awakens his Sleeping Beauty.] Deckard: Do you love me? Rachael: I love you. Deckard: Do you trust me? Rachael: I trust you. [Another kiss.] -- / -- <> [Deckard opens front door and checks nobody is outside.] Deckard: [Calls inside] Rachael? [She appears. He holds up a hand to tell her to wait a moment.] [Deckard walks out into corridor, checking nobody is hiding] <> [Deckard calls elevator. Then beckons Rachael who hurries out. Her foot knocks over something shiny as she passes. Deckard almost doesn’t notice, but the anomaly triggers his detective senses and he turns to pick up the object. He holds up the origami unicorn made of tinfoil.] Gaff (memory): It's too bad she won't live. But then again, who does? [He crumples the unicorn and nods enigmatically. Then turns to leave with Rachael in the elevator. Elevator doors shut.] <> [Film ends.] <> <> [Deckard and Rachael driving through countryside.] Deckard (voiceover): Gaff had been there, and let her live. Four years, he figured. He was wrong. Tyrell had told me Rachael was special: no termination date. I didn't know how long we had together … who does? [Film ends.] <> ---- / ----