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 room is large and humid. A fan WHIRS above their heads.
INT. TYRELL CORPORATION INTERROGATION ROOM - DUSK
The eye is magnified and deeply revealed. Flecks of brown and yellow in a field of green. Icy filaments surround the undulating center.
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 uniform and his pudgy hands are folded expectantly in his lap. Despite the obvious heat, he looks very cool.
The man facing him is lean, hollow-cheeked, and dressed in grey. Detached and efficient, he looks like a cop or an accountant. His name is HOLDEN and he's all business, except for the sweat on his face.
The room is large and humid. Rows of salvaged junk are stacked neatly against the walls. Two large FANS WHIRR above their heads.
Holden doesn't answer. He's centering Leon's eye on the machine.
LEON
I kinda get nervous when I take tests.
He tries not to move, but finally his lips can't help a sheepish smile.
LEON
I already had an 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.
HOLDEN
One one eight seven at Hunterwasser...
LEON
Huh? Sure. Yeah. I guess. Is 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....
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.....
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
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 it's 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?
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
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
Let me tell you about my mother...
Leon shoots Holden. 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.
CUT TO:
EXT. OVERHEAD VIEW CITY - NIGHT
We are looking down on a city of the future where gigantic buildings dwarf the ancient skyscrapers
Now 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 advertisements appear on the curved sides of the dirigible and an accompanying SOUNDTRACK proclaims, with AM enthusiasm, the virtues of Off-World emigration.
AD-BLIMP
A new life awaits you in the Off-World colonies. The chance to begin again in a golden land of opportunity and adventure. New-- A new life awaits you in the Off-World colonies. The chance to begin again in a golden land of opportunity and adventure. New climate, recreational facilities... absolutely free.
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, sitting 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.
COUNTERMAN
(in Japanese)
...kimashita, kimashita. Irasshai, irasshai. (I'm here, I'm here. Come on, come on.)
Deckard walks over to the sushi counter.
COUNTERMAN
Sa dozo. Nani ni shimasho-ka. (Go ahead. What shall we do?)
DECKARD
(points to an item)
Give me four.
COUNTERMAN
Futatsu de jubun desuyo. (Two are really enough.)
DECKARD
No, four: two, two, four.
COUNTERMAN
(insists)
Futatsu de jubun desuyo.
COUNTERMAN
Wakatte kudasai yo! (Please understand!)
The counterman returns quickly and slaps a bowl of noodles in front of Deckard. He starts to eat and that's when he feels some aggressive taps on his shoulder.
He glances over behind him to his right.
A huge cop in uniform is looming behind him.
COP
Hey, idi-wa (Come with me).
Deckard feels funny, looks left. Another cop is looming over his left shoulder.
GAFF
(in mix of French, Hungarian, and German)
M'sieu, aduanon kovershim angam bitte. (Sir, you will please come with me now.)
Deckard motions to the counterman to translate.
COUNTERMAN
He say you under arrest, Mr. Deckard.
DECKARD
(turns back to his food)
Got the wrong guy, pal.
GAFF
(in Hungarian)
Lo fa, ne-ko shi-ma, de va-ja Blade... Blade Runner. (Ah, don't shit me, man, you're the Blade... Blade Runner!)
COUNTERMAN
He say you Blade Runner!
DECKARD
Tell him I'm eating.
GAFF
(in Japanese)
Captain Bryant to ka, me ni omae yo. (It's Captain Bryant who wants to see you, y' know!)
Deckard looks resigned.
DECKARD
Bryant, huh?
CUT TO:
EXT. STREET - NIGHT
Deckard, still holding his bowl of food, is climbing into a spinner behind Gaff.
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 buildings emblazoned with fluorescent numerals and scrawls of neon ads.
CUT TO:
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.
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
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 relents and sits down.
BRYANT
They jumped a shuttle off world. Killed the crew and passengers. We found the shuttle floating off the coast two weeks ago. So we know they're around.
Bryant is pouring bourbon into a thick shot glass. He passes the amber tumbler to Deckard who takes it and downs his drink.
BRYANT
No, sir! Not embarrassing... Because nobody's ever gonna find out they're down here! You're gonna spot 'em, an' you're gonna air 'em out.
Deckard leans forward and curtly places the empty glass back on the desk.
DECKARD
I don't work here anymore. Give it to Holden, he's good.
BRYANT
I did. He can breathe okay as long as nobody unplugs him. He's not good enough, not good as you. I need you, 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... I'm twice as quit now. See ya, Bryant.
He begins to leave, but Captain Bryant abruptly turns cold.
BRYANT
Stop right where you are! You know the score pal. If you're not cop, you're little people.
Deckard freezes at the hard tone and walks back to Bryant's desk.
CUT TO:
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
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. Two of them got fried running through an electrical field. We lost the others. On the possibility they might try to infiltrate his employees, I had Holden go over and run Voight-Kampff tests on the new workers. Looks like he got himself one.
BRYANT
That’s Leon. Ammunition loader on intergalactic runs. He can lift 400-pound atomic loads all day and night. The only way you can hurt him is to kill him.
DECKARD
Well 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.
The screen changes to the next Replicant. Deckard looks interested.
DECKARD
(funny look)
What's this?
BRYANT
Nexus 6. ROY BATTY. Incept date 2016. Combat model. Optimum self-sufficiency. Probably the leader.
BRYANT
This is ZHORA. She's trained for an off-world kick-murder squad. Talk about beauty and the beast, she's both.
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. You know, hate, love, fear, anger, envy. So they built in a fail-safe device.
BRYANT
Four year life span. 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?
CUT TO:
EXT. CITYSPACE - MORNING
A bleak morning.
CUT TO:
EXT. SPINNER - MORNING
The police spinner is whizzing over the city.
Gaff is terse and silent at the controls. Deckard looks very rumpled as he sits sleepily in the passenger seat
The Spinner makes a sharp bank, drops into a steep curve and slides toward the vast plain of industrialization towards the large, pyramid shaped Tyrell buildings.
CUT TO:
EXT. PYRAMID - MORNING
The pyramids are huge, monolithic edifices that are ornate in an art deco vein. They stand in stark contrast to the grimy industrial districts surrounding them.
CUT TO:
INT. INNER SANCTUM OF DR. TYRELL - DAY
The large, marble office is dimly lit, but highlights of resilience reside in the luster of the antique furnishings, like glimmers of gold in a darkened mine. A setting sun shines above the horizon.
Now we see for the first time, RACHAEL, a beautiful woman in her late twenties dressed with taste and dignity. She's all business - formidable without trying.
RACHAEL
Do you like our owl?
DECKARD
Must be expensive.
RACHAEL
Very. I'm Rachael.
RACHAEL
It seems you feel our work is not a 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?
RACHAEL
Have you ever retired a human by mistake?
RACHAEL
But in your position, is that a risk?
TYRELL
(o.s.)
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 turns to see an older man, very distinguished, very well tailored has entered the huge marble office.
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 going to prove?
Tyrell indicates Rachael.
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.
INT. TYRELL'S OFFICE (A LITTLE LATER) - DAY
The Voight-Kampff opens like a butterfly as the room darkens.
Tyrell stands silhouetted behind Deckard, who sits in front of Rachael.
RACHAEL
Do you mind if I smoke?
DECKARD
(shakes his head)
It won't affect the test. All right, I'm going to ask you a series of questions. Just relax and answer them as simply as you can.
Rachael's eye fills the screen, the iris brilliant, shot with light, the pupil contracting.
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
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
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, Mr. Deckard?
DECKARD
Just answer the questions, please -- You show it to your husband. He likes it so much he hangs it on your bedroom wall.
RACHAEL
I wouldn't let him.
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 switches off the machine and leans back.
TYRELL
Would you step out for a few moments, Rachael? Thank you.
Rachael exits looking a little shaken. What's going on?
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?
TYRELL
Commerce is our goal here at Tyrell. "More human than human" is our motto. Rachael is an experiment, nothing more.
Tyrell takes a step toward him.
TYRELL
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!
Deckard looks amazed while Tyrell seems pleased with himself.
CUT TO:
EXT. OVERHEAD VIEW OF HOTEL - NIGHT
Gaff flies the spinner to Leon's apartment while Deckard reviews Leon's V-K video.
The hotel is in a seedy part of town and it is pouring with rain.
Deckard and Gaff are standing in front of the hotel, looking it over. They 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.
It's clean in contrast to the littered hallway. A bed, a wardrobe, a small desk, a chair. Spartan, almost military.
Deckard and Gaff enter warily.
CUT TO:
INT. HOTEL ROOM - NIGHT
The room is dark and ominous.
Deckard hits the wall switch in the bathroom. A three-tube fluorescent light flickers to life.
Gaff watches quietly, folding an origami statue of a man with an erection.
Deckard finds some scales in the bathtub and bags one.
Exiting the room, he sees Gaff's "art".
CUT TO:
EXT. STREET BELOW - NIGHT
Leon crosses the street outside and sees his apartment light is on, so he stays down there in the shadows.
CUT TO:
INT. HOTEL ROOM (MOMENTS LATER) - NIGHT
Deckard has opened the wardrobe.
The first drawer is empty except for an old, worn newspaper.
The second drawer is full of clothes.
Deckard sifts through them and pulls out a stack of about sixty photographs bound with a rubber band. He thumbs them. Very ordinary looking snapshots. Maybe he notices a couple of strange ones. Maybe not.
He pockets the pictures and continues his inspection.
CUT TO:
EXT. STREET BELOW (A LITTLE LATER) - NIGHT
Roy Batty's hand is cramping shut.
BATTY
Time? Enough.
He is standing in a phone booth. There is a tap on the door.
It is Leon. Roy opens the door.
BATTY
(exits the booth)
Did you get your precious photos?
LEON
Someone was there.
BATTY
Men?
Leon nods.
BATTY
Police-men?
Leon looks sullen. He doesn't know.
They walk down the street and enter Eye World.
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 ancient 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.
CHEW
(examines eye under microscope)
Ha, ha! So beautiful.
He is chattering to himself in Chinese.
Roy and Leon enter Chew's laboratory.
Leon tugs on Chew's air hoses.
Chew bursts into Chinese and attempts to call for help.
CHEW
Where did you come from? What the hell do you think you are doing? Ah Chong, come quickly!
There is no answer.
Batty smiles. You would not want him to smile at you.
BATTY
(misquoting William Blake)
Fiery the angels fell. Deep thunder rolled around their shores... burning with the fires of Orc.
CHEW
How can this be? It can't be! You not come here. Illegal!
Leon is staring at the floating eyes in an aquarium.
He glances at a tank of deep cold and sticks his hand in.
CHEW
Hey! Hey! What are you doing? Cold! Those are my eyes! Freezing!
BATTY
Yes. Questions.
Chew is bug eyed. What is this shit?
Behind Chew, Leon reaches out puts his hands on the collar of Chew's fur coat. RRRRRIIIIIIPPPP!
He pulls the coat apart- it splits along the back seam and falls away like a banana peel.
.webp)
Chew is suddenly totally scared, totally cold, and totally cooperative.
BATTY
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. You Nexus, huh? I design your eyes.
BATTY
Chew, if only you could see what I've seen with your eyes. Now... questions.
CHEW
I don't know answers.
BATTY
Who does?
CHEW
Tyrell. He... he... he knows everything.
BATTY
Tyrell corporation?
CHEW
He's big boss. Big genius. He, he design your mind, your brain.
BATTY
Ah, smart.
CHEW
(shivering)
Cold.
BATTY
Not an easy man to see...
CHEW
Me cold.
BATTY
I guess?
Roy and Leon smile at each other, enjoying this. Leon is behind Chew again, holding an eye on his shoulder.
CHEW
Se-Sebastian he take... take you there, he take you there.
BATTY
Sebastian who?
CHEW
J-J. F. Sebastian-Sebas... Sebas...
BATTY
Now, where... would we find this... J. F. Sebastian?
CUT TO:
EXT. DECKARD'S APARTMENT BUILDING - NIGHT
Deckard is in a spinner, listening once more to Leon's interrogation video, driving through Second Street Tunnel.
His 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 droning noise, very distinctive, and starts upward.
Deckard frowns. Something is wrong. He is suddenly very alert, ready.
There are shadows behind him but he can't turn to look.
Deckard goes for his blaster, gets it out quick and 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.
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
I wanted to see you... so I waited. Let me help.
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.
RACHAEL
He wouldn't see me-
Deckard slams the door in her face, but a few moments later he opens it again and leaves it.
INT. DECKARD'S APARTMENT - NIGHT
Deckard walks into the kitchen, where he goes to the cocktail cabinet and pours himself a drink.
DECKARD
You want a drink? Huh? No?
RACHAEL
You think I'm a Replicant, don't you?
RACHAEL
(hands him a photo)
Look, it's me with my mother.
DECKARD
Yeah... 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, but when it got to be your turn you chickened and ran. Remember that? 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 stares at him, stunned and barely holding on.
Deckard sees he's gotten through... maybe too far.
She's completely destroyed, silent.
DECKARD
Okay, bad joke. I made a bad joke. You're not a replicant. Go home, okay? No really, I'm sorry. Go home... want a drink? I'll get you a drink. I'll get a glass.
INT. KITCHEN - NIGHT
Deckard is peering at her from the doorway.
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.
Rachael looks at her photo. She throws it down and storms out.
INT. LIVING ROOM - NIGHT
The room is empty. Rachael is gone.
Something crumpled on the floor.
Deckard goes over and picks it up. It's the picture of Rachael with her mother. He studies it.
On the other side is a handwritten address.
.webp)
He sits down to look at Leon's photos.
These pictures had to be as phony as Rachael's.
Why would a replicant collect photos? Maybe they were like Rachael. They needed memories.
He walks over to the window and surveys the city from his balcony.
A spinner flashes by smearing light on his face.
CUT TO:
EXT. ABANDONED BUILDING - NIGHT
Pris approaches the Bradbury Building, where J. F. Sebastian lives.
A spinner rockets past overhead. She crosses the street 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 battered old truck, SEBASTIAN's, sputters to a halt in front.
Sebastian gets out, a young man with skin that is yellowing 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.
SEBASTIAN
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.
Sebastian looks like he's about to leave, but Pris 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 for a moment and then looks lost again.
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.
As Sebastian turns, Pris's smile disappears.
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 Sebastian are standing in the mesh elevator as it grumbles noisily into the shadows above.
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.
INT. APARTMENT CORRIDOR - NIGHT
Sebastian and Pris walk down the corridor towards his apartment.
SEBASTIAN
Watch out for the water.
PRIS
Must get lonely here J.F.
SEBASTIAN
Mmm... 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 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 molding 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.
TOYS
Home again, home again, jiggity jig. Good evening J. F.
SEBASTIAN
Good evening, fellas.
The Bear and Kaiser turn away disappearing into the gloom.
KAISER
(bumps into wall)
Oooh!
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?
INT. DECKARD'S APARTMENT (LATER) - NIGHT
Deckard is sleepily tinkling at the piano, which is littered with an interesting combination of sheet music, family photos, and booze.
He has a surreal daydream of a unicorn.
Deckard snaps back to reality and reaches for one of Leon's photos that he 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.
A grid with vectors is superimposed over the photo. Deckard fills up his glass and studies it carefully.
DECKARD
Enhance 224 to 176.
DECKARD
Enhance. Stop. Move in. Stop. Pull out, track right. Stop. Center and pull back. Stop. Track 45 right. Stop. Center and stop.
Something catches his eye.
DECKARD
Enhance 34 to 36. Pan right and pull back. Stop.
DECKARD
Enhance 34 to 36. Pull back. Wait a minute. Go right. Stop. Enhance 57-19. Track 45 left. Stop.
DECKARD
Enhance 15 to 23.
DECKARD
Give me a hard copy right there.
The Esper spits out the print. Deckard takes a look.
He puts two and two together and reaches for the scale he found earlier in Leon's bathtub.
Something's going on here.
EXT. ANIMOID ROW - NIGHT
Deckard takes the scale to the CAMBODIAN LADY, a withered woman in black who specializes in the creation of artificial fish.
DECKARD
Fish?
Deckard hands her the scale and she places it under the electron microscope.
We are looking at a huge enlargement of the scale seen through a microscope. It's a grand abstract weirdness blurring and sharpening and changing.
CAMBODIAN LADY
I think it was manufactured locally. Finest quality. Superior workmanship.
The scale seems to morphs into a landscape of forests and moonscapes.
Buried deep in the texture of the thing is a serial number.
CAMBODIAN LADY
There is a maker's serial number: 99069-47X/B71. Interesting. Not fish. Snake scale!
DECKARD
Snake?
CAMBODIAN LADY
(indicates direction)
Try ABDUL BEN-HASSAN. He make this snake.
CUT TO:
EXT. EGYPTIAN'S PARLOR - NIGHT
Deckard walks down Animoid Row, avoiding the ostriches and various other artificial creatures until he gets to the Egyptian's artificial snake parlor.
Abdul Ben-Hassan beckons him inside in Arabic.
DECKARD
Abdul Hassan? I'm a police officer. I'd like to ask you a few questions. Artificial snake license X/B71, that's you?
Abdul shrugs and appears clueless.
DECKARD
(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
(grabs him by his tie)
How few? Look my friend.
ABDUL
TAFFEY LEWIS's, down in First Sector, Chinatown.
CUT TO:
EXT. THE LINE - NIGHT
We follow the busy streets of Chinatown to the Snake Pit Bar.
A crossing signal continuously blares "CROSS NOW" as large swaths of pedestrians move amongst the traffic.
Two masked girls in lingerie dance provacatively inside a pod.
A policeman points Deckard to the Snake Pit.
CUT TO:
INT. SNAKE PIT BAR - NIGHT
Deckard enters the Snake Pit and approaches the bar.
DECKARD
Bartender? Taffey Lewis?
The bartender points him to a big guy sitting at the bar in this sleazy joint.
DECKARD
Taffey?
TAFFEY
Eh?
DECKARD
(flashes badge)
I'd like to ask you a few questions.
TAFFEY
(to companion)
Blow with me.
Taffey turns to face his questioner. A big, bad low-life that looks like he's looking at a cockroach.
DECKARD
You ever buy snakes from the Egyptian, Taffey?
TAFFEY
All the time, pal.
DECKARD
(shows him photo of Zhora)
Did you ever see this girl, huh?
TAFFEY
Never seen her, buzz off.
DECKARD
Your licenses in order pal?
TAFFEY
(smiles at bartender)
Hey Louis, the man is dry. Give him one on the house, okay? See ya.
Taffey calls Deckard's bluff and dismisses him.
Deckard accepts his drink and looks at the photo of Rachael with her mother.
Remorse, liquid courage... whatever it is, it prompts him to call her.
Using the bar's public VID-PHON, he dials 555-7583.
She answers.
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?
RACHAEL
I don't think so, Mr. Deckard. That's not my kind of place.
DECKARD
Go some place else?
Rachael hangs up on him. Deckard returns to his drink.
The MASTER OF CEREMONIES announces that the show is about to begin.
MASTER OF CEREMONIES
Ladies and Gentlemen. Taffey Lewis presents Miss Salomé and the snake. Watch her take the pleasures from the serpent that once corrupted man!
INT. BACKSTAGE (A LITTLE LATER) - NIGHT
You can hear faint applause and catcalls from the audience as SALOMÉ (Zhora) and the cast flounce backstage.
Deckard waits for Zhora in the busy corridor near the dressing rooms, reading that old newspaper again.
Deckard suddenly sees her coming and emerges from the shadows.
DECKARD
(makes his voice nasally)
Excuse me, Miss Salome, can I talk to you for a minute? I'm from the American Federation of Variety Artists.
She turns. Deckard's posture and attitude suggest humble, sleazy persistence. He comes closer with his shit-eating grin.
SALOMÉ
Oh yeah?
Salomé stands almost six feet tall in her high heels and down on him with haughty suspicion... a girl who knows how to handle cheap hits.
DECKARD
I'm not here to make you join. No ma'am. That's not my department.
They enter her dressing room.
INT. DRESSING ROOM - NIGHT
Musty, cramped. A portable shower, a dressing table and not much else.
Deckard continues his charade as Salomé unravels her snake from her neck and moves it to a coat stand.
DECKARD
I'm not here to make you join. No ma'am. That's not my department. Actually, uh. I'm from the, uh, Confidential Committee on Moral Abuses.
SALOMÉ
(skeptically)
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.
SALOMÉ
I don't know nothin' about it.
DECKARD
Have you felt yourself to be exploited in any way?
SALOMÉ
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?
SALOMÉ
(laughs at his obliviousness)
Are you for real?
DECKARD
Oh yeah.
Salomé takes off her costume (there's not much to take off) and heads for the shower.
DECKARD
I'd like to check your dressing room if I may.
SALOMÉ
(annoyed)
For what?!
DECKARD
For, uh, for holes.
SALOMÉ
Holes?
DECKARD
Well you- you'd be surprised what a guy'd go through to... get a glimpse of a beautiful body.
SALOMÉ
No, I wouldn't.
DECKARD
Little, uh, dirty holes they, uh, drill in the wall so they can watch a lady undress.
He starts pacing the room like's he's inspecting the walls.
His fingers are moving over her gowns. There's about six of them, on hangers, but nothing quite like the one in Leon's closet.
As he waits for Salomé to dry her hair and get dressed, Deckard watches the snake on the dressing table undulate into the warmth of the lights.
DECKARD
Is this a real snake?
SALOMÉ
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?
Deckard reaches out to touch it. As his fingers make contact, there's an electric "snap". He jerks his hand back from the shock.
Salomé's out of the shower with her boots on, patting her head with a towel. Her hair reddish brown and cropped short.
She didn't look like Nexus designated Zhora to begin with, but even less so now.
SALOMÉ
So if somebody does try to exploit me, who do I go to about it?
DECKARD
Me!
SALOMÉ
(throws towel at Deckard)
You're a dedicated man. Dry me.
Deckard steps up behind her and starts patting her down.
Suddenly, Salomé/Zhora whips around and goes for the jugular.
Deckard falls to the floor, gasping and sputtering for air.
Zhora turns ferocious and starts strangling him, but is interrupted when another dancer enters the room.
She makes a break for it, and Deckard gives chase.
EXT. STREET - NIGHT
Hawkers and whores, the rabble, the poor, cultists, and the curious mill around the crudely built platforms and brightly lit stands. Zhora, in her translucent raincoat, is not out of place in this atmosphere. 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.
He follows her down the street and comes out of the crowd in time to spot her hiding.
She sees him and runs. Two pedestrians are in his line of fire.
DECKARD
Move! Get out of the way!
Deckard levels his blaster and OPENS UP, squeezing off two quick misses.
CRASH! Zhora explodes through a series of plate glass windows in adjoining shops.
Deckard FIRES again! Zhora takes a hit in the back of the shoulder, but her motor reflexes keep her going right into a showcase window.
Deckard SHOOTS her one last time clean through the chest, and that's it for her.
Zhora breaks through one window after another, getting sliced, already dead, running on reflexes. Glass sprays like fireworks as she smashes through the last winche street.
Leon looks stunned as he watches the life drain out of Zhora's face until its frozen.
Lights from a spinner smear over the crowd that's starting to gather. Something here for everybody as they're coming from all directions.
Deckard is breathing hard. His eyes reveal that it's getting to him. He's aware of the spectators around him.
DECKARD
(shows ID to street cop)
Deckard. B-two-sixty-three-fifty-four.
Deckard leaves the scene and heads to a bottle shop.
A POLICE SPINNER hovers above the crowd and encourages them to dissipate
POLICE SPINNER
MOVE ON! MOVE ON! MOVE ON! MOVE ON! MOVE ON!
INT. BOTTLE SHOP - NIGHT
Deckard enters the shop and waits at the counter for the SALESLADY
SALESLADY
A minute. Yeah what do you want?
DECKARD
Tsing Tao.
She gets a bottle of vodka and wraps it for him.
DECKARD
(gives her some cash)
This enough?
SALESLADY
Yeah.
Gaff suddenly emerges and taps Deckard on the shoulder with his cane.
Deckard snaps around and angrily grabs it.
GAFF
Bryant.
EXT. GAFF'S SPINNER - NIGHT
Gaff takes Deckard to his spinner.
Bryant gets out to speak with Deckard.
BRYANT
Christ, Deckard, you look almost as bad as that skin job you left on the sidewalk.
DECKARD
I'm going home.
BRYANT
You could learn from this guy, Gaff. He's a god damn one man slaughter house. That's what he is. Four more to go. Come on, Gaff, let's go.
DECKARD
Three. There's three to go.
BRYANT
There's four.
Bryant realizes Deckard doesn't know.
BRYANT
There's four. That- That skin job that you V-K'ed at the 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. Drink some for me, 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.
EXT. STREETS - NIGHT
The tide of STREET PEOPLE moves inexorably as Deckard, like a swimmer, moves through them, eyes busy, searching for Rachael.
Deckard shoves his way through the crowd and looks around in despair. He catches sight of her half a block away and hurries after her.
Suddenly, someone confronts Deckard and pulls him aside.
DECKARD
Leon!
LEON
How old am I?
Deckard throws a punch. It's not very effective...
DECKARD
I don't know.
Leon throws Deckard up against the side of a truck.
LEON
My birthday's April 10, 2017. How long do I live?
DECKARD
Four years.
Leon throws him at a steam tank of some kind. Deckard pulls out his blaster, but Leon smacks it away.
LEON
More than you!
He grabs Deckard again, sees the terror in his eyes.
LEON
Painful to live in fear, isn't it?
SMASH! The windshield of a nearby car shatters as Leon throws Deckard again hard against the glass.
LEON
Nothing is worse than having an itch you can never scratch.
DECKARD
Oh I agree.
Leon picks him up one last time and slaps him a few times. A sinister grin breaks out on his face.
LEON
Wake up! Time to die.
Leon goes to poke Deckard's eyes out when suddenly he is shot clean in the head.
Deckard looks over and sees Rachael holding his blaster.
Leon slumps over and falls onto Deckard.
Rachael is staring at the body of Leon, stunned and shaken at what she has done.
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.
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.
DECKARD
Shakes? Me too.
RACHAEL
What?
DECKARD
I get 'em bad. It's part of the business.
Rachael gives Deckard a long hard look.
RACHAEL
I'm not in the business. I am the business.
INT. DECKARD'S BATHROOM - NIGHT
Deckard walks over to his bathroom, takes off his shirt, and rinses out his mouth.
Rachael is in the foreground shadows, a drink in her hand. Her face is enigmatic. She's watching.
SPLASH. Deckard sticks his head in the sink full of water and when he comes up, he sees Rachael standing by the doorframe.
RACHAEL
What if I go north?
Deckard gives her a look, turns back to the mirror. Puts a towel over his head.
RACHAEL
Disappeared. Would you come after me? Hunt me?
Rachael waits a long tense moment for an answer.
DECKARD
No. No, I wouldn't. I owe you one. But somebody would.
INT. DECKARD'S LIVING ROOM - NIGHT
Deckard takes the Tsing Tao with him from the bathroom to the living room and puts on a new shirt.
RACHAEL
Deckard? You know those files on me? The incept date... the longevity... those things. You saw them?
Deckard, exhausted stares absently into space.
DECKARD
They're... classified.
RACHAEL
But you're a policeman.
DECKARD
I didn't look at them.
RACHAEL
(indignant)
You know that Voight-Kampff test of yours? Did you ever take that test yourself?
Rachael waits for a long moment in the shadows.
No answer.
RACHAEL
Deckard?
She moves into the light from the living room door and peers in.
Deckard is lying on the bed, snoring gently.
INT. LIVING ROOM (PIANO) - NIGHT
Rachael walks through the shadowy room to the piano.
She sees a photo near the sheet music and looks at it for a moment, before she sits down and starts to play.
The feeling, the rhythm, the beauty of the music. It fills the whole apartment.
Rachael lets her hair down and stares off wistfully.
Deckard slowly gets up, accidentally knocking and spilling the bottle of Tsing Tao. He joins Rachael at the piano.
DECKARD
I dreamt music.
RACHAEL
(playing 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 leans in and kisses Rachael on the cheek.
Deckard then tries to kiss her on the lips. This makes Rachael upset and she gets up to leave.
He beats her to the door, slams it shut, and throws her up against the wall.
Deckard goes in for the kiss. He pulls away gently and then meets her eyes.
DECKARD
Now you kiss me.
RACHAEL
I can't rely on...
DECKARD
Say "Kiss me."
RACHAEL
(whispers)
Kiss me.
DECKARD
"I want you."
RACHAEL
I want you.
DECKARD
Again.
RACHAEL
(gives in)
I want you. Put your hands on me.
They finally kiss passionately without restraint.
CUT TO:
EXT. CITYSCAPE - NIGHT
Eerie music accompanies a familiar scene of endless sparkling skyscrapers.
CUT TO:
INT. SEBASTIAN'S APARTMENT - MORNING
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.
A cuckoo clock CHIRPS 6 times.
She gets up and starts exploring the rooms.
INT. SEBASTIAN'S LABORATORY - MORNING
Sebastian is asleep - Kaiser Wilhelm, his mouth clamped open, is propped up next to him.
Pris wanders in, studying the array of his equipment. Kaiser Wilhelm awakens when she enters the room and watches her nervously.
She puts her eye to the stereoscope near Sebastian. It reveals a world of rare beauty. Landscapes, mountains etc.
Sebastian suddenly wakes up.
SEBASTIAN
Whatcha doin'?
PRIS
Sorry, heh. Just peaking.
SEBASTIAN
Oh.
PRIS
How do I look?
SEBASTIAN
You look better.
PRIS
Just better?
SEBASTIAN
Well, you look beautiful.
PRIS
Thanks.
CUT TO:
INT. APARTMENT CORRIDOR - MORNING
Roy saunters down the dismal corridor to Sebastian's apartment.
CUT TO:
INT. SEBASTIAN'S LABORATORY - MORNING
Pris continues to kill time before Roy arrives.
PRIS
How old are you?
SEBASTIAN
(reluctantly)
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.
Roy quietly enters the apartment. Sebastian doesn't see him.
SEBASTIAN
Anyway, I kinda like it here.
PRIS
(looks up)
I like you... just the way you are. Hi Roy.
BATTY
Ah, gosh. You've really got some nice toys here.
Sebastian whips round. He is flanked a hair's breath away by Roy. The shock almost knocks him off his chair.
PRIS
This is the friend that I was telling you about.
Roy smiles benevolently.
PRIS
(to Roy)
This is my savior, J. F. Sebastian.
BATTY
Sebastian. I like a man that stays put. You live here all by yourself, do you?
SEBASTIAN
Yes.
Roy smiles at Pris. He leans in and they kiss. Sebastian gets embarrassed and gets up to leave.
SEBASTIAN
(walks through them)
How about some breakfast? I was just gonna make some. Excuse me.
A moment.
PRIS
Well?
BATTY
Leon...
PRIS
What's going on?
BATTY
(emotional)
I... There's only two of us now.
PRIS
Then we're stupid and we'll die.
BATTY
(smiles reassuringly)
No we won't.
CUT TO:
INT. SEBASTIAN'S LIVING ROOM - MORNING
Sounds emanate from the kitchen.
Roy and Pris wait in the living room as Sebastian prepares breakfast.
As Sebastian comes out and places some food on the table, 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.
SEBASTIAN
No, knight takes queen, see. No good.
BATTY
Why are you staring at us Sebastian?
SEBASTIAN
'Cause. You're so different. You're so perfect.
BATTY
Yes.
SEBASTIAN
What generation are you?
BATTY
(slides over and sits with Pris)
Nexus 6.
SEBASTIAN
Ha, I knew it! 'Cause I do genetic design work for the Tyrell Corporation. There's some of me in you. Show me something.
BATTY
We're not computers Sebastian, we're physical.
Pris perks up proudly.
PRIS
I think, Sebastian, therefore I am.
BATTY
Very good Pris, now show him why.
Pris cartwheels back to the boiling eggs.
Without a moment's hesitation, she walks over to the flask, sticks her hands into the boiling water, pulls out one of the eggs and tosses 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
We've got a lot in common.
SEBASTIAN
What do you mean?
PRIS
Accelerated decrepitude.
SEBASTIAN
I don't know much about biomechanics, Roy, I wish I did.
Roy grabs Sebastian by the collar and pulls him closer.
BATTY
If we don't find help soon, Pris hasn't got long to live. I can't allow that.
BATTY
(looks at chessboard)
Is he good?
SEBASTIAN
Who?
BATTY
Your opponent.
SEBASTIAN
Oh, Dr. Tyrell? I've only beaten him once in chess. He's a genius. He designed you.
BATTY
Maybe he could help.
SEBASTIAN
I'd be happy to mention it to him.
Roy stands and puts his hand on Sebastian's shoulder.
BATTY
Better if I talk to him in person.
SEBASTIAN
Hmmph.
BATTY
But I understand he's a sort of hard man to get to.
He shuffles Sebastian over to Pris who locks her legs around him.
SEBASTIAN
Yes, very.
Roy leans forward and looks right into Sebastian's eyes.
BATTY
Will you help us?
PRIS
We need you Sebastian. You're our best and only friend.
Sebastian feels the pressure.
Roy holds up a pair of big glass eyeballs over his own and does a funny voice.
BATTY
We're so happy you found us.
PRIS
I don't think there's another human being in the whole world who would have helped us.
Pris kisses Sebastian on the cheek.
Sebastian looks resigned and gives in to the pressure. As he walks off, Pris and Roy exchange looks.
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.
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.
INT. TYRELL'S BEDROOM - NIGHT
Tyrell is lying in a huge bed muttering into a computer device.
TYRELL
66,000 Prosser and Ankovich. Hmm... Trade. Trade at-
COMPUTER
Blue entry. A Mister "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.
Tyrell is frowning, gets out of bed and walks to his board.
TYRELL
Hmm. Queen to Bishop six. Ridiculous. Queen. Bishop six. Mmm... Knight... takes... Queen. What's on your mind Sebastian? What are you thinking about?
BATTY
(whispers)
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.
EXT. PYRAMID - NIGHT
The elevator is whizzing up to the top of the pyramid.
INT. TYRELL'S BEDROOM - NIGHT
The artificial owl leers at Sebastian and Roy as they enter.
SEBASTIAN
Mr. Tyrell. I-I brought a friend.
Tyrell looks alarmed.
Batty is standing in the shadows. He slowly moves toward Tyrell, pulling Sebastian along with him.
TYRELL
I'm... surprised you didn't come here sooner.
BATTY
It's not an easy thing to meet your Maker.
TYRELL
And what can He do for you?
BATTY
Can the Maker repair what He makes?
TYRELL
Would you... like to be modified?
BATTY
(to Sebastian)
Stay here.
Roy is now face-to-face with his Maker.
BATTY
Had in mind something a little more radical.
TYRELL
What- What seems to be the problem?
BATTY
Death.
TYRELL
Death. Well, I'm afraid that's a little out of my jurisdiction, you-
BATTY
I want more life, Father.
Sebastian watches warily.
Tyrell faces Batty with admirable cool. After a tense pause, he looks at Batty and addresses him as a professor addresses a pupil.
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.
BATTY
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.
BATTY
(takes a step closer)
What about E.M.S. recombination?
TYRELL
We've already tried it. Ethyl methane sulfonate as an alkylating agent a potent mutagen- it created a... virus so lethal the... subject was dead before he left the table.
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 the mutation and you've got a virus again. But, uh, this- all of this is academic. You were made as well as we could make you.
BATTY
But not to last.
Roy is now face-to-face with his Maker. His 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 Roy's shoulder.
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!
BATTY
I've done questionable things.
TYRELL
Also extraordinary things. Revel in your time!
BATTY
Nothing the god of biomechanics wouldn't let you in heaven for.
Roy takes Tyrell's head in his hands and kisses him. As Roy pulls away, he squeezes his hands forcefully.
CRACK! Tyrell's skull cracks like dry wood.
Roy slowly gouges his Father's eyes out as Tyrell screams.
Sebastian tearfully stares in horror.
Tyrell slumps to the floor like empty clothes.
Roy looks at the remains with disgust.
He turns to Sebastian.
Sebastian looks like a heart attack. He whimpers audibly.
BATTY
Sorry, Sebastian. Come. Come.
Sebastian cowers and runs off. Roy creeps toward him.
INT. ELEVATOR - NIGHT
The elevator whizzes down the pyramid from the Heavens above.
Roy is alone, solemn.
The lights reflect on his face. He ponders his next move.
EXT. STREETS - NIGHT
Deckard is in his streetcar. We hear police radio chattering in background.
EXT. RUN-DOWN AREA - NIGHT
Deckard is parked in a shady part of the city.
A gang of DELINQUENTS walks past Deckard's car, talking amongst each other in German.
DELINQUENT 1
Jemand hat uns ein kleines Geschenk dagelassen. Ist jemand drinnen? (Somebody left us a little present. Is someone inside?)
DELINQUENT 2
Ich kann nichts sehen. (I can't see anything.)
DELINQUENT 1
Hey, warte bis die Bullen weg sind! Hey, warte bis die Bullen weg- (Hey, wait 'til the pigs are gone! Hey, wait 'til the pigs-)
Bryant reaches out to Deckard through the police radio.
BRYANT
Body identified with Tyrell a 25 year old male caucasian named Sebastian. J. F. Sebastian. Address Bradbury apartments, ninth sector. NM46751. I want you to go down there-
A police SPO suddenly appears and a COP addresses Deckard.
The street gang scrambles and hides.
COP
This sector's closed to ground traffic. What are you doing here?
DECKARD
I'm working. What are you doing?
COP
Arresting you. That's what I'm doing.
DECKARD
I'm Deckard. Blade Runner. Two sixty three-fifty four. I'm filed and monitored.
COP
Hold on. Checking... okay, checked and cleared. Have a better one.
The spinner flies off.
Deckard dials Sebastian's phone number on his in-board computer and calls his apartment.
Someone answers.
PRIS
Hello?
DECKARD
Hi, is J. F. there?
PRIS
Who is it?
DECKARD
This is Eddie. An old friend of J. F.'s.
Pris hangs up.
DECKARD
Ooh. That's no way to treat a friend.
Deckard suddenly hears banging as the delinquents climb his car. He revs the engine, which knocks them down, and then speeds off.
The gang start squabbling over something they lifted from his car.
DELINQUENT 1
Scheißkerl! (Shithead!)
DELINQUENT 2
Gib` das sofort her! (Give that to me now!)
DELINQUENT 3
Hau ab! (Get lost!)
CUT TO:
EXT. SEBASTIAN'S APARTMENT - NIGHT
Deckard drives to the Bradbury Building, where Sebastian lives, and parks his car outside.
Deckard gets out and enters the building.
Inside Sebastian's apartment, Pris is disguising herself as a mannequin.
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 walks across the dark lobby, stepping around the heaps of trash, his footfalls echoing noisily in the silence.
An OMINOUS CHANT rings through the lobby. Deckard looks up through the atrium and sees a blimp.
Cautiously, Deckard begins to climb the stairs. He can hear faint noises... very eerie.
He pulls his blaster out as he nears the top.
CUT TO:
INT. SEBASTIAN'S APARTMENT - NIGHT
Pris is lurking in the shadows like a vampire. She hears footsteps.
CUT TO:
INT. STAIRWELL - NIGHT
Deckard is several flights up now, listening to the eerie noises.
A shadowy hallway cluttered with debris.. spooky.
Nothing moves.
Very carefully he slides along the wall, weapon up.
We can see a doorway ahead of him, the door to Sebastian's apartment.
Deckard moves to the door. It's open a crack. He peeks in.
INT. SEBASTIAN'S APARTMENT - NIGHT
Deckard inches the door open, blaster ready. He looks around warily studying the apartment.
He levels his blaster, arm extended full out cop-style, as he ventures deeper into the apartment.
TOYS
Home again, home again, jiggity jig. Good evening J. F.
The Kaiser walks by Deckard alone and bumps into the doorpost again as it wanders off.
Pris rolls her eyes back and smiles.
Deckard continues to explore the apartment and searches among Sebastian's toys.
He cautiously approaches Pris, and removes her veil.
WHAP! Pris kicks Deckard and he flies across the room, collapsing on the floor.
Pris somersaults over and drops on him from above, wrapping her bare thighs around his neck.
Deckard finds himself choking to death in bare thighs as she applies a brutal scissors grip with her legs. All he can do is bite at the flesh near her crotch as he fights for air and life.
Pris might look like a punk waif but she's a powerful replicant. She twists his head around and tries ripping out his nose.
But before Pris finishes him off, she lets Deckard fall to the ground and runs back to the opposite room.
Deckard looks up and sees Pris somersaulting toward him at full speed, screaming like a ghoul. He rolls over and desperately grabs for his blaster.
BOW! A bullet hits her in the waist. She flies over him and careens into the wall.
She continues to scream and thrashes around maniacally until Deckard unloads two more bullets and puts her out of her misery.
Pris goes down in a limp heap, leaving Deckard standing there, bloody and stupefied.
He's still staring when he hears it... the drone of the elevator ascending.
He hears the elevator stop. Then footsteps.
Deckard walks silently toward the other door leading into the next room and steps through it.
The footsteps keep coming.
INT. BILLIARD ROOM - NIGHT
Deckard slides around the door and puts his back to the wall, blaster ready.
INT. SEBASTIAN'S APARTMENT - NIGHT
Roy's shadow falls over Pris as he stares at her dead body. He leans down and kisses her.
His body walks into the shadow.
Deckard fires, but Batty is faster, he jumps out of the way and disappears.
The bullet smashes into the dresser in the bedroom, the mirror explodes.
Deckard runs into the billiard room.
BATTY
Not very sporting to fire on an unarmed opponent. I thought you were supposed to be good. Aren't you the... "good man"?
BATTY
Come on... Deckard. Show me... what you're made of.
INT. BILLIARD ROOM - NIGHT
Deckard ducks back behind the wall.
Suddenly a hand comes tearing through the wall, and pulls Deckard's hand through.
BATTY
Proud of yourself, little man?
Roy removes the blaster from Deckard's grip.
BATTY
(breaks Deckard's pinky)
This is for Zhora!
DECKARD
Argh!
BATTY
(breaks another finger)
This is for Pris!
DECKARD
Waargh!
As Deckard whimpers, Roy puts the gun back in Deckard's broken hand and pushes it back through the hole.
BATTY
Come on, Deckard. I'm right here, but you've gotta shoot straight.
Roy's head peers through the hole, and Deckard fires at him, grazing the side of his face and blowing off his ear.
BATTY
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 starts running through the rooms looking for an escape.
BATTY
Three... four... Pris...
Roy's voice starts breaking as the weight of Pris's death hits him.
He dabs her blood on his face.
Elsewhere Deckard flees into another darkened room.
He stops and snaps his fingers back into place.
DECKARD
Aaarrghhhh!
The scream brings Roy back into the hunt. He collects himself and howls.
Thunder and lightning erupt. Rain is POURING hard.
.webp)
INT. DARKENED ROOM ARMOIRE - NIGHT
Deckard runs into the darkened room. Flies BUZZ all around him.
He hears footsteps coming. There are no other exits.
Roy shrieks, laughs, and then starts singing.
BATTY
I'm cominnng... Deckard!
Deckard looks at the armoire. His only escape.
BATTY
Four, five! How to stay alive?
Roy has stripped down to his shorts, and is running around after Deckard. He is huffing and growling maniacally.
Deckard continues scaling the armoire toward a hole in the ceiling. Water drips on his head.
Suddenly, his gun falls to the floor.
BATTY
(spots Deckard)
I can see you!
Roy howls again and runs off.
Deckard finally reaches and pulls himself through the opening in the ceiling.
One of Roy's hands is cramping shut again. He tries biting it open.
BATTY
Bitte (Please). Not... yet. Not... mmph... mmph... oomph... arghh!
INT. FLOOR B - TOILET - NIGHT
Deckard's head pops up through the floor next to an overflowing toilet.
He pulls himself up through the hole and sits down on a bathtub, holding his broken fingers.
Roy is running out of time and options. He sees a nail jutting out of the hardwood floor, and impales his hand to keep it open.
Meanwhile, Deckard is busy bandaging his fingers.
Suddenly, with a resounding crash Batty's head comes through the marble above the basin.
BATTY
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...
Roy starts coughing and choking.
Deckard uses the opportunity to grab a pipe off the wall. Roy comes into the room.
BATTY
Six... seven! Go to hell or go to heaven!
DECKARD
(strikes Roy in the head)
Go to hell!
He lands another hit but Roy catches the pipe.
BATTY
(grabs pipe and throws it aside)
Good! That's the spirit!
Deckard gets up and makes a run for the door at the end of the room. Pigeons burst out of the room into Deckard's face as he runs over and kicks a window open.
Roy watches as Deckard climbs out the window onto the ledge.
EXT. WINDOW LEDGE - NIGHT
Deckard slowly eases himself around the window ledge and edges his way around to a cornice.
Roy howls again. He breaks through a different window in front of Deckard, and meets him on the ledge.
BATTY
That hurt! That was irrational of you. Not to mention... unsportsmanlike.
Deckard scrambles up the cornice and on to the roof, wind and rain hindering his climb.
BATTY
Heh heh... ha ha ha! Where are you going?
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 with no shelter.
Suddenly a rooftop door opens and Roy steps out.
Deckard turns back and dashes toward the next building.
Is it possible? A long jump. But what choice.
He runs, pumping like crazy, and goes for the gap.
CUT TO:
EXT. ROOF - LOW ANGLE - NIGHT
Looking up from way below, two buildings loom in the dark with a gap between them.
Deckard leaps across the gap, flies through the air... and just barely makes it.
He catches a cornice on the second building... and hangs many stories up over the street.
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.
CUT TO:
EXT. THE FIRST ROOF - NIGHT
Roy stands there watching Deckard hang.
He walks back five yards and grins, dove in hand.
Then he sprints quickly, and leaps.
CUT TO:
EXT. ROOF - LOW ANGLE - NIGHT
From below we see the tiny figure of Roy as he leaps easily across the gap between the two looming skyscrapers.
CUT TO:
EXT. THE SECOND ROOF - NIGHT
Deckard is hanging there as Roy lands not far from Deckard's desperate hands.
Roy looks down at Deckard.
BATTY
Quite an experience to live in fear, isn't it? That's what it is to be a slave.
Deckard's bad hand lets go. He's hanging by one hand.
The street looms way below.
Deckard looks desperately into Roy's cold eyes.
Roy is grinning wide.
Deckard looks into that awful smile and sees no hope there.
Deckard's hand is going. He knows it's over now, he bites the bullet of his anger.
He glares at Roy and spits in his face as his grip gives way.
Roy's hand is like lightning. He catches Deckard's hand and holds Deckard.
BATTY
Kinship!
Deckard is suspended above the awesome drop, unsure why he's not falling.
He opens his tightly closed eyes and looks up.
Roy 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.
JUMP CUT TO:
EXT. THE SECOND ROOF (MOMENTS LATER) - NIGHT
Deckard is looking at Roy, who sits across from him.
Roy is partly crumpled, seated in an unnatural position 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 awhile in silence, communicating something with their eyes... without expression.
Finally Roy breaks the silence.
BATTY
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 Tannhäuser Gate. All those... moments will be lost... in time... like tears... in rain. Time... to die.
Roy's head bows. The dove he was holding flies off. Roy doesn't stir or move.
He holds Deckard's eyes like a hypnotist.
EXT. ROOF - DAWN
A police spinner hovers into the view in the background, as Deckard sits motionless and watches Roy die
Maybe someday he'll be better. But right now he hasn't even got the energy to be sick.
Gaff's voice doesn't surprise him, it comes through the silence like the rasping of raven's wings.
GAFF
You've done a man's job, sir.
He is standing 20 feet away, on the edge of the roof, like a captain looking at the sea.
GAFF
I guess you're through, huh?
DECKARD
Finished.
He throws the gun across the gap to Deckard.
Deckard doesn't try to catch it. It lands at his feet.
Gaff turns around and walks back to the spinner, but stops for a moment before he does.
GAFF
It's too bad she won't live. But then again, who does?
INT. DECKARD'S CORRIDOR - DAY
Deckard's feet CLICK along the corridor as he approaches his door.
He finds his door ajar. Blaster ready, he heads in warily.
DECKARD
Rachael?
No answer. Deckard looks concerned.
INT. DECKARD'S LIVING ROOM - DAY
The room is dark and quiet as Deckard enters.
Deckard frowns, looks around.
A deep hum DRONES on faintly in the background. Nothing moves.
DECKARD
Rachael? Rachael?
He sees something on the bed, under the covers. Motionless. A body?
Deckard goes close and gently lifts the covers.
Rachael is on the bed. Completely motionless.
Deckard leans over her, very close, to see if she's breathing.
Then the tension goes out of him. She's alive.
He wakes her with a kiss.
DECKARD
Do you love me?
RACHAEL
I love you.
DECKARD
Do you trust me?
RACHAEL
I trust you.
INT. DECKARD'S CORRIDOR - DAY
The door slides open. Deckard checks that nobody is outside.
DECKARD
(calls inside)
Rachael?
She appears. He holds up a hand to tell her to wait a moment.
He walks out into the corridor and confirms that the coast is clear.
Deckard calls the elevator and beckons Rachael, who hurries out. Her foot knocks over something shiny as she passes.
Deckard reaches down and picks it up.
It's a tiny unicorn made of tinfoil... one of Gaff's origami calling cards.
Deckard looks at it for a moment.
GAFF
(voice echoes in Deckard's head)
It's too bad she won't live. But then again, who does?
Deckard crumples the unicorn and nods in realization.
Then he turns around and follows Rachael into the elevator.
The doors slide shut.
FADE TO BLACK.
THE END
(Read FULL credits on larger devices)
JERRY PERENCHIO
AND
BUD YORKIN
PRESENT
HARRISON FORD
BLADE RUNNER
RUTGER HAUER
SEAN YOUNG
EDWARD JAMES OLMOS
M. EMMET WALSH
DARRYL HANNAH
WILLIAM SANDERSON
BRION JAMES
JOE TURKEL
AND
JOANNA CASSIDY
SUPERVISING EDITOR
TERRY RAWLINGS
MUSIC
COMPOSED, ARRANGED, PERFORMED, AND PRODUCED BY
VANGELIS
ASSOCIATE PRODUCER
IVOR POWELL
PRODUCTION DESIGNED BY
LAWRENCE G. PAULL
DIRECTOR OF PHOTOGRAPHY
JORDAN CRONENWETH
SCREENPLAY BY
HAMPTON FANCHER
AND
DAVID PEOPLES
PRODUCED BY
MICHAEL DEELEY
DIRECTED BY
RIDLEY SCOTT
A MICHAEL DEELEY - RIDLEY SCOTT PRODUCTION
FEATURING
JAMES HONG
MORGAN PAULL
EXECUTIVE PRODUCERS
BRIAN KELLY
HAMPTON FANCHER
SPECIAL PHOTOGRAPHIC
EFFECTS SUPERVISOR
DOUGLAS TRUMBULL
SPECIAL PHOTOGRAPHIC
EFFECTS SUPERVISOR
RICHARD YURICICH
SPECIAL PHOTOGRAPHIC
EFFECTS SUPERVISOR
DAVID DRYER
VISUAL FUTURIST
SYD MEAD
BASED ON THE NOVEL
"DO ANDROIDS
DREAM OF ELECTRIC SHEEP"
BY
PHILIP K. DICK
EXECUTIVE IN CHARGE
OF PRODUCTION
C.O. ERICKSON
PRODUCTION EXECUTIVE
KATHERINE HABER
UNIT PRODUCTION MANAGER
JOHN W. ROGERS
FIRST ASSISTANT DIRECTORS
NEWTON ARNOLD
PETER CORNBERG
SECOND ASSISTANT DIRECTORS
DON HAUER
MORRIS CHAPNICK
RICHARD SCHROER
COSTUMES DESIGNED BY
CHARLES KNODE
AND
MICHAEL KAPLAN
ART DIRECTOR
DAVID L. SNYDER
ADDITIONAL PHOTOGRAPHY
STEVEN POSTER
BRIAN TUFANO, B.S.C.
CASTING BY
MIKE FENTON
AND
JANE FEINBERG
Production Controller
Production Co-ordinator
Script Supervisor
Camera Operators
First Assistant Cameramen
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Sound Mixer
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Supervisor
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DICK COLEAN
MIKE GENNE
STEVE SMITH
GEORGE D. GREER
BUD ALPER
EUGENE BYRON ASHBROOK
BEAU BAKER
LINDA DESCENNA AND
TOM ROYSDEN
LESLIE FRANKENHEIMER
SHERMAN LABBY
MENTOR HUEBNER
TOM SOUTHWELL
STEPHEN DANE
TERRY LEWIS
DAVID QUICK
ARTHUR SHIPPEE JR.
JOHN A. SCOTT III
MARVIN G. WESTMORE
SHIRLEY L. PADGETT
JAMES LAPIDUS
BOBBY E. HORN
WINNIE BROWN
LINDA A. MATTHEWS
TERRY FRAZEE
STEVE GALICH
LOGAN FRAZEE
WILLIAM G. CURTIS
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JAMES T. WOODS
BUZZ LOMBARDO
GARY COMBS
MIKE FINK
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HOWARD DAVIDSON
SAUL KAHAN
STEPHEN VAUGHAN
MICHAEL KNUTSEN
VICTORIA RHODES
MARSHA NAKASHIMA
WILLIAM ZABALA
LES HEALEY
PETER PENNELL
MICHAEL HOPKINS
JOE GALLAGHER
PETER BALDOCK
GRAHAM V. HARTSTONE
PINEWOOD STUDIOS
GERRY HUMPHRIES
TWICKENHAM STUDIOS
SPECIAL PHOTOGRAPHIC EFFECTS BY EEG
Director of Photography
Optical Photography
Supervisor
Cameramen
Matte Artist
Matte Photography
Special Camera Technician
Optical Line up
Animation and Graphics
Effects Illustrator
Miniature Technician
Assistant Effects Editor
Chief Model Maker
Key Grip
Gaffer
Film Co-ordinator
Cinetechnician
Still Lab
Electronic and Mechanical
Design
Electronic Engineering
Computer Engineering
Special Engineering
Consultants
Production Office Manager
Visual Displays By
DAVE STEWART
ROBERT HALL
DON BAKER
CHARLES COWLES
DAVID HARDBERGER
RONALD LONGO
TIMOTHY MCHUGH
MATTHEW YURICICH
ROBERT BAILEY
TAMA TAKAHASHI
ALAN HARDING
PHILIP BARBERIO
RICHARD RIPPLE
JOHN WASH
TOM CRANHAM
BOB SPURLOCK
MICHAEL BAKAUSKAS
MARK STETSON
PAT VAN AUKEN
GARY RANDALL
JACK HINKLE
GEORGE POLKINGHORNE
VIRGIL MIRANO
EVANS WETMORE
GREG MCMURRAY
RICHARD HOLLANDER
BUD ELAM
DAVID GRAFTON
JOYCE GOLDBERG
DREAM QUEST INC.
Electron Microscope Photographs by
DAVID SCHARF
Copyright © 1977
Esper Sequence by
Color by
Filmed in
FILMFEX &
LODGE / CHEESMAN
TECHNICOLOR®
PANAVISION®
Filmed at
THE BURBANK STUDIOS
BURBANK, CALIFORNIA
Original Soundtrack album of music by
VANGELIS
Available on
POLYDOR RECORDS AND TAPES
"HARPS OF THE ANCIENT TEMPLES"
Composed and Performed by
GAIL LAUGHTON
Courtesy of
LAUREL RECORDS
WITH THANKS TO
WILLIAM S. BURROUGHS
AND
ALAN E. NOURSE
FOR THE USE OF THE TITLE
BLADE RUNNER
Titles by
INTRALINK FILM GRAPHIC DESIGN
Deckard
Batty
Rachael
Gaff
Bryant
Pris
Sebastian
Leon
Tyrell
Zhora
Chew
Holden
Bear
Kaiser
Taffey Lewis
Cambodian Lady
Sushi Master
Saleslady
Abdul Ben Hassan
HARRISON FORD
RUTGER HAUER
SEAN YOUNG
EDWARD JAMES OLMOS
M. EMMET WALSH
DARYL HANNAH
WILLIAM SANDERSON
BRION JAMES
JOE TURKEL
JOANNA CASSIDY
JAMES HONG
MORGAN PAULL
KEVIN THOMPSON
JOHN EDWARD ALLEN
HY PIKE
KIMIRO HIROSHIGE
ROBERT OKAZAKI
CAROLYN DEMIRJIAN
BEN ASTAR
FINAL CUT RESTORATION
Producer
Editor
Restoration Consultant
Associate Producer
Assistant Editor
Supervising Sound Editors
Assistant Sound Editors
Sound Effects Editors
Music Editor
Re-recording Mixers
Foley Mixer
Foley Artists
Foley Recordist
Visual Effects Supervisor
Visual Effects Co-ordinator
Visual Effects Enhancement
Additional Green Screen Photography
Digital Restoration
Titles by
Special Thanks
CHARLES de LAUZIRIKA
GILLIAN HUTSHING
KURT P. GALVAO
PAUL PRISCHMAN
KAREN RASCH
PER HALLBERG, M.P.S.E.
KAREN BAKER LANDERS
PHILIP D. MORRILL
TONY R. NEGRETE
CHRISTOPHER ASSELLS, M.P.S.E.
JON TITLE, M.P.S.E.
DINO R. DIMURO, M.P.S.E.
STEPHANIE LOWRY
D.M. HEMPHILL
RON BARTLETT
MARYJO LANG
JOHN ROESCH
ALYSON MOORE
SCOTT MORGAN
JOHN SCHEELE
GEORGIA SCHEELE
SONY PICTURES IMAGEWORKS, INC.
RICHARD R. HOOVER
DIANA STULIC IBANEZ
DEBBIE DENISE
CHRISTIAN BOUDMAN
LISA DEANER
DAVID TAKAYAMA
ILLUSION ARTS, INC.
SYD DUTTON
BILL TAYLOR, ASC
KELVIN MCILWAIN
FUMI MASHIMO
CATHERINE SUDOLCAN
COLLIN FOWLER
LOLA VISUAL EFFECTS
EDSON WILLIAMS
THOMAS NITTMANN
RYAN ZUTTERMEISTER
THE ORPHANAGE, INC.
JONATHAN ROTHBART
LUKE O'BYRNE
DIANE CALIVA
NEW DEAL STUDIOS
DAVID SANGER
TIMOTHY E. ANGULO
TECHNICOLOR DIGITAL
INTERMEDIATES
JILL BOGDANOWICZ
JAMES WARREN
THOM POLIZZI
TOM BURTON
JOSHUA PINES
KAREN KRAUSE
PACIFIC TITLE AND ART STUDIO
JOANNA CASSIDY
BENJAMIN FORD
DAVID DRYER
ROB HUMMEL
JEFFREY JASPER
JOHN YANEZ
TERESA KELLY
MOTION PICTURE IMAGING
CREST DIGITAL
FOTOKEM FILM & VIDEO
COPYRIGHT © MCMLXXXII BLADE RUNNER PARTNERSHIP. ALL RIGHTS RESERVED
THIS MOTION PICTURE IS PROTECTED BY THE COPYRIGHT AND OTHER LAWS OF THE UNITED STATES AND OTHER COUNTRIES THROUGHOUT THE WORLD. COUNTRY OF FIRST PUBLICATION: UNITED STATES OF AMERICA. ANY UNAUTHORIZED EXHIBITION, DISTRIBUTION, OR COPYING OF THIS MOTION PICTURE OR ANY PART THEREOF (INCLUDING, WITHOUT LIMITATION, THE SOUNDTRACK) IS AN INFRINGEMENT OF COPYRIGHT AND WILL SUBJECT THE INFRINGER TO SEVERE CIVIL AND CRIMINAL PENALTIES.
THE STORY, ALL NAMES, CHARACTERS, AND INCIDENTS PORTRAYED IN THIS MOTION PICTURE ARE ENTIRELY FICTITIOUS. NO IDENTIFICATION WITH ACTUAL PERSONS, INSTITUTIONS, PLACES, BUILDINGS, AND/OR PRODUCTS IS INTENDED OR SHOULD BE INFERRED.
