BLADE RUNNER Screenplay by HAMPTON FANCHER and DAVID PEOPLES February 23, 1981 android (an'droid) adj. Possessing human features - n. A synthetic man created from biological materials. Also called humanoid. (Late Greek androeides, manlike: ANDR(O) - OID.) THE AMERICAN HERITAGE DICTIONARY OF THE ENGLISH LANGUAGE (1976) android (an'droid) n, Gk. humanoid automation. more at robot./ 1. early version utilized for work too boring, dangerous or unpleasant for humans. 2. second generation bio-engineered. Electronic relay units and positronic brains. Used in space to explore inhospitable environments. 3. third generation synthogenetic. REPLICANT, constructed of skin/flesh culture. Selected enogenic transfer conversion. Capable of self perpetuating thought. paraphysical abilities. Developed for emigration program. WEBSTER'S DICTIONARY New International (2012) FADE IN: EXT. HADES - DUSK 1 We are MOVING TOWARD the Tyrell Corporation across a vast plain of industrialization, menacing shapes on the horizon, stacks belching flames five hundred feet into the sky the color of cigar ash. The CAMERA MOVES INTO a window in the large pyramid-shaped building. A man is sitting at a table. Another man enters the room and sits down. The following scene is reflected in the eye until HOLDEN is seated. INT. TYRELL CORPORATION INTERROGATION ROOM - DUSK 2 The eye is magnified and deeply revealed. Flecks of green and yellow in a field of milky blue. Icy fila- ments surround the undulating center. The eye is brown in a tiny screen. On the metallic surface below, the words VOIGHT-KAMPFF are finely etched. There's a touch-light panel across the top and on the side of the screen, a dial that registers fluctuation of the iris. The instrument is no bigger than a music box and sits on a table between two men. The man talking is big, looks like an overstuffed kid. LEON it says on his breast pocket. He's dressed in a warehouseman's uni- form and his pudgy hands are folded expectantly in his lap. Despite the obvious heat, he looks very cool. The man facing him is lean, hollow-cheeked, and dressed in grey. Detached and efficient, he looks like a cop or an accountant. His name is Holden and he's all business, except for the sweat on his face. The room is large and humid. Rows of salvaged junk are stacked neatly against the walls. Two large FANS WHIRR above their heads. LEON Okay if I talk? Holden doesn't answer. He's centering Leon's eye on the machine. LEON I kinda get nervous when I take tests. HOLDEN Don't move. LEON Sorry. He tries not to move, but finally his lips can't help a sheepish smile. LEON I already had I.Q. test this year... but I don't think I never had a... HOLDEN Reaction time is a factor in this so please pay attention. Answer as quickly as you can. LEON Uh... sure... HOLDEN One one eight seven at Hunterwasser... LEON Oh... that's the hotel. HOLDEN What? LEON Where I live. HOLDEN Nice place ? LEON Huh? Sure. Yeah. I guess. Is that.. part of the test ? Holden smiles a patronising smile. HOLDEN Warming you up, that's all. LEON Oh. It's [...] HOLDEN You're in a desert, walking along in the sand when.... LEON Is this the test now ? HOLDEN Yes. You're in a desert, walking along in the sand when all of a sudden you lookdown and see a..... LEON What one ? It was a timid interruption, hardly audible. HOLDEN What ? LEON What desert ? HOLDEN Doesn't make any difference what desert.. it's completely hypothetical. LEON But how come I'd be there? HOLDEN Maybe you're fed up, maybe you want to be by yourself.. who knows. So you look down and see a tortoise. It's crawling toward you.... LEON A tortoise. What's that? HOLDEN Know what a turtle is? LEON Of course. HOLDEN Same thing. LEON I never seen a turtle. He sees Holden's patience is wearing thin. LEON But I understand what you mean. HOLDEN You reach down and flip the tortoise over on its back, Leon. Keeping an eye on his subject, Holden notes the dials in the Voight-Kampff. One of the needles quivers slightly. LEON You make these questions, Mr. Holden, or they write 'em down for you? Disregarding the question, Holden continues, picking up the pace. HOLDEN The tortoise lays on its back, its belly baking in the hot sun, beating its legs trying to turn itself over. But it can't. Not without your help. But you're not helping. Leon's upper lip is quivering. LEON Whatya mean, I'm not helping? HOLDEN I mean you're not helping! Why is that, Leon? Holden looks hard at Leon, piercing look. Leon is flushed with anger, breathing hard, it's a bad moment, he might erupt. Suddenly Holden grins disarmingly. HOLDEN They're just questions, Leon. In answer to your query, they're written down for me. It's a test, designed to provoke an emotional response. Leon is glaring now, the blush subsides, his anger slightly defused. Holden smiles cheerfully, very smooth. HOLDEN Shall we continue? Leon nods, still frowning, suspiciously. HOLDEN Describe in single words. Only the good things that come into your mind. About your mother. LEON My... Leon looks shocked, surprised. But the needles in the computer barely move. Holden goes for the in- side of his coat. But big Leon is faster. His laser burns a hole the size of a nickel through Holden's stomach. Unlike a bullet, a laser causes no impact. It goes through Holden's shoulder and comes out his back, clean as a whistle. Like a rag doll he falls back into the seat. Big slow Leon is already walking away, but he stops, turns, and with a little smile of satisfaction fires through the back of the seat. As Leon walks out of the room the Voight-Kampff begins to blink, faint but steady. CUT TO: EXT. OVERHEAD VIEW CITY - NIGHT 3 We are looking down on a city of the future where gigantic buildings dwarf the ancient skyscrapers -- of -- now as a huge blimp, flashing lights and BLARING SOUND drifts slowly over the tall buildings. CUT TO: EXT. THE BLIMP - FROM BELOW - NIGHT 4 As the blimp drifts through the tall buildings ad- vertisements appear on the curved sides of dirigible and an accompanying SOUNDTRACK proclaims, with AM enthusiasm, the virtues of Offworld emigration. BLIMP TRACK ATTENTION SUPERVISORY PERSONNEL! (WE NEED YOU YOU YOU) ATTENTION FAMILY MAKERS! (WE NEED YOU you you) OPPORTUNITY! (WE NEED YOU you you you) AUTOMATIC ADVANCEMENT! (WE NEED YOU YOU YOU) TOP PAY! (WE NEED YOU YOU you you) NUMEROUS BONUSES! (WE NEED YOU YOU you you) SPECIAL INCENTIVES! (WE NEED YOU YOU YOU you) NINE PAID VACATIONS PER YEAR! (WE NEED YOU you you) (beat, beat) The Dominguez-Shimata colony wants supervisory recruits and families. Join us in a clean, fresh environment featuring the invigorating Johnson and Murikami California Climate! (WE NEED YOU YOU you you you) Enjoy the numerous recreation areas and resorts such as the famous Elysium Crater Resort! (WE NEED YOU YOU you you) Let our abundant man-made labour force cater to your personal needs! (WE NEED YOU YOU you you) If you meet health and experience qualifications for the Offworld Emmigration Programs... the standard OPE short form... there's a place for you at Dominguez and Shimata Colonies. Press the button now! Give yourself a brand new world! (WE NEED YOU YOU you you) EXT. CITY STREET - NIGHT 5 Lights from the blimp flash along the street and wipe across the crowds of pedestrians as the VOICE TRACK CONTINUES TO BLARE from above. A portable noodle bar is crowded with customers, sit- ting on stools slurping their food out of bowls. DECKARD is standing near the noodle bar waiting for a seat. He's in his thirties, wiry, athletic, rumpled, used, unshaven. He's holding a newspaper, made of tissue paper, open while he glances at the blimp passing NOISILY overhead. Then he notices the COUNTERMAN. The Counterman is beckoning to him to a newly vacated seat. Deckard sits down at the noodle bar and the Counterman, an elderly Japanese, slaps a menu in front of him. No words on the menu, just pictures of sliced fish parts. Deckard points to a particular item and holds up four fingers. The Counterman looks at the item on the menu, confirms the order by holding up two fingers. Deckard shakes his head "no" and repeats his four fingers. The Counterman nods, corrected and hurries off. Deckard glances overhead. The blimp drifts off among the buildings like a fish disappearing in seaweed, the NOISY VOICE doing a diminuendo. Whap. The Counterman slaps a bowl of rice and a pot of tea in front of Deckard. Then he puts the little bowl with the two slices of fish on the counter. Deckard looks at the fish. Two slices of fish. He looks at the Counterman and holds up four fingers. The Counterman looks down at the two slices of fish, looks like two to him. He looks at Deckard as though Deckard was a fool and holds up two fingers. He can count! Deckard stares bleakly at the fish. Can't win. He starts to eat and that's when he feels a tap on his shoulder. He glances over his right shoulder. A huge cop in uniform is looming behind him. Deckard feels funny, looks left. Another cop is looming over his left shoulder. Deckard is tapped again from the right. Turning again he realizes that it isn't the cop tapping him, it's the short Japanese guy next to the cop. The guy's got beady eyes and lots of energy. His name is GAFF. GAFF (in Japanese) *** You will be required to accompany me, sir. *** Deckard doesn't understand Japanese, thinks the man wants a seat. DECKARD Wait your turn, pal. Deckard turns back to his food. GAFF (in Japanese) *** If you do not comply with an official request, I will be obliged to exert my authority. *** Deckard is ignoring Gaff but the Counterman leans in Deckard's face and translates. THE COUNTERMAN He say, you go with him. Deckard turns and finds Gaff waving a badge in his face. GAFF (in Japanese) *** To defy duly constituted authority is to flaunt the public good. *** Deckard doesn't understand a word. THE COUNTERMAN He say, you're under arrest, Deckard. Deckard turns back to his food. DECKARD Tell him he's got the wrong guy. (turning to Gaff loudly) You got the wrong guy, pal. GAFF (in Japanese) *** Wrong guy, my ass. You're known as The Boogeyman in every mean joint in town. *** THE COUNTERMAN He say, Boogeyman. Deckard flinches at the word "Boogeyman," but goes on eating. But now we know, and he knows it's not a mistake. GAFF (in Japanese) *** You are a Blade Runner in the Four Sector and after the slaughter at the steel shop they called you Mister Nighttime. *** THE COUNTERMAN He say, Brade Runner. He say, Mister Nightime. DECKARD Tell him I'm eating. GAFF (to the Counterman in Japanese) *** Please tell this notorious gentleman that I am acting as an emmisary from Captain Bryant and Captain Bryant has ordered me to bring Mr. Deckard to headquarters even if I have to serve him like so much sushi. *** Deckard is continuing to eat but he has reacted to Gaff's repeated use of the word "Bryant." THE COUNTERMAN (to Deckard) He say, you be ornery, okay. He say big boss Bryant give him permission to use violence make arrest. He say Bryant tell him rearrange your brains akay. Make you raw fish. Deckard looks disgusted and resigned. DECKARD Bryant huh. CUT TO: EXT. STREET - NIGHT 6 Deckard, still holding his bowl of food, is climbing into a spinner behind Gaff as the two cops loom over him. One of the cops shuts the spinner door behind Deckard and the spinner lifts off in a flurry of wind. CUT TO: EXT. CITY - BIRD'S EYE VIEW - NIGHT 7 The spinner zips through the canyons of the city. Deckard is sitting in the passenger seat, eating while he watches the maze of suspension bridges, platforms and catwalks swim by below. The tops of larger build- ings emblazoned with fluorescent numerals and scrawls of neon ads. CUT TO: INT. SPINNER - NIGHT 8 Deckard is sitting gloomily in the passenger seat, still eating from his bowl with chopsticks as Gaff maneuvers the spinner through the city canyons chat- tering in rapid Japanese. GAFF (in Japanese) I told Bryant I could take care of this myself. Just move me up. I'll do the job, I told him. Five phonies. I just air 'em out. (he imitates shooting) Bow! Bow! Bow! Deckard looks at Gaff uncomprehendingly. GAFF (continuing in Japanese) But no, he says. Bryant thinks you're hot shit, smartest spotter, baddest Blade Runner. You don't look so hot to me. Don't even shave. Bad grooming reflects on the whole department. You don't dress well, that reflects on me... makes the whole department look like shit. The skin jobs look better than you do! What's the point of wiping out skin jobs if they look better than Enforcement? pretty soon the public will want skin jobs for Enforcement. I guess you'd prefer that, hunh? That why you quit? Deckard looks at Gaff. He hasn't understood a word. DECKARD I don't understand a word you're saying. Gaff glares and mutters, turning his attention to navi- gation of the spinner. GAFF (in Japanese) Exactly! Whatta jerk! If I wasn't up for promotion I'd put this baby in a hot spin and leave your dinner all over the glass! The spinner flies low along the center of a busy street and then turns right. EXT. PRECINCT SPINNER PAD - NIGHT 9 The spinner slides toward the pad, cuts speed and gently touches down as another lifts off. CUT TO: INT. POLICE HQ CONCOURSE - NIGHT 10 An enormous grey vault of a building, Deckard and Gaff stride down the long corridor. Perhaps Gaff is still jabbering in Japanese. CUT TO: INT. BRYANT'S OFFICE - NIGHT 11 BRYANT is sitting behind his big desk, a fat man in his fifties with grey hair, jowls and gas. BRYANT Hiya, Deck! Deckard is standing in the doorway, still in the cus- tody of Gaff. Deckard glares at Bryant and doesn't answer. Bryant dismisses Gaff with a head movement. Deckard glares at Gaff who glares back as he departs. BRYANT You wouldn't have come if I'd just asked you to. Siddown, pal. Deckard glares at Bryant without moving. BRYANT Don't be an asshole, Deckard. I got five skin jobs walking the streets. Deckard smiles and sits down. BRYANT They jumped a shuttle offworld. Killed the crew and passengers. Deckard reacts. This isn't usual. BRYANT We found the shuttle floating off the coast two weeks ago. So we know they're around. DECKARD Embarrassing. Bryant is pouring bourbon into a thick shot glass. He passes the amber tumbler to Deckard who takes it and holds it to the light. BRYANT No, sir! Not fucking embarrassing ... Because nobody's ever gonna find out they're down here because you're gonna spot 'em an' you're gonna air 'em out. Deckard downs his drink and slides the empty back. DECKARD Not me, Bryant. I won't work for you anymore. Give it to Holden, he's good. Deckard turns to go. BRYANT I did. Deckard freezes and turns back. DECKARD And? BRYANT He can breathe okay... as long as nobody unplugs him. Deckard is impressed. BRYANT Not good enough. Not as good as you. I need ya, Deck. This is a bad one, the worst yet. I need the old Blade Runner, I need your magic. Deckard meets Bryant's pleading eyes for a beat. DECKARD I was quit when I walked in here... (pause) ... I'm twice as quit now. See ya, Bryant. Deckard turns to go. Bryant's pleading look turns abruptly cold and hard. BRYANT Stop the fuck right where you are! Deckard freezes at the hard tone. BRYANT You know the score, pal. When you're not a cop, you're little people. DECKARD Forgot there for a minute about the little people. No choices I guess. BRYANT No choice, pal. CUT TO INT. WHITE TILED ROOM (DAY) 11A We are looking at the bright image of a NAKED MAN in a white tiled room with a white floor... an abbatoir without blood. The naked man is very athletic. His face reveals nothing as he executes one physical demon- stration after another.... one handed pushups, gymnastic contortions etc. An accompanying soundtrack drones boringly and while we might pick up a few key words such as "emigration, "incentive and "Man made [...] that we absorb the words.. they are the music to which the image exercises. After a moment a series of lines cross the screen and the image diminishes and we realise we are looking at a monitor. INT. BRYANT'S OFFICE (DAY) 12 Deckard and Bryant are sitting in the dark looking at a series of flickering monitors. Deckard has a bored expression on his face. BRYANT We had an escape from the Off world colonies two weeks ago. Six repli- cants, three male, three female. Slaughtered twenty three people and jumped a shuttle. An aerial patrol found the ship in the desert. No crew. DECKARD These are old slave tapes, show me something new. The naked man continues to exercise as Bryant continues. BRYANT No sign of them then three nights ago they tried to break into the Tyrell Corporation, one got fried going through an electro-field but we lost the others. Going on the possibibility they might try to infiltrate as employees, we sent Holden in to run Voight Kampff tests on new workers. Guess he found himself one. The screen changes. Roy Batty in a loin cloth is battering a metal post with his fists. The smile on his face indicates a total lack of pain. He continues to pummel the post mercilessly his hands becoming bloody. The only sound is Batty humming Beethoven's 9th. Deckard begins to look interested. DECKARD Who's this ? BRYANT It's a Nexus 6. Roy Batty. Incept date 2016, combat model optimum self sufficiency. Probably the leader. DECKARD Why would they come down here ? They coulda hid out ? BRYANT You tell me pal, that's what you're here for. DECKARD They must want something pretty important to risk coming back here. What do the rest look like ? Bryant pushes a button. And a series of revolving still shots of Leon, Pris, Mary and Zhora appear on the screen. DECKARD Why the Tyrell Corporation? Why would they return to the place of their manufacture? BRYANT Maybe they want to find out when they were made ? DECKARD Why would they bother? BRYANT The Nexus 6 was designed to copy human beings in every way except their emotions. But the makers reckoned that after a few years they might develop their own emotional responses - hate, love, fear, anger, envy. So they built in a fail safe device. DECKARD What's that? BRYANT The Nexus 6 has only four years to live. The screens go blank. The lights go on. Bryant pours two more drinks and hands one to Deckard. BRYANT You got one more problem, pal. Deckard downs the glass. BRYANT (continuing) Looks like Holden found out that V-K machine doesn't work on the Nexus 6. The Tyrell Corporation has a demo model so go check it out. If the machine fails, we're in deep trouble. CUT TO INT. HOSPITAL - NIGHT 13 Small green letterforms skim soundlessly across a dark glass panel. Beneath the panel a sick, white face reads excerpts from Treasure Island, mouthing the words as they appear in front of him. It's Holden. HOLDEN (reading) Holden is flat on his back in a breather, an iron- lung-type of device covered in indicator lights and exotic paraphernalia. The hospital room is in com- plete darkness. Holden's breaths come in sharp rasps as he reads. We become aware of Deckard standing in the shadows. DECKARD Whatcha reading? Holden is startled, has to look in a mirror angled over his head, rolling his eyes way back to see who it is. HOLDEN Deckard, Treasure Island! Good to see ya, buddy. Old Favourite. Deckard looks down at Holden and doesn't say anything. HOLDEN Pretty awful, huh? DECKARD Naw, you look great! Absolutely terrific! Never saw ya look better. Jesus, you look good. Deckard pinches Holden's cheek. DECKARD Great complexion! Suit looks really nice. Who's your tailor? Deckard is making a joke, mocking hospital good cheer but the touch of bitterness in his voice reveals his sympathy for Holden. Tears wet Holden's eyes. HOLDEN A big fucking skin job put the smash on me, wrecked me up! Looka me, for Chrissake! Deckard works at being hard. DECKARD Ya blew it, huh ? Holden recovers from his tears and whines. HOLDEN It ain't like it used to be, Deck. It's tough now. These replicants aren't just a buncha muscle miners anymore, they're no goddamn different than you or me... Deckard lights up and sits down, resting his elbows on the glass. DECKARD So what happened ? HOLDEN Ten days ago Security at the Tyrell Corp finds three intruders in the records room. Kills one, two get away, okay ? Deckard nods. HOLDEN They do a routine autopsy on the one that got aired and.. whaddya know? A skin job, one of the ones that busted out! Top drawer replicant.. combat type.. Nexus six. DECKARD Pretty sexy, the sixes. HOLDEN Sexy! Three hours into the autopsy they still think they're cutting up a human. No marks, nothing. Deckard looks impressed. Satisfied, Holden continues. HOLDEN I decided to check out all new employees at Tyrell. I test 26 boring jerks until in comes this guy Leon Somebody, nothing special but very big... (pause) Anyway.... DECKARD You Voight-Kampff him ? Holden's eyes flutter a moment. Deckard waits. The breathing changes rhythm. HOLDEN Yeah! I thought maybe I was getting something...... Maybe it doesn't work on these ones Deck. Deckard gets up and gives Holden phony good cheer. HOLDEN (continuing) It's all over, it's a wipe out, they're almost us, Deck, they're a disease, they're.... DECKARD Take it easy, take it easy.... Tyrell Corp's got one. I'm gonna Vee Kay it tomorrow. HOLDEN Push it! Push that button! Deckard pushes. DECKARD What's it for? HOLDEN Pain! CUT TO EXT. CITYSCAPE - MORNING 14 A bleak morning. CUT TO EXT. SPINNER - MORNING 15 The police spinner is whizzing over the city. CUT TO INT. SINNER - MORNING 16 Deckard looks very rumpled as he sits sleepily in the passenger seat drinking coffee from a mug and smoking. INT. SPINNER - MORNING 17 Gaff is terse and silent at the controls. Suddenly the spinner rocks urgently from side to side and the sound of a hot Ferrari Spinner dopplers off. Gaff is pop-eyed with instant fury. He hits the spinner lights and flashes them. CUT TO: EXT. OVER CITY - MORNING 18 The Ferrari Spinner zips right around a huge smokestack and shoots insolently off into the distance. CUT TO: INT. SPINNER - MORNING 19 Gaff sputters and fumes as he guides the spinner around the same stack. Deckard looks at Gaff. It's too early in the morning for all this energy. CUT TO: EXT. SPINNER - MORNING 20 The Spinner makes a sharp bank, drops into a steep curve and slides toward the vast plain of industrializa- tion, the menacing shapes on the horizon, stacks of belching flames five hundred feet into the sky the color of cigar ash, towards a large pyramid shaped building. CUT TO: EXT. THE PYRAMID - MORNING 21 The spinner is in a holding pattern. CUT TO: INT. SPINNER - MORNING 22 Traffic control purrs its SOFT ELECTRONIC INSTRUCTION into the cockpit as the spinner rocks gently lower, spiralling into the vortex. [page 22 missing from script] CONTINUED 24 Now we see for the first time, Rachael, a beautiful woman in her late twenties dressed with taste and dignity. DECKARD Replicants are like any other machine. They can be a benefit or a hazard. If it's a benefit, it's not my problem. RACHAEL May I ask a personal question? DECKARD Go ahead. RACHAEL Have you ever retired a human by mistake ? Deckard blinks... hesitates before answering the question. DECKARD No. RACHAEL But in your position that is a risk. An OWL flaps around the huge marble office. TYRELL (os) Is this to be an empathy test? Capillary dilation of the so-called blush response.. fluctuation of the pupil involuntary dilation of the iris...... DECKARD We call it Voight Kampff for short. Deckard turns to see an older man, very distinguished very well tailored has entered the huge marble office. TYRELL! RACHAEL Mr. Deckard. Dr. Eldon Tyrell. Tyrell has extended his hand to Deckard. Deckard shakes. TYRELL Demonstrate it. I want to see it work. DECKARD Where's the prototype ? TYRELL I want to see it work on a person. I want to see a negative before I provide you with a positive. DECKARD What's that gonna prove? TYRELL Indulge me. DECKARD On you? Tyrell indicates Rachael. TYRELL Try her. Deckard looks at Rachael. She's a beauty alright. He shrugs. DECKARD It's too bright in here. Tyrell hits a button. The windows darken, a polaroid effect that seems to give Tyrell the power to turn off the sun. Deckard is placing the Voight Kampff case on the table. The Voight Kampff opens like a butterfly as the room darkens. INT. TYRELL'S OFFICE - A LITTLE LATER 25 Rachael's eye fills the screen, the iris brilliant, shot with light, the pupil contracting. We hear Deckard's voice and we have the impression the test has been going on for a while. DECKARD (O.S.) You are given a calfskin wallet for your birthday... Tyrell stands silhouetted behind Deckard, who sits in front of Rachael. The needles in both gauges swing violently past green to red, then subside. RACHAEL I wouldn't accept it, also I'd report the person who gave it to me to the police. DECKARD You have a little boy. He shows you his butterfly collection, plus the killing jar. Again the gauges register, but not so far. RACHAEL I'd take him to the doctor. DECKARD You're watching TV and suddenly you notice a wasp crawling on your wrist. RACHAEL I'd kill it. Both needles go red. Deckard makes a note, takes a sip of coffee and continues. DECKARD In a magazine you come across a full-page photo of a nude girl. RACHAEL Is this testing whether I'm a replicant or a lesbian? DECKARD You show the pciture to your husband. He likes it and hangs it on the wall. The girl is lying on a bearskin rug. RACHAEL I wouldn't let him. DECKARD Why not? RACHAEL I should be enough for him. Deckard frowns, then smiles. His smile looks a little like a grimace or the other way around. DECKARD Last question. You're watching an old movie. It shows a banquet in progress, the guests are enjoying raw oysters. RACHAEL Ugh. Both needles swing swiftly. DECKARD The entree consists of boiled dog stuffed with rice. Needles move less. DECKARD (continuing) The raw oysters are less acceptable to you than a dish of boiled dog. Deckard switches off his beam. TYRELL Well, Mr. Deckard? Deckard is looking at Tyrell and wincing indecisively. He doesn't get it. Are they playing with him? TYRELL (continuing) Perhaps some privacy will loosen your tongue, Mr. Deckard. He turns to Rachael TYRELL Would you step out for a few moments, Rachael? Rachael exits looking a little shaken. What's going on? Deckard stares at Tyrell. Tyrell meets his look. TYRELL I'm impressed. How many questions does it usually take to spot one? DECKARD I don't get it. TYRELL How many questions ? DECKARD In columns of four cross referenced, twenty or thirty. TYRELL It took more than a hundred for Rachael, didn't it ? DECKARD She really doesn't know ? TYRELL She's beginning to suspect, I think. DECKARD Suspect! How can she not know she is. TYRELL Well, we began to notice in them a strange obsession. Tyrell is pacing now, lecturing. TYRELL After all, they are emotionally inexperienced with only a few years inwhich to store up the experiences which you and I take for granted. If we gift them with a past... we create a cushion or pillow for their emotions.. and we can control them better. DECKARD They want memories? TYRELL It's the dark corners, the little shadowy places that makes you interesting, Deckard..... gusty emotions on a wet road on an autumn night.. the change of seasons..... the sweet guilt after masturbation. DECKARD Jesus Christ,Tyrell! Tyrell looks startled. DECKARD Where do you get them, the memories? TYRELL In the case of Rachael, I simply copied and regenerated cells from the brain of my sixteen-year- old niece. Rachael remembers what my little niece remembers. DECKARD I saw an old movie once. The guy had bolts in his head. Deckard looks amazed while Tyrell looks pleased with himself. CUT TO EXT. OVERHEAD VIEW OF HOTEL - NIGHT 26 The hotel is in a seedy part of town. EXT. ANGLE ON DECKARD - NIGHT 27 Deckard and Gaff are standing in front of the hotel, looking it over. Deckard glances at a crumpled piece of paper in his hand with an address scrawled on it. He glances at the hotel. The address is correct. Deckard and Gaff enter the hotel, leaving frame. CUT TO: INT. HOTEL CORRIDOR - NIGHT 28 A dingy, trash-filled corridor. An OLD MAN leads Deckard and Gaff to a door. The Old Man is wearing an oxygen tank taking occasional hits of air from a mask. He unlocks the door. Deckard and Gaff enter wearily, hands inside their coats on their weapons. CUT TO: INT. HOTEL ROOM - NIGHT 29 The room is dark and ominous, full of danger. Deckard studies the shadows, weapon ready. Satisfied the room is empty, he hits the wall switch. A four-tube fluorescent light overhead flutters weakly to half-life, two tubes. Deckard studies the room. It's clean in contrast to the littered hallway. A bed, a wardrobe, a small desk, a chair. Spartan, almost military. Gaff has seated himself on the windowsill. Except for his eyes he is motionless like a statue. Deckard reaches into his pocket and takes out infrared goggles which he puts on. He looks strange wearing the goggles. The room, from his POV, is seen in high contrast, every speck of dust in bright white, the fingerprints on the wall standing out like paintings, Gaff appear- ing eerie and ominous. Deckard starts to inspect the room with great care, feeling the moulding, inspecting the mattress on the bed, studying the fingerprints on the wall. Gaff watches motionless. CUT TO: INT. HOTEL ROOM - NIGHT (A LITTLE LATER) 30 Deckard has opened the wardrobe. He's inspecting the suit neatly hung there. He feels in the pockets. He pulls out a packet of about sixty photographs. He thumbs them. Very ordinary looking snapshots. Maybe he notices a couple of strange ones. Maybe not. Deckard pockets the pictures and continues his inspec- tion. Gaff sits motionless like a statue. INT. HOTEL BATHROOM - NIGHT (MOMENTS LATER) 31 Deckard, still wearing goggles, is checking the inside of the medicine cabinet in the tiny bathroom. Nothing. Clean. He shuts the cabinet and sees himself in the mirror in infrared wearing goggles. Weird. He exits the neat, tiny bathroom. CUT TO: INT. HOTEL ROOM - NIGHT 32 Deckard steps out of the bathroom, notices something on the floor. Gaff is motionless. CUT TO: INT. HOTEL ROOM - NIGHT (MOMENTS LATER) 33 Deckard is on his hands and knees studying the floor. He picks up a little speck on his finger, studies it. He picks up another. He puts the speck in his wallet. Gaff sits motionless on the sill. CUT TO: INT. HOTEL ROOM - NIGHT (A LITTLE LATER) 34 Deckard takes off the goggles. He motions Gaff off the sill with his head. Deckard steps to the window, pulls the photos from his pocket and studies them in the faint light from outside. Snapshots. Very ordinary. Gaff stands near the door, watching Deckard. Deckard shuffles through the pictures in front of the window. CUT TO: EXT. HOTEL - NIGHT 35 Leon is looking up at the hotel. He can see Deckard in the window looking at pictures. Leon is breathing hard, angry. CUT TO: INT. HOTEL ROOM - NIGHT 36 Deckard feels funny as he studies the pictures, his mind changes focus. He steps aside, against the wall, and glances out of the window. Gaff watches Deckard and frowns uncomprehending. Deckard, satisfied at what he sees out the window, studies the photographs again, but not in front of the window. Gaff, frowning, approaches the window and looks out, puzzled. CUT TO: EXT. HOTEL - NIGHT 37 An angry Leon sees Gaff peering out the window above. Leon's eyes blaze with anger. He turns and runs off. CUT TO: EXT. STREET - NIGHT 38 A blimp is drifting silently over the city reflect- ed in an eyeball while we hear the SOUNDS OF THE STREET. The eyeball belongs to BATTY who is standing on the sidewalk. He resembles a tradition, the gym instructor, short, cropped hair with the body of a drill sergeant but the eyes are gray and chilling. Roy Batty is a presence of force with a lazy, but acute sense of what goes on around him. He lowers his attention from the sky to Leon. Leon approaches him. BATTY Did you get your precious photos? LEON Somebody was there. BATTY Police. LEON Just men. BATTY Police men. Leon looks sullen. He doesn't know. Batty is looking at the storefront across the street, the one that says HANNIBAL CHEW over the door. Batty indicates the store to Leon with a head movement. CUT TO INT. CHEW'S SHOP - NIGHT 39 Eyes. Nothing but eyes swimming in a thick, clear solution. The eyes are in an aquarium inside Chew's shop. There are other aquariums and technical equipment. CHEW himself, wearing a heavy fur coat and gloves is hunched over a workbench in a pool of light doing meticulous work with a pair of forceps. He is an ancient Asian and his steamy breath and frosty beard indicate just how cold it is in this sub-zero laboratory. Chew dips the forceps into a vat at his side. Deep cold! The forceps and the tiny item in the forceps come out of the solution frozen solid. A SPEAKER on the wall CRACKLES and FARTS STATIC. WALL SPEAKER Mr. Chew. Chew keeps working. CHEW Aaaaaaaannnnn? The wall speaker is intermittent. WALL SPEAKER ... one... URP... wants... to see you. Chew continues working. CHEW Busy! WALL SPEAKER ... talk to you... Nexus Six... designs. Chew frowns and turns from his work disgruntled. CHEW Busy! Chew continues working while he mutters in Chinese. Peace returns, he calms down and works in chilly silence. Then the door opens. Standing in the doorway is Roy Batty. Chew gets up fuming. CHEW Busy! Busy! You go away! Make appointment. Chew bursts into Chinese. Batty smiles. You would not want him to smile at you. Leon enters and closes the door. CHEW (apoplectic) No! No! Cold! Cold! Go away. Batty smiles. His coat is already covered with ice. BATTY Questions. CHEW No! No questions! Leon is staring at the floating eyes in an aquarium. Batty smiles pleasantly and glances at a tank of deep cold. Batty sticks his hand in. CHEW (urgently) No! Cold! Batty still smioing, pulls his hand out. It's icy. Chew looks at Batty's hand and then at his smiling face. Chew screams in sudden discovery and outrage. CHEW You replicant! We looks at Batty's machine-gun smile, steam pouring from his nostrils as we hear the shrill, indignant voice of Chew being outraged. CHEW'S VOICE (OS) You illegal. Can't come here! Illegal. Batty is smiling his smokey smile and Chew is point- ing up. CHEW You not belong here. Up there! BATTY Fiery the Angels fell... And as they fell deep thunder rolled around their shores; indignant, burning with the fires of Orc. Chew is bug eyed. What is this shit? Batty reaches out and puts his hands on the collar of Chews's fur coat. BATTY Questions! RRRRRIIIIIIPPPP.Batty pulls the coat apart, it splits along the back seam and falls away like a banana peel. Chew is suddenly totally scared, totally cold and totally co-operative. CHEW Okay! Answers! (pointing) Gimmeee coat! Cold! Chew is pointing to the wall pegs where more fur coats hang. BATTY Morphology.. longevity... use life... incept dates... CHEW (squealing) I dunno! Dunna that stuff. I do eyes! Just eyes! Genetic designs, just eyes! Batty looks around the room at the tank of eyes, the muscle charts of eyes, the pictures of eyes. BATTY Ah! I thought perhaps feet... hands... muscle tissue.. or.. noses... CHEW (desperate) Just eyes. Gimee coat, okay? Leon is staring into the tank of eyes, trying not to blink. The eyes stare back at Leon, unblinkingly, arrogantly. BATTY My eyes..... I guess you designed them, eh? CHEW You Nexus? I design Nexus eyes. SMASH! Leon, infuriated by the unblinking eyes, smashes the tank and the insolent eyes pour out onto the floor. Batty smiles and points to his own eyes. BATTY Ah, Chew..... (squish,squish) If only you could see the things I have seen with your eyes. Squish! Squish! The squishes are Batty's feet stepping in eyeballs as he paces in front of Chew. CHEW Please! Cc-cc-cold! BATTY (prosecuting attorney) Questions! CHEW D-dunno answers! P-please! BATTY Who does? CHEW Tyro! Knows everything! BATTY The Tyrell Corporation? CHEW Big boss! Big genius! Design your brain. BATTY Ah! Smart! CHEW V-very cold, p-please.... BATTY Not an easy man to see, I'd guess. Security..... CHEW Sebastian take you! Gimmee coat. BATTY And who is Sebastian? Chew is blue and hysterical. CHEW J-j-j-j-j F. S-sebastian. Please............. BATTY Ah! How would I find him... J.F. Sebastian ? Chew looks like heart attack city. Is it going to go on forever? CUT TO EXT. DECKARD'S APARTMENT BUILDING - NIGHT 40 Deckard's car pulls up into a drive of a condominium block that looms against the night sky like a pile of cardboard boxes. Deckard gets out of the car wearily and heads for the front door. CUT TO INT. ELEVATOR NIGHT 41 The elevator is gloomy, poorly lit, full of shadows. Deckard asks for the 97th Floor. The ELEVATOR makes a creaking noise, very distinctive, and starts upward. Deckard frowns. Something is wrong. He is suddenly very alert, ready. There are shadows behind him but he can't turn to look. The ELEVATOR CREAKS UPWARDS. Deckard goes for his blaster, gets it out quick and whirls. Rachael is there, in the shadows. Deckard's blaster is pointed at her. One more second..... Deckard lowers the blaster. He's shaking all of a sudden. RACHAEL I'm sorry. INT. CORRIDOR NIGHT 42 Deckard exits the elevator and approaches his door. Rachael is behind him, she's desperate. Deckard takes out his wallet, it drops to the floor scattering his cards. Rachael picks up the cards. RACHAEL Let me help you. DECKARD What do I need help for? Deckard takes the card from her and starts to open the door. RACHAEL I don't know why he told you what he did. DECKARD Talk to him. INT. DECKARD'S APARTMENT - NIGHT 43 The place is a mess.Deckard walks in leaving the door open. RACHAEL He wouldn't see me. Deckard goes into the kitchen, comes out with a towel drying his hair. He walks to the cocktail cabinet and pours himself a drink. DECKARD I'm gonna have a drink. RACHAEL You think I'm a replicant, don't you? Deckard takes off his wet raincoat and throws it on a chair. RACHAEL Look. She goes to him holding a picture in her hand. Deckard looks at it. It's an old snapshot, a little girl with a mother and father. RACHAEL It's me with my parents. Deckard hands it back to her slowly. Finally speaks. DECKARD You remember when you were about six and you and your brother snuck into an empty building.... through the basement window ? RACHAEL What? Y-yes.... DECKARD You were going to play Doctor. He showed you his, then you chickened and ran out. RACHAEL But.... She looks up and he's staring at her, but she doesn't seem to notice. DECKARD Remember the bush outside your window with the spider in it. Rachael looks up at him. DECKARD Green body, orange legs... you watched her build a web all summer. RACHAEL Yes. Her voice is getting very small. DECKARD One day there was an egg in the webb. Rachael nods faintly. RACHAEL After a while, the egg hatched and hundreds of baby spiders came out and ate her. That made quite an impression on me, Mr. Deckard. DECKARD You still don't get it? RACHAEL No.. I... I .... don't. Deckard is now nasty, downright bitter. DECKARD Implants. They are not your memories, they belong to Tyrell's sixteen year old niece. Rachael doesnt say anything, she can't. DECKARD He's very proud of them. He ran them on a scanner for me. Rachael just stares at him, stunned and barely holding on. DECKARD Still don't believe me ? RACHAEL I... I... DECKARD Right. I made it all up. You're not a replicant. It was a nasty joke. Go home. Rachael is biting her lip or something, holding it back. DECKARD Go on. Beat it. Sorry. Bad joke. Deckard sees he's gotten through... maybe too far. DECKARD Wanna drink ? She's completely destroyed, silent. DECKARD I'll getcha one. Deckard hurries out. The CLOCK IS TICKING. CUT TO INT. KITCHEN - NIGHT 44 Deckard is peering at her from the doorway, a Peeping Tom. He sees the shaking hands. He doesn't like this shit. He turns his attention to getting the drink. The kitchen is a disaster area, dirty dishes overflowing from the sink the way a plant grows out of a pot. Deckard opens the refrigerator. The contents aren't messy so much as unusual. He opens the freezer com- partment and pulls out a bottle of Tsing Tao vodka and eyes it. Half-empty. He rummages among the dirty dishes for a glass that doesn't actually have fungus growing in it. He finds one that's only greasy, wipes it with a dirty towel (making it greasier) and pours vodka into it. He heads back into the living room. INT. LIVING ROOM - NIGHT 45 Deckard stops in the doorway,surprised. The room is empty. Rachael is gone. Deckard stares at the empty room for a long moment. Then he chug-a-lugs the vodka. As he brings his head back and winces from the fiery booze he sees something. Something crumpled on the floor. He goes over and picks it up. It's the picture of Rachael with her parents. He studies it. On the other side is a phone number. Deckard walks over to the window and stares out. A spinner flashes by smearing light on his face. CUT TO OMIT 46 OMIT 47 OMIT 48 EXT. AN ABANDONED BUILDING - NIGHT 49 Pris exits the building and starts across the street. A spinner rockets past overhead. She reacts nervously watches the spinner slide away. She crosses the street past a window full of wedding dresses as the spinner zips off in the distance. EXT. SEBASTIAN'S BUILDING - NIGHT 50 Pris walks under the art deco marquee between the twisted corduroy columns and into the foyer. She picks a spot near the entrance and is covering herself with old newspapers and trash for warmth when she hears a strange NOISE. A weird street cleaning MACHINE GRINDS past. Pris watches the machine with interest, then huddles under the trash. A battered old truck, Sebastian's, SPUTTER AND FARTS to a halt in front. SEBASTIAN gets out, a young man with skin that is yel- lowing into old parchment. He's wearing a World War Two leather pilot's cap and dark goggles and carrying a pack. In spite of his youth, he carries himself like Old China as he walks toward the entrance with the gait of an old man. Sebastian stumbles over the trash covered body of Pris and Pris leaps to her feet and start to run like a frightened gazelle. SEBASTIAN Hey! He reaches down and picks up the bag she left in the trash. SEBASTIAN You forgot your bag. He's holding it up. She eyes him from a distance... unsure of him. Then she moves toward him tentatively. Sebastian smiles awkwardly and holds out the bag. PRIS I'm lost. SEBASTIAN Don't worry, I won't hurt you. Both of them are silent. People are not Sebastian's forte... usually he's too shy, but this girl is shyer still. Plus they're about the same age... it gives him courage. SEBASTIAN What's your name? PRIS Pris. SEBASTIAN Mine's J.F. Sebastian. PRIS Hi. So pleased with the way that went, he forgets for a while what comes next. SEBASTIAN Oh... where were you going? She shrugs. That leaves him a lot of responsibility. He throws her side-long glances, but she's not helping. SEBASTIAN Home? PRIS I don't have one. SEBASTIAN Oh. She looks at him, a shadow of enticement in her clear blue eyes. PRIS We scared each other pretty good, didn't we? SEBASTIAN We sure did. She giggles and laughs. PRIS I'm hungry, J.F. SEBASTIAN I've got stuff inside, you wanna come in. PRIS I was hoping you'd say that. Sebastian's grey face flushes with pleasure. He turns and inserts a key in the ornate iron mesh door and swings it open. CUT TO: INT. SEBASTIAN'S LOBBY - NIGHT (SHOT) 51 Stacks of gaudy balconies loom into shadows above. Overhead lights reveal a shark-like blimp cruising above the building glowing with advertisements. Pris stares in wonder. PRIS And you live in this building all by yourself ? SEBASTIAN Yeah, I live here pretty much alone right now.... CUT TO INT. CAGE ELEVATOR (SHOT) 51A Pris and Sebastian are standing in the mesh elevator as it grumbles noisily into the shadows above. INT. CORRIDOR - NIGHT (SHOT) 51B Pris and Sebastian are standing in the mesh elevator as it grumbles noisily into the shadows above. INT. CORRIDOR - NIGHT (SHOT) 51B Sebastian and Pris walk down the corridor towards his apartment . PRIS (WILD LINE) No housing shortage around here. SEBASTIAN (WILD LINE) Plenty of room for everybody... most of the others have emigrated already. INT. CORRIDOR - NIGHT 51B Sebastian is unlocking his door. He opens the door and ushers Pris into the apartment. INT. SEBASTIAN'S APARTMENT -NIGHT 51C Sebastian flicks on the light revealing the high walls, elegant moulding and strange contents. A three foot high Kaiser Wilhelm figure and a teddy bear dressed as Napoleon march into view from a doorway. An alarm sounds. SEBASTIAN Yoo hoo, home again, home again! BEAR Good evening J.F. The alarm cuts out. The Bear and Kasier Wilhelm stare woodenly at Pris for a moment, then turn away disappearing into the gloom. SEBASTIAN They're my friends... here, can I take your things, they're soaked. BEAR (muttering) Home again, home again, jiggidy jig. Pris is delighted. She strips off her topcoat, revealing a shape to pop eyes. SEBASTIAN (besides himself) Where are your folks ? PRIS I'm sort of an orphan. Pris smiles. SEBASTIAN What about friends? PRIS I have some, but I have to find them.... I'll let them know where I am tomorrow. SEBASTIAN Oh! There is a silence. He steals a glance at her. SEBASTIAN Well..... I can sleep on the couch. PRIS Watch the bed bugs don't bite ! INT. DECKARD'S APARTMENT - NIGHT 52 A blurry photograph, unclear, FILLS THE SCREEN. The photograph intensified. The foreground BLURS AND SHARPENS. it's the "man" in Leon's room with the wardrobe behind him. The head is turned away and downward, the face unreadable. Another change! A dramatic one. The picture is suddenly three dimensional. Now we see that Deckard is studying the picture in a viewer controlling the effects with punch controls. The ashtray next to him is full of butts. The bottle of vodka is nearly empty. He sucks on his cigarette and empties the vodka bottle into his glass and goes back to peering into the viewer. He punches up. A transparent grid with vectors is superimposed over the photo. Deckard's eyes move over it carefully. DECKARD Sharpen line forty-eight between twenty point twenty-seven. The edge of the man sharpens. DECKARD Profile trace. Slowly the view tracks the periphery of the man's shoulder, up and around the skull, down the other side and as it approaches the bottom of the picture passes a miniscule sparkle... DECKARD Stop. Back up. The line is retraced. DECKARD Stop. The faintest little sparkle. Static. Almost nothing. Deckard leans forward. DECKARD Enhance. The view squeezes in. The "spark" seems to be coming from about fifteen feet behind the figure -- from within the wardrobe. DECKARD Seesaw. After a short pause, as if the command causes the machine to strain, it emits a thin, high-pitched FREQUENCY SOUND and the picture begins a horizontal yawing motion. As it swings back and forth glimpses of things previously obscured by the foreground figure are revealed. Slightly at first, but the opening grows as the process picks up momentum. Deckard's right down there, hands on his knees like a man watching his favorite team make a crucial play. DECKARD Stop! The picture freezes. DECKARD Enhance. The view pushes in to the wardrobe. In its gloomy recesses hangs a dress. DECKARD Enhance. In closer on the dress. An exotic shimmering gown made of sequins. Deckard ponders it, smiles slightly. DECKARD I don't suppose one of those males has a transvestite problem. Pause. DECKARD Hey! Esper wakes up. ESPER Yes? DECKARD I said, I don't suppose one of those males has a transvestite problem. Pause. ESPER Negative. Deckard considers the situation for a few moments, then frowns thoughtfully and fishes his wallet out of his pocket. He produces the flakes he found in the hotel room. Deckard lights a cigarette. The flake. He's holding it on the tip of his finger under the light of the console screen. He sits down, studying it like Hamlet, contemplating Yorick's skull. But for the HUM OF THE MACHINE, a long silence. ESPER You're gonna have a fire if you don't turn off the machine. Absently, Deckard reaches out and flips it off. He sits a while in the silent dark. Then goes into the bathroom. INT. SHOWER - NIGHT 53 OUT Deckard stands in the shower, his cigarette still in his mouth. CUT TO: EXT. NOODLE BAR - NIGHT 54 It might be 2:00 a.m. but the joint is still crowded as noisy taxi drivers jostle each other for seats and jabber in Kangaroo, a crude lingual mix of Chinese, Japanese, French and Tagalog. Deckard is hunched over his bowl of noodles, slurping hungrily from his busy chopsticks. Whap! The counterman slaps a serving of fish heads on the counter in front of a CHINESE sitting next to Deckard. Startled by the sound Deckard glances at the bowl of fish heads, then turns his attention back to his noodles. But after two bites he frowns and turns to look at the fish heads again. The Chinese is eating the flesh hungrily from a head. He cleans the skull and drops it on the plate. Deckard stares at the heads with their blank stares that seem to gaze at eternity. Deckard is thinking. The Chinese is eating. Deckard frowns lost in furious thought. Suddenly he reaches out and grabs a fish head. The Chinese goes bug-eyed with indignation. CHINESE (in Chinese) What the hell are you doing, you moronic ahng mo dim bulb? That's my goddamn dinner you (in English) dumb shit! Deckard is peeling scales off the fish head. He grabs his wallet, produces the flake and compares it to the scales from the head. He ignores the ranting of the Chinese as he stares at the flake next to the scales. DECKARD Fish! CHINESE (in Chinese) What do you expect you get from fish head, stupid? (in English) Elephant shit? CUT TO: EXT. ANIMAL ROW - NIGHT 55 An aquarium full of fish, weird looking fish, the kind that might eat each other. They're gliding in sinister clusters like Doberman pinschers with gills. The CAMBODIAN LADY is a withered woman in black. She's got a lens in her eye and she's looking at the flake which is on the tip of her finger. CAMBODIAN LADY Not fish! Snake ! And she points down the row. Deckard looks that way and we......... CUT TO OMIT 56 MICROSCOPIC VIEW - NIGHT 57 We are looking at a huge enlargement of a snake scale seen through a microscope.. but we don't know that. It's just a grand abstract weirdness blurring and sharpening and changing. EGYPTIAN (OS) The finest quality, yeeeeeeessssss. Perfect workmanship. Geniune artificial snake. The flake becomes a landscape of forests and moon- scapes. Buried deep in the texture of the thing is a serial number. EGYPTIAN (OS) Serial Number 99069745xb7Y That would indicate a Crotalus Atrox...... CUT TO EXT. EGYPTIANS JOINT - NIGHT 58 We see the Egyptian for the first time as he takes his eye from the viewer and points to a snake in one of the many tanks that writhe with groggy reptiles. EGYPTIAN (continuing) ... such as that one there with the black and white ring on tail. (making a whirring noise) Western Diamon Back.... (whirr) Rattler. Deckard is looking at the ugly serpent. The Egyptian hands the scale back to Deckard. DECKARD Who made it ? EGYPTIAN This quality... not too many. DECKARD How many ? EGYPTIAN Very few. DECKARD How few ? EGYPTIAN Perhaps less than I thought.... but still, more than I can remember. DECKARD What helps you to remember ? The Egyptian pushes a hand out in front of him, revolving the thumb slowly against the next two fingers. Deckard slips a card out of his pocket and into the man's fingers. It's a police card. It gets a super- cilious smile, a sigh and a shrug. And that's all it gets. The man knows his rights. The card is handed back. The smile remains. EGYPTIAN What was the question again? DECKARD The question is... Deckard steps in closer. DECKARD Are you a citizen? EGYPTIAN Yes. DECKARD Naturalized? EGYPTIAN Yes. DECKARD Your papers are in order. EGYPTIAN Of course. This guy's got it covered. DECKARD You have a license for this establishment? He points it out with a righteous finger. DECKARD Fire permit? EGYPTIAN Right here. He lifts it out of a drawer, displays it. A long pause. The Egyptian smiles smugly. It pays to have things covered. Deckard pushes closer. DECKARD In two seconds I'm gonna break your fuckin' spine if you don't tell me what I wanna know. Pause. EGYPTIAN I see. Deckard's face is two inches away. It's all very plain. EGYPTIAN In that case, I think I will be obliged to tell you that one of two men could have done this. DECKARD Who ? EGYPTIAN Me. The Egyptian works on an uncertain shit-eating grin hoping to charm his way out of a hole. Deckard lets him sweat for a beat or two, looking hard. DECKARD Who do you sell your junk to . EGYPTIAN Artists. Always to artists. The Eygptian looks nervously at Deckard,sees he means business and hastily begins to shuffle through a wad of receipts from a cigar box. CUT TO OMIT 59 OMIT 60 INT. TAFFEY'S SNAKE PIT BAR - NIGHT 60A A big guy, back to camera is sitting at the bar in this sleazy joint. DECKARD (OS) You buy a snake off an Egyptian ? The big guy turns to face his questioner. His name is TAFFEY LEWIS big and bad and low-life. He looks like he's looking at a cockroach. TAFFEY Buzz off, fella. Deckard is searching in his pockets. He pulls a dirty handkerchief out, puts it on the bar, pulls out a crumpled pack of cigs from another pocket, a wad of money cards from another. He's putting all sorts of things on the bar. Among them is the picture of Rachael and her parents. DECKARD You ever see..... you ever se... ? At last he finds the photo of the reclining woman, shows it to Taffey. DECKARD You ever see this woman ? Taffey doesn't even look at the picture. TAFFEY Never saw her. Buzz off,pal. Deckard flashes his police card. DECKARD Got your licenses in order, old buddy ? TAFFEY Pal, I got a license to piss, I got a license to kiss, An' I got a license to pee at four in the morning. I got licenses for things I do with my wife an' I got licenses for things I don't do with my wife. I got licenses for bad dreams, pal. I got licenses you wouldn't believe. Now buzz the fuck off, okay ? Deckard seems blown away, puts his hands up, palms forward, surrendering. DECKARD Take it easy mister, don't get excited. TAFFEY Nobody pushes me around. DECKARD Forget I asked. My mistake. Water under the bridge. Taffey looks a little startled. It was this easy ? He's kind of pleased with himself now that he's firmly estab- lished his authority. TAFFEY No hard feelings. I just don't take a push, that's all. DECKARD No hard feelings. TAFFEY (to the bartender) Louis, the man's dry. Give him one on the house, huh ? BARTENDER Whatcha drinking ? DECKARD Smokey, dry. TAFFEY You assed about a snake..... Deckard is suddenly hopeful. DECKARD Yeah..... TAFFEY Wanna see a snake, huh? The Bartender puts a weird drink in front of Deckard... tiny worms floating in a viscous liquid. Deckard takes the drink like he was used to it and swigs. TAFFEY Louis, show the cop the snake, willya? The Bartender reaches under the bar and pulls out a large snake that writhes lazily on the bar. It is bright gold. DECKARD (disappointed) Wrong snake. TAFFEY Don't like gold ? DECKARD Gold's okay. TAFFEY Original paint job was shitty. Those fucking Egyptian's do crappy work. DECKARD How long ago did ya paint it? TAFFEY I dunno. Couple of months. Why ? Deckard looks discouraged, swigs the last of his drink. DECKARD No reason. Doesn't matter. (to the bartender) Gimmee another, willya? There is a burst of applause and they all look around toward the stage. A large egg has appeared on the stage, beside it a smaller egg. TAFFEY Getta loada this. New act. Very artistic, very sen-shoe-all. Beautiful. Music starts to play. Deckard looks bored and discouraged. Absently starts picking up his junk off the bar... the wads of money cards, cigarette packs, matches... the picture of Rachael. That catches his attention. Deckard stares at the picture for a long moment. DECKARD Gotta phone ? CUT TO OMIT 61 OMIT 62 INT. TAFFEY'S BAR MOMENTS LATER 62A Deckard is at a telephone not far from the bar. He's got the phone hooked between his shoulder and ear while he notes a number. DECKARD .......six six five. Thanks. Deckard breaks the connection, then starts punching the numbers. Behind him the stage show is progressing. A beautiful woman named SALOME is emerging from the large egg, very scantily clad, an erotic birth scene. Rachael appears on the telephone vid-screen. RACHAEL Hello. DECKARD People have walked out on me before... but never when I was being charming. Rachael freezes when she see who it is. Says nothing. DECKARD Ya missed out on the drink I poured ya. Rachael still says nothing. DECKARD Wanna try again ? For a long moment it seems Rachael isn't going to say anything. Rachael is bitter. RACHAEL (on Vid-screen) Hunting... "skin jobs "? DECKARD Didn't find any.All I found was a bar. Why waste it ? RACHAEL (on vid-screen) Not my kind of place I'm afraid. DECKARD Meet me here. We'll go someplace else. It's in the Fourth Sector.... Something on the stage catches Deckard's eye. He frowns. On stage, a snake has emerged from the second egg. Deckard is suddenly pre-occupied with the stage show as he absently gives the address over the phone. DECKARD ...... the Fourth Sector, on the line. Taffey Lewis' Snake Pit. RACHAEL I don't think so Mr. Deckard. As I said...... Deckard is staring at the stage show. DECKARD (absently) See ya in a half hour. He hangs up. On stage, the snake and Salome are into sexy stuff. CUT TO INT. BACKSTAGE A LITTLE LATER 63 You can hear applause and catcalls from the audience as Salome flounces backstage. She starts toward the dressing room. Deckard emerges from the shadow. DECKARD Excuse me, Miss Salome.... She turns. Deckard's posture and attitude suggest humble, sleazy persistence. He comes closer with his shit-eating grin. DECKARD I'd like to have a word with you if I could. Salome stands almost six feet tall in her high heels and looks down on him with haughty suspicion... a girl who knows how to handle cheap hits. SALOME Yeah ? DECKARD I'm with the American Federation of Variety Artists.... He holds up a hand as if to stop her from protesting. DECKARD Don't worry, I'm not here to make you join... that's not my department. He glances around like a guy who's not supposed to be there. DECKARD I'm an investigator for the Confidential Committee on Moral Abuses. She nods, taking it a little more seriously. DECKARD There's been reports of the management taking liberties with the artists in this place. SALOME I don't know nothing about it. DECKARD You haven't felt yourself to be exploited by the management in any way? She's definitely puzzled. SALOME How do you mean 'exploited'? DECKARD Like to get this job... did you or were you asked to do anything lewd or unsavory or otherwise repulsive to your person? SALOME Are you for real? DECKARD Oh, yeah. You'd be surprised what goes on around here. I'd like to check the dressing room if I could. SALOME What the fuck for? DECKARD For holes. This guy might be an asshole, but he's funny. SALOME I don't believe this. She shrugs and they go in. INT. DRESSING ROOM - NIGHT 64 Musty, cramped. A portable shower, a dressing table and not much else. On the dressing table lies a snake. Deckard watches it undulate into the warmth of the lights. DECKARD Is that mother for real ? SALOME Of course he's not real. You think I'd be working here if I could afford a real snake ? Deckard reaches out to touch it. As his fingers make contact, there's an electric "snap". he jerks his hand back from the shock. Salome is taking off her costume. There's not much to take off. Deckard gets a glimpse of nakedness as she slips behind the screen and turns on the shower. DECKARD How long you been doing a snake act ? SALOME What is it with you... you looking for holes or what ? He starts pacing the room like's he's inspecting the walls. DECKARD You'd be surprised - they have their ways of doing their dirty work without the victim even knowing what's going on. His fingers are moving over her gowns. There's about six of them, on hangers, but nothing quite like the one in Leon's closet. DECKARD You'd be surprised what a guy'll go through to get a glimpse of a beautiful body. SALOME No, I wouldn't. DECKARD Little dirty holes they drill in the wall so they can watch a lady undress. And to his amazement, low on the wall, behind the dresses, he actually spots one. He moves down for a peek. SALOME And what if somebody did try to "exploit" me? Who do I go to ? Deckard's peeking at a pair of fat legs in the next room. DECKARD Me. SALOME And who do I go to about you ? He looks around... she's out of the shower dripping nude. Her hair blonde and cropped short. Her black hair is a wig which now hangs on the wall next to the shower. She didn't look like Nexus designated Zhora to begin with, but even less now. SALOME So did you find any holes ? Deckard makes a sheepish grin. DECKARD One so far. SALOME You're a dedicated man. Her smile is an invitation. She throws him a towel. He catches it and she turns her back to him. SALOME Dry me. The evening doesn't have to be a total waste. Deckard steps up behind her and starts patting her down. On the dressing table in front of them the python noses through the cosmetics, tongue flicking, trying to get back to its mistress. Caught up in the sensu- ousness of the moment, absently she reaches out to stroke the snake. Deckard works his way down her back, over her buns and as he reaches her thighs, sits on the cot. Concen- trating on her buns, he leans back for a handier per- spective. But jerks forward like he'd been stung as his ears are hit with the BUZZ OF RATTLES directly be- hind him. Partly hidden behind the pillow against the wall is the Egyptian's pride and joy, a four-and-a-half foot, ring-tailed diamondback rattler. Its lethal looking spade-shaped head elevated out of its coiled body, tail erect and whirring madly. Deckard rolls off the cot going for his blaster as he hits the floor. SALOME/ZHORA has her hand around the head of the python and, using it like a club, she brings it down with all her might. Deckard rolls out of the way as the SNAKE WHISTLES through the air with such force, it ruptures as it hits the floor. If Deckard's fast, Zhora's a blur. As he FIRES, her foot kicks into his groin, and he doubles up with the pain of it. He tries for a second shot but she's al- ready out the door carrying a raincoat. INT. PASSAGEWAY - NIGHT 65 Bottom lip between his teeth, Deckard hops out of the dressing room in time to see her go through the door at the other end of the hall. It hurts to move so fast, but he jack-legs after her, arrives at the door and flings it open. Blackness. The SOUND OF HER HIGH HEELS CLATTER down the metal steps. EXT. STREET - OPERA HOUSE - NIGHT 66 It's RAINING HEAVILY. The front of the Opera House is open only to foot traffic these days. A bizarre place on a Friday night, hawkers and whores, the rabble, the poor and the curi- ous mill around the crudely built platforms and brightly lit stands. Zhora, in just a translucent raincoat, is not out of place in this flea market at- mosphere. Trying not to run, she slices through the mob as quickly as she can. Deckard is not far behind, dodging and side-stepping, trying to move against the tide of people scurrying for shelter. She comes to an intersection and turns out of the mall onto a less crowded street. She glances over her shoulder as she breaks into a run and runs right into a couple of pedestrians. All three go down. Deckard comes out of the crowd in time to spot her get- ting to her feet. She sees him and runs. The two pedestrians are in his line of fire. He runs past them and drops to one knee, leveling his blaster. DECKARD Stop or you're dead! She doesn't. Deckard OPENS UP, squeezing off two quick misses. WHAP! The corner of the building disintegrates -- bricks imploding, dust in the air. FWAAAP! Another miss! A lamppost wrenched with a tight air implosion. Twisted metal, a breath of smoke. Deckard FIRES again! WHUMP! Zhora takes a hit in the back of the head, and that's it for her except her motor reflexes which keep her going right into a showcase window. CRASH! Zhora explodes through a series of plate glass windows in adjoining shops. Deckard is trying to pour FIRE through the tunnel of her jagged wake, but after TWO MISSES his blaster CLICKS empty, CLICKS empty, CLICKS empty and he watches her go. Zhora breaks through one window after another, getting sliced, already shot, running on reflexes. Glass sprays like fireworks as she smashes through the last two windows and into the street. She's going too fast to stop. She hits a passing bus so hard she's smeared all over the side like a mural and the bus squeals to a halt. The rain has stopped and turned into a quiet DRIZZLE. WATER GURGLING down the gutters. Hunched over, breathing hard, Deckard comes slowly forward. The crowd starting to gather. Something here for everybody as they're coming from all directions. Deckard moves through them, ending up to the side of the bus. Zhora is wedged on her side, torn, bloody and broken. All she can move is her eyes -- they dart about like a wounded animal doomed in a trap and stop on Deckard. He's kneeled in the street, stooped low, head cocked at an awkward angle looking back at her. In the cramped and dripping darkness her eyes are turn- ing glassy. The intervals between the FALLING DROPS OF WATER accentuate the silence until there is no dripping and even the gurgling gutters have receded into silence as the life drains out of Zhora's face until it's frozen, dead. Deckard's eyes slowly follow the rivulets of blood that lead over the slope of a blacktop to his shoes. Deckard tries to repress his wince. His eyes reveal that it's getting to him. He's aware of the spectators around him. Looking up, he sees them moving nervously away from him with frightened looks. Then he sees her. Rachael is standing in the crowd staring at the dead Zhora. Rachael's face reveals her horror. She looks from Zhora to Deckard. Deckard feels her eyes burn into him. He clicks his empty pistol stupidly. CLICK CLICK. Lights from a spinner smear over the crowd, sirens whine. Deckard sees Rachael disappear into the crowd. Deckard starts to say something but anything he said would be drowned in siren noise. Rachael is swallowed up into the crowd near a big sign (or some other distinctive landmark). CUT TO OMIT 67 OMIT 68 OMIT 69 OMIT 70 OMIT 71 EXT. THE CROWD - NIGHT 71A Leon and Batty are just faces in the throng of ASIANS and LATINOS. They too see the body of Zhora. Batty and Leon look very grim. They turn their attention to Deckard. From their point of view they see a pantomime out of ear shot.... Deckard hastily flashes his badge at arriving COPS, points to Zhora, gives a couple of instructions and hurries off, passing under the big sign, leaving the cops to stare after him with amazement. Batty and Leon exchange a look. Batty makes a head movement. Leon heads off toward the big sign. CUT TO EXT. STREETS - NIGHT 71B The tide of STREET PEOPLE moves inexorbaly as Deckard, like a swimmer, moves through them, eyes busy, searching for Rachael. Thinks he sees her. Shoves his way through the crowd. Not her. Looks around in dispair. Catches sight of her half a block away. Deckard hurries after her. Calls out. DECKARD Rachael. Wait. Rachael looks back, sees him. DECKARD Hold on. Rachael keeps going. Deckard is hurrying past the mouth of an alley. Suddenly he's being hurried into the alley. DECKARD Hey. A big guy is collaring him and hauling him into the alley. Leon. CUT TO EXT. ALLEY NIGHT 72 A family of SAMOANS look up from their dismal cooking fire in the alley. DECKARD Hey, what the hell, buddy! The Samoan's faces are blank. They stick by the fire and express no feelings anout the events in the alley. Deckard is swept off his feet and twirled around in Leon's bear-trap embrace. Leon lets go and Deckard hits the pavement, skidding hard enough to tear clothes and burn skin, but he rolls out of it and comes up with gun in hand; but Leon is so fast he's already there and kicks it out of his hand. Leon moves towards him, backing Deckard against the wall. LEON How come you knew where Zhora was so quick? His hand is like lightning. It shoots out, grabs Deckard's hair. DECKARD I showed pictures. Somebody recognized her. I went to see. Deckard is pale. The sweat is starting to run. LEON How old am I? DECKARD I don't know. The grip tightens and twists. LEON My birthday is April 10, 2017. How long do I live? DECKARD Four years. He lets go. LEON More than you. Deckard's knees come up fast, but Leon's fist comes down faster, like a hammer. LEON Painful to live in fear, isn't it. Deckard is doubled over, hugging his thigh. LEON But that's how it is to be a slave. The future is sealed off, he grovels, he waits. Even hurt, Deckard is fast. He goes for his ankle gun, but Leon's got it out of his hand before he can even raise it and throws it down the alley. Deckard hurls forward, knocking him off balance, and scrambles to get away. Leon grabs him by the foot, drags him back and jerks him off the ground. LEON Sex, reproduction, security, the simple things. But no way to satisfy them. To be homesick with no place to go. Potential with no way to use it. Lots of little oversights in the Nexus Six. He slams Deckard into the wall. LEON I tell you, nothing is worse than having an itch you can never scratch. Deckard slides down the wall to his knees and huddles protecting his head with his arms, waiting for the next one. DECKARD I agree with you. Leon folds his big hands together and raises them over his head, pausing just a second to savor the satisfac- tion of smashing Deckard's skull. LEON Too late. Your mistake. The spasm that runs through Leon's face is not from satisfaction. It's the bullet that went through his neck. He hits the ground hard, his big teeth biting the air like a rabid dog. Dead. Deckard has slumped to the ground where he sits propped into a sitting position by the wall, staring up in amazement at his deliverer. He sees Rachael standing there with his blaster, Rachael is staring at the body of Leon, stunned and shaken at what she has done. Deckard looks up at her, his eyes swollen into slits, his mouth and nose bloody. He sees how shaken she is. Rachael turns and looks at him. Their eyes meet. She drops the blaster. Deckard gets painfully to his feet, picks up the blaster and starts to reload it. He doesn't make the same mistake twice. He glances at her. Again their eyes meet. CUT TO: EXT. 42ND STREET - 20 MINUTES LATER 73 It's the 42nd Street of the future, a garish, wicked place. Deckard and Rachaek are walking together, almost zombies. Deckard is only a little less bloody and a lot more swollen. Rachael looks stoned on the horror of the killing. DECKARD There's only one thing that works on cuts and bruises and long nights. She looks at him blankly. CUT TO: EXT. KIOSK - MOMENTS LATER 74 It's a grimy little tienda with a counter right on the sidewalk and shelves crammed with dusty bottles, bright packs of cigarettes, old magazines and assorted junk. The SALESLADY wears an eyepatch and a sharp look in her good eye. Deckard and Rachael are facing her. DECKARD Tsing Tao. The Saleslady tries to hand Deckard a half pint but he shakes his head and points and she produces a fifth. Deckard is paying when he feels a tap on his shoulder. He turns and sees Gaff leering at him. Not what Deckard expected or wanted. His eyes flicker a warning in Rachael's direction. Rachael is standing in the flow of pedestrians, Asians, Mexicans and Indians. She has already seen Gaff and she gets the message in Deckard's eyes and allows her- self to drift away, part of the stream of humanity moving down the sidewalk. But Gaff's sharp eyes have picked up Deckard's look and he glances. What Gaff sees is the back of a woman's head in the crowd. Gaff looks back at Deckard and makes a head movement indicating the vehicle at the curb. It's a spinner and Bryant is grinning at the window, chewing on a heater. BRYANT Christ, Deckard, ya look almost as bad as that tit job ya left under the bus. Almost. Deckard walks over to the spinner. Gaff is looking down the street, trying to make out the Caucasian woman disappearing in the crowd. DECKARD You get the call on the big one? BRYANT Bet your ass. Two in one night, you're the same old shitstorm, aren't ya? (to Gaff) You could learn from this guy, Gaff. A goddamn one-man slaughter squad, that's what he is, a real shitstorm. Gaff has to smile and nod politely, that's his job. Deckard has followed Bryant's beady gaze to the obvious bottle he's holding in the paper bag. DECKARD I'm going home. BRYANT Home! A killer like you! I figured you'd be up all night slaughtering phonies. Four to go, thought you'd just leave 'em dead in the alleys for us to pick up. Haw! Haw! Come on, Gaff. DECKARD Three. There's three to go. BRYANT Huh? DECKARD There's three left. BRYANT Four. That tit job you vee kayed at the Tyrell Corp... disappeared. She didn't even know she was skin till you put the machine on her. Some kinda brain plant, says Tyrell. Deckard has already noticed that Gaff is looking down the street in the direction Rachael went. Gaff feels Deckard's eyes, turns and leers cheerfully at Deckard. Deckard meets the look... an ominous exchange. BRYANT Come on, Gaff. (to Deckard) Drink a couple for me, pal. CUT TO: INT. DECKARD'S KITCHEN - NIGHT 75 Deckard is about to swig some Tsing Tao for Bryant. He puts the glass to his lip and the lip, caked with dry blood and swollen, splits again and blood gushes into the clear liquid in the glass. Deckard stares at the bloodstained drink ruefully, then takes a thirsty gulp and licks his bleeding lip. The ice in Rachael's glass is RATTLING. She's standing only a few feet away, half eaten by shadows, her eyes blank with shock. The reason the ice is rattling is because her hand is shaking. You can hear the CLOCK TICKING in the living room. DECKARD Me too. Rachael frowns and looks at him. What ? DECKARD I get 'em bad. It's part of the business. Deckard holds out his hands. They're shaking. Rachael gives Deckard a long hard look. RACHAEL I'm not in the business. Deckard meets her look, understands he cannot comfort her so easy, she will not be one of the boys with him. RACHAEL I am the business. She is grim and angry and shaking. You can hear the clock TICKING. CUT TO INT. DECKARD'S BATHROOM - NIGHT 76 SPLASH. Deckard sticks his head in the sink full of water and the water turns crimson. He lifts his face out of the water, dripping and gropes for a towel, wipes water blindly from his face. OMIT 77 INT. DECKARD'S LIVING ROOM - NIGHT 77A Rachael is in the foreground shadows, a drink in her hand. She's watching Deckard who is washing his face in the bathroom,framed by the open door. You get the [...] Deckard in the background, goes on drying. He's naked except for a towel around his waist. Rachael takes a drink. Her face is enigmatic. She's watching. Deckard is unaware of her eyes on the back of his neck. She's looking at the ripple of muscle around his shoulders. CUT TO INT. DECKARD'S BATHROOM A FEW MINUTES LATER 77B Deckard is standing in front of the mirror. He's staunched the bleeding lip and now he's studying it. The rustle of silk. Rachael appears in the doorway of the bathroom, drink in hand. Deckard doesn't acknowledge her presence. There is a long silence. She sees the muscle ripple in his naked back. Hard body. Scars of old wounds. RACHAEL What if I go North... disappeared ? Deckard gives her a look, turns back to the mirror. Puts a towel over his head. RACHAEL Would you come hunting. ? Rachael waits a long tense moment for an answer. DECKARD No. Deckard waits before he lets it out. DECKARD I guess I owe you. Deckard turns and brushes past her so she has to step back. DECKARD But somebody will. INT. BEDROOM (NIGHT) 77C Deckard is sitting on the bed, wasted, still in his towel, clean white bandages on his face. He touches his lip gently. He can hear the clock ticking and then the whisper of her stockings as she approaches the bedroom from the hallway. He hears her stop, lost in the shadows beyond the door. A pause then her voice. RACHAEL (OS) The file on me.. the incept date, the longevity, the psycho-program, those things..... Her voice hesitates, stops. Deckard sits there as the clock ticks for a long moment. In the corridor, lost in shadows, Rachael is working up the nerve to ask. DECKARD Yeah ? In the shadows Rachael takes a deep breath. RACHAEL You saw them? Deckard, exhausted stares absently into space. DECKARD They're classified. In the corridor, Rachael persists with effort. RACHAEL You're a policeman. Deckard touches a spot on his forehead, looks at the wall. DECKARD I didn't look at them. In the hallway, Rachael is hardly breathing. DECKARD (O.S.) I didn't want to. It must come as a tremendous relief to her. She stands in the shadows, grateful for the smallest favours. She waits a moment, hearing the clock ticking, hearing the distant noises of an apartment house, then she speaks again. RACHAEL That test of yours.. The Voight Kampff test...... She pauses before completing the question. It's a biggie. RACHAEL (continuing) .... did you ever take it yourself ? Rachael waits for a long moment in the shadows. The clock ticks. No answer. She moves into the light from the bedroom door and peers in. Deckard is lying on the bed, snoring gently. CUT TO INT. LIVING ROOM NIGHT 78 The CLOCK IS LOUDER in the living room. Rachael walks through the shadowy room lit by a single lamp. She sees a picture of Deckard's wife and son on a table. She looks at it for a long moment as though she might be jealous. She sees a picture on top of the piano. A picture of a little boy and his father in fishing clothes, each holding a pole, the boy proudly display- ing a single under-sized fish, the hint of a smile on the father's face. She looks at the sheet music on the piano, Chopin. She stands close to the keys and starts to play. She makes a mistake almost immedaitely. She sits and starts again and she is just a hair tentative, but there's no mistake... the feeling, the rhythm, the beauty of the music. It fills the whole apartment. CUT TO: INT. BEDROOM - NIGHT 79 Deckard is snoring peacefully as the MUSIC ebbs and flows. CUT TO: