Blade Runner
Executive Summary
Poster
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Overview
Genres: Science Fiction, Thriller, Drama, Mystery, Film Noir, Action, Dystopian, Sci-Fi, Romance
Setting: Futuristic, Various locations including a large, humid locker room, Tyrell Corporation, Chinatown, cold storage room, freeway, Dr. Tyrell's office, Taffey's Bar, old opera house, Sebastian's apartment, and the Tyrell mansion
Overview: Set in a dystopian future, the story follows Deckard, a detective tasked with "retiring" rogue replicants, artificial humans who are identical to humans but lack empathy. As Deckard investigates, he begins to question his own humanity and the nature of consciousness. The film explores themes of identity, morality, and the limits of technology.
Themes: Existentialism and Mortality, Identity and the Search for Purpose, The Dangers of Technology and the Limits of Control, Love and Relationships
Conflict and Stakes: The main conflict revolves around the struggle between the replicants and Deckard, as the replicants seek to extend their limited lifespan while Deckard is tasked with hunting them down. The stakes include the survival of the replicants and the safety of the human population.
Overall Mood: Tense, suspenseful, and introspective
Mood/Tone at Key Scenes:
- Scene 1: The scene with Leon and Holden is tense and suspenseful, setting the tone for the rest of the screenplay.
Standout Features:
- Unique Visual Style: The visually striking and immersive world-building sets this screenplay apart from others in the genre.
- Complex Characters: The nuanced and morally ambiguous characters add depth and intrigue to the story.
- Philosophical Themes: The exploration of identity, humanity, and mortality elevates the screenplay to a more profound and thought-provoking level.
Comparable Scripts:
- Blade Runner 2049
- Ex Machina
- Arrival
- 2001: A Space Odyssey
- The Matrix
- Ghost in the Shell
- Altered Carbon
- Dune
- Alien
Writing Style:
The screenplay exhibits a dominant thematic exploration of identity, reality, and morality, akin to the works of Philip K. Dick. The scenes often evoke dark and atmospheric worlds, with complex characters wrestling with ethical dilemmas and philosophical quandaries. Ridley Scott's influence is evident in the visual storytelling and exploration of gritty, high-stakes situations. The screenplay also incorporates elements from William Gibson's cyberpunk genre, delving into advanced technology's impact on society and personal agency.
Style Similarities:
- Philip K. Dick
- Ridley Scott
- William Gibson
Pass/Consider/Recommend
Recommend
Explanation: This screenplay is a well-crafted and thought-provoking exploration of what it means to be human in a dystopian, technologically advanced future. The narrative is compelling, with multidimensional characters driving the story forward and grappling with complex moral and ethical dilemmas. The world-building is exceptional, immersing the audience in a vivid and visually striking setting. While the pacing and some secondary character development could be refined, the screenplay's strengths – its narrative depth, character complexity, and thematic resonance – make it a strong candidate for consideration.
USP: This sci-fi screenplay, set in a dystopian future, delves into profound themes of identity, morality, and the nature of existence. It features a captivating cast of characters, including Deckard, a disillusioned detective haunted by his past, and Rachael, an enigmatic android questioning her own humanity. The script stands out with its unique storytelling techniques, such as the integration of philosophical concepts into action sequences and the use of visual metaphors to explore the characters' inner conflicts. The dialogue is rich, thought-provoking, and reveals the depth of the characters' emotions and motivations. Moreover, the script offers a fresh perspective on the relationship between humans and technology, challenging conventional definitions of life and consciousness. It grapples with the ethical implications of artificial intelligence and raises questions about the nature of empathy and compassion. This is not just another sci-fi story; it is a thought-provoking exploration of our own humanity, making it a compelling read for audiences seeking a captivating and intellectually stimulating cinematic experience.
Market Analysis
Budget Estimate:$80-100 million
Target Audience Demographics: Adults aged 25-54, fans of science fiction, neo-noir, and dystopian themes
Marketability: The screenplay offers a compelling blend of science fiction, suspense, and philosophical themes that will appeal to a wide audience.
The unique visual style, complex characters, and thought-provoking narrative make this screenplay a strong contender for success.
The exploration of deep existential questions, combined with thrilling action sequences, will attract fans of both cerebral sci-fi and intense drama.
Profit Potential: High, due to the strong appeal of the genre, the established fan base, and the potential for critical acclaim and awards recognition
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Summary:The writer's voice is characterized by sharp, evocative dialogue and vivid, atmospheric descriptions that create a sense of tension and mystery. The narrative style is distinctive due to its focus on internal conflicts and moral dilemmas, which are explored through nuanced character interactions.
Best representation: Scene 10 - Deckard's Test and Batty's Impatience. This scene is the best representation of the writer's voice because it combines all the key elements of their style: sharp dialogue, evocative descriptions, and a profound exploration of philosophical themes. The contrast between the serene flashbacks and the intense, fast-paced mountain drive creates a palpable sense of tension and suspense, while the disembodied voice's questioning adds an existential layer to the scene.
Memorable Lines:
- Roy Batty: I want more life, fucker. (Scene 28)
- Rachael: It's strange to suddenly realize that what you thought was your life is actually someone else's fabrication. (Scene 12)
- Deckard: I'd like you to take a look at these pictures. (Scene 14)
- Pris: I don't trust him. I don't think he knows what he's doing. (Scene 22)
- 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. (Scene 1)
Characters
Deckard:A retired blade runner tasked with hunting down and 'retiring' rogue replicants
Rachael:An advanced replicant who becomes involved with Deckard and questions her own existence
Roy Batty:The leader of the Nexus-6 replicants, seeking to extend his limited lifespan
Pris:A Nexus-6 replicant with superhuman strength and agility
Leon:A nervous and apprehensive Nexus-6 replicant
Holden:A blade runner who administers tests to replicants
Sebastian:A genetic designer who becomes involved with the replicants
Tyrell:The creator of the replicants
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Internal Goal | External Goal | Conflict | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | ||||
| 1 - The Voight-Kampff Test | Tense, Suspenseful, Cold, Intimidating | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 2 - A Somber Summons | Detached, Businesslike, Suspenseful | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 3 - The Replicant Case | Grim, Suspenseful, Mysterious, Intense | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 8 | 8 | 9 | 9 | |
| 4 - Leon's Failure | Tense, Mysterious, Dark | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 5 - Eye of the Beholder | Mysterious, Intimate, Intriguing | 8 | 8 | 7 | 8 | 9 | 6 | 8 | 7.5 | 5 | 8 | 4 | 6 | 8 | 7 | 7 | 9 | 8.5 | 8 | 8 | |
| 6 - Deckard's Pursuit | Suspenseful, Informative, Technical | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 6 | 7 | 9 | 9 | 9 | 9 | |
| 7 - Unexpected Connection | Introspective, Melancholic, Curious | 8 | 7 | 7 | 9 | 9 | 7 | 8 | 7 | 4 | 7 | 3 | 6 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 8 - Deckard's Visit to the Tyrell Corporation | Suspenseful, Mysterious, Dystopian, Cynical | 8 | 9 | 8 | 9 | 9 | 6 | 8 | 7.5 | 7 | 8 | 8 | 8 | 8 | 6 | 7 | 9 | 8.5 | 8 | 8 | |
| 9 - The Empathy Test | Tense, Mysterious, Intense, Intriguing | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
| 10 - Tunnel of Darkness | Suspense, Tension, Mystery, Action | 8 | 8 | 7 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 11 - Deckard's Test and Batty's Impatience | Tense, Mysterious, Foreboding | 8 | 7 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 12 - Unlikely Allies | Tense, Introspective, Mysterious, Emotional | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7.5 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 13 - Deckard's Preparations | Dark, Mysterious, Suspenseful | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 14 - Deckard's Investigations at Taffey's | Dark, Suspenseful, Mysterious, Intriguing | 8 | 8 | 7 | 9 | 7 | 6 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 15 - Backstage Investigation | Suspenseful, Intense, Dark, Intriguing | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 8 | 8 | 7 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 16 - The Peephole Surprise | Suspenseful, Intense, Mysterious, Dramatic | 8 | 8 | 9 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 17 - Zhora's Tragic End | Intense, Suspenseful, Fast-paced, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 18 - Confrontation in the Men's Room | Tense, Angry, Confrontational | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 19 - Deckard and Leon Meet | Dark, Mysterious, Intense, Melancholic | 8 | 8 | 7 | 9 | 9 | 5 | 8 | 7 | 6 | 7 | 5 | 6 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 20 - Deckard vs Leon | Intense, Dark, Suspenseful, Emotional, Violent | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 21 - Deckard's Frustration and Sebastian's Compassion | Melancholic, Reflective, Lonely | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 4 | 7 | 5 | 6 | 7 | 9 | 6 | 8 | 8 | 8 | 8 | |
| 22 - Arrival at Sebastian's Apartment | Tense, Suspenseful, Mysterious | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 8 | 8 | 8 | 8 | 8 | |
| 23 - Holden and Deckard's Conversation | Humorous, Reflective, Intimate | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 5 | 7 | 4 | 6 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 24 - Intimate Afternoon | Contemplative, Intimate, Reflective | 9 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 4 | 6 | 5 | 6 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 25 - The Nexus-6 Revelation | Curious, Friendly, Inquisitive | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 26 - Rachael's Cleaning Attempt | Intimate, Mysterious, Tense | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7.5 | 6 | 8 | 6 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 27 - Ian's 10th Birthday Extravaganza | Mysterious, Intense, Emotional, Suspenseful | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 6 | 8 | 9 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 28 - Batty's Request | Tense, Dark, Suspenseful, Intense | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 9 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 29 - Batty's Bloody Path | Dark, Intense, Suspenseful, Emotional | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 30 - Reflections in the Night | Intimate, Reflective, Emotional | 9 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 5 | 7 | 6 | 7 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 31 - The Escape Attempt and Deckard's Arrival | Tense, Dark, Suspenseful | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 32 - Encounter in the Gym | Intense, Suspenseful, Violent | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
| 33 - Apartment Showdown | Intense, Confrontational, Aggressive, Tense | 9 | 8 | 9 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
| 34 - Confrontation in the Tenth Floor | Tense, Menacing, Violent, Intense | 9 | 8 | 9 | 9 | 9 | 7 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 35 - Final Clash on the Tenth Floor | Tense, Emotional, Dark, Reflective | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 10 | 9 | 8 | 10 | 8 | 9 | 9 | 9 | 9 | |
Scene 1 - The Voight-Kampff Test
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
Screenplay by
HAMPTON FANCHER
July 24, 1980 Brighton Productions Inc.
1420 No. Beachwood Drive
Hollywood, Calif. 90028
****************
INT. TYRELL CORPORATION LOCKER ROOM - DAY 1
THE EYE 2
It's magnified and deeply revealed. Flecks of green
and yellow in a field of milky blue. Icy filaments
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
fluctuations 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 over-stuffed 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 gray. 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
whir 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
Already had I.Q. test this year --
but I don't think I never had a...
HOLDEN
(cutting in)
Reaction time is a factor in this,
so please pay attention. Answer
quickly as you can.
Leon compresses his lips and nods his big head eagerly.
Holden's voice is cold, geared to intimidate and evoke
response.
HOLDEN
You're in a desert, walking along
in the sand when all of a sudden
you look down 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
towards 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
Whatcha mean, I'm not helping?
HOLDEN
I mean you're not helping!
Why is that, Leon?
Leon looks shocked, surprised. But the needles in
the computer barely move. Holden goes for the inside
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 spine and comes out his back, clean
as a whistle. Like a rag doll he falls back off the
bench from the waist up. By the time he hits the
floor, big slow Leon is already walking away. But he
stops, turns and with a little smile of satisfaction,
FIRES at the machine on the table.
There's a flash and a puff of smoke. The Voight-Kampff
is hit dead center, crippled but not destroyed; as
Leon walks out of the room, one of its lights begins
to blink, faint but steady.
EXT. DESERT - NIGHT 3
The horizon marked by a thin copper line that maybe
the end, of the beginning of a day.
The train that follows, cuts through the night at 400
miles an hour.
INT. TRAIN - NIGHT 4
No clickitty-clack of track-bound noise, it's a long,
insulated Pullman of contoured seats and low-keyed
lighting, coloured to soothe,and empty, except for
the passenger half way down.
His eyes closed, head rested against the glass. Ten
years ago, DECKARD might have been an athlete, a
track man or a welter-weight. The body looks it, but
the face has seen some time -- not all of it good.
Scene 2 - A Somber Summons
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
Deckard comes down the aisle, slips a coin into the
mechanism, receives a beer and returns to his seat.
INT. TRAIN - NIGHT 6
Tired of the program, he takes off the headset and
drops it next to three empty beer bottles and a
sandwich wrapper, adjusts his position and winds up
staring at his reflection in the window. Runs a
hand over his face, it could use a shave. He leans
closer and peers through the glass.
Out there in the black a sign flashes past: SAN
ANGELES, THREE MINUTES.
EXT. PLATFORM - NIGHT 7
The train slides in, smooth as an eel, and stops with-
out a sound. Carrying a bag and umbrella, Deckard
disembarks ahead of the other passengers and into the
sweltering night.
INT. CORRIDOR - NIGHT 8
Deckard has got his coat swung over his shoulder, his
shirt already damp, as he walks down the long, hollow
passage under orbs of yellow light.
EXT. TERMINAL - NIGHT 9
Deckard unlocks his car and gets in. Turns the ig-
nition and hits a sensor. The dash console glows
and Deckard sits back waiting for the air unit to cool
things off.
DECKARD (V.O.)
It was 97 degrees in the city and
no hope of improvement. Not bad
if you're a lizard. But two hours
earlier I was drinking Acquavit
with an Eskimo lady in North East
Alaska. That's a tough change to
make. It was so good, I didn't
want to leave, so I left a day
early.
A little detached, Deckard taps another sensor on the
panel, lights up a cigarette and watches as his mes-
sages flash across the viewer stating date, time and
caller. The last one is repeated five times. Deckard
sighs, switches off the viewer and gets on the radio.
DECKARD
Contact. This is Blade Runner One
calling Com-fast 27.
The SOUND OF A CHIME precedes the mechanical female
voice that answers.
VOICE
Blade Runner One, stand by please.
A pause. Followed by a husky male voice.
VOICE
Deckard.
DECKARD
Yah, Gaff.
GAFF (VOICE)
Where the hell you been?
DECKARD
You know where I been. I been on
vacation.
GAFF
Next time you go on vacation,
do me a favor, let us know where
it is.
DECKARD
What's up?
GAFF
Holden got hit.
There is a pause. That was bad news.
DECKARD
Bad?
GAFF
Severed spine. You'd better get
in here. Bryant's waiting for you.
DECKARD
I'll see you in a minute.
The ENGINE REVS, the wipers rake two weeks of dust off
the windshield and Deckard jams out of the lot.
INT. THE HALL OF JUSTICE - NIGHT 10
An enormous grey vault of a building. A businesslike
Deckard strides down a long corridor with his brief-
case and police ID pinned to his coat.
DECKARD (V.O.)
I-X-4-P-D referred to as a Nexus-6,
The Tyrell Corporation's new pride
and joy. Holden was administering
the Voight-Kampff test when one
nailed him.
The door in front of Deckard slides open and he walks
through.
DECKARD (V.O.)
The Nexus-6 must be fast because
Holden was as quick as they come.
The report said there were six of
them. Three males and three female.
Led by a combat model called Roy
Batty.
Scene 3 - The Replicant Case
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 8
The INSPECTOR is in his fifties. The deep creases in
his face, the broken capillaries in his nose say
brawler, spoiler, drinker, but the diplomas on the
wall say something else. Bryant's kneeled at his safe
trying to open it. Deckard it sitting on the edge of
the desk reading the print-out.
DECKARD (V.O.)
They escaped from the colonies
two weeks ago. Killed twenty-
three people and jumped a shuttle.
An aerial patrol found the ship
in the desert. No crew.
Bryant gets the safe open and brings out a bottle of
whiskey.
DECKARD (V.O.)
Bryant's got a liver problem. A
couple years back he handed me a
bottle and said have a drink for
another man. I been drinking
for him ever since.
Deckard sets down the report and takes the shot Bryant
just poured for him.
DECKARD
Six, huh?
BRYANT
Five. Three nights ago one of
them managed to break into the
Tyrell Corporation. Killed two
guards and got as far as the
Genetic Sector before he got
fried going through an electro-
field.
DECKARD
What was he after?
BRYANT
There wasn't much left of him,
so we can't be sure. But bio-
chemical data and morphology records
of the Nexus-6 were reported
missing. Going on the possibility
they might try to infiltrate we
send Holden in to run Voight-Kampff
tests on the new employees. Guess
he found himself one.
A grim pause.
DECKARD
You got a machine on it yet?
BRYANT
We're using Esper -- a 231 -- that
picked up Holden's alarm. Its
guess is that all five are in
the city.
DECKARD
Where do we start?
Bryant's back at the safe locking up his bottle.
BRYANT
The Tyrell Corporation has a
demo model. Check it out on the
Voight-Kampff. There's a chance
the Nexus-6 is beyond out ability
to detect. If that's the case,
everybody's up shit creek.
DECKARD
What was the cover on the one that
got Holden?
BRYANT
Industrial refuse.
DECKARD
Garbage man?
Bryant nods.
DECKARD
Did personnel have an address on
him?
Bryant fishes a piece of paper out of his pocket,
copies down a number and hands it over.
DECKARD
I'll go take a look.
Deckard stands and holds up his drink.
DECKARD
Thanks.
Like a sick boy looking out of the window, Bryant
watches Deckard down the whiskey. Deckard puts down
the glass and turns to leave.
DECKARD (V.O.)
The big incentive to emigrate was
still free labor. If the public
found out that their door-prizes
might kill them, they might not be
so hot to go up there. This was
one of the worst one's we had and
Bryant was worried. He wanted to
tell me to be discrete or something.
But I didn't give him a chance.
EXT. LEON'S HOTEL ENTRANCE - NIGHT 12
An electrical storm is brewing. Deckard stands out-
side the entrance to an old hotel holding an umbrella,
as people scuttle into doorways to avoid the sudden
downpour.
INT. LEON'S HOTEL LOBBY - NIGHT 13
A heavy metal maze of cubicles and perilous iron
balconies, peopled with rejects from the surface world;
Mato Grosso Indians in white man's clothes and other
lower echelon welfare recipients. Drop city is crowded,
cramped and darkly alive.
Deckard steps out of an elevator and moves through the
crowd. A cloud of steam drifts up through a grating
as two old men, clad in towels descend a flight of
stairs under a neon sign that says bath house.
A musty subterranean wind ripples Deckard's clothes as
he turns into an alcove. He stops in front of a door
that says, MANAGER and pushes the buzzer. It's opened
by an emphysema victim with an oxygen tank lashed to
his hip. Deckard flashes his ID and speaks some words
which are inaudible due to the TUBA MUSIC down the hall.
The man grabs a key from his wall, hands it over and
shuts the door.
INT. LEON'S HOTEL CORRIDOR - NIGHT 14
The companion ways below deck of a big ship are no
more bewildering than the ups and downs and ins and
outs of this establishment. But Deckard finds the door
he's looking for. He pauses a moment, listens, then
knocks. He inserts the key and with a hand on his gun
opens it.
INT. LEON'S ROOM - NIGHT 15
An empty room. A cot and not much else. He steps in
and stands quiet as a hunter sensing the signs. For a
place surrounded by greasy hovels it is surprisingly
clean. Spartan in fact. The towel by the spotless
basin is perfectly folded.
Deckard runs two fingers over a shelf. No dust. He
looks in the waste basket. Wadded up candy wrappers.
The bed by the window is neatly made. Deckard looks
under it, then runs his hands along both sides of the
mattress.
The closet. There's one suit in it. He pats it down.
Nothing. A show box on the floor. He stoops, takes
out what looks like a pen from his pocket and care-
fully traces it over the box. Assured of its harm-
lessness, he lifts off the lid.
It contains a little stack of photos bound with a
rubber band. Deckard removes them, goes to the lamp
by the balcony window and turns it on.
A touching collection of family snapshots. The kind of
anonymous stuff sold by the bunch in dusty junk shops.
The family dog. Junior on the pony squinting in the
sun. Uncle Ben clowning with the kids. The faded
polaroid of Christmas morning. Simple pictures of
simple folks celebrating the family bond. A curious
collection for the likes of Leon and Deckard studies
them with interest.
Scene 4 - Leon's Failure
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 8
- Dialogue: 7
Oblivious to the cloudburst, a blue-eyed albino stands
in the doorway, peddling candy and artificial flowers
looking like he'd never been touched by the light of
day.
Leon is standing behind him, staring up at his room,
watching Deckard at the window. He's still wearing
his coveralls, but he looks different. His face is
more intent, smarter and angry.
EXT. STREET BELOW - NIGHT 17
For one seething moment it looks like Leon might mash
something, but suddenly he swings away and disappears
into the crowd.
INT. LEON'S ROOM - NIGHT 18
Deckard pockets the pictures and moves away from the
window.
EXT. ALLEY - NIGHT 19
Leon's got a neck like a fire hydrant and legs to
match, but he's a graceful runner. Looks like he could
do it for days. And he could. He's put a lot of alley
behind him and he's not out of breath.
EXT. CHINATOWN - NIGHT 20
Slowing down he cuts into an opening and comes out onto
a narrow street. The Asian Quarter.
INT. CHOP SUEY HOUSE - NIGHT 21
A seamy as well as steamy little place. Counter and
small tables. Old slant-eyed enders humped over their
fuming bowls jabbering and slurping.
The only voice coming out clear is from the big three-
D TV on the back wall. As the mellow-mouthed TV
announcer delivers the message, a Latin-looking beauty
in a well-fitted maids uniform does a twirl, flashes
a beguiling smile and glides OUT OF FRAME.
ANNOUNCER'S VOICE
Choose from a variety of seventy
nine different personality types.
Each and every one a loyal trouble-
free companion given to you upon
your arrival absolutely free...
The Latin beauty is replaced by an impeccable Ray
Bolger type gentleman's gentleman who clicks his heels,
snaps to attention and struts off to make room for the
next.
ANNOUNCER'S VOICE
To use as personal body servant
to tireless field hand -- the
custom tailored humanoid robot,
designed especially for your
needs.
The Chinese are paying no attention, but the man and
the woman seated at the table by the window are.
The woman is pretty, a touch of gray in her hair, kind
and blue-eyed. MARY looks like an American dream mom,
right out of "Father Knows Best."
The man also resembles a tradition: the gym instructor,
short cropped hair with the body of a drill sergeant,
but the eyes are grey and chilling. ROY BATTY is a
presence of force with a lazy, but acute sense of what
goes on around him.
Leon has just come through the door behind them. Try-
ing not to be the bull in a china shop, he approaches
their table and kneels . Batty doesn't bother to look
at him, which amplifies the note of sarcasm in his
quiet voice.
BATTY
Did you get your precious 'things'?
LEON
Somebody was already there.
BATTY
Police.
LEON
Just a man.
BATTY
Police man.
Leon looks sullen.
BATTY
Why don't you have a seat.
There's one next to him. Leon pulls it over and sits.
BATTY
Enjoy the view.
From the pot on the table, Mary pours tea and they sit
so quiet and still in this noisy place that they seem
almost invisible. The view they're "enjoying" is
through the window. Outside the neon side in the win-
dow directly across the street says: HANNIBAL CHEW,
MEMBERS.
INT. HANNIBAL CHEW'S SHOP - NIGHT 22
Chew is a spindly old man of precision, his veiled
eyes are shrewd and Chinese, but the rest of him
looks like a Charles Dickens invention.
He's got a jewelers' glass stuck in his eye, lurched
over a lamp, squinting at something in his hand. After
a moment his lips peal back into a sour, belligerent
smile.
CHEW
Well, you're right. This little
honey has a couple of defective cones.
He snaps off the lamp and swings round to face his
client.
SEBASTIAN'S face is almost young, but something has
gone too far, too fast. Premature old age has made
his bones brittle and his co-ordination slow. The
house may be dark but there's a light on in it. Se-
bastian is a closet genius.
CHEW
You're a regular perfectionist,
Sebastian.
Sebastian's apologetic, especially around the acerbic
Mr. Chew.
SEBASTIAN
It's gotta be right for my
customer.
CHEW
Your customer, eh?
Chew snickers and beckons. Sebastian follows his down
a high narrow hall to a heavy insulated door. There's
a moth-eaten full length fur coat hanging by it. Chew
tugs it on and they go through. The big door slams
shut behind them.
Scene 5 - Eye of the Beholder
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
Except for the work table with its sharp gleaming in-
struments, the room is as barren and sterile as a
morgue. The glass-doored compartments in the walls
look like crypts. Some of them small as post office
boxes. From one of the Chew removes a vacuum, packed
box. Carefully separating the seal, he reaches into
the purple jell and with a pair of tweezers extracts
an eye.
Through the jeweler's glass, which he has not bothered
to remove, Chew holds the eye up to the light and
studies it a moment. His other hand searches through
his pockets.
CHEW
You got a pocket-charger, boy?
Quick to accommodate, Sebastian removes a pencil-like
device from a row of such things in his breast pocket
and steps closer. The back of the eye is touched with
the pencil and the pupil moves. Suddenly its staring
back at them.
CHEW
Is that good enough for your
customer?
Anxious to leave, Sebastian nods. Chew reseals the
eye taking his time. He can afford to, he's wearing
his coat.
CHEW
How much is he paying you?
In place of an answer, Sebastian clears his throat,
stares at the bag like he didn't hear.
CHEW
Well, when do you get paid?
SEBASTIAN
Soon as I finish the job.
CHEW
When might that be?
SEBASTIAN
Day after tomorrow.
CHEW
Oh! Day after tomorrow.
Sebastian nods. Chew stares at the poor bastard, con-
cerned in spite of himself.
CHEW
The rich hate to pay, Sebastian.
A guy like Tyrell keeps you waiting.
Pay the little guy last. You should
charge twice as much. It'll make
him feel better.
Sebastian nods his head like that's exactly what he'll
do. Chew sees it's hopeless and hands him the bag.
SEBASTIAN
Thanks, Mr. Chew.
Chew pulls the door open for him and Sebastian goes
through quick as a dog.
EXT. HANNIBAL CHEW'S STORE - STREET - NIGHT 24
Sebastian may lack co-ordination but he got what he
came for and there's a hopeful spring to his walk as
he heads for his truck.
INT. SEBASTIAN'S AMBULANCE - NIGHT 25
It's an old panel job with ambulance siren and lights.
The lettering on the side reads "J.R. SEBASTIAN -
ANIMOID EXPRESS." Sebastian gets in, starts up the
engine and suddenly realizes he's not alone. It's a
jolt that causes him to yelp.
PRIS is sprawled on the seat next to him, and wakes up
with a yelp of her own. They stare at one another for
a startled instant, and she jumps out and starts walk-
ing.
But she's forgotten her little beat-up overnight case.
Sebastian puts the truck in gear, drives next to her
and opens the door.
SEBASTIAN
Hey! You forgot your...
He holds up the bag. Hesitantly she reaches for it.
SEBASTIAN
How come you were in my truck?
PRIS
I was tired and didn't have any
place to go.
She stares at him, hand on her case, looking lost.
Sebastian isn't good at this, but he tries.
SEBASTIAN
You can get back in if you want...
She can't make up her mind.
SEBASTIAN
Don't worry, I won't hurt you.
She gets in. Both of them are silent. People are not
Sebastian's medium -- 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 do you want to go?
She shrugs. That leaves him a lot of responsibility.
He throws her side-long glances, but she's not helping.
SEBASTIAN
You want to go home?
PRIS
I don't have one.
SEBASTIAN
Oh.
What do you do with a teenage beauty who looks like
she's lost out of some "Welcome to Sunny Arizona"
poster?
SEBASTIAN
Where are your folks?
PRIS
They left.
SEBASTIAN
What about friends?
PRIS
I have some, but I have to find
out where they are staying.
She leans forward and rests her elbows on the dash.
Her body would win prizes, from any angle.
SEBASTIAN
Well, where should I take you?
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. If you wanna go
to my place?
PRIS
I was hoping you'd say that.
Sebastian's face is normally on the grey side, but it
just turned red. He turns on the ignition and they
pull away from the curb.
Scene 6 - Deckard's Pursuit
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
Speeding along the freeway. The terminal in the com-
munications console lit. Deckard's right hand just
finished a punch-up. The screen flashes back.
REQUEST
Deckard punches up. Letters flash across the screen:
ESPER
Screen flashes back:
CLEARANCE
Deckard punches up.
BLADE RUNNER ONE CODE ML-33
Pause.
Screen flashes:
STAND BY.
Deckard's voice has been heard over the preceding.
DECKARD (V.O.)
Machines can be helpful sometimes,
but they can also be a pain in the
ass. Ask for a trace on a forger
and you might wind up at a steel-
mill. I don't mind a bum-steer once
in a while -- it's their personalities
that usually get me. Somebody once
said that man makes machines in his own
image. If that's true, whoever made
Esper should have been shot.
ESPER
This is Esper and I'm ready. Go
ahead please.
Esper's deep melodious voice is anxious to please, and
oiled with a touch of self-pity.
DECKARD
You equipped for random questions?
ESPER
Why, yes, of course.
DECKARD
You start.
ESPER
The five in question are third
generation Nexus Sixes, constructed
of skin-flesh culture, selected
enogenic transfer conversion
capable of self-perpetuating
thought, para-physical abilities
and developed for emigration
program. Are you with me?
DECKARD
How do I stop one?
ESPER
Unlike a five, they can sustain
massive traumas to several parts
of the body without debilitating
another. Sever a leg and it will
perform quicker on the remaining leg
than the fastest man can run,
DECKARD
Okay, but...
ESPER
I'm coming to that. Vulnerable
zone is the base of the skull,
the occipital bone. A direct hit
is a positive retirement.
The communication is interrupted by a BELL which is
immediately followed by a stern, MECHANICAL VOICE.
VOICE
You are in violation of traffic
ordinance M-139 statutory freeway
limit restricted by one-hundred
and eighty kilometers.
In his rear view mirror Deckard sees two black-clad
motorcycle cops coming up behind him like the hounds
of hell. They draw silently alongside. Deckard
presses his I.D. to the window.
The cop tosses a salute to Deckard and he and his
partner accelerate, vanish in the night. And Deckard's
car does too.
EXT. SEBASTIAN'S APARTMENT 27
A district of silence and ruin. The street is strewn
with refuse. The building looks vacant. A ten storey
condo gone to shit. The vandals have come and gone
long ago.
Sebastian's little white ambulance parked at the curb.
MR. DEETCHUM, the old Watchman, sitting in the building
entry in a straight backed chair, is reading a comic
book.
Scene 7 - Unexpected Connection
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 9
- Dialogue: 8
Well stocked with items of survival, all labeled and
stacked. And shelved along the walls and hung from the
ceiling is a menagerie of animoids. Like so many broken
toys awaiting resurrection from Sebastian's wise hands.
Sebastian is seated at a large work-table, bent over a
stereo scope. The tool in his right hand is a sensor
probe and he's using it with the delicacy of an en-
graver.
The object of his concentration is a maze-like chip
configuration no bigger than a thumbnail, but magnified
under the scope, it looks like an aerial view of a
large city. The needle-like sensor probe moves care-
fully over the contours of the configuration, testing
the bonds.
Suddenly a blue flash erupts from one of the junctures.
SEBASTIAN
Oh!
Pris is light on her feet. She's standing behind him
with a half-eaten sandwich in her hand.
PRIS
Whatcha doin'?
SEBASTIAN
You scared me.
But he's happy to see her.
SEBASTIAN
I'm working.
She's changed her dress and made up her face. Looks a
little older and sexier.
SEBASTIAN
You look... better.
PRIS
Just better.
SEBASTIAN
Beautiful.
PRIS
Thanks.
He watches her as she prowls around the room, looking
at this and that, eating her sandwich.
PRIS
And you live in this building all
by yourself?
SEBASTIAN
Yeah, I live here pretty much
alone right now...
Trying to make light of it.
SEBASTIAN
No housing shortage around here...
plenty of room for everybody.
She sprawls on the couch studying him.
PRIS
How old are you?
He can't meet her eyes.
SEBASTIAN
Twenty.
PRIS
What's your problem?
It's not an easy subject. His voice is barely audible.
SEBASTIAN
Methuselah Syndrome.
PRIS
What's that?
SEBASTIAN
My glands. They grow old too fast.
PRIS
Is that why you're still here?
SEBASTIAN
Yes. I couldn't pass the test.
There is a silence. He steals a glance at her.
PRIS
I like you just the way you are.
Under the desk he bats his knees together.
SEBASTIAN
Ah, you get hold of your friends?
PRIS
As a matter of fact I did. They've
got some work to do tonight, but
they're gonna come tomorrow.
SEBASTIAN
Good.
The implications catch up.
SEBASTIAN
I can sleep on the couch.
A little gray mouse on the shelf above his head bobs
up.
MOUSE
Don't let the bed bugs bite!
Taking their cue from the mouse, some of the more
talented animoids toot, flap and wheel about.
INT. DECKARD'S APARTMENT - NIGHT 29
It's dark except for the glow of the terminal. A tired
Deckard sits in front of it. Esper sounds like he's
been talking for hours.
ESPER
Nexus designated Leon: incept
date April 10th, 2015 -- to be
used in military experiments to
determine how hyper metabolism
functions in deep space.
Nexus designated Batty incept
data April 10th, 2015, combat
model, level of self-sufficiency,
optimum.
A long pause.
ESPER
Here's something you might find
interesting. They have been built
to emulate the human in every way
except in its emotional spectrum.
However, after a period of time
it is only logical that such a
'mechanism' would create its own
emotional responses, hate, love,
fear, anger, envy.
DECKARD
I know all that.
ESPER
What about a summary then.
DECKARD
I think we're through for the night.
Deckard starts to reach for the panel.
ESPER
Mr. Deckard.
Hesitates.
DECKARD
Yes?
ESPER
Do you have something against
science?
DECKARD
Not if it works.
ESPER
And what in your estimation works?
DECKARD
The umbrella.
Deckard picks up the umbrella and with it stabs the
terminal off button before Esper can respond and the
machine goes dead. He sits there for a moment then
flips on the lamp. Leon's snap-shots are spread out
before him.
Scene 8 - Deckard's Visit to the Tyrell Corporation
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 7
A police marked spinner makes a sharp bank, drops into
a steep curve and slides towards the Tyrell Corporation.
DECKARD (V.O.)
Every government that could was
racing to populate their colonial
territory. But emigrants needed
incentive. Over-population and
the greenhouse factor didn't seem
to be enough; but owning a human
look-a-like had lots of appeal.
It was big industry, the competition
was stiff and Tyrell was top of the
line.
EXT. TYRELL CORPORATION - DAY 31
The spinner gently touches down. The hatch drops open
and Deckard steps out.
DECKARD (V.O.)
His claim to fame was making a
product more human than human and
sometimes the 'more' turned out to
be a problem. This wasn't just an
escaped andy who broke his owner's
arm -- there were twenty-eight
people dead and the pressure was
on.
INT. TYRELL CORPORATION - DAY 32
Deckard walks up to a desk, hands his I.D. to a guard
who checks it against a list on a screen.
DECKARD (V.O.)
But so far they'd always managed
to keep it quiet. Not to say
that once in a while there wasn't
bad publicity. Some fanatic
bitching about equal rights for
andies or an occasional trade union
proclaiming it was aun-American for
automatons to take jobs away from
humans on the colony.
The guard hands Deckard back his I.D., pushed a button
and Deckard walks away.
DECKARD (V.O.)
But what's more American than good
old supply and demand? The
Government needed them, industry
made them and the church backed
them. The big religious boys
said that Androids, no matter how
human, were objects; only God
could make people. I'm not religious,
but I was inclined to agree.
Otherwise I'd be out of a job.
The elevator door slides open. The young lady inside
would look right standing on a cliff, hair blowing in
the wind, looking out to sea in a 19th Century painting.
RACHAEL
Hello, Mr. Deckard. My name is
Rachael.
Deckard tips his head to her and steps in.
INT. TYRELL CORPORATION ELEVATOR - DAY 33
No woman can be all things to all men, the Rachael comes
closer than most. The only trouble is she's all busi-
ness. Formidable without really trying. Some beauty
is better avoided and Deckard looks straight ahead.
INT. TYRELL CORPORATION CORRIDOR - DAY 33A
The door slides open and they continue down the corri-
dor.
RACHAEL
It seems your department doesn't
believe out new unit is to the
public benefit.
DECKARD
A humanoid robot is like any other
machine, it can be a benefit or a
hazard. If it's a benefit, it's
not our problem.
RACHAEL
But because your department can't
do an adequate job in detecting
the miniscule number at large,
it's a problem. Correct, Mr.
Deckard?
INT. TYRELL CORPORATION - AIR-FILTERED CORRIDOR - DAY 33B
They pass into a canopied, air-filtered corridor.
Deckard doesn't answer the question because he's looking
at the animals. Small northern animals in neat "en-
vironmental" cages. He looks at the rabbit, the raccoon
and the squirrel, but the owl asleep on its perch stops
him. The armed guard at the exit never takes his eyes
off them.
RACHAEL
You like our owl?
Deckard nods. Rachael claps her hands. The owl opens
its yellow eyes and blinks at them.
DECKARD
It's artificial?
RACHAEL
Of course not.
Hands thrust in her pockets, she strides off towards
the exit without looking back.
The exit is another tube. Just big enough for two. No
room for excess. He tries to ignore her cool appraising
stare.
RACHAEL
You're in a very unique position,
Mr. Deckard. You could affect the
future of this entire organization
according to how you work your
little test.
Deckard has nothing to say.
RACHAEL
Are you apprehensive?
DECKARD
Why should I be?
RACHAEL
For the responsibility of your
power. Being a police bureaucrat,
you've got more than your share.
The door slides open. Deckard looks down at her.
DECKARD
You got it wrong, girl. I work
with the bureau not for them.
He lets it sink in.
DECKARD
My job isn't to detect
malfunctioning andies, it's to
eliminate them. The more the
better.
He walks out of the elevator first.
Scene 9 - The Empathy Test
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 9
The office is dimly lit, but highlights of resilience
reside in the luster of the antique furnishings, like
glimmers of gold in a darkened mine. Dr. Tyrell is a
fragile man of power, with that look of "youth" obtained
from steroids and surgery. Dapper and trim, he leans
against the desk looking at an old fashioned pocket
watch. The only sound is the insidious PERKING of COFFEE
BREWING in the background.
Tyrell taps a sensor on his desk. The door in front of
Deckard and Rachael slides open. They enter a vestibule
and face another door, this one befitting the decor of
the office, Tyrell slips the watch into his pocket as
they enter.
RACHAEL
Mr. Deckard. Dr. Eldon Tyrell.
TYRELL
How do you do, Mr. Deckard. Please
sit down. Would you care for a cup
of coffee?
DECKARD
Thanks.
TYRELL
Black?
DECKARD
Please.
Tyrell pours from an old time sylex into small china
cups and hands one to Deckard. The congenial light in
his eyes could almost pass for warmth -- dragon warmth.
TYRELL
Somehow, I didn't expect that the
man who did the dirty work would
be the man to do the technical
work. Here you are, Mr. Deckard.
He hands Deckard a cup of coffee.
TYRELL
Is this to be an empathy test?
DECKARD
Yes.
TYRELL
Capillary dilation of the so-called
blush response? Plus fluctuation
of the pupil, plus involuntary
dilation of the iris?
Deckard nods.
TYRELL
May I ask a personal question?
DECKARD
Go ahead.
TYRELL
Have you ever retired a human by
mistake?
DECKARD
No.
TYRELL
But in your profession that is a
risk.
DECKARD
Nothing is infallible, but so far
the Voight-Kampff scale bas been
foolproof.
TYRELL
Like you said, Mr. Deckard, a
machine can be a hazard. The
Voight-Kampff scale is a machine,
isn't it?
DECKARD
One that relies on human
interpretation. Where's the
subject?
TYRELL
Sitting next to you.
Deckard stares at Rachael, then back at Tyrell. Delighted,
Tyrell takes a cup of coffee.
Accepting the challenge, Deckard opens his briefcase and
starts fishing out the apparatus.
THE VOIGHT-KAMPFF 35
Rachael's eye fills the screen, the iris brilliant, shot
with light, the pupil contracting.
DECKARD'S VOICE
Ready.
RACHAEL
Go ahead.
In the soft green glow of the dials, the needles in both
gauges are at rest. Dr. Tyrell stands silhouetted behind
Deckard, who sits in front of Rachael, a pencil beam
trained on her eye. Wire mesh discs are attached to her
cheeks.
DECKARD
You're given a calfskin wallet
for your birthday.
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 T.V. and suddenly
you notice a wasp crawling on your
wrist.
RACHAEL
I'd kill it.
Both needles go to 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 an
android or a lesbian?
DECKARD
You show the picture to your husband.
He likes it and hangs it on the wall.
The girl is lying on a bearskin rug.
RACHEL
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
You become pregnant by a man who
runs off with your best friend,
and you decide to get an abortion.
RACHAEL
I'd never get an abortion.
DECKARD
Why not?
RACHAEL
That would be murder, Mr. Deckard.
DECKARD
In your opinion.
RACHAEL
It would be my child.
DECKARD
Sounds like you speaks from
experience.
He notes the needles. One goes green and the other
remains inert.
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
The raw oysters are less acceptable
to you than a dish of boiled dog.
Deckard moves the adhesive discs from her cheeks and
switches off his beam.
DECKARD
Lights please.
The lights come on.
TYRELL
Well?
DECKARD
If she is, the machine works.
TYRELL
The machine works. She is.
Rachael sits very still. Except her eyes -- they go to
Tyrell and hang on. He stares back at her as he speaks.
TYRELL
How many questions did it take?
DECKARD
Thirteen.
Rachael sits rigidly in her chair, as the ground crumbles
around her, her big mermaid eyes locked with Tyrell.
His voice is quiet and strong, mesmerizing. She's hang-
ing by a thread.
Deckard watches with a bas taste in his mouth.
DECKARD
She didn't know?
TYRELL
Memory implant. She was programmed.
But I think she has transcended
her conditioning. I think she was
beginning to suspect.
Rachael nods fixedly. Careful not to let go her grasp.
TYRELL
How many questions does it usually
take, Mr. Deckard?
DECKARD
Five, maybe six.
Slowly, carefully, Tyrell unlocks his gaze from Rachael
and turns towards Deckard, who is starting to put away
his equipment.
TYRELL
You're going to have to be on your
toes, my friend.
Deckard glances back at him.
TYRELL
It's a complex problem and we
wouldn't want anything to happen
to you.
Less of a man might shrink at the end of Deckard's look,
but not Tyrell.
TYRELL
For the good of all, I recommend
you take Rachael with you.
Considering her uniqueness, I'm
sure she could prove quite helpful.
Deckard almost smiles at the nasty power of Tyrell's
style. He turns away and starts packing up the Voight-
Kampff.
DECKARD
No thanks.
Deckard is ready to go.
TYRELL
And how is it one man will be able
to cover so much ground?
DECKARD
Discreetly.
TYRELL
All pertinent information is
being fed into your departmental
computer, an Esper 231 -- I
believe -- and a photo over-lay
packet is being produced.
Deckard opens the door.
TYRELL
Mr. Deckard, I think it would be
wise to reconsider my offer.
Rachael sits there very pale and expressionless, her
feet flat on the floor, alone is the word.
Trying to keep the fury out of it, Deckard's voice
comes out in a whisper.
DECKARD
I work alone.
On the last word, Rachael glances up at him and Deckard
turns away. The outer door slides open and he goes
through it.
Scene 10 - Tunnel of Darkness
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 8
As seen through the windshield from the passenger side
of a vintage Dusenberg. The headlights cut through the
dark, illuminating a narrow strip of mountain road. A
downgrade.
A sign slides by stating: "Caution Curves Ahead."
Good advice considering the sheer nightmare of a drop
to the right and the wall of solid rock to the left.
The steady HUM of the ENGINE and the HISS of the TIRES
will remain, but the location suddenly changes to:
INT. ROOM - NIGHT 37
A pleasant place of soft light and domestic charm. The
young lady in the short dress is vacuuming the rug.
Her back to the viewer. As she bends over to vacuum
beneath the couch, exposing her beautiful ass, an
admonishment from a resonant and slightly tired MALE
VOICE intercedes.
VOICE
Let's keep our eyes on the road,
Deckard.
DECKARD'S VOICE
Sorry.
Abruptly the VIEW FLASHES BACK TO:
INT. TUNNEL - NIGHT 38
The moon is up there slicing through the trees, strobing
over the hood of the car. The road is getting steeper
and the corners sharper. Rags of mist skim by as the
Dusenberg picks up speed. It is becoming a riveting
ride, but the passenger's mind moves elsewhere.
EXT. WOODS - DAY 39
Swift, soft clouds overhead. In the cold shine of
the icy light,the viewer walks down an aisle of maples
and beeches, their clean hard limbs deflecting the
frosty light, and underfoot the crisp, blue-white snow,
melted through in spots, exposing soggy patches of rich
brown earth.
VOICE
Come on, stay with the machine.
INT. TUNNEL - NIGHT 40
The Dusenberg is going faster now, headlights eating
up the road. Rushing the corners in gut wrenching four-
wheel drifts. Not a pleasant sensation if you don't
like roller-coasters.
The Dusenberg slides out of a corner and faces a couple
hundred yards of straightway leading to the next bend.
Good place for a breather, but the driver shifts into
high and screws on.
EXT. LAKE - DAY 41
Cold and gray. The current running strong. The nose
of a kayak points through the swells, the viewer paddling
for the shore.
This is cold remote country, wild and untouched. A sky
bluer than the Madonna's cloak. The kayak banks and
the viewer steps out, moving over the sandy beach
towards a little camp.
VOICE
We're going to have to start the
sequence again if you don't stay
with me, Deckard. Concentrate.
DECKARD'S VOICE
How do you know I'm not?
VOICE
You're not responding to the
stimulus. I can see right here,
I'm not getting a reading.
DECKARD'S VOICE
I'm tired of this.
VOICE
Almost through.
INT. TUNNEL - NIGHT 42
In the Dusenberg the driver turns to look at the passen-
ger, his specter-like face obscured by shadow, but by
the glint of teeth, he must have just smiled. And the
passenger's view snaps back to the road.
Suddenly another pair of headlights round the approach-
ing bend. Large ones, of a bus or a truck. Blinding.
The Dusenberg is going too fast to stop. No room to
pass. HORNS BLAST. The Dusenberg brakes, goes into a
broadside skid. The hands of the passenger reach out
and grip the mahogany dash. Brakes locked, TIRES
SCREAMING, skidding. The Dusenberg tears through the
railing and plunges into space. The last view of the
passenger is pure vertigo. Silence.
Scene 11 - Deckard's Test and Batty's Impatience
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 8
- Dialogue: 7
The good doctor is bending over his glass-top desk which
resembles a pin-ball machine. Displayed under its
surface is a network of crisp electronic symbols and
read-outs indicating the results of the test.
Deckard detached the patches from his forehead, which
it a little damp, but other than that, he looks no
worse for wear, stands up to stretch and walks over to
the doctor's desk.
DECKARD
So how did I do?
Dr. Wheeler is a thin boney man, aloof but a promise
of compassion in his sunken eyes.
WHEELER
Nerves of steel.
DECKARD
No rust?
WHEELER
I didn't say that. Your motivity
rate checked out a little slower
than last time.
DECKARD
Meaning?
WHEELER
Meaning you don't run as fast as
you used to.
Deckard starts to dress.
WHEELER
During the road test...
DECKARD
Yeah?
WHEELER
Your mind kept wandering. That
bothered me.
DECKARD
Huh huh.
WHEELER
Considering the nature of your
work, that could be unhealthy.
DECKARD
True.
Wheeler studies his "desk" for a moment and his finger
comes down on the section illuminating Deckard's simple
statistics.
WHEELER
You got a birthday coming up.
Deckard bends over slipping on his shoes. Wheeler looks
up, concerned.
WHEELER
But you haven't put in for
emigration.
DECKARD
Nope.
WHEELER
You're going to be over the limit.
DECKARD
Listen, I could make you a long
list of complaints about this
fucken city but I still rather be
here than up there.
WHEELER
What if you change your mind?
DECKARD
They'll change the limit before
I change my mind.
WHEELER
You sure?
DECKARD
Never been more sure of anything
in my life.
Deckard is ready to go. Looking at Wheeler, a little
touched with his concern.
DECKARD
Why didn't you go?
WHEELER
Too old.
DECKARD
But if you could?
Wheeler considers it a moment, smiles and shakes his head.
WHEELER
My job is here.
DECKARD
Me too.
They shake hands and Deckard walks.
INT. SEBASTIAN'S APARTMENT - LATE AFTERNOON 44
The referee is bouncing around the ring, trying to keep
up with the two Mexican light-weights pounding the shit
out of each other. If not for the fuzz and the silence,
the audio on the holoscope is off, you might think
you were ringside at the Garden. It's a good fight but
Pris isn't watching.
She's got her feet up on the couch painting her toe
nails. The room is so quiet you can almost hear the
polish. She starts on her fourth toe when a NOISE
form above STOPS HER
It sounded like a CREAKING of a FLOOR, but so quiet,
sudden and over so fast it's hard to be sure. She
stares at the ceiling a moment, then glances at
Sebastian.
On the other side of the room, in his own world,
Sebastian is peering into his magnifier, soldering
gossamer strands with a laser.
Pris has crossed the floor and is closing the door
quietly behind her. If the animoids nestled around
the ledges of the room are capable of noticing, they'd
be the only ones in the room who did.
INT. CORRIDOR - SEBASTIAN'S APARTMENT - LATE AFTER- 45
NOON
Pris moving smoothly past the doors, some of them open
and warped offering sights and shadow and decay.
INT. FIRE STAIRS - SEBASTIAN'S APARTMENT - LATE AFTER- 46
NOON
The gloom in here is like the light of the empty well.
Her feet against the metal steps reverberate in the
hollow silence.
INT. THE FLOOR ABOVE SEBASTIAN'S APARTMENT - LATE 47
AFTERNOON
She's running now, down the hall, stops at the apart-
ment directly above Sebastian's and opens the door.
INT. APARTMENT ABOVE SEBASTIAN'S APARTMENT - LATE 48
AFTERNOON
Mary turns her head as Pris comes in. She's sitting in
a chair. The only piece of furniture in the room.
It's broken and tilts at a funny angle. She nods and
Pris nods back.
Batty is lying on his back, rolling his head slightly
from side to side like he's soothing a stiff neck.
BATTY
What's going on down there?
PRIS
He's not ready yet.
BATTY
When?
PRIS
Tomorrow, he says.
Batty nods he can't wait. Pris glances at Mary and
gives a frigid little smile. Pris backs out and closes
the door behind her. Batty blows air through his
nostrils. Like an animal.
EXT. DECKARD'S CAR - FREEWAY - NIGHT 49
The sky is streaked with remnants of a lingering dusk.
Prisms of light flash over the sheen of Deckard's car
as he cuts off the freeway and sweeps down the off-
ramp curve.
Scene 12 - Unlikely Allies
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Moving through the dark city streets. Deckard turns a
corner and guns it up a long, steep hill.
EXT. STREET - DECKARD'S APARTMENT - NIGHT 51
At the top of the hill the car pulls into a drive and
disappears into the subterranean garage of a high-rise.
INT. CORRIDOR DECKARD'S APARTMENT - NIGHT 52
He's coming down the hall carrying a foil wrapped
plastic plate and stops in front of his door. It's
riddled with locks. He slips a small device out of
his pocket, aims it at the door and the locks unlock,
the bolts slide open. He walks in and kicks the door
shut behind him.
INT. DECKARD'S APARTMENT - NIGHT 53
He slips on the light and crosses the front room.
Deckard is a pack rat -- hard to tell if he just moved
in or is just moving out.
As he enters the kitchen, the SOUND of SOMEBODY BEHIND
him causes him to whirl around fast, hand snapped out
in front of him, gun already in it. Rachael almost got
shot. But she's unruffled, a little pale maybe, but
direct as ever. There's a long, chilly moment, then
she almost smiles as her eyes move to the plate on the
floor.
RACHAEL
Was that your dinner?
Deckard looks down at the over-turned plate and nods.
RACHAEL
I'm sorry. I called and found out
you were on your way home. These
were already delivered to your
department but I thought you
should have copies as soon as
possible.
She's holding out a cassette the size of a cigarette
pack. But it's taking Deckard's adrenalin time to
recede.
RACHAEL
It's the Nexus information you
wanted.
He takes the cassette, but a man with so many locks
must be wondering how they were gotten through so easily.
He doesn't even want to ask.
DECKARD
Thanks.
He realizes he's still got the gun aimed at her and
sticks it back in his belt and they're left staring
at each other. The situation makes awkward silence.
At least for him. She's looking at him like she's
got something to say but isn't saying it.
DECKARD
Is there anything else?
RACHAEL
I know you think it complicates
your work, but I'm here to help.
DECKARD
I've already got more help than
I need.
RACHAEL
I think you need more help than
you've got.
He doesn't, but she's not backing off.
RACHAEL
There's two reasons a man rejects
help. Either because he's so good
at what he does he doesn't think
he needs it, or he's so insecure
he can't admit it.
DECKARD
Sounds like I'm an ass-hole either
way, but the answer is still no.
RACHAEL
Two of us might be more effective
than one.
DECKARD
I work alone.
She smiles.
RACHAEL
No you don't.
She lets it sink in.
RACHAEL
You use your equipment, don't you?
DECKARD
So?
RACHAEL
So, I'm a piece of equipment.
Use me.
It's a strong look that passes between them -- a long
one. Maybe if he were on firmer ground he might do
something about such an offer but...
Deckard's eyes follow her down as Rachael bends to
the floor and starts picking the food off the rug, put-
ting it back on the plate.
DECKARD
That's okay, I'll get it...
He bends down to help, but she's already done it.
Their heads a few inches apart. Something in her eyes
diminishes the distance even more.
RACHAEL
Do I make you nervous?
DECKARD
Yeah.
RACHAEL
I'm sorry.
And she is. And suddenly he is too. She hands him the
plate and they stand. She's looking at the floor,
almost shy, then she looks up and he's watching her.
She says it plain and simple.
RACHAEL
It's strange to suddenly realize
that what you thought was your
life is actually someone else's
fabrication.
Deckard nods. He feels it, but doesn't know what to
do about it.
DECKARD
I can imagine.
RACHAEL
Can you? I couldn't.
These are not some of Deckard's finer moments. But she
doesn't seem to notice.
RACHAEL
A part of me is glad. I think I
feel more. I don't like who I was
before.
Deckard nods, waits the respectable interval and is
glad to have a plate to take into the kitchen.
In the scrambled sanctuary of his kitchen Deckard looks
around for a place to put the plate, but things have
piled up on him in here. He contemplates the refrig-
erator.
DECKARD
So why do you think they were
after their records.
He's a lot more comfortable talking shop.
RACHAEL
They probably want to find out
when they were made.
DECKARD
Right.
He dumps his dinner in the garbage and comes back out.
She's writing something on a card.
RACHAEL
I guess the date of your birth is
important if you know you're not
made to last.
No way he can keep his foot out of it. She looks up and
hands him the card.
RACHAEL
That's my number. If you need me.
She goes to the door, opens it but hesitates before
going through.
RACHAEL
You better get better locks --
if you want to keep me out.
She looks back at him and smiles -- the smile says
she's talking about all kinds of locks. Deckard looks
like he might ask her to stay, but...
RACHAEL
Good night.
And she's gone.
DECKARD
Night.
He looks down at the number. It's the back side of a
snapshot. He turns it over. The picture of a man
and a woman. The little girl between them looks like
a six-year old Rachael.
Scene 13 - Deckard's Preparations
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
He's sitting in front of his console studying pictures
of Nexus Sixes at they appear, blank-faced, hairless
and unadorned on his monitor.
The over-lay machine is transforming each image with
instant attributes; hair, moustaches, teeth, eye colors,
age, youth, hats, glasses, etc. All in rapid succession,
running the gambit from ominous to beautiful.
DECKARD (V.O.)
The possibilities were infinite.
They could change their appearances
but not their future.
Like she said, it was short.
Longevity is what they were after.
The garbage man even wanted a past.
Poor fuck. I'd check it out but
I knew she was right. The market
worked on turn-over. Built-in
obsolescence was the name of the
game. That meant her too. It
was something I didn't want to
think about.
On top of the monitor there's an open can of beans with
a spoon stuck in it. Deckard puts out his cigarette
and reaches for them as the PHONE RINGS.
DECKARD
Yeah.
BRYANT
Bryant here. Regarding the
rundown you requested on job
applicants, Esper's concluded that
the only irregular category that
Tyrell's got is the entertainment
section. You better get on it.
DECKARD
I was just about to have my dinner.
BRYANT
If you hurry you'll get back
before it gets cold. I got a
spinner on your roof in five
minutes. Good luck.
Deckard hangs up and looks at the beans. He didn't
want them anyway. He gets up and walks to the bedroom.
Looks through the pile of clothes on the floor, finds
his ankle laser and straps it on.
EXT. CITY - BIRD'S EYE VIEW - NIGHT 55
The spinner skirts through the canyons of the city.
Deckard, sitting in the contoured seat, watches the
maze of suspension bridges, platforms and catwalks
swing by below. The tops of larger buildings shimmer
with advertisements and weather announcements.
INT. SPINNER - OVER CITY - NIGHT 56
Deckard is cruising low and slow over the city listen-
ing to Esper.
EPSER
Nexus designated Rachael is a
prototype. Created for in-house
use by special mandate form the
Scientific Development Regulatory
Committee. Will live conventional
term -- no para-physical abilities.
DECKARD
What is a conventional term?
ESPER
Four years. Which would make her
termination date...
DECKARD
Never mind. Do they have that
knowledge?
ESPER
Longevity is classified. No.
Back to business.
DECKARD
Okay, gimme a run-down on the
three females.
ESPER
Nexus designated Mary: incept
November 1 2017, domestic
conditioning non competitive,
trained for day care position.
DECKARD
Next.
ESPER
Nexus designated Pris: incept
data December 13 2017, competitive,
programmed to provide pleasure
for long term spacers.
DECKARD
Number three.
ESPER
Nexus designated Zhora: incept
June 13th 2017, athletic
conditioning, highly competitive,
special abilities in the
entertainment field.
EXT./INT. SPINNER - LANDING AREA - NIGHT 57
Deckard taking it down. About to pull it in an already
crowded lot, but the sign flashes "FULL." Deckard
doesn't believe in signs; is about to set it down any-
way when a Chicano in a fluorescent coat runs out and
waves him off.
DECKARD
Fuck.
Pissed, Deckard veers away and buzzes low over and
around the roof tops, all dark and cramped -- not a
lot of room around here.
EXT. ALLEY - NIGHT 58
Finally brings it down between two buildings hardly
enough clearance, but he jockeys the machine into an
alley, touches down and runs it slowly along the surface
-- parking it by a sign that says "NO PARKING."
EXT. STREET - TAFFEY'S BAR - NIGHT 59
Not many people. Wind blowing. A nest of garish
small-time clubs.
Deckard emerges from one, goes into the next. The
pulsing neon over the entry says "TAFFEY'S BAR."
INT. TAFFEY'S BAR - NIGHT 60
Crowded in here. BONGO MUSIC. Deckard is at the bar
sitting next to a big-bellied man in a black beard who's
looking through a viewer. On the small stage in the
background AMAZING RAMA is eating razor blades, a part
of her juggling routine.
Deckard leaves the bar and walks down a hall towards a
door at the rear.
Scene 14 - Deckard's Investigations at Taffey's
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 7
Taffey's what's referred to in the trade as a "Chicken
Hawk" collector of young girls.
It must be so, there's one in the bed. Thin, pale,
about thirteen years old, eyes rolled up under her
fluttering eyelids, wires attached to her forehead,
lying flat on her back in Taffey's crowded little
room.
Taffey's a little fella with wide hips and narrow
shoulders, wears a jet black toupe and has a face like
a seal. But at the moment he's not present.
There's a KNOCK at the DOOR, then the SOUND of a TOILET
FLUSHING. Taffey comes out of the bathroom, heart
pounding under his polyester bathrobe, and approaches
the door like the guilty fucker he is. He looks through
the peeper.
Deckard is out there holding up his I.D.
DECKARD
Taffey Lewis?
TAFFEY
Yes?
DECKARD
Can I come in?
There is a pause lasting the time it takes Taffey not
to think of a way to say no. The door opens and Deckard
enters. Except for the drool coming out of the corner of
her mouth, and the fluttering eye-lids, Venus doesn't
move a muscle.
TAFFEY
Excuse my niece there... She's
studying for an exam.
Deckard takes the Identikit hard copies our of his
pocket and pushing some junk out of the way, fans them
out on the table.
DECKARD
I'd like you to take a look at
these pictures.
TAFFEY
Of course.
Taffey bends down really close, peering at the pictures
from about two inches away.
TAFFEY
You see I lost my contacts a
couple of days ago around here
somewhere and my sight is a
little... What am I supposed
to be looking for?
DECKARD
Do you recognize any of
them?
He stops at Zhora.
TAFFEY
This one looks familiar, but
I don't know. Naw. There's
one came in today looks a
little like this one but...
DECKARD
What did she want?
TAFFEY
Who?
DECKARD
The girl that doesn't look
like that girl.
TAFFEY
Nothing. She wanted to know
about suck night.
DECKARD
What night?
TAFFEY
I didn't know if I wanted to
handle her -- I already got
a snake act. But my partner
goes down there to the Opera
House on suck night to book
the good ones.
DECKARD
What's suck night?
TAFFEY
That's what we call in the
trade, audition free-for-
alls and most of it sucks.
Bit I don't think that's
her.
DECKARD
You talking about the Opera
House on the Main?
Taffey nods. Deckard goes to the door and turns.
DECKARD
Book the good ones for where?
TAFFEY
Lots of places. The tours,
the clubs, the Silicone shows,
private parties.
DECKARD
What shows?
TAFFEY
Silicone Valley. Lots of
these science guys never
leave that place. We book
two shows a month in there.
Those big time techs and bio-
guys might be real high zoners
up here, but when it comes
to the arts, they like it loud
and lewd.
It's starting to get a little gooey. Deckard tips his
head good night and backs out of the door.
INT. THE OLD OPERA HOUSE - NIGHT 62
Onstage four Mexican acrobats, in matching metallic
jumpsuits roll head over heels in their rendition of
a human wheel. From the P.A. system the Announcer's
voice blares through the cavernous theatre.
ANNOUNCER'S VOICE
Let's hear it for the Hermano
Brothers.
Scattered APPLAUSE. Hand in hand, the Hermano Brothers
bow deeply, spring up and trot offstage.
ANNOUNCER'S VOICE
Next we're gonna see a little
charmer who keeps her dancing
partner in a basket! She
comes to us all the way from
exotic Casablanca. 'Salome.'
The old boys in the pit strike up a tinny version
of "In a Persian Market" as SALOME dances onstage.
She's a black-haired beauty in a scant belly dancer
costume, a couple of pounds overweight but all in
the right places. She kneels ceremoniously center
stage and sets the basket down before her. Carefully
removing the lid, she reaches in and lifts out a four-
foot harlequin-patterned python. Grinding her hips
to the music, she rises, holding the coiling snake out
like an offering. Sounds of approval from the audience.
The gold coins covering her breasts jingle and shimmer,
as she weaves sensuously around the floor.
Scene 15 - Backstage Investigation
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 9
To scattered APPLAUSE, HOOTS and WHISTLES, Salome
flounces offstage, the snake hung around her shoul-
ders, looking limp, and makes her way through the
narrow corridor to her dressing room. She's about
to enter when:
DECKARD
Excuse me, Miss Salome.
She turns. Deckard's posture and attitude suggest hum-
ble, 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 high in her high heels
-- she looks down on him with the haughty suspicion
of a chick 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 management
sexually abusing 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 position. 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.
Scene 16 - The Peephole Surprise
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 7
Musty and cramped. A portable shower, a dressing table
and not much else. Salome takes the snake from around
her shoulders and lays it on the dressing table. Deck-
ard watches it undulate into the warmth of the lights.
DECKARD
It that mother real?
SALOME
Of course he's not real. You think
I'd be working here if I could
afford a real snake?
DECKARD
It's a good job.
SALOME
You mean the snake.
Deckard nods. There's not much costume to take off but
she's doing it.
SALOME
The best.
DECKARD
Does it eat?
SALOME
Come on.
His hand reaches out to touch it. As his fingers make
contact there's an electric "snap." He jerks his hand
back from the shock.
SALOME
Jeezus!
DECKARD
Sorry.
SALOME
Hey! Do your job but don't wreck
mine, huh?
She slides behind the screen and turns on the shower.
Deckard starts creeping around pacing around the room
like he's inspecting the walls.
DECKARD
They have their ways of doing
their dirty work without the
victim knowing what's going on.
His eyes are moving over everything she's got.
DECKARD
You'd be surprised what a guy'll
go through to get a glimpse of a
beautiful body.
SALOME
I bet I would.
DECKARD
Little dirty holes the bastards
drill in the wall so they can
watch a lady undress.
And to his amazement he actually spots one. It's down
low on the wall. Not a good idea to turn his back on
work but he can't resist.
SALOME
And what if somebody did try to
'exploit' me? Who do I go to?
Through the hole Deckard is looking at a pair of fat
legs.
DECKARD
Me.
SALOME
And who do I go to about you?
He looks back. She's some out of the shower dripping
nude. She's taken off her black wig. Her hair is
short and blonde.
Deckard recognizes her immediately from the identikit.
He stares at her a moment too long.
DECKARD
Hmmmmm?
Deckard grins and she returns it.
She takes a towel off the table and starts to dry her
body. The snake noses through the cosmetics, tongue
flicking trying to get back to its mistress. Absently,
she reaches out to stroke the snake and suddenly laughs.
ZHORA
You ever get the feeling things
aren't the way they seem?
Her hand closes around the snake's head. Deckard sees
it coming but can't move fast enough. She strikes him
so hard it knocks him off his feet. Before he hits the
floor, she kicks him in the stomach. The snake whistles
through the air again as Deckard rolls out of the way.
It slams down so hard it ruptures against the floor.
He goes for his laser, but she's already out the door.
INT. PASSAGEWAY - NIGHT 65
Deckard bounds out of the room and sees her go through
a door at the other end of the hall. He sprints after
her, arrives at the door and flings it open. Black-
ness. The SOUND of her high heels CLATTER down the
metal steps.
Scene 17 - Zhora's Tragic End
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
It's raining heavily.
The front of the Opera House is open only to foot traf-
fic these days. A bizarre place on a Friday night,
hawkers and whores, the rabble, the poor and the cur-
ious mill around the randy-built platforms and brightly
lit stands. Zhora, in just a raincoat, is not out of
place in this flea market 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.
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 ped-
estrians are in his line of fire. He runs past them
and drops to one knee, leveling his laser.
DECKARD
Stop or you're dead!
She doesn't. The beam flashes through the air, but
she's already around the corner.
With his bottom lip between his teeth, it hurts to move
so fast, Deckard jack-legs it into the street and jumps
in front of the first car coming. It screeches to a
stop. Deckard scrambles for the door, but the guy be-
hind the wheel has other ideas. He peels out fast.
The next car slows down and swerves trying not to hit
him. Deckard goes for the door and before the old ma-
tron inside can lock it, Deckard's yanked it open and
jumps in. She screams as he pushes her into the pas-
senger seat and jams the car into a wrenching about
face. The lady squeals like a pig as the momentum
plasters her against the door.
Deckard slams it around the corner and guns it down the
street. It's long and it's empty and it's going by fast.
Nothing the old lady cares to see -- she's got her hands
over her eyes, whimpering, hoping she'll faint before
she dies.
Deckard takes the next left so hard he almost lays it
over. As the car bounces off the curb he floors it.
Zhora's a hundred yards ahead, halfway down the street,
trying to make it back into the crowded mall. She's
running fast, but the car is faster.
As he passes her, Deckard hits the brakes and skids
broadside seventy feet. The door flies open and he
rolls out FIRING.
Zhora's ducking it with no where to go, except...
The showcase window on her left EXPLODES as she crashes
through.
It's a corner shop joined to a series of stores, front-
ing the mall. Deckard runs to the opening she's made
and pours FIRE through the tunnel of her jagged wake as
Zhora breaks through one window after another, getting
sliced, getting shot, trying to get away from Deckard's
laser. But she doesn't.
His last shot burns a hole through the base of her
skull. It kills her but doesn't stop her. Her speed
takes what's left of her through the last two windows
and into the street where she runs into a parked car
with such force that she embeds herself in the side of
it.
Hunched over, breathing hard, Deckard comes slowly for-
ward. The crowd starting to gather. There's something
for everybody and they're coming from all directions.
Deckard moves through them, edging to have a look.
It's not a good thing to see. It looks like Salome
and the car tries to eat each other. A bloody feast
of metal and flesh.
Deckard bows his head, sick, exhausted. So much commo-
tion he doesn't notice THREE COPS closing in from
behind.
COP
Drop it!
Deckard has his back to them. They're fanned out and
crouched, ready to fire. Deckard drops his laser. Two
of them rush up, spin him around while the third does a
frisk.
TWO MORE COPS arrive, wary and wild-eyed, pushing the
people back -- his is not a good place for cops.
Deckard's ankle laser is discovered by the Cop frisking
him. With a snarl he pulls it out and hands it back to
the SERGEANT covering the action.
SERGEANT
On your belly!
Deckard's not in the mood for it.
DECKARD
Listen, Sergeant...
He's reaching for his ID. The Cop with the rubber
billy hits him in the head.
One thrill after another. Somebody in the crowd YEOWLS.
The last thing Deckard hears as he falls. The Cop
reaches inside Deckard's coat for the concealed weapon
they missed, but it's an ID card. He looks at it for a
moment, then looks up.
COP
Hey, Sarge, this guy's a cop.
An embarrassing situation.
SERGEANT
Clear this fuckin' crowd.
The Cops start pushing. And for one split second one
of the crowd looks a lot like Leon.
Scene 18 - Confrontation in the Men's Room
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
Your standard low class crapper. Bryant is planted
firmly on the cracked tile floor next to the urinals
rubbing his face, trying not to pop the clutch in his
anger. This is a public place, he doesn't want to
yell.
BRYANT
Just because it's a Nexus 6 doesn't
change procedure. A little known
fact can become a well-known fact
and part of our job, Deckard, is
to make sure that doesn't happen.
Now how can be do that if you blow
one away in front of a fuckin'
audience.
It's not the sort of question that expects an answer.
Deckard's washing his face in the basin hoping it'll
all go away.
BRYANT
Well?
Deckard looks up dripping, reaches for a paper towel.
Bryant slaps one in his hand.
DECKARD
She was gonna get away.
BRYANT
Then let her get away. I thought
you were a pro -- you're supposed
to be a fuckin' tracker!
Bryant takes a couple of deep breaths.
BRYANT
I'd say you got a little carried
away.
Deckard's voice is barely audible.
DECKARD
I didn't like her.
BRYANT
You didn't like her!?
He slams the handle on one of the urinals.
BRYANT
You start liking or disliking
andies it's time to hang it up.
The PLUMPING ROARS and SUCKS and DIES. There's nothing
to do but nod. Deckard nods. Poor bastard has had a
rough night. Bryant pulls a flask out of his coat and
hands it to him. Deckard puts it to his mouth and
Bryant watches Deckard's Adam's apple like he's count-
ing the swallows. Deckard hands it back empty. Bryant
caps it, puts it back in his pocket.
BRYANT
Look, go home. Get some rest.
Take an aspirin.
DECKARD
Yeah.
Bryant shuffles out like an old bear.
Scene 19 - Deckard and Leon Meet
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 9
Cheap whiskey and bad wine. That's the kind of place
this is. It's near closing. But still a few at the
bar. Alcoholic silhouettes.
In the b.g. Deckard comes down the passage from the
men's room and stops at the phone. He gets a number
out of his pocket and calls it. As he talks he leans
against the wall, his body language intimate and chummy.
Not much action at the bar other than somebody snoring
and a dipso down at the end having a conversation with
himself.
Deckard hangs up, walks to the bar and straggles a
stool. The BARTENDER's a big lady with tits like sand
bags and a voice that plays no favorites.
BARTENDER
I can't protect your drinks,
mister; while you was in the
potty, this hummer snatched it.
Deckard glances at his stool-mate. A huge MAN, slumped
over the bar like a beached whale.
DECKARD
No problem. Gimme another.
The whale doesn't move, but it speaks, with a gravelly
Russian accent.
RUSSIAN
Forgive me. I thought was free
drink. I will pay.
DECKARD
Forget it.
But the big man's digging through his pockets. Deck-
ard's drink arrives and the Russian raises his head.
It's a big melancholy face with a glint of warmth in
his red-rimmed eyes and a smile that could melt your
heart. But it's Leon.
LEON
I think I have no money.
DECKARD
It's okay. Forget it.
LEON
But I would like to buy you drink.
DECKARD
I'll but you one. What'll you
have?
LEON
Vodka!
DECKARD
Shot of vodka, please.
LEON
Thank you very much.
DECKARD
My pleasure.
Deckard brings out his smokes. Offers one. Leon takes
it and they light up. The drinks come.
LEON
Prosit.
DECKARD
Prosit.
Down the hatch. Leon slaps his glass on the bar, reach-
es into his pocket, brings out a little match box and
slaps that down too. It's done with such pride that
Deckard has to look.
LEON
You want to see my friends?
DECKARD
Sorry, don't have the time.
LEON
No problem.
Leon smiles broadly and with ceremonious care opens the
box and dumps three live cockroaches on the bar.
DECKARD
Those cockroaches?
LEON
Ya.
Deckard looks interested. One of them starts to scamp-
er away, but Leon walls off the next with his huge hand.
DECKARD
How long you had these guys?
LEON
Two months. But this one is not
guy. It is girl. His girl.
Leon leans closer like he doesn't want the cockroaches
to hear.
LEON
Usually Blackie waits until Igor
is eating; then, when his back is
turned, he tries to take advantage
of Anna.
Deckard nods, definitely interested. He signals the
bartender for another round. The drinks arrive.
LEON
Prosit.
DECKARD
Prosit.
Down the hatch. Their eyes meet at the bottom.
LEON
You never saw a cockroach make
love?
Deckard shakes his head, but he'd like to.
Leon smiles slyly.
LEON
We will try.
Leon brings a cube of sugar out of his pocket and puts
it on the bar. They both lean down and watch intently.
The drinks come and are put away, but the cockroaches
are not cooperating.
LEON
It must be that he is not hungry
or maybe she is not hot.
Leon is catching the roaches and one by one puts them
back in their box. He holds up the last and kisses it.
LEON
You like to kiss her goodbye.
DECKARD
No thanks.
BARTENDER
Make sure you take your girlfriends
with you when you leave.
What neither of them notices is that between Leon's
fingers, his stub of his cigarette is burning his flesh.
Deckard lifts his glass, it is empty.
LEON
I like you.
DECKARD
I like you too.
LEON
One more, eh?
DECKARD
I gotta piss.
Deckard gets on his feet, leans forward like a man in
a stiff wind and stops.
DECKARD
I think I'll piss outside.
Leon watches his walk a perfect straight line through
the bar down the passage and out of the rear exit.
Scene 20 - Deckard vs Leon
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Deckard reels out. The door swings shut and he's sober
as hell and moving fast. Around the big trash dumpster
alongside the building, he plasters himself against the
wall and his gun is out, aimed at the door. He's in a
good spot with a perfect line of fire. Moments go by
and he's glad for the time to steady himself. The
SOUND of his BREATHING, the HUM of the city and the
quiet.
Suddenly from behind, 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 know where Zhora was
so quick?
His hand is 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, 2015.
How long do I live?
DECKARD
Four years.
He lets go.
LEON
More than you.
Deckard's knees come up fast. 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 6.
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.
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.
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.
Rachael is standing in the alley. Deckard lies there
looking at her. She comes slowly and quietly forward
and drops Deckard's gun by his side.
Deckard gets to his hands and knees and tries to get
up, but can't quite manage it. He looks up at her,
panting, spits blood and almost smiles.
DECKARD
Like I said, I don't need your
help.
After a long moment, she bends down to touch him.
RACHAEL
You look terrible, you know that?
INT. DECKARD'S APARTMENT - BATHROOM - NIGHT 70
He's lying in the tub with a drink, eyes half mast,
water up to his chin, bruised and beat, but looking
just a little wicked in his balmy luxury.
DECKARD (V.O.)
I knew a cop once who was involved
in a high-speed chase. They shot
out one of his tires and he went
over a cliff at hundred and fifty
miles an hour. They found him in
the morning with a broken skull,
six fractured ribs and second-
degree burns. On the way to the
hospital he made a play for the
nurse.
He takes a drink and clears his throat.
DECKARD
Hey! I thought you were supposed
to be taking care of me.
RACHAEL'S VOICE
What do you need?
He doesn't answer. Lies there sipping his drink.
Rachael comes in a little uncertain, a little droll,
and stands there looking down at him.
DECKARD
Don't just stand there looking at
me. It's not polite.
RACHAEL
What do you want me to do?
DECKARD
Sit.
She sits on the edge of the tub.
DECKARD
Gimme your arm.
She's wearing a short-sleeved dress. It's a long, del-
icate arm and Deckard holds it, inspecting it like a
maestro with a Stradivarius. He looks up at her.
DECKARD
You ever take a bath with a man
before?
RACHAEL
There's a lot I haven't done with
a man before.
He's got her hand in the water and had begun to soap
her arm. Starting with her wrist and running the bar
to her elbow, up and down, slow and slippery. She
watches, not quite sure of the ritual.
He pulls her closer, and runs his hand up higher, mould-
ing and pressing, working around her flesh, up and under
her arm into the privacy of her dress.
RACHAEL
You're getting me wet.
Oh, yes. For a moment Deckard stares at her like some
furry-legged satyr in rut, the fingers of his other
hand rake through her hair and into the water she comes.
Scene 21 - Deckard's Frustration and Sebastian's Compassion
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 6
The bed looks like it was hit by a storm and Deckard
looks like something that was washed up in it. He's
spread out flat, face creased and puffed.
His eyes squint open, but only for a moment. His
hands are more reliable. They search over the bed,
but find it bare. He edges his head over the side,
looking around for signs, but she's all gone. He
gets up in two stages, sits and then stands. Then
sits again, resting his head in his hands.
INT. DECKARD'S APARTMENT - BATHROOM - MORNING 72
Deckard's got his face in the mirror shaving it. It's
been a long night. Nothing a new tongue and a trans-
fusion wouldn't put right. He moves a couple of inches
to the left so his eyes have a view of the tub.
INT. DECKARD'S APARTMENT - LIVING ROOM - MORNING 73
Deckard is on the edge of the couch with the phone on
his knees, the card with Rachael's number in his lap
and having no luck.
RACHAEL'S VOICE
Sorry, I am not in at the moment,
but if you'll leave your name and
number I'll return your call as
soon as I can.
That's not soon enough. Deckard hangs up, puts the
phone on the floor and leans back on the couch.
DECKARD
Fuck you, then.
INT. MR. DEETCHUM'S APARTMENT - MORNING 74
The rooster perched on the chair spreading its scrawny
wings, strains from the tips of its toes, crowing at
the ceiling. Between crows there's a TAPPING at the
door.
You might call this a "barnyard" apartment. There's
straw on the floor and several hens roosting against
the back wall. The front door opens a few inches and
Sebastian pokes his head in.
SEBASTIAN
Mr. Deetchum? Hello?
Nobody seems to be home except his chickens. As Sebas-
tian enters, closing the door behind him, a goose
charges out of the bedroom hissing and honking.
SEBASTIAN
Now, now, Waddles.
Seeming to recognize Sebastian as no intruder, Waddles
veers off from the attack. As Sebastian crosses the
room a pig peeks out from behind the couch.
SEBASTIAN
Hello, Wrigley.
He goes to the chickens and collects some eggs, putting
them into a bowl he's brought. He puts down the bowl
and reaching into his pocket carefully counts out the
payment and puts the money on a plate. He's about to
leave but notices there's no water in the dispenser.
SEBASTIAN
Mr. Deetchum isn't taking very
good care of you people.
Pouring from a jug on the table, he fills the dispenser
with water, scatters a little grain on the floor, gets
his bowel of eggs and leaves.
Wrigley grunts and comes out from behind the couch for
a long drink.
INT. CORRIDOR - SEBASTIAN'S FLOOR - MORNING 75
Sebastian arrives on his floor, walks down the hall to
his apartment, opens the door, walks in.
Scene 22 - Arrival at Sebastian's Apartment
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
He turns to close door, comes face to face with Roy
Batty. Sebastian drops his bowl of eggs. Batty's
hand flashes out and catches it.
BATTY
Whoops.
Smiling, Batty hands them back to Sebastian, who is
too startled to speak.
Pris runs up and gives Batty and Mary a big hug, steps
back effusing and smiling, everybody's favorite teen-
ager.
PRIS
This is my Uncle Roy, Sebastian.
BATTY
Hello, glad to meet you.
He pumps Sebastian's free hand.
PRIS
And my Aunt Mary.
Sebastian turns and there's Aunt Mary, modest and warm.
PRIS
And this is my savior, J.F. Sebastian,
everybody.
Sebastian stands there with his eggs, bashful and ex-
cited, the hero of this little family's warm attention.
BATTY
Can't thank you enough, Mr. Sebastian.
If you hadn't come along...
MARY
We were worried to death. It's
awfully kind of you.
Sebastian is nodding and smiling.
BATTY
We're not used to the big city.
Where we come from it's not so
easy to get lost.
MARY
You certainly have a nice place
here.
BATTY
Well stocked.
Batty looks around admiringly. Sebastian mumbles some-
thing that sounds like "Thank you."
PRIS
Sebastian doesn't like to go out
too much.
SEBASTIAN
I keep a lot of provisions right
here.
BATTY
I like a man who stays put. An
admirable thing to be able to
sustain yourself in these times.
You live here all by yourself, do
you?
SEBASTIAN
Well, no, not really. There's
Mr. Deetchum, he's the watchman,
he lives on the first floor.
Everybody nods. A long pause.
MARY
We haven't found it easy, Mr.
Sebastian.
They glance around the room, waiting for Sebastian to
pick up the ball.
SEBASTIAN
How about breakfast, I was just
going to make some.
BATTY
If it wouldn't be too much of a
bother... a little bite to eat
would be...
SEBASTIAN
Oh, no bother, I'd be glad to.
BATTY
Well, actually
MARY
We're famished.
Sebastian is truly happy.
SEBASTIAN
Okay, then. You make yourselves
comfortable and I'll bring the
food right out.
He disappears into the kitchen. Batty looks happy with
the way things are going.
BATTY
Charming.
Pris comes up close. Her tone muted but demanding.
PRIS
Well?
Batty finds her attitude amusing, which makes her even
more pugnacious.
PRIS
I want to know what's going on.
There's a punitive edge to Batty's response.
BATTY
There's only three of us left.
Pris is shocked. Her whisper comes out a hiss.
PRIS
Then we're stupid and we'll die.
BATTY
Not if everybody is doing their
job here at home. How are things
at home?
A little spotted pig on the table sits up.
PIG
Home again, jiggidy jig.
They all turn and stare at the pig. Batty is delighted.
PRIS
I don't trust him. I don't think
he knows what he's doing.
The BELL-TONE from the microwave goes off in the kitchen.
BATTY
He knows what he's doing.
MARY
If he won't cooperate?
BATTY
Mr. Sebastian is a host who wants
to be appreciated. We'll
appreciate him and he'll cooperate.
Scene 23 - Holden and Deckard's Conversation
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Holden is laid out in an apparatus that resembles an
iron lung. A little above his head, facing him, is a
bank of bio-feedback lights registering body functions.
Deckard is in a chair sitting next to his friend.
Holden has lost weight, his face is grey, he can't
move his head, but he's smiling like the cat who ate
the canary.
DECKARD
How are you doing, old man?
Holden's voice is just a whisper -- the kind of whisper
that comes out of the joker at the back of the class.
HOLDEN
I'm great. I mean, I know I'm
not really great, but I feel just
great. How you like my new suit?
DECKARD
Well, you don't have to worry
about getting it wrinkled.
Holden's eyes close, his smile gets bigger and little
spasms of laughter pump out of his mouth.
HOLDEN
Don't make me laugh. It makes me
pee.
DECKARD
Sorry.
HOLDEN
Hey, it's okay. I like to pee.
So how are you doing?
DECKARD
I'm doing okay.
HOLDEN
From what I hear you're doing
great. Bryant tells me you're
going like a god damn one-man
army. Making a lot of money, huh?
DECKARD
Yeah.
(pause)
But that's what I wanted to talk
to you about.
HOLDEN
Money?
DECKARD
No. I got a problem.
HOLDEN
Let's hear it.
DECKARD
I think I'm starting to empathize
with these Nexus-sixes.
Holden giggles. Starts to laugh again. A blue light
on the panel begins to turn very bright. They both
notice it.
DECKARD
What's that?
HOLDEN
I'm taking a piss.
They wait for the light to abate.
HOLDEN
Let me ask you something, Deck.
You been having intimate relations
with one of these units?
Deckard doesn't deny it. Holden smiles like a cherub.
HOLDEN
That's what I thought... one of
the liabilities of the trade --
you has sex with your prey, old
buddy. That's bound to create
problems, unless you're a black
widow.
Deckard has to wait for him to stop giggling.
DECKARD
What about -- not sex -- but love?
Holden bites his bottom lip to keep the laugher out of
his voice, but he can't.
HOLDEN
Love is just another name for sex.
Love is sexy and sex is lovely --
I don't care what you call it, an
android can't have it.
DECKARD
These aren't just...
HOLDEN
I know what they are, Deck --
Look, maybe they can pretend to
feel, but far as the raw, hot
emotions of the old heart -- no
way.
Holden stops talking for a moment to get some air.
HOLDEN
Believe me, take it from an old
pro, no matter how good we get,
we're never gonna make an
artificial anything that can
feel. It's a contradiction.
You might as well go fuck your
washing machine.
Holden laughs, Deckard doesn't.
HOLDEN
Just go out there and keep up
the good work.
Holden's whispers have become harder to hear.
HOLDEN
Got to save it, Deck, I'm getting
sleepy. It's been good talking
to you.
Deckard stands.
DECKARD
Thanks.
But he's already asleep. Deckard stands there a moment
looking at him, then walks out.
Scene 24 - Intimate Afternoon
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
He's sitting on the couch, glum, contemplative.
There's a SOUND. His eyes move to the door. Those
locks are opening again. Rachael comes in. Looks
surprised to see him. Him too.
RACHAEL
I told you I'd come back.
DECKARD
You did?
RACHAEL
You didn't hear me. You were
sleeping.
He likes that.
RACHAEL
Are you glad I'm here?
He is. She's spunky. Hasn't seen this place in the
daytime. Pleased, he watched her move around the mess.
She spots a little framed photograph. Picks it up.
It's a man with a shotgun and a boy holding up a quail.
RACHAEL
Who is this?
DECKARD
Me and my dad.
RACHAEL
Where is he?
DECKARD
Dead.
RACHAEL
Oh.
She puts it down and comes to him.
RACHAEL
How come you're not on the job?
DECKARD
I am. Part of my job is to sit
on a couch and try and figure
things out.
RACHAEL
How are you doing?
DECKARD
Not too good.
She sits next to him.
Pleased as hell, they both sit there staring straight
ahead. He looks at her. She looks at him.
RACHAEL
What do people do in the afternoon?
DECKARD
If they are smart, they take
naps.
INT. DECKARD'S BEDROOM - DAY 79
They're under the sheet. Rachael is on her back, look-
ing at the ceiling, hair sprawled like sea grass over
the pillow. Deckard lies next to her, a man studying
a treasure.
RACHAEL
Do you dream?
DECKARD
Yeah. Sometimes.
RACHAEL
I wish I could.
His hand moves over her shoulder.
DECKARD
Wishing is a kind of dreaming.
His hand goes under the sheet.
RACHAEL
I mean asleep.
She feels good. He moves closer.
RACHAEL
Did you cry when your father
died?
DECKARD
Yeah.
RACHAEL
That's another thing I can't
do.
He kisses her lightly on the cheek.
RACHAEL
Nobody is freer than when he
dreams. I read that.
DECKARD
It wasn't very good last night,
was it?
RACHAEL
I don't know, I have nothing
to compare it to. I guess I
thought there was something
more to it.
DECKARD
What?
RACHAEL
I don't know... I think I missed
something.
DECKARD
Like?
RACHAEL
I'm not sure. Is there a
secret?
Her face is close. She's looking right at him. Her
lips are right there.
DECKARD
I don't know. If there is I'd
like to find it.
Slowly their lips touch and his arms slide under her
body.
Scene 25 - The Nexus-6 Revelation
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Batty, Pris and Mary sit at the table staring at their
host. Sebastian is staring back, his fork halfway to
his mouth, looking from face to face. Although nothing
is being said, he's totally comfortable, as much at
home with them as he is with his animoids.
BATTY
Why are you staring at us?
SEBASTIAN
You're just all so... so different.
Batty nods his head, smiling, sending home the fact and
Sebastian is certainly getting it.
BATTY
What, Sebastian?
SEBASTIAN
You're androids.
A long pause.
PRIS
What makes you think so?
SEBASTIAN
You're all so perfect.
Sebastian is smiling from ear to ear.
SEBASTIAN
What generation are you?
BATTY
Nexus - 6.
Sebastian whistles. Mary's head is shaking slightly.
Pris gets up and moves to the couch. Batty couldn't
be more pleased.
BATTY
We can trust Sebastian, ladies.
He's been working with mechanisms
all his life. He's a wizard and
a very perceptive man.
Sebastian looks like a kid on Christmas Eve.
SEBASTIAN
Could you...
His voice is trembling.
SEBASTIAN
Show me something?
BATTY
Like what?
SEBASTIAN
Like...
Like a million things, but he's too excited to think of
one.
BATTY
We're not computers, Sebastian,
we're physical.
Pris perks up proudly.
PRIS
I think, therefore I am.
BATTY
Very good, Pris. Now show him why.
It's a command Pris is pleased to obey. She sits quiet-
ly a moment, hands folded in her lap, prim and proper.
Mary doesn't like these displays, but Batty is beaming.
Those hands in Pris' lap suddenly move, almost faster
than the eye can see and slam down on either side of
her, digging into the material with such ferocity that
Sebastian jumps. She plunges into the guts of the couch
up to her elbows and comes up holding springs and stuff-
ing. Except for the clenched teeth, she is smiling like
an angel.
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.
BATTY
We have a lot in common.
SEBASTIAN
You mean that you can't come here
and I can't go there?
BATTY
Not only that, but we have smiliar
problems. Accelerated decrepitude.
But we don't want to die quite yet.
SEBASTIAN
Of course not.
BATTY
You could help us.
SEBASTIAN
I don't know much about biomechanics,
Roy. I wish I did, but you're out
of my league.
BATTY
If we don't find help soon, Pris
hasn't got long to live.
Sebastian sneaks a glance. Pris is staring at him with
big childlike eyes, Sebastian looks back at Batty, moved
but helpless.
BATTY
What about your friend, the man
who owns this building?
SEBASTIAN
Dr. Tyrell?
Batty nods.
SEBASTIAN
He's not really my friend. I just
do a job for him now and then.
BATTY
Tyrell could help us, Sebastian.
SEBASTIAN
He could?
BATTY
His company made us.
SEBASTIAN
I'd be happy to mention it to him.
BATTY
Be better if I could talk to him
in person. But he's not an easy
man to get to.
SEBASTIAN
No.
BATTY
When do you deliver your project?
SEBASTIAN
This afternoon.
Batty leans forward and looks right into Sebastian's
eyes.
BATTY
Will you help us?
There's no way Sebastian could say no, even if he
wanted to.
SEBASTIAN
Yes.
Pris sits up smiling. Mary sighs a breath of relief
and Batty leans back nodding in gratitude.
BATTY
I'm sure glad you found us,
Sebastian. What do you think,
Mary?
MARY
I don't think there is another
human being in this whole world
who would have helped us.
BATTY
Pris?
Pris gets up and comes to Sebastian and kisses him.
That has a lot of impact. Sebastian looks around try-
ing to keep the tears from coming.
BATTY
You're our best and only friend.
SEBASTIAN
Thank you.
Scene 26 - Rachael's Cleaning Attempt
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Rachael is lying across the bed in one of Deckard's
shirts, her chin over the edge, her eyes moving around
the room. Deckard lies next to her. Looking like a
man who died a voluptuous death.
RACHAEL
When was the last time you cleaned
this place?
DECKARD
Hmmm?
RACHAEL
Have you ever cleaned your
apartment?
DECKARD
Don't be fooled by appearances.
RACHAEL
It appears to be dirty -- why don't
you get somebody?
He rolls over to admire her legs.
DECKARD
Because they would ruin the
arrangement.
He kisses the back of her thigh.
RACHAEL
They could clean around the
arrangement.
DECKARD
I don't like people snooping around
my stuff.
He kisses her other thigh, gets up and goes into the
bathroom.
DECKARD'S VOICE
There's a vacuum in the front room
closet is you wanna give it a try.
Rachael lies there a moment, then gets up and goes into
the front room and opens the closet door. The vacuum is
not easy to get to, but finally she wrestles it out. As
she starts to plug it in --
DECKARD
Oh no, don't do that.
He's wrapped in a sheet, watching her from the doorway.
RACHAEL
But if I don't plug it in how can
I...
DECKARD
Never mind the plug, just go
through the motions.
RACHAEL
But then how can you...
DECKARD
I don't like the noise. Just
practice. Practice makes perfect.
She stares at him like he's nuts.
DECKARD
I'm serious. Go ahead. Show me
how you would do it.
Reluctantly she makes some half-hearted passes with the
thing.
DECKARD
How about under the couch there.
Come on.
She bends over to get it. Deckard pulls up a chair and
sits down with his chin in his hands. She looks back
at him.
RACHAEL
This feels stupid.
DECKARD
Good for a smart girl to feel
stupid. Part of your education.
She drops the vacuum and sits on the floor. Deckard
gets up and comes towards her. Her eyes travel halfway
down his sheet and she leaves.
RACHAEL
You're sick, Deckard.
DECKARD
I never felt better.
EXT. TYRELL PRESERVE - DUSK 82
Mansion and opulent grounds. Sebastian's humble truck
parked among richer relations, including a spinner and
a 1928 Dusenberg.
EXT. TYRELL MANSION - DUSK 83
The den. It contains a collection of big game trophies,
and among all this sits Sebastian very straight and
proper with an "egg" the size of a basketball in his
lap.
Old Hannibal Chew was right, the rich make you wait.
Sebastian stands and carefully makes his way between
the trophies to a window with a view of the grounds.
EXT. TYRELL MANSION POOL - DUSK 84
Tyrell's young WIFE sits on the diving board watching
her husband in the pool with their youngest TOT. And
two older LADS swim around trying to outdo each other
for their dad's attention.
From the sidelines an old servant pauses to watch the
fun, then continues with a tray of mugs towards the
house.
EXT. PLATEAU - DUSK 85
And beyond on a plateau overlooking the grounds, a
figure stands watching, waiting like a bird of prey.
EXT. TYRELL PRESERVE - DUSK 86
On a gravel path between shrubs of winter roses, Tyrell
turns to observe the last quiet light over his kingdom.
The moment is sweetened by the LOW PLAINTIVE BELLOW of
one of the animals.
He strolls by an old gardener who tips his cap, pro-
ceeds up the steps and into his mansion.
INT. TYRELL DEN - NIGHT 87
Next to a tray of cookies and milk, Sebastian sits pa-
tiently with the "egg" in his lap. As the door opens
he gets to his feet expectantly. It's STYLES, Tyrell's
bodyguard. He could play the Giant in Jack and The
Beanstalk.
STYLES
Okay, I'll take that now.
Sebastian would rather put it in the boss's hands, but
Styles takes it and is almost through the door when
Sebastian stops him.
SEBASTIAN
Wait!
He almost forgot.
SEBASTIAN
Can't fly without the pilot.
Sebastian hands him a little box. Styles stuffs it in
his pocket and shuts the door behind him.
EXT. TYRELL PRESERVE - NIGHT 88
Motionless and monumental, six buffalo stand like stat-
ues in the grass. Suddenly they swing their shaggy
heads to watch something pass.
In the dark silence Batty stops to look at the curious
beasts and then moves soundlessly towards the mansion.
Scene 27 - Ian's 10th Birthday Extravaganza
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
It's a medieval-sized hall. The piece de resistance is
an 18th Century, English painting of an Arab stallion,
gleaming like coal over the CRACKLING fireplace.
The entire family is seated at the table which glitters
for the festive occasion. Presents gathered around the
oldest child.
Styles hands the "egg" to Tyrell. A hush falls over
the table. This is Dad's big present. Tyrell sets is
down before the boy.
IAN is a fresh, slim lad who is ten today. He looks up
at his father, then, beaming, pries open the "egg's"
hinged lid. Tyrell's hand goes to his pocket and the
griffon steps out of the shell.
IAN
Oh!
Basically an avian invention, it has wings and plumage,
the head of an eagle, the body of a lion and weighs no
more than eight pounds. It cranes its neck and testing
its balance, stands on one leg and then hops to the
edge of the table and into the air.
The littlest tot claps her hands as the griffon beats
its wings rapidly and rises towards the ceiling. Turn-
ing in a forty-five degree, it suddenly drops into a
dive.
Delighted, the children shriek and scream as the griffon
swoops over their crouching heads and sails the length
of the hall -- its silhouette flickering briefly over
the ancestral portraits of the Tyrell clan.
Reaching the end of the room, it banks sharply and
flies back towards the table, cups its wings, spreads
its tail and comes in for an awkward landing. They're
laughing and clapping as it waddles down the table and
knocks over a glass and stops in front of Ian.
IAN
Papa! Did you make this?
TYRELL
No. We can make man, but not a
griffon.
He bends down and kisses his wife.
TYRELL
Have to give the cottage industry
a chance too.
Pleased he excuses himself and heads for the den.
Scene 28 - Batty's Request
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
Tyrell comes in and sits behind his desk. Sebastian
hands down the invoices. Tyrell glances over them and
writes out a check.
He looks up to hand it over when he sees Batty against
the wall, by the door. For a fraction of a second he's
shocked, but recovers fast.
TYRELL
A friend of yours, Sebastian?
SEBASTIAN
Yes, this is someone who wants to
talk to you, Dr. Tyrell.
Batty smiles.
BATTY
The name is Batty. Roy Batty.
TYRELL
Oh?
Very slowly Tyrell's hand moves towards the back side
of the desk.
BATTY
To act without understanding could
lead to the very thing the act
seeks to avoid.
What's in Batty's eyes completes the warning. Tyrell
decides to heed it.
BATTY
A little talk it all I need.
Tyrell looks at Sebastian. Considers consequences.
Back to Batty.
TYRELL
Would you like to talk in private
then.
Batty thinks it over.
BATTY
Yeah. It might be better if we
talk in private, Sebastian. Why
don't you go home.
TYRELL
Here's your check, my boy. Thank
you.
SEBASTIAN
Thank you, Dr. Tyrell. I'll see
you later.
He slips out closing the door behind him. Opens it
again and sticks his head it.
SEBASTIAN
Was everything okay?
TYRELL
Just beautiful.
He's gone.
If Tyrell is scared he's doing a good job of concealing
it.
TYRELL
I'm surprised you didn't come to
me 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
Had in mind something a little more
radical.
TYRELL
What's the problem?
BATTY
Death.
TYRELL
I'm afraid that's a little out of
my...
Batty cuts in with a whisper.
BATTY
I want more life, fucker.
TYRELL
Come here.
Batty walks forward.
TYRELL
Sit down.
Batty does.
TYRELL
The facts of life. I'll be blunt.
To make an alteration in the
evolvement of an organic life
system, at least by men, makers
or not, it fatal. A coding sequence
can't be revised once it's
established.
BATTY
Why?
TYRELL
Because by the second day of
incubation any cells that have
undergone reversion mutation give
rise to revertant colonies -- like
rats leaving a sinking ship. The
ship sinks.
BATTY
What about E.M.S. recombination?
TYRELL
We've already tried it -- ethyl
methane sulfonate is an alkylating
agent and a potent mutagen -- it
creates a virus so lethal the
subject was destroyed before we
left the table.
Batty nods grimly.
BATTY
Then a repressor protein that blocks
the operating cells.
TYRELL
Wouldn't obstruct replication, but
it does give rise to an error in
replication, so that the newly
formed DNA strand carries a
mutation and you're got a virus
again... but all this is academic
-- you are made as good as we could
make you.
BATTY
But not to last.
TYRELL
Put it this way. Rolls Royces are
made to last -- as least they were.
But I'm afraid you're a Ferrari.
A high strung racing car -- built
to win, not to last.
Batty smiles bitterly.
TYRELL
Also you're too valuable to
experiment with.
BATTY
I am?
Tyrell can't help a flash of pride.
TYRELL
The bast of all possible androids.
We're proud of our prodigal son --
glad you're returned. You're quite
a prize.
Shoulders hunched, Batty looks down, an uncharacteristic
note of guilt in his voice.
BATTY
I've done some questionable things.
TYRELL
Also extraordinary things.
BATTY
Nothing the God of biomechanics
wouldn't let you in heaven for.
They share a laugh. In spite of himself, there's a look
of relief in Tyrell's face as Batty extends his hand.
Tyrell takes it and they shake. The reverence in Bat-
ty's eyes caused Tyrell a fatherly smile. The smile
turns into a growl as he feels the bones in his hands
crack. Before the scream comes out of his mouth, Batty
stifles it.
Tyrell claws at the iron fingers, but they're sinking
into his face. Placing his other hand behind Tyrell's
head, Batty squeezes them together and squashes the
man's head like a melon. The mess is not small.
Palms up, like a surgeon, Batty walks to the drapes and
wipes off the gore and without looking back, strolls out
of the room.
Scene 29 - Batty's Bloody Path
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Styles is coming down the hall. He sees Batty coming
towards him. Styles looks at him curiously, this is not
one of the guests. As they close, Batty smiles.
BATTY
Could you tell me where the
bathroom is?
Styles doesn't get a chance to answer. Batty's hand has
torn into his crotch. The man is lifted off the floor,
up the wall and held a moment. Whatever is encased in
his pelvis is pulverized. Batty lets go. Styles hits
the floor. He died of shock. Grinding his teeth, Batty
continues towards the SOUNDS OF THE FESTIVITIES.
INT. DINING ROOM - NIGHT 91
The birthday cake has arrived, the candles lit. They're
waiting for Dad. Mrs. Tyrell looks around to find Batty
observing from the doorway.
A little startled, a little curious, but ever the cor-
porate wife, she smiles.
MRS. TYRELL
May I help you?
Batty smiles back and shakes his head in mock regrets.
INT. KITCHEN - NIGHT 92
In the sink the faucet is on. The water pink with
blood. Batty is washing his hands.
A portly maid emerges from the pantry. Batty looks up.
She stops, embarrassed at being caught. Her eyes no-
tice drops of blood on the floor and follow them to the
door. When she looks back, Batty is right in front of
her.
Scene 30 - Reflections in the Night
- Overall: 9.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Books scattered on the bed. Rachael sitting cross-
legged with one in her lap, looking through exquisite
shots of nature. Deckard is next to her, watching her
like a lover, like a father.
DECKARD (V.O.)
She'd never seen the great outdoors.
Never even seen books on the
subject. She went through
everything I had, and we talked.
And there were subjects we didn't
discuss and they were words we
didn't say, I couldn't say, like
death, like future, like real. But
it was hard because she was curious
and full of questions. She was
more alive than anyone I'd ever
known.
She looks up stunned by the beauty of a photo, but with
no need to comment. It's in her eyes. She stares at
him, a revelation taking shape.
RACHAEL
You and I are good friends, huh?
He considers it and she stares at him, smiling at the
wonder of it.
RACHAEL
It's so easy.
Convinced and not convinced, he nods his head. She
laughs at his solemnity. She's irresistible. Deckard's
pretty irresistible himself.
RACHAEL
Have you ever known anybody a long
time?
DECKARD
You mean a woman?
RACHAEL
Uh-huh.
DECKARD
What's a long time?
RACHAEL
Ten years.
DECKARD
Nope. Nobody could stand me that
long.
The CHIME on the PHONE next to the bed GOES OFF. He
reaches out and brings it to his ear.
DECKARD
Yeah.
BRYANT
This is Bryant. Are you alone?
DECKARD
Yeah.
BRYANT
She's not with you?
DECKARD
Who.
A pause.
BRYANT
Take a number. Canapt 1700, tenth
floor, Villa Vita District, Olympia
South.
DECKARD
Got it.
BRYANT
Okay, here it is. Eldon Tyrell, his
family and half his staff were just
massacred. The cat is about to get
out of the bag. Pressure is
definitely on. The Nexus program
is terminated. When you finish
there, locate Nexus designated Rachael
and retire.
Deckard says nothing.
BRYANT
If you don't, we will. It has to
be total, Deckard. That's an order
from as high as it comes. Got it?
DECKARD
Yeah. I got it.
BRYANT
Go.
He hangs up the receiver and gets up. She watches him
from the bed. The gun goes into his belt. He loads
the ankle job and straps it on. She watches every move.
RACHAEL
Why do you call it retire, why
don't you call it murder?
DECKARD
Because it's not.
RACHAEL
Don't you think anything that can
suffer deserves to be considered?
DECKARD
Andies only simulate suffering --
if they're programmed for it.
RACHAEL
Do you think I simulated what
happened between us?
DECKARD
No, I don't.
Without looking at her, he puts on his jacket.
He's standing in the middle of the floor with his back
to her. He turns and they're facing one another.
Neither of them moves.
DECKARD
Don't leave here. Don't open the
door, don't answer the phone.
RACHAEL
What difference will it make?
DECKARD
Just wait here.
He goes to the door.
RACHAEL
You know what I think?
DECKARD
What?
RACHAEL
That some of the folks around here
are more programmed then me.
He has to laugh.
RACHAEL
You know what else I think?
DECAKRD
What?
RACHAEL
This was the best day of my life.
He turns and goes through the door.
Scene 31 - The Escape Attempt and Deckard's Arrival
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Sebastian is putting his work table in order, but his
mind is not with it and his hands are trembling.
Batty, Pris and Mary are on the other side of the room
talking: their voices low.
MARY
Let's go while there is still
time.
BATTY
Where?
MARY
Anywhere.
Batty smiles.
BATTY
What's the point?
MARY
Not to be trapped.
BATTY
You underestimate the trap, Mary.
Sebastian has almost reached the door.
BATTY
Where are you going, Sebastian?
SEBASTIAN
Just thought I'd...
BATTY
No, you stay here with us. Out
last night together.
They all watch.
Sebastian walks away from the door.
BATTY
Think of yourself as a light, Mary.
Shine before you're turned off.
She's too fragile for that logic, but it appeals to
Pris. She and Batty hold a look that burns.
Sebastian is by the window.
SEBASTIAN
Someone is coming here.
Batty goes to the window and looks down.
BATTY
One man.
(he smiles)
He must be good.
MARY
Then go get him.
BATTY
That wouldn't be very sporting.
Sebastian looks ready to bolt. Batty puts an arm
around him.
PRIS
I want to do it.
BATTY
Okay, but don't kill him. Save a
little for everybody. A
masterpiece.
A pause.
BATTY
Turn out the lights, Pris.
EXT. SEBASTIAN'S APARTMENT - NIGHT 95
In the dim, nocturnal light, Deckard crosses into the
courtyard fronting the building and stops. He looks
around. Nobody there, just silence.
He comes closer to the building and stands in the sha-
dows off to one side of the entry.
His head jerks up to the SOUND OF CRASHING GLASS.
Sebastian comes hurtling down and explodes into the
pavement thirty feet below.
Deckard's eyes move up the line of descent, the shat-
tered window on the next-to-top floor.
INT. SEBASTIAN'S APARTMENT LOBBY - NIGHT 96
Not much to see, But Deckard misses none of it as he
crosses the floor and positions himself in the spot of
least exposure. He looks around. Elevator and stair-
well.
Close to the wall, he moves towards the elevator, keep-
ing an eye on the stairwell door.
Stepping to one side, he hits the button. The elevator
door slides open. He reaches in, presses a button and
as the doors slide shut, Deckard slips a pen between
the doors, jamming the operation.
Deckard's shoes and soundless as he quickly crosses the
lobby floor. He pauses a moment in front of the stair-
well door, then pushes it open and:
INT. STAIRWELL, SEBASTIAN'S APARTMENT - NIGHT 97
Steps into the dark on the other side. Suddenly he
spins, dropping to the floor, and FIRES three times in-
to the figure hovering to his left.
The man is hanging off the floor, his arms locked into
the railing, neck broken -- with three holes in his
chest... but he was already dead.
Deckard stares at the corpse. It's Mr. Deetchum, the
old watchman. That RUSTLING SOUND are rats who were
feeding on him, scampering for safer places, Deckard
gets to his feet.
The stairway rectangles ten stories up. As his foot
touches the first step, a raw, terrified SCREAM shatters
the air. It came from below. It's the cry of a young
girl -- it GROWS TO A PIERCING SHRIEK AND ABRUPTLY
STOPS. Deckard ejects the half-used cartridge from his
laser, inserts a fresh one and quiet as the silence,
descends the basement stairs.
INT. BASEMENT - NIGHT 98
At the bottom he faces a corridor. The FAINT HUM OF
MACHINERY comes from the double doors at the far end.
The HUM BECOMES A RATTLE by the time he gets there.
Each door is fitted with a small window. Deckard
steps to the side and peers through.
Scene 32 - Encounter in the Gym
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 7
It's a gym. The mirror-lined walls are cracked and
tarnished, the equipment atrophied from lack of use.
The heavier barbells have sunk into the floor. Two
weight-reducing machines are flapping and grinding away
like idiots. Deckard's eyes stop on the woman.
She dangles a few feet off the floor, hung by the
shoulders through rings suspended from the ceiling.
Her head is slung forward, her body limp and slightly
swaying.
Deckard pushes open one of the doors until it touches
the wall. Slowly, he advances toward the hanging figure,
keeping an eye on the mirror to cover surprises from the
door. He's not breathing hard. His heart isn't pound-
ing. Deckard's in his element.
Close enough to look up into her face, he stops. It
isn't grisly death that causes the reaction in his
eyes. It's the innocence of her angel face.
It's not something he has time to consider. In the
mirror behind him, he sees the door starting to open.
Deckard spins. He shouldn't have. Pris' legs snap up,
crack the laser out of his hand and clamp around his
neck.
Slowly, the door swings closed, but Deckard doesn't
notice. His carotid artery is no longer sending blood
to the brain. He jerks up his foot and reaches down.
As his fingers close around the ankle laser, Pris'
fingers close around his wrist. Deckard's hand opens
like a flower. The laser drops to the floor as his
eyes roll back into his head.
PRIS
Naughty, naughty.
She lets go, but before he can fall, she rams a foot
into his back. He's propelled fifteen feet across the
room, slams into a machine and falls to the floor.
Pris flies off the rings and comes at him.
Deckard reaches out to pull himself up, but she's al-
ready there. Not too hard and just in the right place,
she kicks him in the stomach. He goes back to the
floor, gagging for air. Oh-so-precisely she reaches
out with a long index finger and flips the switch on
the machine.
It's a flab eliminator with a vibrator belt. Normally
an innocuous piece of equipment, but the motor housing
on this one is missing. Lots of GRINDING METAL. A
bad place for flesh and bone.
But that's where Deckard's hand is going. An eight-
year-old against a full-down man. In two more seconds
his hand will be ground round. Deckard tries to pull
his hand loose. It won't come. He yanks hard, but
it's welded in hers.
His face is twisted and strained as he raises a leg,
wedges his foot against her chest and pushes with all
his might. The hold breaks. They topple back. Deckard
hits the floor gulping to catch his breath. Pris is up
and coming for him again. She hovers over him. Deckard
rolls out of the way as she comes down like a pile
driver.
Reflexively Deckard raises his arm to protect himself.
Pris just smiles, takes hold of his foot and drags him
across the floor. She doesn't like to leave a piece of
work unfinished. They're going back to the machine.
He goes by a weight-stand of dumbbells and grabs hold.
It doesn't stop him. He's sliding over the floor like
it was ice, weight stand in tow.
Pris gets to the machine, yanks his foot up and forces
it toward the opening. Deckard sits up, a five-pound
dumbbell in his hand, and clobbers her in the back. It
knocks her off balance, but she doesn't let go of his
foot. She hooks out with a fist but misses. He gets
her with a roundhouse in the face.
She goes to the floor and Deckard's up, the dumbbell
over his head, coming down with it. Fighting for her
life now, Pris drives a foot into his chest. It lifts
him off the floor. He flies back across the gym and
lands in a heap.
No more games. Pris is furious and moving fast. She
rips a steel bar out of the wall and, holding it over-
head, charges him like a samurai. As she comes down
for the kill, she freezes.
Deckard landed near the laser. He crawls towards it.
As in a nightmare, it takes forever. But he gets there.
He reaches out and grabs the laser, rolls over and
takes careful aim. She charges towards him, screaming
her rage. He FIRES as she comes.
The shot amputates her left arm at the shoulder, but
her hand doesn't let go of the bar. It dangles crazily
in front of her as she charges forward.
He PUTS THE NEXT ONE through her neck. Pris hiccups a
rope of blood as she flies through the air and crashes
next to Deckard. Dead.
He lies next to her, chest heaving. Slowly he rolls
over and gets to his hands and knees. Panting, he stag-
gers to his feet and stands over her, swaying slightly.
The sound that escapes his throat is raspy and dry. It
might not sound like a war cry, but it is.
INT. CORRIDOR - NIGHT 100
Laser in hand, Deckard kicks open the swinging doors
and walks into the corridor, a dangerous man.
INT. STAIRWELL - NIGHT 101
Deckard arrives at the main floor landing, checks his
loads and continues up the stairs. He's going to shoot
the next thing that moves and find out later if he was
right or wrong.
INT. STAIRWELL - SECOND FLOOR - NIGHT 101A
On the next landing he throws the door open. His eyes
move down the hall, looking for prints in the dust.
None. He continues up the stairs.
INT. NINTH FLOOR - NIGHT 102
On the ninth floor he finds what he's looking for.
Footprints coming and going from a door halfway down the
hall. He stops to the side of it and listens. Silence.
Deckard FIRES three quick shots through the door. If
somebody were on the other side of it, they aren't now.
He kicks the door open and dives through head first
and hits the floor in a roll, POURING FIRE into the
far corners of the room but the room is empty. There's
a kitchen bar, a closet and a bedroom door, both
closed. Deckard's breathing is the only sound. No
response from either door.
Maybe it was a sound, maybe intuition, but suddenly
Deckard twists around and FIRES several shots into the
closet. The smouldering door slowly creaks open.
Mary is huddled in the rear of the closet. Her hand
out like somebody about to catch a ball but afraid of
it. In her other hand she clutches a button-eyed
monkey. Her face is bewildered, frozen in fear, her
body riddled with holes. No recognition gap here.
Deckard SHOOTS her through the neck to make sure. Mary
falls to the floor, like a puppet with her strings cut.
Deckard backs away from the pathetic figure in the
closet and sits on the sofa, unable to take his eyes
off her.
Deckard lays the laser down next to him, holds out his
hand and looks at it. It's steady. He drops it in
his lap, closes his eyes and leans back.
A TAPPING from the ceiling. Deckard looks up.
A KNOCK -- with the proverbial DOUBLE RAP at the end.
A pause. Deckard jumps out of the way as the ceiling
gives in. Chucks on concrete and plaster hit the
couch where he was sitting. The hole is a couple feet
in diameter -- beams cracked through, exposing the
apartment above. Silence. Deckard wipes the plaster
dust from his eyes and mouth, then whispers:
DECKARD
Hello, Roy.
INT. STAIRWELL - NINTH AND TENTH FLOOR - NIGHT 103
Deckard comes out onto the landing. Taking his time,
he climbs the steps to the next floor, the last floor.
He SHOOTS the hinges out of the big stairwell door,
pushes it with his foot and it comes down with a BANG.
The REVERBERATIONS turn into silence. The corridor is
empty.
INT. CORRIDOR - TENTH FLOOR - NIGHT 104
Moving fast but cautious, he passes each door until he
gest to the apartment above Sebastian's. Slowly he
turns the know and pushed open the door.
Scene 33 - Apartment Showdown
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Except for the hole in the middle of the floor, there's
nothing to see. Back against the wall, he moves to-
wards the bedroom, but stops at the NOISE. It sounds
like the HOOTING OF AN OWL and it's coming from the
hallway.
INT. CORRIDOR - TENTH FLOOR - NIGHT 106
Deckard looks around the corner of the door down the
hall. Batty's at the other end. Except for jockstrap
and gym shoes, he's nude.
BATTY
You wanna play?
Deckard FIRES. Batty's fast. He ducks into a doorway.
Pops out again.
BATTY
Not very sporting to fire on an
unarmed opponent. I thought you
were supposed to be good. Aren't
you the man?!
The makeup on Batty's face is somewhere between a Coman-
che warrior and a transvestite. The immensity of his
insolence awesome -- the muscles of his body are swol-
len, trembling from the thrill of it.
BATTY
This is how we do it up there, lad!
Come on!
In a blue of lightning-like action, Batty whips down the
hall, zigzagging off the walls towards Deckard so fast
that Deckard gets only three SHOTS off before the blur
crashes through the wall on his left with a laugh.
Deckard stands there a moment -- digesting the impact
of it, then edges up to the gaping wall. Batty is be-
hind him.
He knees Deckard in the back and slaps him in the head.
Deckard goes to his knees, then over on his face.
Batty kneels next to him.
BATTY
Not hurt, are you? You better get
it up or I'm going to have to kill
you. Unless you're alive you can't
play. And if you don't play, you
don't get to be alive.
Deckard's eyes are closed, mouth bleeding. He exhales
and makes and effort. He slides his hands up even with
his chest and starts to push.
BATTY
That's the spirit.
Like a matador, Batty walks away. By the time Deckard's
on his feet, Batty's disappeared through one of the
doors.
Deckard wipes the blood from his mouth, bends down and
picks up his laser, reloads and looks down the hall,
towards the jeering voice.
BATTY'S VOICE
Come on, Deckard, show me what you
got! I'm right here on the other
side of the door. But you gotta
shoot straight 'cause I'm fast!
Deckard gets to the door, BLASTS it, kicks it open and
FIRES at Batty. But it's only the reflection of Batty.
INT. ROOM - TENTH FLOOR - NIGHT 107
The full length mirror on the other side of the room
SHATTERS. Batty's next to him, grabs Deckard's hand
and steps in closer.
BATTY
Straight doesn't seem to be good
enough.
They're face to face.
BATTY
You don't have a chance, do you?
In an exaggeration of weary disappointment, Batty drops
his head to the side.
BATTY
Looks like I'm gonna have to scale
it down for you. Give you a
handicap. I won't run through any
more walls. Okay? I promise to
use the doors. Okay?
Deckard stares back at him, but doesn't respond. Sud-
denly fury storms through Batty. He throws Deckard out
the door, knocking him down, grabs him by the collar
and rams his head into the wall.
BATTY
Come on, let's use that brain!
INT. TENTH FLOOR CORRIDOR - NIGHT 108
He drags him down the hall, on his knees and bangs his
head into the wall again.
BATTY
Think! We need a little
resilience around here!
He yanks him further and bashes his head again.
BATTY
Where are those balls of yours?!
Let's see a little bravery!
The storm passes.
Deckard hangs in Batty's hand like a bag of laundry.
BATTY
That was irrational of me -- not
to mention unsportsmanlike. Won't
happen again.
He drops him.
BATTY
I'll be down the hall when you're
ready.
Betty walks off and disappears through one of the doors.
Deckard gets to his knees, leans against the wall a mo-
ment, then punches it with his fist.
On his feet he's a little wobbly. Holding his breath
so he can hear above his own breathing, he listens. No
sound. No sign of Batty. The laser is laying nearby.
He doesn't bother.
Deckard is backing down the hall, quiet as he can. He
had a job to do. He would like to have done it, but
he's not insane. He gets to the landing and turns.
On the first step down, he stops. Batty's on the land-
ing below, looking up at him.
BATTY
Where you going?
He wait a moment for Deckard's answer.
BATTY
No cheating. A promise is a
promise. I'll honor the
handicapped, but we gotta play on
the top floor. You go get your
laser gun now. And I'll give you
a few seconds before I come.
Deckard turns back into the hall. Batty smiles.
Deckard's running down the corridor.
BATTY'S VOICE
One!
Halfway down the hall he finds his laser.
BATTY'S VOICE
Two!
Deckard darts into the nearest door. The apartment
above Sebastian's, with the hole in the floor. Deckard
considers it.
BATTY'S VOICE
No fair jumping through holes. You
might get hurt doing that! THREE!
Deckard dashes back into the hall, chooses another door
and goes in.
INT. TENTH FLOOR APARTMENT - NIGHT 109
His eyes skim over everything, looking for an advantage.
He throws open a door. The bathroom. The plumbing is
dismantled, walls stripped, revealing brick, nails
protruding. Too small.
Scene 34 - Confrontation in the Tenth Floor
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Batty's coming up the steps.
BATTY
Five!
INT. TENTH FLOOR APARTMENT - NIGHT 111
Deckard's looking for a corner -- a place that covers
the angles. He chooses the far side of the room with
a line to the door.
INT. TENTH FLOOR HALL - NIGHT 112
Batty's coming down the center, listening at the doors.
BATTY
Six!
INT. TENTH FLOOR APARTMENT - NIGHT 113
Deckard's crouched in the corner and aimed. He looks at
his hand. It's trembling.
BATTY'S VOICE
Seven!
INT. TENTH FLOOR HALL - NIGHT 114
Batty's standing in front of a door, listening.
BATTY
Oh, I wonder where he is. Not in
here, I don't think. Eight!
He goes to the next door.
BATTY
Maybe here. Doesn't sound like
it. Nine!
Batty moves to the next. The door to Deckard.
INT. TENTH FLOOR APARTMENT - NIGHT 115
Deckard's crouched lower, holding his breath -- talk
about a hair trigger... Silence. Batty's FEET are heard
CREAKING AWAY. Deckard looks around. Runs a hand over
the wall behind him. Batty's FEET COME BACK. A pause.
BATTY
Ten!
The door explodes!
A shape hurtles across the room. Deckard pivots, fol-
lowing it with RAPID FIRE. It's a TV. He spins back.
but Batty's already on him. He gets one SHOT off be-
fore Batty's got his hand. There's a hole over Batty's
right eye. Blood running down his face, dripping on
Deckard. The right side of his face isn't working too
good. The corner of his mouth doesn't quite shut --
his voice comes out slurred, a little hollow.
BATTY
One point for you.
The would doesn't minimize his omnipotence, just makes
it more malignant. He throws Deckard against the far
wall. Deckard FIRES. Hits Batty in the shoulder.
BATTY
Ho ho! Try it again!
He comes at Deckard, jerking back and forth, a cobra in
fast motion, faking, weaving, yelping with excitement
as Deckard tries to get a shot, FIRING AWAY until his
laser's empty. Bloody and crazed, Batty pushes up
against him.
BATTY
What's wrong? Don't you like me?
I'm what we've made!
INT. TENTH FLOOR HALL - NIGHT 116
He's backing Deckard out the door. Deckard trips and
falls. There's fear on his face. The strength is gone.
Something is starting to crack.
BATTY
What's wrong? Aren't you a lover
of Faster, Bigger and Better?!
Deckard's pedaling backwards over the floor.
BATTY
It's time to die.
Deckard throws the laser at him. It misses. Batty
throws his head back and laughs. A one-eyed colossus
about to eat the world. Suddenly he stops. His eye
moves over the wall.
BATTY
Ah!
He reaches out and pinches something. His lips compress
as he yanks it out of the wall. It's a ten-penny nail.
He holds it out to Deckard and drops it. Deckard
catches it.
BATTY
That's for you.
One side of Batty's face smiles savagely.
BATTY
Stick it in your ear and push.
If that doesn't work, try the
eye.
Deckard stares at the nail in his hand, then up at
his executioner.
BATTY
Believe me, it'll be better
for you than what I'm about
to do.
Batty watches him, hoping the stimulus might inspire
his victim to more action. It doesn't look like it.
BATTY
Well?
Deckard springs to his feet and bolts. But instead of
going for the stairwell he turns in the first available
door.
INT. TENTH FLOOR APARTMENT #2 - NIGHT 117
Provocation accomplished. Batty smiles and walks lei-
surely towards the door. Deckard's terrified scream
and the SOUND of GLASS CRASHING stop him. Batty speeds
up and moves into the room.
The window pane is splattered, curtains sucked out,
bellowing in the wind.
BATTY
Crap.
He walks up to the window. Deckard comes away from the
wall, inching up behind him, laser in both hands, aimed
at the base of Batty's skull. Batty starts to lean
over, but even before his eyes see the pavement, he
knows. He spins...
Deckard FIRES again. This one goes home. Batty falls
like he was poleaxed, hits the floor dead weight.
Deckard starts to tremble. His arms go limp as his
head tilts back and he closes his eyes. He can breathe
again.
On the floor, Batty's hand is crawling toward Deckard's
ankle.
With the unsuspected abruptness of a man slipping on a
banana peel, Deckard comes down. Face knotted in hor-
ror, he EMPTIES THE LASER in Batty's body -- but the
hand holds on. With a screech of frustration he drops
the laser and like an animal claws at Batty's dead
fingers -- but the fingers are welded shut.
Deckard starts to crawl, pulling Batty behind him. He
struggled through the door and stumbles to his feet.
INT. TENTH FLOOR HALL - NIGHT 118
Deckard plunges down the corridor dragging Batty along.
He falls, gets to one foot, falls again and crawls the
last couple feet to the stairwell.
Scene 35 - Final Clash on the Tenth Floor
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Groaning, he tugs and pulls, hauls and heaves Batty's
body to the edge of the landing. He pauses for breath,
then lays back, wedging his feet against Batty's shoul-
ders and pushes. Inch by inch the body goes over the
edge. Then all at once it drops. But the hand holds
and the weight of the body takes Deckard with it. As
Deckard slides over the edge, he grabs hold of the
railing.
Deckard's hanging three hundred feet over the basement
floor, supporting himself and Batty's corpse -- almost
four hundred pounds of stress on his fingers.
With his free foot he chops away at Batty's hand, try-
ing to break it loose. But it's not working. Deckard's
fingers are starting to slip.
His face is a mask of agony as he wedges his heel over
Batty's thumb. With the help of gravity and everything
he's got in his right leg to push with, he pushes. The
thumb breaks loose. Batty falls.
The SOUND OF HIS BODY HITTING BELOW sounds good, but
Deckard doesn't notice. He's in an awkward position.
He must reverse the way he's facing to pull himself up.
He lets go with his right hand and crosses it over the
left. Then turns the left around so he's got an over-
hand grip.
Like a man doing his last pull-up... the one that can't
be done, Deckard pulls himself up, throws a foot over
the edge and grapples and heaves and wiggled himself
onto the cold solid steel of the stairwell landing.
And lies there, body jerking spasmodically, slowly
clenching and unclenching his cramped hand, but it's
his burning cheek against the cool metal he's most aware
of.
Dizzy, hot, lungs on fire, he stands -- and putting one
foot in front of the other, Deckard descends the stairs.
EXT. SEBASTIAN'S BUILDING - DAWN 120
Slowly the door pushes open and Deckard comes out into
the morning. The sun isn't yet risen, but the sky has
begun to pale. It's a brooding gray stew of a dawn not
very pretty, but even though he can't show it, Deckard
is glad to see it.
For a moment he tilts his head back and takes some
breath, then walks across the courtyard towards the
street, so dead on his feet he hasn't the energy to
fall.
Deckard slumps into the shelter of his car. The col-
lapses on the front seat.
INT. DECKARD'S BEDROOM - DAWN 121
In a corner of the dimness Deckard sits slumped on a
chair, facing the pearly gray light of the window. The
only SOUND in the room is the soft steady BREATHING
that comes from the bed.
Quietly he gets up and walks over to her. Rachael lies
sleeping, one delicate arm exposed from under the sheet.
Deckard stands there, bettered and grim, staring down
at her.
Moments go by and finally he sits gently on the edge of
the bed.
Rachael opens her eyes, and looks up at him, she smiles.
EXT. COUNTRYSIDE (MONTAGE) - DAY 122
Deckard's car is skimming over the narrow highway. He
and Rachael in the front seat. Except for the occasion-
al glance, their faces are still and quiet in the cold
shine of an icy dream.
The clouds overhead are soft and swift.
DECKARD (V.O.)
She wanted to go to a place I knew.
Out of the city. Like one of those
pictures she saw. Where there were
trees but no buildings.
Rachael's face in the window watching the woods stream
by.
DECKARD (V.O.)
We had a good time. She told me a
funny story and I taught her a
song. A song about monkeys and
elephants. And it made us laugh so
hard we couldn't sing.
EXT. WOODS (MONTAGE) - DAY 123
Deckard and Rachael walking. The land lays white and
hushed before them.
Down an aisle of maples and beeches. The frosty light
slanting through the clean, hard limbs.
The crisp, blue-white snow underfoot melted through in
spots exposing soggy patches of rich brown earth.
Rachael stops and faces him. Her lips are parted, her
warm breath turning the cold air to vapor. Looking
lithe and fragile by these barren-rooted trees, she
stands in the crisp white snow looking at Deckard.
Nothing in her retreats, even now her eyes insist on
knowing.
EXT. WOODS - DAY 124
Deckard walking over the snow. Alone. He walks slowly,
mechanically through the cold, unaffected by it. His
gaunt face, empty of expression except for the tears
running down his pale cheeks.
But for the SQUEAK of his wet shoes over the crusted
snow, there is no sound. And Deckard recedes into the
silence of the freezing white landscape.
EXT. HIGHWAY - NIGHT 125
Deckard's car, solid, THROBBING, GUNNING along like
some metal animal. Headlights piercing the dark of the
long, flat road. WHISTLING speed of air and tires spin-
ning THRUM. And then silence. And the silence
astounded by the CRACK OF A GUN.
INT. CAR - NIGHT 126
Deckard is behind the wheel, face in shadow, eyes star-
ing straight ahead.
DECKARD (V.O.)
I told myself over and over again,
if I hadn't done it, they would
have.
I didn't go back to the city, not
that city, I didn't want the job.
She said the great advantage of
being alive was to have a choice.
And she chose. And a part of me
was almost glad. Not because she
was gone but because this way they
could never touch her.
As for Tyrell -- he was murdered,
but he wasn't dead. For a long
time I wanted to kill him. But
what was the point? There were too
many Tyrells. But only one Rachael.
Maybe real and unreal could never
be separated. The secret never
found. But I got as close with
her as I'd ever come to it. She'd
stay with me a long time. I guess
we made each other real.
And the ruby lights of Deckard's car disappear into
the darkness.
THE END
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| leon | Leon starts off as a conflicted replicant, torn between his duty and desires. As he delves deeper into existential questions about his existence, he becomes more confrontational and defiant. Ultimately, he comes to accept his fate with resignation, finding a sense of peace in his limited lifespan. | The character arc for Leon is well-developed, but could benefit from more clarity in his transformation. The transition from conflicted to accepting his fate could be more clearly defined to enhance the emotional impact of his journey. | To improve the character arc, consider adding more specific moments that highlight Leon's internal struggle and growth. Show his evolution through key interactions with other characters or pivotal events that challenge his beliefs. This will help the audience connect more deeply with Leon's journey and ultimate acceptance of his fate. |
| deckard | Deckard starts off as a no-nonsense Blade Runner, focused on his mission to track down replicants. As he delves deeper into his investigation, he begins to question his own morality and struggles with his emotions towards replicants, especially towards Rachael. Ultimately, Deckard undergoes a transformation, showing vulnerability and empathy, leading to a deeper understanding of himself and the world around him. | The character arc for Deckard is well-developed, showcasing his evolution from a hardened detective to a more introspective and empathetic individual. However, there could be more clarity in depicting the catalysts that trigger his internal conflict and moral dilemmas. Additionally, the resolution of his arc could be further strengthened by emphasizing his growth and transformation in a more impactful way. | To improve the character arc, consider incorporating specific moments or events that challenge Deckard's beliefs and values, leading to a gradual shift in his perspective. Showcasing more internal monologues or emotional struggles could help deepen the audience's connection to Deckard's journey. Furthermore, highlighting key relationships, particularly with Rachael, could enhance the emotional resonance of his character arc. |
| bryant | Throughout the screenplay, Bryant starts off as a strict and by-the-book authority figure who is solely focused on results. However, as the story progresses, he begins to show a more compassionate side, especially towards Deckard. This change in attitude is triggered by a personal experience that forces him to reevaluate his priorities and approach to his job. By the end of the screenplay, Bryant has learned to balance his tough exterior with a more empathetic and understanding demeanor. | The character arc for Bryant is well-developed and adds depth to his personality. However, the transition from strict authority figure to compassionate mentor could be more gradual and nuanced. It would be beneficial to show more instances of Bryant's internal struggle and growth throughout the screenplay, rather than just a sudden change in behavior towards the end. | To improve the character arc for Bryant, consider incorporating more scenes that highlight his internal conflict and the reasons behind his tough exterior. Show moments of vulnerability and self-reflection that lead to his eventual change in attitude. Additionally, provide more interactions between Bryant and Deckard that showcase their evolving relationship and how it impacts Bryant's character development. |
| batty | Roy Batty starts off as a charismatic and enigmatic android driven by a desperate desire to extend his lifespan. As the story progresses, he evolves into a formidable antagonist exuding power and aggression in his confrontation with Deckard. However, towards the climax, Batty's vulnerability and emotional depth are revealed as he grapples with the complexities of artificial intelligence and the quest for immortality. Ultimately, Batty's character arc culminates in a moment of self-realization and acceptance of his mortality. | The character arc for Roy Batty is well-developed and engaging, showcasing his evolution from a complex android to a formidable antagonist and ultimately to a character grappling with existential questions. However, there could be more consistency in his character development throughout the screenplay. The transitions between his different personas could be smoother to create a more cohesive and impactful arc. | To improve the character arc for Roy Batty, consider incorporating more subtle hints of his vulnerability and emotional depth earlier in the screenplay to foreshadow his eventual self-realization. Additionally, ensure that his interactions with other characters reflect his evolving persona, with a gradual shift in his demeanor and dialogue as he progresses through his arc. This will create a more seamless and impactful character development for Batty. |
| sebastian | Sebastian starts off as a shy and lonely individual who is drawn into the world of artificial beings. As he interacts with the androids and learns more about their quest for survival, he begins to step outside his comfort zone and show a willingness to help others. Through his experiences, Sebastian grows in empathy, curiosity, and a desire for connection, ultimately finding a sense of purpose in helping the androids navigate their challenges. | The character arc for Sebastian is well-developed and allows for growth and transformation throughout the screenplay. However, there could be more clarity in showcasing Sebastian's internal struggles and how they impact his actions and decisions. Additionally, more emphasis could be placed on Sebastian's journey towards self-acceptance and overcoming his loneliness. | To improve the character arc, consider delving deeper into Sebastian's past experiences that have led to his loneliness and struggles with connection. Show more moments of internal conflict and growth, highlighting how his interactions with the androids and other characters shape his perspective and actions. Additionally, explore Sebastian's journey towards self-acceptance and finding a sense of belonging in a world where he feels like an outsider. |
| pris | Pris starts off as a lost and vulnerable young woman seeking companionship, but as she delves deeper into her past and desires for acceptance, she transforms into a mysterious and enigmatic character with a sense of danger and intrigue. Through her interactions with others and her own inner turmoil, Pris discovers her inner strength and resilience, ultimately becoming a formidable opponent in her confrontation with Deckard. | The character arc for Pris is well-developed and showcases her evolution from vulnerability to strength. However, there could be more clarity in her motivations and internal conflicts throughout the screenplay. Additionally, her transition from innocence to cunning could be further explored to provide a deeper understanding of her character development. | To improve the character arc for Pris, consider delving deeper into her backstory and motivations to provide more depth to her transformation. Show more internal conflicts and struggles that shape her journey from vulnerability to strength. Additionally, explore her relationships with other characters to highlight different aspects of her personality and showcase her growth throughout the screenplay. |
| rachael | Rachael's character arc in the screenplay involves her journey of self-discovery and growth as she navigates the challenges of her identity and relationships. Initially, she is a formidable and business-like woman who works for the Tyrell Corporation, but as she begins to question her own nature and programming, she becomes more introspective and empathetic. Through her interactions with Deckard, Rachael learns to embrace her emotions, defy expectations, and seek genuine connection, ultimately finding a sense of freedom and fulfillment in her newfound self-awareness. | The character arc for Rachael is well-developed and engaging, showcasing her internal struggles and growth throughout the screenplay. However, there could be more emphasis on her emotional journey and the impact of her self-discovery on her relationships with other characters. Additionally, exploring the consequences of her actions and decisions in more depth could add complexity to her arc. | To improve the character arc for Rachael, consider delving deeper into her emotional turmoil and the conflicts that arise as she grapples with her identity. Show more of the consequences of her choices and how they affect her relationships with Deckard and other characters. Allow Rachael to confront her fears and vulnerabilities more directly, leading to a more cathartic and satisfying resolution to her arc. |
Writer's Craft Overall Analysis
This screenplay showcases the writer's strong storytelling abilities, particularly in creating tension, exploring complex themes, and developing engaging characters. The scenes effectively convey a range of emotions and perspectives, contributing to a cohesive and immersive narrative. However, there are areas where the writing could be further polished to enhance its overall impact and effectiveness.
Key Improvement Areas
Dialogue refinement
Several scenes highlight the need for stronger dialogue, enhancing character interactions, advancing the plot, and conveying emotions more effectively.
Pacing and structure
Some scenes could benefit from improved pacing, ensuring a smooth flow of action and emotional impact. Additionally, scene structure can be refined to create a stronger narrative arc and maintain audience engagement.
Exploration of themes
The screenplay presents interesting themes, but some scenes require deeper exploration and development to fully realize their potential impact on the story and characters.
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Book | Read 'Save the Cat!®' by Blake Snyder | This book provides valuable insights into structuring and pacing screenplays, which could enhance the writer's ability to craft engaging and well-paced scenes. |
| Book | Read 'Creating Character Arcs' by K.M. Weiland | This book offers a comprehensive guide to character development, helping the writer create more complex and dynamic characters that drive the story forward. |
| Screenplay | Study 'Blade Runner' screenplay by Hampton Fancher and David Peoples | This screenplay is a classic example of science fiction storytelling, showcasing strong world-building, complex characters, and thought-provoking themes. |
| Exercise | Freewriting exercisesPractice In SceneProv | Regular freewriting can help the writer develop their creativity, explore different perspectives, and generate new ideas. |
| Exercise | Dialogue-driven scene writingPractice In SceneProv | Practice writing scenes that primarily rely on dialogue to convey character dynamics, advance the plot, and reveal emotions. This will help refine the writer's dialogue skills. |
| Exercise | Mind mapping for theme explorationPractice In SceneProv | Create mind maps to explore the various themes present in the screenplay. This can help the writer identify opportunities for deeper exploration and development, enriching the narrative's thematic impact. |
Additional Notes: The writer demonstrates a strong foundation in storytelling and has the potential to craft compelling and engaging screenplays. By focusing on the identified areas for improvement and consistently practicing the recommended exercises, the writer can refine their craft and elevate the overall quality of their writing.
Stories Similar to this one
| Story | Explanation |
|---|---|
| Blade Runner 2049 | Set in a dystopian future where replicants are hunted by humans, Blade Runner 2049 follows a new replicant named K (Ryan Gosling) as he investigates the murder of a replicant who has given birth to a child. Like Blade Runner, the film explores themes of identity, humanity, and the nature of consciousness. |
| Ex Machina | Ex Machina is a psychological thriller about a young programmer (Domhnall Gleeson) who is invited to participate in a Turing test with an artificial intelligence (Alicia Vikander). As the programmer interacts with the AI, he begins to question the nature of consciousness and the line between humans and machines. |
| Arrival | Arrival is a science fiction drama about a linguist (Amy Adams) who is tasked with communicating with aliens who have arrived on Earth. As the linguist learns more about the aliens, she begins to experience flashbacks to her own life and relationships. |
| 2001: A Space Odyssey | 2001: A Space Odyssey is a science fiction epic that follows a group of astronauts on a mission to Jupiter. The film explores themes of artificial intelligence, evolution, and the nature of humanity. |
| The Matrix | The Matrix is a science fiction action film about a group of rebels who fight against a computer-generated reality that has enslaved humanity. Like Blade Runner, the film explores themes of identity, reality, and the nature of perception. |
| Ghost in the Shell | Ghost in the Shell is a Japanese anime film about a cyborg who is tasked with investigating a series of murders committed by a hacker who is able to infiltrate the minds of other cyborgs. |
| Altered Carbon | Altered Carbon is a science fiction television series about a society in which human consciousness can be transferred from one body to another. The series explores themes of identity, mortality, and the nature of the soul. |
| Dune | Set on a fictional planet called Arrakis, Dune tells the story of a young man named Paul Atreides (Timothée Chalamet) who becomes the heir to a powerful family. The film explores themes of destiny, power, and the clash between science and religion. |
| Alien | Alien is a science fiction horror film about a group of astronauts who encounter a deadly alien creature on a distant planet. Like Blade Runner, the film has a dark and atmospheric tone and explores themes of isolation, paranoia, and the dangers of technology. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Tyrell Test | The scene begins with a close-up of an eye that is being examined by a Voight-Kampff machine. | A test used to determine if someone is a replicant or a human. The test is based on the idea that replicants are incapable of empathy and other human emotions. |
| Blade Runner | Deckard is a police officer who is tasked with hunting down and retiring replicants. | A genre of science fiction that explores the themes of identity, humanity, and the nature of reality. Blade Runner is one of the most iconic examples of the genre. |
| Forbidden Love | Deckard falls in love with Rachael, a replicant. | A love story between two people who are from different worlds or who are forbidden from being together. Forbidden love stories often explore the themes of prejudice, discrimination, and the power of love. |
| Existential Crisis | Deckard begins to question his own humanity as he spends more time with Rachael. | A story in which a character questions their own existence and the meaning of life. Existential crisis stories often explore the themes of identity, purpose, and the nature of reality. |
| Artificial Intelligence | The film explores the nature of artificial intelligence through the characters of the replicants. | A story that explores the nature of artificial intelligence and its relationship to humanity. AI stories often explore themes of identity, free will, and the nature of consciousness. |
| Post-Apocalyptic World | The film.is set in a dystopian future where the world has been ravaged by climate change and nuclear war. | A story that is set in a world that has been destroyed or damaged by a global catastrophe. Post-apocalyptic stories often explore themes of survival, hope, and the human spirit. |
| Cyberpunk | The film's setting is a blend of high technology and low life, with neon lights and advertising competing with poverty and crime. | A genre of science fiction that is set in a dystopian future where technology has advanced to the point where it has become a dominant force in society. Cyberpunk stories often explore themes of alienation, identity, and the nature of reality. |
| Film Noir | The film's dark and gritty atmosphere, as well as its use of voice-over narration, are reminiscent of film noir. | A genre of crime fiction that is characterized by its dark and gritty atmosphere, its use of voice-over narration, and its exploration of themes of crime, corruption, and betrayal. |
| Action Thriller | The film is full of intense action sequences, including car chases, shootouts, and fights. | A genre of film that is characterized by its fast-paced action, its high stakes, and its suspenseful plot. Action thrillers often explore themes of violence, danger, and the human spirit. |
| Science Fiction | The film is set in a futuristic world where technology has advanced to the point where it is indistinguishable from magic. | A genre of fiction that deals with imaginative and futuristic concepts, such as space travel, time travel, and alien life. |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Existentialism and Mortality | The constant questioning of existence, the nature of being alive and the fear of death and annihilation. | Most of the replicants are concerned with their lifespans and how they're so close to death. They understand that they are different and they are not able to process the emotions that come with knowing their end is approaching. | ||||||||||||
Strengthening Existentialism and Mortality:
| ||||||||||||||
| Identity and the Search for Purpose | The replicants' struggle to find their place in a world that sees them as less than human, their search for connection, and their desire to be more than just tools. | Many of the replicants are searching for their place in the world or just want to prolong their existence. They have a 'job' to do, but they question their purpose past that. | ||||||||||||
| The Dangers of Technology and the Limits of Control | The film's exploration of the potential dangers of artificial intelligence and the hubris of those who create it. | Humans have created something that they don't fully understand and they are not able to control. It is up to Deckard to 'retire' these replicants, but he grows fond of Rachel and starts to question if she is more human than he is. | ||||||||||||
| Love and Relationships | The complex relationships between humans and replicants, the nature of love, and loyalty. | The relationship between Deckard and Rachael is the most important relationship that is explored. Deckard learns to sympathize with the replicants and it makes him see them as more than just things. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by sharp, evocative dialogue and vivid, atmospheric descriptions that create a sense of tension and mystery. The narrative style is distinctive due to its focus on internal conflicts and moral dilemmas, which are explored through nuanced character interactions. |
| Voice Contribution | The writer's voice contributes to the script by establishing a dark, introspective mood and a deep exploration of philosophical themes. The unique dialogue style adds depth to the characters and drives the narrative forward, while the vivid descriptions immerse the reader in the atmospheric world of the story. |
| Best Representation Scene | 10 - Tunnel of Darkness |
| Best Scene Explanation | This scene is the best representation of the writer's voice because it combines all the key elements of their style: sharp dialogue, evocative descriptions, and a profound exploration of philosophical themes. The contrast between the serene flashbacks and the intense, fast-paced mountain drive creates a palpable sense of tension and suspense, while the disembodied voice's questioning adds an existential layer to the scene. |
Originality
- Overall originality score: 9
- Overall originality explanation: The screenplay for Blade Runner is highly original, with many unique and innovative elements. These include the setting of a dystopian future, the concept of replicants, the use of the Voight-Kampff test, and the exploration of themes such as identity, morality, and the nature of humanity. The film's visuals are also highly distinctive, with a gritty, noir-inspired aesthetic that has been influential in many subsequent films.
- Most unique situations: Some of the most unique situations in the screenplay include the scene where Deckard administers the Voight-Kampff test to Leon, the scene where Batty and Roy confront Tyrell, and the scene where Deckard and Batty fight on the tenth floor of Sebastian's building.
- Overall unpredictability score: 9.5
- Overall unpredictability explanation: The screenplay for Blade Runner is highly unpredictable, with many twists and turns that keep the audience guessing. The film's ending is particularly unpredictable, as it is unclear whether Deckard is himself a replicant. This uncertainty keeps the film's themes and ideas open to interpretation, and it has led to many debates and discussions among fans.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goal is to navigate the complex world of replicants and maintain his professional composure while facing ethical dilemmas. |
| External Goals | The protagonist's external goal is to successfully carry out his job as a Blade Runner, investigate the escaped replicants, and ensure the safety of society. |
| Philosophical Conflict | The overarching philosophical conflict is the question of what defines humanity and the ethical implications of creating advanced artificial beings. |
Character Development Contribution: The goals and conflicts push the protagonist to question his beliefs, values, and actions, leading to personal growth and discovery.
Narrative Structure Contribution: The goals and conflicts drive the narrative forward, creating tension, suspense, and emotional depth in the storyline.
Thematic Depth Contribution: The goals and conflicts explore themes of identity, morality, ethics, and the blurred lines between humans and replicants, adding layers of complexity and depth to the story.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: The screenplay depicts a highly urbanized and futuristic world, with towering skyscrapers and advanced technology incorporated into everyday life. Many scenes take place in dark and dimly lit environments, creating an atmosphere of mystery and danger. The cityscape is often portrayed as crowded and chaotic, with neon signs and advertisements adding to the sense of sensory overload.
- Culture: The screenplay explores themes of identity and humanity, particularly as they relate to artificial beings known as replicants. The film raises questions about what it means to be truly human and whether or not replicants are capable of experiencing genuine emotions. There are also elements of film noir in the screenplay, with characters often operating in the shadows and a sense of moral ambiguity permeating the narrative.
- Society: The screenplay presents a society that is divided along the lines of class and privilege. The wealthy and powerful live in opulent mansions, while the poor and marginalized live in squalid slums. The police are often portrayed as corrupt and brutal, and there is a general sense of lawlessness and disorder. The film also explores the theme of discrimination, with replicants being treated as second-class citizens and subjected to prejudice and violence.
- Technology: The screenplay incorporates advanced technology into its world-building, including replicants, flying cars, and holographic projections. The Voight-Kampff machine is a key plot device, used to test the emotional responses of replicants and determine whether or not they are truly human. The film also explores the ethical implications of using artificial beings as slaves and the potential for them to develop their own consciousness and free will.
- Characters influence: The world elements in the screenplay shape the characters' experiences and actions in a number of ways. The physical environment, with its dark and oppressive atmosphere, creates a sense of danger and uncertainty for the characters. The cultural elements, particularly the themes of identity and humanity, force the characters to confront their own mortality and the nature of their existence. The societal elements, with their divisions of class and privilege, create a sense of injustice and oppression that the characters must navigate.
- Narrative contribution: The world elements in the screenplay contribute to the narrative by providing a rich and complex setting for the story. The physical environment, with its dark and mysterious atmosphere, creates a sense of tension and suspense that keeps the audience on the edge of their seats. The cultural elements, particularly the themes of identity and humanity, add depth and complexity to the characters and their relationships. The societal elements, with their divisions of class and privilege, create social and ethical conflicts that drive the plot forward.
- Thematic depth contribution: The world elements in the screenplay contribute to the thematic depth of the film by exploring complex issues such as the nature of humanity, the ethics of artificial intelligence, and the dangers of prejudice and discrimination. The film raises questions about what it means to be truly human and whether or not replicants are capable of experiencing genuine emotions. It also explores the ethical implications of using artificial beings as slaves and the potential for them to develop their own consciousness and free will. The film also examines the dangers of prejudice and discrimination, and the ways in which these forces can lead to violence and oppression.
Story Engine Analysis
central conflict
A grizzled detective facing an existential crisis must hunt down a group of escaped replicants who possess superhuman abilities and are determined to extend their lifespans.
primary motivations
- Deckard's struggle with his declining empathy towards replicants and his desire to complete his assignment.
- The replicants' quest for self-preservation and their desire to extend their limited lifespans.
- Rachael's search for identity and her growing self-awareness.
catalysts
- The murder of Tyrell and his family by Batty, highlighting the potential danger of the replicants' rebellion.
- Rachael's decision to join Deckard in his mission, blurring the lines between humans and replicants.
- The revelation of Deckard's own questionable humanity, reflecting the ambiguous nature of identity.
barriers
- The replicants' superior physical abilities and cunning, making them difficult to apprehend.
- Deckard's personal biases and moral struggles, hindering his ability to complete his task.
- Society's prejudice and fear towards replicants, creating obstacles in the investigation.
themes
- The nature of humanity and the boundaries between humans and artificial life.
- The ethical implications of creating and controlling artificial intelligence.
- The search for identity and purpose in a rapidly changing world.
stakes
The survival of humanity is at stake as the replicants' rebellion threatens to expose their existence and challenge the established order.
uniqueness factor
The film explores the existential themes of identity, humanity, and the nature of consciousness through the lens of a science fiction thriller.
audience hook
The film's visually stunning neo-noir aesthetic, philosophical depth, and suspenseful action sequences captivate viewers.
paradoxical engine or bisociation
The paradoxical engine lies in the juxtaposition of Deckard's role as a hunter of replicants and his growing empathy for them, blurring the lines between good and evil.
paradoxical engine or bisociation 2
Another paradoxical engine emerges from the notion of empathy as both a strength and a weakness, as Deckard's compassion for the replicants hinders his ability to complete his mission.
Engine: Claude
Screenplay Rating:
Recommend
Executive Summary
This screenplay is a well-crafted and thought-provoking exploration of what it means to be human in a dystopian, technologically advanced future. The narrative is compelling, with multidimensional characters driving the story forward and grappling with complex moral and ethical dilemmas. The world-building is exceptional, immersing the audience in a vivid and visually striking setting. While the pacing and some secondary character development could be refined, the screenplay's strengths – its narrative depth, character complexity, and thematic resonance – make it a strong candidate for consideration.
Strengths
- Compelling and consistent narrative that explores complex themes of humanity, empathy, and the nature of life in an engaging way. high
- Multidimensional and nuanced characters that drive the story forward and evoke emotional responses from the audience. high
- Excellent world-building and attention to detail in depicting the dystopian, futuristic setting of the story. medium ( Scene 9 Scene 10 Scene 11 Scene 12 Scene 13 )
- Powerful and thought-provoking exploration of the moral and ethical dilemmas faced by the protagonist. high ( Scene 24 Scene 25 Scene 26 Scene 27 Scene 28 )
- Sophisticated visual storytelling and use of symbolism to convey deeper themes. medium
Areas of Improvement
- Pacing can feel uneven in certain sections, particularly during the climactic confrontation sequence. medium ( Scene 30 Scene 31 Scene 32 )
- Some secondary character arcs could be further developed to add more depth and complexity to the story. low
- Certain plot points could be more clearly foreshadowed or connected to enhance the overall narrative coherence. medium
MissingElements
- Additional exploration of the societal and political context that led to the creation of the Nexus-6 androids could provide valuable context. medium
- More insight into the motivations and backstories of the Nexus-6 androids, beyond their impending mortality, could deepen the audience's understanding and investment in their journeys. medium
NotablePoints
- The complex and ambiguous relationship between Deckard and Rachael, and the moral dilemmas it presents, is a standout element of the screenplay. high ( Scene 24 Scene 25 Scene 26 Scene 27 Scene 28 )
- The world-building and attention to detail in depicting the dystopian, futuristic setting is highly immersive and effectively sets the tone for the story. high ( Scene 9 Scene 10 Scene 11 Scene 12 Scene 13 )
- The climactic confrontation sequence between Deckard and the Nexus-6 androids is a thrilling and visceral set piece that showcases the screenplay's action and suspense elements. high ( Scene 30 Scene 31 Scene 32 )
Engine: GPT4
Screenplay Rating:
Recommend
Executive Summary
Blade Runner is a compelling and richly layered screenplay that combines action, philosophical inquiry, and deep character studies within a dystopian future. Its strengths lie in its immersive world-building, complex characters, and thought-provoking themes about humanity and identity. While it could benefit from pacing adjustments and clearer exposition, its narrative depth and unique approach make it a standout piece worthy of production.
Strengths
- The screenplay effectively creates a rich, dystopian world that is immersive and detailed, enhancing the narrative's atmospheric tension. high
- Character development, especially of Deckard and Rachael, is nuanced, showing a complex evolution of emotions and relationships that engage the audience. high ( Scene 34 )
- The action sequences are well-crafted, providing intense and engaging moments that drive the plot forward and keep the audience invested. medium ( Scene 30 Scene 32 )
- The dialogue is sharp and memorable, contributing to character development and the overall mood of the screenplay. medium
- The thematic exploration of what it means to be human versus a created being adds a philosophical depth to the screenplay, making it thought-provoking. high
Areas of Improvement
- Some scenes may benefit from a slight reduction in complexity to enhance clarity and ensure that the audience remains engaged without confusion. medium
- The pacing in the middle sections could be tightened to maintain momentum and keep the narrative moving efficiently. medium
- Further development of secondary characters could enhance the subplot and provide a richer narrative tapestry. low
- Incorporating more visual descriptions could enhance the script by providing a clearer picture of the dystopian setting, benefiting potential directors and cinematographers. medium
- Exploring more background motivations for the antagonist's actions could provide a deeper understanding and add layers to the conflict. medium
MissingElements
- The screenplay could benefit from a clearer exposition of the world's political and social structure to enhance the setting's believability. medium
NotablePoints
- The screenplay's ending provides a powerful conclusion that is both open-ended and deeply reflective, encouraging audience discussion. high
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 28 | Roy Batty: I want more life, fucker. |
| 12 | Rachael: It's strange to suddenly realize that what you thought was your life is actually someone else's fabrication. |
| 14 | Deckard: I'd like you to take a look at these pictures. |
| 22 | Pris: I don't trust him. I don't think he knows what he's doing. |
| 1 | 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. |