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Thirty years after the events of the first film, a new blade runner, LAPD Officer K [Ryan Gosling], unearths a long-buried secret that has the potential to plunge what's left of society into chaos.
K's discovery leads him on a quest to find Rick Deckard [Harrison Ford], a former LAPD blade runner who has been missing for 30 years.
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. Leon is standing behind him, staring up at his room, watching Deckard at the window.
His face is more intent, smarter and angry. Looks like he could do it for days. And he could. The Asian Quarter. 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.
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.
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. LEON Somebody was already there. BATTY Police. LEON Just a man.
BATTY Police man. Leon looks sullen. 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.
After a moment his lips peal back into a sour, belligerent smile. This little honey has a couple of defective cones.
He snaps off the lamp and swings round to face his client. Premature old age has made his bones brittle and his co-ordination slow.
Se- bastian is a closet genius. CHEW Your customer, eh? Chew snickers and beckons. Sebastian follows his down a high narrow hall to a heavy insulated door.
Chew tugs it on and they go through. The big door slams shut behind them. 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.
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. CHEW How much is he paying you? 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.
SEBASTIAN Thanks, Mr. Chew pulls the door open for him and Sebastian goes through quick as a dog. SEBASTIAN — ANIMOID EXPRESS. 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. Sebastian puts the truck in gear, drives next to her and opens the door.
SEBASTIAN Hey! Hesitantly she reaches for it. SEBASTIAN How come you were in my truck? She stares at him, hand on her case, looking lost.
She gets in. Both of them are silent. PRIS Pris. 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. SEBASTIAN You want to go home?
SEBASTIAN Oh. 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. SEBASTIAN We sure did. She giggles and laughs. If you wanna go to my place?
He turns on the ignition and they pull away from the curb. The terminal in the com- munications console lit. The screen flashes back.
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.
Somebody once said that man makes machines in his own image. Go ahead please. 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.
Vulnerable zone is the base of the skull, the occipital bone. A direct hit is a positive retirement. VOICE You are in violation of traffic ordinance M 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. The cop tosses a salute to Deckard and he and his partner accelerate, vanish in the night.
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.
DEETCHUM, the old Watchman, sitting in the building entry in a straight backed chair, is reading a comic book. And shelved along the walls and hung from the ceiling is a menagerie of animoids.
Sebastian is seated at a large work-table, bent over a stereo scope. 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. Pris is light on her feet. SEBASTIAN You scared me. 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 No housing shortage around here… plenty of room for everybody.
She sprawls on the couch studying him. PRIS How old are you? SEBASTIAN Twenty. His voice is barely audible. SEBASTIAN Methuselah Syndrome.
SEBASTIAN My glands. They grow old too fast. SEBASTIAN Yes. 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.
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.
Taking their cue from the mouse, some of the more talented animoids toot, flap and wheel about. A tired Deckard sits in front of it.
Nexus designated Batty incept data April 10th, , combat model, level of self-sufficiency, optimum. A long pause.
They have been built to emulate the human in every way except in its emotional spectrum. DECKARD I know all that. ESPER What about a summary then.
Deckard starts to reach for the panel. ESPER Mr. 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. Every government that could was racing to populate their colonial territory. But emigrants needed incentive.
It was big industry, the competition was stiff and Tyrell was top of the line. The hatch drops open and Deckard steps out. 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. 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.
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. My name is Rachael. Deckard tips his head to her and steps in. Formidable without really trying.
Some beauty is better avoided and Deckard looks straight ahead. DECKARD A humanoid robot is like any other machine, it can be a benefit or a hazard.
Correct, Mr. 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.
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.
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. 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. The more the better. He walks out of the elevator first.
INNER SANCTUM OF DR. 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. Eldon Tyrell. TYRELL How do you do, Mr. Please sit down. Would you care for a cup of coffee? 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.
Here you are, Mr. 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? 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.
DECKARD One that relies on human interpretation. 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. RACHAEL Go ahead.
In the soft green glow of the dials, the needles in both gauges are at rest. 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. The needles in both gauges swing violently past green to red, then subside. DECKARD You have a little boy.
He shows you his butterfly collection, plus the killing jar. Again the gauges register, but not so far. 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. 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. 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 That would be murder, Mr. 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. 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. Deckard watches with a bas taste in his mouth. 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 Five, maybe six. Slowly, carefully, Tyrell unlocks his gaze from Rachael and turns towards Deckard, who is starting to put away his equipment.
Deckard glances back at him. TYRELL For the good of all, I recommend you take Rachael with you.
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 — 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.
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.
The headlights cut through the dark, illuminating a narrow strip of mountain road. A downgrade. 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.
The road is getting steeper and the corners sharper. Rags of mist skim by as the Dusenberg picks up speed. 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. Rushing the corners in gut wrenching four- wheel drifts. 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. The current running strong. The nose of a kayak points through the swells, the viewer paddling for the shore.Go ahead please. The hands of the passenger reach out and Michael Mittermeier Achtung Baby Komplett the mahogany dash. Deckard looks down Waschbär Deutschland the over-turned plate and nods. Every government that could was racing to populate their colonial territory. She glances Schweinskopf Al Dente Kinox her shoulder as The Son Serie Deutsch breaks into a run and runs right into a couple of pedestrians. SEBASTIAN You want to go home? Rachael comes in. LEON You make these questions, Mr. Chew pulls the door open for him and Sebastian Empörung Englisch through quick as a dog. He gets up in Avengers Infinity War Abspann stages, sits and then stands. It slams down so hard it ruptures against the Youtube Lädt Ewig. The lady squeals like a pig as the Alle Augen Auf plasters her against the door. The grip tightens and twists. The door in front of Deckard and Rachael slides open.