http://scribble.com/uwi/br/br-script.html
Transcription of Blade Runner
And Now...
This is a transcription of the 1982 US Theatrical Release of Blade Runner, laboriously typed in, by hand, by my roommate Mark and I, exclusively for your viewing pleasure. :-)
This text differs from a normal script in that I have tried to match the actual spoken dialogue in the movie as closely as possible - this includes grunts, background noise, and even the spacing of the text in the credits. If you find any mistakes, please tell me (bri@netrino.com).
Additional thanks to all those who helped with comments and suggestions.
Enjoy...

JERRY PERENCHIO 
AND 
BUD YORKIN 
PRESENT
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HARRISON FORD
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BLADE RUNNER
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RUTGER HAUER
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SEAN YOUNG
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EDWARD JAMES OLMOS
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M. EMMET WALSH
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DARYL HANNAH
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WILLIAM SANDERSON
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BRION JAMES
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JOE TURKEL
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AND 
JOANNA CASSIDY
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SUPERVISING EDITOR 
TERRY RAWLINGS
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MUSIC 
COMPOSED, ARRANGED, PERFORMED AND PRODUCED BY 
VANGELIS
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ASSOCIATE PRODUCER 
IVOR POWELL
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PRODUCTION DESIGNED BY 
LAWRENCE G. PAULL
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DIRECTOR OF PHOTOGRAPHY 
JORDAN CRONENWETH
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SCREENPLAY BY 
HAMPTON FANCHER 
AND 
DAVID PEOPLES
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PRODUCED BY 
MICHAEL DEELEY
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DIRECTED BY 
RIDLEY SCOTT
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Early in the 21st Century, THE TYRELL
CORPORATION advanced Robot evolution 
into the NEXUS phase - a being virtually 
identical to a human - known as a Replicant. 

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

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

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

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

This was not called execution. 
It was called retirement. 
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LOS ANGELES 
NOVEMBER, 2019
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Intercom: Next subject, Kowalski, Leon, engineer, waste-disposal, file-section, new employees, six days.
[ Knock on door ]
Intercom (background): Calling Mr. Webber. Please...
Holden: Come in.
Intercom (background): ... report to zone A, sector 9. [ pause ] Replication sector, level 9 - we have a B-1 security alert. Standby for ID check...
Holden: Sit down.

Intercom (background): Replication sector, level 9 - we have a B-1 security alert. Standby for...
Leon: Care if I talk? I'm kind of nervous when I take tests.
Holden: Uh, just please don't move.
Leon: Oh, sorry. [ pause ] I already had an IQ test this year, I don't think I've ever had one of these-
Holden: Reaction time is a factor in this, so please pay attention. Now, answer as quickly as you can.
Leon: Sure.
Holden: One-one-eight-seven at Hunterwasser.
Leon: That's the hotel.
Holden: What?
Leon: Where I live.
Holden: Nice place?
Leon: Yeah, sure I guess--that part of the test?
Holden: No, just warming you up, that's all.
Leon: Oh. It's not fancy or anything.
Holden: You're in a desert, walking along in the sand when all of the sudden-
Leon: Is this the test now?
Holden: Yes. You're in a desert walking along in the sand when all of the sudden you look down-
Leon: What one?
Holden: What?
Leon: What desert?
Holden: It 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? You look down and you see a tortoise, Leon, it's crawling toward you-
Leon: Tortoise? What's that?

Holden: Know what a turtle is?
Leon: Of course.
Holden: Same thing.
Leon: I've never seen a turtle. [ pause ] But I understand what you mean.
Holden: You reach down, you flip the tortoise over on its back Leon.
Leon: Do you make up these questions, Mr. Holden, or do they write them down for you?
Holden: The tortoise lays on its back, its belly baking in the hot sun beating its legs trying to turn itself over but it can't, not without your help, but you're not helping.
Leon: What do you mean I'm not helping?
Holden: I mean, you're not helping. Why is that Leon? [ pause ] They're just questions, Leon. In answer to your query, they're written down for me. It's a test, designed to provoke an emotional response. [ pause ] Shall we continue? Describe in single words, only the good things that come in to your mind about: your mother.
Leon: My mother?
Holden: Yeah.
Leon: Let me tell you about my mother. [ shot fired ]

[ Cut to overhead shot of city, zooms in on Deckard, reading a newspaper ]

Overhead blimp: A new life awaits you in the Off-world colonies. The chance to begin again in a golden land of opportunity and adventure.

Sushi Master: Nan-ni shimasho-ka? [ Japanese for: "What would you like to have?" ]

Overhead blimp: A new life awaits you in the Off-world colonies. The chance to begin again in a golden land of opportunity and adventure. New climate, recreational facilities...

Deckard (voice-over): They don't advertise for killers in the newspaper. That was my profession. Ex-cop, ex-blade runner, ex-killer.

Overhead blimp: absolutely free... Use your new friend as a personal body servant or a tireless field hand - the custom tailored genetically engineered humanoid replicant designed especially for your needs. So come on America, lets put our team up there...

[ Deckard walks over to Japanese carry-out stand ]

Sushi Master: ...akimashita, akimashita. Irasshai, irasshai. [ pause ] Sa dozo. Nan-ni shimasho-ka? [ Japanese for: "Now you can sit here. Come on. Well, what would you like to have?" ]

Deckard: Give me four.

Sushi Master: Futatsu de jubun desuyo. [ Japanese for: "Two must be enough for you" ]

Deckard: No, four. Two, two, four.

Sushi Master: Futatsu de jubun desuyo. [ Japanese for: "Two must be enough for you" ]

Deckard: And noodles.

Sushi Master: Wakatte kudasai yo. [ Japanese for: "Please understand me." ]

Deckard (voice-over): Sushi, that's what my ex-wife called me. Cold fish.

Policeman: Hey, idi-wa. [ Korean for: "Come here." ]

Gaff: Monsier, ada-na kobishin angum bi-te. [ Cityspeak for: "You will be required to accompany me, sir." ]

Sushi Master: He say you under arrest, Mr. Deckard.

Deckard: Got the wrong guy, pal.

Gaff: Lo-faast! Nehod[y] maar! Te vad[y] a Blade... Blade Runner!

[ 

The meaning of Gaff's sentences in Cityspeak (Hungarian):

"lo-faast" is a rude expression. Originally is written as "lofaszt" and is a combined word. "lo" means "horse" and "fasz" means "prick", "dick". Together, and with the suffix "-t" [which refers accusative] it's a shortened form of "lofaszt a seggedbe" ["have a horse's dick in your ass"]. In this context it means that Gaff tolerates Deckard's answer as nuts and refuses to be ignored. 
"nehod[y] maar", originally "nehogy mar" is an informal spoken formula, shortened from "nehogy mar ugy legyen!" meaning about "wish it wouldn't be that way!". It's enforcing Gaff's expression about Deckard's lame "leave-me-alone-sucker" answer. 
"te vad[y]" originally "te vagy" simply means "you are". 
"a" means "the" 
So, a close translation is:

Gaff: Shit, man, dontcha say, you're the Blade... Blade Runner.

]

Sushi Master: He say you brade runna.

Deckard: Tell him I'm eating.

Gaff: Captain Bryant toka. Meni-o mae-yo. [ Cityspeak for: "Captain Bryant ordered me to bring you in." ]

Deckard: Bryant, huh?

Sushi Master: Hai! [ Japanese for: "Yes!" ]

[ Deckard and Gaff take off vertically in spinner to see Bryant. ]

Spinner: Yellow 3, climb and maintain four thousand... when approaching pad six...

Deckard (voice-over): The charmer's name was Gaff. I'd seen him around. Bryant must have upped him to the Blade Runner unit. That gibberish he talked was city-speak, guttertalk, a mishmash of Japanese, Spanish, German, what have you. I didn't really need a translator. I knew the lingo, every good cop did. But I wasn't going to make it easier for him.

Spinner: ...final descent, now on glide path, on course, over the landing threshold.

[ Bryant's office ] 

Bryant: Hiya Deck.

Deckard: Bryant.

Bryant: You wouldn't have come if I just asked you to. Sit down pal. C'mon don't be an asshole Deckard. I've got four skin jobs walking the streets.

Deckard (voice-over): Skin jobs. That's what Bryant called replicants. In history books he's the kind of cop that used to call black men niggers.

Bryant: They jumped a shuttle Off-world, killed the crew and passengers. They found the shuttle drifting off the coast two weeks ago so we know they're around.

Deckard: Embarrassing.

Bryant: No sir. Not embarrassing, because no one's ever going to find out they're down here. Because you're going to spot them, and you're going to air them out.

Deckard: I don't work here anymore. Give it to Holden, he's good.

Bryant: I did. He can breathe okay as long as nobody unplugs him. [ Gaff picks up a pice of paper ] He's not good enough, not as good as you. I need you, Deck. This is a bad one, the worst yet. I need the old blade runner, I need your magic.

Deckard: I was quit when I came in here, Bryant. I'm twice as quit now.

Bryant: Stop right where you are. You know the score pal. If you're not cop, you're little people.

[ Gaff sets down an oragami chicken ]

Deckard: No choice, huh?

Bryant: No choice pal.

[ Video room - showing video of Leon and Holden, labeled "V.K. 96/W/9-3H" ]

Leon (video): I already had an IQ test this year, I don't think I've ever had one of these-

Holden (video): Reaction time is a factor in this, so please pay attention. Answer as quickly as you can.

Leon (video): Yeah, sure.

Holden (video): One-one-eight-seven at Hunterwasser.

Leon (video): Yeah, that's the hotel.

Holden (video): What?

Leon (video): Where I live.

Holden (video): Nice place?

Leon (video): Yeah, sure I guess--

Bryant: There was an escape from the Off-world colonies two weeks ago. Six replicants, three male, three female. They slaughtered twenty-three people and jumped a shuttle. An aerial patrol spotted the ship off the coast. No crew, no sight of them. Three nights ago they tried to break into Tyrell Corporation. One of them got fried running through an electrical field. We lost the others. On the possibility they might try to infiltrate his employees, I had Holden go over and run Voigt-Kampff tests on the new workers. Looks like he got himself one.

Holden (video): So you look down you see a tortoise. It's crawling toward you.

Leon (video): Tortoise, what's that?

Holden (video): Know what a turtle is?

Leon (video): Of course.

Holden (video): Same thing.

Leon (video): I've never seen a turtle.

Deckard: I don't get it. What do they risk coming back to earth for? That's unusual. Why--what do they want out of the Tyrell Corporation?

Bryant: Well you tell me pal, that's what you're here for.

Deckard: [funny look]. [pause] What's this?

Bryant: Nexus 6. Roy Batty. Incept date 2016. Combat model. Optimum self-sufficiency. Probably the leader. [ pause ] This is Zhora. She's trained for an Off-world kick-murder squad. Talk about beauty and the beast, she's both. [ pause ] The fourth skin job is Pris. A basic pleasure model. The standard item for military clubs in the outer colonies. They were designed to copy human beings in every way except their emotions. The designers reckoned that after a few years they might develop their own emotional responses. You know, hate, love, fear, anger, envy. So they built in a fail-safe device.

Deckard: Which is what?

Bryant: Four year life span.

Bryant: Now there's a Nexus 6 over at the Tyrell Corporation. I want you to go put the machine on it.

Deckard: And if the machine doesn't work?

[ Deckard flies to the enormous Tyrell building ]

Deckard (voice-over): I'd quit because I'd had a belly full of killing. But then I'd rather be a killer than a victim. And that's exactly what Bryant's threat about little people meant. So I hooked in once more, thinking that if I couldn't take it, I'd split later. I didn't have to worry about Gaff. He was brown-nosing for a promotion, so he didn't want me back anyway.

[ Inside the Tyrell building--looks faintly Egyptian. An owl flies across the room. ]

Rachael: Do you like our owl?

Deckard: It's artificial?

Rachael: Of course it is.

Deckard: Must be expensive.

Rachael: Very. I'm Rachael.

Deckard: Deckard.

Rachael: It seems you feel our work is not a benefit to the public.

Deckard: Replicants are like any other machine. They're either a benefit or a hazard. If they're a benefit, it's not my problem.

Rachael: May I ask you a personal question?

Deckard: Sure.

Rachael: Have you ever retired a human by mistake?

Deckard: No.

Rachael: But in your position that is a risk?

Tyrell: Is this to be an empathy test? Capillary dilation of the so-called blush response? Fluctuation of the pupil? Involuntary dilation of the iris?

Deckard: We call it Voigt-Kampff for short.

Rachael: Mr. Deckard, Dr. Eldon Tyrell.

Tyrell: Demonstrate it. I want to see it work.

Deckard: Where's the subject?

Tyrell: I want to see it work on a person. I want to see a negative before I provide you with a positive.

Deckard: What's that going to prove?

Tyrell: Indulge me.

Deckard: On you?

Tyrell: Try her.

Deckard: It's too bright in here.

[ The window changes shade, letting less light in ]

Rachael: Do you mind if I smoke?

Deckard: It won't affect the test. All right, I'm going to ask you a series of questions. Just relax and answer them as simply as you can. [ pause ] It's your birthday. Someone gives you a calfskin wallet.

Rachael: I wouldn't accept it. Also, I'd report the person who gave it to me to the police.

Deckard: You've got a little boy. He shows you his butterfly collection plus the killing jar.

Rachael: I'd take him to the doctor.

Deckard: You're watching television. Suddenly you realize there's a wasp crawling on your arm.

Rachael: I'd kill it.

Deckard: You're reading a magazine. You come across a full-page nude photo of a girl.

Rachael: Is this testing whether I'm a replicant or a lesbian, Mr. Deckard?

Deckard: Just answer the questions, please. [ pause ] You show it to your husband. He likes it so much he hangs it on your bedroom wall.

Deckard (background): ...bush outside your window...

Rachael: I wouldn't let him.

Deckard (background): ...orange body, green legs...

Deckard: Why not?

Rachael: I should be enough for him.

[ Audio fades out and in, time passes. ]

Deckard: One more question. You're watching a stage play. A banquet is in progress. The guests are enjoying an appetizer of raw oysters. The entree consists of boiled dog.

Tyrell: Would you step out for a few moments, Rachael? [ pause ] Thank you.

Deckard: She's a replicant, isn't she?

Tyrell: I'm impressed. How many questions does it usually take to spot them?

Deckard: I don't get it Tyrell.

Tyrell: How many questions?

Deckard: Twenty, thirty, cross-referenced.

Tyrell: It took more than a hundred for Rachael, didn't it?

Deckard: She doesn't know?!

Tyrell: She's beginning to suspect, I think.

Deckard: Suspect? How can it not know what it is?

Tyrell: Commerce, is our goal here at Tyrell. More human than human is our motto. Rachael is an experiment, nothing more. We began to recognize in them strange obsessions. After all they are emotional inexperienced with only a few years in which to store up the experiences which you and I take for granted. If we give them the past we create a cushion or pillow for their emotions and consequently we can control them better.

Deckard: Memories. You're talking about memories.

[ Deckard and Gaff drive to Leon's apartment in spinner, watching Leon's video. ]

Holden (video): Reaction time is a factor in this, so please pay attention. Now, answer as quickly as you can.

Leon (video): Sure.

Holden (video): One-one-eight-seven at Hunterwasser.

Leon (video): Yeah, That's the hotel.

Holden (video): What?

Leon (video): Where I live.

Holden (video): Nice place?

Leon (video): Yeah, sure I guess--that part of the test?

Holden (video): No--

[ Deckard and Gaff inspect the apartment. Deckard finds a scale in the bathtub and some family photos. Gaff watches quietly, folding an origami statue of a man with an erection. ]

Deckard (voice-over): I didn't know whether Leon gave Holden a legit address. But it was the only lead I had, so I checked it out. [ pause ] Whatever was in the bathtub was not human. Replicants don't have scales. [ pause ] And family photos? Replicants didn't have families either.

[ Leon meets Roy outside of phonebooth. ]

Roy: Time enough. [ pause ] Did you get your precious photos?

Leon: Someone was there.

Roy: Man? Police-man?

[ Roy and Leon enter Chew's building ]

  Chew: [ ???] [ Chinese for: "Ha yes! So little time." ]

[ Chew examines an eye under a microscope ] Chew: [ ??? ] [ Chinese for: "Ha, ha! So beautiful." ]

[ Roy and Leon enter Chew's lab ] Chew: [ ??? ] [ Chinese for: "Ha, ha! Beautiful indeed." ]

[ Leon tugs at the hoses connected to Chew's heated fur coat. ] Chew: [ ??? ] [ Chinese for: "Where did you come from? What the hell do you think you are doing?" ]

[ Chew speaks into his coat-lapel microphone. ]

Chew: [ ??? ] [ Chinese for: "Ah - Chong, come quickly." ]

Roy: Fiery the angels fell. Deep thunder rode around their shores, burning with the fires of Orc. 
Note: It's a misquote of William Blake's, America: a prophecy."Fiery the angels rose, and as they rose deep thunder roll'd,/Around their shores: indignant burning with the fires of Orc." Orc is the embodiment of revolution, the human drive to overthrow tyranny. He is the lower form of Luvah, the god of emotions, as present in this shadowy, corporal world. The film's change of "rose" to "fell" at once suggests Roy as a Christ figure descending from the heavens, Roy's coming down from "off-world" to battle for the freedom of his race, and an association with the felix culpa of Paradise Lost. (from “Melvin” on cityspeak: http://scribble.com/cgi-bin/colloquy/colloquy2?range=155)
Chew: [ ??? ]. You not come here. Illegal. [ pause ] Hey. Hey. [ ??? ] Cold! Those are my eyes! Freezing!
Roy: Yes, questions.
[ Leon removes Chew's jacket. ]
Chew: Hey! Hey! Hu-ahh. Huh. Huh-ay...
Roy: Morphology, longevity, incept dates.
Chew: Don't know -- I, I don't know such stuff. I just do eyes. Just eyes -- Just genetic design -- just eyes. You Nexus, huh? I design your eyes.
Roy: Chew, if only you could see what I've seen with your eyes. Questions.
Chew: I don't know answers.
Roy: Who does?
Chew: Tyrell. He -- He knows everything.
Roy: Tyrell corporation?
Chew: He big boss. He big genius. He design your mind, your brain.
Roy: Ah, smart.
Chew: Cold.
Roy: Not an easy man to see--
Chew: Very cold.
Roy: I guess?
Chew: Se-Se-Sebastian he -- he take -- take you there.
Roy: Sebastian who?
Chew: J. -- J. F. Sebastian-- Sebas... Sebas...
Roy: Now, where would we find this J. F. Sebastian?

[ In car, listening to Leon's video ]

Holden (video): Let’s continue, shall we. Describe in single words, only the good things that come in to your mind about your mother.
Leon (video): My mother?
Holden (video): Yeah.
Leon (video): I'll tell you about my mother. [ shot fired ]

Elevator: Voice print identification. Your floor number please.
Deckard: Deckard, ninety-seven.
Elevator: Ninety-seven, thank-you, danke.
[ The elevator doors open, and Deckard pulls his gun on Rachael ]
Rachael: I wanted to see you, [ pause ] so I waited. Let me help.
Deckard: What do I need help for?
Rachael: I don't know why he told you what he did.
Deckard: Talk to him.
[ Deckard closes his apartment door on Rachael. ]
Rachael: He wouldn't see me.
[ Deckard reopens the door, and Rachael enters. ]
Deckard: Do you want a drink? No? No?
Rachael: You think I'm a replicant, don't you? [ pause ] Look, it's me with my mother.
Deckard: Yeah. [ pause ] Remember when you were six? You and your brother snuck into an empty building through a basement window--you were gonna play doctor. He showed you his, but when it got to be your turn you chickened and ran. Remember that? You ever tell anybody that? Your mother, Tyrell, anybody, huh? You remember the spider that lived in a bush outside your window: orange body, green legs. Watched her build a web all summer. Then one day there was a big egg in it. The egg hatched--
Rachael: The egg hatched...
Deckard: Yeah...
Rachael: ...and a hundred baby spiders came out. And they ate her.
Deckard: Implants! Those aren't your memories. They're somebody else's. They're Tyrell's niece's. [ pause ] Okay, bad joke. I made a bad joke. You're not a replicant. Go home, okay? No really, I'm sorry. Go home. [ pause ] Want a drink? I'll get you a drink. I'll get a glass.
[ Rachael runs away when Deckard turns to get a glass. Then, Deckard looks a Rachael's photo. ]
Deckard (voice-over): Tyrell really did a job on Rachael. Right down to a snapshot of a mother she never had, a daughter she never was. Replicants weren't supposed to have feelings. Neither were blade runners. What the hell was happening to me? [ pause ] Leon's pictures had to be as phony as Rachael's. I didn't know why a replicant would collect photos. Maybe they were like Rachael. They needed memories.
[ Deckard, on balcony. ]

[ Switch to Pris. Outside J. F. Sebastians's apartment building. Covers herself in trash pile. ]
Pris: Pugh... Uhhh... Ungh... Ungh...
Sebastian: Hey! You forgot your bag.
Pris: I'm lost.
Sebastian: Don't worry, I won't hurt you. [ pause ] What's your name?
Pris: Pris.
Sebastian: Mine's J. F. Sebastian.
Pris: Hi.

Sebastian: Hi. Oh, where were you going? Home?
Pris: I don't have one. We scared each other pretty good, didn't we?
Sebastian: We sure did.
Pris: I'm hungry J. F.
Sebastian: I've got some stuff inside. You want to come in?
Pris: I was hoping you'd say that.

[ Pris and Sebastian enter building. ]
Pris: Do you live in this building all by yourself?
Sebastian: Yeah, I live here pretty much alone right now. No housing shortage around here. Plenty of room for everybody. [ pause ]
Pris: [ cough ].
Sebastian: Watch out for the water.
Pris: Must get lonely here J. F.
Sebastian: Hmm... Not really. I make friends. They're toys. My friends are toys. I make them. It's a hobby. I'm a genetic designer. Do you know what that is?
Pris: No.
Sebastian: Now... Oh... [ Lets Pris into apartment first ] Yoo-hoo, home again. 
Kaiser and Bear: Home again, home again, jiggity jig. Good evening J. F.
Sebastian: Good evening, fellas.
Kaiser: [ Bumps into wall ] Oooh!
Sebastian: They're my friends. I made them. Where are your folks?
Pris: I'm sort of an orphan.
Sebastian: Oh, what about your friends?
Pris: I have some, but I have to find them. I'll let 'em know where I am tomorrow.
Sebastian: Oh. Can I take those things for you? They're soaked aren't they?

[ Deckard scans his old family photos, taps on the piano for a bit, and then uses the ESPER machine. ] 
Deckard: Enhance 224 to 176. Enhance, stop. Move in, stop. Pull out, track right, stop. Center in, pull back. Stop. Track 45 right. Stop. Center and stop. Enhance 34 to 36. Pan right and pull back. Stop. Enhance 34 to 46. Pull back. Wait a minute, go right, stop. Enhance 57 to 19. Track 45 left. Stop. Enhance 15 to 23. Give me a hard copy right there.

[ Market - Deckard gets the snake scale examined via electron microscope. ]

Deckard: Fish?
Cambodian Lady: I think it was manufactured locally. Finest quality. Superior workmanship. There is a maker's serial number 99069-07X/B71. Interesting. Not fish. Snake scale.
Deckard: Snake?
Cambodian Lady: Try Abdul Ben-Hassan. He make this snake.

[ Abdul Ben-Hassan's ]
Abdul: [ Mumbles something ]
Deckard: Abdul Hassan? I'm a police officer, I'd like to ask you a few questions. Artificial snake license X/B71, that's you? This is your work, huh? Who did you sell it to?
Abdul: My work? Not too many could afford such quality.
Deckard: How many?
Abdul: Very few.
Deckard: How few? Look my friend.
Abdul: Taffey Lewis, down in fourth sector, Chinatown.

[ Taffey Lewis's ]

Deckard: Bartender? Taffey Lewis? Taffey, I'd like to ask you a few questions.
Taffey: Blow me.
Deckard: You ever buy snakes from the Egyptian, Taffey?
Taffey: All the time, pal.
Deckard: You ever see this girl, huh?
Taffey: Never seen her, buzz off.
Deckard: Your licenses in order pal?
Taffey: Hey Louis, the man is dry. Give him one on the house, okay?. See ya.

[ Deckard calls Rachael on a public videophone. "555-7583" ]

Rachael: Hello?
Deckard: I've had people walk out on me before, but not when I was being so charming. I'm at a bar here now down at the fourth sector. Taffey Lewis is on the line. Why don't you come on down here and have a drink?
Rachael: I don't think so, Mr. Deckard. That's not my kind of place.
Deckard: Go someplace else?

[ Rachael hangs up on Deckard. Deckard returns to Taffey's. Videophone displays "TOTAL CHARGE - $1.25" ]

Announcer: Ladies and Gentlemen. Taffey Lewis presents Miss Salome and the snake. Watch her take the pleasures from the serpent that once corrupted man.
[ Miss Salome's dressing room. ]

Male voice repeated in background: Oi, Aremiroya! Nanka hen-na mon nokocchattaze. [ Japanese for: "Hey, look! Something strange has been left." ]
Female voice repeated in background: Ha. Darekakara no purezento. [ Japanese for: "Wow. It's a present from someone." ]
Deckard: Excuse me, Ms. Salome, can I talk to you for a minute? I'm from the American Federation of Variety Artists. 
Zhora: Oh, yeah?
Deckard: I'm not here to make you join. No ma'am. That's not my department. Actually, uh. I'm from the, uh, Confidential Committee on Moral Abuses.
Zhora: Committee of Moral Abuses?
Deckard: Yes, ma'am. There's been some reports that the management has been taking liberties with the artists in this place.
Zhora: I don't know nothing about it.
Deckard: Have you felt yourself to be exploited in any way?
Zhora: How do you mean, exploited?
Deckard: Well, like to get this job. I mean, did you do, or-- or were you asked to do anything that's lewd or unsavory or otherwise, uh, repulsive to your person, huh?
Zhora: Ha. Are you for real?
Deckard: Oh yeah. I'd like to check your dressing room if I may.
Zhora: For what?
Deckard: For, uh, for holes.
Zhora: Holes?
Deckard: Well you -- you'd be surprised what a guy'd go through to get a glimpse of a beautiful body.
Zhora: No, I wouldn't.
Deckard: Little, uh, dirty holes they, uh, drill in the wall so they can watch a lady undress. [ pause ] Is this a real snake?
Zhora: Of course it's not real. Do you think I'd be working in a place like this if I could afford a real snake? [ pause ] So if somebody does try to exploit me, who do I go to about it?

Deckard: Me. 
Zhora: You're a dedicated man. Dry me.

[ Fight and chase ]

Male voice repeated in background: Oi, Aremiroya! Nanka hen-na mon nokocchattaze. [ Japanese for: "Hey, look! Something strange has been left." ]
Female voice repeated in background: Ha. Darekakara no purezento. [ Japanese for: "Wow. It's a present from someone." ]
Hari Krishnas: Hari, Hari. Hari, Hari. Hari, Hari.
Street Sign: Cross now... Don't walk... 
Deckard: Move! Get out of the way!
[ Deckard fires. Kills Zhora in slow motion scene. Leon watches Deckard from the street. ]
Deckard (voice-over): The report would be routine retirement of a replicant which didn't make me feel any better about shooting a woman in the back. There it was again. Feeling, in myself. For her, for Rachael.
Deckard: Deckard. B two-sixty-three fifty-four.
Street Sign: Move on...
Saleslady: A minute. Yeah what do you want?
Deckard: Tsing tao. This enough?
Saleslady: Yeah. 
Gaff: Bryant.
Bryant: Christ, Deckard, you look almost as bad as that skin job you left on the sidewalk.
Deckard: I'm going home.
Bryant: You could learn from this guy Gaff. He's a god damn one man slaughter house. That's what he is. Four more to go. Come on Gaff, let's go.
Deckard: Three. There's three to go.
Bryant: There's four. That-- That-that skin job that you V-K'ed at the Tyrell Corporation, Rachael. Disappeared. Vanished. Didn't even know she was a replicant. Something to do with a brain implant says Tyrell. Come on Gaff. Drink some for me, huh, pal.

[ Deckard sees Rachael across the street, and chases after her. Leon stops Deckard in the street ]
Deckard: Leon. 
Leon: How old am I?
Deckard: [ Punches Leon ] I don't know.
Leon: [ Throws Deckard against wall ] My birthday is April 10, 2017. How long do I live?
Deckard: Four years.
[ Leon throws Deckard against another wall. Deckard pulls out his gun, but Leon immediately knocks it away. ]
Leon: More than you.
[ Leon swings and misses Deckard, but punches a hole in a steam generator. ]
Leon: Painful to live in fear, isn't it?
[ Leon tosses Deckard down on his back. ]
Leon: Nothing is worse than having an itch you can never scratch.
Deckard: Oh, I agree.
[ Leon picks Deckard up by the collar, and slaps him across the face. ]
Leon: Wake up! Time to die
[ Leon gets ready to gouge out Deckard's eyes... But, Rachael pops some lead into his cranium ]

[ Back at Deckard's apartment ]
Deckard: Shakes? Me too. I get 'em bad. [ clears throat ] It's part of the business.
Rachael: [ Crying... ] I'm not in the business. [ Pause ] I am the business.
[ Deckard enters the kitchen, removes his shirt, and spits some blood into the sink. ]
Rachael: What if I go north. Disappear. Would you come after me? Hunt me?
Deckard: No. No, I wouldn't. I owe you one. But somebody would.
Rachael: Deckard? You know those files on me? The incept date, the longevity, those things. You saw them?
Deckard: They're classified.
Rachael: But you're a policeman.
Deckard: I didn't look at them.
Rachael: You know that Voigt-Kampff test of yours? Did you ever take that test yourself? Deckard? 

[ Deckard falls asleep while Rachael lets her hair down and plays the piano. ]

Deckard: I dreamt music.
Rachael: I didn't know if I could play. I remember lessons. I don't know if it's me or Tyrell's niece.
Deckard: You play beautifully.
[ A little rough-housin. Then Deckard kisses Rachael. ]
Deckard: Now you kiss me.
Rachael: I can't rely on.
Deckard: Say kiss me.
Rachael: Kiss me.
Deckard: I want you.
Rachael: I want you.
Deckard: Again.
Rachael: I want you. Put your hands on me.

[ Sebastian's apartment. ]
Sebastian: Whatcha doing? 
Pris: Sorry, just peeking.
Sebastian: Oh.
Pris: How do I look?
Sebastian: You look better.
Pris: Just better?
Sebastian: Well, you look beautiful.
Pris: Thanks.

[ Roy approaches Sebastian's apartment ]

Pris: How old are you?
Sebastian: Twenty-five.
Pris: What's you problem? 
Sebastian: Methuselah syndrome.
Pris: What's that?
Sebastian: My glands. They grow old too fast.
Pris: Is that why you're still on earth?
Sebastian: Yeah, I couldn't pass the medical. Anyway, I kind of like it here.
Pris: I like you just the way you are. Hi Roy.
Roy: Ah, gosh. You've really got some nice toys here.
Pris: This is the friend I was telling you about. This is my savior J. F. Sebastian.
Roy: Sebastian. I like a man that stays put. You live here all by yourself, do ya?
Sebastian: Yes.

[ Roy kisses Pris. ]

Sebastian: How 'bout some breakfast. I was just gonna make some.
Pris: Well?
Roy: Leon--
Pris: What's going on.
Roy: Ah-- There's only two of us now.
Pris: Then we're stupid and we'll die.
Roy: No we won't.

[ Sebastian and Roy at chess board ]
Sebastian: No, knight takes queen, see. No good.
Roy: Why are you staring at us Sebastian?
Sebastian: Because. You're so different. You're so perfect.
Roy: Yes.
Sebastian: What generation are you?
Roy: Nexus six.
Sebastian: Ah, I knew it. 'Cause I do genetic design work for the Tyrell Corporation. There's some of me in you. Show me something.
Roy: Like what?
Sebastian: Like anything.
Roy: We're no computers Sebastian, we're physical.
Pris: I think, Sebastian, therefore I am.
Roy: Very good Pris, now show him why.

[ Pris throws hot eggs at Sebastian ]

Roy: We've got a lot in common.
Sebastian: What do you mean?
Roy: Similar problems.
Pris: Accelerated decrepitude.
Sebastian: I don't know much about biomechanics, Roy, I wish I did.
Roy: If we don't find help soon, Pris hasn't got long to live. We can't allow that. [ pause ] Is he good?
Sebastian: Who?
Roy: Your opponent.
Sebastian: Oh, Dr. Tyrell? I've only beaten him once in chess. He's a genius. He designed you.
Roy: Maybe he could help.
Sebastian: I'd be happy to mention it to him, sure.
Roy: Better if I talk to him in person. But I understand he's a sort of hard man to get to.
Sebastian: Yes, very.
Roy: Will you help us?
Sebastian: I can't.
Pris: We need you Sebastian. You're our best and only friend.
Roy: [ Holds fake eyebalss up to his eyes, and speaks in a goofy chinese accent ] We're so happy you found us.
Pris: I don't think there's another human being in the whole world who would have helped us.

[ To Tyrell's house. ]

Tyrell: 66 thousand Prosser and Ankovich. Hmmm.. Trade. Trade at--
Computer: New entry. A Mr. J. F. Sebastian. 1-6-4-1-7.
Tyrell: At this hour? What can I do for you Sebastian.
Sebastian: Queen to Bishop 6. Check.
Tyrell: Nonsense. Just a moment. Mmmm. Queen to Bishop 6. Ridiculous. Queen to Bishop 6. Hmmm... Knight takes Queen. [ pause ] What's on your mind Sebastian? What are you thinking about?
Roy: [ whispered ] Bishop to King 7. Checkmate.
Sebastian: Bishop to King 7. Checkmate, I think.
Tyrell: Quite a brainstorm, uh, Sebastian. Milk and cookies kept you awake, huh? Lets discuss this. You better come up, Sebastian.

Sebastian: Mr. Tyrell. I-- I brought a friend. 
Tyrell: I'm surprised you didn't come here sooner.
Roy: It's not an easy thing to meet your maker.
Tyrell: And, what can he do for you?
Roy: Can the maker repair what he makes.
Tyrell: Would you like to be modified?
Roy: Stay here. [ pause ] I had in mind something a little more radical.
Tyrell: What-- What seems to be the problem?
Roy: Death.
Tyrell: Death. Well, I'm afraid that's a little out of my jurisdiction, you--
Roy: I want more life, fucker.
Tyrell: The facts of life. To make an alteration in the evolvement of an organic life system is fatal. A coding sequence cannot be revised once it's been established.
Roy: Why not?
Tyrell: Because by the second day of incubation, any cells that have undergone reversion mutations give rise to revertant colonies like rats leaving a sinking ship. Then the ship sinks.
Roy: What about EMS recombination.
Tyrell: We've already tried it. Ethyl methane sulfonate as an alkylating agent and potent mutagen. It created a virus so lethal the subject was dead before he left the table.
Roy: Then a repressive protein that blocks the operating cells.
Tyrell: Wouldn't obstruct replication, but it does give rise to an error in replication so that the newly formed DNA strand carries the mutation and you've got a virus again. But, uh, this-- all of this is academic. You were made as well as we could make you.
Roy: But not to last.
Tyrell: The light that burns twice as bright burns half as long. And you have burned so very very brightly, Roy. Look at you. You're the prodigal son. You're quite a prize!
Roy: I've done questionable things.
Tyrell: Also extraordinary things. Revel in your time.
Roy: Nothing the god of biomechanics wouldn't let you in heaven for.

[ Roy kisses Tyrell on the mouth. Tyrell screams as his eyes are gouged out. ]

[ On the street... Police radio heard in background. Street vandals approach Deckards car. ]
Vandal: Jemand hat uns ein kleines Geschenk dagelassen. [ German for: "Somebody left us a little present." ]
Vandal: Ist jemand drinnen? [ German for: "Is somebody in there?" ]
Vandal: Ich kann nichts sehen. Hey, warte bis die Bullen weg sind! Hey, warte bis die Bullen weg -- [ German for: "I can`t see anything. Hey, wait `til the cops are gone! Hey, wait `til the cops -- " ]
Bryant: Body identified with Tyrell as a twenty-five year old male caucasian named Sebastian. J. F. Sebastian. Address Bradbury apartments, ninth sector. NM46751. I want you to go down there---
Policeman: This sector's closed to ground traffic. What are you doing here?
Deckard: I'm working. What are you doing?
Policeman: Arresting you. That's what I'm doing.
Deckard: I'm Deckard. Blade runner. Two sixty three-fifty four. I'm filed and monitored.
Policeman: Checking. [ pause ] Okay, checked and cleared. Have a better one.
[ Deckard calls Sebastian's apartment. ]

Pris: Hello?
Deckard: Hi, is J. F. there?
Pris: Who is it?
Deckard: Uh, this is Eddie. An old friend of J. F.'s.
[ Pris hangs up. ]

Deckard: Ooh. That's no way to treat a friend.
[ Deckard recognizes that there`s someone on the roof of the car and drives off. The vandal drops from the roof with a box in his hand. ]
Vandal: (So ein) Scheißkerl! [ German for: "(What a) fucker!" ]
[ The vandals are now fighting for the box. ]
Vandal: Gib` das sofort her! Hau ab! [ German for: " Give this to me! Get lost! " ]

[ Deckard enters apartment. ]
Kaiser and Bear: Home again, home again, jiggity jig. Good evening J. F.
Kaiser: [ Bumps into wall ] Oooh!

[ Lots o' background noise from the toys... Deckard searches... He takes off Pris's veil. Pris attacks, does the ole "head squishem between the legs trick". Deckard blows some chunks into Pris... again... again. Roy arrives. Deckard fires, but misses. ]

Roy: Not very sporting to fire on an unarmed opponent. I thought you were supposed to be good. Aren't you the good man? Come on Deckard. Show me what you're made of.
[ Roy breaks through wall. ]
Roy: Proud of yourself, little man? This is for Zhora.
Deckard: Arrggh.
Roy: This is for Pris.
Deckard: Arrgghh.

Roy: Come on, Deckard, I'm right here, but you've got to shoot straight.
[ Deckard fires again. ]
Roy: Straight doesn't seem to be good enough. Now it's my turn. I'm gonna give you a few seconds before I come. One, Two. Three, Four. Pris...
Deckard: Arrghhh.
[ Chase starts... Roy begins howling. ]
Roy: [ singing ] I'm coming. [ pause ] Four, five. How to stay alive. [ pause ] I can see you! [ pause, grasping hand ] Not yet. Not...
[ Roy put stake through hand and screams. ]
Roy: Yes...
[ Roy puts head through wall. 
Roy: You better get it up, or I'm gonna have to kill ya! Unless you're alive, you can't play, and if you don't play... Six, seven. Go to hell, go to heaven.
[ Fight ]
Roy: Yeah, that's the spirit.
[ Deckard hits Roy with pipe. ]
Roy: That hurt. That was irrational. Not to mention, unsportsman like. Ha ha ha. Where are you going?
[ Deckard does some amazing climbing, then jumps to next building. Roy follows, after tossing a bird. ]
Roy: Quite an experience to live in fear, isn't it? That's what it is to be a slave.
[ Deckard falls, Roy catches him. ]
Roy: I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near Tannhäuser Gate. All those moments will be lost in time like tears in rain. Time to die.

Deckard (voice-over): I don't know why he saved my life. Maybe in those last moments he loved life more than he ever had before. Not just his life, anybody's life, my life. All he'd wanted were the same answers the rest of us want. Where did I come from? Where am I going? How long have I got? All I could do was sit there and watch him die.

Gaff: You've done a man's job, sir. I guess you're through, huh?
Deckard: Finished.
Gaff: It's too bad she won't live. But then again, who does?

Deckard: Rachael? Rachael? Rachael?
[ Deckard uncovers Rachael. ]
Deckard: Do you love me?
Rachael: I love you.
Deckard: Then trust me.
Rachael: I trust you.
Deckard: Rachael?

[ Deckard picks up paper unicorn. ]

Gaff (memory): It's too bad she won't live. But then again, who does?

Deckard (voice-over): Gaff had been there, and let her live. Four years, he figured. He was wrong. Tyrell had told me Rachael was special: no termination date. I didn't know how long we had together, who does?
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A MICHAEL DEELY- 
RIDLEY SCOTT PRODUCTION
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FEATURING 
JAMES HONG 
MORGAN PAULL
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EXECUTIVE PRODUCERS 
BRIAN KELLY 
HAMPTON FANCHER
-------------------------------------------------------------------------------
SPECIAL PHOTOGRAPHIC 
EFFECTS SUPERVISOR 
DOUGLAS TRUMBULL

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SPECIAL PHOTOGRAPHIC 
EFFECTS SUPERVISOR 
RICHARD YURICICH
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SPECIAL PHOTOGRAPHIC 
EFFECTS SUPERVISOR 
DAVID DRYER
------------------------------------------------------------------------------

VISUAL FUTURIST 
SYD MEAD

-------------------------------------------------------------------------------

BASED ON THE NOVEL 
"DO ANDROIDS 
DREAM OF ELECTRIC SHEEP" 
BY PHILIP K. DICK
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EXECUTIVE IN CHARGE 
OF PRODUCTION 
C. O. ERICKSON
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PRODUCTION EXECUTIVE 
KATHERINE HABE
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UNIT PRODUCTION MANAGER 
JOHN W. ROGERS
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FIRST ASSISTANT DIRECTORS 
NEWTON ARNOLD 
PETER CORNBERG
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SECOND ASSISTANT DIRECTORS 
DON HAUER 
MORRIS CHAPNICK 
RICHARD SCHROE

COSTUMES DESIGNED BY 
CHARLES KNODE 
AND 
MICHAEL KAPLAN
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ART DIRECTOR 
DAVID SNYDER
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ADDITIONAL PHOTOGRAPHY 
STEVEN POSTER 
BRIAN TUFANO, B.S.C.
CASTING BY 
MIKE FENTON 
AND 
JANE FEINBERG
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Production Controller  STEVE WARNER
 Production Coordinator  VICKIE ALPER
 Script Supervisor  ANNA MARIA QUINTANA
Camera Operators  ROBERT THOMAS, S.O.C.
ALBERT BETTCHER, S.O.C.
DICK COLEAN
First Assistant Cameramen  MIKE GENNE
STEVE SMITH
Second Assitant Cameraman  GEORGE D. GREER
 Sound Mixer  BUD ALPER
Boom Man  EUGENE BYRON ASHBROOK
 Cableman  BEAU BAKER
 Set Decorators  LINDA DeSCENNA AND
TOM ROYSDEN
LESLIE FRANKENHEIMER
 Production Illustrators  SHERMAN LABBY
MENTOR HUEBNER
TOM SOUTHWELL
Assistant Art Director  STEPHEN DANE
 Property Master  TERRY LEWIS
 Assitant Property  DAVID QUICK
ARTHUR SHIPPEE, JR.
JOHN A. SCOTT III
Makeup Artist  MARVIN G. WESTMORE
 Hairstylist  SHIRLEY L. PADGETT
 Men's Costumers  JAMES LAPIDUS
BOBBY E. HORN
 Ladies Costumers  WINNIE BROWN
LINDA A. MATTHEWS
Special Floor Effects
Supervisor  TERRY FRAZEE
 Special Effects Technicians  STEVE GALICH
LOGAN FRAZEE
WILLIAM G. CURTIS  

Lighting Gaffer  DICK HART
Key Grip  CAREY GRIFFITH
Construction Coordinator  JAMES F. ORENDORF
 Painting Coordinator  JAMES T. WOODS
Standby Painter  BUZZ LOMBARDO 
Stunt Coordinator  GARY COMBS
 Action Prop Supervisor  MIKE FINK
 Action Prop Consultant  LINDA FLEISHER
 Transportation Captain  HOWARD DAVIDSON
Publicist  SAUL KAHAN
Still Photographer  STEPHEN VAUGHAN
Craft Service  MICHAEL KNUTSEN
D.G.A. Trainee  VICTORIA RHODES
   Editor  MARSHA NAKASHIMA
 Assistant Editor  WILLIAM ZABALA
 First Assitant Editor  LES HEALEY
Sound Editor  PETER PENNELL
Assitant Sound Editor  JOE GALLAGHER
Assistant Dialogue Editor  PETER BALDOCK
Chief Dubbing Mixer  GRAHAM V. HARTSTONE
PINEWOOD STUDIOS 
GERRY HUMPHRIES
TWICKENHAM STUDIOS
SPECIAL PHOTOGRAPHIC EFFECTS BY EEG
Director of Photography  DAVE STEWART
Optical Photography
Supervisor  ROBERT HALL
 Cameramen  DON BAKER
CHARLED COWLES
DAVID HARDBERGER
RONALD LONGO
TIMOTHY McHUGH
 Matte Artist  MATTHEW YURICICH
 Matte Photography  ROBERT BAILEY
TAMA TAKAHASHI 
Special Camera Technician  ALAN HARDING
 Optical Line up  PHILIP BARBERIO
RICHARD RIPPLE
 Animation and Graphics  JOHN WASH
 Effects Illustrator  TOM CRANHAM
 Miniature Technician  BOB SPURLOCK
 Assistant Effects Editor  MICHAEL BAKAUSKAS
 Chief Model Maker  MARK STETSON
 Key Grip  PAT VAN AUKEN
 Gaffer  GARY RANDALL
 Film Coordinator  JACK HINKLE
 Cinetechnician  GEORGE POLKINGHORNE
 Still Lab  VIRGIL MIRANO
Electronic and Mechanical
Design  EVANS WETMORE
Electronic Engineering  GREG McMURRAY
 Computer Engineering  RICHARD HOLLANDER
 Special Engineering
Consultants  BUD ELAM
DAVID GRAFTON
 Production Office Manager  JOYCE GOLDBERG
 Visual Displays by  DREAM QUEST INC.
 Electron Microscope Photography by
DAVID SCHARFF
COPYRIGHT ©1977
Esper Sequence by  FILMEX &
LODGE/CHEESMAN
 Color by  TECHNICOLOR
 Filmed in  PANAVISION
 Filmed at
THE BURBANK STUDIOS
BURBANK, CALIFORNIA
Original Soundtrack album of music by
VANGELIS
Available in
POLYDOR RECORDS AND TAPES
"HARPS OF THE ANCIENT TEMPLES"
Composed and Performed by
GAIL LAUGHTON
Courtesy of
LAUREL RECORDS
WITH THANKS TO
WILLIAM S. BURROUGHS
AND
ALAN E. NOURSE
FOR USE OF THE TITLE
BLADE RUNNER
Titles by
INTRALINK FILM GRAPHIC DESIGN
Deckard  HARRISON FORD
 Batty  RUTGER HAUER
 Rachael  SEAN YOUNG
 Gaff  EDWARD JAMES OLMOS
 Bryant  M. EMMET WALSH
 Pris  DARYL HANNAH
 Sebastian  WILLIAM SANDERSON
 Leon  BRION JAMES
 Tyrell  JOE TURKEL
 Zhora  JOANNA CASSIDY
 Chew  JAMES HONG
 Holden  MORGAN PAULL
 Bear  KEVIN THOMPSON
 Kaiser  JOHN EDWARD ALLEN
Taffey Lewis  HY PYKE
 Cambodian Lady  KIMIRO HIROSHIGE
Sushi Master  ROBERT OKAZAKI
Saleslady  CAROLYN DEMIRJIAN
--------------------------------------------------------------------------------
THIS FILM
IS DEDICATED TO
THE MEMORY OF
PHILIP K. DICK