Blade Runner Page #7

DECKARD:

(continuing)

The raw oysters are less acceptable

to you than a dish of boiled dog.

Deckard switches off his beam.

TYRELL:

Well, Mr. Deckard?

Deckard is looking at Tyrell and wincing indecisively.

He doesn't get it. Are they playing with him?

TYRELL:

(continuing)

Perhaps some privacy will loosen

your tongue, Mr. Deckard.

He turns to Rachael

TYRELL:

Would you step out for a few moments,

Rachael?

Rachael exits looking a little shaken. What's going

on?

Deckard stares at Tyrell.

Tyrell meets his look.

TYRELL:

I'm impressed. How many questions

does it usually take to spot one?

DECKARD:

I don't get it.

TYRELL:

How many questions ?

DECKARD:

In columns of four cross referenced,

twenty or thirty.

TYRELL:

It took more than a hundred for

Rachael, didn't it ?

DECKARD:

She really doesn't know ?

TYRELL:

She's beginning to suspect, I think.

DECKARD:

Suspect! How can she not know

she is.

TYRELL:

Well, we began to notice in them

a strange obsession.

Tyrell is pacing now, lecturing.

TYRELL:

After all, they are emotionally

inexperienced with only a few

years inwhich to store up the

experiences which you and I take

for granted. If we gift them

with a past... we create a

cushion or pillow for their

emotions.. and we can

control them better.

DECKARD:

They want memories?

TYRELL:

It's the dark corners, the little

shadowy places that makes you

interesting, Deckard..... gusty

emotions on a wet road on an

autumn night.. the change of

seasons..... the sweet guilt

after masturbation.

DECKARD:

Jesus Christ,Tyrell!

Tyrell looks startled.

DECKARD:

Where do you get them, the

memories?

TYRELL:

In the case of Rachael, I simply

copied and regenerated cells from

the brain of my sixteen-year-

old niece. Rachael remembers

what my little niece remembers.

DECKARD:

I saw an old movie once. The

guy had bolts in his head.

Deckard looks amazed while Tyrell looks pleased with

himself.

CUT TO:

EXT. OVERHEAD VIEW OF HOTEL - NIGHT

The hotel is in a seedy part of town.

EXT. ANGLE ON DECKARD - NIGHT

Deckard and Gaff are standing in front of the hotel,

looking it over.

Deckard glances at a crumpled piece of paper in his

hand with an address scrawled on it.

He glances at the hotel. The address is correct.

Deckard and Gaff enter the hotel, leaving frame.

CUT TO:

INT. HOTEL CORRIDOR - NIGHT

A dingy, trash-filled corridor.

An OLD MAN leads Deckard and Gaff to a door. The Old

Man is wearing an oxygen tank taking occasional hits

of air from a mask. He unlocks the door.

Deckard and Gaff enter wearily, hands inside their

coats on their weapons.

CUT TO:

INT. HOTEL ROOM - NIGHT

The room is dark and ominous, full of danger.

Deckard studies the shadows, weapon ready.

Satisfied the room is empty, he hits the wall switch.

A four-tube fluorescent light overhead flutters weakly

to half-life, two tubes.

Deckard studies the room.

It's clean in contrast to the littered hallway. A bed,

a wardrobe, a small desk, a chair. Spartan, almost

military.

Gaff has seated himself on the windowsill. Except for

his eyes he is motionless like a statue.

Deckard reaches into his pocket and takes out infrared

goggles which he puts on. He looks strange wearing the

goggles.

The room, from his POV, is seen in high contrast,

every speck of dust in bright white, the fingerprints

on the wall standing out like paintings, Gaff appear-

ing eerie and ominous.

Deckard starts to inspect the room with great care,

feeling the moulding, inspecting the mattress on the

bed, studying the fingerprints on the wall.

Gaff watches motionless.

CUT TO:

INT. HOTEL ROOM - NIGHT (A LITTLE LATER)

Deckard has opened the wardrobe.

He's inspecting the suit neatly hung there. He feels

in the pockets. He pulls out a packet of about sixty

photographs. He thumbs them. Very ordinary looking

snapshots. Maybe he notices a couple of strange ones.

Maybe not.

Deckard pockets the pictures and continues his inspec-

tion.

Gaff sits motionless like a statue.

INT. HOTEL BATHROOM - NIGHT (MOMENTS LATER)

Deckard, still wearing goggles, is checking the inside

of the medicine cabinet in the tiny bathroom.

Nothing. Clean.

He shuts the cabinet and sees himself in the mirror

in infrared wearing goggles. Weird.

He exits the neat, tiny bathroom.

CUT TO:

INT. HOTEL ROOM - NIGHT

Deckard steps out of the bathroom, notices something

on the floor.

Gaff is motionless.

CUT TO:

INT. HOTEL ROOM - NIGHT (MOMENTS LATER)

Deckard is on his hands and knees studying the floor.

He picks up a little speck on his finger, studies it.

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