![Find Blade Runner on Amazon](https://www.scripts.com/images/script/86_blade-runner.png)
Blade Runner Page #7
- R
- Year:
- 1982
- 117 min
- 1,694 Views
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
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
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.
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:
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:
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:
Deckard steps out of the bathroom, notices something
on the floor.
Gaff is motionless.
CUT TO:
INT. HOTEL ROOM - NIGHT (MOMENTS LATER)
Translation
Translate and read this script in other languages:
Select another language:
- - Select -
- 简体中文 (Chinese - Simplified)
- 繁體中文 (Chinese - Traditional)
- Español (Spanish)
- Esperanto (Esperanto)
- 日本語 (Japanese)
- Português (Portuguese)
- Deutsch (German)
- العربية (Arabic)
- Français (French)
- Русский (Russian)
- ಕನ್ನಡ (Kannada)
- 한국어 (Korean)
- עברית (Hebrew)
- Gaeilge (Irish)
- Українська (Ukrainian)
- اردو (Urdu)
- Magyar (Hungarian)
- मानक हिन्दी (Hindi)
- Indonesia (Indonesian)
- Italiano (Italian)
- தமிழ் (Tamil)
- Türkçe (Turkish)
- తెలుగు (Telugu)
- ภาษาไทย (Thai)
- Tiếng Việt (Vietnamese)
- Čeština (Czech)
- Polski (Polish)
- Bahasa Indonesia (Indonesian)
- Românește (Romanian)
- Nederlands (Dutch)
- Ελληνικά (Greek)
- Latinum (Latin)
- Svenska (Swedish)
- Dansk (Danish)
- Suomi (Finnish)
- فارسی (Persian)
- ייִדיש (Yiddish)
- հայերեն (Armenian)
- Norsk (Norwegian)
- English (English)
Citation
Use the citation below to add this screenplay to your bibliography:
Style:MLAChicagoAPA
"Blade Runner" Scripts.com. STANDS4 LLC, 2024. Web. 1 Sep. 2024. <https://www.scripts.com/script/blade_runner_86>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In